Interview with Charlie & Amanda Part 1!

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!

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11 Questions with… Charlie & Amanda Jackson

101714517_10163801825875154_1076073664824213504_nOur 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.

a0726141733_10Dr. J: What can you share with us about when and how you both started recording your latest record, The King & Queen of Dayton Country?

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.

26239520_2226642254027923_4918144062901090525_nDr. 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.

a1952434078_10Dr. 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.

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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.

GEA - drjwudr 3.28.17 finals-51Dr. 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?

Charlie Jackson 1CJ: 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.

0016080444_100Dr. 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.

96112891_2270047886637202_1346419578112049152_nDr. 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.

47574998_1930907883884539_3649514156148654080_oDr. 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.

96255009_2270047959970528_8107203026961301504_nDr. 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.

Charlie & Amanda on Facebook   Charlie Jackson and the Heartland Railway on Facebook

Charlie & Amanda on Bandcamp

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Video of The Day: Kyleen Downes

Our video of the day comes courtesy of Dayton songwriter, guitarist and all around cool person Kyleen Downes. This new song ‘Tiny Little Table‘ is from the album ‘Come On Sit Down’ which comes out tomorrow – June 12th! Check on the record at Kyleen’s store! What is more is that she is live streaming a release show tonight on her homepage!

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YTAA Playlist for Today!

This week we have new music from Bob Mould, Mike Bankhead (see the insightful interview), Silver Sun, Next to Nowhere, Short Shot, Seth Canan, Cricketbows, Kathleen Edwards, Sweet Spirit, The Mountain Goats, Archers of Loaf, The Clean, Fruit Bats, Hinds, Rolling Blackouts Coastal Fever and Mt. Joy. We also have cool music from The Typical Johnsons, Andy Gabbard, Postal Worker, Son Volt, Oh Condor, Charlie Jackson & The Heartland Railway, Guided by Voices, Kyleen Downes, David Payne, Neo-American Pioneers, Mandy Jewell and Harold ‘The Golden Voice of Dayton Roots Music’ Hensley!

And #lookingbackindie with The Suburbs, Sebadoh and Teenage Fanclub!

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11 Questions with… Mike Bankhead

101714517_10163801825875154_1076073664824213504_nThis interview with songwriter, bass player and keyboard stylist Mike Bankhead is the third installment in our series of ‘11 Questions with…‘. This series is an effort to understand songwriting by exploring in some detail the creative process through a deep examination of the recent craft of a talented musician. We hope that we all learn about area artists and the music that they are making. As well as learning about how they are creating music and doing so especially during these challenging times in which we find ourselves. How artists go about creating music, lyrics, themes, arrangements and more will be explored in this regular column.

A hearty thank you to all of the artists and musicians for taking the time to answer these questions for this column! We appreciate you answering these questions for our readers/listeners on YTAA!

Mike Bankhead is a Dayton, Ohio musician who constructs with deliberate care catchy melodic modern rock music that illustrates his gift for vibrant stories about the emotional impact of the decisions we make on our life journey. Mike clearly spends a great deal of time on his craft as his songs capture the just out of reach catchy melodies, inventive chord progressions and energetic rhythms that are fresh and inventive. Mike’s songwriting includes his insightful lyrics that explore the contested terrain of life, heartbreak, love, loss, location and the awful realization that having and not having are equally enthralling.

Mike Bankhead released his debut album, Echo in the Crevices in 2017. He recorded the album at Reel Love Recording Company with well-known Dayton engineer and producer Patrick Himes. The album featured a literal who’s who of area talent, including Brian Hoeflich (Cherry Lee & the Hot Rod Hounds, Flyaway Minion, John Dubuc’s Guilty Pleasures), Tod Weidner (Shrug , Motel Beds), Kyle Byrum (Salvadore Ross), Tim Pritchard (The Boxcar Suite, Shrug, Flyaway Minion), and three-fourths of The New Old Fashioned. Just last year, Mike released a hook-filled exploration of longing called ‘Little Light‘ and the excellent split Defacing The Moon with Brandon Berry of The Paint Splats. And if that was not enough, he most recently — days ago in fact — released his latest single, ‘Promise.’

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Dr. J: What can you share with us about when and how you started writing your latest released songs, Bright Ideas?

Mike Bankhead (MB): Wow, I wrote that long enough ago that I don’t think I remember exactly when. It was sometime after my first album was released back in summer of 2017, but definitely before February 2019 when I went in to Reel Love for a pre-production meeting.   These days I usually write on piano, but this one was definitely written on bass as far as the part you hear the rhythm guitar playing is concerned.  I did use the piano for the hook you hear in the outro, and to double check all of the notes I was singing during the other parts.

