Colony House is a three piece rock band from Franklin, TN founded by brothers Caleb and Will Chapman, and shortly thereafter joined by friend/guitarist Scott Mills. From the beginning, the chemistry between the three young men has defined their approach to music and the road.
The members of Colony House are joined together by many things, and it has developed into a unique brotherhood where three stories have melded into one.
“We believe we have a story to tell – a story of hope and perseverance. That’s what we want to leave people with.”
With three EP’s setting the framework of this story – Colony House EP (2010), Trouble (2010), and To The Ends Of The World (2011) – Colony House is currently writing the next chapter in the form of their debut full length album, When I Was Younger, scheduled to release later this year.
Majestico was born from the breath of a new America, a land at the end of reason, where dogma meets God. At the beginning, he found himself living in a bungalow behind the local zoo. Amid the sounds of monkeys and elephants, he began recording what would be his first record “Boundary Conditions”. It was released into that great void they call the Inter-Net and although it remains undiscovered by the outside world, it was received with much excitement among peers.
Majestico then moved to Little Biv Town and made a bed in the studio there. Attempts were made at new recordings but the project was plagued with technical problems, personal disputes, and money was scarce. But late that summer, there was a breakthrough. A show was planned to be held in the studio so Majestico gathered a band to perform. That night people poured into the room as a cloud of steam formed above. While he played, they danced. This was all new to him, and although recording had been stunted, a new vision was realized. He just wanted to rock. Marked by this new freedom, Majestico continued to write songs and play everywhere that was cool; bars, clubs, houses, warehouses…wherever. Then Jeffery Drag Records approached him to record a 7″. He agreed and took the band to Battletapes to record the “Love is God” EP. It was released in 2012. This brought him to the doorstep of producer Andrija Tokic and Bomb Shelter Studios, where his friends the Alabama Shakes had recorded their album. This time, recording was a sinch. The music fell onto the tape and the album “When Kingdom Come” materialized. A new saga has been formed in Nashville, Tennessee and the future has no bounds.
Editor’s Note: Majestico is currently surfing your airwaves. He’s cruising a tram ride on the milky-way highway searching for the key to life, He’s totally cool, laid back, and humble. He doesn’t believe in slaughtering wheat or vegetables just to eat them. That’s wrong, but if you disagree he respects your opinion because freedom is the price we pay to get to blow stuff up with hand grenades and bazookas.
Raised in the Heart of Dixie, Rebecca Roubion is more than a pretty face with a song. At times, a sleight, speckled songbird commanding affection to a sprightly, weightless tune; at others, Roubion presents as a barely-hinged crooner, bearing her heart in a soaring, emphatic ballad. Carol King and Eva Cassidy are anything but strangers, and while she borrows from these soulful matriarchs of yore, there’s something fresh and enticing about her interpretation of folk-infused indie-pop.
“There’s a beautifully fresh voice on the Nashville music scene, and it belongs to Rebecca Roubion. It’s time to be introduced to the sweet sounds of this emerging artist with tastings of soul and folk that mark the start of a promising future for this independent Nashville artist.” – John Tumminello, Musicians Corner
Koa started in the fall of 2012, with Chase Bader (Vocals, Guitar) and Conor Kelly (Lead Guitar) at Belmont University, following past musical ventures by both. After years of sending material back and forth over the internet to each other, Conor relocated to Nashville, where the two began to reconstruct some of the past ideas. The two met Ryan Ladd (Bass) and began recording what is to be their debut ep Cool It Down, which came out in February 2013. Will Youngclaus (Drums) soon after joined the band locking down the rhythm section, and finally Alex Mathews (Sax), completing the lineup. We’re all about the good vibes and making people dance; come see us play!
The band was formed in Nashville, Tennessee in 2009, and currently consists of keyboardist/guitarist/singer Daniel Ellsworth from Minnesota, drummer Joel Wren from Kansas, guitarist Timon Lance and bassist Marshall Skinner both from Ohio. Former member(s) of the band include Ricky Perry who played guitar on their first album, Civilized Man.
In 2010, the band ran a Kickstarter campaign in order to fund their album, Civilized Man. The album was engineered and co-produced by Mark Nevers, who has also worked with Will Oldham, Andrew Bird, Yo La Tengo and Lambchop. The album was recorded at Beech House Studios in Nashville, Tennessee in early 2011, and was released digitally and physically in May 2011.
In late 2011, Amazon MP3 named Daniel Ellsworth and the Great Lakes’ album, Civilized Man, the number 76 album out of the top 100 albums of the year. At the same time, the online music retailer also named the band’s single, “Shoe Fits,” the number seven song of the year. On February 2, 2012, Civilized Man was featured as Amazon MP3‘s Daily Deal and the following week, the album charted on Billboard’s Heatseeker’s chart at position 18.
“Shoe Fits” was released as a music video on August 8, 2011, and was Directed and Produced by Austin Gros, in Nashville, Tennessee. The single was also featured on the Australian Television series Offspring and was included on their Season 3 Soundtrack, released in Australia on June 8, 2012.
The band released their second music video for the song “Bleeding Tongue” on June 6, 2012. It premiered on Paste Magazine.
The single “Passenger” was featured in an episode of Grey’s Anatomy on November 8, 2012. The increased attention landed the song on Amazon MP3‘s Best Songs of 2012 at the number 33 spot.
Daniel Ellsworth & The Great Lakes was named by The Deli Magazine as Nashville’s Best Emerging Artist of 2012. The title was given based on a combination of fan voting and staff opinions.
In May 2013, Daniel Ellsworth & The Great Lakes entered the studio to record their second full-length album at Sputnik Sound in Nashville, Tennessee. The album was co-produced by Grammy Award winner Vance Powell, who has worked withThe Whigs, Kings of Leon, Jack White, and The White Stripes. The album is expected to be released in early 2014 with an extensive tour in support of the album. While in studio, the band was featured in an article in Paste Magazine, including an interview and a write-up saying “There’s very little you can guarantee in life, but one of the surer bets is that Daniel Ellsworth and the Great Lakes will make you dance.”
In anticipation of the band’s new album, Esquire named Daniel Ellsworth & the Great Lakes one of their 15 Bands to Watch in 2014.
The band’s second album, named Kid Tiger, is set to be released on March 4, 2014. The songs were written while the band was touring and represented a collaborative effort of the band members. The first single from the new record, entitled “Sun Goes Out”, was released on January 21, 2014.
