Tag Archives: North Carolina

February 10, 2013 · 7:09 pm

Interview – Bob Crawford of The Avett Brothers

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Just in time for the 55th Annual Grammy Awards, I caught up with Bob Crawford, bassist for The Avett Brothers, to talk about their new album “The Carpenter”, their first Grammy nomination, songwriting, and learning to play the fiddle, among other things:

EOAF: Congratulations on the success of “The Carpenter”.  How would you describe the album?

Crawford: Mature, thoughtful, intentional, poignant, pensive.  I think it’s heavy, and I think that’s where…I’ve had friends that I have had since I was 19, I’m 40 now.  I’ve had them say “I don’t know about this one.  It’s not your best.”  I think maybe we lose some people as we go, but maybe we gain people in some ways.  Maybe people come and go.  It’s not 2007 anymore, and it’s not 2005.  It’s a different time for us and I think you are being honest about where you are in life and that being reflected in your art and what you do and the way you do it.  It’s definitely going to change.

EOAF: How do you feel about how songs from “The Carpenter” have translated live?

Crawford: Oh they are great!  I think they have really translated.  You know what they have done?  Some of them,  like “A Father’s First Spring” and “February 7”, some of these song help us slow down on stage and try to meditate on being intense and calm at the same time.  It’s been a lot of fun.  It’s really fun to translate something like that live.  We’ve had slow songs in the past–God knows we have tons of them.  There’s a controlled, an intentional controlled aspect that comes musically, like a hang-there-in-space-and-time and have that patience.  I’ve always thought Neil Young did that so well with songs like “Harvest Moon”–how he could have a very intense mid-tempo.  That’s tricky for a musician.  It’s very hard.  The inclination is to play faster, because your heart is beating faster because you are on a stage and there are people.

EOAF: Is there any song from The Carpenter that you really love to play live?

Crawford: “Live and Die” is getting really comfortable.  It’s starting to feel like an old trusty.  We are getting better, with the last two albums, at holding songs back before the release.  We were never good at that before.  We’ve gotten better at that.  When you record the song, but you don’t really know them, you know your part and you know the section that you did a million times, but you don’t know it like when you are on stage and let it fall out of you.  When you record the record, there’s about a year before you really start playing the songs intently and constantly, and then they take on a life of their own.  So, they are coming.  Some of them are still in the coming phase, but some of them have been very surprising to play, like “Life” has been fun to play and “Paul Newman [vs. the Demons]” has been fun to play.  That can be really fun to play.

EOAF: You played “Life” for the first time live at The Christmas Jam in Asheville.  That was exciting to see you guys added last minute to the line-up.  How was that experience for you?

Crawford: It was fun!  Scott [Avett] and I used to live in Asheville, and I remember a time when the Christmas Jam came around.  For a couple of years we were asked to participate, but we do our New Year’s show in Asheville.  So it was finally good that this year we could be a part of it. It was really great, because we hadn’t played together in about a month and a half.  I mean we had practiced, but we hadn’t done a show.  It was fun because I was actually really nervous, but we did great.  I was like, “This is great I am nervous!  This is awesome.”

EOAF: That is a great feeling, and it was also a very different crowd.  The majority of the people there were sort of that jam-band crowd.

Crawford: Yeah!  It was nice to get that support.  I could also tell from the stage that [the audience was] really there to see String Cheese [Incident].  That made if fun.  It was nice to be in a room that we’ve sold out, and played two nights there before, and for it to be a new room—for the lighting to be different and for there to be no backdrop behind us.

EOAF: “The Carpenter” was nominated for the Best Americana Album award for this year’s Grammy’s.  Congratulations!  Where were you when you found out? 

Crawford: Thank you so much.  I was at home in bed.  I started getting texts saying “Congratulations” and this and that.

EOAF: How does the Grammy nomination play into your or The Avett Brothers’ definition of success?

Crawford: I think it’s always nice to be patted on the back, or nice to have someone tell you good job.  Let’s face it.  It’s great to get a compliment.  I mean, it’s always nice, but I don’t think it’s why we do it, and it’s not even necessary for us to continue doing it—to get those kind of accolades.  We’re going to keep doing what we do probably until it doesn’t seem useful anymore, until there’s no need to write songs, until we feel like we’ve plateaued, or we feel like we have nothing to say, or until people stop coming to see us live.  But I think the first thing, besides a tragedy, that would hasten us not doing it would be if we had nothing to say.  We always told ourselves earlier that we would stop doing it if it seemed like we plateaued—if it seemed like it wasn’t going anywhere any longer, you know.  I don’t know that we are there yet.  I think we hope to do it forever. Maybe there are years to take off, or we can take a break, but I hope it can still exist in the same light.

EOAF: It is great that you guys have been getting recognized more for what you are doing.  In that notoriety you have been asked to play with some pretty big names over the past two years—Bob Dylan, you’ve played for Tom T. Hall, and you did the Crossroads sessions with Randy Travis.  Is there anything from those specific experiences that really stands out to you? 

Crawford: Well they are all really touching and exciting.  Obviously the Bob Dylan thing is surreal.  It’s even surreal now because it doesn’t even feel like it really happened.  You know? It’s one of those things.  “Did that really happen?”  It was really exciting to work with Randy Travis.  He was great, I mean really awesome.  He was great to be around and a really nice guy.  I think we really blended well together.  I think it’s a nice match and definitely a connection there.  They are all really great, but we have to keep in mind that to share the stage with somebody or to collaborate isn’t the main thing.  To be able to do these things is great, and we should be thankful for them, enjoy them and savor the moment, but it’s not the main thing.  Take it as it comes, but we have that thing that we do and that needs to come first and foremost.

EOAF: Did you grown up in NJ?

Crawford: I did, I grew up in South Jersey.

