Category Archives: Music

December 17, 2013 · 10:32 am

Album Review – Mipso’s “Dark Holler Pop”

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On a beautiful day in May, band mates Wood Robinson, Jacob Sharp, and Joseph Terrell tossed their mortarboards up into the Carolina blue sky and rejoiced in the finality of their collegiate journeys. With degrees in hand, this Chapel Hill-based trio known as Mipso, threw all thoughts of conventional careers out the window and collectively vowed to make the band their top priority. It was time to put the music first and bring the sound of Mipso to the people of North Carolina and beyond. Their first stop—the recording studio.

On the band’s second LP, “Dark Holler Pop,” Robinson (double bass), Sharp (mandolin) and Terrell (guitar), adopted a more collaborative approach to songwriting. With producer Andrew Marlin, of Mandolin Orange fame, behind the soundboard, the band was able to sit back, learn, and let the songs evolve organically in the studio. The album’s folk-bluegrass sound was further rounded out by industry greats like Marlin, Emily Frantz, Phil Cook, Chandler Holt, John Teer, Bobby Britt, and Chris Roszell.

Released last month, the 11-track album debuted at #8 on Billboard’s Bluegrass Albums chart. Collectively, “Dark Holler Pop” is North Carolina through and through, featuring Mipso’s blended interpretation of Appalachian music with strong three-part harmonies and traditional instrumentation. While banjo rolls and a punchy mandolin lend the album a fuller bluegrass sound, the sweet whine of the fiddle really shines as it meanders seamlessly from track to track.

The album opens with “A Couple Acres Greener,” a rousing steam-engine paced tune filled with tales of right and wrong turns on life’s path. Terrell sings of jumping the church pews and celebrating his sins, all while wondering how he will leave the world behind when he’s gone. The fiddle intro and harmonies on “Tried Too Hard” lift the self-doubting lyrics, “Maybe I tried too hard/Maybe I was born to fail/Maybe all I’ve done is pave the path to hell.”

“Louise” stands out as one of the best tracks on the album. Lyrics tell a love story through car metaphors, an authentic approach by this group of young men. What better way to describe the bumpy road of love than by comparing it to an old beat up car? Another gem is “When I’m Gone,” a beautiful hymnal ballad laced with delicate guitar picking and a church-worthy chorus.

Mipso slows things down with “Rocking Chair Blues,” evoking images of an old man pondering his life on the front porch of a creek-side cabin. Songs like this reveal the old soul that is at the epicenter of Mipso. These musicians have somehow gained the perspective of a seasoned sage somewhere along the paths of their relatively short lives. Thus, it is not surprising that themes of mortality and decades of hardship find their way onto many of the album’s tracks.

Throughout “Dark Holler Pop” musical influences emerge, without feeling forged. On “Red Eye to Raleigh” hints of Paul Simon’s reveal themselves as Terrell sings of love lost, while “Border Tonight” feels almost like a trip down to Jimmy Buffet’s Margaritaville in Key West. The album’s first single, “Carolina Calling,” feels like an updated, upbeat version of James Taylor’s “Carolina on my Mind.”

The album closes with “Do You Want Me,” which is the first to feature a flirty piano arrangement. Supported by their trademark tight harmonies, Mipso sings of love’s most brutal insecurities, as the song transitions from a polished studio sound to what sounds like a raw live recording.

Overall, “Dark Holler Pop” further solidifies Mipso’s place in modern folk and bluegrass genres.  Their decision to work with Marlin and elevate their songwriting makes this album a big success and one that will certainly get ample radio play.  With lyrics heavily weighted towards the trials of love and life, it will be interesting to see how touring and life on the road will shape Mipso’s songwriting for their next installment.  Until then, “Dark Holler Pop” will keep on spinning.

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November 5, 2013 · 12:55 pm

Album Review – Lorde’s “Pure Heroine”

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For over a decade, New Zealand has been best known as the picturesque backdrop for native Peter Jackson’s “Lord of the Rings” film trilogy. That was until this past summer when Jackson, Frodo Baggins and the rest of the hobbits got abdicated from their thrones. A new “Lorde” now sits pretty at the top, effortlessly monopolizing US airwaves with an unabashed take on her so-called teenage life.

