Tag: elvis

Raised Along the Country Music Highway, Brit Taylor Was Bound for Nashville

Posted on by Editor

An exquisite singer who is undeniably country, Nashville singer-songwriter Brit Taylor is taking a stand for herself in her debut album, Real Me. It’s an intriguing collection of original songs that position the East Kentucky native as one of Americana music’s most promising artists. After a number of setbacks, ranging from the demise of a marriage to the end of a publishing deal, she contacted producer Dave Brainard to talk about a fresh start. Around the same time, she met Dan Auerbach, who encouraged her to sound like a traditional country singer, even though she’d been told for years that nobody was buying that kind of music anymore.

Emerging from a cloud of depression, Taylor channeled her emotions into song. Then she released Real Me in November, staking her claim as an artist that proudly honors her roots without sounding stuck in the past. Songs like “Waking Up Ain’t Easy” and “Broken Hearts Break” echo her true country influences, too. Talking by phone from her farm, with a few goats roaming nearby, she told BGS about the journey.

BGS: You’ve said that your family wasn’t very musical, but was there music always around as you were growing up?

Taylor: Yeah, I grew up in Eastern Kentucky, right by the Country Music Highway, US 23. So, the culture of country music is super rich around Eastern Kentucky. I grew up singing in the Kentucky Opry Junior Pros in Prestonsburg, Kentucky. I was always singing and playing music every weekend of the summer, and through the Christmas season.

What were those shows like?

It’s kind of like something you would see in Branson. Back when I was a kid, it was booming and tourism was really rich around there. We would sell out shows every Christmas and have to add matinees. I felt like I was in the big time when I was a kid! [Laughs] It’s a really nice theater, too. I saw my first concert there, and it was George Jones. I played there for 10 years, and then I moved to Nashville and started playing tiny bars! It was such a shock, The Junior Pros opened up for the older members who were in the Kentucky Opry. What I was in was just kids. I don’t think anybody was older than 18.

When did you learn to play guitar?

I learned to play guitar in my senior year of high school. I had a vocal coach and I was taking piano lessons. He knew I wanted to move to Nashville. I was very [eager to move]! I was always playing by ear, and I was always frustrating him, because I hated to read music. One day he said, “How are you gonna pack this piano around Nashville?” And I was like, “Well, I don’t know.” He said, “You’re not going to make it in that town unless you learn how to play guitar.”

And I went home and I was like, “Mom, you have to buy me a guitar. Now.” [Laughs] We went to the music store and she didn’t know anything about music. The guitar was a hundred bucks, or two hundred bucks, and my mom said, “I am only spending $50 on this guitar.” I told the guy at the cash register that I would sing him any song that he wanted if I could have that guitar for fifty dollars. I sang him a Fleetwood Mac song and he let me buy the guitar.

You had to overcome a lot of setbacks to get where you are. How did you stay focused and inspired to keep going?

I don’t think I ever thought about the option of quitting. It’s always just been there, that this is what I want to do. There’s never been any other thought. It was hard at times, but it was never like, “I want to do something else.” This is just what it’s always been. I don’t picture life any other way.

What kind of lessons did you learn from your family? Were they good at teaching you a work ethic, focus, and dedication?

Oh yeah. My dad’s an entrepreneur and he was always going against the grain, working for himself. A lot of people don’t understand that, but I came from a family that understood being an entrepreneur and chasing your dreams at all costs. He was also a martial arts instructor and that’s how he got started. So, he always taught me how to fight, whether it was in a karate match, or in real life.

Did you take lessons in martial arts as well?

I did. Dad had me whippin’ ass since I was 4. [Laughs]

How much of this dream you had was about songwriting as well? How important was it to develop your voice as a songwriter?

Oh, I wrote my first song when I was 13. It was terrible, but it came so natural. The structure came natural. I think I had listened to so much country music at that point, it had to come natural. Yeah, I moved to town to write songs. I wanted to be an artist, too, but I definitely wanted to write my own songs. It’s always been a dream to have other people record my songs as well.

Who were some of your heroes when you moved here?

Patty Loveless. I love her. She’s one of my favorite artists. Darrell Scott, and lots of songwriters, too. I grew up listening to a lot of Elvis and oldies. I sang a lot of Patsy Cline and Loretta Lynn growing up. The Judds, Dwight Yoakam, all those Kentucky artists.

