The playlist today includes new music from Lydia Loveless, Al Holbrook, Bob Mould, Chris Forsyth, The Beths, Momma, Mike Bankhead and Tino, Waxahatchee, Speaking Suns, Rufrano, Nada Surf and more! Plus music from David Payne, Wussy, The Story Changes, The Typical Johnsons, Shrug, The Pullouts, Tim Pritchard, The 1984 Draft, The Nautical Theme, The Flamin’ Groovies, Me & Mountains, The Mayflies USA, Toxic Reasons, The Regrettes, American Werewolf Academy, Ass Ponys, Greg Dulli, Son Volt and Samantha Crain.
Some looking back indie courtesy of James, The Smiths, Graham Parker and The Rumour and Brainiac. And a live classic from The Replacements! We pay some small tribute to far overlooked songwriter Emitt Rhodes.
An exciting new band to check into is Semi-Functional. Find them on Facebook and Twitter! Scroll over to their bandcamp page and give a listen to their music! You will be glad that you did!
Part one of our interview with Charlie & Amanda Jackson about their new record, ‘The King & Queen of Dayton Country,’ recording, songwriting and their approach to music. We can consider this record to be a powerful return to a classic country duet sound that has been missing for quite some time. Check out their Facebook page! You can find their music on bandcamp! They are playing a safe outdoor show at the Yellow Cab Tavern on Saturday! Please check the Yellow Cab Tavern’s page regarding their policies for a social distancing outdoor show!
Our sixth installment of 11 Questions with… features one of the best songwriters in the Dayton Music Scene! Charlie Jackson burst onto our consciousness with his solo record ‘These Days’ (released in late 2015-early 2016) that featured some of the most well crafted, mature and relatable songs about the problems of real life. Wanting a broader sonic textures for his songs, Charlie recruited Denny Cottle, Ricky Terrell and Brad Bowling for ‘Charlie Jackson and the Heartland Railway‘ which released their eponymous titled record in 2018. A terrific EP called well… ‘EP’ followed roughly a year later. Anyone who has had the good fortune to be able to attend some of those lives shows know that Charlie was often joined on stage with his amazing vocalist spouse, Amanda, who added not only vocal harmonies but some fantastic singing of her own to those songs and a series of classic country covers. In a more just world, these songs would be at the top of the country charts!
We especially wanted to catch up with Charlie and Amanda as they are preparing to release their first record together. The release show will be happening on July 25th at the Yellow Cab Tavern which has done a terrific job of continuing to be a safe source for local music during the pandemic.
As always we wish to extend our heartfelt appreciation to Charlie and Amanda who took time out of their busy schedule to answer 11 questions for our readers/listeners on YTAA! We appreciate learning about how these terrific songs came together.
Charlie & Amanda Jackson (CAJ): We actually first started recording in Feb 2019 after just having our first show in Dec 18. After both of us (understandably) had some issues, we decided that we (and the songs) weren’t quite ready to be in the studio yet. So, we practiced a ton, and played a lot of shows and got more familiar with the material. In November of ’19 we went back in with Patrick, but the songs had all changed and evolved enough that we just started over from scratch. We had two full sessions in Nov, then another in January with Patrick and David Payne, and then a final one near the end of February with just David at the helm.
Dr. J: You have worked closely with Patrick Himes at Reel Love Recording Company here in Dayton, Ohio for several years, what first led to your recording with Patrick? How has that relationship shaped your music?
CAJ: Yes, Patrick mixed the first Railway record, and he had done such amazing work with so many artists in Dayton, I knew I really wanted to work with him in a broader capacity. We had hung out with Patrick quite a bit at shows and the Slovak Club so he had heard us play, and got to know us on a personal level. We had talked with him about what we would want a potential record to sound like, so we already had a head start toward making the album we really wanted.
Dr. J: The King & Queen of Dayton Country is a very different record than E.P. and Charlie Jackson and the Heartland Railway, how do these records compare? What influenced your work on each of them?
CJ: The two projects definitely have quite a few similarities and differences. The work I did with The Heartland Railway is far less country than this new album. My writing has always leaned more on the country side, but while working with the guys in the Railway it took more of a rock vibe to it. I have said before, we were a rock and roll band playing country songs. This new project certainly leans more toward a classic country/americana sound. Amanda and I both listen to a LOT of old country music. Like, the old stuff from the Sun Records days, 50’s and 60’s country. Stuff like Johnny Cash, Carl Perkins, and Patsy Cline. This really influenced our sound more than it did for the Railway. I have always been a big proponent of letting things progress organically.
