OUT OF THE CHUTE - Dana Cooper

 

Good morning (again!)

Today I have the pleasure of introducing you to Dana Cooper. An artist with a fabulous blend of old school Americana and Folk. I'll drop one of his videos down below to tease you until I get the album review up tomorrow.

In the mean time, let's open the chute!

Thanks for joining me in KellysCountry today, Dana...

You got a really early start in this business. You were playing coffee houses in 1967 – a time when folk music was still going strong. Who were some of your biggest influences leading up to that time? So many people influenced me early on, Hank Williams, Buffy St. Marie, Bob Dylan, Leonard Bernstein, Ray Charles.

 

I first heard your name in connection with Shake Russel. You were a part of several bands in various sub-genres of folk/ rock music including your pairing with Shake before moving to Nashville to work on your solo career. What was in your heart to make the switch from band mate to solo career? I made the decision to leave the band with shake russell when I began listening to artists like Elvis Costello, Laurie Anderson, and the Clash. The songs I started writing just didn’t fit what we were doing with that band. DC3 was my chance to experiment with different kinds of songwriting. After a few years I began moving back toward my beginnings, only this time incorporating lots of the other influences I’d gathered along the way.

 

You have a list of awards/ accolades some musicians can only aspire to. What do you feel was the key ingredient in those career markings? Did each of those awards/ recognitions build on the next one… ie what did you take from Miracle Mile as you moved into Harry Truman Built A Road? Awards are gratifying but they’ve never been a driving force for me. The recognition received is an indicator that one is doing good work and it helps drive me to improve as an artist and writer. Miracle Mile was released at a difficult time for me. I was without a booking agent and the label wasn’t gaining much support for the project. Being nominated for the Nashville Music Awards was a much needed validation. Harry Truman Built a Road was in many ways another new beginning. Again, the accolades it received boosted my morale and did a lot to put me back on the map as a solo singer songwriter.

 

With that still in mind… was there a bridge between those, including Incendiary Kid in 2017 that moved you forward into I Can Face the Truth? I have always worked with incredibly talented people on my recordings. Richard McLaurin and Mack Linebaugh were my co-producers for Harry Truman Built a Road. Richard also co-produced Made of Mud with me. Thomm Jutz came on board to co-produce Building a Human Being, Road Show, and Incendiary Kid. Working with the best people has always been my goal and all these folks helped me create greatest music projects. Meeting Dave Coleman was yet another big turning point for me. The recording studio can be an intimidating environment and I’ve never felt more comfortable and free in the recording process than I was with Dave.

 

I loved the title track. I felt the process of that track as shining example of the possibilities within the industry today. The virtual possibilities of working together really lends to creating something magical – even when we can’t work together in person. A lot of artists would (and did) just put the production side of their music on hold. What was the key to you and Dave Coleman pushing through the shutdown, which most saw as an obstacle? Dave Coleman and I began with the song I had recently written, I Can Face the Truth. We finished it in an afternoon and we knew immediately that we wanted to continue working together. There was this natural musical affiliation we felt. I was still writing songs for a new CD but hadn’t even begun making a plan to record yet. So, we worked gradually as my touring schedule allowed. When the pandemic hit we shut down like everyone else. During that time I concentrated on writing and once some time had passed and we felt somewhat comfortable we worked in the studio masked and in separate rooms. Some of my co-writers shared their vocals long distance and once things opened up Dave and I returned to work with other players and singers, again masked and at a distance.

 

I love good Texas dramas/ sitcoms. Especially, if they pull in some of my favorite Texas artists. I’m really dialed in to Walker, Texas Ranger and think a couple of your tracks would be outstanding for the show music tracks. The title track as well as Laughing and Crying, parallel the storyline perfectly. Have you thought about getting your music in front of those folks? I would love to have my music placed in films and television shows. That’s something my current manager is working toward.

 

You wrote or co-wrote every piece on this album with the exception of one cover. What was your thought behind including I’m So Lonesome I Could Cry? My dad, George, was a big influence on me musically. His record collection was eclectic with an emphasis on Country artists like Hank Williams and Ernest Tubb. Dad took me to bars with him when I was 2 years old. He’d play the jukebox and I would sing along with Hank and Ernest. Dad took me to see Ernest Tubb in concert when I was three. I’m so Lonesome I Could Cry has always reminded me of my father and I included it on the new CD in his honor.

What do you hope your listeners will take away from this (or any of your previous) albums? My goal has always been to lift people up out of their struggles, make them laugh and maybe bring a tear to their eye. That’s what music gives me, a sense that someone else feels the way I do, that I’m not alone in this world.

You will find out more about Dana Cooper by clicking on the following links:

WEBSITE   FACEBOOK   TWITTER   INSTAGRAM   YOUTUBE   PATREON

Country Blessings

~ Kelly

HAPPY THANKSGIVING FROM THIS YEAR'S GUESTS!

 

Good morning, country fans!

A lot of people will be sitting down to Thanksgiving dinner tomorrow. Throughout the year, when I've interviewed guests, I've asked them to share what side dish must be a part of their Thanksgiving meal.

Let's check their menu!

Craig Cummings

The stuffing! I like to have different stuffing recipes each year, unusual things like oyster stuffing or something with a Cajun flair. But that doesn’t go over too well in my family. They like the more traditional recipes they grew up with.

Garret Wieland

Mashed potatoes, always.