Lorde, born Ella Maria Lani Yelich-O’Connor, is a 16 year-old singer-songwriter who became an overnight alt-pop sensation with her fireball hit “Royals,” a synth-driven track that mocks the gluttony of a lavish lifestyle. First released as a track on her debut EP “The Love Club,” “Royals” quickly rose to the top of the Billboard Alternative Songs chart in the US, and currently holds the record for longest reign by a female on this chart. “Royals” also found its way to the top of the Billboard Hot 100, making her the youngest artist to ascend to this spot.

So what makes Lorde so different from all of the other under-21 pop stars who have come and gone? Mainly, she stands out for her ethereal voice and thoughtful songwriting. While her songs focus on adolescent themes, Lorde still shines in her mature and smart approach to making music.

Master producer Joel Little paired up with Lorde to put together a follow-up LP that could continue to ride the success of “Royals.” At the end of September, the duo released “Pure Heroine,” and Lorde’s momentum has since shown no signs of slowing down.

Overall, “Pure Heroine” features a streamlined electro-pop sound that centers on Lorde’s unique voice and catchy tempo. Layered reverb and a barrage of computer-generated drum beats provide an unobtrusive scaffold for all of the tracks. While Little’s soundboard techniques find overall success, the uniformity of sound offers listeners very little variety from song to song. With attention spans at a minimum these days, even 37 minutes of monotony can cause listeners to drift.

The album opens with the lyrics “Don’t you think it’s boring how people talk” on “Tennis Court,” an empowering varsity anthem fitted with enough “yeahs” to put Usher on the bench. “400 Lux” chronicles a typical teenage joyride as Lorde sings, “We’re hollow like the bottles that we drink…We might be hollow but we’re brave.” What teenager can’t relate to that?

“Royals” shows up in the third spot, and shines like the diamonds and Cadillacs Lorde sings about with such disdain.  It will be interesting to see if Lorde maintains her outlook on luxury with all of the royalties quickly filling her bank account. “Ribs” is rich with reverb and club beats worthy of valiant fist pumps, while “Buzzcut Season” is a xylophonic summertime masterpiece. “Buzzcut Season” shines in its out-of-this-world dreaminess with lyrics like, “I live in a hologram with you.”

The “Team” intro borrows from Gorillaz’s “Clint Eastwood,” transitioning then into an upbeat stomp-clamp homage to clique-culture, minus the exclusive air. “Glory and Gore” doesn’t back down from a challenge, with strong lyrics like, “You can try to take us, but victory’s contagious,” evoking images of an anarchic, shirtless Christian Slater in the 90s cult classic “Pump up the Volume.”  Look it up.

When the album reaches “Still Sane,” the background cavernous dip echoes begin to bore, though Lorde is still all business and hustle. This 16 year-old is on a crash course to losing her mind, but she seems just fine with that. “White Teeth Teens” soars with a militant snare drum/tambourine combo and faraway layered background vocals.

On the album closer, “A World Alone,” Lorde echoes the teenage mantra that life is a lonely journey, amidst the catty chatter that fills the song’s empty space. As if to come full circle from the album’s beginning, Lorde deadens the noise and ends it all with, “Let ‘em talk.”

“Pure Heroine” is almost pure pop genius. The authenticity found in Lorde’s songwriting proves that she is very close to these words. She’s writing from her own experience, and in brutal honesty she continues to reach listeners who feel the same. As a whole, the album can start to feel repetitive, but when the tracks are taken separately, they are golden.

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November 5, 2013 · 12:47 pm

Interview – Emily Minor

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“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!

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October 21, 2013 · 1:55 pm

Video of the Week – Seth Avett Sings “A Famous Country Singer” by Matt Butcher

I return to this video time and time again.  Matt Butcher’s songwriting on this song is beyond exceptional, and Seth Avett’s calming voice and delicate finger-picking make it that much sweeter. The combination is about as close to perfection as you can get.

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October 15, 2013 · 11:09 am

Album Reivew – The Avett Brothers’ “Magpie and the Dandelion”

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“F*&k yeah, my boys are back.”

~Anonymous longtime Avett fan

Sometimes you just have to be blunt about the bands you love. With The Avett Brothers’ eighth studio album out today, Magpie and the Dandelion, brothers Scott and Seth Avett kick the dirt off of their roots and plant a new crop of songs that are fixin’ to take full bloom.