With the Railway and with this new album. I don’t try to tell the other players what to play or how to play it. I’ve told all of them, that I’m not going to tell them how to play their instrument when they’re better at it than me. I didn’t have a bullet-pointed list of what I wanted, or where and when I wanted it. I let them feel it out and flesh it out. I could’ve said I wanted a straight Nashville sounding Tele lead guitar on the album, and it probably would have ended up sounding very Merle Haggard and I would have loved it. By stepping back and letting Casey breathe with it, he gave the lead guitar a very Knopfler-esque quality that I wouldn’t have asked for, but I absolutely dig. My songwriting across all three releases, I think, hasn’t changed a whole lot, I feel like I’ve evolved as a writer but every release combines new material with songs that I’ve had for a decade or more, and they all seem to fit together nicely. Amanda and I are even breathing some new life into some songs I wrote about 13 years ago, and they’re turning out great. Its all about letting it breathe, and seeing where it can go.
Dr. J: ‘Call This Home’ – the first single from The King & Queen of Dayton Country – addresses forms of love and support that someone finds at home – is that a correct interpretation of the title? If that is correct, did you intend to address how difficult it is to make a loving home or did the song evolve in that direction over time?
CAJ: The song absolutely reflects love and support found within a partner. We didn’t intend to address difficulties in making/keeping a loving home. Every partnership requires communication and work, but when love is there, it is just there. We do fuss at each other and we playfully argue but in our 17-years of being a couple we have never truly fought. Our love and communication have kept the big blowouts at bay.
Dr. J: How did the song ‘Call This Home’ come together musically for you?
CJ: I wrote the chorus first; I had no idea what direction I wanted for the verses yet. I told Amanda I wanted her to write her verse. She (of course) told me that she couldn’t write a verse, but then started sending me lines. They were just some insight to how she feels and how she thinks. I used those lines to craft her verse. Her verse was written before mine. But this was the first song that Amanda really had a hand in writing.
Dr. J: Where do you often derive inspiration to make music?
CJ: I can draw inspiration from just about anywhere, but my biggest muse has definitely always been Amanda. In the love songs (even if they aren’t autobiographical) I use her as the focal point of the love itself. For the sad songs and the heartbreak songs I recall back to our times apart in the rockier years of our early relationship, or I look at what I now know I would be missing out on if that love wasn’t there. Now, with this new level where I’m writing songs about her and for her to sing, she’s even more of a muse than she already was. Not just lyrically, but even the way I arrange the music revolves more around her. I write in keys that showcase her as much as possible. When I can coax her out of her shyness and get her to sing out, especially in her higher register, she has this natural vibrato in her voice that is just beautiful.
Dr. J: How would you describe the music that you typically create? How has that process evolved or changed over time (especially as you think about your journey from These Days to Charlie Jackson and the Heartland Railway to The King & Queen of Dayton Country)?
CJ: Ok, first let me just say that I think it’s hilarious that you even put ‘These Days’ in with the others. Those are really just demo tracks, at best. I really didn’t know what I was doing with any of the 4 home recorded albums I released.
Anyway, I like to think of my music as honest and relatable. I try to lean more on being clever, I don’t usually delve deep into poetic symbolism and imagery. It’s a little stripped down, a little raw. Maybe it draws from the years in Punk Rock, but I like to get to the point and make it clear. I like to tell a story.
Dr. J: What is next for you musically? Do you have plans to record again with The Heartland Railway? How would you describe your thoughts at this point for your next project?
CJ: Up next, I’m really looking to record a solo record. I don’t know how many songs yet, more than likely just an EP. I want it to be much more stripped down, kinda like Nebraska, or Southeastern, or Cheaper Than Therapy. Not much more (if any) instrumentation than just me and an acoustic. Kind of a ‘back to basics’ approach.
Amanda and I also already have several songs on deck for a second Charlie & Amanda release. Some brand new, some of them are songs that I wrote at the very beginning of my journey into country music writing. We really have the advantage of the fact that before the Railway got together, I already had 4 self-released albums worth of songs in my back catalog. Amanda has taken over the duties of figuring out which of those lend themselves to a duet format, and figuring out who should sing which verse, changing pronouns so it makes sense, etc. So, we have plenty to call back on.
