Music Video

11 Questions with… Greg Humphreys

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In American music, there are artists whose regional roots run deep, intertwining with the cultural fabric of their home state. Greg Humphreys, the charismatic frontman of Dillon Fence, has spent decades carving out a musical niche that echoes the soulful resonance of North Carolina. His solo endeavors, marked by a fusion of rock, blues, jazz, and Americana, showcase a maturity that comes from a life dedicated to the pursuit of authentic sound.

Humphreys’ musical journey began in the late ’80s with the formation of Dillon Fence, a Chapel Hill-based alternative rock band that became synonymous with the burgeoning music scene in North Carolina. The band’s sound, characterized by jangly guitars, introspective lyrics, and Humphreys’ powerful, soulful emotive vocals, contributed to the distinctive Southern sound emerging from that fertile music community that also gave rise to The Connells, The Veldt, Fetchin’ Bones, Superchunk, Let’s Active and The dBs.

Fast forward to the present, and Humphreys has embarked on a solo career that demonstrates both evolution and continuity. His 2021 release, “Spanish Steps,” stands as a testament to his ability to navigate diverse musical waters while maintaining a distinct Southern sensibility. His most recent single, “Take a Trip (Catch a Plane)” crosses soul, ’70s pop, jazz, and smooth strands of rock and roll. Humphreys’ voice, weathered by years of musical exploration but never beaten down, lends a richness that serves as the perfect vehicle for the emotional weight carried by his lyrics. The song weaves a narrative that touches on love, loss, and the inexorable pull of life’s forces, creating a compelling experience.

Humphreys skillfully blends genres, drawing from the deep well of American musical traditions. He is equally comfortable channeling a rootsy, folk vibe with acoustic guitars or when creating a sonic laid-back atmosphere. He is also just as skillful when letting everything hang out in a full-blown rock song. Humphreys’ ability to seamlessly integrate elements of the South’s musical heritage into a contemporary framework is one reason out of the many characteristics of his songs that make them feel like lifelong friends.

Whether one is listening to Greg’s solo work or his efforts in Dillon Fence and Hobex, the songs he makes allow him to flex his songwriting muscles, delivering introspective lyrics with a raw vulnerability that resonates with listeners. “Take a Trip (Catch a Plane)” stands out as a poignant exploration of the complexities of life and the enduring power of hope, driven by Humphreys’ soulful crooning and the subtle, never forced, instrumentation that accompanies it. Humphreys’ guitar work, a hallmark of his style, shines throughout the tune, demonstrating both technical proficiency and an intuitive understanding of the emotional nuances embedded in his compositions.

In a musical landscape often dominated by trends, the passing ‘sound of the moment’, and fleeting fads, Greg Humphreys stands as a beacon of authenticity, his music is tangibly real… it resonates. Greg’s music not only pays tribute to the distinctive musical heritage of North Carolina but also adds another chapter to Humphreys’ ongoing exploration of sound and emotion. His most recent music invites listeners to journey through the landscapes of the South, guided by a seasoned troubadour whose passion for music burns as passionately and brightly as ever.

Dr. J: What can you share with us about when and how you started writing music?

I started writing songs in high school. My high school garage band “The Trash” decided to start playing our original music… our members would bring songs in to try. My early songs make me wince a bit, but you have to start somewhere. Dillon Fence bass player (and fellow The Trash member) Chris Goode and I will often sing a line or two from these old songs for a few chuckles. 

I have to say, my basic appreciation and understanding of songcraft came from my dad. He was always listening to his favorite songs learning them and playing them on his guitar in his spare time.

I also think that my strong desire/need to create, expressed through art and music, comes from my mom. She’s been a visual artist for as long as I can remember and has had some different, interesting periods to her artistic expression.

Dr. J: What first led to your recording music? How do you approach production? 

I started recording on a boombox, then a couple of boomboxes. I remember re-creating the harmony solos on Boston’s “Peace of Mind” with two boom boxes in High School. 

After a couple years of this, my parents helped me get a Fostex 4 track recorder, which was my constant companion until I started learning ProTools / DAW recording in the late 90s. I have boxes and boxes of songs and music ideas I recorded in the 90s on that 4 track.

Of course, I learned a lot from the professional engineers and producers I worked with early on when making records with Dillon Fence and Hobex: Steve Gronback, John Plymale, Lou Giordano, Ron St. Germain, Mark Williams, David Leonard. I’ve also been lucky to sit in/take part in sessions with pros like John Wood, Joe Boyd, Al Kooper, Bill Symczyk, Chris Stamey, Mitch Easter, Don Dixon, and Jim Dickinson. 