Were you listening to the words even back then?

Every single word. My dad’s favorite story to tell is about when we were on the way to Myrtle Beach. I was always my dad’s little sidekick and I would sit in the front seat while my mom and my brother would nap in the back. We were listening to Sam Cooke. The line in the song was, “My baby’s gone and she ain’t coming back.” And my dad called me his baby. I was 4 years old, and I think I thought that song was about the man’s daughter. Dad said he looked over and saw me crying, and he said, “What’s wrong, baby?” And I said, “Why won’t his baby come back to him, Daddy?” [Laughs] I’m just sitting over there bawling, listening to Sam Cooke, and it’s not even about what I thought it was about, but it hit me.

Did you go to college in Nashville?

Murfreesboro. I moved here to go to school for music business at MTSU.

What do you remember about those early days, finally being so close to Nashville?

Oh my gosh, it was the best time of my life! I felt like such an adult. I’ve always been a little ahead of myself, I think, and just being on my own, getting to make my own decisions because I’m really independent, was just the best time time in my life. I had already started writing songs and co-writing songs, and I was just ready.

I moved here when I was 19 and I remember that feeling of excitement. It feels like the whole world is in front of you.

Oh, it does. That’s the cool thing about living on the farm, too. I remember when I would drive from Murfreesboro to Nashville, or Kentucky to Nashville, seeing the skyline of Nashville is so exciting! It’s just glorious! It still makes my heart drop because I’m not in it every day. So when I get to drive to town, it’s still really special.

Are you living on a farm now?

Yeah, I live out in Mount Juliet, outside of Nashville, and I’ve got a little over three acres. And I adore it! I don’t know if it’s because I grew up this way, but there’s some kind of peace about it when you can be out in the woods. I’m an animal lover. My next thing I want to get, with these goats, is these miniature donkeys. [Laughs] And you can’t really have those in Nashville.

Where did that love of animals come from?

Oh, I’ve always had animals. My dad’s a big animal lover. And his dad had llamas, emu, ostriches, donkeys, horses… I mean, he was always getting some kind of crazy animal. And apparently I’ve taken on that role in the family.

I think animals can bring comfort in stressful times. Is that the case for you?

Yeah, I can’t look at these little Pygmy goats and not smile. They’re just hilarious! And they make me happy. The music industry is full of ups and downs, and life in general is full of ups and downs, and it’s so easy to walk outside and be grounded in nature. It’s just being in nature and watching the animals running around, because they don’t have to think about anything. They’re just hollering for some more hay.

When you listen to Real Me now, what goes through your mind?

I’m grateful. I just listened to it and I’m grateful. I’m just as much in love with this record as I was in the process of making it. I still listen to it and get butterflies.

Photo credit: David McClister

The Show On The Road – Steve Poltz

Posted on by Chris Jacobs

This week on The Show On The Road, we feature a conversation with a Canadian-born paraparetic prince of pop-folk singers, who has jumped through more gauntlets of the modern music industry than almost anyone in his three plus decades of making records, Steve Poltz.

LISTEN: APPLE PODCASTS • MP3

Poltz first hit the scene with the San Diego-based underground punk-folk favorites The Rugburns, then as an accidental hitmaker and MTV video heartthrob with collaborator and friend Jewel, and then as a wild-haired, two hundred shows a year internationally revered solo act. He’s put out a baker’s dozen of whacked-out, deceptively sensitive, and fearlessly personal albums that have won him devoted audiences from his ancestral home in Nova Scotia to the dance party dives of California to massive festivals across Australia and beyond.

 As we are still quite separated during the pandemic, host Z. Lupetin called up Poltz in Nashville to discuss the long and twisty road Poltz has travelled — jumping from his inspired, most-recent album Shine On back to his childhood in swinging Palm Springs (where he met Elvis and Sinatra), to making $100,000 music videos for his ill-fated major label debut in ’98, to nearly dying on stage after substance abuse problems and never-say-no-to-a-gig exhaustion took its toll.
 
We now find him in a more peaceful, purposeful existence, where he is newly married and enjoying making music at home (government orders!) for the first time in decades.

