Country Fried Rock

Mr. Isaac Allen's debut record, Don't Smoke, shines light on the darkness of human life in his portion of urban New England, from crack houses to prisoner parents and pawning wedding rings for the next brief high. Don't Smoke's irony is not smug; it's the only tool for psychological self-preservation when you, too, are part of those hovels of which you write. The contrast of the stark lives portrayed in the lyrics with the elaborate band backing the songs keeps Allen's tunes from just being intellectual exercises, and instead draws in listeners to what would otherwise be a devastating examination of urban blight. The fact that Allen himself has been part of this world, keeps the songs from being "social worker-esque;" they do not point out the foibles of "those poor people," rather they illuminate the interactions on very personal levels and let the listener experience the social commentary--not just hit you over the head with it. Given Allen's atypical youth, it's fairly surprising that he ended up in the decrepit part of New Haven. From an early childhood filled with the arts in the States, to life as the child of a "medical missionary" in Borneo, Singapore, Indonesia, and Malaysia listening to his dad's old blues records, Allen's descent into escapism, adventure, and addiction started young. He finally amassed his lyrics stored in cardboad boxes, on the backs of unpaid bills and crumpled receipts into hundreds of songs. With the help of his production team, he viciously culled his catalog into the tunes that are included on Don't Smoke. Within our conversation, Allen's take on the power of songs to change the world is particularly revealing. www.MrIsaacAllen.com --------------------------------------------------------------------- Songs in Episode #1206 Include: 3 from Mr. Isaac Allen one from Greg Brown's latest a James Taylor tune that may surprise you a Bob Marley song demonstrating the personal power of music one from a somewhat obscure 1970's Southern Rock band, Thunderhead, that is also part of the Horizon Records catalog, and demonstrates the emotional contrast of songs shining light on darkness, or worse, apathy in the face of darkness a sneak peek at next week's feature, Brett Detar (The entire album, Bird in the Tangle, is available for free download from his site.) This episode does not include, but does reference, the incredible chain gang recordings of Alan Lomax. More about Lomax here. www.MrIsaacAllen.com Photo Credit on Front Page: A. Wallach

Tara Nevins waited over a decade to release her second solo record, Wood and Stone. In the interim, Nevins traveled relentlessly with Donna the Buffalo, but her musical interest began as a child in the school orchestra, encouraged by her music and dance-loving parents.  She often tells the tale of "sneaking" to play "Turkey in the Straw" during the downtime of orchestra class, but Nevins' immersion in Old Time fiddle music came much later. While Tara studied Classical Violin, her roommate played on the side in an Old Time fiddle band, and after graduation, Nevins never played another Classical tune again. From fiddle festivals and the Old Time music community, to immersion in Cajun and Creole music and the accordion, and a decade in an all-female string band (who backed her on a few tunes on this record), Nevins saturates her life with playing music.  Wood and Stone is the result of a four year excursion to Huntsville, Alabama.  Led there by love, and leaving there by choice, exposed thoughts and emotions that Nevins expressed by writing songs.  The result is a record that is both personal and reflective, but not so introspective to have narrow appeal.  Even without knowing the back story, Wood and Stone shows a very different side of Nevins than her previous solo release or even her work with Donna the Buffalo. In the past, she's played just for the sound, but having to shift her focus to being about the song and painting a picture with the record as a whole challenged Nevins creatively and personally.  The songs are not "downers," even though they are about relationships that have ended.  Working with Larry Campbell at Levon Helm's studio, Nevins was free to focus on instrumentation and song craft, while being filled with a mystic vibe and the energy of that hallowed venue.  For someone as busy playing music with Donna the Buffalo and attending fiddlers' festivals, Tara Nevins surprises fans even more by taking a clear road, with a distinct sound, in Wood and Stone, neither copying the band nor repeating her previous solo album. www.TaraNevins.com --------------------------------------------------------------------- Songs in Episode 1205 include: 3 songs from Wood and Stone a song written by Carole King but commonly sung by the Monkees, about life in the NYC suburbs Donna the Buffalo a tune that made Levon Helm a household name with The Band a song by The Band, produced by Larry Campbell, and recorded at Levon's studio by My Morning Jacket one from Whitey Morgan and the 78's produced by Larry Campbell a preview of Episode 1206 Mr. Isaac Allen Check out the movie 20 Years After about a post-nuclear meltdown Alabama with Nevins' arrangement of the jazz standard, "Stars Fell on Alabama," commissioned for the film and on the Wood and Stone record.