Collectively, Magpie and the Dandelion is a polished throwback that is stripped of cumbersome instrumentation and soundboard tricks, while still maintaining the clean studio sound that comes with a Rick Rubin production–a winning combination. Perhaps Rubin finally decided to step back and let the boys do what they do best–make music.

While this may be the case, it was surprising to learn that Magpie and the Dandelion was recorded around the same time that The Avett Brothers recorded last year’s album, The Carpenter.  Side-by-side these albums feel very different. The Carpenter walks the line between grand themes of life and death, while Magpie and the Dandelion returns to the intimate storytelling that has served the brothers well from their humble beginnings.

“Pack the old love letters up. We will read them when we forget why we left here.“

The Avetts aren’t strangers to a brutally honest and moving love letter.  They’ve laid out their fears and feelings for listeners several times before in songs like “November Blue,” “If It’s The Beaches,” “My Last Song to Jenny,” and basically every song in the “Pretty Girl” series.

When these earlier songs were written the boys were bushwhacking their way through the early phases of love, often in an emotionally fervent state. Conversely, the songs on Magpie and the Dandelion reveal that the Avetts have moved on to a new, more complicated chapter of love–one that has been forced to withstand the hardships of life on the road, the struggles of caring for a sick child, and the possibility of growing old alone.

There is an authenticity that comes with bearing one’s soul for the world to see—laying out the mistakes, the doubts, the fears.  This album continues to propel the story of a band of brothers who have been in the game for over a decade.   Now they look back on where they have been, wonder what they may have done differently, and hope to find answers beyond the bright lights of fame.

“Put the sketches and the notes in the box labeled ‘Burn With Furniture’”

The album opens with “Open Ended Life,” a southern rock barn-burner packed with punchy banjo, electric guitar solos, a feverish fiddle, and the bluesy whine of G. Love’s harmonica.  As if denouncing “If It’s The Beaches,” the boys light fire to their past–love letters and all–watch in the rear-view mirror as it burns to the ground, and speed away in an old beat-up truck.  This track is pure bonfire, beer-drinking, hoot and holler fun, straight from the hills of North Carolina.

“It’s alright if you finally stop caring, just don’t go and tell someone that does.”

On “Morning Song” the mood becomes more introspective and the instrumentation simplified.  Piano and drums round out the sound as Scott and Seth sing of the reality that accompanies embarking on life’s journeys alone.  The harmonies alone will cut you to the core.  With the song’s closing chorus, the listener is flooded with overwhelming emotion, as the beautiful voices of Avett family members sing, “I have to find that melody alone.” “Morning Song” evokes feelings of hope despite despair, and will surely be added to the canon of outstanding folk-ballads that have come from the minds and hearts of these men.

“Whoa oh whoa.”

The Avetts are masters of bending and blending genres.  On “Never Been Alive,” Seth manages to layer Pink Floyd’s dreamy “Speak to Me/Breathe” with a Sam Cooke vocal cadence.  This combination yields a deliberately subdued ballad that feels trippy, but sluggish at times.  Though “Never Been Alive” has been road tested for several years, it remains an underdog, perhaps having not yet reached its full potential.

“Let me see your skeleton, well before your life is done.”

The album’s first single “Another is Waiting” is definitely the most radio friendly folk-pop track of the collection.  Full of rambling banjo runs and tight drum lines, “Another is Waiting” speaks to the dangers of any industry that chews up and spits out protégés with little regard.  This track’s positive message is sure to translate over radio airwaves to young, impressionable listeners worldwide.

“Bring your love to me. I will hold it like a dandelion.”

During a songwriter’s session at the Newport Folk Festival, Seth was asked how he decides what becomes an Avett Brother song versus a Darling song.  With a thoughtful pause, he replied, “I have to actively answer that question every time an idea comes up.  I can’t say that I always know, because a lot of times I am surprised at what makes sense for us to present together.  But, the Darling songs that end up just becoming Darling songs, they look to me the same way that Scott’s paintings do, as far as this is a singular vision.”

In listening to “Bring Your Love To Me,” it appears that perhaps a Darling song slipped into the pile of 30-plus songs that the band initially brought to Rubin.  Hearing fingertips sliding on tinny strings, Seth’s pleading promise to protect a fragile love, and the warm tones of intermittent hums offers fans a little glimpse into what can be expected on the fourth Darling installment.

“I want to be there for you, and when I come home will you still want me to?”