As far as my production approach, I think my main attitude is, that there’s no “correct” way to do things. All that really matters is do you have an end result that is compelling and/or worthy of listening to over and over. If budget was no issue, I’d probably do a more collaborative recording with other musicians/engineers/studios, but I do enjoy making records on my own. 

I try to keep in mind that some of my favorite records were made with some of the most basic recording technology. I believe that what is going on in front of the mic is usually the most important factor in recording most musicians or singers. 

Dr. J: ‘Take a Trip (Catch a Plane)’ is your most recent music, what led to the making of that song? What were the main influences on your recording of this song? 

I talked about it at length in my bio over greghumphreys.net if you’d like to pull from that/peruse that. but essentially it’s a song I wrote for my wife kind of trying to express one of those feelings that’s personal yet universal. Hopefully, the song has the same quality.

Dr. J: The song ‘Take a Trip (Catch a Plane)’ seems to capture a remarkable constellation of musical influences. The song seems to have a 1970s soul feel. Is that a correct interpretation? If that is correct, did you intend to create a song that connects to that style? If that is not correct, how would you describe the feeling of the song?

The rhythm section definitely has a ’70s soul vibe – Marvin Gaye records are always a North Star for me. I played bass guitar on this track, which is also a lot of fun and something I haven’t been doing on my trio records. This track is basically a taste of an approach I’ve been taking. Using drum machine sounds to create grooves. Building songs around a melody, groove, or musical idea using a looper. Then, building the arrangement over time either in live performance or in the studio.

 It’s not really that different from a songwriting approach I’ve used for bands I’ve fronted over the years. It’s just that I am able to create more of a “keeper” version on my own these days.

Dr. J: How did the song ‘Take a Trip (Catch a Plane)’ come together musically for you?

The song really started from being inspired by a moment in a George Shearing “Lullaby of Birdland” recording where the musicians play the melody (Jazz terminology would be “the head”) together. I wanted to use that vibraphone sound, and I wrote a melody that is vaguely reminiscent of the Shearing tune – not as harmonically sophisticated, but still good. After that, I just followed my instincts to complete the song.

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

Looking back on my songwriting path, I’d say my main wellspring of music-making has been expressing myself – getting out all those feelings I have difficulty manifesting any other way. The confessional songwriting thing has definitely been a big part of who I am as a writer. That being said, I like switching it up and trying different approaches, and that shows up in my songs as well.

Dr. J: How would you describe the music that you create? How has that process evolved or changed over time (especially as you think about your journey in the last few years)?

I feel like in the back of my mind I’m always trying to create something that is timeless and universal. The quality that a great piece of music or song has – if you take it out of its cultural context, does it still resonate? I think that’s why I enjoy going down the wormhole with music from different eras or time periods and finding songs that grab me.

Dr. J: What is next for you musically? How would you describe your thoughts at this point for your next project or release?

I am close to the finish line on a couple of recording projects. One is a Dillon Fence live album that we recorded in April 2023. I think it captures the energy of the band in a good way and I’m looking forward to sharing it with our fans. I am proud of that catalog of music. 

The second is another solo album in the same fashion as my 2021 album “Spanish Steps,” using a lot of the approaches and techniques I mentioned earlier. “Take a Trip (Catch a Plane)” will be included on this album, as well as some other songs I’ve been writing over the last 3-4 years. I find that these days with my family life taking precedence I’m not nearly as prolific as I used to be. The songs that I do complete tend to be real “keepers” – songs that I keep coming back to over time. 

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

I think the song that I usually enjoy performing live most is usually my most recent song that I really believe in – the song that fits that category lately is called “Fall into the Sea.” That being said, I’ve gotta give props to a song I co-wrote with my old friend Jim Smith, “Windows,” which was originally on the Hobex LP “Back in the 90s.” I still play that song in almost every show. It just works, it connects, it makes people happy, and that makes me happy. 

Dr. J: What is one message you would hope that listeners find in ‘Take a Trip (Catch a Plane)’?

Hopefully, they’ll find inspiration to renew their love for their significant other. That’s what it’s really about. The ‘Take a trip’ part is just an impetus to do that.

Dr. J: As a musician, how are you adapting to the challenges of creating music? What are your biggest challenges in creating music? 

