Podcasts

Country Fried Rock features new podcasts regularly. Episodes include a conversation with a roots musician.

Sarah Gayle Meech #1312

Sarah Gayle Meech looks like a nouveaux rockabilly woman, but her music is straight up traditional country. Her debut album, One Good Thing, shares Meech’s original tunes with an amazing backing band and stellar studio musicians. Just try not to dance while you listen. Don’t let the A-list players distract you, though, because Meech’s live show brings the energy that fills the gap in instrumentation changes from recorded versus live.

Buy One Good Thing from Sarah Gayle Meech HERE ON AMAZON or HERE ON iTUNES. You can download the free podcast at the bottom of this page.

Liner Notes

  • Sarah Gayle Meech One Good Thing “One Good Thing,” “No Angel,” “Sad and Lonely”
  • The .357 String Band Lightning From The North “Lightning from the North” Compadre band.
  • Bob Wayne Till the Wheels Fall Off “All My Friends” The lyrics reference cocaine, heroin & lsd use. I left the lyrics intact to contrast the traditional country music in this song with the surprisingly straightforward lyrics about hard drug use. People love or hate Bob Wayne, but he seems to be pretty honest about the lives a lot of people live, without judging them. I don’t know if it’s a persona or character or real, but this song works.
  • Buck Owens The Instrumental Hits “Buckaroo”  Meech plays regularly at Layla’s Bluegrass Inn and Robert’s Western World on Broadway, mixing her original tunes with Buck Owens and Loretta Lynn covers.
  • Hank III Rebel Within “Gettin’ Drunk and Falling Down” I’ve always avoided listening to any of Hank III’s music because he can’t seem to let the rebel flag go away. I’m a lifelong Southerner, and I don’t care about the “Heritage Not Hate” argument because it DOES represent hate. Move on, Shelton. Your music is sometimes really great. Quit being your own caricature. Get rid of the stupid stars and bars.  That said, his long-time player and producer, Andy Gibson, is the thread connecting many of these bands.
  • Bobby Bare 16 Biggest Hits “Numbers”  Grant Johnson is currently on tour as Bare’s lead guitar player.  He has also been heard on this radio show in the Derek Hoke program.
  • Scott Chism and the Better Half Long Haul Steady “Jet N Dewdrop’s Farm”  I chose this one because of the Chris Scruggs connection.
  • Matt Woods (Country Fried Rock alum) The Matt Woods Manifesto “Beating Down My Door” One of the best songwriters I know.  Woods was one of the other bands on the lineup in Illinois in 2013.
  • Hillbilly Casino Tennessee Stomp [Explicit] “The Ballad of Psycho Steve” (ft Dale Watson) On Watson’s upcoming EP, Hillbilly Casino is his backing abnd and Meech does backing vocals and a duet. I chose this song for the connection to the rest of this album, and the BR 549 Chris Scruggs connections, and Geoff Firebaugh, who co-wrote this tune.
  • The G-ddamn Gallows Seven Devils [Explicit] “7 Devils” Another compadre band.

Podcast

Bex Marshall #1311

Bex Marshall’s latest album, House of Mercy, reflects both the songs on this record, and the actual name of her home-recording studio-record label-life. She is a noted slide guitar player, who also loves the resonator (dobro) and banjo, and manages to bring in those sounds to a cohesive, roots rock record.  I am always interested when a British musician melds what we think of as American sounds into music that becomes its own, rather than being imitative.  Marshall’s songs and production combine for a rollicking  album, and her reflection on what led to it–heard in this week’s radio program–is worthwhile for anyone seeking a lifetime playing music, or fans who like it real.

Click HERE to listen and buy this record, or here to buy on iTunes.