Did someone say “Norwegian Wood?” It’s not the first time that Beatles have found their way into an Avett Brothers’ song.  Musical influences unconsciously shape the sound of every band, but what makes “Good To You” unique is that it is a heart-wrenching, honest and emotionally transparent personal account that could have only come from this band.  On this piano lullaby, Scott and bassist Bob Crawford share intentions and fears with their families, in light of the fact that their time away from home may come with sobering consequences.

“Part from me, I would not dare take someone in love with me where I’m going.”

“Apart From Me” stands alone as the album’s most jaw-dropping ballad.  The songwriting on this track matches that of “Murder in the City,” raw, powerful, and thought-provoking.  Scott’s voice tears through the listener’s soul, as his gritty exterior crumbles under the weight of past decisions.  Looking back on the pursuit of his dreams, Scott seems to question the path he led his family down over the course of his career.  Seth’s delicate finger-picking balances the harsh reality of Scott’s words and the listener is left peering into the wilted spirit of this woeful artist.

“How long can you live in shame and drop a lifelong curse on your own last name?”

Thematically in line with “Good To You” and “Apart From Me,” “Skin and Bones” picks up the pace as the Avetts weigh the pros and cons of the famed artist’s life on the road.  There is an irony that emerges as lyrics speak of the “beast” that drives the band down the road farther away from home.

This “beast” has reared its ugly head before, particularly when Scott has discussed how he struggles to find balance between his artistic passion and everyday obligations.  At his most recent art talk, Scott explained, “Artists are put on this planet to do…three things.  [Ruskin] says we are here to see, and to feel, and to document.  The artist can try to think, but he’s not here to do that.  He can try to explain and analyze, but he’s not here to do that.  He can go to parties but he’s not here to party.  He can’t.  He really can’t…As soon as he feels something he has to act on it and move on it.”  With lyrics like “It’s the tin and the board that keeps me going home, but it’s who I am that won’t let me alone,” it appears almost impossible to tame the artist’s inner beast, thus the push and pull carries on.

“Bring me light from where I thought it was dark. Be the spark that has a chance to light a candle.”

“Souls Like The Wheels” is a welcomed live addition to this studio album.  Originally released as a studio track on The Second Gleam in 2008, this live version of “Souls Like The Wheels” features Seth, his guitar, and an amazed audience at The Fabulous Fox Theater in St. Louis, MO last year.  Even with the occasional hoot and holler from those fans you’d like to punch for making noise during ballads (in particular the girls who scream “We love you Seth!”…seriously if you are one of those girls, please just stop), this version evokes images of Seth and his HD-35 at the front of the stage in the warm glowing embrace of the spotlight.  These are the moments when fans know they are witnessing greatness.

“I’ve got love pouring out of my veins, but it’s all vanity.”

No Avett ablum would be complete without one of Seth’s face-melting electric guitar solos.  On “Vanity,” Seth and Scott trade verses, and tackle the ugly truth that underpins our words and actions. Recently, Soundgarden frontman Chris Cornell joined the band on Late Night with Jimmy Fallon to put his own rock-god spin on the song, proving that he’s still got the chops that served him so well in the 90s.  “Vanity” stands alone in its rock-ballad style, while still contributing to the album as a whole.

“I will seek the approval of no one but you, in love for the changes I take.”

Magpie and the Dandelion closes with “The Clearness Is Gone,” a waltz-ballad previously released as a bonus track on The Carpenter.  The Avetts plug in and offer listeners a strong finish to an album that chronicles the band’s journey.  Though the band forges ahead into the bright lights, “The Clearness is Gone” contains muted hints of “Oh What a Nightmare.”  Perhaps this nod to their former-selves serves as a subtle message to their fans that have started to question the band’s direction.  Those fans should trust that deep down inside of these men, there is a screaming Avett just waiting to go berserk, melt into the stage and then dive into a sea of sweaty fans.

“We won’t waste a long goodbye on the smoke or foolish lies that finally passed us.“

Magpie and the Dandelion just feels like home.  It successfully bridges the gap between the fan who boasts about being among a handful of people at the 2007 Plan 9 Emotionalism record release show and the fan who first experienced the life-altering sound of Avett harmonies on Bonnaroo’s main stage in 2012.  The album features more banjo for the bluegrass-loving fans, top-notch songwriting for the lyric-hungry fans, electric guitar riffs for old Nemo fans, and a thoughtful musical progression and growth for the fans that actually appreciate watching these talented men mature and fight to feel comfortable in their own skin.  Today, a collective exhale and “thank you” can be heard across the spectrum of Avett fans as they sit down and take in the phenomenal work that is Magpie and the Dandelion.