Michelle & Jason Hannan

1 Blue Band

Michelle: For me, it’s not thanksgiving without stuffing (or dressing). I could eat that stuff every day. Now that I think about it, why don’t I eat it during other months of the year?!

Jason: Asparagus casserole!! Growing up in Mississippi my grandmother made it every year and I loved it. Michelle thinks it’s gross but makes it for me anyway.

Kristian Montgomery

Winterkill Band

Grandma's baked scallops

Rigby Summer

Can I cheat on this one? Because in my family, the cherry on top of Thanksgiving is actually this AMAZING casserole my mom makes with the leftover turkey.  She even puts the leftover gravy in it and then bakes it with a box of stovetop on top. You top it with cranberry sauce and let me tell you, it’s better than Thanksgiving dinner itself!

Thank you to everyone who shared their Thanksgiving meals with us!

Country Blessings

~ Kelly

OUT OF THE CHUTE - Rigby Summer

 Good morning, everyone!

Today, we are checking in with Rigby Summer.

Thanks for joining us in KellysCountry today, Rigby!

You’ve been writing and performing for a good number of years. You released an EP in the fall of 2020. Now you have a full album barely a year later. Was the EP a teaser of what you had to offer in GEOGRAPHY?

 

The EP was a pandemic project.  Geography was ready to send for artwork and print and the plan was to release it in Fall 2020, but then of course, we all went on lock down and after having travelled so much in the years prior, I didn’t release my debut album at a time that I couldn’t tour it--I mean, it’s called GEOGRAPHY and I couldn’t travel!

 

But I wanted to do something to reach out and build a little momentum so when I qualified for PUA (pandemic unemployment assistance) at the end of the summer I decided to invest some of that in my music. I had an idea for a long time that I wanted to do a “holiday adjacent” album someday with songs that were fit for the season but not your typical holiday standards, especially for anyone who might feel a bit melancholy through the holidays. 

This seemed like the perfect time. Kyle (Reid) has this song Dancing Alone that is just fantastic and in a year when EVERYONE was going to be dancing alone on New Year’s Eve, it was the perfect anchor for the EP.

 

That little project saved my sanity last fall--everything about it was just fun and low-pressure because these were all covers--my interpretations of other people’s songs--as opposed to the debut of my own.  We spent a couple of days in studio and did most of the dialing in for final mixes remotely. We even sent the title track to Montreal to get the tuba and banjo treatment from Les Royal Pickles.  The icing on the cake was when the manager of historic Cain’s Ballroom in Tulsa allowed my photographer friend, Sarah Huhn, and me into the space for an hour to shoot the cover.  I still can’t believe how everything came together in the span of 4-6 weeks...I don’t think that little project could have been made that way at any other time.

 

You took some time off then seems as if you’ve come back with a vengeance. What did you learn about yourself during that hiatus?

 

Well, the hiatus was never really intentional. But there is a sort of dichotomy to what I learned from that season. On one hand, I look back and understand now more than ever how important  it is to know yourself and deeply plant your roots there because there will always be someone ready to tell you where you should or shouldn't belong or how to spend your days.  If you always look to others to validate your path, you’ll just get blown off track because everyone’s wind is coming from a different direction.

 

But on the other hand, I have gratitude for that time. In that time, there are things that I learned about life and business and myself that have enabled me to approach things differently this time around.  That previous version of myself was younger and cuter and skinnier but she had no idea what she was doing. She was talented, but she didn’t know what to do with it. She needed to get her mind right. She didn’t yet have the fortitude to handle resistance when it came her way...so if you see everything in life as learning, there is no lost time. And if my story can help someone else get back on their true path, then it’s all happening right on time. 

 

Did any of that hiatus find its way into this LP and if so, would you point out specifics?

 

Your music & style has drawn comparisons with Brandi Carlile and Lucinda Williams. Those names pack a punch. How do you feel about the comparisons?

 

Well, tell me two bigger badasses in Americana music right now!  I am honored every time it happens.  Vocally, I hear Brandi pretty regularly. But as much as I love her, I was surprised when I started hearing Lucinda, but that has happened more often after performances, so yeah, I dig it.  If I am developing vocals comparable to Brandi and performance swagger comparable to Lucinda, I am gonna lean into that!

 

 

Who do you consider to be your biggest musical influences in your life?

 

Well, if you mean formative people in my life, that’s easy:  my brother and my mom’s best friend Mary. They helped inform my musical taste early on.  I went through this phase as a tween where I only listened to the oldies station. All my peers were learning dances to pop music at recess but was going home to sing along with the Shirelles and the Rolling Stones.  I was a weird kid! Mary tuned into that and started feeding me music pretty early on.  She taped off all her Mary Chapin Carpenter CDs for me and I absorbed every note.  I studied those songs and wanted to be her.  Then my brother loved music and we went to a lot of great concerts together growing up.  Because of him, my first real concert was Paul McCartney at Arrowhead Stadium in Kansas City. Between the two of us, we knew almost every lyric to every song on the 70s rock station.

 

Of those folks, what would you say had the biggest effect on who you are as an artist now?