Paul Thorn's ninth album, Pimps and Preachers, features more than pithy alliteration.  Mentored by a true house divided, Thorn's father was a Pentecostal minister and his paternal uncle was a pimp.  Thorn incitefully acknowledges the life lessons gleaned from each, and that no person is either all-good or all-bad; people are much more complicated than such black-and-white categories.  Interestingly, the divisions in the US between the races--both historically and currently--are noted in our conversation about church.  Until recent reconciliation, the Pentecostal denomination had two main sectors, one black and one white, each with their own rich musical traditions.   Thorn benefitted from both, because as a preacher's child, his family frequently visited other Pentecostal churches, despite the unspoken divisions.  He absorbed both the R&B inspired Gospel music of the historically black churches, and the "country Gospel" music of the historically white churches.  He makes astute observation about how God may or may not inspire modern Gospel songs at all. Paul Thorn's artistic path sounds like a five and dime movie starlet's--getting discovered by Miles Copeland while playing guitar in a pizza place in Tupelo, but the actual tale is more gritty than that. After moving out of his parents' home into his first "luxury trailer," Thorn worked as a professional boxer, then in a furniture factory, and played acoustic guitar at night on the side. Pimps and Preachers brought recognition for his songwriting and three weeks topping the Americana charts, but it also meant that he was rarely home over the last couple of years. Above all, Thorn values his family and creative integrity. One of the music profession's truths is revealed and reflected in our conversation, "All of a sudden, after years of playing, people noticed my music, and I had my own following."  Thorn notes that music promotion goes beyond his own records.  He fervently supports the entire genre of roots music within Americana, as he sees its success as benefitting all its songwriters.  Thorn's call to action is, "It's up to people like me and you to inform the world that this thing (Americana) exists."  From playing dates with Bonnie Raitt, to hearing the Carolina Chocolate Drops at the Americana Music Awards, to the rock duo the Black Keys, Thorn sees a deep roots music scene existing now, if people can only find it.  Paul proposes that he become the official spokesperson for the Americana genre, as "the Colonel Sanders of Americana."  Secret spices recipe be danged...you're going to spend thirty minutes in H-E-double-L when you listen to Colonel Sanders' Mandolin Band.  You can't make this stuff up. www.PaulThorn.com --------------------------------------------------------------------- Songs in Episode 1105 include: Three from Paul Thorn's album, Pimps and Preachers An early Elvis Presley tune, "Stranger in My Home Town" Hank Williams, "I Saw the Light" Sting, "Next to You" from Symphonicities Carolina Chocolate Drops, "Hit 'Em Up Style" The Black Keys, "Ohio" Bobby Sherman, "Easy Come, Easy Go" You have to listen to the interview for this one to make sense:

Southeast Engine released their latest record, Canary, just as the band was dispersing geographically--relocating for their dayjobs, but coming together as a band. The guys are in Athens and Dayton, Ohio, Morgantown, West Virginia, and Durham, North Carolina, but being spread out has not seemed to detract from their mutual language as Southeast Engine. Working with Misra Records has connected the guys through five albums, and now one of them is working for the label itself. (Misra is very cool about offering a few songs from their artists for free download. Check them out here and investigate their other artists, too.) The band formed while Leo DeLuca and Remnant shared mutual music interests as students at Ohio University. They are the core of the band, who have seen some line-up changes over their decade together. The Appalachian area of Southeastern Ohio influences their music, though, in the inclusion of old time and folk music into their psyche, processed through memories of his first electric guitar and Nirvana cover band duo with his brother, through local Dayton music, and classic 1960's and 1970's folk and rock. They consciously avoided being a garage rock or jam band, which is more prevalent in the Athens, Ohio area, and have gravitated more towards the old time and folk influences recently, which is apparent in Canary. They intentionally craft each album to reflect a cohesive sound, while also not repeating the exact vibe of previous work, and moving in new directions along an arc--not swinging the pendulum, but intentionally moving around within their comfort zone. Despite having their own distinct musical identities, they appreciate the others' preferences, too, and that allows them to arrange music together in a way that works, incorporating the different elements, but not muddying their sound. Remnant wants each album to be mini-masterpieces, and wishes they had unlimited time to create little releases between albums, like split 7" or "basement tape" EP's and music recorded simply for fun. An audience's energy fuels the band and different venues bring distinct vibes, which can lead to very different shows from Southeast Engine. www.SoutheastEngine.com --------------------------------------------------------------------- Songs in Episode 1203 include: 3 from Southeast Engine's latest record, Canary, the Beach Boys, a tune from the upcoming Guided by Voices album, Hallelujah the Hills, Bob Dylan, a recently released instrumental from Buddy Holly, a preview of Episode 1204, The Nouveaux Honkies