Dr. J: You worked closely with Patrick Himes at Reel Love Recording Company here in Dayton, Ohio – what led to your recording with Patrick?

MB: Patrick did the engineering work on my first album. Aside from that, I’ve probably known him for about 20 years? At least 20 years.  He’s so very talented, and after the experience of my first album, I know that I’m comfortable working with him.  I didn’t think for a moment about doing this song with anyone else.

Dr. J:Bright Ideas’ is a fascinating song for all of us interested in music composition; did you set out to mirror some of your influences when starting to work on that song?

17155483_1079840295494479_7656602931119695497_nMB: Absolutely. I wanted to write a Bob Pollard song.  If you listen to the song again, you’ll notice it has no chorus.  Part of that was a mild form of protest against “the music business”… so much of the advice that gets thrown at songwriters takes the form of someone saying “don’t bore us, get to the chorus”… First, if someone is bored because the chorus didn’t happen during the first 20 to 30 seconds of a song, thta’s not a person that I think I want to be listening to my music.  Second, how about no chorus at all then? The structure of the song is A A B C.  There are plenty of Guided By Voices songs that are quite brief and have no chorus, but they’re catchy anyway.  With that in mind, part of this was definitely meant as a form of admiration for Bob and his work, I kind of hope he hears it someday.  I like to imagine it as a GBV song, and I can kind of see Bob doing that little hopping dance he does.  The outro is heavily influenced by Fountains Of Wayne.  That lead riff is played on guitar, but it could just as easily have been played on synth, after all, I wrote it on a piano.  You’ll find some synth leads in their catalog.  I also wanted a bunch of harmony vocals in there, which you’ll hear all over Fountains Of Wayne songs.  All of the above to say that I wanted to take some of the things from these specific influences, but end up with a song that still sounds like ME, and I think we were able to get that done.

Dr. J:Bright Ideas’ seems to address hopefulness – is that a correct interpretation of some of the lyrics and/or feeling in the song? In addition, if that is correct, did you intend to address hopefulness or did the song evolve in that direction over time? If that is not a correct interpretation, is there a theme to the song?

MB: Yeah, I can see why it could be interpreted that way. I’m not entirely sure it started off heading that way. I definitely know that I wanted to write it in a major key, so it’s in E instead of E minor.  That itself is a change for me, I don’t usually write in major keys, I find something comforting in the mood that minor keys convey.  (As an aside, that’s probably very much a cultural construct based on what we as a whole are accustomed to hearing in Western music, but it’s hard to run from all of that musical history.)  Doing this in major lent itself to a, let’s say, BRIGHTER sound, and I think that really supports the title and overall theme of the song. The word “hope” is actually in the B section, so yeah, I’d say you’re on target with the interpretation.

Lyrically and musically, the thing that happened first here was the lyric and melody “tell your teacher I got some bright ideas.”  I don’t at all remember when I came up with that, but whenever it was, I liked it enough to sing it into a voice memo.  At some point when I was writing the songs that eventually came to the studio with me, I went back and listened to a bunch of my old voice memos, and thought this one had decent potential for a song.  I’m glad I picked it, instead of having it still be out there all alone on my phone.  The rest of the song grew from that starting point.

73333452_1884675495010951_4914365222908592128_oDr. J: How did the song come together musically for you?

MB: Oops, I already kind of answered that in the previous question. To give more detail and leave no room for doubt, working from that voice memo I mentioned, I sat down with the bass and built the skeleton of the song… the rhythmic structure, the chords that the guitarist would end up playing.  Next was finishing out the melody, finishing out the lyrics, then double checking with the piano to make sure there were no false steps.  This thing doesn’t come naturally to me like it does to so many musicians.  I really have to WORK to make music, and the way my mind is, I have to understand how something functions in order to use it properly, so i definitely lean pretty hard on what I have learned about music theory when I’m writing.  Specifically when it comes to melody, I find every single note that I plan to sing on the piano, and make sure that it works within the chord structure of the song.  If it doesn’t, I either change the chord that is causing the clash, or pick another note to replace the one in the melody that sounds bad.  It’s definitely not the most organic way to write, and it’s certainly not the most efficient way to write, but that’s my way.  (Insert shrug emoji.)

Dr. J: Where do you often derive inspiration to make music?