BGS 5+5: Logan Ledger

Posted on by Editor

Artist: Logan Ledger
Hometown: Born in Los Angeles, but I grew up in the San Francisco Bay Area
Latest album: Logan Ledger
Personal nicknames: Double L, The Lorax

Which artist has influenced you the most and how?

This might surprise some people, but I’d have to say Bob Dylan. When I was about 12 years old, my dad started taking guitar lessons from a guy in town named Nick Shryock — a real mensch. I caught the bug and before long I started riding along with my dad. He would take his lesson first while I waited in another room and did homework, etc. Nick gave me a book of Bob Dylan songs — just chord diagrams and lyrics — to get me going with basic cowboy chords and the like.

But it had a much more profound effect on me. I became obsessed. I listened to every Dylan album I could get my hands on. I went deep. Before long I was trying to figure out where Dylan learned all that stuff. Through Bob I got into all sorts of old time folk music and blues: Roscoe Holcomb, Mississippi John Hurt, the New Lost City Ramblers, on and on. I became an old folkie at heart and it’s stuck with me. Finding Bob Dylan basically established the whole trajectory of my life in music.

What’s your favorite memory from being on a stage?

One of the coolest things I’ve ever gotten to do is play in T Bone Burnett’s band at the Hardly Strictly Bluegrass Festival in San Francisco. It’s especially meaningful to me having grown up there. I think the first time I went to the festival I was fourteen years old. We played it once in 2016, and again in 2017. Just so cool. My parents came out, a bunch of people I knew from high school… The first time was only a few months after I met T Bone — totally surreal. I’ll always be grateful he asked me to be a part of it.

In 2016 the band had a more traditional lineup — bass, drums, guitar, fiddle, etc. — but in 2017 T Bone decided to play material from his album The Invisible Light, a wild mix of spoken word and electronic music, material that didn’t exactly fit the expectations for a rootsy festival. It was an incredible experience, totally transgressive. Some people didn’t quite know how to take it. It cemented my respect for T Bone as a consummate artist unafraid to take chances. Standing up there on the stage, it felt like we were really doing something. It was a tremendously inspiring experience.

What other art forms — literature, film, dance, painting, etc — inform your music?

Before I was doing the whole move-to-Nashville thing, I was a film student at Columbia University. I was a huge film geek all through high school and although I didn’t start out in college thinking I would get a film degree, eventually the pull was too strong and I switched majors. It’s sort of strange to think about now, but that experience definitely altered my brain. I tend to approach songs like soundtracks for mini movies running in my head.

I don’t know if that means they’re cinematic per se, but I’m hyper conscious of the sonic mise-en-scène songs evoke. Sometimes I’m really just trying to put over the feel of a specific place or time or place. There are also particular films that have stuck with me that have most certainly formed my aesthetic predilections. Really I’m probably just trying to transform Paris, Texas into a song over and over again.

What was the first moment you knew you wanted to be a musician?

Even though I didn’t pick up the guitar until I was 12 or so, I’ve been singing for as long as I can remember. I would put together little impromptu performances for my parents. After that, I graduated to school musicals and whatnot. I was always performing. However, I think the first time I became fully conscious of what it meant to be a “singer” and a stylist was when my grandmother gave me a CD of Elvis hits. I must have been 8 or 9. That was a total epiphany. I wanted to be just like Elvis. I studied his delivery, and definitely did a lot of imitating. But it was a learning process. So much of my early childhood days as a musician were spent doing that kind of thing. I think it was valuable training. Eventually though I had to find my own style.

Since food and music go so well together, what is your dream pairing of a meal and a musician?

I would love to get together with Willie Nelson over a bowl of real-deal ramen. I don’t know if he’s a ramen guy, but this is my fantasy, and who doesn’t like ramen? There also might be, shall we say, certain botanicals involved… In all seriousness though, Willie Nelson is a huge hero of mine. He showed us all how to push the creative boundaries of country singing and songwriting. Such a tremendous gift to music and humanity, a full-spectrum artist. And he’s still going strong.

Photo credit: Laura E. Partain (See the photo story.)