Shurman first appeared on our radar when mentioned on Country Fried Rock by two Austin, Texas bands in 2011:  Stonehoney and The Mother Truckers.  When musicians recommend other musicians, we pay attention.  Through the magic of the Americana Music Festival, front-man Aaron Beavers and I met through mutual friends at a casual event in Church Street Park benefiting Second Harvest Food Bank.  We talked for a while and he mentioned that he was releasing three new records in the next year or so, including a Christmas album recorded in the height of Austin's hottest summer in recent memory. Despite no similarities whatsoever to Rush, Shurman's next release, Inspiration, lands on February 21, 2012 (2.21.12...2112...insert music geek laughter here).  Shurman's new record label, Teletone Records, has given the guys the freedom to record what they want on their own schedule.  Country Fried Rock is thrilled to be the first media outlet to bring three brand-new songs to you from the Austin rockers' upcoming record, Inspiration.  "Back to Texas" is an homage to Aaron's grandmother, Jane Beavers, "Midnight Apt. 9 Blues" is a song Mike Therieau wrote that the band enjoys playing and highlights Mike's vocals, and the title track "Inspiration." Although Beavers is a native Texan (and we follow the Third Coast Music's definition of "Texan", of "from there or got there as fast as they could"), he lived in many places, including long stints near Atlanta, Hawaii, and Los Angeles.   He is definitely a Texan because he thinks barbecue is made from beef, not pork, and does not include a vinegar preparation!  Beavers is at home in many places, and with many other musicians.  He is one of those guys that other players and music people gravitate towards, like his buddies Rich Mahan, John Popper, and Shilah Morrow of Sin City Social Club.  After a nice run with Popper's Duskray Troubadors, John returned the favor to play some awesome harmonica on one of the hotter-than-Hades sessions for the Christmas tunes Shurman just released. www.Shurmanville.com --------------------------------------------------------------------- Songs in Episode 1202 include: the three from Shurman mentioned above a tune from John Popper and the Duskray Troubadors Asleep at the Wheel Stonehoney Band of Heathens and in the 58 minute version of the radio program, Aaron's college-band colleague, Josh Rouse

Dawes' most recent record, Nothing Is Wrong, launched the folk rockers from niche-favorites to headliners of sold out shows. At the beginning of the summer when it was released, fans and music bloggers latched onto their album as they had their performances, spreading the word about Dawes in ways the guys could only dream. Now preparing for a European and Australian tour, Dawes may surpass some of the bands they were supporting as openers just last year. For a band who defines themselves with their analog recordings and vintage tube gear, they really fleshed out their vibe by bringing live sound guru, Wes Delk, on board for the fall stretch of their tour. Jonathan Wilson's production and studio keep the Los Angeles band channeling Laurel Canyon and Echo Park's music history; they are very aware of what has come before them, yet humble about their role in the developing roots rock music scene. While their music may not be overtly political, the guys are certainly influenced by the inclusion of social justice in lyrics, particularly in older R&B and folk music.  For those who know Dawes, they were not surprised to see them perform with Jackson Browne as part of an "Occupy Wall Street" protest in Manhattan in December 2011.  Goldsmith takes his songwriting craft seriously, and immerses himself in great writing, such as Browne's. www.DawesTheBand.com --------------------------------------------------------------------- Songs in Episode 1201 include: Taylor and Griffin's father's former band, Tower of Power R&B and soul greats Bill Withers and Otis Redding a song written by Warren Zevon but sung by Linda Ronstadt fellow indie rockers The Romany Rye Vetiver Delta Spirit a tune from Dawes' first release, North Hills, and two from their current record, Nothing is Wrong.