Liner Notes

  • Bex Marshall House of Mercy House of Mercy is not just the title track and album, it’s also the name of the house where Bex and Barry live, their record label and recording studio, radio station and more.  Marshall lives a life of music.
  • I was not able to find a legal mp3 to purchase of Bex’s “Uncle David’s” band, The Marauders’ minor hit, “That’s What I Want.” I also was not able to confirm whether “Uncle David” is known as “Charlie Harper” of the UK Subs or not. If you have more information, please clarify! I think this is a video for the correct band. I did find a song on a garage rock compilation by a band of the same name, but I cannot confirm if it’s the same people or not. It’s a pretty cool tune, though, and a fantastic compilation. Storm in the Garage on Amazon
  • Brigitte de Meyer Rose Of Jericho on Amazon
  • Joan Armatrading Greatest Hits on Amazon One of the best British blues vocalists around. I used to listen to “Drop the Pilot” on WRAS Album 88 all the time.
  • Hayseed Dixie Nicotine and Alcohol on Amazon Hayseed Dixie are not just the beloved bluegrass covers of AC/DC tunes or tributes to hillbilly love, they are also noted players and the sons of Don Reno, of Reno and Smiley.
  • Stevie Ray Vaughn live The Essential Stevie Ray Vaughan And Double Trouble on Amazon doing “Superstition.”  A great example of amazing blues working well with other styles of music.
  • Israel Nash Gripka Barn Doors and Concrete Floors on Amazon

Podcast

Samantha Harlow #1310

Samantha Harlow‘s debut full-length record, Love Letters, brought together her songs with a stellar Nashville team, including co-producer, Kenny Vaughn. While studio and stage notables like Jen Gunderman, John McTigue, Mike Shannon, Wes Burkhart, Simon Roper and background vocals from Derek Hoke fill the sounds, Harlow’s songs maintain their simple, sad essence. Love Letters is a bit melancholy lyrically, yet it steers clear of tear-in-my-beer tunes or man-hating anthems. The production separates this record from singer-songwriter folk, but it easily falls back into a solo or trio for live interpretations of the songs. Look for Harlow to tour more throughout the summer and expand her reach, as her songs and performances develop and grow.

Liner Notes

Podcast

Sam Doores #1309

Sam Doores collaborates in recording and performing, making creative and practical decisions that allow his songs to reach as many audiences as possible. Whether Doores is playing solo, with his band, in a duo setting with a stompbox, or as part of Hurray for the Riff Raff, the versatile musician and songwriter is adding more to his professional toolbox. Doores’ influences range from Hank Williams and Woody Guthrie, to knowledge by necessity with a weekly four-hour gig just off Bourbon Street in New Orleans–fusing the music of Allen Toussaint, old R&B, swamp pop, and traditional country with Irish barroom tunes. Such a diverse setlist allowed him to develop his own skills and sounds as he crafted and improved his own songwriting.

Liner Notes

Podcast

Rachel Brooke #1308

Rachel Brooke‘s visual aesthetic reflects her musical vision. The songwriter from Michigan views her projects conceptually, from the presentation to the sound. A faded photograph in a diner led to the theme for her most recent release, A Killer’s Dream.  While stretching across the country spectrum, Brooke’s songwriting is generally dark, bubbling up from her more challenging emotions and processed through her lyrics.  Her bubbly giggle and friendly demeanor belie the noir within her songs.

Liner Notes

Podcast

Chicago Farmer #1307

Chicago Farmer plays Mid-Western folk music celebrating the work ethic and community support of the small towns dotting the flatlands. As the musical persona of Cody Diekhoff, his roots in a tiny town form a strong foundation for the art he continues to create as he has moved back and forth across Illinois, to Chicago and back, repeatedly–moving 12 times in 10 years! “Backenforth” consequently, is the mythical town that holds together the songs in his current record, Backenforth, IL. He was not escaping his small town early on, as much as he was being launched into the wider world with all 25 of the residents behind him.

Relocating inspires Chicago Farmer to write, hence his frequent moving as he developed his songwriting and performing. After a decade as a folk musician playing the upper Mid-West circuit, his new album is the one that he hopes will bring his songs to wider audiences. With lyrics that play well to a barroom singalong, yet have a depth of reflection on the regular life of hard-working people that can easily be overlooked, Chicago Farmer’s music focuses on accessible folk songs.

With influences ranging from Hank Williams to Great American Taxi, Chicago Farmer has logged thousands of miles and hours honing his songs. For Backenforth, IL, he gathered his Hired Hands band, and recorded in affordable sessions, one or two songs at a time, then he would hit the road to earn some money, return and record another song or two, and repeat until the album was finished. For the first decade as a musician, Chicago Farmer was a full DIY solo venture, but he has recently added both management and a booking agent, freeing him up to play and write. One of the biggest advantages to finding management for him, was knowing that someone else with knowledge of the business always “has his back.”

Free song download here.