EOAF: So is it safe to assume that you didn’t grow up listening to people like Doc Watson and Tom T. Hall?

Crawford: Yes, I started listening to Doc Watson in 1992.  A friend of mine drove me down to MerelFest.  Actually, the first time I saw Doc was at the Cowtown Bluegrass Festival with that same friend who told me about MerleFest.  Then I saw Doc I saw at The Bottom Line in New York City before I moved down here.  I remember the first time I saw him my friend was like, “That’s a legend.  You got to see a legend”.  I didn’t even know who he was at the time.  I was fortunate enough to see him many, many times after that.  We opened up for him one time and of course we played MerleFest all those years, and the last time I saw him was when we played the Hardly Strictly Bluegrass Festival in San Francisco.  He was out there and he was playing with David Holt, and we watched him from the side of the stage.  I’ll never forget it.  It was a very sad day when he passed–very, very sad day.

EOAF: You have recently added the mandolin and fiddle to your contributions to the band.  How did that come about?

It came about because Scott and Seth [Avett] are very open to and very supportive of things that I try to do.  The fiddle has been the most recent, and I seem to be getting some traction with it.  Beginning to play something at the age of 40, you know, I wish I’d been playing all of these instruments when I was 15 or 16 years old, but that wasn’t the case.  But the fiddle has been a real mental savior the past couple of years for me, and I feel myself growing in it in a lot of ways.  Scott and I–before my daughter got sick–we started playing old-time music like Tommy Jarrell and Skillet Lickers, Charlie Poole, and Uncle Dave Macon–just old-time music and we would just kind of go do our thing.  Doc Watson when he was very young with Clarence Ashley, that’s a really good album if people can find that—really, really good.  Doc was very, very young.  It’s awesome.  Anyway, we’d just be backstage and play these old-time tunes and try to learn them.  They were just claw hammer banjo and fiddle tunes.  It just kind of grew out of that.  We still do it.  When my daughter got sick, he’d come visit me at the hospital, and we would play.  It’s kind of our thing.  Hopefully someday…well maybe even not…maybe it doesn’t have to be something that we do for people.  Maybe it’s actually something that we can do for us, but it’s been a lot of fun.

EOAF: The cool thing about when you get in the spotlight on stage, is that everyone just goes crazy.  I think it stems from the fact that the spotlight is always on Scott and Seth so much, but the fact is that you are the third brother.  When you sing your songs or do your upright bass spin [the crowd goes wild].  By the way how many revolutions can you get on that thing when you spin it around?

Crawford: (Laughs) Well like I always say, any monkey can spin a bass, and someday I am going to teach one to do it just to prove my point.  But I love this job I have and the guys I travel with and play with. I’ve been blessed in so many ways, and I am so thankful for that.  I just want to enjoy my remaining years, as many as they may be, just playing music and loving music and learning songs.  I have just been fortunate with life.

EOAFr: Have you done any songwriting recently for yourself or your side projects?

Crawford: Not since my daughter got sick.  David Childers and I did another Overmountain Man record, which will be out January 22 (“The Next Best Thing”, Ramseur Records).  It was recorded before Hallie (Crawford’s daughter) got sick, and I’ve got several songs that are on that [album].  The fiddle was kind of that thing that I did when things got out of the critical phase and I had time to tinker, you know like 45 minutes a day, or a half hour a day in the hospital.  I just kind of tinkered on the fiddle and tried to get to know that more.  I feel myself closer to writing now.  I write down little things here and there.  I think at some point, there was a time after Hallie got sick, I thought, “I’m living it, I don’t have to write about it,” you know?  Life is so intense I don’t have too much time for that.  I think the big thing that we’ve been though–my family and people who have been through far different and far worse things—in some ways sometimes I think there are far worse things that you can go through as horrible as what we have gone through.  You kind of get the feeling, and not in a bad way, that no one can really understand what you are going through or what you feel, like your friends and family members.  You kind of just feel like, man, you kind of feel frustrated and angry.  You don’t want anyone to go through what you are going through.  You certainly wouldn’t even want your worst enemy to go through what you are going through, so you feel like no one really understands what you are going through.  The idea of writing about it—if someone can’t truly understand or empathize, for good reason–what would be the point?  Other than journaling, which I have done intentionally, how would it come out and what would you say?  I think it’s just a matter of getting my head to the right place to write about it.  I think I am going to write at some point, I just don’t know what or when.

EOAF: In terms of your daughter, the entire Avett Nation community has been hopefully uplifting for you and your family.  Since then—and probably before then–a lot of the fans have gotten together around Avett Brother shows, and organized community events or fundraisers.  How does that make you feel, and what part do you think you guys play in that?

Crawford: I don’t know what part we play in it.  We do what we can, and we do as much as we can.  I know we all have charities that we support and try to do all we can for.  I am really glad people do it.  Any kind of service, I’m glad people do it.  I’d like to dedicate my life more to service.  Any time you can serve someone else, it’s probably the greatest thing you can do as a human being.  When I think about God and practicing your faith, I think that service to others is probably number one to what we can all do as human beings.  I don’t think I’ve served anyone as well as I think that my wife and I and our family has been served during our time.  We’ve been served amazingly by so many, so many friends and family members, and of course the Avett family and the Avett community has served us as well. I think that is something that I always keep my mind present to—ways to serve.  I just think service is one of the most important things that we can all be doing.  Look at the world and the country and people’s attitudes, people being divided along political lines—I think if people just focused on serving each other and serving someone other than themselves, a lot of these compromises we need would be evident.

EOAF: You guys used to play at Peasants here in Greenville, right?

Crawford: Yes, we did.

EOAF: Did you know they are reopening?

Crawford: No, but I am glad to hear that.