That’s a big question. Honestly, I don’t really know which way to go. The sheer volume of music produced these days and the torrential nature of media consumption are obviously on my mind, as far as what is ahead. I consider myself lucky I have an (admittedly boutique) audience that still comes to see me play and listen to my music online, but obviously, the Internet disruption is real and it has affected my life. It has always been a rollercoaster ride and a struggle to pursue a creative life, though. 

I think my biggest challenge is managing the balance between my family life and my desire to pursue my art and music. There’s just not enough time in the day to do what I’d like to do. Once I have the time, I’m often too tired to do it! 

We want to extend our sincere gratitude to Greg Humphreys for answering our questions and continuing to make some really excellent music! Click on the links throughout the article to visit his social media or to listen to various songs that were discussed! If any musicians or artists would like to participate in future ’11 Questions with…’ columns, please feel free to email us at drjytaa@gmail.com. All photos and images courtesy of Greg Humphreys.

Facebook Youtube Bandcamp Take a Trip (Catch a Plane) Website Twitter Instagram Soundcloud Linktr.ee

Video of The Day: The Umbrellas – Three Cheers

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This fun video of ‘Three Cheers’ by The Umbrellas is from their forthcoming album “Fairweather Friend,” out January 26th, 2024 on Slumberland Records & Tough Love Records. you can pre-order the record!

When it comes to the indie pop scene, the San Francisco Bay Area jangle indie pop of The Umbrellas began fully formed in 2019 with the Maritime EP. This is a band that has been quietly making waves since they formed in 2018, and their forthcoming record “Fairweather Friend” on Slumberland Records is a tribute to their undeniable talent for writing melodic indie pop music. This album, drenched in the nostalgia of jangle-pop, captures the essence of indie rock’s golden era while offering a fresh and contemporary take on the genre. It is a nod and wink to twee, indie, powerpop, and more with a healthy dollop of the Paisley Underground.

“Three Cheers” opens with a slide into an undeniable bouncing bass instantly pulling you into a dreamy world of melodic guitars and whimsical lyrics. Throughout the song, The Umbrella’s signature sound shines through with jangly guitar riffs, catchy hooks, and shimmering harmonies, reminiscent of bands like The Smiths and The Stone Roses. The vocals, delivered with a perfect blend of longing and optimism, add a captivating emotional depth to the music.

The lyrics are introspective and relatable, making it easy for listeners to connect with the song’s themes of change and self-discovery. The Umbrellas demonstrate a knack for crafting songs that resonate with a broad audience, showing an ability to bridge the gap between the past and present in the indie pop realm. So, better line up for ‘Fairweather Friend’ now.

The song’s production quality is top-notch, with every instrument and vocal line given ample space to breathe. The song maintains a consistent, sun-soaked atmosphere, but brings something unique to the table, ensuring that “Three Cheers” never becomes monotonous.

While the song is an exploration of indie pop’s classic elements, The Umbrella also infuses it with a modern feel and sensibility, ensuring that it doesn’t sound like a mere throwback. This balance between nostalgia and innovation sets “Three Cheers” apart in the crowded indie music warehouse.

In a time when indie pop is experiencing a resurgence, The Umbrellas’ “Three Cheers” is a refreshing addition to the genre. It’s an album that will undoubtedly appeal to both longtime fans of jangle-pop and newcomers looking for a captivating musical journey. With its infectious melodies and genuine lyricism, this song will have you moving, swaying, and dancing just like the band in the video. “Three Cheers is an irresistible invitation to immerse yourself in its sonic daydream, and it’s an invitation that’s impossible to resist.

Video of The Day: Hello June – Napkin

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In the ever-shifting of the goalposts in indie music, Hello June emerges as a formidable force — see our review of their excellent Artifacts album — and their latest music video is for the song, “Napkin.” The song is a masterstroke that underscores their authenticity and musicality.

Hello June’s frontwoman, Sarah Rudy, unfurls a narrative drenched in raw emotion, reflecting on moments of vulnerability and self-discovery. “Napkin” is an intimate confessional, delivered with a hauntingly beautiful voice that captures the essence of a soul laid bare. The haunting instrumental arrangement until an unexpected explosion paints a sonic picture that runs the emotional tumult of the lyrics, further strengthening the song’s resonance.