Liner Notes

Podcast

Old Man Luedecke #1305

Old Man Luedecke may be new to US audiences, but the Canadian folk songwriter is well-known and lauded north of the border.  As his photo indicates, he is not old, but the music that captures his interest and influences his writing is old.  Luedecke references traditional music from the Smithsonian Folkways series, like the Red Clay Ramblers, but sounds more like a folked-out Paul Simon to me.  (Interestingly, Simon is never referenced, but I cannot get the vocal comparison out of my ears with this record.)

Despite obscure literary references, Tender is the Night, is solidly present.  Although F. Scott Fitzgerald or even Jackson Browne may come to mind, Luedecke has never read that book nor has he heard to catchy tune of the same name–although his mandolin player sings it to him often.  (Luedecke says he is referencing Melville’s Billy Budd who is referencing Keats and a reflection on Thomas Payne’s “Rights of Man.”)  Despite the heavy influences, the music is simple and accessible–producer, Tim O’Brien, gently decorated Luedecke’s songs.

While much more folk-y than most of the music we cover, the connection to the history of folk music and a modern reflection of it, tie  these songs to the rest of the catalog.  Luedecke’s use of humor and the absurd, Biblical topics and modern life, demonstrate how traditional lyrical subjects continue to engage listeners.

Liner Notes

Podcast

Rich Mahan #1304

Rich Mahan blames Bobby Bare for his slightly naughty, humorous songs, but really, he just wants you to have fun and enjoy the music.  Mahan’s debut solo record, Blame Bobby Bare, creates an auditory party–even if it’s just a quick escape from your workday and stresses of life by cranking up the music.  Go ahead and dance around the office if you want.

Mahan’s own musical journey began with a middle school talent show, leading him to play guitar with bands ranging from jamband to Texas rock, and find a way to be in the music field in some way at all times.  The deconstruction of smaller imprints of major labels sent him from Los Angeles to Nashville, where Mahan found other creative communities forging their own DIY path apart from the current music mold.

This independent trajectory, and intense pool of exemplary players and persons in the music industry, made Mahan’s album possible.  From the analog recording and mixing choices, to the top-notch musicians who joined the project, Blame Bobby Bare represents not just where Mahan is now, but how his history has led him to this day–fun, slightly inappropriate, but something most people can relate to and enjoy–even if your mother never found…you know…in your room!

Liner Notes

  • Rich Mahan Blame Bobby Bare [Explicit]  From his days of contributing songs to Dr. Demento to now, Mahan’s songs are fun, embracing some of life’s bad decisions with gusto.  Please note that there are drug references in many of these songs.
  • Shurman Still Waiting For The Sunset  A record from the Country Fried Rock alums, now out of Texas.  When they were all in Los Angeles, Rich Mahan was part of the band and contributed to several songs even when he was no longer in the band.
  • Rainbow The Best Of Rainbow  Great big rock and roll.
  • Bobby Bare Bobby Bare Sings Lullabys, Legends And Lies (And More) “Dropkick Me Jesus” This was a tough decision, as I really wanted to select one of the songs written by Shel Silverstein, “Qualudes Again,” but there wasn’t enough time.
  • The Standells The Very Best Of The Standells “Dirty Water” I chose the original album version instead of the spruced up version you occasionally hear on classic rock radio.
  • The Who Quadrophenia [Explicit]  “The Real Me” The most serious song in this week’s radio show, but the emotion contrasts nicely with all the silly, fun, party music of the rest of the show.
  • Boo Ray Bad News Travels Fast  This is a record from a Country Fried Rock alum, one that really should be part of a roots music collection.

NOTE:  There are references to drug use in the 1960’s and 1970’s  in this conversation and some of these songs, specifically, a bit about Jimi Hendrix using drugs before the Monterey Pop Festival and by the musicians in The Last Waltz.  Some of the song lyrics also reference drugs, as evidenced by their titles.

Podcast

Country Fried Rock Best of 2012

Click to page 3 to listen to the Best of 2012.

Click the titles to purchase on iTunes.  Click the album covers to purchase on Amazon.