EOAF: There is a push to get music back in Eastern NC, so if you all are ever back in this neck of the woods, even if any of your side projects want to come through here, I know the town would be very happy to have you. 

Crawford: Thank you!

EOAF: By all accounts you were pretty instrumental in pushing the [Avetts] out of their comfort zones and having them go on tour in the beginning.  There are obviously tons of young singer/songwriters and bands in the Eastern NC area trying to make it, for example, Nick and The Babes is just one of them.  What would be your advice to a young band or singer/songwriter out of this area who really wants to get noticed?

You mentioned Nick.  He and I are friends and have worked together a little bit.  I definitely think that people should take notice to them.  I think that the advice is to get out of the area.  Spend as much time as possible on the road and just travel around and around and around and around and just try to share what you do with the country.  There really is no easy way.  I can only say this because this is what we did, and this is what works for us.  There are probably other ways to do it but I don’t know those ways.  I haven’t experienced that.  I know there is a ton of talent out there, and I wish this was a time in my life when I could go out and see more of it.  I know there are a lot of really great musicians and there is plenty to be taking notice of.   I hope they will have the presence of mind to reach outside of their comfort zone and listen to some other music.

The original interview appeared in Mixer Magazine.  I would like to thank Bob Crawford for his time. To learn more about The Avett Brothers and their music, please visit www.theavettbrothers.com.

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February 6, 2013 · 2:11 pm

Jim Avett @ In Your Ear Recording Studio – Richmond, VA

Storytelling and Songs

Storytelling and Songs

To launch their 2013 concert series, JAMinc.–a local non-profit organization that promotes music appreciation through education, performance, and support–brought in singer/songwriter/master storyteller Jim Avett from Concord, NC to perform for a sold-out crowd at In Your Ear Recording Studio in Richmond, VA this past Friday night.

As a part of his collaboration with JAMinc., Jim spent time before his evening performance visiting two Richmond schools–Maggie Walker Govenor’s School and Douglas Freeman High School. This push to get talented musicians into Richmond area schools is part of the core mission at JAMinc. Over the past decade, they have successfully reached over 47,000 K-12 students in the Richmond area.

Photo by: Andy Garrigue

Photo by: Andy Garrigue

Photo by: Andy Garrigue

Photo by: Andy Garrigue

During his time with the students, Jim shared his stories and songs, and offered them encouragement rooted in reality. He “encouraged them to be the best they can be,” not only in music, but also in life. This “just do your best” theme is pervasive in any music from the Avett family, indicating a firm belief that each of us has a purpose in life, and doing our best is always enough to make an impact.

Later that evening, music lovers gathered in the listening room at In Your Ear Recording Studio for Jim’s show. Many of those present had never seen Jim perform live, but were eager and excited to hear the music of the Avett family patriarch. Little did they know, they were not only about to hear a gifted singer/songwriter, but also one of the best storytellers this side of the Mason-Dixon line.

Unlike the crowd, I have had the pleasure of seeing Jim Avett perform several times. While no two shows are alike, I have heard most of his stories a time or two. Though he is always quick to apologize for his redundancy, it is in his redundancy that lessons are reinforced and new connections to music are created. Therefore, it’s not surprising to still find myself completely engaged and entertained when he dives into one of his old trusty tales about getting his first guitar, the art of picking, or his admiration for great songwriters like Tom T. Hall. Somehow Jim’s stories never wear thin. They never get old. Perhaps it’s his lighthearted country charm and down-home humility, or the simple wisdom and appreciation for what is true that keeps listeners like myself coming back for another helping of Jim Avett.

Photo by: Andy Garrigue

Photo by: Andy Garrigue

Flanked by lead guitarist Ray Morton and fiddlers Ali and Justine Parker, Jim took the stage in his trademark cowboy hat and black leather vest, and did what he does best–took listeners on a musical journey through his life. During the first half of the show, Jim wove childhood stories in with the songs that have shaped him into the musician he is today. His set list was thoughtful–deliberately complimenting tales about growing up in the foothills of NC, learning his first guitar chord progressions, and stealing history lessons from Johnny Horton songs. He delighted the captivated audience with classics like, All I Have to do is Dream, Wreck of the Old ’97, Sink the Bismarck, Keep on the Sunny Side, (Old Dogs, Children and) Watermelon Wine, and Hey Good Lookin’.

After a short intermission, Jim, Ray and Ali returned to the stage to play original tunes from Jim’s most recent albums “Tribes” and “Second Chance”–and you better believe that the stories continued as well. As Jim explained the details behind each songs, it was evident that he not only writes from personal experiences, but also through a keen observation of others, which he displayed in songs like Willard and Decisions. Through his tough facade, hardened by a lifetime of honest and dirty work, a sweet and candid family man emerged as he spoke fondly of his his wife Susie and their three children. With ease, he admitted his propensity for writing love songs, before transitioning into some of his favorites including Leaving Knoxville, Through the Passing Years, Tribes, and Saying Goodbye. Jim also treated the audience to a new song called, World Goes Round and Round–a heartfelt story of a grandaddy walking along a wooded path with his granddaughter and offering up a lifetime of advice.

With his first performance in Richmond, VA on the books, Jim proved, once again, that he is a master of lyrical imagery. With his stories and songs, he painted a picture of a simpler, fonder time that many of us long for, as we forge ahead into the tech-savvy, hustle-bustle world in which we live.

In a city so defined by its history, Jim Avett has gifted Richmond with his own little piece of the past–a kind reminder that sometimes we must look back through the history of music to allow ourselves to evolve and move forward in our own story and song.