The track’s compelling lyrics reveal the intricacies of human relationships, akin to the crumpled napkins that soak up spilled drinks and hidden sorrows. Rudy’s lyrical craft is akin to a modern-day poet, channeling the complexities of love, longing, and the leaving of pieces of ourselves with one another even if we are no longer a part of each other’s lives, with profound authenticity. As the song unfolds, it’s impossible not to feel the weight of these words:

All the houses were glowing – in the distance there like stars
When you and me were dreaming, we weren’t counting any scars
I wrote it on this napkin that I would never be what you need
Couldn’t tell myself it’s over, so I left a piece of me, so I left a piece of me

Musically, “Napkin” is a brilliant patient song of understated perfection. The delicate interplay between the guitars and Rudy’s ethereal vocals creates a sonic atmosphere that is both melancholic and mesmerizing. The song builds with an inexorable, yet restrained force, culminating in a cathartic crescendo as Rudy sings:

Cause I heard that I’m a good time
And I’m just another alibi
I’m the one in your dreams
I’m the ghost down the hall
The love of your life
But I’m nothing at all

And that leaves an indelible mark on the listener’s soul. “Napkin” and the evocative music video has Hello June clearly proving their mettle as storytellers and musicians. Their ability to capture the fragile beauty of human frailty and vulnerability sets them apart from the crowd. This is not just a song; it’s an experience that leaves you both moved and enlightened. You wonder what piece of yourself you left with someone else whether you meant to or not.

In a time when the world craves authenticity and emotional depth in music, Hello June’s “Napkin” delivers on all fronts. It’s a song that more than deserves to be heard and cherished.

Video of The Day: I Only Cry When I’m Alone – Beth Bombara

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In a world where music often shies away from genuine emotional rawness, Beth Bombara’s “I Only Cry When I’m Alone” emerges as a breath of fresh air. With soul-stirring lyrics, an evocative voice, and a hauntingly beautiful melody, this track is a testament to the power of simplicity in songwriting. And from the first listen, you will be hooked. And hooked hard to this gem. We have been playing Beth’s music for several years on YTAA and while we are in love with her brilliant latest album, It All Goes Up, her previous albums and music require your undivided attention as well. Plus this video also features the excellent “Upside Down.”

Bombara, a native of Grant Rapids, Michigan has made St. Louis her home, and has a knack for crafting songs that cut straight to the core of the human experience, and “I Only Cry When I’m Alone” is no exception. The song begins with a Jangly guitar riff, setting a melancholic tone that persists throughout. Beth’s voice enters feeling like a whisper, soft but laden with emotion, immediately pulling the listener into her world.

The lyrics of the song are a poignant reflection on the struggles we often hide from the outside world. Bombara confesses, “I’m owning all my insecurities, Callin’ ’em out by name and watch the demons bleed,
They’re tryna hold me to the in-between,” as she explores the common human experience of concealing our pain and vulnerability, even from those closest to us. The words are heartfelt, relatable, and delivered with such sincerity that they linger in the mind long after the song ends.

One of the most remarkable aspects of this track is its ability to build tension and emotion without resorting to excess. Sometimes a whisper hits like the loudest scream. Beth Bombara’s vocals are the driving force, conveying a sense of solitude and fragility that captivates the listener. The song’s arrangement hits from the first, featuring a ’70s feel with jangly guitars and sparse yet driving percussion that holds the song in place, allowing the lyrics and Bombara’s voice to take center stage. The instrumentation creates an intimate atmosphere that underscores the theme of emotional isolation, it has the same sensibility of R.E.M.’s Camera when Stipe sings:

“Will you be remembered? Will she be remembered?
Alone in a crowd a bartered lantern borrowed
If I’m to be your camera then who will be your face?

Bombara’s excellent lyrics have the same impact as the R.E.M. classic. We all have felt the loneliness of solitude and being in a crowd and revealing how we truly feel, the hurts that cannot be contained anymore when we are away from the judging eyes of the world. As Beth sings and holds the word ‘alone’ for a few beats, the impact is even stronger and more unavoidable:

Invisible as air
Hoping  you still care
It  doesn’t matter where I go
I only cry when I’m alone
I  only cry when I’m alone

The song’s production values are impeccable, highlighting Beth Bombara’s unmistakable talents as a songwriter and performer. The mix is clean and balanced, allowing every element to shine through without overpowering the emotional core of the song. The soundscapes created by “I Only Cry When I’m Alone” are evocative, painting a picture of a solitary moment of vulnerability that anyone can relate to.

As “I Only Cry When I’m Alone” progresses, Bombara’s vocals gain strength and intensity, mirroring the idea of vulnerability gradually giving way to self-acceptance. The song’s crescendo is both musically and emotionally satisfying, a testament to Beth’s masterful storytelling.