25 The Shovel vs. The Howling Bones – Lincoln Durham

Lincoln Durham started playing violin at age 4 via the Suzuki Method of instruction. By 8, he was hiding on stage facing the wall playing fiddle with the Osceola Opry–a loose association of players who met monthly in an old wooden schoolhouse to cover Hank Williams and Bill Monroe songs for the gathered farmers and country folk. Durham picked up the guitar in his early 20′s, which captivated his interest more than the fiddle ever had. Wandering through a period of singer-songwriter expression, Lincoln still felt pulled by something different in music, but had not been able to define it for himself, let alone have it clearly expressed in music. CONTINUE

24 Michelle Malone: Day 2

This album is currently only available directly from Michelle Malone HERE.
Michelle Malone was part of the Atlanta music scene that evolved from the Indigo Girls’ success, enjoying national attention for the music of Shawn Mullins, Tinsley Ellis, and Drivin N Cryin, with her band at the time, Drag the River. The confluence of blues-tinged Southern music at the time made for an exciting music scene, that was later replaced by the still-dominant hiphop scene. Atlanta is a weird place filled with temporary residents who are not from the area, but it is also a collection of neighborhoods with their own identities and people who are part of the arts culture and give different places their distinct vibes. It is from the latter community that Michelle Malone emerges, not as an ingenue, but as the definition of the Atlanta rock sound–Southern, blues-touched, guitar-driven, but still about the song. CONTINUE

23 Sweat Like the Old Days – Holy Ghost Tent Revival

Holy Ghost Tent Revival took their lowest point in the last five years and used it as a reason to find a new sound and revive their music. It’s not any easier to pigeonhole their work than it was before the departure of their bass player and harmony vocalist, but their music is definitely easier to dance to now than it was before. Despite having almost nothing in common with bluegrass music, they are often lumped in there with old time bands–great for a festival lineup, but inaccurate in categorization. Think of the Avett Brothers with a horn section, and you are much closer to the sound of Holy Ghost Tent Revival. CONTINUE

22 Two Step Silhouette – The Corduroy Road

The Corduroy Road‘s fans sounded alarm bells when the band left their life on the road for a long hiatus, but after nearly an eight-month break, the core of the band emerged with some new players in the lineup, refreshed and ready for the next phase of the band. The Corduroy Road musically balances between Americana and bluegrass in the dance-able area we refer to as “upbeat string band.” Their songs make you move, and you might even miss the weight of some of their lyrics, such as a hunter stumbling upon a meth lab in the woods where the meth-farmer and sheriff are in cahoots. Southern Gothic lyrics to outsiders, perhaps, but just another day in the country to some of us enmeshed in baffling small-town alliances. CONTINUE

21 Death of a Decade – Ha Ha Tonka

Ha Ha Tonka records flow thematically, bound together by a premise or idea, but not so tightly as to be concept albums. Initially, the themes were obvious, like Buckle in the Bible Belt, moving towards historical, as evidenced in the album artwork for Novel Songs of the Nouveau South, but for their recent record, Death of a Decade, the idea that emerged from which these songs began surprised me: Michael Jackson’s death. As Brett Anderson explains, every decade their seems to be some iconic political or entertainment figure who passes away, somehow creating endpoints for their times by their death. Jackson was a controversial figure in life, but even his greatest detractors accede that he was one of the greatest entertainers of our era. With Michael Jackson’s passing, it was the death of a decade. CONTINUE

20 Come Home to Me – The Famous

The Famous bring together a punk influence with traditional country, yielding music that seems to emerge only from California. I always imagine skateboarders who listen to country, not for the irony, but for the cool-factor. In the case of The Famous, though, their music is as much a product of the craft brewing scene as anything else. From brew pubs to brew fests–even a song in homage to their favorite beer–The Famous have found a well-heeled, selective audience for their music in the greater San Francisco Bay region. CONTINUE

19 Waiting All Night – Derek Hoke

Derek Hoke left rock and roll in the dust years ago, finding a new sound, which he dubbed “Quietbilly,” a gentle, sweet rockabilly, now twinged with some Southern blues. His previous album, Goodbye Rock and Roll, clearly cemented Hoke’s distinguishable sound, but his recent release, Waiting All Night, explores a wider variety of rhythm, while still being a Derek Hoke record. Producer and childhood friend, Dexter Green (of Sea Lab Sound), partnered with Hoke on the project, taking their time to call upon friends to play on songs between their own touring schedules. The list of guests reads like a Who’s Who of East Nashville and legendary sidemen, and reflects on Derek’s ability to make his peers feel at ease. CONTINUE