Take a listen to a short interview with Jim just before his set at In Your Ear Recording Studio:

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January 2, 2013 · 3:27 pm

Album Review – Nick and The Babes’ Blue

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Listening to Raleigh-based Nick and the Babes’ sophomore album, Blue, is like taking a soul-searching drive along the back country roads between the Blue Ridge Mountains and the Outer Banks — windows down, music up and heart in shambles.

Blue offers listeners a more varied musical landscape than the band’s first album, including stripped-down acoustic ballads, face-melting electric guitar jams and even a twang-heavy country duet. With production completely in-house, NATB were able to showcase songs that reflect their diverse musical backgrounds, while staying true to their trademark sound.

Upon first full listen, Blue feels innocent and even playful, yet further lyrical investigation reveals a lurking darkness. Throughout the nine-track album, NATB downshift from reckless romantics to heartbroken dreamers, tackling themes of lost love, infidelity, one night stands, regret and loneliness.

“Moving From the Bedroom” opens the album as a light and airy acoustic lover’s plea with melancholy undertones. “Magnetic Heart,” a relatable story of a love so wrong you can’t run away, shifts into a full-band arrangement with electric guitar riff teasers — the album’s first of many.

“Squeeze,” which proves to be one of the album’s best songs, has an old crooning country feel sweetened by the honey harmonies of ECU grad Anna Vaughn Creech. Though lyrics like, “I wish that I could leave my hand for you to hold at night. When you feel the tears come on, squeeze real tight” initially lend themselves to a morbid visual, the song’s powerful sentiment is delivered beautifully by lead singer Nick Bailey and Creech.

“Stalker” is a fast-paced, upbeat song that will have listeners drumming along well before they realize they are jamming out to a song about a peeping Tom. “Stalker” succeeds in the same way their first album’s hit, “Punch You in the Face,” did, showing NATB have certainly perfected this tricky style of songwriting.

After “Runaround,” the album picks up speed and the electric guitar pulls back into the lead. “Girl I Know,” which was featured in Our State magazine’s Carolina Song Contest, delivers the funk with a down-and-dirty piano and guitar duel, making it the clear frontrunner on Blue. Here, NATB successfully translate their live show energy into a studio recording, a difficult feat for any band that draws fans from live shows.

“My Love” is a spacious and dreamy instrumental that transitions seamlessly into “Morning Light,” a beautiful deconstructed acoustic ballad that ironically evokes imagery of the dreaded walk of shame. On “Blue’s” longest and final track, “Red Carpet,” NATB turn on the turbo boost and drive it home with an epic electric guitar solo courtesy of Bailey.

As a whole, Blue is a solid album. The musical peaks and valleys that are sprinkled throughout the album offer an ear-pleasing variety of sound and approach that keep the listener engaged and invested. It is clear that NATB are evolving, moving forward and feeling more comfortable in their songwriting skin.

Support eastern North Carolina music and grab a copy of NATB’s “Blue” on iTunes or Amazon.

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November 21, 2012 · 11:50 am

Avetts and Cheerwine pair up for The Legendary Giveback

Over the last decade, The Avett Brothers have gained attention for their seamless harmonies, heart-wrenching lyrics and frenetic banjo-driven live shows. From humble beginnings busking on street corners in downtown Greenville to sharing the stage with folk legend Bob Dylan at the Grammy Awards, brothers Scott and Seth Avett and bassist Bob Crawford have certainly come a long way on their journey to the top.

Despite the bright lights of success, The Avett Brothers have remained dedicated to giving back to their community. Their most recent charitable venture involved partnering with Cheerwine for the “Legendary Giveback Concert” last month at nTelos Wireless Pavilion in Charlottesville, Va. The concert benefited Operation Homefront, Big Brothers Big Sisters and University of Virginia Children’s Hospital. Additionally, fans who pledged to volunteer in their communities received access to an online live stream of the concert.

The evening in Charlottesville was met with much excitement from fans across the Southeast. Concertgoers began lining up for the sold-out general-admission show as early as 8 a.m. for an 8 p.m. show.

When The Avett Brothers finally took the stage, the packed amphitheater erupted. The Avetts and Crawford were joined on stage by touring band members, cellist Joe Kwon, drummer Jacob Edwards and Paul Defiglia on the keys. They opened with a high-energy version of “Slight Figure of Speech,” and it was clear that these Concord boys came to blow the roof off of the venue.

They delighted the audience with a handful of old favorites, like “Salvation Song,” “Old Joe Clark” and “Gimmeakiss,” as well as new songs from their most recent album, “The Carpenter,” like “Live and Die,” “I Never Knew You” and a crowd-hushing, stripped-down version of “Through My Prayers.”

The entire set was elevated by playful brotherly antics, Seth’s face-melting electric guitar solos and Scott’s kick-drum acrobatics and stage sprints. The evening closed with an old-timey cover of “Alabama Gals,” but could be summed up best by the lyrics of “Salvation Song”: “And they may pay us off in fame but that is not why we came and if it compromises truth then we will go.”

The group’s air of goodwill has become the norm among their most loyal fans, who have organized fundraisers as far west as Portland, Ore. The Avett Brothers have proven themselves to not only be extremely talented musicians, but also a band of brothers working toward the greater good.

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September 11, 2012 · 12:14 am

Album Review: The Carpenter

We’ve changed a lot, and no one here can stop that train before it gets to where it’s going

These lyrics resonate with me each time I listen to The Avett Brothers’ new album, The Carpenter. While there are certainly collections of lyrical lessons nestled in all twelve of the album’s new songs, these particular lyrics from I Never Knew You serve as a shot of reality to fans, both old and new. The band, made up of brothers Scott and Seth Avett, bassist Bob Crawford, and touring members cellist Joseph Kwon and drummer Jacob Edwards, is sending a pretty clear message that they are a forward-moving, well-oiled, meticulously crafted machine that shows no sign of pumping the breaks anytime soon–not even for their fans who are waiting at the “I Want More Banjo Station” screaming, “Hey, what about us!?” Didn’t Ill With Want teach you all anything?