 

I’m going to dodge this a little bit and focus on the “who I am as an artist now” end of this question, because I don’t think I really ever realized how attainable it actually is to set on out on this path and do the dang thing when I was younger.  For sure, it is more possible now because there are fewer gatekeepers in the music industry these days.  So the biggest influences on me becoming the artist I am now are the performers who were willing to come share the stage with me at my concert series in Stillwater.  That event became my school when music came back to me in 2017. For the first year or so I was for sure playing WAY out of my league!  I had no business sharing the stage with a lot of those performers.  But they were so gracious and I learned something every month, either just from observation or sometimes things that they would directly tell me.  A turning point for me was when, after a while, I had a few hosting experiences where some artists showed me who I didn’t want to be as a guest and an artist. Haha..thats’ when I realized I had slowly been growing into my own. 

 

I will say that one of the hosting experiences that was most positively formative was when Belle Plaine and Blake Berglund came down from Saskatchewan and we ended up playing about a week of shows together after a week of radio and rehearsals.  I had only been back at it about a year and while I had a certain level of confidence in myself as an artist, working with them was a considerable uplevel from where I was at that time. Most of the week I felt like I had maybe dove in to the deep end a little too quickly!

 

But working with them and their guitar player those two weeks, getting to know them, I got to see the stage persona versus who they are as people and I saw just how connected they were--on stage they lean in to the best parts of their values, their personalities and their relationships with each other.  It was really special to watch.  I saw first hand how they worked together as a band behind the scenes, taking care of one another and getting the work done together.  And I think I came away feeling permission to bring my own swagger to the stage.  I know my performance and stagecraft was heavily influenced  from working with them.

 

I love the album cover. Geography in itself is more than just a place, it’s what gives us peace wherever we are. What brings you peace?

 

I’ve been revisiting the audiobook of Brené Brown’s Braving the Wilderness on the road lately.  It’s been a good reminder of this idea of belonging everywhere by belonging nowhere--by belonging first to myself.  My entire childhood I dreamed of travel.  And then I took my first trip abroad when I was nineteen.  I can safely say that every place I have lived or traveled since then has felt a little like home, so in terms of physical geography, I have often felt an attachment or sense of belonging everywhere I go.  But it can at times feel lonely, not feeling fully rooted in any of those places. When that loneliness or anxiety builds up, I try to come back to those things that center and ground me: going for a walk--bonus if I can really get out in nature for a hike--sitting in stillness, focusing on my breathing...gosh, even re-engaging with the road. 

 

If you could offer one tip to artists trying to find their vibe in this business, what would that tip be?

Know yourself and be that, unabashedly. Your story, your message and your music are a gift and there are people who need to hear it.   If you are trying to be someone else, you aren’t going to find your  audience.  It’s an ongoing process, learning to love and trust yourself, but when you set on that path, the right people will find you.

I'll be back tomorrow with a review of GEOGRAPHY. In the mean time, here's the first track from her  YouTube channel:

You can find out more about Rigby Summer by clicking on the following links:

WEBSITE   FACEBOOK   INSTAGRAM   YOUTUBE   SPOTIFY   iTunes

Country Blessings

~ Kelly

 

OUT OF THE CHUTE - Winterkill Band

Good morning, everyone!

We are back with Kristian Montgomery and the Winterkill Band.

Before we get in to today's interview, I'd love for you to take a minute and head over to the Boston Music Awards website. Scroll to the bottom where you input your name/ email/ city/state then you'll see the categories available. You can vote for various categories Please vote for Winterkill Band for Country Artist of the Year.

Okay, now let's see what's new that would put him in this auspicious nomination. 

Open the Chute!

 

It’s been just over a year since your last album, ‘The Gravel Church’.  You’ve relocated to Wallingford. How’d that come about and how are you settling in?

Actually, it's been 8 months since I released my 2nd album "Prince of poverty" I sold my boat and moved from the shore to the mountains of Vermont. I worked on the ocean for many years and after realizing that I could never afford a home there i decided  to put down roots elsewhere and the music scene here is amazing. I have a band of great musicians and working hard to promote my 3rd album "A Heaven for Heretics "

 

Let’s talk about this new album, Heaven for Heretics. What was your overall concept when choosing songs?

My daughter is married to a woman and today's world has become tolerant to individual choice more so then ever before in the states. Hemophilia is a thing of the past if you have more than a 3rd grade education and looking back it’s an odd feeling to think that these normal things were ever taboo in the 1st place. This record was for those people who lived on the Periphery, the artists and trendsetters who were once looked down upon. This album is our little slice of Heaven.

 

There’s a southern rock groove to this album. Different from The Gravel Church. Is it safe to say you’ve mellowed a bit?

I haven't mellowed, I've evolved I suppose. I made this record with the intent to show off more influences and to incorporate different musical eras of my past. I've learned to show hints of retro but add a modern touch to these songs in a way that I think people will find unique and real.

 

A Heaven for Heretics has 10 great tracks. If there were one that best emulates Kristian Montgomery, which one would it be?

Come carry weight with me is about my passion for the sea and everyday life on the ocean. My brother was diagnosed with cancer and this song was written with him in mind as he too is salt obsessed.

 

Last time we chatted you said you were burnt out? As I listened to the tracks, I could feel flames licking at the soul, especially on ‘Family Owned’. Have you rekindled a flame?

Absolutely, I was recognized with a nomination for the New England music awards this year. I didn't win of course as I've never been a big scene guy but getting recognized was cool but losing to a some of the mainstream artists lit a fire in me. This albums(A Heaven for heretics) is about being on the edge of the scene walking the fine line between art and still being marketable. Its important to me to make art not propaganda or background noise. I want the sounds I produce to reflect on life, real life that's hard, dirty and often disappointing and try to find the beauty in it

 

I can’t help but think your style is perfect for film. Have you thought of pursuing that avenue with your music?

