"I first played this song for an audience in Milwaukee at an art gallery. I had to rent a car (my old one had just finally died), take some time off work, and drive up to Wisconsin in a blizzard. The roads were really bad, but I made it finally and it ended up being a great experience. Not like Lakewood."Read More
I'm compiling a list of places that you can buy and/or stream the new single "L'anse". I prefer you buy the song on bandcamp or CDBaby since the money goes directly to me immediately, but I sure won't mind if you choose to buy it for cheaper somewhere else. I also get a tiny little bit of money every time you stream the track on a streaming service and those help in the long run too! I get these analytics reports from CDBaby and it's cool to see people still listening to songs I put out like 6 years ago. I still make a little bit of bread from those releases. So even if you don't buy the song (by the way, BIG thanks to those of you who have), if you listen on spotify, pandora, or apple music, you're still helping the cause and I greatly appreciate the ears.
I'll update this list as more outlets for streaming and downloading become available. But as it stands, here they are.
My Own Website
Don't forget to subscribe to my bandcamp to be the first to get newly released songs immediately, plus a bunch of special, exclusive stuff you can't get anywhere else.
Subscribe to my artist page on your favorite streaming site too and make a Pandora station with my name on it, if that's you're thing.
Thanks for making this all worth it, you guys.
Several years ago I read an article by legendary mastering engineer, Justin Colletti, called Feeding the Machine (it’s long, but worth the read if you’re into that sort of thing). In it, he makes the case for returning to the method of releasing a lot of singles since at the dawn of the music industry, the whole apparatus was kept afloat by a tidal wave of singles, some of which “stuck” in the public consciousness, some of which didn’t. It was one of those paradigm shifting moments for me. I had friends that released singles on occasion, but my heart and mind were really with LP’s. It was the format I knew and connected with so well that doing anything other than that rarely even ever crossed my mind. However, Colletti made such a good case for the regular release of singles, that I’ve carried this concept around in the back of my mind for years, telling myself that when I ever get to the right moment in time and circumstance, I’d begin to do just that.
I happened to read Feeding the Machine at just the moment in time where my years-long road dog experiment was winding down. I fell into one of those chaotic in-between seasons, which happened to last for a few years longer than I expected. There was some upheaval in my relationship with my family, my living circumstances changed, my trusty Ford Escort finally kicked the bucket, I moved from one day job to another, learned a ton of classic country songs, got another car, moved to Tennessee with only a foggy picture of wanting something better and more, worked more day jobs, released a really cool record, fell in love with a girl who lived across the country, packed up and moved again, started adjusting to life in a way different climate and culture, began cultivating this life-long relationship, had a really cool, tumultuous band for a year and a half, played some shows, changed jobs again, got married(!) and finally life seems to be smoothing out a little. I’m out of choppy waters and aimed across a stretch of time fully supplied. That whole time, this little idea of regularly releasing singles kept twirling and dancing in the back of my brain and occasionally suggesting itself to me. Now I’m in a period where I actually have the time and resources and people around me to make it happen in a meaningful way that is satisfying to me creatively and that I can make work for me in a financial sense.
Working with audio engineer Peter Gummerson of Rivulare is a key part of this whole enterprise. He’s a cool guy with a great method who puts his money where his mouth is. We’ve worked really well together so far. I’m also excited to get my drummer Bud from my band The Ancient Urge back on board with me. Bud is a deep well, has a composer’s mind, and is great to bounce ideas off of, not to mention he handily plays numerous instruments and is therefore a treasure trove to tap for anyone in my position. Harold South is a really busy, very serious bass player who’s been making a living off of performing and teaching music for years. I’m getting to know Harold still and I’m excited that he’ll be part of this attempt at feeding the machine. I’m sure the revolving door will keep spinning and I’ll introduce other interesting characters (musicians, visual artists, audio engineers) as we go forward and get more songs in front of you all.
Thank you for joining me and for lending your eyeballs and earballs to this ongoing project.
Here we are again. In the studio, working out some tracks on the remote banks of the Yellow Dog River way up north. Peter Gummerson of Rivulare is at the wheel this time and I'm in the passenger seat with a map, yelling out directions. Dennis "Bud" Clowers brings his depth, fluidity, and bag of tricks. Harold South really gets into the cracks like molten gold and hardens into the bedrock of these songs. We're going to be churning out a bunch of singles in the coming months and I hope you'll keep coming back to hear what we've got.
Four years ago today we recorded what became the essential framework of what is now the album Living Is Trying. Here's a little behind-the-scenes of that day. Maybe you remember some of these photos from my social media, or maybe you're seeing all of these for the first time.
One thing that struck me that I hadn't remembered is how many different guitars I used to track the various songs. There was that Old Kraftstman, which is the first picture here ("Madison"), my Martin (a lot of the others), Steffen's acoustic guitar, which I think was a Johnson ("Strong Words"), some classical guitar that was lying around (the second guitar on "Left Arm"), and my old Sigma ("On Wings").
This is a little tardy, but a recent weekend trip was put together to do some live tracking of our band and the songs I've written that we've arranged together. Here's some material compiled from that weekend at the Letts family deer camp with John Davey & the Ancient Urge.
My band and I had a great time at Wayside Fest up in Atlantic Mine, Michigan this past weekend. the weather was delicious and despite some technical delays, we had a real blast playing our set to a small but enthusiastic audience. It felt the most like a rock n roll band in comparison to all our shows yet. Furthermore, the Aurora Borealis lit up the sky in an untamed display later in the evening. I couldn't capture it on my phone, but I'll remember it forever. We're lucky to be alive.
My old friend Mark Felix, who I grew up with, recently moved to Michigan. He works for a newspaper in Flint and was able to get some time off, so he drove to the Upper Peninsula and we've been catching up and hanging out for a couple days. Big love, great hang.
John Davey & the Ancient Urge had a packed weekend and we're all resting up. I wish I would've got more snaps, especially from Sekoitus, but I've included some taken by Jesse DeCaire and Taylor Freeman. All the rest were taken by me.
Sekoitus Fest was so fun and we wished we could've stuck around for all of the festivities.
Farm Block was a treat. Great weather, old friends, new acquaintances, good food, fun set, some exploring of Keewenaw spots, delicious food, powerfully good bands, lots of laughs, and I had the pleasure of riding up with my treasure of a fiance with the windows down. Highlights music-wise: M. Sord, Big Dudee Roo, After Ours, The Go Rounds, Kansas Bible Company. JD&theAncientUrge also did a quick recording for The River Street Anthology. We missed Mostly Midwest.
Art on the Rocks. We drove back on Saturday night after all the fun on FarmBlock Saturday was over. We were up and at 'em early on Sunday to load gear down to Lower Harbor. Despite some heavy noise restrictions and being about a thousand yards from the nearest electrical outlet, the show went on and it ended up being a good exercise in adaptability for the band. I don't know if we'll ever play as subdued a set or two as we did at Art on the Rocks, but I loved it. Shout out to our buddy Greg Sandell who, out of the damned goodness of his heart, lent us gear, helped us load it into the festival, set stuff up, ran cords, coordinated and was supportive in every way. He is the man. His mug is that last photo in the set.