Sure, The Carpenter has a more produced sound (um, it’s a studio album), and yes it may teeter on the cusp of mainstream pop music with an Americana twist, but so what!? Music is made to move the listener, to evoke emotion and thought, and that is what The Avett Brothers do best–banjo or no banjo. If the album moves you to tears, laughter, love, goosebumps, or overwhelming joy, well then stay on board and enjoy the ride. If you start to experience motion sickness, please feel free to get off at the next stop and find a different destination, because this Avett train is movin’ on.

For me, listening to The Carpenter is kind of like taking that train ride through the countryside–a thought-provoking experience of varying landscapes for the senses and soul. The brothers Avett, a charming pair of musical vagabonds who never seem quite comfortable sitting still, take listeners on a journey down the path of self-discovery. While they have left deep, muddy bootprints in all corners of the US, their mode of exploration goes well beyond planes, trains, and automobiles, so much so that they spent nearly three years in the trenches mucking through their own very private experiences–both joyous and sobering–in order to put this album together.

The Carpenter certainly maintains a common theme we have seen from the Avetts over the past decade–man searching for meaning through the passing seasons. The opening track, Once and Future Carpenter, stays true to this theme as it portrays the travels of “a poet young and hungry” on the eternal path for purpose. Imagery of spinning slot machines accompanied by lyrics like “sometimes I hit/sometimes it robs me blind” remind listeners that while life’s just one big crap shoot, we have to take risks and make the best of the hand we are dealt.

Although Live and Die is the only banjo-heavy song on the album, I predict some disappointment from fans who covet that gritty punk-bluegrass Avett sound of past albums and live shows. Instead, Live and Die delivers a much more radio-friendly pop sound, and showcases a delicate and happy side of the banjo. This catchy tune is like a big ol’ mason jar full of NC honey, dripping with the sweetness that is Mr. Seth Avett. It doesn’t get any sweeter than this folks. It is a fun and joyful song that I will undoubtedly be singing in and around the house for weeks to come.

Winter in my Heart takes a somber turn as the band openly shares their woes with depression. A poignant admission of falling victim to the black veil of depression, this song will hit home for fans who have experienced their own feelings of hopelessness and despair. The brightest light in this dark song is Kwon’s hauntingly beautiful performance on the cello, which is further elevated by the eery cries of the musical saw (side note: whoever came up with the idea to use the musical saw on an album titled The Carpenter deserves his own Grammy. Seriously, that is genius!). Overall, Kwon adds breathtaking dimension to this already multifaceted cast of characters, and continues to solidify the authenticity and uniqueness of The Avett Brothers.

On a rejuvenated February Seven Avett country charm resurfaces with crisp guitar picking and clean vocals. This song feels like throwback Avett–a simple song with strong and honest lyrics, much like the songs of the musical legends that paved the way for them. Through My Prayers speaks to the heavy regret and sorrow that comes with missing the chance to tell someone you care. Here, Seth shares the story of a painful lesson learned and implores others to show the love in their hearts before it’s too late–no message could be more chilling and appropriate as this on the 11th anniversary of 9-11.

The Avetts take a brief departure from their traditional acoustic sound, and give a slight nod to their Nemo and Oh What a Nightmare roots by bringing out the electric guitar for a few face-melting riffs on songs like Geraldine and Paul Newman vs. The Demons. Paul Newman vs. The Demons offers a new twist on an old theme–not learning from past mistakes (think Distraction #74)–but this time with a very different sound that tends to distract from the album’s cadence. On a positive note, the song does evoke quite vivid Labyrinth-esque images of Seth falling down a dark rabbit hole while being grabbed at by his demons on the way down, only to find Paul Newman there to save him in the end. Seriously, in my mind this has already translated into the most amazing Crackerfarm video. Nevertheless, it will be interesting and exciting to see how this song matures and holds up on stage. Additionally, Pretty Girl from Michigan gets plugged in and ends up as one of the best songs on the album. This song has been a longstanding fan-favorite, so it is nice to see such a smooth transition from the road to the studio.

The infamous banjo returns on Down With The Shine, alongside a horns section that brings in some dirty Bourbon Street undertones. Although this song has been floating around for a few years, it made its first “national” debut on NPR’s Tiny Desk Concerts and has been evolving ever since. More recently the live version has turned into something of a big top waltz with Scott acting as the dramatic ring leader. While this album version is masterfully layered with rich instrumentation, it unfortunately feels bogged down and sluggish in comparison to the live version. Herein lies the magic that is the ever-changing nature of Avett Brothers songs, and also why I don’t put too much stock into the initial “feel” of the album versions of their songs. Inevitably, the live variations of these songs will continue to move audiences and strengthen their already loyal fan base. Fear not weary, doubtful fans, it will be alright.

Deep beneath the mountains of depression, loss, and turbulence that drives the album, emerges a true gem that immediately beams with light. A Father’s First Spring shines brightly in all its glory as Scott shares the overwhelming feelings that accompanied the birth of his first child, Eleanor. To say that this song will move you to tears is an understatement (think Murder in the City, Part 2). Though simple, the lyrics “I was a child before/the day that I met Eleanor” reveal a complex evolution of character. Scott’s mastery of song and story allows him to speak on life’s purest love–that of a parent for his child–and evoke the deepest of emotions, even in listeners who have yet to experience parenthood. This track is a pure nugget of gold–a special gift from a proud daddy to his daughter, all in the name of posterity (of course).

The album closes with Life, which highlights the fragility of our time here on Earth. Themes of faith and love are intricately woven through the song in true Avett fashion. The beauty of this song lies in its simple message to live with intention and keep those you love close, for “we’re not of this world for long”. As the end of the musical journey approaches, Life leaves me with a feeling of hope, promise, and empowerment.