**For fans that can’t get enough of The Avett Brothers, there is a deluxe Target-exclusive version of Magpie and the Dandelion that includes six unreleased demos off of the album**

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October 10, 2013 · 8:31 pm

Nonprofits Partner to Bring Folk Music to Richmond Students

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For the past eight years, JAMinc and the Richmond Folk Festival have partnered to bring internationally recognized folk musicians into Richmond schools to perform for students. This partnership has enabled over 23,000 students to be exposed to a diverse array of folk music rooted in cultural traditions from across the globe.

Tomorrow, JAMinc, a local nonprofit music education organization, will coordinate ten school performances by six of the festival musicians at Richmond area schools, including the Faison School for Autism and St. Andrew’s School.

Coordination involves a host of volunteers who donate their time and resources to organize transportation and sound equipment set-up to ensure an enjoyable and unique musical experience for the students and musicians, alike.

This year, select students will be treated to a performance by Tuvan throat-singers, Alash.  Throat-singers learn to sing multiple harmonic notes with one voice, sometimes creating two and three separate tones.

“It is the most amazing, out of this worldly kind of sound that you’ve ever heard,” said Tim Timberlake, Richmond Folk Festival programming committee member and JAMinc chairman.

Students will also have a chance to experience music from polka and reggae groups, as well as traditional mountain music from Elizabeth LaPrelle and Anna Roberts-Gevalt. Exposure to a variety of musical genres teaches students that the word “folk” can have multiple meanings across different cultures.

“Folk is the indigenous music from any culture. It’s the traditions that are passed down that stem from the roots of all of these different cultures all over the world,” explained Timberlake.

Promoting music education in the school systems is something that is very important to JAMinc and the Richmond Folk Festival, but music education goes well beyond the school walls for both organizations. It took some time to educate the people of Richmond about the diversity that underlies folk music, but attitudes are moving in the right direction.

“The complexion [of the festival]…beautifully reflects the demographic composition of Richmond. There is nothing that happens near here that approaches that success of being able to bring everybody together, to be that inclusive, have it all work and have everyone have a wonderful time and celebrate music together,” said Timberlake.

In addition to coordinating the school music events, JAMinc is sponsoring four local musical acts on the festival’s Genworth Financial Family Stage. Saturday’s sponsored acts consist of the kids group, Silly Bus, and VCU graduate Andrew Ali, who which will lead a harmonica workshop. JAMinc sponsor, TKL/Cedar Creek Case Shoppe, donated approximately 100 harmonicas to be passed out to the children who want to take part in the workshop.

On Sunday afternoon, JAMinc will present big band composer, Samson Trinh, who will conduct a ukulele workshop and play alongside a ukulele orchestra of young musicians. Sunday’s Family Stage festivities will come to a close with the high-energy stringband music of The Hot Seats Shortband.

It is the hope of JAMinc and Richmond Folk Festival organizers that young music lovers will walk away from these experiences inspired and enlightened.

“Generally, music just has that potential for just opening and unlocking doors.  At their ages their minds are open, and they are receptive to hearing and learning new things. That’s definitely what this is all about–to let them hear some things and let them realize that there is more to the world and to music than what they are hearing on commercial radio,” said Timberlake.

The Richmond Folk Festival is a free event from October 11-13, 2013. Organizers anticipate that this weekend’s festivities will draw over 200,000 attendees to Richmond’s beautiful, historic downtown riverfront. Festival grounds include the American Civil War Center, Brown’s Island and Tredegar Street.

In addition to being held on a picturesque campus, the Richmond Folk Festival boasts a stellar line-up that spans the globe and a solid foundation of dedicated volunteers working behind the scenes to ensure a smooth and successful event.

“It’s a joint effort of a whole lot of people, the city, Venture Richmond, the National Council for the Traditional Arts and a huge bank of volunteers,” said Timberlake.

JAMinc hopes to continue their role in the Richmond Folk Festival well into the future. The collaboration has extended JAMinc’s mission of promoting music education and appreciation beyond their school and evening concert series, and established a bond that gets stronger with each passing year.