Life’s unpredictable purpose always seems to stem from life’s worst tragedies. That is just how Goodbye June was created. In June of 2005, guitarist Tyler Baker received the worst news of his life. His brother, PFC Shane Baker, was home on leave from the military and had been in a fatal car accident. His cousins Brandon Qualkenbush, Landon Milbourn and the rest of the family traveled to southern Indiana to comfort and ease the sting of unexpectedly losing a close loved one. For the next few weeks, the three cousins stayed together to comfort each other, reminisce about old times, laugh and cry over memories and, of course, play music together which essentially lead to the three of them writing songs to help pass the time.
In the months that followed, Landon, Brandon, and Tyler, all first cousins, began spending more time together in a makeshift rehearsal space in Tyler’s basement. “Music became a healthy emotional release,” says Landon, “which helped us to start the healing process and move forward with our lives.” When songs formed, they would take them to a local studio used to record jingles and radio commercials and started recording a demo. Once the demo was ready and they had a few shows under their belt, their family and friends began asking what their band name was. “We decided to name the band Goodbye June, to honor the memory of our brother passing and encapsulate what inspired the beginnings of this band,” explains Brandon, “if he wouldn’t have passed, I’d probably still be painting and never would have pursued music as a career.”
Brandon’s father, a Pentecostal preacher, and Landon’s father, a choir director, evangelized throughout the Bible belt during their childhood. Naturally, the cousins played and sang during these fiery Pentecostal church services. However, their musical influences are not confined to only the music they played in the sanctuary. “I would go and play at the Player’s Pub [a local blues bar in Bloomington, Indiana] and sit in on songs by anyone from Stevie Ray Vaughan to Booker T & The MG’s,” says Tyler. “It changed the way I thought about music. The music was built around moving people, much like the gospel music I was used to playing.” During their teens, Landon and Brandon found themselves listening to the secular music that was never allowed in their homes during childhood. “I remember sneaking in Bush’s Razorblade Suitcase record into my room and playing it with the volume turned down so low I had to have my ear right next to the speaker so my parents couldn’t hear it,” reminisces Brandon. You can hear these shadows of black gospel, blues, and old country hymns mixed into Goodbye June’s brand of rock.
Over the next three years after that long summer of 2005, the boys of Goodbye June began playing their material across the Midwest. They packed up their equipment in a borrowed trailer from a close family friend, and played to whoever would give them a stage. They returned home with stories about near death experiences, sleepless, rowdy nights and a flock of new fans throughout the Midwest. Goodbye June was on the map, and they have been pushing forward ever since. In 2009, taking the advice of close friends in the music industry, the cousins made the plunge and moved to Nashville TN, and became part of Music City’s emerging rock scene.
The members of Goodbye June have spent much of the past decade honing their skill as songwriters along with their proficiency as vocalists and musicians. Although Landon and Brandon are principally identified playing acoustic guitar and electric guitar, both cousins also play piano, drums, accordion and most anything else with strings or keys. Tyler always joked that he could “just play guitar” and that made him less of a man when compared to his multi-talented 1st cousins. Clearly, however, the sum of their collective efforts makes for a much greater musical experience. They typically write together and draw off of each other’s ideas. Being strong songwriters individually, and even stronger as a unit, there is never any shortage of material to build songs around. They have no set method to the songwriting process; the only constant is that everyone gets involved at some point. The fact is, the cousins of Goodbye June are constantly working on their music and perfecting their artistry, because they know that’s what it takes to make music that matters.
Their debut album “Nor The Wild Music Flow” released in June of 2012, alongside their highly anticipated debut music video “Microscope” featuring St. Louis Rams head coach Jeff Fisher and country star Steve Holy. The band embarked on a debut European tour in Fall 2013 where they toured through Germany, Sweden, Finland, Holland, Belgium, France, and Spain during a 6-week stint across the Atlantic. Goodbye June also just announced a new album coming soon with Grammy-nominated producer Paul Moak. The band is fired up about the yet to be titled sophomore project, stating “we want this album to showcase our grit and soul by focusing on straight up rock ‘n roll.”
Smooth Hound Smith is a foot stompin’ folk-blues duo comprised of singer/multi-instrumentalist Zack Smith and vocalist/percussionist Caitlin Doyle. They record and perform a varied and unique style of folky, garage-infused rhythm & blues.
Using primal foot percussion, complex, fuzzed-out, finger-picked guitar patterns, warbled harmonicas, distorted vocals, and tasty harmonies, they are able to create something rugged and visceral- a modern interpretation of early blues, soul, and rock ‘n’ roll music that harkens back to the traditions of hazy front porch folk songs as well as raucous back-alley juke joints.
Aside from the obvious, the band That’s My Kid, and a panda bear don’t share too many similarities with each other. One is a cute, furry, and endangered mammal that mostly resides in the Orient where bamboo chutes are it’s main food source. The other, however, is a rock and roll band whose diet is solely composed of distortion, crash hits, and all things that groove.
Now, entering their second year as a group, That’s My Kid, is making sure everyone knows they’re open for business. From hitting the road touring, gigging around Nashville, or just playing super loud at band practice, odds are you’ll be hearing from them pretty soon.
Forrest Arnold, guitar/vocals, and Abraham Fongnaly, drums/enthusiasm, met in middle school many moons ago in Murfreesboo, TN. It wasn’t until just a few years ago that they started putting some songs together. Shortly after these impromptu sessions had begun, they found the last piece of their musical puzzle, bassist and overall cool dude, Jashaun Smith.
Ever since, TMK has been busy making a name for themselves. That’s My Kid has made themselves regular guests at many different house show venues, and of course many regular licensed venues, as well, all across the southeast. Last April they released their eight-song debut This One which is available for free download on their website www.thatsmykidmusic.com, but their newest release was December’s EP The Dark Horse Sessions recorded in nearby Franklin, TN, also available for a free download on their facebook page.
That’s My Kid is knocking on the door. Nashville’s door, the music door, and most likely your bedroom door because they just wanna hang out. They’re gonna keep on keepin’ on, and pretty soon they’ll be rockin’ and rollin’ right to your front door.
NASHVILLE, Tennessee (February 8, 2012) – Most artists hoping to make it big in country music move to Nashville instead of away from it, but not Sara Jean Kelley. She grew up right here (what if people not in Nashville read this?) in Music City, born into a family of musicians that encouraged artistic expression and never hesitated to jump in the car and head across the country for the opportunity to perform in front of an audience.