Overall, The Carpenter proves to be a cohesive collection of songs that gives fans a glimpse into the maturing hearts and minds of men who strive to find deeper meaning and purpose in life. The album succeeds in balancing themes of life and death–good and evil–and opens the door to further discovery and evolution. What it may lack in raw energy, it certainly makes up for with raw emotion, like a wound left open for all the world to see. This album bears the souls of a band of brothers who have been up against some very serious life changing events, yet in their transparency fans are afforded the opportunity to listen, relate, heal, and push on to a new day.

The Carpenter, which was officially released today, is available on iTunes and exclusively at Target with bonus tracks* (*Standing With You and Die Then Grow are wonderful additions to the album, and will ease some of the longing for that old Avett sound).

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May 30, 2012 · 2:55 pm

A Legend Lost – Doc Watson (1923-2012)

Docs in Boone, NC

This week we lost one of our most treasured Americans.  After a full life of hard work and harder flatpicking, legendary musician Arthel Lane “Doc” Watson peacefully passed on at the age of 89.  Born in Deep Gap, NC, Doc was known far and wide as a masterful guitarist and storyteller whose music spread across countless genres, including folk, bluegrass, country, gospel and blues.

Two years ago I was fortunate enough to catch Doc’s set at the Newport Folk Festival.  I, like many who did not grow up in the south, knew ‘of’ Doc but was not being very familiar with his canon of work.  When I saw that he was in the line-up, I knew I couldn’t miss out on the chance to see and hear him perform live.  On that sunny Saturday in late July, festival goers of all ages funneled their way into the small space between the main Fort Stage and side Harbor Stage to be within an ear shot and maybe even get a glimpse of NC’s native son.  Joined on stage by his longtime musical partner David Holt and grandson Richard Watson, Doc treated us all to an unforgettable musical experience that afternoon.

During his set I felt like I was sitting on Doc’s front porch listening to him pick, sing, and tell stories, rather than standing shoulder to shoulder in the hot sun with hundreds of fans.  His songs told stories of love, the Lord, and life’s lesson.  Between songs, he captivated the audience with tales of his childhood and his lovely wife Rosa Lee.  Despite his age, Doc still possessed an impressive nimbleness in his fingers and a childlike spirit.  There was a natural ease about him as he talked to his fans as if they were kin.  Throughout the set, bouts of laughter and song rang out from the crowd, and it was easy to see how this humble, honest man from NC had made such a profound impact the world of music over his lifetime.

Doc Watson was one of the greatest musicians of all time, and he selflessly shared that gift with the world over the past eight decades.  While Doc certainly leaves behind a tremendous musical legacy, he also leaves each of us a sweet reminder to make the best of the life we are given.  Though he wanted to be seen as “just one of the people”, Doc will always be remembered as a gift from above.  Rest in peace Doc.

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May 18, 2012 · 4:04 pm

Interview: Rebekah Todd

A girl and her guitar

Thus far, the height of my musical “career” was winning first place at my elementary school talent show for singing I’ve Been Working on the Railroad.  I was five.  I was a complete ham, and wanted to be a star.  My older brother told me the only reason I won was because I was cute–fair enough.  Fast-forward almost 30 years, and I’ve realized that my feverish desire for stardom is much better served in the confines of my car and home, rather than on the main stage.  Instead, the main stage should be reserved for those people who possess that innate gift of musical creativity and mastery that inspires and makes us feel alive.  It was a pleasant surprise when I recently stumbled upon one of those people right here in eastern NC.

I was introduced to Rebekah Todd when she opened up for Paleface at The Tipsy Teapot in Greenville, NC a few months ago–a lone young lady on stage with just her acoustic Alvarez guitar and a mic.  She did a quick mic check, and politely introduced herself to the audience.  I watched and waited, thinking how brave she was to get up there and sing by herself.  I was envious and impressed before even hearing her voice.  And then she sang.  A boisterous yet angelic, soulful, bluesy voice filled the room, and I was floored.  Who had been hiding this homegrown gem, and why hadn’t I heard of her before?  She quickly captivated the crowd with original songs like  Jordan, Citizen, Gallows, Little by Little, and Walked Right Through Me.  That evening, as her powerful voice echoed off of Tipsy’s glossy, cherry red walls,  I was happy to tag along on her musical journey.

A few weeks after the show I sat down with Todd to talk about her music and big plans for the future.

Todd grew up in the small town of Benson, NC and was surrounded by music as early as she could remember.  At eight years old, she started formal piano lessons, but soon figured out that the structure of reading music didn’t quite fit her style of learning.

“I play by ear 100%, so I don’t read music unless you have a sheet with chords.  If it’s the notes on the staff I can’t do it at all.  When I was eight, I figured that out.  I remember my teacher was teaching me the Titanic theme song.  I was reading it on the paper and I got a note wrong, so I stopped looking at the paper and listened and figured it out.  She yelled at me and told me I had to read the paper, and she was really mean so I dropped it and never went back,” she recalled.

Soon thereafter, Todd’s father suggested she learn how to play the guitar.  She fondly remembered those early memories of her dad and his love for music.

“[My dad] was classic rock all the way.  It’s pretty cool because it really influenced me.  I am happy that I know all of these artists now because I meet people my age who say, ‘Who are the Beatles, or who is Bob Dylan?’.  He was musical and played guitar and he was the one who taught me.  He bought me this crappy Washburn guitar that was black, and when I was eight I thought it was awesome,”  she said with a chuckle.