“I think the Richmond Folk Festival appreciates what we do and I think we, JAMinc, really enjoy being associated with such a quality event, such a successful event and such a jewel in Richmond’s crown. All of us are really proud of how this thing has played out, that it’s continuing and that most people will say it’s the coolest event in town, down there on the river in the RVA,” said Timberlake.

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October 8, 2013 · 11:43 am

Album Review: Bombadil’s “Metrics of Affection”

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If The Beatles and Weezer got together and had a baby, and that baby joined the drama club, that baby would grow up to be Bombadil.

Consisting of multi-instrumentalists Daniel Michalak, Bryan Rahija, Stuart Robinson and James Phillips, Bombadil borrows its name from J.R.R. Tolkein’s character, Tom Bombadil, who is equally as enchanting as the Durham-based quartet. Having just released their self-produced, fourth LP, “Metrics of Affection,” Bombadil proves that authenticity mixed with a dash of merriment and a handful of emotion equals the perfect musical recipe.

Last month, the touring members of Bombadil graced the Tipsy Teapot stage in their idiosyncratic band regalia — collared shirts, ties, and accessorized sports coats — and treated a modest but attentive audience to many of the tracks off of their new album. While the live versions of these songs offered a quirky visual to match the lyrics, the intricacies are best revealed and reveled on the studio version. Sitting down with the liner notes, reading the lyrics and allowing the songs to tell their stories truly takes the listener on a journey through the land of Bombadil.

On “Metrics of Affection,” Bombadil stands proudly at the helm of their ship and assumes complete creative control. With production in-house, the band was able to push the boundaries and experiment more than on any previous albums, resulting in a rich but not overproduced collection of songs. While vocals and traditional instrumentation — piano especially — remain at the forefront of each track, thoughtful use of samples, synths and drum machines advances the overall sound without stripping its playfulness and originality.

Throughout the album, vocals and keys emerge in the spotlight, as hints of acoustic guitar round out the sound. Melodic and often flirty piano accompaniments, paired with witty, relatable lyrics about love, loss, whales and cats certainly draw listeners in for a deeper auditory experience.

The album opener, “Angeline,” offers a catchy beat and lyrics of friendly advice to move on from the past, all made sweeter by the charming harmonies of Christy Jean Smith. “Learning to Let Go” is the album’s clap-stomp sing-a-long track, accompanied by faint horns that lend an imperial air.

The ever-popular banjo makes its first appearance on “Born at 5:00,” though it is not what makes this song one of the album standouts. Here, Bombadil succeeds in packing all of the milestones of one man’s life into a 3:11 minute song — a bold and touching reminder of the fleeting nature of of our time on Earth.

“Isn’t It Funny” features a militant drum line underlying Michalak’s first attempt at rapping. With an Eminem-esque cadence, Michalak’s passion surfaces while recounting an illness that almost ended his music career. The men of Bombadil lay their emotions out for the world to hear on heartfelt ballads like “Boring Country Song” and “Have Me,” and heart-breakers like “What Does It Mean” and “One More Ring.” This sentimental roller coaster ride of love and loss is capped off by “Patience is Expensive,” a hauntingly beautiful piano instrumental that oscillates somewhere between hope and despair.

Quirkiness sets in with “When We Are Both Cats,” which speaks of unrequited love and feline reincarnation — not the typical love song, folks. The animal theme continues on the old-timey, maritime track, “Whaling Vessel,” where Bombadil sings from the point of view of a hunted whale. While these song themes may seem off-putting to some, their unique nature translates magically, further lifting the album’s spirit.

Propelled by a rolling piano melody, the album closer, “Thank you,” is the perfect note on which to end this baker’s dozen of goodness. With lyrics like, “Keep your family close/Because when you get in trouble/They’ll be the last to lose their hope/And say your prayers every night/They don’t have to be to God/It just helps to sort your thoughts/And you never know they might be right,” listeners are called on to be grateful and gracious for all of the small, but meaningful moments in life.

Bombadil’s most recent installation combines all that is currently overdone in folk-pop — stomp, claps, banjo, cellos, unidentifiable accents — and somehow makes it feel renewed. Perhaps it is the persistent piano or the eccentric storytelling. Regardless, “Metrics of Affection” is a triumphant composition that covers the emotional spectrum of life and love, beginning with a journey and ending with gratitude.