LISTEN: Michael Cleveland, ‘Tall Fiddler’

Posted on by Editor

Artist name: Michael Cleveland
Hometown: Charlestown, Indiana
Album: Tall Fiddler
Release Date: August 23, 2019
Label: Compass Records

In Their Words: “This album has been something I’ve wanted to do for a very long time. I’ve been thinking for a while that it would be awesome to have my band, Flamekeeper, collaborate with some of my musical heroes, and just wondered what it would sound like. I knew it was going to be awesome about an hour into the first day in the studio. Tommy Emmanuel came in to record ‘Tall Fiddler’ and about an hour after he got there, we had the track. Also, I had the honor of co-writing a song with Béla Fleck, recording a Memphis rock song that talks about stealing one of Elvis’s Cadillacs… had so much fun along the way. Thanks to everyone who was involved in the making of this album and especially to my co-producers, Jeff White and Sean Sullivan, for making this dream a reality.” — Michael Cleveland

Photo credit: Stacie Huckeba

That Ain’t Bluegrass: The Grascals

Posted on by Editor

Artist: The Grascals
Song: “Last Train to Clarksville” (originally by the Monkees)
Album: The Famous Lefty Flynn’s

Where did you all first hear the song?

Danny Roberts: The Monkees. [Laughs] Of course, all of the guys in the Grascals were big Monkees fans when we started the band. It’s just one of those things: The first record we did, we covered Elvis with “Viva Las Vegas” and we’ve done several of those types of things, we did Elvis’s “Mystery Train.” We decided we’d do the Monkees’ song on there and, when we started playing it, it made such a great bluegrass cut. It was a no-brainer. At the time we did it, I didn’t realize that Jim & Jesse cut it way back in the day. None of us had ever heard their cut of it; we didn’t even realize they had done it. We just loved the song and decided to cut it and, boy, it came out so nicely. We were happy with the way it worked out. It made a really strong music video — the people that did the video wanted to make it like the Monkees did — the way they did the video with that sped-up film looking thing. We just had a blast doing that, too. That song has been really good for us. It’s still probably one of our most-requested songs at shows.

What, in particular, made you think it could be a good bluegrass song?

Well, the tempo of the song. A lot of times, when we did a cover, we didn’t want to do something that you had to double-time the tempo. Like “Viva Las Vegas,” the tempo of that fit to play it bluegrass-style at the same tempo that they cut it. It was the same thing — the tempo just fit perfectly, locked right in for the bluegrass instruments. The banjo roll fit it perfectly and the mandolin chop, too. The second we started playing it we were like, “Hey, this one’s gonna work.” As soon as you get playing it, you pretty well know with just a run through a time or two if it’s going to work out. That one felt natural from the get-go. We knew we were going to have to work it up. Fortunately, everybody else liked it, too!

Bluegrass artists — for instance, you mentioned Jim & Jesse covered this song in the past — have this tradition of taking pop songs and turning them into bluegrass covers. Why do you think that is?

I think when Jim & Jesse started doing it, they were trying to push the envelope, trying to get their music heard by more people and outstretch. I think for us, rather than trying to push the envelope, it was more of a nostalgia thing. With the Elvis songs and the Monkees, it was stuff we grew up hearing as kids, music that we liked. The Grascals, when we started the band, we never looked at it as, “We’re going to try to do a certain type of music. We only cut this type of song.” We said from the very beginning, when we cut songs, we just want to cut songs that we like, music that the band as a collective enjoys. That’s basically what we’ve always done. Of course at that time, myself, Jimmy Mattingly, David Talbot, and all of us guys had grown up hearing the Elvis stuff and most of us had watched the Monkees’ television show. We feel like, if it brings that nostalgia back to our minds, it will put a smile on a lot of people’s faces when they hear it. All the bluegrass fans, pretty much, listened to that stuff when they were younger, too. I think it gives everybody a feeling of fun. That’s one of the things we enjoy: When you come to a Grascals show, we want you to have a good time. Hopefully we’re going to do material that hits all of the corners and lets people enjoy the ride we’re giving.

Now you know that ain’t bluegrass, right?