Rebekah Todd @ Tipsy Teapot

She continued to laugh as she told me that the first song he taught her to play on the guitar was Wild Thing.  Todd and her father continued to play together at home until she started playing in different high school bands with her friends.  Over the years of playing with her dad and others, Todd pulled inspiration from a wide range of musical genres, which has shaped the music she writes and performs today.

“I went through the classic rock phase, and then I really got into people who had a soulful voice, like Lauryn Hill, who is one of my favorites.  I literally wore her CD out [The Miseducation of Lauryn Hill].  Now I am into the more bluesy sound with singers like Susan Tedeschi and the Derek Trucks Band.  I really admire artists like that,” said Todd.

Though she can cover songs ranging from Led Zeppelin to Katy Perry, Todd’s bread and butter is in songwriting.  To date she has recorded about 16 original songs, but admits that there are many more waiting the wings that need to evolve a bit before she will bring them into the studio.

“Sometimes I will be sitting and playing and [a song] will come then, and other times I will get a tune in my head and I will literally pull my cell phone out, hit video, hold it out, and sing into the video.  I used to carry around a tape recorder before cell phones.  I think that started because when I was really young my parents bought me a karaoke machine that I could put a tape in and record my singing and listen to it.  It’s funny how the steps that your parents take totally mold what you become,” Todd shared.

Songwriting for Todd is a very natural, organic, and “in-the-moment” process.  Her songs are passionate and moving because they are honest.  Like most artists, Todd finds inspiration in her life experiences and channels those emotions into her songs as well as her art.

Rebekah Todd

“One time I played with this band called Cool Hand Luke out of Tennessee and Mark came up to me and said, ‘I really like your music because you are honest with what you are going through and what you are feeling’.  Ever since he said that I took it and tried to apply it to everything I was doing.  I’ve come to find that people can relate to your stuff if you are brutally honest with your feelings because then they can say, ‘Oh yeah I feel the same way’.  With my situation now, with having a loss in the family, everyone can relate.  Sometimes it’s hard because you really have to go into your emotions and that can be painful.  It’s the same with art.  You pull it out and you put it on a canvas or put it into a song and hope that people can relate to it,” she revealed.

Having just graduated with a bachelor’s degree in Fine Arts from East Carolina University, Todd is ready to hit the road and share her music with the world.  She’s completely devoted to throwing herself into writing and touring as much as she can, while maintaining a realistic outlook.  She knows that with a hopeful heart must also come a level head, and she’s willing to put in the time and work to pursue her dream.

“It’s tough as an acoustic girl to say, ‘I promise that I can bring it’.  It’s something you have to slowly prove and know the right people.  I am working on it.  It’s a weird road.  A lot of people say I should think about getting a band.  That could be cool, but I just don’t feel right with it right now.  I feel like I want to prove to myself that I can do it without the band.  I just graduated and I have all of the time in the world,” she said with a hopeful grin.

So far she’s got a great start with several club shows and festivals booked across the state, and hopes to add a small northeast tour towards the end of August.  In between shows Todd will continue to write songs and dabble in her second love, painting.  Though Todd admits to being very comfortable in the “opener” slot, I suspect she’s  going to be pushed out of her comfort zone fairly soon.  She wont be able to hide in the shadows of bigger acts for too long.  The main stage awaits her.

To learn more about Rebekah Todd’s music and upcoming shows, please visit her website.

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December 22, 2011 · 12:45 pm

December Music Mindblower – Finding Local Music

Technology is quite mind-blowing, isn’t it?  We live in a day and age when online music sources like Spotify or Pandora can recommend new music to you based on your preferences.  While I often marvel at the sophistication of these programs,  I also try to remember the magic that occurs when a friend or stranger recommends new music, rather than a computer.

As my musical tastes evolve, so do the avenues through which I find new music.  In eastern NC, you would be hard pressed to find big name acts playing in your area so you have to dig a little deeper and do a little more investigating to find talented musicians in the region and even across the state.  Since moving to NC, I have learned to rely on the magazine Our State and the spin-off TV program on UNC-TV to aid me on my quest of musical discovery.   Where better to learn about local music than from the people who are hitting the dirt roads, sidewalks, and jam sessions in all corners of the state?  Each month I await the arrival of Our State in my mailbox, eager to learn not only about the music of NC but also about all of the citizens who make this state a wonderful place in which to live.

While I can’t wait to receive my January issue, I am especially excited to see the next Our State program on UNC-TV next month.  On January 5th, 2012 (8pm) Our State UNC-TV will present a segment on the music and everyday life of Jim Avett.  Avett, who is often mentioned in reference to his sons Scott and Seth (The Avett Brothers), deserves attention and accolades all his own.  Whether perched on the front porch swing with his wife Susie or atop bales of hay in their old barn, Avett talks candidly with Our State about the blessings of raising their family on a working farm, the importance of staying grounded in faith, and the joy of being surrounded by great traditional music everyday.

Please check your local listings and tune in on January 5th at 8pm.

For those of you not in NC, go out and find resources like Our State or your local PBS station so you too can stay current on the people and events that make your state great!

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December 6, 2011 · 9:42 pm

Pixies’ Dootlittle: Lost Cities Tour takes on Greensboro, NC

The recently reunited enigma that is the Pixies embarked on their highly anticipated US Doolittle ‘Lost Cities’ Tour this past month.  The premise of this reunion tour was to perform in cities where they had never performed, and to play their most popular album “Doolittle” in its entirety.  Chosen cities were partially based on fan input, and Greensboro was the only one in North Carolina to make the cut.

On November 8th, fans came out to the War Memorial Auditorium in Greensboro to experience perhaps their first and potentially last live Pixies show.  The audience was peppered with a handful of college-aged fans, but the majority was made up of men and women who were likely college-aged when the Pixies came together as a band in the late 1980’s.  It was during this pre-Nirvana era that the Pixies hit their musical stride and began to influence the evolution of rock and roll.   Over the years that followed, they developed a cult following despite their short stint at the top.  That night in Greensboro many of their original fans, now in their thirties and forties, brought along their own teenaged kids so that they too experience the Pixies.