18 Bird In The Tangle – Brett Detar

When Brett Detar ended his band, The Juliana Theory, he was not sure he would ever play music again. Seeking a change, he became the customer service department and chief stain remover for his wife’s vintage clothing shop. Detar fully escaped music, trying to evade his self-doubt about his ability to write songs or be an artist at all. During these years, every scrap of paper of a lyric or theme crammed into a box, waiting for Detar to make them into music. CONTINUE

17 Slowburner – The District Attorneys

The District Attorneys live across north Georgia, ranging from Atlanta to Athens, managing to bridge the musical divide of these very different cities–one that is much wider than the lanes of I-85.  With two homemade EP’s (which you can download for free from the band) and their first full-length record on This Is American Music, The District Attorneys have already refined their sound, bringing bare bones indie-pop together with twangy Georgia roots, as if they are the new representatives of Southern jangle pop.  Slowburner solidly places this band in with the list of best debut albums in roots music this year.  (So, I am biased. I love this record.) CONTINUE

16 Gloryland – Kevin Gordon

Kevin Gordon’s album, Gloryland, explores the blues side of roots music, with lyrics that would make the Drive-By Truckers jealous.  Gordon grew up in Monroe, Louisiana, and although he has been away for decades, the reality of life there and the people he knew bring grit to rural life without glorification.  Glorylandis not about redemption or salvation, and definitely not about glossing over the seamy and sadistic side of life in the deep South. CONTINUE

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Henry Wagons #1303

Henry Wagons must have watched a few too many Las Vegas television specials growing up. How else would the Australian songwriter developed a fascination with the showmanship of Tom Jones and Elvis? Add to the mix (literally) Wagons’ obsession with vintage reverb sounds like the songs of Lee Hazelwood and Nancy Sinatra, and you end up with a record full of noir duets that is both retro and ethereal–without becoming too trippy.

Henry Wagons’ band, Wagons, reached Australian success, and roots music first-adopters may have heard either Wagons’ tune “Willie Nelson” or “I Blew It.” His album of duets with a variety of beautiful voices, Expecting Company, is his first with a wide-scale American release. Sonicly, this record maintains the over-the-top vibe of much of his songwriting, but the contrast with gorgeous singing from Jenn Grant, Sophia Brous, and Alison Mosshart (among others) brings this record to a new plane.

Wagons’ theatrics on stage and expansive recordings mirror his personality, as well. He is quite entertaining to interview, regaling tales of his cooking skills, his vision for music videos (some of which are extremely conceptual), and his love for ELO, the Electric Light Orchestra. While some people might tell these tales on themselves for the amusement alone, Wagons manages to share his genuine passion for these over-the-top antics, reflecting his love for them, not sarcasm, snark, nor superiority. Henry Wagons repeatedly mentions how thankful and grateful he is for the success he has had, in spite of his drive to fulfill his “egomaniacal vision.” Just another self-deprecating line from Wagons himself!

Liner Notes

Video

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Check out some live video of Henry Wagons as a trio in Atlanta recently, as captured by Atlanta Music Examiner:

Podcast

Ronnie Fauss #1302

Ronnie Fauss is not ready to give up his regular life for music just yet, but the Texas songwriter continues to release new material frequently. After several self-released EP’s, Normaltown Records (an imprint of New West Records) made it possible for Fauss to record his debut full-length album, I Am The Man You Know I’m Not.  The cryptic title belies the straightforward folk songs, and the excellent players brought in for the recording expand the sound without overwhelming its simplicity.

Fauss’s singing voice is gravelly and reminiscent of punk rock crooners, so I was surprised by his soft-spoken voice on the telephone.  He is a deliberate person, answering questions carefully and completely.  He is not winging it.  This measured, precise approach to our conversation reflects his method of getting his music out to listeners; he looks at what can be reasonably accomplished, how to make it fun, and plans specifically to achieve his modest goals.

For I Am the Man You Know I’m Not, Fauss brought some other layers to his project, including both PR and radio promotions partners.  These teammates helped bring his music to the attention of key radio programmers, bloggers, and music writers who might not otherwise have known of his music.  With the sheer volume of recorded music today, most media outlets–even small “new media” portals–rely on their trusted gatekeepers to help them filter the content.  For Fauss, this expansion team from his former all-DIY plan made a huge difference in the attention his album garnered.