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October 2, 2013 · 10:05 am

Another Day Another Time – An Epic Evening of Folk

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It was a packed house at New York City’s Town Hall Sunday night. In honor of the upcoming release of the Coen Brothers’ latest film, musicians and actors gathered together to celebrate folk music at Another Day, Another Time, a concert to benefit the National Recording Preservation Foundation. Coming to theaters on December 20, 2013, the film, “Inside Llewyn Davis,” follows fictional character, Llewyn Davis, a struggling folk musician in New York City in the 1960s and is loosely based on the life of Dave Van Ronk. The concert was filmed for an upcoming Showtime documentary to be released on December 13th.

Just around the corner from Times Square is New York City’s historic Town Hall. At Another Day, Another Time, every seat of the 1,495-seat venue sold out in seconds. Lovers of folk music filled the old theater that first opened its doors in 1921. Light from a hanging chandelier lit a sea of red chairs and the stage sat lined with oriental rugs, microphones, and a drum kit. Stars of the movie, John Goodman and Carrie Mulligan, hosted the concert.  Serving as musical director, T. Bone Burnett called upon artists such as Jack White, Patti Smith, The Avett Brothers, Marcus Mumford, Gillian Welch and David Rawlings, Conor Oberst, Collin Meloy, Punch Brothers, and the folk revivalist herself, Joan Baez, to create such a momentous event.

Joined by my friends in the last row of the balcony of the small theater, I looked down at the stage in anticipation of what would happen in the next few hours. Kicking off the show was Brooklyn-based band, Punch Brothers. Led by Chris Thile on mandolin, they started off the night with a cover of “Tumbling Tumbleweeds” by Sons of the Pioneers and then switched over to a song of their own, “Rye Whiskey.” This would not be the last time we saw Punch Brothers on stage, they joined several acts throughout the night. Mumford joked, calling them the “house band” for the evening. The crowd swayed and sang along with Willie Watson, Gillian Welch and David Rawlings, to “This Land is Your Land” and there would be a number of collaborations throughout the night.

My excitement grew with each announcement. Decked out in a tan blazer, blue jeans, and a cowboy hat, John Goodman stood at the podium cracking jokes and introducing acts. Next on stage would come three new and upcoming groups, The Secret Sisters, Lake Street Dive, and The Milk Carton Kids. Although these groups are lesser-known acts, they captivated the audience just the same. The Milk Carton Kids’ Kenneth Pattengale teased that they were not famous enough to have someone else adjust the height of their microphones.

Goodman returned to the podium and informed the audience that due to a scheduling conflict, his costar in the film, Justin Timberlake, could not make the show, however his understudy would be filling in. Much to everyone’s surprise, Elvis Costello walked out on stage and performed “Please Mr. Kennedy,” Timberlake’s song off the film’s soundtrack. He was joined by actors Adam Driver and Oscar Isaac, also in the film. Isaac, plays the lead roll of Llewyn Davis and took the stage to sing his songs from the film as well, wowing the crowd with his raw talent and skillful guitar playing.

Keb’ Mo’ and The Avett Brothers would take the stage before breaking for an intermission. For the first time of the night, we saw a band perform three songs. The Avett Brothers–Scott and Seth Avett, Bob Crawford, and Joe Kwon–walked on stage with instruments in tow. Scott Avett began to strum his banjo and much to my surprise, played the song “All My Mistakes” from their 2007 album Emotionalism–a song that doesn’t often draw laughter from a familiar crowd, but did that night for those who had never seen Scott Avett put “quotations around the word friends.” The Avetts would play “That’s How I Got to Memphis,” a Tom T. Hall cover, and their song “Head Full of Doubt, Road Full of Promise.” Unlike its studio version on the 2009 album I and Love and You, “Head Full of Doubt” was played acoustically. Lyrics that were typically sung loud, turned much more subdued. It was seamlessly beautiful and showcased The Avett Brothers’ genuine talent. The crowded remained quiet with an occasional holler from the audience, fueled by excitement.  It was clear that many people had attended the concert particularly looking forward to The Avett Brothers’ performance.

The lights grew brighter and the audience scattered for a brief intermission. Some celebrities blended into the crowd, equally as excited to witness this once in a lifetime concert. Famous faces such as Paul Rudd, Taran Killam, Glenn Close, Jesse Eisenburg, and John Slattery were spotted. Actor Rudd, has confessed his love for music from bands like The Avett Brothers and Mumford and Sons in interviews. It was very exciting for me to be in the same room with some of Hollywood’s elite. To sit in the same in the same room as Susan Sarandon and Frances McDormand was quite surreal.