[Laughs] Well, it’s bluegrass, if we’re doing it bluegrass! What is bluegrass? [Laughs] I’ve heard that so many times. It’s so funny. We’ve done so many things with country artists. When we opened for Dolly, Hank Jr, and different folks, we would say, “How many folks out there have heard bluegrass?” It’s amazing how very few people would raise their hands. Afterward, we always would go out — the big stars never went out — and sign autographs and talk with people. Person after person would come up and say, “You know, I don’t like bluegrass, but I love what you guys are doing.” And we’d say, “Guess what? You just heard a bluegrass set! You do like bluegrass!” That’s what we are and we’re pretty darn traditional, too. We’re not one of the jam band-type things. We’re fairly down-the-line traditional ‘grass. People just loved it. If people would give it a chance, it’s infectious. You know that’s how we all fell in love with it.

Traveler: Your Guide to Memphis

Posted on by Editor

There are two types of people in this world: those who love Nashville and those who prefer Memphis. I fall into the latter. Located on the banks of the Mississippi River, Memphis is one of the South’s most diverse cities. The music history is rich. Jazz and blues incubated on Beale Street. Stax Records brought the soul. The trail of tears crossed the Mississippi. With so much to see and do, it’s important to go in with a plan and some sights in mind.

Getting There

Unless you’re coming from nearby, the most obvious choice would be airplane. Memphis has a major international airport, so you should have no problem getting a flight. If you are coming from down South, take Highway 61. It might take a bit longer, but you’ll come up the blues trail. Be sure to make a pit stop in Clarksdale, MS. It’s full of juke joints and good eats. You’ll pass the crossroads where Robert Johnson allegedly sold his soul … It’s now a parking lot.

Accommodations

The Peabody Ducks. Photo credit: Roger Schultz via Foter.com / CC BY.

Memphis is not an expensive city to visit and there are ample places to stay. I stayed at my friend Tim’s house, but that’s not an option for you: He’s a private person and doesn’t take kindly to unannounced strangers.

A good place to start on a moderate budget is downtown. Most of the hotels have decent prices and are also close to all the sights. If money is not a problem, check out the Peabody Hotel. It is a National Historic Hotel and famous for its ducks. The penthouse is home to a family of ducks. Every morning at 8 am, they take the elevator to the lobby. They march to the central fountain and then swim for the rest of the day. At exactly 5 pm each night, they take the elevator back upstairs. It’s been happening for countless generations. A duck walk of fame surrounds the building. Of course, the ducks aren’t the only reason it is listed as a National Historic Hotel. The Peabody is beautiful and emanates old school glamour.

If you are the adventurous type, check out the Big Cypress Lodge at the Bass Pro Shops at the Pyramid. I know, it sounds bonkers. Bass bought the Pyramid that formerly housed the Memphis Grizzlies. They retrofitted it as a massive retail store and hotel. It is amazing. They spared no expense. The closest comparison is Disneyland’s Splash Mountain. There are water features and catfish and dioramas. An enormous faux cypress tree reaches the upper decks of the pyramid. It’s worth a visit, even if you decide on a more practical sleeping arrangement.

Food

Photo courtesy of Central BBQ. 

Though famous for its barbecue, Memphis has wonderful food, all the way around. But, playing to its strengths, Central BBQ is a good spot to try out some different styles. Be warned: It’s popular and it gets crowded. Don’t be afraid of their hot barbecue sauce. It wasn’t very spicy. The mustard and vinegar sauces are worth a dip or two. Be sure to check out the great Mississippi Blues Map mural in the backroom.

How about a bit of soul food for brunch? Check out Alcenia’s. For $12.95, you can consume a week’s worth of calories. I had the sausage omelet with fried green tomatoes, a biscuit, potatoes, and coffee. I still had at least one more side choice. All of their food is good. The chicken and waffles are top notch. You’ll also get a kiss on the cheek if Miss BJ, the proprietor, is there. Plan on spending some time at this joint. It isn’t fast food, but it is well worth the wait. Don’t hold it against them that Guy Fieri recommended them. I know he’s a divisive figure, but he’s right about Alcenia’s.

Soul Fish Café was my favorite restaurant this time around. The blackened catfish is absolutely phenomenal. (The fried catfish was also delicious.) I can’t recommend the Soul Fish Café enough. The tables fill up fast, but there’s usually room at the counter. Highly recommended.

In short, I would be enormous if I lived in Memphis.

Drink

Beale Street. Photo credit: charley1965 via Foter.com / CC BY-SA.