Teal Collins and Josh Zee of Austin's The Mother Truckers both grew up in music-filled homes.  Teal's dad was a jazz DJ and friends with Les Paul, while Josh's dad was a folk singer who taught him to play guitar.  They each learned to play while young, with some differing forays into performance.  Collins started out as a child playing ukelele, busking with her girlfriends for candy money, and later got her first guitar from the Les Paul as a gift--which she still plays on stage each night!  Zee, on the other hand, wanted to be the guitar soloist that reigned in the 80's and thrash on stage.  Zee's example of the ubiquity of guitar solos in that era is pretty funny. The Mother Truckers relocated from the Bay Area of California to Austin, Texas, five years ago, to capitalize on the incredible live music scene.  The band enjoyed several residencies in local clubs and support from fans who just wanted to see them succeed.  Other musicians not only took note, they shared their love for The Mother Truckers with their own fans.  Don Gallardo first told Country Fried Rock about them, and then Phil Hurley of Stonehoney recently brought them up, too--the ultimate compliment from one musician to another.  To cap off an amazing year, Little Steven chose their song "Summer of Love" as one of the Coolest Songs Ever. Now cruising the country in support of their most recent release, Van Tour , The Mother Truckers bring their raucous, high-energy show to venues from Texas to Germany & Denmark through early fall 2010.  Volkswagen seriously missed the boat, so to speak, on sponsoring this one!  Could you imagine the cool Westfalia caravan?  We think they ought to get some support from Trick My Truck for their next extended US adventures.  Wouldn't that be cool?  (...and can we come, too?) Get your free "Break Up Sex" right here! www.TheMotherTruckers.com ------------------------------------------------------------------------------------------------- Songs in Episode 1103 include: 3 from The Mother Truckers, Van Tour Small Faces, "Itchycoo Park" Shurman, "Small Town Tragedy" Led Zeppelin, "Over the Hills" Stonehoney, "Lucky One" The Cult, Electric, "Fire Woman" (Andy Wallace reference) The Beatles, "Yellow Submarine" The Rolling Stones, "You Gotta Move"

Stephanie Fagan married, started her second record, moved to Germany, waved her husband goodbye while he went to Iraq, returned to South Carolina, finished the record, played to a standing room only CD release party, and went home to Germany--all in less than a year. The twenty-something songwriter from the country takes it all in stride, and has already written her third album while her husband serves our nation.  Fagan describes her first effort as "trying to sound like a singer-songwriter," but Heart Thief comes from a more personal and genuine moment in her life, post-college, pre-marriage, in a comfortable limbo of adulthood. Fagan wrote the first single, "Beautiful Man," as a "platonic love song" to her former roommate.  Thematically, her songs cover everything from being hungover in a greasy spoon diner to being irritated with oneself for obsessing over a former love to a sweet-sounding "I hate you" song.  Her tunes are catchy, but not bubble gum.  With a cast of players including nearly every professional musician in her hometown, the tunes are layered with instrumentation and ambient sounds, reflecting the public folk music that greatly impacted her appreciation for German street performers.  Stephanie tells an amusing tale contrasting the complex pedal steel that only took an hour to record with trying to get the sound of gentle wind chimes, which took five hours! Fagan is a self-described "lyrics snob," with melody  and instrumentation coming in far behind.  She also is a product of her generation--she grew up listening to singles, and only recently has discovered the pleasure of an entire album.  Interestingly, this has led her to re-examine some of her former favorite songs and find the artists' deeper catalogs and histories--a completely novel concept to Fagan!  Prior to the last two years, she could not even identify artists, simply individual songs, but at the encouragement of the producer, Missy Jones of Yonder Music, Fagan began to immerse herself in albums from start to finish and found that the cohesive concepts greatly improved her own writing for this record. Stephanie's voice needs no "fairy dust" to bring forth meaning beyond her lyrics.  Her live performance, whether backed by a full band, in an acoustic duo, or just with her guitar, remains true to the recording yet stands on its own.  If you enjoy her live, you will appreciate the album, and vice versa.  Heart Thief accurately reflects songwriting to which many people can relate and enjoy.