I have tried but it seems like the folks with half the talent and drive but who are members of the upper class always get chosen for such honors. They tell me they don't accept unsolicited material so I have to find a sugar momma in the industry to bridge that connection.

 

Word on the street you’re looking for new bandmates. Can you give us a bit about the qualities you’re hoping to find in new team members?

Great people and players. I'm having some luck here in Vermont finding a band and slowly putting the people in place.

 

I’m really excited for this album. If you wanted folks to come away from your music with one thought, what would that be? That they felt me, that it was real and I wish they'd carry it home with then and make it part of their life.

In the mean time, here's a laid back video from his most recent release - Secret Watering Hole

We'll be back tomorrow with a review of his upcoming album - A HEAVEN FOR HERETICS

   FACEBOOK   TWITTER   YOUTUBE   SPOTIFY   INSTAGRAM   

Country Blessings

~ Kelly

OUT OF THE CHUTE - Michelle and Jason Hannan

Good morning, country music fans!

Today, we're talking to Michelle and Jason Hannan. They are a husband and wife duo from Frederick Maryland and leading the group - OneBlueNight

Let's open the chute!

Let's open the chute!

Let’s start by learning a bit about each of your backgrounds. Both of you come from deep musical roots. What influenced each of your music careers from those backgrounds?

Michelle: I grew up listening to country music in the 90s, whatever was on the radio. My mom always said that I was singing before I could talk. My grandfather was the only real musician in my family and I would sit and listen to him sing and play his piano or guitar and try to pick up what I could. He’s the one who introduced me to traditional country - artists like Patsy Cline, George Jones, Merle Haggard - the stuff that influenced all of the great songs I heard in the 90s. I sang along with the radio in the car and was always playing something and singing along at home. My mom used to get out her tape recorder and record me singing along to stuff, I wish I still had those tapes! She tried to get me to sing in front of other people; I remember a Thanksgiving where I literally got under the kitchen table to sing because I was so shy! When I was a teen, my older brother had a guitar, and when he left the house I would sneak in and grab it and try to make chords. It took a while, but I finally taught myself how to accompany my singing. I got older and kind of abandoned the idea of making something of myself in music - I was extremely self-conscious. It wasn’t until I met Jason in 2014 that I actually got a chance to sing on stage. He really brought me out of my shell and helped to shape me into the musician I am today. I’m extremely lucky to have met him - both in a musical sense and in a personal sense, as we’ve been happily married for several years now!

Jason: I grew up in Mississippi and just about everybody played music down there. My father, Hal Windham, was a musician of note in the Gulf Coast music scene in the 70’s. He recorded a single with Malaco Records in 1976 that got some airplay regionally (https://www.youtube.com/watch?v=7Pyh3n1ohJM). So it was in my blood and I would just try to learn whatever instruments I could growing up. I got involved with bluegrass when I was in the military and played guitar, bass, and mandolin in several bluegrass bands up until I met Michelle and we both decided to return to our country roots. We clicked immediately vocally, more so than anyone else I’ve ever sung with. It was pretty crazy. Oh yeah, we got married too. She needs higher standards!

Concept Album.  As a writer, I love the idea of using an entire album to tell a story while at the same time, each track can stand on its own and strike a chord with any of your listeners.

Will you share with my readers the seed for the storyline came from?

Jason: I wrote a song with my daughter called “Everything I’ve Got’s in Tennessee” back about 9 years ago or so, long before this album was ever a thing. The song ended up coming together as a murder ballad. Not by design, that’s just the way it fell together. When we decided to write a concept album that song seemed like a natural starting point. Michelle rewrote the melody for it and added a verse. We built the album around that song and it ended up being the second single we released from the album. For the rest of the album we knew what plot points we needed to hit and tried to write or find songs that fleshed them out, then we added interludes to transition between the 3 acts. It was an ambitious project and we’re very pleased with how it came together.

Jason, I know you were inspired to do a concept album based on a teenage experience of hearing Willie Nelson’s Red Headed Stranger album. My question is for Michelle. What was your first thought when Jason brought the idea to you?

Michelle: I had never really paid much attention to the idea of a concept album. I can't think of many that I've heard myself, although it's possible that I have listened to one without realizing it was a cohesive work. When Jason brought it to me, it seemed like a really cool idea and it only got cooler once it started to develop. He really drove this project, and I definitely admire his creativity and drive.

Cheater’s Waltz is the story of a woman’s journey. Have you thought about flipping the coin and giving a male’s perspective?

Jason: That’s an interesting idea! There are actually a couple songs on the album that are from the guys’ perspective, both sung by me. One is “Before I Met You” and the other is “Livin’ on Barroom Time”. Taken as a whole, they don’t really present the guy in a very flattering light. He’s certainly not the hero of the story. And one of the most challenging things about writing this album (for me) was trying to write from a female perspective. I certainly wouldn’t rule out writing another concept album from a male’s perspective at some point in the future.

Michelle: An album from the perspective of the cheater would be interesting. I see the opportunity for a ghost story at the end…that could be cool!

You share a big part of the credit on this album to fellow bandmate, Howard Parker. Aside from amazing instrumental talent, what did he bring to the table?