I’m really focusing as much as I can on this project. We have been practicing with the other players and I’m loving the band format with Amanda in the mix. That being said, while a Heartland Railway show in the future wouldn’t be off the table, I really see this project, with Amanda at my side, is really the direction I see myself moving forward.
Dr. J: What is your favorite song to perform with Amanda? What is your favorite song to perform with the Heartland Railway? What makes it a current favorite in your performances? Do you enjoy Live Streaming?
CJ: My favorite song with the Railway, definitely ‘Sugarbeet‘. Such a fun song to play, plus it has like 4 guitar solos in it. Just a barn burner.
With Amanda, from the record, my favorite would have to be Oasis. I love the way our harmonies intertwine on that one. My favorite one to sing with her, however, would have to be one of our new ones named Carolyn. She really belts it out, it’s a whole lot of fun. Once the world opens back up, I promise it will be a regular addition to the set list.
I do enjoy Live streaming to a point, but I really miss the interactions. That was one of my favorite parts of the show. Hanging out, laughing, raising a beer. There really is no virtual replacement for that.
Dr. J: What is one message you would hope that listeners find in the unique nature of your latest music?
CAJ: Laughter and love. Its really something when you not only share a household, and share love, and share a life with your Partner, but now sharing our music together, and sharing it with others. Being a little bit vulnerable and sharing some of the truths about life and love that we’ve learned. It really helps you connect. We’ve heard people say that our voices blend so well together, and we like to believe that it’s a direct result of us trying to be so in tune with one another on every level, that it really comes forward in our music. We are not overly private people and we share real life within our songs, some of the real-life issues are hard ones that we deal with every day or issues we have overcome. We hope people can look at those and understand that regardless of what life throws at you there are always ways to help you move forward in life. One of the ways to get through muddy situations has always been, and will always be, love and support. We offer that to each other and others.
Dr. J: As a musician, how are you adapting to the challenges of the Coronavirus?
CAJ: It’s a really weird time. Especially for those in the entertainment industry. Amanda and I are lucky that this isn’t our regular gig. We don’t depend on our music to help finance our daily life. Amanda works from home, so she hasn’t missed a day over the virus, my work has been a little spottier than usual, but I’ve still worked more than I’ve been off.
We have definitely missed the shows and all of our friends through all of this. Now, on the cusp of releasing out debut album, with the Covid numbers getting worse, we are definitely afraid that our release show won’t happen the way we have planned, and that certainly bums us out. But we are healthy, and we have each other. So, we can’t complain too hard.
Thanks again to Charlie and Amanda for taking the time to answer these questions! All pictures and images courtesy of Charlie & Amanda Jackson.
The title track from The Beths sophomore record is a classic jangly poppy indie gem. This New Zealand band has been making some impressive music since 2015. The Beths have used social media (Facebook, Soundcloud, Twitter, Instagram and an incredibly socially aware website) to share their music with us! Enjoy!
There are always those key individuals in any town who give of themselves to help make the music community stronger. David Payne is just such a fixture of the Dayton Music Scene!
Since he arrived with the achingly beautiful solo albums, ‘21‘ in 2009, he has spun a series of tales about life and music. David recognized the vibrancy of the Dayton music scene with an album of cherished covers ‘Dayton, Ohio‘ in 2017. That same year he released another solo record ‘Cheaper than Therapy‘ which spoke to the powerful healing that lies in making music.
David’s latest solo record ‘Orange Glow‘ was released last year. And that is not the half of his musical productivity. With Kent Montgomery, Tom Blackburn and Matt Oliver — The New Old-Fashioned — he released a stellar debut in 2012. Low Down Dirty Summer Nights was released by the band in 2015. And the captivating energy of the band was obvious to the crowds at their shows. In 2018, the band shared their most recent impressive collection of music, Smalltown, Midwest, USA. Of course, a slew of singles and a fantastic shared ep with The Repeating Arms, Hilltops and Highways is also part of the music that David has been involved in creating.
Most recently he has released an EP of local music covers with his partner Heather Redman called ‘Stay at Home‘. Their two voices glide and slide along as if they have been singing together their entire lives. Listening to their interpretation of these songs is a joy.
As always we wish to thank David for taking the time to answer these questions! We appreciate his answering these questions for our readers/listeners on YTAA! We cannot say this enough — thanks again for taking the time!
Dr. J: What can you share with us about when and how you started recording your latest record, Stay Home (with Heather Redman)?
David Payne (DP): Well, when the stay at home order went into effect Heather and I both started missing our friends and the Dayton music scene immediately. I had just finished up my first month of running my own sessions at Reel Love Recording Company here in Dayton when this all started and I really wanted to keep working.
So, I gathered the small amount of recording gear I had at home, Heather and I both picked a few of our favorite songs written by our friends, and started recording some covers.
We didn’t think of it as anything other than a fun project that would keep us busy and that our friends might enjoy. The response we’ve gotten has been a totally unexpected and very pleasant surprise!
Dr. J: You have worked closely with Patrick Himes at Reel Love Recording Company here in Dayton, Ohio for several years, what first led to your recording with Patrick? How has that relationship shaped your music?
DP: Well, The New Old-Fashioned started recording with Patrick back in 2011 or 2012. I had met Patrick back in 2006 and was a big fan of his old band, Flyaway Minion. By the time TNOF was ready to start recording, Patrick had relocated to Nashville and was running the studio down there. I heard he was looking for bands to record and it seemed like a really good fit for what we were doing. I was a big fan of his previous work like the Minion records and Shrug’s Whole Hog For The Macho Jesus to name a couple, so I was excited to get to work with him.
Patrick has helped shaped my music in just about every way you could think of. When I first started going to Flyaway Minion shows, I was 18 and hadn’t been to very many shows at all. Before then my idea of what a modern rock and roll band was we’re bands like Green Day and Weezer. This huge, most likely unobtainable, pipe dream. What Patrick and Flyaway Minion showed me was there were rock stars right here in my home town and that I could make classic records and play killer shows right here in Dayton.
The other most important thing I learned from Patrick is that we can make classic sounding records the way our heroes did. Modern recording is very convenient and while I think that’s mostly a good thing, it’s easy for the romanticism of making records to get lost in the convenience. Everyone has their own way of making records and every way is valid, but the way we make records at Reel Love helps capture all the things I enjoy about making records. I’ve been very fortunate to be able to work with and study under Patrick. He’s taught we almost every thing I know about making records, which has become something I’m very passionate about. I’m forever grateful for that.
Dr. J: Stay Home is a very different record than Orange Glow (your last solo record), how do these records compare? What influenced your work on each of them?
DP: Orange Glow is a very personal record that I made with Patrick at Reel Love and making it was a very cathartic experience. Stay Home was recorded for fun at home on my iPad and is all songs written by our friends. Ha ha!
I’d say personal experience and Willie Nelson we’re probably the two biggest influences on Orange Glow. The pandemic, the subsequent shutdown, and the infinitely inspiring Dayton music scene were what influenced Stay Home.
Dr. J: ‘Outta Town’ addresses forms of self-doubt or concern with a band or a relationship lasting – is that a correct interpretation of some of the lyrics? In addition, if that is correct, did you intend to address overcoming doubt or did the song evolve in that direction over time?
DP: Yeah, I’d say that’s accurate. I wouldn’t say I was trying to address overcoming that doubt as much as I was just trying to express how the doubt made me feel. I guess it just kinda ended up that way do to the reflective, sort of tongue in cheek angle I took when writing it.
Dr. J: How did the song ‘Outta Town’ come together musically for you?
DP: Orange Glow is a pretty heavy record. I was at the tail end of a really difficult period in my life when I was writing those songs. I was reflecting a lot and feeling a little self isolated. I wanted to write a song that still dealt with those feeling but from a hopefully more humorous and lighthearted way. I wanted it to be a brief moment of levity in an otherwise serious record. I think bringing in a bunch of my rowdy friends to sing on it with me helped drive that idea home. We had a blast that day too!
Dr. J: Where do you often derive inspiration to make music?
DP: Of course it can come from anywhere, and often unexpectedly, but I think conversations with people are where I get the most of my inspiration for songwriting. It could be a whole in depth discussion or sometimes just one thing someone said that sticks with me.
Dr. J: How would you describe the music that you typically create? How has that process evolved or changed over time (especially as you think about your journey from Cheaper than Therapy toOrange Glow to Stay Home)?
DP: That’s a tough question to answer and probably best left to outside perspective, but If I had to describe it, I guess I’d like to think that first and foremost, it’s honest. As far as the sound goes, I think it sounds a lot like where I’m from. My own personal take on what the Midwest sounds like, I guess.
I don’t know that my process has really changed that much other than I’ve gotten a little better at it, I hope. Although, I do look to outside perspective a lot more these days.
Dr. J: What is next for you musically as a solo artist and as a member of The New Old-Fashioned? How would you describe your thoughts at this point for your next project after Stay Home?
DP: I’m always writing, and although I haven’t found the shut down to be a very creatively inspiring time, I have written a handful of things.
We’re almost done with the next New Old-Fashioned record which is a companion EP to our last record, Smalltown, Midwest, USA. It’s a couple songs from those sessions and a couple new ones. We’re excited to get it out, whenever it seems appropriate to do so, I guess. Kinda hard to know what to do right now.
As far as solo stuff goes, I tend to plan that out a lot less than I do with the band. That stuff seems to kinda just happen. I’ve got a few things that I’ve written recently that are more personal and I’ve also been working on some more character driven, concept sort of stuff that’s leaning a little more towards traditional country. Anyway, we’ll see what comes of any of that, but I’ve got some wheels turning.
Dr. J: What is your favorite song to perform? What makes it a current favorite in your performances? Do you enjoy Live Streaming?
DP: Favorite song to play with the band is Kid 2000. It’s just got a lot of energy, it’s relevant, and it’s just fun to play. All Over Now, from the first TNOF record is always fun too and has been a staple in our live set for years. It’s one of Kent’s songs, so he sings it and I just get to play Chuck Berry riffs and goof off with Tom and Matt. Ha ha.
Whatever I’ve written most recently is usually my favorite thing to play solo, but a fun one to play from Orange Glow is, What I Mean To You. The finger picking is fun and it’s my only solo song with an actual guitar solo!
I really have enjoyed the live stream stuff I’ve done, but it sure doesn’t beat playing in front of people. I feel like it was fun for a few weeks, but it got kinda old pretty quick, for me at least. The comment sections are always fun on those.
Dr. J: What is one message you would hope that listeners find in the unique nature of your latest music?
DP: I hope ‘Orange Glow‘ helps someone going through heartbreak know that a lot of people understand what that feels like, that they’re not alone, and that there might just be a little light at the end of the tunnel. When you’re in that space, it’s hard to believe people when they tell you it’s gonna be OK. I think songs that express how you’re feeling can be really helpful in hard times.
With Smalltown, Midwest, USA, the grandest hope would be that it might make someone show a little more empathy for someone who has it harder than them. I suppose a more realistic hope is that people that do work hard to show kindness and empathy, know that they’re not alone and that we stand with them. I like to think that record is ultimately about trying to understand people.
Dr. J: As a musician, how are you adapting to the challenges of the Coronavirus?
As a musician, if I’m being honest, I don’t think I’ve adapted very well at all. I’ve never been very good at digital media or promoting and distributing my music online, for better or worse. Hats off to those who are! I’ve always enjoyed the classic approach of trying to make records that sound timeless, then playing the songs live in front of people, and hopefully selling enough copies to make the next one. Rinse, repeat. That model was already dated and out the window before the pandemic. It’s kinda just dead right now and who knows when we’ll get it back. That’s the hard part. I have been able to continue to do some work in the studio, although not as much as I’d hoped to being doing this summer. I am optimistic that when the time comes, people will need live music more than ever.
From a personal standpoint though, it’s forced me to slow down, and spend more time with my fiancee and our little girl. Which has been great! We’ve gotten a lot of family time we wouldn’t have had otherwise and I think it’s made me a better partner and Dad.
My entire identity has been wrapped up in being a musician, performer, and songwriter since the moment I got my first guitar. It’s all I’ve ever wanted to do. So, I guess I’ve been going through a bit of an identity crises trying to figure out who I am outside of music.
I miss playing loud sweaty rock shows and seeing my friends. I can’t wait to get back to that, when it’s safe to do so.
Until, then I’ll just keep holding on tight to my family, writing as much as I can, and enjoying the brief time I do get to spend with friends in small groups. I can’t wait to see everyone at the rock show and give out a bunch of sweaty hugs. I hope everyone takes good care of themselves and each other in the meantime.
Thanks again to Mr. David Payne for answering our questions! All pictures used courtesy of the artist.
Every month Dr. J write a run down of 8 to 10 singles that came out the previous month.
The latest Singles Club column covers some pretty spectacular releases from June! Do yourself a favor and go check it out over at OffShelf.net!
Many thanks to the fine folks over at Off Shelf for giving us the opportunity to share some exciting new music every month! And you can listen to these selections by going to the spotify playlist each month as well. Its truly a win-win!
Streaming Forward, Powered By The Past - if you love the 80s music, new music, Eurovision, cheesy pop and awesome playlists then let's get this pop party started!
Our sixth installment of 11 Questions with… features one of the best songwriters in the Dayton Music Scene! Charlie Jackson burst onto our consciousness with his solo record ‘These Days’ (released in late 2015-early 2016) that featured some of the most well crafted, mature and relatable songs about the problems of real life. Wanting a broader sonic textures for his songs, Charlie recruited Denny Cottle, Ricky Terrell and Brad Bowling for ‘
Dr. J: What can you share with us about when and how you both started recording your latest record, 
Dr. J: You have worked closely with Patrick Himes at 
Dr. J: The King & Queen of Dayton Country is a very different record than E.P. and Charlie Jackson and the Heartland Railway, how do these records compare? What influenced your work on each of them?
Dr. J: ‘Call This Home’ – the first single from The King & Queen of Dayton Country – addresses forms of love and support that someone finds at home – is that a correct interpretation of the title? If that is correct, did you intend to address how difficult it is to make a loving home or did the song evolve in that direction over time?
CJ: I can draw inspiration from just about anywhere, but my biggest muse has definitely always been Amanda. In the love songs (even if they aren’t autobiographical) I use her as the focal point of the love itself. For the sad songs and the heartbreak songs I recall back to our times apart in the rockier years of our early relationship, or I look at what I now know I would be missing out on if that love wasn’t there. Now, with this new level where I’m writing songs about her and for her to sing, she’s even more of a muse than she already was. Not just lyrically, but even the way I arrange the music revolves more around her. I write in keys that showcase her as much as possible. When I can coax her out of her shyness and get her to sing out, especially in her higher register, she has this natural vibrato in her voice that is just beautiful.
Dr. J: How would you describe the music that you typically create? How has that process evolved or changed over time (especially as you think about your journey from These Days to Charlie Jackson and the Heartland Railway to The King & Queen of Dayton Country)?
Dr. J: What is next for you musically? Do you have plans to record again with The Heartland Railway? How would you describe your thoughts at this point for your next project?
Dr. J: What is your favorite song to perform with Amanda? What is your favorite song to perform with the Heartland Railway? What makes it a current favorite in your performances? Do you enjoy Live Streaming?
Dr. J: What is one message you would hope that listeners find in the unique nature of your latest music?
Most recently he has released an EP of local music covers with his partner Heather Redman called ‘Stay at Home‘. Their two voices glide and slide along as if they have been singing together their entire lives. Listening to their interpretation of these songs is a joy.
DP: Well, The New Old-Fashioned started recording with Patrick back in 2011 or 2012. I had met Patrick back in 2006 and was a big fan of his old band, Flyaway Minion. By the time TNOF was ready to start recording, Patrick had relocated to Nashville and was running the studio down there. I heard he was looking for bands to record and it seemed like a really good fit for what we were doing. I was a big fan of his previous work like the Minion records and 
The other most important thing I learned from Patrick is that we can make classic sounding records the way our heroes did. Modern recording is very convenient and while I think that’s mostly a good thing, it’s easy for the romanticism of making records to get lost in the convenience. Everyone has their own way of making records and every way is valid, but the way we make records at Reel Love helps capture all the things I enjoy about making records. I’ve been very fortunate to be able to work with and study under Patrick. He’s taught we almost every thing I know about making records, which has become something I’m very passionate about. I’m forever grateful for that.
Dr. J: How would you describe the music that you typically create? How has that process evolved or changed over time (especially as you think about your journey from Cheaper than Therapy to Orange Glow to Stay Home)?
We’re almost done with the next New Old-Fashioned record which is a companion EP to our last record, Smalltown, Midwest, USA. It’s a couple songs from those sessions and a couple new ones. We’re excited to get it out, whenever it seems appropriate to do so, I guess. Kinda hard to know what to do right now.
Dr. J: What is one message you would hope that listeners find in the unique nature of your latest music?
My entire identity has been wrapped up in being a musician, performer, and songwriter since the moment I got my first guitar. It’s all I’ve ever wanted to do. So, I guess I’ve been going through a bit of an identity crises trying to figure out who I am outside of music.
Every month Dr. J write a run down of 8 to 10 singles that came out the previous month.
your tuesday afternoon alternative 