Sara Jean could hardly wait to set off on her own adventure, and just days after graduating high school, that’s exactly what she did, loading up her car for a long road trip that would inspire her next move in life. A gal has a lot of time to think while behind the wheel, hours upon hours of asphalt flying by underneath, and what started as a simple vacation turned into a two-year sabbatical spanning the west. She reveled in the vast Colorado wilderness that would become a temporary new home and soaked in the inspiration that surrounded her, never forsaking her Southern roots.
After 2 years in Durango, home called to Sara Jean and she hit the road back to Nashville. She was sharpened by the journey, having had plenty of time to discover what she was put into the world to do and hone her skills as a performer.
Since the age of 16, Sara Jean has been captivating audiences across the country with her classic beauty, sultry voice and haunting lyrical stories. She has both roughed it out on the road, singing for her dinner and a bed to sleep in for the night, and snagged her own private dressing rooms in some of the most notable US venues, sharing stages with her icons: Emmylou Harris, Willie Nelson and Rodney Crowell, just to name a few. Her slew of original songs offer the familiarity of traditional country and bluegrass while mixing in a healthy dose of modern Americana.
Like many great artists whose ambition is driven by their passion, Sara Jean is her toughest critic. In 2010, she performed for thousands of fans at Mobile, Alabama’s BayFest Music Festival. After a heart-wrenching performance received by thunderous applause, she kicked herself unforgivably for reversing the lyrics to a line of one of her songs during the encore. She was almost inconsolable until the next day when, despite the fact that the festival’s bill included a long list of major headlining acts, it was her picture that appeared on the 1A cover of the Mobile Press-Register, under the headline “Perfection.” It was no surprise that she was invited back to the same festival in 2011.
It is that tenacious spirit that drives Sara Jean to always improve, to always challenge herself. She is carrying the torch for a new generation of Americana artists. With her sights set on recording a new album this year (a follow up to 2006’s “Dollhouse”), Sara Jean has been writing relentlessly on her own and with several other Nashville songwriters including Jedd Hughes, Big Kenny and Will Kimbrough (guitarist for Emmylou Harris). Kimbrough is also slated to produce the project, along with Dave Coleman of The Coalmen, which will be released by the end of this year.
After half a decade spinning wheels on the Great American Highway, through the brutal heartbreaks and dire sacrifices that come with chasing the mythical rock & roll dragon, Great Peacock’s Andrew Nelson and Blount Floyd have finally eased up on the throttle. Like rock & roll as it transitioned from the erratic abandon of the late ’60s to the country-tinged storytelling of the early ’70s—donning cowboy boots and dipping its bucket in the well of American folk music—they’ve put their electric guitars back in the case, rolled their stacks back from 11, and let a serene hush wash over them. Their sound now? Beautiful, unadorned, moving—the bountiful harvest of a deep friendship and an unbreakable musical bond.
“The hangover is definitely starting to wear off,” Nelson says. “The amps had gotten a little too loud.”
“With our old band, we’d been playing all this angsty downer rock,” Floyd explains. “So with Great Peacock, we wanted the songs to be simple, poppy—infectious.”
For the first time, Nelson and Floyd weren’t writing songs for themselves, but rather songs they hoped would connect with fans. With Great Peacock they would embrace an unselfish, unpretentious aesthetic. “I don’t want to alienate people any more,” Nelson says, laughing a bit as he recalls the darker, more confessional songs he used to write. “I’m at a point where I want as many people to like our music as possible.”
Floyd and Nelson met in their early 20s in Nashville, the former having come to MusicCity to break into recording and the latter to play rock & roll. When they first ran into each other, neither had any close friends in town yet, and their connection was instant. “From the moment we said ‘hello,’ we realized we were gonna be best friends,” Nelson says. “It’s the only time it’s ever happened in my life. Blount’s brother introduced us, and I was like, ‘This guy is cool!’”
About an hour later, they were shotgunning beers together. “And it’s not like there was a party going on, either,” Nelson explains. “We were talking about music and I said, ‘Let’s get some beer.’ So we went to the gas station and bought a 12 pack of Busch. At every moment in the night, we became better friends—I was like, ‘Dude, we should get the camouflage cans,’ and Blount was like, ‘Hell yes, let’s do it!’”
“And there was this guy in front of us buying a single gas-station rose,” Floyd recalls, “and he says, ‘Yo, can I get some cigarillos and a box of magnums?’”
“We were both like, ‘That’s real love, man. Real love,’” Nelson says. “‘This guy has his life figured out—we need to figure out ours!’ I don’t think we drank a single beer normal that night—we shotgunned the whole 12-pack.”
The new friends soon found that their musical chemistry was just as intense, and that their strengths and weaknesses were the perfect complement. “The big thing about us,” Nelson says, “is that I can’t sing harmony—I’m terrible at it. And Blount doesn’t have a strong lead voice. When we’re riding around listening to music, he never sings the melody; he naturally sings the harmony. So we’re a perfect fit—I need him to sound good, and he needs me.”
Since the pair started playing together, they’ve seen two bands—and about a dozen bandmates—come and go. Through it all, their musical partnership has been a constant. “We always seemed to get what each other was doing more than anyone else,” Nelson says. “He keeps me artistic, and I keep him grounded.”
As far as Great Peacock has already come—recording a stunning debut EP of harmony-driven acoustic pop, performing as part of stylish, socially conscious eyewear company Warby-Parker’s Class Trip, and landing a coveted spot at one of Paste magazine’s 2013 SXSW showcases—the group began, almost literally, as a lark. “We kept noticing this hilarious trend of bands with names like Fleet Foxes, Deer Tick, Vulture Whale—they all had two names,” Nelson says, “one of which was always an animal.”
Kidding around one night, Nelson and Floyd decided to start a new band called Great Peacock. “I thought it was gonna be this cockamamie joke,” Nelson says. “We’ve talked a million times about starting random bands—including a Southern-rock band called Swamp Ass—and didn’t follow through. But even for a while there, when we didn’t really have anything going, I never stopped writing songs because I have to write to maintain my sanity. It’s my version of therapy. And Blount hadn’t stopped, either. Writing gave us an excuse to hang out.
“But I still didn’t think we were actually gonna do it,” Nelson confesses about the new band. “Really, the only reason it happened is because we wrote ‘Desert Lark.’”
Without giving it much thought, Nelson and Floyd posted an acoustic demo of the song on Bandcamp. Friends, family and fans went crazy over it, begging them to follow through on the new project. “We didn’t expect that,” Nelson says. “I wasn’t planning on being in a band again. I really wasn’t.” The chiming, triumphant acoustic anthem would become the centerpiece of the Nashville duo’s new self-titled EP.