Michelle: Howard was an integral part of the planning and execution of the album. He had some great ideas regarding arrangements, and was always receptive to us bouncing ideas off of him. Of course, he also wrote the beautiful “Loren’s Lament”, the instrumental on the album, which really helped to set the tone for the rest of the album. It’s rare to find someone who lines up so well with your own ideas and taste when you’re dealing with a lot of original music. We’re very blessed to have Howard as a bandmate and friend.

Jason: Oh man, we couldn’t have done any of this without Howard. In addition to what Michelle said, Howard is also an extremely underrated singer! He can harmonize with the best of them. You can really hear him do his thing vocally on the album’s last track, the a cappella quartet. The part he’s singing is not easy and he knocks it right out of the park!

 You had a lot of time to bring this package together. Were there any bumps along the road?

Jason: Speaking for just myself, the hardest part was the production side. This is the first album I’ve ever totally produced and mastered myself and I really had to work hard to make it sound like I wanted. I got what I wanted but I do honestly worry more about what critics will say about the production than anything else. I was very lucky because all the musicians that were involved (Michelle, Howard, Shannon Bielski on fiddle, Jim Robeson on accordion) turned in stellar performances.

I try to really get in touch with the heroines in my books. Michelle, was there anything in this story you felt you identified with?

Michelle: I think I identified most with her seemingly wild nature at the beginning of the story, especially in the first song. I’m starting to settle down though! Of course, we’ve all had heartbreak and challenges in our relationships. I can’t say I’ve ever considered murder though. That’s what I tell Jason, anyway.

When folks listen to this album, what do you hope their experience will be, or that they’ll walk away thinking…..

Jason: I just hope people are immersed in the story, that they are moved by it in some way, that it makes them feel something. If they do, I’ve gotten what I wanted out of it. It’s a rare enough thing these days, what with the direction the country music industry has gone in.

Here's the first track from their new album, Cheater's Waltz.

You will find Michelle & Jason Hannan by following any of these social media links:

WEBSITE   FACEBOOK   TWITTER   INSTAGRAM   YouTube   APPLE MUSIC

I'll be back tomorrow with my review of CHEATER'S WALTZ - Releasing June 18th!

Country Blessings

~ Kelly

OUT OF THE CHUTE - Garrett Wieland

 

Good morning, country friends!

I have a special treat today. A man who loves the old west history as much as I do. Garrett Wieland has had a passion for the old west since he watched Young Guns as a lad. 

Today, Garrett talks about his sophomore album. WHAT KEEPS THE HEART AFLOAT

Hi, Garrett. Welcome to KellysCountry. Thanks for joining me!

Let's open the chute....

Let’s start by going back in time a bit. During an interview with KZTV last year, you said you’ve been playing music since you were a kid. What are some of the earliest memories you have of playing?

Guitar recital when I was 10 or so! I’d picked up a guitar because my mom had an acoustic around the house when I was young, then started taking lessons. I never really took off until I got an electric guitar for Christmas one year. Not long after that, a buddy of mine in high school was working on some songs that he needed help finishing. I helped him, and it opened up the whole world of songwriting for me.

You are inspired by all things western. What musical artists have inspired you over the years?

Several of my biggest influences were actually Bob Dylan, The Band, Van Morrison, and Townes Van Zandt. I return to them over and over again. And of course, Pet Sounds by The Beach Boys, and all things Beatles. And I grew up listening to classic rock and grunge, along with Marshall Tucker Band, a band my dad loved.

Your first single, Outlaw’s Farewell is about Billy the Kid’s last night. A beautiful ballad, by the way. How did you find that information? Were you inspired by the work of James Charles Roy?

Thank you! It actually came from an article in the great Old West magazine “True West” about an interview with a friend (maybe girlfriend?) of the Kid, Paulita Maxwell, sister to Pete Maxwell. I had been working on a ballad partially inspired by Sam Peckinpah’s “Pat Garrett and Billy the Kid” and grew up loving Young Guns since I was an 80s kid. In the article, it mentions the Kid’s final words, overheard by Paulita, as “Quien es son esos afuera?” which translates to “who are those men outside?” When I read those words, they fit perfectly for the ending of my ballad, and that’s how it came about.

Have you read other books about ‘the Kid’ such as the one by fellow Texan, W. C. Jameson? If so, is there something about Billy that fascinates you, or is it Western history in general?

I have not read Jameson’s book, but have read Robert Utley’s excellent history, “Billy the Kid: A Short and Violent Life.” And I’ve been fascinated with Billy since I grew up with a dad who loved the Old West, and took me hunting when I was very young. We used to bird hunt in an old caliche pit in South Texas, and it always reminded me of the set from Young Guns.

But Western history in general does fascinate me, especially Native American history. I’m also fascinated with the idea of untangling the legend from the facts of Old West events, and how those myths get started. John Sayles’ great movie “Lonestar” was a big influence on me loving that murky grey area between fact and fiction in our perception of the Old West, and being fascinated by that borderland of the west where so many diverse races and characters intersected. I feel like the US as a country is still dealing with the legacy of the West, so for me it’s always ripe with stories.

The album is entitled, What Keeps the Heart Afloat. Where did the title come from?

It comes from one of my favorite lines on the album, in the song “Dennis,” about Beach Boy drummer Dennis Wilson: “What makes a man go under and what keeps the heart afloat?” The songs on the album are my attempt to answer that question.