Beth Bombara’s “I Only Cry When I’m Alone” is a perfect example of vulnerability, passion, the need for connection, and simple direct, and unflinching authenticity. In an atomized world of overproduction and artificial emotions, Bombara’s music stands out as a shining example of what it means to connect with an audience on a deep, emotional level. Her lyrics are poignant, her voice is captivating, and the arrangement is perfectly suited to the song. “I Only Cry When I’m Alone” is a testament to the enduring power of raw, honest songwriting and marks Beth Bombara as an artist to watch. It’s a timeless tune that will undoubtedly leave a lasting impression on anyone who takes the time to listen. Take the time to listen.

Video of The Day: William Matheny – Stranger’s Voice

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William Matheny’s latest offering, “That Grand, Old Feeling,” is a testament to his prowess in writing amazing music and personal poetic expressions to everyday life and an album that transports listeners to a bygone era while maintaining a firm grip on the present. It is an alt-country approach, part rock and roll, part folk, part country that cannot easily be labeled. In fact, Matheny embraces both sides of the alt-country equation. Known for his evocative storytelling, Matheny has created a record that straddles the line between nostalgia and innovation, delivering a refreshing take on the timeless themes of love, loss, longing, and self-discovery.

From the very first notes of “That Grand Old Feeling,” it’s clear that Matheny has crafted an album that echoes the classic Americana and folk-rock sound of the 1970s swirled with a 2000s songwriter’s pen. The warm, inviting instrumentation showcases his deep appreciation for the genre’s roots, but it’s Matheny’s songwriting, alongside the exuberance and spirit of guitar, bass, and drums that compliment the lyrical dexterity that truly stands out. The album is a collection of character-driven tales and introspective narratives that tug at the heartstrings, demonstrating Matheny’s gift for storytelling that resonates.

The title track, “Grand Old Feeling,” is a poignant song that reflects the tone of the record. With its electric guitars that pause to make space for Matheny’s heartfelt, emotionally charged vocals, it’s impossible not to get lost in the song’s sentiment. It’s a masterful composition that transports listeners to a world where emotions run deep, and life’s complexities are explored with honesty and grace, and all the while Matheny is not afraid to rock out and give musical voice to the frustrations that are so passionately felt.

Matheny’s ability to craft relatable, memorable characters is on full display in tracks like “Stranger’s Voice” a bittersweet slow-build rocker that tells the story of a person yearning to escape their mundane life. His lyrics are vivid and evocative, making it easy for listeners to empathize with the characters and situations he describes while being able to see themselves in the story.

The album takes a turn toward a more reflective sound with “Down at the Hotel Canfield” and “Christian Name,” where Matheny’s band kicks into high gear, infusing the song with infectious energy. This track, along with “Every Way to Lose” — a delight on the album — and 70s-influenced “Late Blooming Forever” showcases Matheny’s versatility as a songwriter, seamlessly shifting between intimate, acoustic moments and rollicking, full-band arrangements.

Throughout “That Grand, Old Feeling,” Matheny’s vocals are compelling, conveying both vulnerability and strength. His voice carries a depth of feeling that brings his stories to life, making it easy for listeners to connect with the album’s emotional core while swaying and dancing about the room.

While the majority of the album shines brightly, there are moments where some songs, like “Every Way to Lose” and “Strangers’ Voice,” stand out. However, the flow across the album is impressive as Matheny’s songwriting prowess remains clearly evident, demonstrating his commitment to delivering quality songs that capture something authentic.

In “That Grand, Old Feeling,” William Matheny has crafted a record that effortlessly captures the essence of 1970s rock, Americana, alt-country, and folk-rock while presenting a collection of timeless tales that resonate deeply with the listener. It’s an album that evokes a sense of nostalgia while remaining wholly contemporary, reaffirming Matheny’s position as a gifted storyteller and musician who is not beholden to any one musical tradition. “That Grand, Old Feeling” is a dusty testament to the enduring power of well-crafted songs, and it’s a must-listen for anyone who appreciates the art of storytelling through music.

Video of The Day: The Nautical Theme – Sun Won’t Rise

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The Nautical Theme, a guitar and keyboard-based indie duo hailing from the Gem City of Dayton, Ohio, have unleashed their latest music video for the first track from their excellent record ‘Get Somewhere‘, “Sun Won’t Rise.” In this harmonic experience through soundscapes, they craft a tapestry of emotions that envelop the listener like a warm, comforting embrace. When Matt Shetler (guitar, vocals) and Tesia Mallory (vocals, keyboard) sing they wrap their voices together as if they were the same person. With their unique blend of folk and indie-pop sensibilities, The Nautical Theme has produced a track that is nothing short of magic.

From the very first strum of the guitar, “Sun Won’t Rise” transports you to a dreamy space like a favorite comfy chair. The enchanting vocals blend with the intricate guitar work and blend together seamlessly with the keyboards, creating an atmosphere that is both melancholic and uplifting. Matt’s voice is like a beacon of light, guiding us through the song’s emotional labyrinth of finding your way home.

Lyrically, “Sun Won’t Rise” delves into themes of heartache and longing, painting a vivid picture of yearning for something just out of reach. The lyrics are perfect, evoking a sense of nostalgia and introspection. Lines like “Because the sun won’t rise, And the moon won’t shine when you’re gone” resonate deeply with anyone who has experienced the bittersweet beauty of yearning.

The production on this track is impeccable. The layers of instrumentation, from the delicate guitar to the keyboards to the percussion create a lush sonic landscape that is both intricate and immersive. Each element is carefully placed, contributing to the song’s emotional depth.

What sets “Sun Won’t Rise” apart from other songs is its ability to evoke a powerful sense of atmosphere. It feels like a soundtrack to a long-lost memory or a forgotten dream, a testament to The Nautical Theme’s mastery of creating sonic spaces that transcend the boundaries of traditional songwriting.

The Nautical Theme‘s “Sun Won’t Rise” stands as a beacon of originality and artistry. It’s a song that demands to be taken seriously, each time revealing new layers of its emotional depth. The Nautical Theme reminds us of the enduring power of music to touch the soul and transport us to places both familiar and uncharted.

Video of The Day: Hello June – Sometimes

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In an industry often saturated with formulaic hits and fleeting trends, Hello June stands as a refreshing gust of authenticity with their third single — ‘Sometimes’ — from the forthcoming album ‘Artifacts’. This indie-rock quartet hailing from Charleston, West Virginia, continues to carve their niche in the contemporary music scene with a sound that’s both hauntingly introspective and irresistibly groovy.

‘Sometimes’ opens with a mesmerizing guitar riff that immediately draws the listener into its melancholic embrace. The hauntingly beautiful vocals of frontwoman Sarah Rudy take center stage, carrying a raw emotional weight that’s impossible to ignore. Rudy’s voice, reminiscent of rock legends like PJ Harvey and Patti Smith, is both vulnerable and powerful, perfectly encapsulating the lyrical themes of introspection and self-discovery.

Lyrically, the song delves deep into the complexities of human existence and the ever-present battle between light and darkness within us. Lines like “Sometimes you want to cry / Sometimes you just can’t” resonate with universal truths, offering a lyrical depth that transcends the confines of typical rock fare. What we say and how we say it matters.

Musically, Hello June showcases their mastery of dynamics, seamlessly transitioning between hauntingly atmospheric verses and explosive, anthemic choruses. Artifacts, which comes out on October 6th on 31 Tiger Records, was recorded in Nashville at Bell Tone Recording with producer Roger Alan Nichols, featuring Rudy on vocals and guitar, Paul Niehaus on pedal steel (Calexico, Iron & Wine, Justin Townes Earle, Lambchop), Caleb Crosby on drums and percussion (Larkin Poe, Noah Gundersen), and Nichols on guitar (The Veronicas, Tyler Bryant & the Shakedown). The rhythm and swing of the song, anchored by drummer Caleb Crosby provide a solid foundation for the soaring guitar work of Rudy and Nichols punctuated by the dreamy pedal steel of Niehaus, all combining to create a sonic landscape that’s both captivating and emotionally charged.

‘Sometimes’ is a song that grows with each listen, revealing hidden layers and nuances that make it a standout track in Hello June’s body of work. It’s a testament to the band’s evolving artistry and their commitment to creating music that speaks to the human experience without feeling academic or false.

In an era when authenticity and genuine emotion often take a backseat to commercialism, Hello June’s “Sometimes” reminds us that there are still artists out there who are unafraid to bare their souls through their music. With its haunting melodies and introspective lyrics, this track solidifies Hello June as a band to explore and appreciate for anyone who loves a great song.

In “Sometimes,” Hello June has not only delivered a remarkable song but also a profound emotional journey that lingers long after the final notes fade. It’s a testament to the enduring power of rock and the boundless potential of this group. Keep an eye on Hello June; they’re poised to make waves in the music world.

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Glide Premier of ‘Honey I Promise’

Video of The Day: Chris Stamey – She Might Look My Way

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From the new album The Great Escape. Music legend Chris Stamey shows appreciation for the music of the 1960s and 1970s music performance shows such as Upbeat, Shindig, Hullabaloo, and Glenn O’Brien’s TV Party.

‘She Might Look My Way’ is by Alex Chilton and Tommy Hoehn. The Video was shot by Julia Stamey, with lighting by Mark Hanley, at the venerable Cat’s Cradle, Carrboro, NC. You might recognize some music luminaries in the video such as Mitch Easter (the drummer on the recording as well), Matt McMichaels (guitar), and Robert Sledge (bass). Alejandro Escovedo plays the host. Track produced by Terry Manning and Chris Stamey.

From Chris: “She Might Look My Way” “When I was a kid, I fell in love with the sound of records. I was 17 in 1972 when I got a copy of #1 Record by Big Star, and I thought it had about the most magical sound of them all. So I decided one summer afternoon that, hey, I’d just call the studio listed on the back and ask them how they did it! The woman who answered the phone at Ardent in Memphis put me on hold, and I can only imagine now that some laughter ensued all round the office at the audacity and absurdity of my question! But they put engineer/producer Terry Manning on the line, and lo and behold, as my head reeled, he ever so kindly took the time to tell teenage me all about the nitty gritty, the mics and guitars and amps and gizmos.”

“I had no idea then that Terry had worked on Led Zep III, classic Staples Singers tracks, and was soon to helm ZZ Top megahits. I just knew he was one of the Ardent wizards. And I was so grateful to have him pull the curtain back just a little.”

“Decades and many sessions later, meeting at a NYC concert, we picked up the conversation again. Both loving a forgotten song, ‘She Might Look My Way,’ that I’d later played regularly at CBGB with Big Star’s Alex Chilton—and even recorded with him at Todd Rundgren’s studio for Elektra Records, although it was never released by the label. At that point I’d already started a bare-bones studio version of it myself, with Mitch Easter on drums, so I handed the tapes off to Terry. He dialed in his wizardry once again, in the Bahamas, and filled it with that same brand of Memphis magic: harmonies, guitars, Mellotron. It was the very last thing ever mixed at the famous Compass Point Studios, and that, too, seemed kind of magical. I loved it. We even talked about starting a band together then, but geography got in the way.”

“So when I was finishing up my new record, The Great Escape, as a reality check I kept referencing this track, which had also never been released. I finally realized that it belonged in here with the newer tracks, that it was in a way a keystone for the rest. I didn’t write it, Alex did that, with Tommy Hoehn. But I’m so pleased to have it on board.”

Video of The Day: Nicholas Johnson – New Vampire

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Nicholas Johnson has not only released a new incredible record, Shady Pines Vol. 2, but played an incredible record release show at Urban Artifact in Cincinnati that we were able to see! Damn, what a good show. The celebration of new music from Nicholas included stellar sets from The New Old-Fashioned’s David Payne and Kent Montgomery (longtime listeners of the show will know that TNOF is a big fave of YTAA) and The Pinkerton Raid. He is coming back to Dayton on Thursday, March 23rd at Blind Bob’s and you should make plans now to catch that show (again with The Pinkerton Raid and Dayton alt-country heroes, Age Nowhere joining the bill).

I cannot pick a favorite song from Shady Pines Vol. 2 but the latest video from Mr. Johnson is a standout on the record. New Vampire is lyrically deep and musically rich. The song is propelled with a gravity of its own that explores the idea of how we experience evenings. The rhythms on this song are deceptively seductive. Nicholas does not have to scream to create an inescapable emotional impact. When he sings “The west is calling, the west is falling” — you believe him because you have felt the same way.

To say that he has a gift with a clever turn of phrase is a sincere moment of understatement. Nicholas takes the anomie and alienation that swells around us that feels like we are being pulled under the surface by a current of our own creation and makes it a statement that does not have the hollow ring of melancholy. The words reveal the power and passion of inescapable frenzy and yet surprisingly tantalizing prospect of loneliness of the current age in which we find ourselves:

Premonition and the prophet screams
Rage into the void of a restless dream
Phone screen burns like man makes fire
Ushers in the age of the new vampire

New skin
Paper thin
Don’t you feel the new age dawning
I can feel it move through my bones
All the places I call home
Yeah we crawl into the unknown
Ah the west is calling
The west is calling
The west is falling

Video of The Day: Smug Brothers – Pablo Icarus

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Ohio rock band Smug Brothers is a collection of contradictions.