The show kicked-off with an eerie black and white movie played on the stage’s backdrop.  Jerky images reminiscent of old horror films flashed onscreen before the crowd, who was by that time on standing and eagerly awaiting the band’s entrance.  When Black Francis (lead vocals, rhythm guitar), Joey Santiago (lead guitar), Kim Deal (bass and vocals), and David Lovering (drums) took the stage, the entire auditorium erupted.  With what seemed to be a permanent smile, Deal took the lead as emcee between songs with her own quirky style.  The boys didn’t add much to the between songs banter, unless provoked by Deal.

After playing a few B-side songs, they proceeded into “Doolittle”.  Favorites like, Here Comes Your Man, La La Love You, and Hey sparked audience participation.  The wave of bobbing heads in the crowd pulsed in time with Deals’ bass lines as Francis let out his patented frenetic and powerful screaming vocals.  These beautiful outbursts were carefully counterbalanced by Deal’s airy and angelic back-up vocals.  Projected animated images and text, and timed stage lighting changes throughout the show created an experience that likened itself to a type of musical purgatory, keeping the audience stuck somewhere between a dream and a nightmare.

The Pixies finished their “Doolittle” set and gave a somewhat believable on-stage farewell, complete with bows and waves into the balcony.  After a good five minutes of chanting and clapping from the crowd the Pixies returned for two encore sets, which included a total fog white-out version of Into the White.

Despite the band’s well documented struggles over the past few decades and the fact that they haven’t released a new album in years, their musical cohesiveness on stage remains intact and impressive.  Their performance in Greensboro was energetic and euphoric, and left fans pondering the notion that maybe, just maybe, the Pixies will start making music together again someday soon.

Check out more pictures from the show here.

To learn more about the Pixies and their music, visit www.pixiesmusic.com.

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September 2, 2011 · 8:45 pm

Tim Reynolds Finds New Inspiration in North Carolina’s Outer Banks

Reynolds and Matthews

Dave Matthews and Tim Reynolds returned to their old stomping grounds in August to play to a sold-out, exuberant crowd at nTelos Wireless Pavilion in Charlottesville, VA.  Proceeds from ticket sales were donated by the fans to various charities through JustGive.org, a website that supports nearly 1.8 million nonprofit organizations.

Thousands of fans, both inside and outside the Pavilion’s confines, enjoyed over 3 hours of acoustic entertainment and storytelling by Matthews and Reynolds, along with a special guest appearance by Asheville’s own legendary guitarist Warren Haynes.  The charitable evening of musical mastery was complimented by the peaceful and jovial mood of the fans, who relished in favorites such as Jimi Thing, #41, My Baby Blue, and Two Step.

A few days prior to the event, I caught up with Reynolds to discuss the show, his music, and adjusting to life in the Outer Banks of NC.

Reynolds, who has paired up with Matthews for multiple benefit shows over the years, was glad to be a part of the Charlottesville event, and appreciated that fans had an active role in the donation process.

“I think it’s pretty cool because people can donate to the charity of their choice, so that funds get spread out more to the smaller charities,” Reynolds said.

Over the years, Reynolds’ performances have benefited global organizations like China Care and Middle East Child Alliance.  However, he also makes great efforts to donate his talents and money to smaller, local charities throughout the Outer Banks.

In 2007, Reynolds left his home in New Mexico and moved to the Outer Banks with his family.  While topographically much different from NM, the eastern shore of NC has provided Reynolds with fresh inspiration and a new environment for songwriting.

“It took me a little while to adjust, but once I finally realized that the beach was only a 15 minute walk from my house, I felt more at ease.  There is always something here to inspire me and make me feel alive,” he said.

When it comes to songwriting, Reynolds often uses the natural environment to fuel his creativity.

“As far as songwriting, some songs take a long time, while others just come to me quickly.  The other day, I was walking on the beach and thought of an idea and just recorded it right into my iPhone.  I thought that was pretty amazing,” he said.

Shortly after moving to NC, Reynolds met local bassist Mick Vaughn and drummer Dan Martier.  After playing together a few times, Reynolds decided it was time to resurrect his old band TR3 with Vaughn and Martier as new members.  Collectively, their gritty electric sounds have developed into a melding of rock, funk, and jazz that is sure to bring down the house.  Between touring small venues across the US, TR3 recorded and released a studio album entitled Radiance, and just recently a live two-disc album entitled From SPACE and Beyond.  Reynolds shared his delight in creating and playing music with Vaughn and Martier.

“I usually bring a song idea to the guys and we start practicing it.  As we practice it gets tweaked and changes, so it’s a fun process.  Every year we play more gigs and get more in tune as a band.  There has been a more consistent effort this time around.  We have the same steady personnel so it is like a real band thing and it evolves in its own way,” he said.

In 2010, Reynolds also released The Limbic System, a solo acoustic album that took him over two years to complete.  The title, which references the center for memory and emotion in the brain, is fitting for the two-disc collection of instrumental and vocal arrangements all written and performed by Reynolds.

“It was a labor of total love and joy to do.  There were a lot of feelings in those recordings.  It was very intimate and even though there are some mistakes in there, when it was done it felt like a big Ahhhh for me.  It was a musical statement from the heart and soul,” he said.

Whether Reynolds is solo or on stage with TR3 or the Dave Matthews Band, he continues to surprise his fans by mastering new interpretations of sound, making each experience unique and special for the audience.

To find out more about Reynolds’ music and tour schedule, please visit www.timreynolds.com.

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