Great Peacock’s harmony-driven sound appeals to fans of indie-folk, but the group is different from contemporaries like Fleet Foxes and The Head and the Heart in that their music is inextricalbly linked with the South. It’s who they are—Floyd hailing from a family of Alabama peanut farmers, and Nelson a long line of Mississippi preachers and sharecroppers. “If I had my way in life,” Nelson admits, “I’d be a country singer. My dream is to be George Jones.”
“But those country singers don’t exist any more,” Floyd says.
So instead of trying to live in a long-gone past, Great Peacock draws from the same inspirations that once fueled their now-extinct forebears (geography, aging, love/hate family relationships, blood, death, birds), channeling them into an unmistakably modern sound. For Nelson and Floyd, it’s natural, inutitive. “We know that even though there’s a history we’re connected to, we’re of our time,” Nelson says. “We know most records aren’t made on tape any more, but we’re also very much aware that—no matter the year or the production style—the right melody can be timeless.”
Thom Donovan is a singer, songwriter and guitarist whose music melds experimental sounds within modern pop arrangements through the eyes of a classically trained musician. While many artists spend their time looking back, reliving the sounds of a previous generation, Donovan’s music is forward-looking, taking classic sounds and pushing them into the future. An example of experimentation in his music is the juxtaposition of the cold, sterile feel of a LinnDrum against a shredding, squalling electric guitar. His sound can be described as a synthesis of Phil Spector’s “Wall of Sound”, Brit-pop and indie folk.
Donovan began his career as a session musician, recording and touring worldwide with a variety of artists including Robert Plant, One Republic and Hot Hot Heat. Unfulfilled by his work performing other artist’s compositions, he formed a band of his own called Lapush. The band’s debut album, Someplace Closer To Here (456/Fontana), was released in 2005. The band’s second album, Modern Blues, was released in 2007 through it’s own imprint, and songs from both releases have been featured frequently on MTV, VH-1, and CBS.
While Lapush garnered great success, Donovan decided to embark on his solo career, releasing his debut album Cast A Light in 2010 and his second solo album, Mercury Maybe, in 2012.
Donovan’s exploratory approach upholds the philosophy of forward musical thinking and experimenting musically without disregarding the song. Listeners can testify to this with Donovan’s new single “Shipwreck,” a collaboration with Wyclef Jean and featuring Ruby Amanfu on vocals, inspired by Arthur Brooke’s poem, The Tragicall History of Romeus and Juliet (1562). “Shipwreck” can be found on Donovan’s third solo album, Canon, due for release in February 2014 through AWAL.
Donovan currently resides in Nashville, Tennessee, and writes for JMHB Music and Kobalt Music. Donovan’s international performance career has included concerts across the United States as well as cities around the world, including London, Liverpool, Glasgow, Belfast, Brussels, Amsterdam, Stockholm and Ennepetal. His music frequently appears in popular television shows, including The Good Wife on CBS and Body of Proof on ABC, and he currently has a recurring role in the ABC musical drama series, Nashville, as a musician.
As you unfold the corners of Nashville, you can peer into a world flooding with diversity, where streams run together and mountains jet high above the clouds. These summits of success are just as high as they are unstable. The terrifying fear of plummeting is almost equal to the electrifying thrill of potential, yet many artists make the move to Nashville for this reason – it is a hotbed for aspirations and inspirations alike. For MODOC*, when Clint Culberson, Kyle Addison, Caleb Crockett and John Carlson met at Ball State University in Indiana, they knew making the move was something they had to do.
“It’s Music City! We love it here. We saw some of the guys we looked up to move down here and start their careers in music, and we wanted in on it. We’ve been able to reach more cities and more fans using Nashville as a touring base. We have grown exponentially as people as well as musicians. I think our fanbase has been on a continual rise since.”
With so many dreamers trying to scale these mountains at once, two things are for sure… it takes someone different to make it to the top, and making it to the top makes you different. Either way, if you’re going to start climbing, you better mean it. MODOC means it, and they’re climbing.
“I’ve always believed in having your cake and eating it too. That doesn’t mean it’s easy, but when things you’ve worked hard for start becoming a reality, it is sometimes very crazy. Wow, is this really happening? Are people I don’t know really fans of our work? We’ve had some really good placements as of recently. Fox Sports just made us their Band of the Month for December. Pearl Jam was their artist for November- which is one of my favorite bands ever- that’s kind of crazy to think about!”
What at first may have looked like grappling for a new crevice to take hold as they ascended has progressed to a steady incline of popularity for the band.
“We recently signed a deal with Zavitson Music Group and since this was more of a rebirth for MODOC, we felt since we were being introduced to a whole new set of fans, the album didn’t really need a title. This album is MODOC – nice to meet you!”
This album that went live in August has an expected Vinyl counterpart that will be released next month.
It’s not their style to get lost in the muck and mire of the musical jungle that often turns out burned up genres. They’re a great rock band, a one-of-a-kind sound without sacrificing that Nashville flair that has become part of their identity.
“We travelled quite a bit this year. We have a lot of favorites. Lately, Baton Rouge has been noticeably diggin’ it. It’s been great to see the growth there. Nashville is home, we love our hometown crowd, but chances are there is always someone in the crowd that can outplay you, so it forces you to improve and put every bit of energy into the show that people came to see.”
A little bit more about MODOC
“We chose the name out of desperation and now it has just kind of stuck. We had a show before we had a name. Fans have a lot of meanings for MODOC. My personal favorite is Missouri Department of Corrections… MODOC, IN. That small town is very significant now- realizing how much that community molded me, it definitely holds a place in my rebellious heart. They’re underdogs, much like MODOC.”
*MODOC (Clint Culberson on vocals/guitars, Kyle Addison on lead guitars/vocals, Caleb Crockett on bass/vocals and John Carlson on drums/vocals)
CEO | Writer | Website Manager of
FnF is FUN. highly energetic, infinitely passionate and making a serious impact on the Nashville indie rock scene. With an electric grouping of songs written by singer/songwriter Michael Fabrizio FnF leaves a mark on all of their audiences. More than music, FnF is striving to promote peace and unity in a movement and it’s catching on.
With Nathanial Lee on standup bass and Steve Wolfe on drums/percussion, the groove of FnF is strong and full of force. Alex Conerly and Brian Wooden add to the mix with wicked guitar melodies. Fabrizio provides a solid musical contribution with vocals acoustic guitar, piano and harmonica.
“We come from a good place, we want to see the good in people and promote the idea of understanding, Musically, we really love what we do, you can see that passion in our performances” -Fabrizio
After winning Lightning 100’s Music City Mayhem contest in 2012, Roots of a Rebellion took the stage at Live on the Green. In the last year and a half, the reggae rock band has continued to make progressive steps in their careers and in building up their community.
In addition to their “Inner Light” EP they’ve released a Summer Sampler 2013, including 17 songs that radiate with their continual sunshine. Austin Smith’s passion for creating messages and not just lyrics, movements and not just albums shines through as he said, “We wanted them [audiences] to pay us whatever… because at this stage in the game it is more important that our music and message is getting across.”
“What I’ve come to discover is that I get lost in all kinds of music all year round…but reggae is the one and only type of music that no matter what, every time, makes me feel at ease and allows me to quiet my mind, slow down, and enjoy the moment for what it is.”
“The song ‘Fixman’ means a lot to us as a band and it is one that I personally think exemplifies the message of Roots of a Rebellion which is—only you can fix you, only you can make you happy. Think for yourself. We are all going through something, and it’s up to each of us to “walk through our pain on our own” –Flea of Red Hot Chili Peppers.”
With the growth of the band has also come much change. “Dear friend and founding bass player” Alec Newnam parted ways with the band to pursue graduate school. Adam Quellhorst, another long time friend, was then introduced to ROAR as bassist. Amidst the tumult, things kept falling into place as the group prepped for their next big move as their lead guitarist returned home from spending the Spring in California.
“The summer of 2013 found a brand new band of brothers united for the sole purpose of making music… When the band started, I [Austin] was the main singer and songwriter, but now everyone in the band has songs they’ve written and a voice to bring to the table, which makes for some serious experimentation and self-discovery as a band!”
“Before LOTG, we were very fortunate to have a super strong group of friends and followers from Belmont, but since LOTG we have seen such a wide variety of folks receive our music very well! All ages, colors, sizes, and types of people have expressed their appreciation for what we are doing and it is an enormous blessing!”
The Roots Crew
ROAR is not just a band, it’s the start of a movement. Each member has played volunteer shows for Hands on Nashville with still-dirty hands from planting trees and cleaning up local Nashville schools. While they could easily pull the artist-card and focus only on their music, they have given of themselves individually and as a family to bless others in any way that they can.
They’re not stopping there, however. They’re recruiting fans and friends to get in on the action, too. Stay up to date with their latest efforts and get involved at the Root’s Crew house.
“This past fall we started hosting ‘Medicine Wednesdays,’ a time every week where we’d come together and play our music in the hopes of spreading the healing power of music. This idea was inspired by one of our favorite bands named THUNDERBODY from Rochester, NY. This lead to meeting some truly inspiring individuals, who received our music and message of love and growth with open arms, minds, and hearts.”
“We are now, more than ever, a serious tribe of brothers and sisters, working to promote the healing power of music and it’s ability to unite like-minded individuals striving for strong, local communities thriving by staying positive and making the best music we can, all thanks to the Grace of God.”
CEO | Writer | Website Manager of
Freshly integrated into Nashville, indie rock band Blank Range is taking new lessons from the old: “Everyone listens to the music their parents like. You stray from that as a teenager, but sooner or later you must admit your parents were pretty boss.”
Drummer/vocalist Matt Novonty
Bassist/vocalist Aaron Wahlman
Keys proficient Jonathan Rainville
Baritone guitar/vocalist Grant Gustafson
Guitar/vocalist Jonathon Childers…
…Blank Range, a name chosen for its ambiguity and ability to embody an array of images and meanings, is bridging the cassette-tape world with today’s frenzy of digital tracks and our regurgitated, adjunct love for vinyl after it’s remission during our youth.
Originally transplanted from the mid-west (Northern Illinois & St. Louis), most of the band members either went to college together or were previously in bands together. After only living here for several years, they seem to understand how our unique, creative-dense industry thrives.
“It’s all mixed-up. It’s between big and small, north and south; you have people from everywhere and, yet, there is a huge amount of civic pride; you can get to many other cities but it is often hard to leave your little cluster within this city; and, most importantly, you can be here a day and have made friends you’ll remember when you’re 64.”
They are taking their place here seriously but also with great jovial respect for the love of the work they do.
“The cool thing about being in a new band is that then you don’t have to consider theme. You work a job and play songs you like, and, in a way, the theme builds itself. We felt like putting songs to vinyl was an accomplishment. We are proud of what we’re making and wanted to represent that.”
Already past “Phase II,” their most recent release, “Scrapin b/w Before I Go To Sleep” EP just dropped at the beginning of this month. A release show is planned for Nov. 21st at the Basement, where they’ll be joined by “Fly Golden Eagle and The New Lonely… When [we asked them to play with us and] they said yes we felt like the luckiest guy going to prom.”
Leaving a bit up to interpretation, Blank Range presents their music to the feelings and understandings of others, a brave move for an artist.
“If each song can be played earnestly, there is a similarity. The listener can find a thread running through any compilation.”
Next on the Agenda
“We’re going to be playing three shows opening for Futurebirds next weekend (Nov 15, Proud Larry’s, Oxford, MS - Nov 16, Bottletree Cafe, Birmingham, AL - Nov 17, Vinyl Music Hall, Pensacola, FL). After that we’ll work on new music and look at getting on the road early next year.”
CEO | Writer | Website Manager of
Formerly one of Nashville’s most eclectic bands, Buffalo Clover now feeds a more fitting hybrid of roots-rock and soul into the Music City bloodstream.
Hailing from somewhere in the Midwest, front lady Margo Price grew up in a farming town where music didn’t thrive. Fortunately, it did thrive in the more obscure parts of her lineage. Price traced her creative genes to a great-grandfather who played piano using only the black keys.
A restless soul brought her to Nashville in the early aughts where she met guitarist Jeremy Ivey. The two made a couple as well as co-writers and got married. In late 2008, they met bassist Matt Gardner whose guitar chops were so good, he eventually switched instruments. They added bassist Jason White later, and drummer Dillon Napier joined in late 2010.
Throughout the band’s formative decade, Buffalo Clover, even in its developmental stages, attracted a variety of talent. Price has worked on two different projects with Brittany Howard of Alabama Shakes. Pianist Micah Hulscher, who plays with rockabilly queen Wanda Jackson on the road, recorded on Buffalo Clover’s last record, Low Down Time, and sometimes joins the band for live performances. They’ve also shared the stage with The Flaming Lips, Grace Potter and the Nocturnals and legendary sax player Bobby Keys, proving their southern soul style can match up with anyone.
In the simplest terms, Buffalo Clover are vintage rock ‘n’ rollers, but the South tends to creep in. This brand of southern soul bears a striking resemblance to their idols, the Rolling Stones and The Band. Taking a cue from Bob Dylan with a lyrical poeticism inspired by the troubled times, and Janis Joplin with her rough-hewn-but-honest, bottom-of-the-heart soulful lilt, Buffalo Clover emulate their musical paragons in a style of their own.
Never playing the same show twice, the band’s genuineness translates to a loyal local fan base. It makes them just as much at home playing in the UK, which they toured last summer, as The 5 Spot in East Nashville.
Ever the victims of wanderlust, what Buffalo Clover has in mind for 2013 is getting back to those places, in both Europe and the states, and continuing to bring the southern soul to a wider audience.
In his latest EP San Francisco, Seth Wood brings his gospel background to picnic with his own folk-inspired style, where audiences can feast on words that he has been carefully harvesting for months.
Ripe and ready for listening, this 2013 release, produced by Tom Laune, echoes of a season where Wood wrestled extensively with his dreams and impending realities. When friend DJ Lipscomb suggested he begin a Kickstarter campaign to fund the EP, Wood consenting under one condition: “If it doesn’t happen, this is the world signaling for me to not do music anymore.”
Six weeks of madness ensued where Wood lived on a haggard diet of social media, sharing, promoting, and praying, all of which paid off when he exceeded his goal of $7,000.
But, behind this wonderful moment was buried a great many more moments that seemingly lacked any “wonderfulness.”
Music in itself has an inexplicably powerful way of moving people, but what first moved Wood to music was the fatal car accident of a friend who lost her life in high school. He was asked to perform in her memory, an event which manifested early encouragement that this is what he was meant to do. After graduating, he jumped right into college at Middle TN State University to pursue a career in music. But, he grew increasingly discouraged after nothing seemed to be taking shape, so he moved to France to spend a year studying and exploring new opportunities.
Having already tried to stir up the waters of the music industry and finding, instead of a dynamic river a still, shallow lake, he jumped into a new pool entirely: the art of film. He nearly lost himself within the depths of creating, experiencing, and learning – but this ultimately led to him to finding himself. Nothing was settled in his spirit, he told me, without music – the inner musician was ever beckoning. So on a normal day he made another pivotal decision, acquiescing to the voice of fate by buying a guitar.
“When I heard Damien rice in Europe I thought, now there’s a guy just playing the guitar and singing. He’s doing everything with his soul and a couple of chords. I can do that.”
Between simple chords and choppy lyrics, he began to grow again.
Moving back to Nashville in 2007, the winds began to shift once more. Wood settled himself into odd jobs to support his composing and performing, welcomed into music city first by new friend Brooke Waggoner, followed by power couple-duo Elenowen and many more. “Building good relationships is key,” suggested Wood.
Discouragement returned, however, after a long bout of playing shows and leading to nothing further. So he did what anyone would do when feeling disconnected between seasons of life – he moved back home to Franklin.
While trying to regain a sense of himself and his music, Wood again tried to venture into other areas of art. Photography became a new love, a side hobby he maintains today.
Finding expression through other modes of creativity was only a step in the right direction for Wood, however. “It wasn’t clicking with my soul – didn’t make much sense for me to try all of that.” His best moments are ever in crafting lyrics, juggling chords, sculpting forms that others can relate to out of giant blobs of common emotions and experiences.
Once he let go, running into the winds that had driven him hither and thither before, he found his way to a place where he now knows that, beyond the inconsistency of the industry, this is where he calling lays.
Traveling showed him how big the world is and how music can impact people around the globe, “You don’t even have to understand what’s being said, just immerse yourself in it. It can move you even in a different language.”
Listen on Spotify
CEO | Writer | Website Manager of
Thursday was a brilliantly crisp yet foggy morning, perfect for sitting outside of Ugly Mugs with a piping cup of coffee and chatting with Cali band Diamond Carter. They wandered into Nashville a little under a year ago after forefront man Tyler Tuohy decided it was time to get out of town. Sax player Cameron Black, drummer Trevor Hunnicutt and bassist Josh Cropper, having collided when they were each swirling through life’s madness inside of LA’s Silverlake Overpass speakeasy, decided to follow Tuohy across state lines. “I told each one of them, just give me five years and you’ll come out with the greatest stories, memories and experiences of your life,” recanted Tuohy.
They refuse to give pardon or surrender to anyone who would get in the way of following after their dreams. They’ve succeeded in planting their colorful flag in new territory by refusing to waste any time getting noticed in Nashville, and as Tuohy explained, “We didn’t want to be ‘that one guy sitting in the corner by himself.’ Lightning ushered us into the scene, for sure.”
Full of love for supporters, the guys have kept it positive even as they fight through the daily struggles of their living/work relationships. As dirty dishes pile up in the sink at home tensions grow but never cross over into the sacred places of songwriting, and they certainly have no chance of echoing through the soundproof walls of the studio. “It’s a brotherhood. We only really fight about food and dishes,” Black laughed.
The guys have found refreshment in Nashville’s “more community based” music industry than that of LA. Tuohy and Black both grew up in Orange County originally, never meeting until the cards aligned later in life, and they brought very different styles and talents to the same foundation where, in their musicianship, they found commonality.
They’ve recently been celebrating their new residency at 12th and Porter, where you can find them on the second Thursday of every month. Their upcoming performance (Nov. 13th) will be on a Wed., a tribute to Elliott Smith and his passing ten years ago.
True to the band’s nature, their previous 14-track Pink Balloon is a shadow of trippy experiences and Motown and sixties influences. Originally written for acoustic performances, the album had to be redesigned by Tuohy to work for a full band. Even in naming the title, Tuohy draws from his past with heavy drugs and the smuggling of Heroine through balloons, pink being his favorite.
All of the guys have felt the recent itching to hit the road again. Their future plans include touring fulltime and only coming back to Nashville when it’s time to record. Their upcoming Flowers of Evil resonates a heavier disco feel and will be something different for a new record because it will be the first that was originally written for a full band.
By, Kaitlyn Crocker
Black Sea Royalty has been rolling with the rock vibe, but they’re introducing more ambience and layers in their upcoming album expected early next year. For now, they have their studio faces on as they’re jumping into sessions to pull out a new single Blood Brother by the end of the week. Shadowing the transition from youthful innocence to growing up and accepting new realities, the single will highlight the dynamics and importance of having a brotherhood to surround you as you enter new phases of life and learn that growing up is never what it seemed, but has something exciting and unique to offer if you’re willing to join in.
Jon Marc first met (now ex-bandmate) Sammy Mitchell at Belmont in 2011, connecting through a mutual love for the guitar. When Jon Marc pulled a no-show to class one day as did fellow student Jordan, they were automatically grouped together on a class project. After jamming together shortly thereafter, Jordan joined in forming the band and brought in his roommate at the time Matt. Since the start of the band in 2012, Black Sea Royalty has produced their first single Irene and a self-titled, debut EP.
Dan Fernandez, studio musician and good friend, has taken on the role of producer for the band’s recent projects in his private Nashville studio. Dan’s pay-it-forward investment and strong belief in the band’s potential could mean the difference for their recording process as they focus on writing, composing and preparing for future touring. And although Nashville holds a unique place in their hearts as the band’s birthplace, excitement is building about the upcoming tour after the early 2014 release of the new album.
“The intense energy at our shows is a standard we strive for. We have never set out to write rock and roll, we just do what we love as best we can and this is what it has turned out to be… We feel like our music translates from energetic stage energy to powerful and dynamic recordings.” (Jon Marc)
Working odd jobs in between to support their passions, band and room mates Jon Marc Winchester (lead vocals, guitar), Jordan Williamson (drums), and Matt Green (bass, vocals) have become more entrenched in the last two years with writing, producing, marketing and booking gigs while expanding their fan base. As their experience and music grows, the band expects to move forward independently. Jon Marc said they plan on incorporating promotional help for the new album and already have others booking upcoming tour dates and venues because trying to run all aspects of the band weighed heavy on their creative expressions at times. However, as far as expounding on the band’s discography and gearing up for travel, they feel more than capable of holding it all down.
By Kaitlyn Crocker,
From LAX to BNA, Mitch Allan and Steven McMorran crossed the vast chasm of writing for big artists and producing songs such as David Archuleta, Celine Dion, Pink, Faith Hill, Bowling For Soup song “1985,” and much more, to finally honing in on their own talents. With the spotlight shifting into their own sphere, and joined by music biz veterans Josh Dunahoo and Erik Kertes, something big was bound to change.
“It’s been the catalyst of who I’m becoming. The difference has motivated me to find out what it would sound like to be the one without rules. There’s a lot of time that went by with me just waiting on something to change. This feels a lot more proactive,” Steven revealed.
Satellite was a work in the making for some time, and as Steven, Mitch, Josh and Erik transitioned their focuses onto the band, it became more apparent that, while their careers had left definite marks on their own sound and how they fit into the music arena, those experiences only enriched what they were welding into one work of art.
“Making the record was all we did in the beginning, and shows were a slow-cooked-development. Working with artists allowed me to bank off of their individual approaches. The people that impress me the most are the people who stopped caring whether the audience approved.” – Steven
Listening to Satellite’s self-produced single Say the Words from their Ring the Bells EP went something like this for me:
Lost for four minutes and twenty seconds, I felt like I had rested my head in the lap of a great protector who, while brushing his mighty fingers through my hair, reminded me that it’s okay to feel fear and frustration, encouraged anger towards all of the things that try to keep me hung up in life, and rallied me to shout out with bravery all of the things I’d held inside.
They’ve woven their extensive histories with working in the music industry into their own raw talent for songwriting and performing, leaving audiences with something tangibly powerful to dance to, cry to, laugh to, and live by. They’ve drafted the best fighting words they could find, and have enlisted them to march into battle on your behalf, shining with bravery for those of us who sometimes can’t find the words on our own. Steven has found the words for us.
“I definitely feel more like myself in Nashville over Los Angeles. I lived there for 8 years after moving from Little Rock, where I’m from, and they were a formative chapter in my life. You’d have to drag me back if you expected me to move there again. Feeling this good makes me stop worrying about what I used to, so I could say that I feel more successful here.” – Steven
Look forward to more from the band as they grow, more shows and “a lot more songs of course.”
Find them at home, on facebook, or on twitter.
Written by Kaitlyn Crocker of EVOLve – Facebook – Twitter
Listening to Vinyl Thief takes me right back to O2ABC in Glasgow, Scotland where I joined a packed room to welcome Cold War Kids into town. Something in their sound, their audible presence allows you to escape to either places they want to take you or paths you decide to tread down on your own. They empower self exploration, acceptance of life’s difficulties, and the freedom to dance if you want to.
Since their 2010 release of the Control EP – followed by singles White Light (2011), Rebel Hill (2012) and latest Smooth (2013) – they have garnered much attention from Nashville and fans beyond. Grayson hasn’t found his favorite track on the album yet but he said he knows it will happen once they begin playing it live.
“I am really proud of the entire record though, front to back. There’s a lot of heart and soul laid out pretty clearly. It goes through loss, avoidance, and acceptance, in a lot of different forms. We’re trying to get it out as soon as possible.” – Grayson
So, with much anticipation we wait to bath in the pool where Vinyl Thief’s distinct sounds and creativity have collected. In the meantime, Lightning 100 has helped us to revel in older tracks, especially as they gave the featured artist of the week extra air time and made plenty of “Smooth” picks for local audiences.
“Lightning 100 is no doubt one of the biggest influences on Nashville’s music culture. If you look at how big the crowds were at Live on the Green this year, there’s no doubt about that. High five on that one Lightning!” – Grayson
There’s also no doubt that Nashville is loving these guys for what they’ve made together, but each member of the band brings a unique something that makes the whole thing work. To say the least, Vinyl Thief is one energetic, diverse compilation of kindred spirits.
Grayson – Singin’, dancin’, and synthesizin – “I grew up in Texas. I wasn’t country enough for Texas, so I moved to Nashvillle… smart thinking. My mom and I shared a love for anyone with a serious voice and a serious attitude: Steven Tyler, Celine Dion, Michael Jackson, and the like. She had Toys In The Attic by Aerosmith on vinyl, but we didn’t have a record player because it was the 90′s and that wasn’t cool anymore/yet. But I had it in my room and would listen to the tape while looking at the record.”
Logan – guitars – “I grew up going to see KISS with my dad one month, and then seeing U2 the next. If that doesn’t make you want to be a musician, who knows what will. I would listen to records on repeat, while reading a book about the record I was listening to.”
Sam – Keys and other things - ”I began and remain in this band because the other four guys are my best friends. It’s the only way I get to see them! But seriously, it was just what we did growing up. I couldn’t be in a band with anyone else. I listened to anything with a good bass line and groove to it; a lot of soul and funk.”
Andrew – Drums and such - ”I used to listen to my mother’s collection of piano pop artists such as Elton John and Billy Joel, and my father always had Cool and the Gang on.”
AJ – Bass and the likes – “From Freemont, MI. I grew up listening to Harry Connick Jr., Michael Jackson, and the Doobie Brothers.
Growing up in Columbia together, attending the same schools and “dating each other’s sisters (well, one of us…)” tethered Grayson, Logan, Sam and Andrew to a banded brotherhood. AJ was pulled in later in the game, but he is making some equally powerful plays.
“I met the guys because they were recording their old single “White Light” at a studio in Franklin that I was living in. I then sold the lie that I was a bass player, and they let me join.” – AJ
As they sailed out together into the turbulent waters that can be a Kickstarter campaign – crowdsourced funding for their album – it was revealed to them just how expansive and loyal their new fan base had become. ”Fans let you make music for a career. They’re incredible,” Grayson proudly said.
“Once we launched it and the pledges started coming in, I was blown away. In an era where a lot of people don’t pay for music anymore, the fact that they were giving us money to make music was mind-blowing. It was an incredible motivator to go and stretch ourselves to our limits for these fans and friends who gave us so much.”
“Nashville is very supportive of us. I am excited to see how [everyone] responds to the new record. Who knows what will happen?”
“We played The House of Blues in Boston with The Joy Formidable back in June… But some of our favorite memories from shows are ones that have been here in Nashville, at Exit/In and Mercy Lounge, playing with some of our best friends. There’s no place like home.”
“There are so many talented musicians in Nashville, that if everyone was competing with each other, there couldn’t be any growth.”
By, Kaitlyn Crocker
Lightning 100 debuts “The Shape I’m In” by Marc Scibilia on 100.1 FM.
I’ve never been one to frequent dive bars, but Bobby’s Idle Hour made for a great new find and a new night out of my normal routine. I turned up for an interview and stayed for a hangout with Alex and Larry, making for an easy Wednesday night in Nashville.
As the smoke gave the bar a bit more haze, the stories being served at the bar were tastier to me at that moment than any beer that could have slid over the old, slick countertop.
Larry shared some insight about rock and roll with me by noting that songwriting of this kind requires a liberal use of the word “baby.” Them Vibe’s Facebook profile reveals little “About” them initially by only displaying the quote “Rock and Roll every day of the week… Baby.”… and now I get the joke….
By the end of our conversation I had dubbed them the “’Okay guys,” because they seem to be ever in the wake of giving friends and open windows – even after the door itself has closed – and in their hour of need have been offered help and opportunities and had to merely sit back and humbly, gratefully reply “Okay!”
From Queens and Boston, Larry Florman and Alex Haddad not only survived but have evolved since the breakup of former band Her and King’s County. Back in NYC Larry performed under the guise of Brother Love, recording two albums and working as a singing waiter to make ends meet. First a drummer, Larry knows percussion and adds dimension and complimentary rhythm to Alex’s get-up guitar playing, and some moments of falsetto that draw you back into the room from wherever your mind could have been wandering throughout their harmonies.
Their musical chemistry was already apparent to them before the band split, and the natural next step was for newer-member Alex and “Brother Love” to jet off on a duo venture, revamping their inner rock and soul and shaking it up for old fans. Together they have made East Nashville home and joined in the giant web-weaving of artists, techs and business bodies. Affluent in creative types, the east Nashville area attracted these gentlemen with its sweet aroma of diversity: “Diversity is natural. Your voice is your voice…” When they discovered Lightning 100, they pursued fast on the heels of the local artist promoter, hoping to catch some air time and build another bridge in music city.
For an album that they began recording only in January of this year, Them Vibes has literally rock and rolled their way speedily through a process that comes so natural to them. But while “Rock and Roll” is “everything – being made up of many different parts of other things,” performing in the Country industry impressed upon them the difference storytelling makes in songwriting. It is the element for painting these stories through song that keeps them writing and recording.
Their first album as a duo is estimated to drop digitally Sept. 17th, and hopefully sooner than later it will be followed by an LP.
Lightning 100 radio station has been looping the single “Lorelei,” a tune about being so crazy in love that the overwhelming emotions result in jealousy, murder and finding a way to make it into eternity together. “…. it’s really just about love and madness. The name Lorelei was one of the very last things we actually came up with when writing.” While capturing more of the sporadic jealousy, this love song packs a real punch at the romantic idea of we’ll be together forever - this woman stands for something we all can understand, getting sometimes too caught up in the moment and following the way we feel. But sometimes you just have to follow those good feelings and them good vibes.
By, Kaitlyn Crocker,
After spending much of the Milktooth‘s short history touring the US (with stops in L.A., Seattle, Austin, Portland & Chicago), lending their music to TV & quickly earning a reputation for their haunting arrangements & blistering live performances, Milktooth returned home to Nashville, TN to record their sophomore EP, Wild Before Our Eyes.
The young indie rock band’s sound has been hailed as “mesmerizing” by NPR, “vast & unexpected” by New York Minute Magazine & “infectious” by The Dallas Observer & has drawn comparisons to such critical darlings as The Walkmen, Arcade Fire & Wild Beasts. Wild Before Our Eyes was produced by Tom Laune (R.E.M., Alex Chilton) & mastered in Montreal, QC by Harris Newman (Arcade Fire, Wolf Parade).
Milktooth garnered worldwide attention earlier this year when Beck, one of their musical heroes, shared their music video with his Facebook/Twitter following of over one million fans. This praise helped the video grab 8,000+ views, along with 300+ retweets/shares, in its first week of release.
Check out Beck’s “Eyes That Say I Love You” cover video by Milktooth
FREE download at: http://milktooth.bandcamp.com/album/s… |http://milktoothmusic.com | http://twitter.com/milktoothmusic |http://facebook.com/milktoothmusic |
Recorded live in Nashville, this is Milktooth’s cover of “Eyes That Say I Love You” from the Beck album Song Reader, which was released only as sheet music.