The members are neither smug nor brothers, and the caddish name poorly fits these serious, veteran musicians. Furthermore, Smug Brothers could very well be your favorite rock band, especially if you love the pop virility of the Beatles, the lyrical bafflement of Guided by Voices, and the beautiful shambles of Big Star—but you may never know, because you may never see them or hear them.

Take a nap, Schrödinger’s cat. This here is a real paradox.“We’ve been doing this for 20 years,” says Smug Brothers singer and guitarist Kyle Melton, “and no one knows who we are.”One of the reasons for this is the fact that due to real-life responsibilities and a shifting lineup on Spinal Tap proportions, the band rarely performs live.

“You have to tour to make any kind of headway [in the music business],” explains drummer Don Thrasher. “You can’t just play Dayton, Cincinnati, and a few other places and get famous. Any group that has ‘made’ it has had to hit the road and play anywhere they can.”

And then, when the group does perform live, there’s an exciting yet mystifying dimension of difference between the live sound and the recorded material.“A lot of bands today are really, really good at replicating their studio sound in a live setting,” Melton says. “That eludes us. We thrive in a more controlled environment.”

Not surprising for a group that began, way back in 2004, as a one-off studio project between Melton and Dayton musician and producer Darryl Robbins (Peopleperson, TV Queens). It was only with the addition of drummer Don Thrasher, in early 2008, that the Smug Brothers became, to paraphrase Pinocchio, a real band.

Since then, Melton and Thrasher have held down a steady center among a revolving cast of additional musicians—the current lineup includes Kyle Sowash, from Columbus indie-rock stalwarts The Kyle Sowashes, on bass—and have released a series of ever-improving singles, EPs, and LPs. The band’s most recent album, Application of the Twig, is the season of spring distilled into a porch party soundtrack. Brisk and refreshing.

“While we’re not well-known,” says Thrasher, “we make well-done records. We provide a good listening experience for people who like short, catchy songs.” Melton agrees. “A lot of care and consideration goes into our albums. They are singular experiences that you will never see duplicated live.”

All of which brings the Smug Brothers’ quandary full circle. To get a better sense of the elusive Smug Brothers sound, please visit smugbrothers.bandcamp.com! Do it!

Video of The Day: Heather Redman & The Reputation – Wait For Me

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This Friday, December 9, 2022, Heather Redman releases her first solo record! This is fantastic news. A rock and roll record with soul, funk, country, and RnB influences, this record is real. In fact, if you were to look up the definition of authentic in the dictionary you would see a picture of this artist. Heather has some of the most impressive vocals that you can imagine. She has energy and more virtuosity than you can shake a stick at — or in other words, we mean it when we say we would listen to her sing the phone book.

Heather Redman has assembled a crack band featuring the rhythm section from Dayton giants Shrug — Dan Stahl (drums) and Bryan Lakatos (bass) and kickin’ guitar from Matt Webster (The Professors, oh let’s be honest far too many bands to mention) and the multi-instrumentalist David Payne (The New Old Fashioned, Midwest Business Machine, not to mention his own stellar solo recordings)! The album was produced by “The Wizard” Patrick Himes, who contributed more than a few sonic touches to this excellent album.

If you add it all up and you have a recipe for music textures that illuminate their influences while adding new musical territory to the map of songcraft called ‘Heather Redman & The Reputation.

To help you get ready for this new record, care of the fine folks at Magnaphone Records, Heather has released a music video for her second advance single “Wait For Me.” From the start of the thrill of the keyboards to the shot of the drum and strum of the bass string followed by Heather’s hairs standing up on your neck vocals, the sway and swirl of this song will capture your heart. But fear not, you can have it back in a little over three minutes.

See you at the album release celebration at The Yellow Cab Tavern this Friday!

Video of The Day: Matt Derda & The High Watts

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Matt Derda & The High Watts are making some of the most compelling music in a year full of great music! The video is their official music video for ‘Life You Didn’t Know.’ This is the latest single from the Chicago band’s upcoming EP ‘You Didn’t Know?‘ which came out on 11/12/2022.

‘You Didn’t Know?’ from Matt Derda & The High Watts is a picture postcard from a pure sonic territory that reflects the intersection of indie rock, power pop, and alt-country. The semi-title track ‘Life You Didn’t Know’ feels like a driving Replacements song from ‘Pleased to Meet Me’ written by Uncle Tupelo era Jeff Tweedy. Derda’s lead vocal is always spot-on. This is a mighty trio that tackles the feel of each song as if their lives depended upon it.