If you’re going to Memphis as a tourist, you need to do some touristy things. One of those things is getting drunk on Beale Street — the Bourbon Street of Memphis. Lined with bars, Beale Street is where you’ll find dueling pianos and Stax cover bands. There’s Almost Elton, an Elton John cover artist, and a gazillion blues groups. You can drink in the street, so it’s a good time and it’s probably not somewhere the locals want to hang, but it’s worth visiting while on vacation.

The Cooper-Young neighborhood is another great area for drinks. The Slider Inn is a popular joint. There’s also Young Avenue Deli, which has pool tables and airs the games. Don’t worry if you don’t like sports, the games are muted. Another Cooper-Young neighborhood joint is the Celtic Crossing. On the weekends, they have live Celtic music, often accompanied by clogging.

Best of all, beers are cheap in Memphis. You won’t break the bank with a wild night on the town.

Coffee

Photo courtesy of Café Keough.

Visit Coffeehouse Row. (Nobody in Memphis calls it this, but I think it has a nice ring.) On the way to Cooper-Young, you’ll drive down Cooper Street. You have three different, but good, coffee choices. The first is Muddy’s Bake Shop. This is a cutesy place. You can get cupcakes here. If it were an online retailer, it would be Etsy. Next, you have Other Lands. It’s a bit grittier. They sell beer. If it were an online retailer, it would be Craigslist. Your final choice is Tart. It’s the artsy coffee house. They have a huge outdoor patio that’s great for smoking cigarettes and getting deep. If it were an online retailer, it would be Ziibra. But Café Keough is my favorite coffee shop. It’s downtown and one of the only places with bagels. The place is huge and has a comfortable atmosphere. They also have great t-shirts.

Live Music

Boogie on Beale Street. Photo credit: Heath Cajandig via Foter.com / CC BY.

Hi Tone is one of the best rock ‘n' roll venues in America. We caught a great show while in town — local band the Dead Soldiers were back in town after a long tour. They brought the house down. There were sing-alongs and inside jokes, as drunk people fell off their chairs waving their hands in the air. (It was like they just didn’t care.) There was a lot of love in that room, and it was a pleasure to bear witness. Also, the beers were cheap. I loved it.

Wild Bills is the best blues joint in town. It’s a bit isolated, but they have some great acts. They also serve 40s. Be warned that the music doesn’t start until 11 pm. 

If you make it to Beale Street, you’re going to catch a lot of live music. Every storefront offers up something new — traditional jazz, blues, rock ‘n' roll, and soul. The history of Memphis music is proudly displayed seven nights a week on Beale Street. The Southern Folklore Center also puts on some great daytime concerts. Located downtown, they curate an excellent roster that ranges from gospel to blues and everything in-between.

Local Flavor

Graceland living room. Photo credit: Rob Shenk via Foter.com / CC BY-SA.

Memphis has four must-see destinations. You need to go to Graceland. Don’t worry about the plane tour and all the add-ons. They pile up quick. Just go and see the mansion. It’s $36, and well worth it. It comes with a guided iPad tour that is narrated by John Stamos. (Yes, Uncle Jesse from Full House.) The tour is informative and Stamos’s voice sounds a bit like George Clooney, which I had never noticed. The Jungle Room is one of the coolest living rooms ever. The Pool Room is lined in fabric and feels like a 1970s opium den. Elvis didn’t care what was cool. He liked what he liked and the results are a one of a kind home.

Next, you have to visit Sun Studio. So many iconic records were recorded there. It’s where Elvis and Johnny Cash got their start. Howling Wolf cut some amazing sides at Sun before heading up to Chicago. To stand where so many greats have stood before is a powerful feeling.

The Lorraine Hotel, now the National Civil Rights Museum. Photo credit: Andy Miller.

Any Memphis trip is incomplete without a visit to the Lorraine Hotel. This is where Dr. Martin Luther King, Jr. was shot. It’s now the National Civil Rights Museum. It’s heavy. And it will depress you. That being said, it is important to remember our past mistakes in order to learn from them, especially in today’s extreme world.

Finally, you need to visit the Stax Records Home of American Soul Museum. Isaac Hayes's gold-plated Cadillac is on display and Otis Redding cut his classics in those same halls. If you were ever on the fence between Motown and Stax, you will leave with two feet in Stax’s backyard.

Lede photo credit: BlankBlankBlank via Foter.com / CC BY.