MB: “Often” is the difficult word in that question, because it’s not a consistent source of inspiration. There are times when there is something I need to say, and I do that by writing a song. There are times when there are feelings that need to be dealt with, and I do that by messing around on bass or piano… sometimes a song comes out of it, sometimes it doesn’t.  (Like David Payne says, it’s ‘Cheaper Than Therapy, though I’m not sure if it’s as effective.)  There are times when I write because I know that I SHOULD, because if you don’t keep writing, you won’t get better.  It’s those times when I try to look at it like a job.  I started my own LLC, a small business around music, so it is very much a second job.  Sometimes on a job, you have to get work done even if you don’t feel like it, so there are indeed times when i don’t feel like writing, but I force myself to write.  I belong to an online songwriting group that has challenges every now and then where you have to write 5 songs in 5 days.  During those challenges, I write whether I’m inspired or not, because that’s the point of the challenge.  Remember when we used to go to shows?  A great show when I’m seeing artists I admire – whether they are from Dayton or a national touring band – a great show has me thinking about writing for the next few days after the show… it’s kind of a like a post-show high for me.  Watching a songwriter I respect do their thing is a massive source of inspiration. I try to learn from the shows I see, from the albums I listen to, from useful criticism, and from advice, if the advice comes from a source I trust.  One piece of advice that I think about now and then came from one of my favorite songwriters, Dan Wilson [Semisonic, Trip Shakespeare].  He’s a Minneapolis guy, so you’re probably familiar with him [Yup! – Dr. J].  He says “if it’s something that you would tell to a friend, it’s something that you can put into a song”… think about the kind of things we talk about with friends… whether it’s our spouse, or close colleague, or lifetime BFF, or someone who is a dear friend that we don’t see so often due to distance.  That’s a lot of material to draw from.

I should also probably add that just because I write a song doesn’t mean anyone else will ever hear it.  I don’t throw away as many ideas or completed songs as I used to, but there are still things that I write that aren’t good enough to be heard by anyone else, and that’s OK.  At the end of the day, I think a songwriter has to write for them-self first.  Write what speaks to you, write what moves you, write something that says what you need to say, write what helps you deal with whatever you need to deal with, be authentic.  Maybe that’s something that nobody else should hear, and if that’s the case, it’s OK.

0020011062_10Dr. 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 Echo in The Crevices to Little Light to Bright Ideas)?

MB: This sounds like you’re asking for an updated elevator pitch. If you’re not, that’s how I’m going to approach the answer, because I think we artists should always be ready with an elevator pitch.

I make Midwestern indie rock that sounds like a less jocular version of Fountains Of Wayne trying to cover a Guided By Voices song in the style of Superdrag on one of their angsty days.  It usually is guitar-driven, but sometimes features piano.

For how it’s changed since my first album, I’ve been making a conscious effort to write songs that are a bit tighter.  This isn’t a reaction to anyone complaining about long songs, it’s just that I haven’t recently found myself to need 6 minutes or 8 minutes to do what I want to do lyrically and musically.  On my first album, there are some long songs, but there needed to be.  I’ve been feeling less of that need recently. That said, I do kind of want to write a ten minute epic, but I have to find the right music for something like that. I’m also leaning a bit harder on my power pop influences.

a3589681113_10Dr. J: What is next for you musically? How would you describe your thoughts at this point for your next project after Bright Ideas?

MB: I spent February 2019 to February 2020 in the studio. I have 21 songs in various states of having been tracked.  Five of those songs are already out on the Defacing The Moon split.  “Bright Ideas” was also one of those songs.  A bunch more of those songs are going on my second full-length album, which is called Anxious Inventions & Fictions. The album is done, and the compact discs should show up before the end of June.  For the next few months, I’m going to be doing a PR and marketing campaign for the album.  I’d love to hire a company to do that for me, but that’s expensive, so I’ll be going full ‘DIY’.  That’s a great deal of work.  Sadly, I know that I won’t find much time to write new music or even practice my instruments over the next few months.  I’ll try to carve out some practice time here and there.  In order to get any writing done, I’ll have to specifically set writing appointments on my calendar and squeeze in time here and there. I also might release a stand-alone single near the end of this year, and maybe another one next spring.  These would be songs that are already tracked.

Once the album is out, then I will turn attention to another project I have.  I have an outrageously talented co-writer named Ruth who lives in Ipswich, on the East Coast of England.  We have a project called ‘We Met In Paris’ (it works because it’s true), and we have around 25 songs now in various states of completion, and the plan is to keep writing.  No rush here, but we’re definitely going to make an album.  No rush because we want to do it right.  If a song isn’t good enough to go on the album, no worries, we keep writing.  That project is going to have a different sound than my solo work.  It’ll dip maybe a little into indie folk on occasion.  I promised Ruth that I will not make another full solo album until we release a ‘We Met In Paris’ album.  That doesn’t mean I might not run to the studio for the occasional one-off single if I can pull it off quickly, but for a lengthy project like I just finished, yeah, that won’t happen for at least a couple of years.