Liner Notes

  • Ronnie Fauss I Am The Man You Know I’m Not  “I Don’t See You,” “Pistols in the Air,” “The Last” I Am the Man You Know I'm Not - Ronnie Fauss
  • Slobberbone Straight Outta Boone County “Dark As A Dungeon” Straight Outta Boone County - Various Artists
  • Lilly Hiatt Let Down “Championship Fighter” Let Down - Lilly Hiatt And The Dropped Ponies
  • Gram Parsons The Complete Reprise Sessions  “Sin City” The Complete Reprise Sessions - Gram Parsons
  • Todd Snider East Nashville Skyline “Nashville” Agnostic Hymns & Stoner Fables - Todd Snider
  • The Wayward Sons “Gaslight
  • Guy Clark Old No. 1 “Rita Ballou” Old No. 1 - Guy Clark
  • Willie Nelson Heroes “Roll Me Up and Smoke Me” (with Snoop Dogg and Kris Kristofferson) Heroes - Willie Nelson

Podcast

Whitehorse #1301

Melissa McClelland and Luke Doucet joined creatively to form Whitehorse, after many years of successful, separate music careers in Canada.   Their first release together sounded like alternating their individual sounds, but their new album, The Fate of the World Depends on This Kiss, creates a new sound that is neither his nor hers, but theirs.  With this record, Whitehorse decided to expand into the States.  Leaving their comfort zone of Canada and their established careers proved challenging–not just in building new audiences, but also in the realistic logistics of constant touring and creating their sound with limited personnel.

Making music work right now requires more than just being “all in” with the art; it also necessitates the leanest live interpretation of a band’s music possible, without compromising the ethos.  Financially, many songwriters have opted for stripped down touring with the lofty goal of just breaking even while on the road.  Whitehorse holed up in a cottage on a lake and crafted a live performance with just the two of them–yet still nearly replicating the layered sounds of their studio album.

By seamlessly integrating technology–particularly a brilliant use of a looping pedal–and alternative gear like an old-fashioned telephone receiver as a microphone, Whitehorse crafted a dynamic and fascinating live show full of instrumentation and sound.  Their set is not a note-for-note replication of their album, but a creative extension of the vibe of their songwriting.  The performance mesmerizes audiences.  Whitehorse is poised to dominate late-night television, and engage fans in a variety of genres.  Our prediction?  By the end of 2013, the duo will dominate critics’ picks lists and people who see them live will win over their own friends to being fans of Whitehorse.  The Fate of the World Depends on this Kiss is sleek, but Whitehorse’s show is spell-binding.

Liner Notes

  • Whitehorse The Fate of the World Depends on This KissWhitehorse  I was familiar with both Melissa McClelland and Luke Doucet’s prior work, then I had the honor of emceeing their showcase at the Americana Music Festival 2012 at the High Watt, Nashville.  Their set was mesmerizing.  Of all the 2012 AMA showcases, this was one of the best.  If you get the chance, you really must see them live.
  • k.d. lang Absolute Torch and Twang “Big, Big Love” Absolute Torch and Twang - k.d. lang
  • Sarah McLachlan Rarities “Blackbird” She has a beautiful voice, and I just really like this Beatles tune. Rarities, B-Sides and Other Stuff, Vol. 2 - Sarah McLachlan
  • Sloan One Chord to Another “Good in Everyone” (the bevy of drummers on Whitehorse’s album) A Sides Win: Singles 1992-2005 - Sloan
  • The Weakerthans Reconstruction Site (more from the bevy of drummers) Reconstruction Site - The Weakerthans
  • Lee DorseyFreedom For The Funk “Wonder Woman”  The title of Whitehorse’s album comes from a vintage Wonder Woman comic, but I have always loved Dorsey’s soul and funk, and this fits lyrically more than the campy TV theme.  Besides, in case you did not grow up knowing his music, this album is a great place to start. Soul Mine - The Greatest Hits & More 1960-1978 - Lee Dorsey
  • Trampled By Turtles Stars And Satellites  “Midnight on the Interstate”  Chosen because TBT was also on the Festy bill in 2012, but also because of the discussion about life on the road and avoiding the cliche of road songs, while still acknowledging that is one’s actual life.  Stars and Satellites - Trampled By Turtles

Podcast