Steve has the opportunity to pay tribute to guitarist, Lowman Pauling, who was one of the biggest influences on Stax soul as the great era of the Sixties would kick in full effect. Booker T. Gary Clark Jr. The fact that it is on Warner Brothers makes it really twisted. Tony Bennett — Duets II. Kenny Vaughan — V. Well done! Blitzen Trapper — American Goldwing. Amy Winehouse — Lioness: Hidden Treasures.
We may never know how far Amy could have gone. Amy not only did some great covers, but, was a songwriter on par with the best. This disc has some raw original versions showing Amy supporting herself on guitar.
Amy had all three talents, great voice, great musician and great songwriter. She was a triple threat in a class of one. Amy is the best voice of the last twenty years. She should be here now. Watch out for Imelda May.
She actually played at 3 rd and Lindsley this year. They accurately feel like recordings made in Chicago or Memphis way before Sun. It really is a trip when you think that The White Stripes ended up down here with Third Man Records before a final break up, and then The Black Keys announced they were making their new home in Music City and all this time, at least for the last few years, we got Jeff the Brotherhood; our own homegrown Two Man band.
Jeff the Brotherhood were the show to see during Next Big Nashville last fall at Third Man with the live set being released on Third Man vinyl within a few days. In fact, the twelve inch can still be found in the Third Man Records shop any day of the business week. Then came Bonnaroo. Jeff the Brotherhood started their own mania when they were supported by the first 30 people making up most of their audience being other local bands. How cool is that? Other local bands stirring up so much dust that another people stop to see what all the fuss is about?
Nashville could not be in a better place right now. For me, that is exciting. It has been an interesting path between the gulch and the backside of the mission to where things are right now. They are on lists that really matter. Okay, maybe not shut down but turn a few heads, sell a few records and rock the house. It may be a metaphor for what it means to be accepted among your peers, the other bands in Nashville. Word hit the street over the last two weeks like a brush fire in New Mexico: Rolling Stone wrote in print and on the net, Nashville has the best music scene in the country.
What was the turning point? The Kings of Leon? The Kings of Leon had to go over to England to become big in the U. Well, giving a little credit to a younger scene was a good thing when they were signed to Fueled by Ramen sort of yet there is no scene of bands trying to sound like Paramore around Nashville so it is its own thing.
Jack is definitely not just looking behind but is really tuned into the ether. I was excited to see Dan Sartain , a part of the same Birmingham scene I was in for a number of years cut some vinyl on Third Man Records.
Dan opened up for The White Stripes on several dates a few years ago and my friend Emanuel Elinas who made some guitar pedals for me down at Highland Music in Birmingham talked about playing Bass with Dan Sartain and going bowling with Jack and his Mom. In fact, when I saw the band on the flip side of the Dan Sartain 45 and Matt Patton was there, I was really happy about what was happening.
Matt and a few others had put out some of the best Indie music in Birmingham that I have ever heard. Okay, I am going to say the transition came when Nashville got behind one of its own in When Justin Townes Earle got signed to Bloodshot Records and released The Good Life both weekly music papers got behind with big in depth articles about how Justin got to that point.
The Good Life is a classic album out of left field but it really represented what Nashville was known for, good songwriting, a little rock and roll, a little country with a nod to the past and to the future of Americana. At that time, you could hang with Justin over at The Basement , but with extensive touring and a prolific three years, Justin is well established and still with indie cred enough where I can still turn people onto his music as something new.
Only they know for sure, but Nashville is becoming a ground zero magnet for much more than Popular Country Music Radio songs and Christian Music. There had to be a change. The music business had changed and Nashville has changed along with that. Instead of twenty major labels in town, there are now five.
The rest are Indie Country, Rock, whatever. Coming to Nashville to be a hit songwriter may be a goal for a lot of people, but, getting a staff writing gig is becoming really difficult and less lucrative. Back in , we talked about how a songwriter with good songs getting signed to a publisher with maybe a k draw now going for k and the need for a day job for many.
Also, one of the larger publishers had in the past as many as staff writers and was then down to Thirty five. I know for a fact things are much worse for that dream with less staff writers, less money and less records being sold. The dream is still there, but, now you need to get lucky and find a new face with a great voice and the potential to get signed and start co-writing before some money starts flowing. In early , I could go to The Commodore Grill and see an endless supply of new songwriting talent for the Country Music Industry, but, with less staff gigs and the economy in the tank, less people are rolling into Nashville with an acoustic guitar and lyrics in the guitar case.
In his cover story, former Scene music editor Steve Haruch pinpointed the launch of beloved local indie label Infinity Cat Recordings. Bearing the catalog number ICR, the CD-R marked the debut of the label that the then-teenage brothers started with their dad, veteran songwriter and visual artist Robert Ellis Orrall.
After serving as a pillar of the local independent rock and punk community and building a dedicated international fan base over nearly two decades, Infinity Cat is preparing for its th official release. Take a listen below, and preorder the physical version directly from Infinity Cat.
Preorders are set to ship in May, exact date TBA. Edit Close. We both kind of did at the same time. It was the same band, really, but it was under a couple of different names. Jamin originally played bass, and I think I started on the drums. We pretty much did everything together.
Nope, not yet. We told her if she ever learns bass really well then she can join the band eventually. It can be a full sibling outfit. We work together on everything, and write all the songs all together.
No, no. Speaking of home, what was the rock scene in Nashville like, growing up? Our first band that we really tried to do something with was when I was in tenth grade, and I guess Jamin was in the eighth grade and we had one other kid, who was in seventh grade, and that was a punk band called The Sex.
We made a couple albums. At that time, basically, all we knew was the punk scene in Nashville, the underground punk and hardcore scene. That was our world. Later in high school, we started breaking into the noise scene when we started doing JEFF The Brotherhood, it was kind of more of a noisy band. For us, we were in bands because that was what we did to pass time.
Yeah, a lot of people do ask us if people ride horses and wear cowboy hats and stuff. We usually just try and keep that myth alive, really, rather than explain it to people. Speaking of family, your dad, Robert Orrall is a songwriter, and he also owns your record label, Infinity Cat.
Me and Jamin and my dad and our manager Holland Nix , we all own it together. Me and Jamin started it, originally, when I was in tenth grade.
Which, unfortunately, it really still is. And Holland, our manager, got involved when me and Jamin just started hardcore touring and hired a publicist and got a booking agent and all that stuff. When I was in high school I played video games and read comic books. When you were in high school you were in a bunch of bands and recorded a million albums and toured. Where did you get this motivation? Our dad had done it.
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