The Pandemic put a lot of things on hold, including this album, yet you were working a lot behind the scenes. Was there anything that may have came out differently, because of the extra time you had to finesse?

Well, I got laid off from my job during the pandemic, and then thankfully found a better paying job that allowed me to hire a promoter! So, in that sense, I was able to give it a better shot than I would have pre-pandemic. The album was finished right as the pandemic started, so it did put the album on hiatus until I was able to put money back into completing the promo side of it.

What do you love most about What Keeps the Heart Afloat?

I love that it’s uncluttered. It’s mostly me and my guitar, and so I feel like the songs are expressed more directly. Producer Mason Shirley and I tried to keep it as natural as possible. Our barometer was “would this sound good around a campfire?” So many singer-songwriters release albums that are dense with overdubs and overproduction. I wanted to stay away from that, and I think it comes through in the songs. Plus, these are some of my favorite songs I’ve written.

Do you think this ‘western’ vein is your signature or is there more waiting for a turn?

I think I’ll always return to the West in songs because I find it so fascinating, but there’s also other elements on this album too. So we’ll see, I’ve already got a handful of songs ready for another album, both West-themed and regular old story songs.

I look forward to reviewing the album tomorrow. In the mean time, here's a video of one of the songs from the album:

You will find Garrett and his music by following any of the links listed below:

WEBSITE   FACEBOOK   YOUTUBE   INSTAGRAM   

SPOTIFY   iTUNES   SOUNDLOUD  

Until tomorrow....

Country Blessings!

~Kelly

OUT OF THE CHUTE - Julia Kasdorf

 Good morning, everyone! I have an inspiring artist with us today. I hope you'll enjoy this interview. I know this is without a doubt the most fun 'email' interview I have ever done and I hope to have the opportunity to meet Julia in person.

Let’s open the chute!

Hi Julia,

Welcome to Kelly’s Country. Thanks for joining me today and taking the time to answer the questions.

You mention listening to Peter Paul & Mary… how you really connected with their music from a young girl. Can you share what your first impression was that has since influenced your own music?

I love this question. It really helps me think about where music first got in amongst me.  My dad played PP&M on the stereo everyday after we got home from school. Their songs were so beautiful, so full of vivid imagery. “Take off your old coat, and roll up your sleeves.” (Old Coat) That made a powerful picture in my mind. “A girl so sweet that when she smiled the stars rose in the sky” (Lemon Tree) I could see myself laying in the grass gazing at those stars. “I heard a man come a clankin’, he had a long chain on.” (He Had a Long Chain on) I see that meeting in the moonlight. Then when I found out that these were old, old songs, I loved them all the more. They tell history.

Your bio reads like a travel itinerary over a lot of different genre paths. Tell us what you can recall from the first time you performed with a band and thought ‘this is it’.

What a great question! It would be in early 2000s when I was in a Virginia band called One Horse Town. When we were at our peak with some incredible local players, it was as easy and fun as surfing waves in Hawaii (I speculate). That’s when I said “Hoo boy, this is IT!” Now I’m pretty ruined - I only want to play live with people who are better than me.

MOTEL released regionally a couple of years ago. Now you’ve sent the album into a wider atmosphere. Most artists just jump in the deep end. Why did you give this a regional release first?

Er, limited resources.  I couldn’t afford to do much more! By and by, I came into some dough and decided the album deserved more attention.

 In the songquibs you mentioned seeing a motel that made you just want to pull over, check in and close the door. Did you and how did Motel come to be the title of the album?

I never did pull over, Thinking about it was enough.  People always responded really well to that song, and it had something important to say about me. I loved the title “Motel”- such an open word, so many contexts, and easy to remember. And I knew I could come up with a killer cover for that title.

Les Thompson was one of the co-producers of this album. How did that come to be?

The crowd of musicians in western Loudoun County VA isn’t huge so most folks know each other. He knew my band and did sound work here and there. Les had a studio that Danny Knicely (one of the TOPPEST musicians I’ve ever met) recommended, so I made the call.

While nothing else about the track is reminiscent of him, the guitar intro to Cool Water had a John Denver vibe. Were you influenced by his music at all?

Ack! Help!I didn’t go for to do it!  Ok, truthfully,  I was influenced by JD now that you mention it, He has this song “The Eagle” and it starts with ringing, shifting E chord shapes down the neck, winding up on a richly strummed E chord.  That sort of attack intensity definitely showed up in “Cool Water”. Holy cats. Do I  owe him money now? You really ask some great questions.

 Of all the people/ bands on your musical journey, what area or artists to you think influenced you in developing your own style the most and why?

Early David Bowie. His songs are miraculous and surprising and run all over the place, style-wise. And he still revered the power of the well-strummed acoustic guitar. He gave me the courage to break out of established patterns and tread some shaky ground. And his voice was all his own. On Motel, I was seeking out some new ways to sing to explore some Bowie magic.

 According to your website, this is your fourth album. How do you think you’ve music has evolved throughout the process?

 When I first started playing live music, I was usually playing bass for someone. I didn’t have any confidence in my own stuff.  I’ve played bass on a ton of recordings  but I couldn’t see myself presenting my own music, much less recording it!