I’m enthused about ‘We Met In Paris’.  Writing with Ruth feels good.  I see so much potential in the work we’re doing. As long as it keeps feeling good, we should keep writing, while at the same time being sure to make sure we’re making quality art.

Dr. J: What is your favorite song to perform? What makes it a current favorite in your performances? Do you enjoy Live Streaming?

MB: My favorite song to perform is ‘Promise. Interestingly, that’s the lead single for the next album, and it’ll be out in June. (The single, not the album.)  Part of what I like about it is that it still has that new song shine.  I guess it’s not super new anymore, but I think it’s one of the best things I’ve ever written, and playing it is kind of positive reinforcement.  Surely I’m not the only artist that goes through periods of hating everything I create, right?  Well, I haven’t had any of those feelings come up around ‘Promise yet.

I enjoy the Live Streaming very much.  This reminds me that I should do it more often.  I actually get much less nervous doing streaming than playing live in the same room with people.  That said, I miss playing live in the same room as people.

Dr. J: What is one message you would hope that listeners find in the unique nature of your latest music?

MB: Honesty. I think that goes for my older stuff, too. Even when the protagonist of a given song is not necessarily me, and even if the song is not meant to reflect an actual real situation (looking at YOU, “Little Light”), the lyrical content should still be honest.  Sure, sometimes as songwriters we write fiction, and that’s OK, as long as it feels true.  I’m probably not expressing this in the best way, but it goes back to authenticity.  When you listen to ‘Bright Ideas, and when you listen to the upcoming Anxious Inventions & Fictions, I hope that you take away a feeling of authenticity.  I wish for people to realize that I’m not trying to chase musical trends or write what’s popular, I am trying to write the music that speaks to me first, and then share my art with others.  That doesn’t mean I will never experiment with playing around with genre or instrumentation, on writing from other points of view, writing in languages that aren’t English… but I wish for people to realize that I’m not pandering to anyone, and that I’m being honest and authentic.

Dr. J: As a musician, how are you adapting to the challenges of the Coronavirus?

MB: It’s strange, my life is mostly unaffected, specifically because being a musician isn’t my main source of income yet. I very much wish it to be. There is nothing I would love more than to get a regular paycheck in exchange for writing songs, but I’m not there.  I still have a corporate job.  Since I work that corporate job from home (and I’ve been doing that for a few years), nothing has changed significantly about my work situation yet.  I realize that not everyone can say this, and that I should absolutely reflect on this and be grateful for my situation.  If I were a full-time musician, things would be difficult right now.

The pandemic hasn’t made its way into my art yet.  I’ve noticed that songs about various aspects of the pandemic and its impact have started to be released.  That’s cool if that is what moves a songwriter, but it’s not something I personally want to write about. Maybe in the future that will change, who knows?

I miss live shows.  I can be in a terrible mood, and go see an acoustic performance at Showcase Thursday over at Yellow Cab, and then be in a better mood.  Something about a person and a guitar and a few songs just kind of makes me feel better.  I like the quiet shows.  I like the loud shows as well.

One benefit of the pandemic is that I’ll have ample time to do my promotion campaign for the upcoming album.  I am going to take a week vacation from my corporate job, and of course, I’m not going anywhere.  (Yes, I realize Ohio has opened up, but I’ll still stay at home other than heading to the grocery store, thank you.)  That gives me plenty of time to put in the work.  Not just promotion, but also research and learning more about the business.  I’m also working on getting into sync licensing, and I plan to take some time to run down some leads in that area as well.


Mike Bankhead Music on Facebook     Mike Bankhead on Twitter at @mbankheadmusic

Mike Bankhead on Instagram at MikeBankheadMusic

Thanks again to Mike for answering these questions! If you would like to participate in a future ’11 Questions with…’ column, please feel free to email us at drjytaa@gmail.com. If you have, a particular picture you would like used in the article, please feel free to attach that as well. All pictures and images of Mike Bankhead courtesy of the artist and photographer Patrick O’Reilly.

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11 Questions with… Seth Canan

101714517_10163801825875154_1076073664824213504_nThis interview with Seth Canan is the second in our series of ‘11 Questions with…‘. The point here is to learn about area artists and the music that they are making. How are they creating music and especially during these challenging times in which we find ourselves? How artists go about creating music, lyrics, themes, arrangements and more will be explored in this column. We are very excited about the artists who have agreed to participate in this regular series! 