Next on stage was, the one and only, Jack White. Dressed in his signature black suit and blue tie, he performed two old folk songs and topped his set off with a White Stripes classic, “We Are Going to Be Friends.” Following White’s remarkable performance was the stand out performer of the night, Rhiannon Giddens. Giddens stood in a long red lace gown in front of the audience. Typically, her band mates, The Carolina Chocolate Drops, would surround Giddens. It was on this night, that Giddens showed off her phenomenal voice on her own. She sang Odetta’s “The Waterboy” and two Gaelic songs that brought the audience to their feet with applause.

Patti Smith engaged the audience with a cover of “Babe, I’m Gonna Leave You,” that she learned from friend, Joan Baez. Smith then welcomed The Avett Brothers, Punch Brothers, and Lake Street Dive to help her sing “People Have the Power.” Mid song, Baez herself walked out to join Smith in the chorus. Baez went on to take the stage all to herself with her rendition of “The House of the Rising Sun.” Mumford, frontman of the band Mumford and Sons, joined her in singing “Give Me Cornbread When I’m Hungry,” a song made famous by John Fahey. Mumford later took the stage unaccompanied.

As the night grew to a close and after nearly four hours of music, the star of the “Inside Llewyn Davis,” Isaac reemerged with Punch Brothers and Mumford. They sang “Fare Thee Will” and “Farewell” from the film’s soundtrack. It was a fitting ending for an unbelievable evening. Another Day, Another Time was a once in a lifetime opportunity I feel very fortunate have attended at what The Huffington Post called “the concert of the year.” I look forward to reliving the experience through the Showtime documentary that will air in December. It was a historic night for folk music, and I’m excited for the world to see it.

Karrisa Sevensky strikes again!  Thank you Karissa for capturing the essence of such a historical and wonderful evening of folk music

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August 23, 2013 · 2:59 pm

Interview – Dolph Ramseur

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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.

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June 18, 2013 · 3:29 pm

Kickstarter to Watch – Rebekah Todd

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No matter how you feel about it, listener-supported music is here to stay.  Gone are the days of scraping pennies together to record and master an album in your mom’s basement.  Thanks to social media and websites like Kickstarter and PledgeMusic, independent musicians can call on their fans from across the globe to lend a hand in the recording process–at least the financial side of things.

For many fans, this new forum provides an affordable conduit to “back” a musician or band that they really love.  In return for their donations, fans  not only get to feel more connected to the music, but also typically receive some sweet personalized merchandise or experience from the musicians/bands.  From signed lyric sheets to house concerts, musicians have a chance to get really creative with the lists of “prizes” for their backers.  But here’s the kicker (no pun intended): If the project’s goal is not 100% met, backers get back their money and the musician gets nothing.  It’s all or nothing, folks!

As a fan who backs projects from time to time, there is something rewarding in making a contribution and following the progress of a campaign.  Checking-in to see how much money has been raised and what prizes have been snatched up, along with receiving updates from the musicians themselves, can really be fun.  Recently, I pledged $50 to Scott Miller and The Commonwealth’s new album, and was happy to learn that they have surpassed their goal, and I will be one of the first (among the other 334 pledgers) to hear the album once it is completed.

Currently, I am following Rebekah Todd’s Kickstarter campaign.  Rebekah is gifted singer/songwriter/guitarist out of eastern NC who is gearing up to record her first LP at the end of July.   I interviewed Rebekah last year, and learned all about her musical influences, which range from Susan Tedeschi to Lauryn Hill.  Her music is dripping with a muggy southern soul that speaks to the trials and tribulations of life, death, love, heartbreak, and everything in between.  There is an historic air in her songwriting that pays tribute to those who walked before her, as if perhaps she was born in the wrong century or recalling experiences from a past life.  From her 2011 EP, “Forget Me Not“, Rebekah’s songwriting and performing has evolved, and she’s found a keen balance between the ghosts that haunt her and guardian angels that protect her.  Her music–her voice–reaches into your heart and makes you feel not only her own joy and pain, but your own, as well.

For me, that is what music is about, and why I believe that Rebekah’s Kickstarter is one to watch.  Take a listen to her story, consider backing her project, and share with your friends.

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