 When I met Janet Emma Garbe (co-lead One Horse Town) , one of the most influential people in my life, we were able to put songs together that were really fun to sing and play. We were better than the sum of our parts and,  working with her, I grew a lot as a songwriter. Janet had some great contacts, which resulted in Jon (Starland Vocal Band, Mary Chapin Carpenter) playing keys with us and producing our record, Dawn Will Deliver. Who knew that such an ultimate musician lived in our town! We were very lucky, and Jon made our stuff pop to life.  That guy leaks great music wherever he goes.

 I would say that Motel and Dawn Will Deliver are the only records I’ve been involved in that express who I am and where I came from. That’s what was most important to me when I set out to record Motel.  Thanks for your interest in my stuff. I appreciate you taking the time to ask me some cool questions.

I really enjoyed this interview and hope you did as well. I'm linking one of Julia's video below.  Tomorrow, I'll be back with my review of MOTEL. You won't want to miss this one!

You will find more of Julia on her WEBSITE as well as the following social media links:

Reverbnation    Facebook   YouTube   Twitter   Spotify   Soundcloud   Bandcamp

Country Blessings!

~ Kelly

OUT OF THE CHUTE - Craig Cummings

Happy Monday, friends!

This week, I'm bringing an East Coast artist. Craig Cummings hails from Washington D.C.

Thanks for joining us in Kelly's Country, Craig!

Let's open the chute -

When I first saw you on the website, I thought sure you were straight out of Texas! So how does a guy from Baltimore come to be an artist that could have walked out of a honky tonk? Do you have those in Baltimore?

Well, there aren’t too many honky-tonks in Baltimore, but there are more venues you might describe that way in the DC/Virginia area. Throughout my career I’ve played all different kinds of music, and I have a broad palette of musical genres that I enjoy. I started playing country/country rock music back in the 70s. Even though I dabbled in other genres, this is where I just feel right. I took a couple of years away from performing in the early 2000s, while my kids were growing and I was very busy with my day job. In 2007 or so, I decided to recommit to writing and performing and I told myself that I would move forward without any preconceived notions about what style of music I would write. As I began furiously writing songs at that time, it was easy to see that the country/Americana style was what came naturally to me. Five albums later, I’m right where I want to be stylistically. I’ve lived on the east coast my whole life, but I would have fit right in somewhere out west. IN fact, my wife and I spend a month every year in Tucson, AZ and I do a lot of writing there.

 I love that you do songwriter showcases and are heavily involved in songwriting organizations. When did that start for you and why is it important to you to be a part of those avenues?

I think there is a lot to be learned from working with and spending time with other songwriters. In these parts, we don’t have the history and cache that Austin, Nashville, and other centers of songwriting goodness boast. So, songwriters have to stick together and work to be heard and seen and acknowledged for what we bring to the music scene. These songwriting groups are a good way to do that. Plus, I love bringing people together to make music

Both your musical influences and your ‘Favorite CDs’ cover a wide scope of music genres. Of them, what would you say were your three main take-aways that became a part of who you are as a songwriter, musician and performer?

Well, I think I’d have to break this down into 3 time periods in my life. In the 70s, I was strongly influenced by songwriting performers like Jackson Browne, Joni Mitchell, Neil Young, Gram Parsons, and The Beatles. Through the 80s and 90s, I listened and learned a lot from writer/performers like Elvis Costello, Graham Parker, Springsteen, and Tom Petty. From about 2000 on, my influences moved to songwriters from Nashville and Texas… writers such as Guy Clark, Willie Nelson, Steve Earle, Rodney Crowell, and Townes Van Zandt. Each of these periods of influence gave a slightly different imprint on my songwriting style. Generally, I want to write songs that have strong lyrics, often with a first-person approach, since this makes songs more personal for the listener. I also want to write songs that you want to sing along with…songs that stick in your mind long after you’ve heard them. And I want to write in an upbeat style even when I’m writing about difficult things. I love sad, slow ballads, but I don’t record too many of them.

You mention you began playing in your teens. I also find you very articulate. Would you share a bit about your education journey?

Well, I majored in education at the University of MD because back then, if you wanted to major in music, it had to be classical or jazz performance and composition – there were no songwriting or music production majors like there are now in some universities. When I graduated, I got a job immediately and just started working as a teacher while playing music at night. I went back to school at night to get a Master’s degree because in teaching you must continue to take classes and develop professionally, and if I was gonna take classes I figured I might as well get another degree. So, I got my Master’s degree from Johns Hopkins University. Right before I finished my advisor convinced me to apply to the doctoral program, assuring me I’d get in. I did, and seven years later I had my doctorate – all while still playing music. I was a teacher for about 15 years and an administrator for about 21 years.

Your bio mentions a love for language. Do you speak any others besides English?

In high school I won the Spanish award for being the best student of Spanish in the senior class. I used to read books in Spanish and converse pretty well. These days, I can read it fairly well, but I don’t speak it very well. I wish I was better at it.

 If I’m reading your discography correctly, The Gulf Between Us is your fifth album. How did this album come about?

When I wrote the title song, I knew right away that the subject matter of that song was going to be the theme for an album. A light just went off! Subsequent to that I was in AZ and took a trip to the border wall to see for myself what it was about…to get a feel for it. That and some reading I did spawned the songs Momma and Me, The Southern Wall, and Like Thieves.  The remaining songs were written as I asked myself, “What are some of the other things that keep people apart.” I decided failed relationships and the passing of loved ones were also major factors. All of that went into the songs on the album.

Since Road Trips and Relationships, how do you think you’ve grown as an artist across the album releases?