A hearty thank you to all of the artists and musicians for taking the time to answer these questions for this column! We appreciate you answering these questions for our readers/listeners on YTAA!

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We need some back story before diving into the interview with Seth. Lifetime friends, Isaac Schaefer and Seth Canan (pictured here from one of their visits to Your Tuesday Afternoon Alternative), started in music by playing local bars in their hometown of Covington, Ohio at the tender age of 15. Throughout High School, they continued to write, play and record compelling music together. While Seth was on his first break from Ohio University, they bumped into their old friend and stellar drummer, Zac Pack, for an unexpected jam. That fun turned into a show. And then from that show they turned into a full-fledged rock band, Seth Canan & The Carriers.

The band released The K Hole Sessions EP in 2016 then in October of that same year their self-titled full length came out. The next year the band released the acoustic Schoonover Sessions and the Pennywise single. In June of 2019, the band released their sophomore album, Strange Forces.

Seth Canan can fool you. His involvement in music goes back far longer than you would suspect. He has been making and performing music since he was a teenager! Of course, one has to wonder about the challenges of being so young and playing in bars and venues where you would not normally find someone at that age. There is no world weariness in Seth even though he has been making music for so long. His humor, good nature and kindness come through in person and in his music. Seth carries a level-headed wisdom learned from spending years in writing and making music. 

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Dr. J: What can you share with us about when and how you started writing your latest released songs, Keep Some Light & Nothing Here Now?

Seth Canan (SC): Nothing Here Now’ was written just before I graduated from Ohio University in May of 2019. The Court Street referenced in the second verse is the same one in Athens, Ohio. Although, I hope for other listeners it’s kinda like in Nightmare on Elm Street 6 how every town has an Elm Street and is, therefore,  accessible to Freddy. Anyways, I was dealing with a rush of emotions looking back on my college experiences. Not only did I go through some painful changes, but my perception of Athens went from the intoxicating magic of a brick-built, Bohemian college town to a much more realistic, and sometimes damning, disposition. After graduation,  I was preparing to come back to my hometown of Covington, Ohio. Similarly, I have such fond memories of my hometown, full of loving and compassionate people. However, I have come to see the much more sinister and problematic sides of it that surely were lurking around when I was still a kid, but was lucky enough not to notice yet. These places that I have felt so close to, felt incredibly distant and strange to me. I didn’t know if they had anything left to inspire me with. They at least inspired one more song for now though. 

0020050143_10Keep Some Light was written sometime in February of this year. I had the first chords of the chorus coming a long for a while before I started really writing it. The only problem was that I kept singing a small part of another song to fill in the spaces. Dr. J, I only share this with you because I know you are a fellow fan [Which is quite true – Dr. J]. But, the very first line of the chorus was inspired by The Who’s ‘Too Much of Anything‘. It turns away from it quickly though so I should be clear from any copyright problems brought on by whoever owns The Who catalog now. But I thought you would enjoy that. Anyways, the chorus came before anything else. I was so happy with it but I was so afraid that it sounded a little corny. I thought maybe it wasn’t the right thing to continue working on.  I even made a Facebook post asking fellow musicians and songwriters what they do when they are faced with the dilemma of using a corny song. I was so delighted to see an outpouring of my peers, some of whom I’ve never actually spoken with, joining in on that conversation. And from the advice I received,  the song needed to be just how it is and I didn’t need to worry about if it’s corny or not. It is what it is. It feels good, it’s valid.

Dr. J: You worked closely with Micah Carli at Popside Recording in Troy, OH, what led to your recording with Micah?

54279518_844150542587995_6985658998640869376_oSC: Micah recorded the first and self-titled Seth Canan & The Carriers album as well as our single for ‘Pennywise’. He consistently does phenomenal work in any genre that might come his way. But, Micah actually mastered the tracks. I had tracked and recorded, mixed, and produced the tracks on my own. After graduation, I started a few Audio/Visual projects (Hayner House Sessions and Trojan City Limits) where I put my music production education to use. I was getting more and more comfortable with my equipment and learning how to trust my ears when I mixed. The band had flirted with the idea of self-recording a couple of times but I just wasn’t confident enough to do so at those times and feared that it would drive me insane. I had such a strong vision with these songs that I couldn’t help but record what I was hearing for them. We did have a couple of projects we wanted to do with Micah with the rest of the band, like possibly a live set in his studio. But, we never moved on those projects as the band became busy.

So, going to Micah for mastering seemed to make the most sense. Mastering is a very delicate, but integral, process and I believe he has a more accurate ear for it than I have.

a4122669733_16Dr. J: Keep Some Light is a meaningful song for all of us dealing with challenges; did you set out to address the concerns and challenges of everyday life when starting to work on that song?

SC: I don’t think I necessarily set out to address the concerns and challenges of everyday life, at least not at first. It began as a feeling very specific to me as it often does. However, I do like to go back and look at how I can rework the lyrics to be more inclusive and inviting for others to attach their own troubles and worries to the song, whatever they may be. 

Dr. J: Keep Some Light also addresses forms of self-doubt – 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?

SC: I would say that is a great interpretation of the lyrics. And it is even more fitting that I doubted the song itself from the beginning. But, more specifically to the question, I did intend the song  to be about self-doubt. I wanted to convey someone overwhelmed and shut down by the feeling that everything is either currently falling apart or they’re waiting undoubtedly for it to do so.

Dr. J: How did the song come together musically for you?

SC: It all started with the opening lead-rhythm riff you hear at the beginning. It felt like if Dawes played Celtic music to me. Zac had recently purchased a Gryphon, which has a similar tonal flavor to a mandolin, but set up like a tiny 12-string guitar. I played the intro on that thing and I instantly knew that was what it was supposed to have. As far as drums go, I would come home from work everyday to try and work it out. My neighbors had to be so sick of it. I feel that no matter when I get behind a drum kit, AC/DC’s Phil Rudd is always in mind. Keep it simple and don’t try to spice it up when the song calls for a solid backbone. It’s got to swing and have a feel that makes you have a stank face when playing. I’m not much of a drummer at all, but the part I finally worked out seemed fitting to me. The rest of the instrumentation came as I laid them down. I knew that the instrumental/bridge section needed to feel big. One of my favorite ways to do that is with 12-string guitars panned left and right with some “guitarmonies” dancing together in the center.

98999659_2986924921361346_5885076321985363968_oDr. J: Where do you often derive inspiration to make music?

SC: Once things get to the actual musical side of things, I don’t usually have a problem feeling inspired. Most of the time, the simple fact that I am wielding something that can make emotional noise as soon as the volume knob gets turned up is enough to put me there. However, the lyrical side of things is a bit more frustrating and delicate. I can go weeks or months without feeling the inspiration. I certainly try to muster it up sometimes with little success. But, when I feel truly, lyrically inspired, it’s like all the random forces align themselves and calm the air. I can finally sort through my thoughts and get to what I really am trying to say down on paper. It just begins to flow. Still haven’t found out how to make that happen on command. But, maybe it’s better that I haven’t.

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 Strange Forces to Keep Some Light & Nothing Here Now)?

SC: I typically create music that is rooted in rock, driven by guitar, and often more melancholy themes covered by a catchy chorus. These don’t seem so different from that to me, except that maybe I put a little more driving force behind the vocals and emphasis behind the lyrics. What was most different was the process. For me, this felt like a return to my more innocent musical endeavors as a teenager where I would come home from school and try to piece together a song all on my own with the little bit of recording gear I had. Just like then, I was alone in the creative space for these tunes. But now, the technical side of that creative space has received an upgrade and I have a much better understanding of what I’m doing on the recording side of things. 

Dr. J: What is next for you musically? How would you describe your thoughts at this point for your next project after Keep Some Light & Nothing Here Now?

SC: I’m not really sure what is next. I am beginning to produce music for some other artists as well, which is very exciting for me. As far as the band goes, we have been discussing the possibility of doing another album as a self-produced venture. We have a couple of ideas in the works that could be ready to track soon. But, I am always conscious that self-producing is a different beast that has its own pros and cons. Certainly with the band, having someone as talented,  knowledgeable and kind as Patrick Himes or Micah Carli behind the board can help reel in the band’s focus and mojo tremendously.   

I also have a couple more tunes that, like the single songs, feel more suited for a solo route. I enjoyed the challenge of performing all the parts on the single. However, there are a lot of talented people in Dayton that I often think of when I hear a part or style that would fit in the song I’m writing. So, I would definitely love to collaborate with some of these folks.

Dr. J: What is your favorite song to perform? What makes it a current favorite in your performances?

SC: My favorite song to perform right now is probably Inside the Glass. It’s one that everyone in the band gets to have a little fun on. It’s feel and groove is a lot different from anything else we do. That’s one where we sometimes syncopate perfectly and sometimes it clanks in the coolest way.

Dr. J: What is one message you would hope that listeners find in the unique nature of your latest music?

SC: I suppose one message I hope they find is that when life presents us with so many situations where we feel overwhelmed and totally out of control, it’s important to recognize that feeling and express it. However, remind yourself of the things that keep you going and hungry to fight for your truth and your good.

Dr. J: As a musician, how are you adapting to the challenges of the Coronavirus?

SC: I’ve been fortunate enough to have audio engineering/recording projects to keep me occupied. Trojan City Limits is especially a response to Coronavirus taking away live events. It’s been an absolute blast working with John Hendry, Gary Pelini, and Phil Doncaster on that program. I also did a little late night acoustic live stream where I played some covers. The band has just recently started to jam together again. With no shows to speak of yet, we are focusing on sharpening new original ideas. As things open up, we hope to have an opportunity to safely play for a live crowd soon. All things considered, the break we took has put a little bit of fire back into the band. We’re ready to work. 

Follow Seth Canan & The Carriers on Instagram!   You can also follow them on Twitter.

Check out Seth Canan & The Carriers music on Bandcamp!


Thanks again to Seth for answering these questions! If you would like to participate in a future ’11 Questions with…’ column, please feel free to email us at drjytaa@gmail.com. If you have, a particular picture you would like used in the article, please feel free to attach that as well. All pictures and images of Seth Canan courtesy of the artist.

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New Music from Seth Canan

0020050458_100Amazing songwriter and keeper of the rock and roll flame Seth Canan is known for his super catchy music and high energy shows with Seth Canan & The Carriers. He has just made some new music available for us today that we need during these difficult days.
You can buy these records on bandcamp using the name your own price option! A gesture of generosity that speaks to the kind of person that Seth is on and off stage.
All songs written and performed by Seth Canan
Produced, Engineered and Mixed by Seth with Assistant Engineers: Isaac Schaefer Jr. and Zac Pack Mastered by Micah Carli at Popside Recording in Troy, OH.
Cover Art: “Image of the Child” by Sadie Canan Graphic Design by Kena Nowlin
Great new music! Thanks Seth!
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Video of The Day: The New Old-Fashioned – Kid 2000

Kid 2000 is one of the tracks on the The New Old Fashioned’s third album, Smalltown, Midwest, USA from Magnaphone Records. The video was directed and filmed by Jake Wisecup. You can find The New Old-Fashioned on Facebook, their website, and Twitter.

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Best of 2019: Brandon Berry of The Paint Spats’ Picks and Thoughts

Best of 2019

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Misconstrued – Seth Gilliam & The Fake News

There hasn’t been one project that Seth has been a part of that hasn’t been astounding, and this album is no exception. I’d say the fella’s talented beyond his years, but I’m the same age and that would just make me depressed now, wouldn’t it?

 

Where Have I Been All Your Life? – John Dubuc’s Guilty Pleasures 61470138_554840258255776_5954152654669086720_o

John’s become one of my best friends over this past year. It all started because I told him that when I grow up, I want to be as good of a songwriter as him, and that’s the truth. I’ve never heard a record with such re-listen-ability-ness as this one. This record will live with you for a long time.

 

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What The Brokenhearted Do… – Tim Heidecker

This one blows my mind. Tim tricked us into thinking he got a divorce and wrote an entire record surrounding said divorce. He is the Andy Kaufman of music, a triple threat of awesome. Plus, he’s heavily influenced by Warren Zevon, which is no crime.

 

Bad Wiring – Jeffrey Lewis & The Voltagea0025309944_10

Because of my hankering for vinyl, a friend sent me the “LPs” music video from Jeffrey Lewis and I was enamored. This record has no shortage of great tunes, including “Except For The Fact That It Isn’t,” “Till Question Marks Are Told,” and “Exactly What Nobody Wanted.”

It’s easily become one of my favorite records of 2019.

 

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In League with Dragons  – The Mountain Goats

John Darnielle has been my biggest influence when it comes to my own songwriting. This album, in a way, feels like an experiment, or at least a divergence of style, which I love. There are a few country-esque tunes, and an 80s-inspired power ballad.

There’s adventure all across this one.

 

When We Fall Asleep, Where Do We Go? – Billie EilishBillie_Eilish__When_We_All_Go_To_Sleep__Large

There is something dark and sinister that she’s bringing to the table that breaks up the monotony of the four-chord safety net that’s been implemented in pop music over the last few decades. Her live shows and music videos are out of this world. Billie gives me hope for music.

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Misery – Age Nowhere

Paul Monnin ripped me from my sad bachelor pad on Central in late 2018 to bring me to my first open mic in several years at Star City Brewing. I heard him play this before I knew anything about his band or his songwriting. I associate this tune with my entrance into the Dayton music scene, and it couldn’t have been a better one to remember it by.

 

 

a3408849665_10Transference – Overthought Musik

I am a firm believer of never moving the needle once it hits the grooves, but for some reason I break my own rule for this one. The whole record is a knockout, showcasing some of Dayton’s beloved heavyweights.

But this song, man. I can’t stop!

 

 

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Miami Memory – Alex Cameron

The fuzzed-out drums, the simple melodies and minimal musical distractions, Alex Cameron tells it like it is. The lyrics are dirty, comical, yet heartwarming, and the video just reinforces the point.

Every time I hear it, I feel like I’m falling in love all over again.

 

“What I Mean To You” – David Paynea1693069051_10 (1)

How can I make a best-of list and not include our good pal, David Payne? Like Nebraska before it, Orange Glow is an intimate record that gives you the sense that you’re being serenaded by a woeful traveler who shares the same heartbreak as you. After it’s over, all you can do is pour yourself – and your guest – a glass of whiskey and stare into the fireplace until the embers sizzle away with the sunrise’s orange glow. That’s what it means to me.

 

hqdefaultBrandon Berry is the sonic artist behind The Paint Splats. He loves long walks, sunsets and… just kidding he is a songwriter, videographer, photographer and visual artist who in his down time is watching VCR tapes and writing some of the catchiest indie and alt-country pop songs this side of the Mississippi. His latest record is Defacing the Moon, a split album with Mike Bankhead, available now. The Paint Splats are on twitter and instagram as @thepaintsplats.

Thank you!

g5aI_GhAWhat a weekend celebration!

I write this note with tears in my eyes and a full heart. For 15 years it has been a rare privilege to bring great often overlooked music to a radio audience. This past weekend we were able to celebrate some of that terrific music together in our music family!

This weekend has been so very special and powerful. Thank you to The New Old-FashionedNeo American PioneersThe Typical JohnsonsAmber HargettRok (the only non-Dayton band), The 1984 Draft and Ghost Town Silence for an amazing night two! From start to finish each musician, each band, each song took our breath away.

And many thanks and appreciation to The Boxcar SuiteCricketbowsAndy SmithTEAM VOID and Age Nowhere for an amazing first night! You were all magic. Lightning flash magic – each and every band.

Love to Tracey Love Jipson who as Mrs Dr. J keeps me grounded and supported this endeavor beyond my wildest dreams. I love you.

Thanks are due to all the fine folks at Yellow Cab Tavern for everything. This event was only possible because of them and their hard work! If you want to experience a real rock and roll show, you can find few better places to go.

Without our sponsors — Salon Noir and South Park Pizza Tavern — we could not have had such an amazing event! Thank you for the encouragement and support. It means the world.

We must also send our heartfelt love and gratitude to Daniel Simmons for being not only one of the finest sound managers in the business but a sweet and pleasant fellow! Thanks Dan!

We must also thank Jennifer Taylor Photography for taking photos, support and just being all around awesome! Thank you so much Jenn!

Finally without the efforts of Ten High Productions this crazy idea of a music celebration for a 15 year old radio show would never have left the ground! Anyone who has organized a show knows how much goes into an event. With Ten High this was far easier. Thank you Brian and David!

Last but far from least, to everyone who came out over two busy weekend nights to see these fine musicians perform and who showered Mrs. Dr. J and Dr. J with so much kindness. Thank you so very much.

Wow! What a weekend! Now let’s go make radio for another 15 years.

Photo courtesy of Mickey Chappell.

Freight on YTAA

39751125_2100024070315564_2545344842498572288_oThis Tuesday join us as we welcome Freight to Your Tuesday Afternoon Alternative

This week one of the youngest bands in Dayton joins a slightly older — shut up with your judgement — Dr. J on Your Tuesday Afternoon Alternative. In the spring of 2017, five friends got together with the goal of creating catchy, funky, rock and roll. From that musical inspiration, Freight was born. The band is known for high energy, genre crossing, odd time signatures, blended with driving rock and roll. In the spring of 2018, Freight released their debut album, “Start the Night Off Easy” under Gem City Records which you can listen to on spotify. Their sophomore album is in the works for everyone. 

BandYou should make some time to join us on Tuesday as Freight joins us in the studio to play some acoustic tunes and chat about their first and making second records on Tuesday, May 7th from 3-6pm on WUDR on 99.5 & 98.1fm and online at wudr.udayton.edu! See you there music lovers!

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