Well, most importantly, I think I’ve become a better songwriter. I spend much more time fine-tuning my songs, and when I write I begin with more of a purpose. I pay much more attention to small details that can move a song from being good to great. And, I am better at bringing the right people together to make the music I want to make, and I have a greater understanding of what works and does not work in a recording studio.

When fans listen to your music, what do you hope they glean from the experience?

I hope that they find some truths in the music that speak to them. Maybe it’s just one line in a song, maybe it’s the theme or topic…but I just want listeners to feel something, and to appreciate the power of music to be a positive force in their lives. In the best of all worlds, there would be a Craig Cummings song 

Tomorrow, I'll be reviewing Craig's new album. You can catch up with him via the following social media links:

WEBSITE   FACEBOOK   TWITTER   YOUTUBE   

In the mean time, I'll leave you with this video:

OUT OF THE CHUTE - Tim Malchak

This week, I'm bringing a very special guest to Out of the Chute.

I first met Tim Malchak over thirty years ago during a concert in Peoria IL. While I know that was a lifetime ago for both of us, all I have to do is pop my cassette in the player or bring up the tunes of those days on YouTube... one of which I'll be sharing at the end of this post.

We've both ridden life's rollercoaster over that time, but two things have not changed. Tim Malchak is still one of the most real guys in the industry and a stellar artist.

Let's open the chute!

Thanks for joining me in KellysCountry today, Tim. Re-connecting with you and knowing you're still playing music has been a blessing for me.

I was preparing for this visit, I dug out our previous interview… from 1987!  Until we connected on Twitter last fall, we’ve not spoken in 33 years. WOW! Time flies and I know a lot has happened in your life. We’ll never be able to catch up today so let’s see what we can cover. 

In the 1980s you were on Alpine records, an independent label before people really understood the impact independents would have on either the music or the publishing industry. You told me in a former interview that you didn’t feel you could take credit for opening the doors to other artists. What did you carry with you from that experience to your new path going into 2000 and beyond?

I think I brought a serious work ethic from always being the underdog, so to speak, in a very competitive industry.

What were some of the differences between working with Alpine and moving to Universal and Different Circles? Other than the lack of charting, was there anything specific that sent you back to South Carolina? 

Alpine was owned by my producer Johnny Rutenschroer and we enjoyed a very creative work environment together. It was a mutual decision to sign with Universal and we both co-produced the new album with James Stroud.

I think the biggest change in your life came in 1999. Would you briefly tell us what led to that bridge and what you shed of your former life? 

Well it’s no secret now that I struggled with drug addiction for 26 yrs. In fact I became a very high functioning addict. But I knew I couldn’t continue on like that. In 1995 I just stopped cold turkey by the grace of God. Then in 1999 I realized a need for a Savior. On July 22 1999 I confessed my sins to God and received Jesus Christ as my Lord and Savior

Your music has also gone through a metamorphosis. When did the ministry lyrics begin to flow and what were you thinking? I mean, these were different lyrics from things you’d recorded through Alpine.

After I got saved I knew I wanted to write songs and use the gifts He’d given me for His glory, not mine! As I became more acquainted with the word of God, the songs just seem to pour out of me.

One Nation Under God contains eight powerful tracks, four of which are co-written with your wife. How long have the two of you been co-writing? 

We’ve been together for 5 years  and we’ve co-written many songs together.

Leslie seems to be a woman of many talents, one of which was providing the beautiful cover design for the new album. Is she a graphics designer? 

Actually she is a retired pharmacist. But she does have a unique talent for album design.

Years ago I asked about the acoustical sound being your trademark. You told me that was what you cut your teeth on and would always be a big part of your music. I’m thrilled to see you were true to your conviction. Writers have a distinctive voice, and I believe that TRUE musicians do as well. Years always bring change and you’ve had some in your life over the past thirty-plus years. Has there been a struggle to maintain that signature voice?

 Not really. I’ve always been a huge fan of acoustic guitar and the artists that embrace it so wonderfully. People like Dan Fogelberg, Jim Croce, James Taylor just to name a few. The acoustic has always been the basis for all my music whether its Christian or not. I perform solo with an acoustic guitar so I strive to make records that I can represent with just a guitar and one voice.

You and Leslie have been trying to cover the southeastern part of the US, spreading the ministry through your music. What’s next for you and Leslie on this journey? With the Covid-19 and the sheltering in place have you put any of your scheduled ‘evenings’ on hold and what are you doing to prepare for when you can continue to move forward?

This pandemic is a terrible thing that is taking over the world. We are just trying to follow the CDC guidelines and staying quarantined. Once the virus comes under control then we will try to resume a limited touring schedule. It’s going to be tough.

That’s our eight but I have to throw in one more out of curiosity:

I know you have a big Super Hero in your corner these days but I have to ask, are you still a Batman fan? LOL (I’m Blushing) Yes no doubt Jesus is my Super Hero now. I think my Batman days are over but thanks for the reminder.

Here's a flash back thirty years to the song that runs through my head. 

Tim's current CD- ONE NATION UNDER GOD is available for purchase:

WEBSITE   CDBaby   

You can connect with Tim Malchak through the following links:

WEBSITE  Facebook   TWITTER   Instagram   REVERBNATION   YouTube

Please come back tomorrow for Turntable Tuesday where I'll be reviewing Tim's latest release: