Podcasts about blackbird studios

"It's all about intention." In this episode of the podcast, Lij Shaw sits down with seasoned artist, songwriter, and producer Ryan Ordway, who shares insights from his two-decade journey through the music industry. They discuss various nuances of music production, covering topics from remote recording challenges to the importance of acoustics and effective studio management. Ryan emphasizes the need for adaptability, personal interaction, and practical tips to ensure high-quality sound and a smooth creative process. Aspiring producers will gain valuable strategies for optimizing their craft and navigating the evolving landscape of music recording. Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is Ryan Ordway, a multifaceted artist, songwriter, producer, and audio engineer, proficient in analog and digital recording, mixing, music licensing, session playing, and commercial studio management. With over two decades of experience in the music business, he has recorded and produced nearly 1,000 songs across musical genres. Ordway has designed, built, and operated three commercial recording studios throughout his career. In 2020, he partnered with The Studio Portland in Portland, ME, where he undertook an ambitious remodel completed in 2024. Under Ordway's direction, The Studio became home to 98.9 WCLZ's Studio Z series, through which he has recorded an impressive roster of international recording artists, including: Noah Kahan, Grace Potter, Lake Street Dive, Joy Oladokun, The Heavy Heavy, Gregory Alan Isakov, Josh Ritter, Hiss Golden Messenger, Talk, SMYL, Lucius, Cecilia Castleman, Joseph, and Charlie Crockett, among others. Ordway's songwriting talents earned him an invitation to the renowned Blackbird Studios in Nashville, where he recorded with famed producer Ken Scott (whose client list includes The Beatles, Elton John, and David Bowie). His song "Easy Street," produced by Scott, was featured in Robert Willey's Getting Started with Music Production, published by Hal Leonard in 2015. Recognized for his ability to create transformative experiences for clients throughout New England, Ordway was nominated for Producer of the Year at the New England Music Awards in 2023. His song "Back Again" was nominated for Song of the Year in 2022. Ordway's original music is licensed in over 13 countries and featured on major platforms like Amazon Prime, Netflix, and Hulu. His music has appeared in popular TV shows such as NBC's The Office, ABC's Happy Endings, and FOX's Raising Hope. In 2023, his cover of Rusted Root's “Send Me on My Way” won him a multi-year contract for Nature Valley's Life Happens Out There national TV spot He has worked with other national clients, including Klondike, Polo Ralph Lauren, and John Deere. In addition to his technical expertise and commercial success, Ryan is a passionate educator and mentor. At The Studio Portland, he leads professional audio production training programs and recording camps, sharing his knowledge and inspiring the next generation of audio engineers and producers. Beyond music production, Ryan produces podcasts and provides voiceover (VO) and automated dialogue replacement (ADR) post-production services for elite clients such as Lucas Films, Netflix, HBO Productions, and Penguin Random House Audio Books division. THANKS TO OUR SPONSORS! http://UltimateMixingMasterclass.com https://www.adam-audio.com https://www.native-instruments.com Use code ROCK10 to get 10% off! https://www.izotope.com Use code ROCK10 to get 10% off! https://roswellproaudio.com/ https://www.makebelievestudio.com/mbsi Get your MBSI plugin here! https://RecordingStudioRockstars.com/Academy  https://www.thetoyboxstudio.com/ Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/5URoEkxCrLa3ESYMgxyR18?si=f386ffda39b14207 If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/492

We welcome back a special friend of the show, Acclaimed Northern Irish Songstress Janet Devlin. Celebrating her special new album 'Emotional Rodeo' which is a testament to her devotion to country music and its prominent role in her musical upbringing. The album marks an artistic milestone, personally and musically embracing Janet's full identity. The album embodies the ownership of womanhood, engineered in a clever, quick-witted manner and it was recorded right here in Music City at famed Blackbird Studios. On this special chat, we talk about mental health, therapy, recording in Nashville, the art of picking singles and more. For more information and tour dates visit: www.janetdevlin.com ____________ This episode is brought to you by Magic Mind. Magic Mind is a “mental performance shot”, an addition to your daily routine, that gets you focused, mentally clear, motivated, and productive while reducing stress, with mushroom nootropics and adaptogens plus over 100% of your daily vitamin C and D per bottle! It is 100% Safe- all ingredients are third-party tested, sourced from the best suppliers You have a limited offer you can use now, that gets you up to 48% off your first subscription or 20% off one time purchases with code JRODCONCERTS20 at checkout You can claim it at: https://www.magicmind.com/JRODCONCERTS20 Learn more about your ad choices. Visit megaphone.fm/adchoices

Rachel Thibodeau is this week's guest on Stories Behind the Songs! Rachel has not only written for some of the biggest names in country music but is also working with some of the most exciting up-and-coming talent in Nashville. You may know her from her long-time collaborative relationship with Luke Bryan with whom she wrote Billy Currington's massive hit, “Good Directions” on his 2005 album, Doin' Somethin' Right. She also has several cuts with Martina McBride and is working to develop the incredible new artist, Styles Haury. Rachel plays a verse/chorus of “Good Directions” and a sneak peak of Styles' unreleased next single. In this episode, we also talk about the one-on-one co-writing process with Luke Bryan, starting a publishing company with John and Martina McBride (just because she had the guts to ask!), recording at the legendary Blackbird Studios, mentoring young, female writers, and seeing her first #1 sign on Music Row for “Good Directions”. If you enjoyed this week's episode, make sure to share it with your friends and give us a follow. It's because of listeners like you that we are able to continue sharing the Stories Behind the Songs. We hope you enjoy this episode and follow Rachel Thibodeau! Podcast Show Notes: Rachel's Instagram - @RachelThibodeauMusic Rachel's Website - Here Rachel's LinkTree - Here And follow us, Stories Behind the Songs, here: Listen/Subscribe/Follow - HERE   SBTSongs TikTok - @SBTSongs   SBTSongs Instagram - @SBTSongs   SBTSongs YouTube - @SBTSongs   Chris Blair's Instagram - @ChrisBlairMusic   Chris Blair's Website - ChrisBlair.com   The Listening Room's Website - ListeningRoomCafe.com   TLR's Instagram - @ListeningRoomCafe   TLR's TikTok - @ListeningRoomCafe   And thanks to our sponsors! Sennheiser - https://www.sennheiser.com/en-us Imperfect Aesthetician - https://www.instagram.com/imperfectaesthetician/ Alclair In-Ear Monitors - https://alclair.com/ --- Support this podcast: https://podcasters.spotify.com/pod/show/sbtsongs/support

Welcome back to another exciting episode of The Sonic Truth Podcast!

Dane Clark is an Indiana native who has been honing his instrumental (drums, bass, guitar and keyboards) and songwriting skills from an early age. His early influences of British Invasion rock and Dylan era folk music still resonate in his musical vision. Clark began making a name for himself as a session drummer in the Indianapolis area in the early 1980's. As well as 28 years with John Mellencamp, Dane has recorded with John Prine, Steve Earle, Ian Hunter, Janis Ian, Carrie Newcomer, The Bob And Tom Band and a multitude of others. Dane has released 7 critically acclaimed singer/songwriter projects of his own including 2019's Americana tour-de-force “Rebel Town” (featuring Carlene Carter) in October of 2019. His latest release “Songs From Isolation”, by Dane Clark and the Backroom Boys featuring John Sebastian was released in August of 2020 to widespread acclaim and national press. He has produced and played multiple instruments on releases by rock and roll hall of fame inductee Donovan( Ritual Groove) and Don Stevenson of the legendary 60's band Moby Grape. His eclectic percussive signature has been heard on stage with diverse musical giants such as Dizzy Gillespie, Josh Grobin and John Fogerty. For 20 years he has led his own “full blast rock combo”,The Dane Clark Band, playing in countless regional and local venues as well as opening for artists such as Allman Betts Band, Gin Blossoms, John Waite, The Nitty Gritty Dirt Band and 38 Special.   Some Things That Came Up:    -2:00 Newest Mellencamp band member has been there 15 years  -2:30 The return of Lisa Germano  -4:45 Working with Nashville bassist Mark Hill at Blackbird Studios  -7:30 Thundersound Studio in Andersen, Indiana  -9:00 Drums are Dave's THIRD instrument  -9:50 The Dane Clark band for 22 years  -10:45 John Prine, Ian Hunter's Janis Ian, and Steve Earle  -11:00 Ian Hunter's “Defiant One”, sharing credits with Ringo Starr, and the late greats Jeff Beck and Taylor Hawkins. Also features Mike Campbell and Waddy Wachtel -16:30 Embracing all of the ways to record remotely  -18:40 Mellencamp's “Orpheus Descending” and “Sad Clowns and Hillbillies”.  -19:20 Standout tracks are: “Hey God”, “Perfect World” (written by Bruce Springsteen), and “Amen” -21:00 The influence of drummer B.J. Wilson (Procol Harum) -23:20 The 1993 audition -31:00 Too many crashes in modern music?  -42:15 The heaviness of Ginger Baker  -44:00 The performance degree  -45:00 The beauty of Steve Gadd. Checkout “Smokin' in the Pit” by Steps Ahead -46:00 Transcribing Vinnie Colaiuta -47:20 Discovering Tony Williams and The New Tony Williams Lifetime -49:00 Wrote, produced, performed and mixed his “Songs From Isolation” record  -60:00 Dane's Podcast: “The Morning Buzzz” -65:10 Seeing Dane at The Greek Theater -66:15 The Gear -73:00 “The Fave 5”  -78:00 Stephen King's work ethic      Follow:  www.daneclark.com X: @daneclarkmusic IG: @daneclarkmusic   The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 25 of which have been #1 hits!   Rich can also be seen in several films and TV shows and has also written an Amazon Best-Selling book, "CRASH! Course for Success: 5 Ways to Supercharge Your Personal and Professional Life" currently available at:   https://www.amazon.com/CRASH-Course-Success-Supercharge-Professional/dp/B07YTCG5DS/ref=sr_1_1?keywords=crash+redmond&qid=1576602865&sr=8-1   One Book: Three Ways to consume....Physical (delivered to your front door, Digital (download to your kindle, ipad or e-reader), or Audio (read to you by me on your device...on the go)!   Buy Rich's exact gear at www.lessonsquad.com/rich-redmond   Follow Rich: @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy www.jimmccarthyvoiceovers.com   RICH REDMOND  Drummer, Speaker, Author, Host, Emcee, Actor www.richredmond.com

The Hamilton Today Podcast with Scott Thompson: Hamilton's own designer fashion label, Blackbird Studios, has fully returned to the downtown after a popup at Limeridge Mall became home for over three years. As spaceflight and rocket launches become the norm again, some astronomers are noting that the proliferation of satellites are interfering with our ability to see into the night sky. Following the fallout from the ArriveCAN app scandal, the Conservatives are calling on the Auditor-General to investigate all contracts between the Liberal government and GC Strategies. No more funding for roads and infrastructure? That can't be right. What is the hubbub being caused by Steven Guilbeault's comments? Rideshare Drivers Association of Ontario and RideFair Toronto are part of the local groups representing Uber and Lyft drivers who are striking today. Time to rebrand the Carbon Tax; that'll solve everything! Are friendships just as – or more – important than romance? The future of the Federal Liberals if they stay tied to Trudeau: how does it look? What's a better way to celebrate Valentine's Day than an intimate conversation with Scott Radley? Guests: Lynn Bebee and Kerry Wade, founders of Blackbird Studios Dr. Samantha Lawler, Associate professor, Astronomy, University of Regina Michael Barrett, Conservative Shadow Minister for Ethics and Accountable Government Marvin Ryder, Professor with the DeGroote School of Business at McMaster University Earla Phillips Vice President of the Rideshare Drivers Association of Ontario, and Veteran Uber and Lyft Driver Tim Powers, Chairman of Summa Strategies and Managing Director of Abacus Data Sadaf Ahsan, Toronto-based arts and culture writer and the co-host of pop culture podcast The Reheat John Ibbitson, Writer at Large with the Globe and Mail, specializing in Canadian politics, federal-provincial relations and American politics Scott Radley, Host of The Scott Radley Show and Columnist with the Hamilton Spectator Host – Scott Thompson Content Producer – William Erskine Technical/Podcast Producer – Ben Straughan Podcast Co-Producer – Tom McKay News Anchor – Dave Woodard & Jen McQueen Want to keep up with what happened in Hamilton Today? Subscribe to the podcast! https://megaphone.link/CORU8835115919

Photo Credit: Brittany Hope Hambrick – Ross Flora is a seasoned, multifaceted singer and musician out of the Blue Ridge Mountains of Virginia. Growing up just south of Roanoke, he was surrounded by strong influences in both R&B and Bluegrass. When asked what his first musical memories were, he said, “My dad would stand me up on the back of a church pew and teach me harmony parts with the congregation.” When Ross was 12, his dad came home to find him playing along to a Van Halen CD and went to sign him up for guitar lessons that day. By his teenage years, Ross began performing at various venues and festivals throughout the South Atlantic. At the age of 19, he started playing guitar and singing with “The Kings” in Roanoke, Virginia. In 2012, Ross moved from the family farm to pursue a career in Nashville, Tennessee. Once in Nashville, he was able to build a strong audience base as a solo artist and began touring full-time as a lead guitarist and vocalist, performing with acts such as “Johnny T” Band and “Smoke n' Guns” around the nation. Ross has performed over 4,000 shows since moving to Nashville, all while writing and producing his own music. Ross' songs emulate the tasteful guitar parts and bold emotional lyrics of the southern rock genre. His sound reflects his lifelong influences, including Gregg Allman, Duane Allman, Chris Cornell, and Ian Thornley. As an English major, he utilizes the themes of all his favorite authors, including Dickinson, Thoreau, and Whitman, in his musical writing. Ross' music shares stories from his rural roots to life on the road. In 2022, Ross released his first debut single ‘Cannonball' to overwhelming reviews from the southern rock and outlaw country communities, naming him “The Golden Age of Rock n' Roll featuring a Southern Flare”. Following his single in July 2022, Ross released his first EP, Shoulders of Giants. The EP made headlines alongside Morgan Wade in the Roanoke Times as two Virginia natives making waves in Nashville. In March 2023 Ross released his project with world renowned Blackbird Studios, ‘Part of Me'. Ross continues to play across the USA as a solo artist, and keeps a Nashville residency at multiple venues.

Digital or real guitar cabinet? Nathan talked about going from intern to engineer at Blackbird Studios, running a studio like a high-end hotel, how steel drums are heavy metal, why tape should always be rolling, and how to create crankable records. Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is Nathan Yarborough, a heavy rock and metal music producer, engineer, and mixer who started out in North Carolina with a Tascam 4 track studying recording in college and finding his way to Nashville to intern at Sony/Tree and Blackbird Studios where he worked for eight years with some of the greatest engineers like Vance Powell, Niko Bolas, George Massenburg, Joe Chiccarelli and many others. He then went on to engineer records for producer Nick Raskulinecz for 10 years and now he works with a variety of bands at all different levels to make great recordings here in Nashville. I met Nathan recently at the 25th Annual AudioMasters Benefit Golf Tournament when we stopped at hole. That was sponsored by the Nashville Recording Supply Company. I came home with a crappy golf score but a new role of black galf tape for the studio and an amazing playlist of Nathan's discography of hard rock and metal albums including artists like Korn, Mastadon, Glasswalker, Code Orange, and Evanescense. So please give a listen to that in the show notes below. Thanks to Adam Dalton and Eric Masse for making our introduction. THANKS TO OUR SPONSORS! http://UltimateMixingMasterclass.com https://gracedesign.com/ https://www.native-instruments.com use code ROCK10 to get 10% off! https://lewitt.link/rockstars https://iZotope.com use code ROCK10 to get 10% off! https://www.adam-audio.com https://RecordingStudioRockstars.com/Academy  https://www.thetoyboxstudio.com/ Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/6Bw6JShspe4ypBp6Jb6Pw7?si=4324eda8e5fb45cd If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/436

British musician, songwriter, producer and Eurythmics co-founder DAVE STEWART's upcoming memoir SWEET DREAMS ARE MADE OF THIS: A Life In Music is an atmospheric portrait of a golden age in music that lays bare all the sex, drugs, and rock ‘n' roll revealing untold stories from his adventurous career. It will be released in hardcover and audio Tuesday, February 9 via New American Library (NAL), an imprint of Penguin Random House.The memoir is packed with unforgettable never-before-told stories featuring the likes of Bob Dylan, Elton John, Stevie Nicks and Daryl Hall providing readers a behind-the-scenes look at the prolific musician, songwriter, and producer's career that has spanned three decades and more than 100 million album sales. In the book Stewart opens up about:●His little-known five-year relationship with Annie Lennox before Eurythmics●Visiting Bob Dylan's favorite underground club●A wild night at Stevie Nicks' Beverly Hills home in the 80s●A psychedelic adventure with Daryl Hall●Becoming one of the first musicians to sign with Elton John's record label in the 70s, and failing spectacularly●The making of numerous worldwide smash hits, including “Sweet Dreams (Are Made of This).”●His adventures beyond Eurythmics, including collaborating, recording, and creating havoc with legends like Bono, Mick Jagger, and Tom Petty, as well as relative newcomers like Katy Perry, Gwen Stefani and Joss StoneDAVE STEWART BIO (FROM ROLLING STONE.COMBest known as one-half of the groundbreaking synth pop duo Eurythmics, Dave Stewart was also a highly successful producer and, on occasion, a solo artist. David A. Stewart (as he also sometimes was credited on record) was born September 9, 1952 in Sunderland, England; the product of an upper-middle class family, he enjoyed his first taste of musical success during the early '70s while fronting the band Longdancer. The group seemed poised for big things after signing to Elton John's Rocket Records, but they quickly fizzled out; Stewart soon resurfaced in a variety of short-lived groups, and eventually began writing songs with friend Peet Coombes. In the late '70s he was also introduced to an aspiring singer named Annie Lennox; the two became lovers, and with Coombes they formed a group dubbed the Tourists, issuing a trio of new wave-influenced LPs between 1979 and 1980. When the Tourists came to a halt in late 1980, Stewart and Lennox's romance ended as well; they agreed to continue their musical partnership, however, rechristening themselves Eurythmics. Their soulful synth pop sound was created solely via Stewart's technological mastery, capped off by Lennox's powerful vocals; after the title track of 1983's Sweet Dreams (Are Made of This) became an international smash, the Eurythmics rose to become one of the '80s most successful and innovative artists, scoring such major hits as 1984's "Here Comes the Rain Again," 1985's "Would I Lie to You?," and 1986's "Missionary Man." In 1985, Stewart also scored his first outside success as a producer, working on Aretha Franklin's comeback album Who's Zoomin' Who; that same year, he also helmed Tom Petty & the Heartbreakers' hit Southern Accents. In the years to follow, he went on to produce music for Mick Jagger, Bob Dylan, and the Neville Brothers.By the end of the '80s, Eurythmics' popularity was on the decline, and after 1989's We Too Are One failed to recapture the magic of their earlier work, they essentially disbanded, with only a hits compilation and a live LP to follow. Stewart, who in 1987 had married Bananarama/Shakespear's Sister vocalist Siobhan Fahey, initially turned to soundtrack work, scoring the Dutch film Lily Was Here in 1989; a year later, he put together a new band, the Spiritual Cowboys, with ex-Pretenders drummer Martin Chambers. Sporting a more atmospheric, guitar-driven sound than his previous work, the Spiritual Cowboys issued two albums, a 1990 self-titled effort and 1991's Honest, neither of which caught on with audiences. Stewart then spent the next several years in relative silence, accepting a few production jobs but otherwise staying out of the limelight. In 1995, he finally issued his proper solo debut, Greetings from the Gutter. In 1997, Stewart co-produced the album Destination Anywhere for Jon Bon Jovi. He emerged as an artist again in 1999; this time as a film composer scoring director Robert Altman's film Cookie's Fortune in 1999. In November 2002, he worked with former South African president Nelson Mandela. Stewart came up with the idea of turning Mandela's prison number into a telephone number. He wrote and recorded songs with Paul McCartney, Bono, and the Edge (among others) that could only be heard if you dialed this number; the cost of the call was in fact a donation in the fight against HIV/AIDS in the newly independent but beleaguered nation. Along with an ad agency, Stewart organized the entire campaign. In 2004, he collaborated with Jagger on the score for a remake of the film Alfie, and in 2007 scored Ted Demme's film The Ref. In March 2007, Stewart unveiled an initiative called "Greenpeace Works," which he labeled a "think tank" to dream up ways celebrities and Greenpeace could work together on green issues. For the project, he issued The Dave Stewart Songbook, a large coffee table-size book full of stories and photographs. It was accompanied by a newly recorded CD of 21 songs that been co-written or co-produced by him. Also included was the song "American Prayer," written with Bono. In 2008, Stewart shot a video for the tune as support for Barack Obama's presidential bid. In 2011, he completed work on his musical, Ghost, which opened in England in March; he also finished work on Stevie Nicks' In Your Dreams album, which was co-produced by Glen Ballard and released in May. Simultaneously, he also completed his first album of new material in 13 years in Nashville, with help from Martina McBride, Joss Stone, Colbie Caillat, and the Secret Sisters. Entitled The Blackbird Diaries, the set was recorded at McBride's husband John's Blackbird Studios and issued in late May. Stewart also helmed the sessions and co-wrote the songs for Stone's LP1, which was released in the summer of 2011. That same year, both Stewart and Stone joined SuperHeavy, a supergroup that also featured Mick Jagger, Damian Marley, and A.R. Rahman. A self-titled SuperHeavy album arrived in the fall of 2011, and then Stewart returned to Blackbird Studios, recording and releasing his solo effort The Ringmaster General in 2012. A year later, Stewart released Lucky Numbers, another solo album laden with guest stars, this time including Martina McBride and Karen Elson.

My guest is Engineer/Mixer, Studio Owner, and Live FOH Engineer John McBride, who many know as the man behind Blackbird Studios. John has worked with his wife, Martina McBride, Stevie Nicks, Dave Stewart, Take 6, Joss Stone, and Greta Van Fleet, to name a few.  In this episode, we discuss Wichita, Kansas Joe Walsh Parents Musical Tastes The 10 Best Years of Music  Piano Lessons Save The Music Dissecting Music The Next Lennon and McCartney Chemistry Major Getting Laughed at By The Bank Starting a Sound Company Always Learning Parents House Collateral Selling to Clare Brothers Having No Debt Positive Attitude  James Brown to Metallica RATT and the Birth of KYFO Small World of Touring Moving to Nashville Garth Brooks The Golden Rule Building Blackbird Studios Richard Dodd Vance Powell Rolf Zweep Mark Rubel Luck in Business Gretch Round Badge Inside Blackbird Trina Shoemaker Matt's Rant: Investing in Yourself! Links and Show Notes Inside Blackbird Blackbird Studio Blackbird Academy Blackbird Rentals Credits Guest: John McBride Host: Matt Boudreau Engineer: Matt Boudreau Producer: Matt Boudreau Editing: Anne-Marie Pleau  WCA Theme Music: Cliff Truesdell  Announcer: Chuck Smith

Sofia Lynch is on a mission to put her most vulnerable feelings into words, and share it with anyone who will listen.  At age 21, armed with her intimate lyrics and penchant for pop excellence, she has worked with two Grammy award-winning producers (Thomas Scott Hoffman and Femke Weidema-Reynolds), recorded at the internationally renowned Blackbird Studios, and inked a sync licensing deal with UK-based publishing group, Cream Collective.  Lynch, born to two manufacturing engineers, began her career in music at just five years old when she sang the National Anthem at a regional teacher's conference. After performing in community theater for several years, she learned how to play guitar when she was nine years old, writing over fifty songs before she turned ten. At 12, Sofia played her first paid show at a bar in her hometown, which got her started performing at many other local venues. She released her first EP, In My Mind, at 14 years old, and dropped her first album, Lately, in 2020. It quickly amassed over 50,000 streams on digital platforms, with one of her songs amassing millions of plays on the popular social app, TikTok.  Lynch credits her unique melancholy pop sound as being influenced by other “sad girls,” gushing about her favorite songwriters like Phoebe Bridgers, Maisie Peters, and Taylor Swift:  “There are so many wonderful female artists today that are pushing boundaries. I think it's important to listen to great music in order to create great music.” After graduating from MTSU, Sofia will continue to play shows, co-write, record music, and make videos for her TikTok fans. During her free time, Sofia enjoys spending quality time with her parents and two sisters, watching live performances, reading, and digging into some Chinese take-out. --- Support this podcast: https://podcasters.spotify.com/pod/show/tophillrecording/support

Nashville-based Appalachian Road Show are veterans of the bluegrass, folk, and roots music scenes who polish the raw emotion in tunes inspired by the Civil War and America's barn dance eras. The American roots music supergroup features Todd Phillips (bass, bowed bass, vibraslap, vocals), Zeb Snyder (guitars, slide guitar, vocals), Jim VanCleve (fiddle, vocals) and Darrell Webb (mandolin, octave mandolin, banjo, vocals.) They play for us remotely from Blackbird Studios in Nashville, and banjo player, vocalist, and whistler Barry Abernathy chats about their spirit-lifting 2022 release, Jubilation. Set list: Gallows Pole, The Ballad of Kidder Cole Watch "Gallows Pole": Watch "The Ballad of Kidder Cole":

Nashville violinist Kyle Pudenz brings a unique sound and style to each musical project he pursues. Whether in the studio, on stage, or in composition, arranging, and songwriting, Pudenz's diverse array of experiences and training in both popular and classical styles, as well as the experience of building his own instruments, have enabled him to formulate a musical idiom that is entirely his own. Kyle regularly performs on fiddle, mandolin, guitar, and most notably, his own line of custom-built 7-string electric violins. He holds a bachelor's degree in Commercial Music from Belmont University, and his professional ventures have taken him from nationally recognized venues such as Dallas Cowboys' AT&T Stadium, Carnegie Hall, and the Grand Ole Opry to legendary Nashville musical centers like Ocean Way Nashville, Blackbird Studios and RCA Studio B. Kyle currently tours with Nashville recording artist Jared Blake, performing on violin, mandolin, guitar, and backing vocals. He also performs select dates in Nashville and around the United States with a variety of independent artists. Kyle proudly plays and endorses equipment from Harper Guitars, Kepma Guitars, Glasser NY, Creation Audio Labs, Yamaha, Empire Ears, Access Bags & Cases, Triad-Orbit Advanced Stand Systems, and Mercury Magnetics.... --- Support this podcast: https://anchor.fm/musicrowhideout/support

Country Pop artist Jessica Sole discusses her new single “Good In Goodbye”! The upbeat song was made in collaboration with award-winning producer Shawn Moore (Jason Blaine, Shawn Austin) and offers a fresh perspective on the quintessential break-up anthem. The track is the second single off Jessica's forthcoming sophomore EP, a project that was recorded at Nashville's legendary Blackbird Studios. Known as “one of the hardest working artists in the Ontario Country music scene”, Shelburne ON artist Jessica Sole is also known for her determination. Earlier this year, the young songstress released her debut EP Think of Us, a collection of songs that garnered over 150K global streams and two top 40 hits on SiriusXM. While it's clear that Jessica draws musical inspiration from artists such as Kacey Musgraves, Kelsea Ballerini and Miranda Lambert, her smooth and sweet vocals, lyrics and sound are beautifully unique, captivating, and continues to keep fans coming back for more.    Connect W/ Jessica Sole! —       —   Support Colton Gee and Desert Tiger ----- Check out our webstore @ Follow the Desert Tiger Podcast @   Follow Colton Gee @   —

He's an acclaimed engineer with a love for not just the technology, but for the creative process behind the artistry. And he's dedicated to passing that wisdom on to the next generation. We caught up with Mark Rubel at his home away from home, the legendary Blackbird Studios and Blackbird Academy in Nashville, Tennessee.  

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After an astonishing 60-year career in music that included pivotal positions in Buffalo Springfield, Poco, Souther-Hillman-Furay Band, induction in both the Rock and Roll Hall of Fame and Colorado Music Hall of Fame, plus several solo albums, Richie Furay is releasing his newest album, In The Country, where he focuses on his love of country music in a brand-new way. Recorded at Nashville's Blackbird Studios with Grammy-winning producer/engineer Val Garay, (Linda Ronstadt, James Taylor, Kim Carnes, and many other iconic artists), it is the kind of collection an artist often waits their entire life to make. Focusing on country songs that Furay has been listening to, some for decades and others more recently, it captures his voice with such incredible depth and beauty that even those who have been long-time fans and followers will be caught with wonder.  We chatted with him today about his extensive career in music, and he told us candid stories about the other bands surrounding him at the time, and even his come to Jesus moment - literally! 

When you think Nashville singer-songwriter, you think RaeLynn. A former standout and fan favorite on season 2 of The Voice (#TeamBlake), RaeLynn has spent the last decade rocking the country music charts. Recorded at the legendary Blackbird Studios, Jaimie and Abby get to know the Baytown Girl as she shares her journey to motherhood, the ups and downs with her Type 1 diabetes diagnosis, and what it's like having Gwen Stefani at your wedding. Country music's sweetheart is just getting started. Connect With Us! Jaimie and Abby: @jaimieandabby RaeLynn: @raelynnofficial Blackbird Studios: @theblackbirdstudio Listen to RaeLynn's new album BAYTOWN: https://raelynn.ffm.to/baytown

John McBride of Blackbird Studios, the home of Outkick 360 since we started the show, joins the show.Amazing stories of people who've recorded here.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

I am totally psyched to welcome today’s guest. He is a Grammy award-winning mixer, and owner of the beautiful (and newly relocated) Sputnik Sound.  He has a long discography of accomplished records including artists like Keb Mo, Jars Of Clay, Jack White and 3rd Man Records, Buddy Guy, Kings Of Leon, Danger Mouse, Sturgill Simpson and some well known local artists: Moon Taxi, Bobby Bare Jr, and Jeff The Brotherhood (who lives right down the street from me in fact). Our guest originally hails from the town of Joplin MO which most people mistake as being named after the Ragtime Pianist Scott Joplin, but was in fact named after its founder the Reverend Joplin.  And other than being mentioned in Bobby Troup’s legendary song “Route 66”, the town of Joplin MO, which gained notoriety for mining Zinc, may owe its biggest musical credit to our guest on today’s show.  I met him back in 2002 when he became the head engineer for the incredible Blackbird Studios, right here in the city of Berry Hill a part of Nashville often referred to as the new music row with over 20 recording studios in a 3 mile radius.  I am honoured to be here at Sputnik Sound for this episode of Recording Studio Rockstars. Get access to FREE mixing mini-course: http://MixMasterBundle.com THANKS TO OUR SPONSORS! https://www.SoundPorter.com Get your free mastering demo. https://JZmic.com Use coupon ROCKSTARS to get 20% off The Pop Filter https://www.Spectra1964.com http://MacSales.com/Rockstars http://iZotope.com/Rockstars use code ROCK10 for 10% off https://www.Adam-Audio.com/Education https://www.APIaudio.com http://UltimateMixingMasterclass.com Hear guests discography on Spotify: https://open.spotify.com/playlist/2eFssqoA3h4k2SzXLAsSws?si=XOLcGxADQk6x3aZMaByr3Q If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: http://RSRockstars.com/293

In this episode I am joined by my good friend Sean Badum. Sean has been a staff engineer at Blackbird Studios in Nashville for 10 years and is an absolute blackbelt when it comes to audio. I learned a lot from him when I first moved to Nashville and I learned a lot from him on this podcast. We talked about engineering and the intricacies there in and had a hell of a time catching up. I hope you enjoy it, I know we did.  Follow Sean on Instagram@shoo.fly.pye@what_is_earlDon't forget to like and subscribe!

Bonnie Tyler, born Gaynor Hopkins, was brought up in Skewen, a small village near Swansea. She grew up to become one of Wales' best known performers, achieving chart success all over the world. She is recognised for her distinctive husky voice, and a long list of hit singles including Total Eclipse of the Heart, It's a Heartache, Holding Out for a Hero, Lost in France, More Than a Lover, Bitterblue and If I Sing You a Love Song. In her 50-year career, Bonnie has performed for audiences in countries across the world, and she has enjoyed critical acclaim for her recent albums Rocks and Honey and Between The Earth and the Stars. Her latest album The Best Is Yet to Come – due for release on 26 February 2021 – is a contemporary approach to the sounds and styles of 80s pop rock.   As a teenager, Bonnie was influenced by the biggest female voices of the 60s, especially Tina Turner and Janis Joplin. After spending several years performing in local pubs and clubs around South Wales, first with Bobbie Wayne & the Dixies and later with her own band, Imagination, Bonnie was discovered by talent scout Roger Bell in 1974. RCA Records launched Bonnie's recording career two years later with her debut single My! My! Honeycomb. Her breakthrough hit was Lost in France, written by her managers Ronnie Scott and Steve Wolfe. The single peaked at no. 9 in the UK, and spent six months in the German charts. After enjoying further success with subsequent singles More Than a Lover and Heaven, Bonnie finally broke into the Billboard charts with It's a Heartache, which reached no. 3 in the United States. Of the four albums that Bonnie recorded for RCA, Natural Force was the most successful, selling over half a million copies in the United States. Ready to embrace the new decade, Bonnie moved to CBS Records to work with Jim Steinman in the early 80s. Their fateful collaboration resulted in the groundbreaking international hit Total Eclipse of the Heart, a multi-platinum selling single that still enjoys cultural relevance in the 21st century. It is lifted from her fifth album, Faster Than the Speed of Night, which saw Tyler become to first British female artist to make her debut appearance on the UK Albums Chart at no. 1. During the 80s, she recorded several songs for movie soundtracks, including the UK no. 2 hit Holding Out for a Hero for Footloose, and the Grammy-nominated single Here She Comes for a restoration of Metropolis. Hide Your Heart became Bonnie's third album for CBS, produced by Desmond Child. It features several songs that became hits for other artists, including The Best for Tina Turner and Save Up All Your Tears for Cher. In the 90s, Bonnie signed with German label Hansa Records for three albums. The first, Bitterblue, rivaled the success of her career-defining album Faster Than the Speed of Night in some European countries, earning 4x Platinum status in Norway. Her follow-up albums Angel Heart and Silhouette in Red also became Platinum records in parts of Europe. Bonnie reunited with Jim Steinman in 1995 after signing with EastWest Records. She recorded epic cover versions of Making Love (Out of Nothing At All) and Two Out of Three Ain't Bad for her album Free Spirit, which featured the work of top producers including Humberto Gatica, Christopher Neil and David Foster. Her second record with EastWest, titled All in One Voice, arrived shortly before the new milennium. The celtic-influenced pop album was recorded in Dublin and Hamburg, and features a haunting cover of “I Put a Spell on You”, produced by Mike Batt.   In the early 2000s, Bonnie signed a one-off deal with EMI to record Heart Strings, an album of classic rock covers featuring her touring band and the City of Prague Philharmonic Orchestra. Bonnie recorded her next two pop-rock albums, Simply Believe and Wings, with producers Jean Lahcene and Stuart Emerson. Bonnie received an ECHO Music Prize for ‘Best International Pop/Rock Female Artist' in 1994. She has also received three Goldene Europa awards, three Grammy and BRIT nominations, two AMA nominations and one ACM nomination. She is the recipient of an honorary degree from Swansea University,  and she was presented with a Gold Badge from BASCA (now The Ivors Academy) in 2013. Bonnie has represented the United Kingdom at two international music contests. In 1979, she won the Yamaha World Popular Song Festival with her song ‘Sitting On the Edge of the Ocean'. After competing in the Eurovision Song Contest with ‘Believe in Me' in 2013, Bonnie picked up two ESC Radio Awards for ‘Best Song' and ‘Best Singer'. Over and above the timeless tracks that made her a household name, Bonnie has proven her versatility by enjoying a bilingual number one album in France, and performing duets – past collaborators include Vince Gill, Cher, Fabio Jr., Shakin' Stevens and Todd Rundgren. In 2013, she released her country-influenced album Rocks and Honey, recorded at the legendary Blackbird Studios in Nashville with David Huff. In 2019, she released Between the Earth and the Stars, another contemporary record with nods to past moments from her 50-year career. She recorded it with David Mackay, who produced her first two albums back in the 70s. Songwriters include long-time collaborators Kevin Dunne, Brian Cadd and Stuart Emerson, with new contributions from Sir Barry Gibb and Amy Wadge. The album also boasts three exciting duets with Rod Stewart, Cliff Richard and Francis Rossi. Her follow-up album The Best Is Yet to Come will arrive in February 2021. The release was pushed back due to the COVID-19 pandemic, but now Bonnie feels ready to celebrate: “I hope these new songs will lift your spirits. I am so happy and proud of this new album. It simply rocks and brings a smile to my face every time I put it on. The moment we can get back on stage and see your smiling faces will be extra special. I promise the best IS yet to come.“

Hello Friends! Join Donna and Paula as they chat with Dani Jack! Be sure to check out the interview on YouTube “Dani Jack has one of those voices that makes you sit up in your chair and take notice.” After seeing Dani perform on Broadway in downtown Nashville, Ann Walczak of Edible Nashville shared the sentiment that is often voiced after hearing the bold sound coming from “the cute brunette in a leather jacket.” Dani's first taste of the stage came when she was cast as The Little Drummer Boy at just four years old. Since then Dani's singing and performing abilities have taken her to various venues around the world, from Los Angeles to Nashville and all the way to Haiti and China. After moving to Nashville in 2016, Dani immersed herself in the collaborative community that was now her home. When she had a collection of songs she truly believed in, cowritten with some of the best the city had to offer, Jack launched a Kickstarter to fund her debut EP. Fresh off the release of her debut single "Fallin' For It" in June 2018, which was released exclusively on WSMV TODAY in Nashville, Dani introduced to fans her highly anticipated debut EP, Grace, produced by Luke Forehand (Travis Tritt, Blackbird Studios). Music blog Out from the Pine Box described the EP as “a balance between feisty and fun lyrics with seamless segues to the more sentimental and slow songs. The remaining songs on the EP explore the emotional pain that comes with a relationship coming to an end, learning to love again, and building yourself back up after falling down.” Variety Beat's Jencita Vargas says, "Her vocals shine through in each track and offer so much variety. It's not just the same sound set to different music, but each track is truly a different experience." Website - https://www.danijack.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/crazywomencountry/message

Hi! Welcome to the Fork's Drum Closet Podcast, where we want to connect with you and talk about everything drums and non-drum related! Send us your questions and comments to any of our social media (you can find us on Instagram, Twitter, and Facebook) or email us at podcast@forksdrumcloset.com. This episode features our conversation with two of Memphis' finest, Stanley Randolph and Marcus Finnie! Whether it's laying it down for Stevie Wonder in LA or exploring the ethereal Jazz realm with Nashville's finest, these titans of their trade haven't forgotten where they came from and never lose sight of where they're going. Grab a seat and your baked goods of choice, and be ready to fly high with us from inside Blackbird Studios right here in heart of Music City!

For years, whenever she performed a concert, Patty Smyth heard the same question from fans: “People would be like, ‘When are you gonna give us new music? When are you gonna give us new music?' I kept saying, “I'm gonna do it, I'm gonna do it… IT'S ABOUT TIME is Smyth doing it — for the first time in 28 years, not counting the 2015 holiday album COME ON DECEMBER. And on the eight-song set, produced in Nashville by Grammy Award-winner Dann Huff, the veteran songstress is doing it with the same passion, fire and provocative temperament that she's displayed since her ferocious arrival with the band Scandal in 1982, except now with the perspective and wisdom of three more decades of life and legacy she's attained during the interim. “I've been touring and playing shows with the same band for 12 years, just having a blast,” says Smyth, a Brooklyn native who now resides in Malibu and New York City with her husband, pro tennis legend John McEnroe. “I was always writing, but I didn't really think about, ‘Should I put out a record?' It's so difficult right now, so I didn't know whether I should do it or not. Then I finally went into the zone of writing these songs I felt were poignant and relevant for me, and I started to realize this is a real thing that's happening and just went with it.”  Smyth's instincts, of course, have established a career that's made her something of a legend in her own right as one of the foremost singers, and not just female singers, in rock. With the band Scandal, Smyth filled radio during the early 80s with indelible hits such as “Goodbye To You,” “Love's Got a Line on You” and “The Warrior,” a Top 10 smash that also topped the Billboard Mainstream Rock chart. She didn't miss a beat after the band's dissolution, either, following with a pair of well-received solo albums (NEVER ENOUGH and the Roy Bittan-produced PATTY SMYTH) and more hits, including “Never Enough” and “Sometimes Love Just Ain't Enough,” a duet with Don Henley that vaulted Smyth to the top of the Adult Contemporary charts, and to No. 1 in Canada. Along the way Smyth was also asked to replace David Lee Roth in Van Halen (she was eight months pregnant so the time wasn't right) and made guest appearances on the Hooters' NERVOUS NIGHT album and a couple of Henley's platinum releases. Her “Look What Love Has done” for the film JUNIOR was nominated for Academy and Grammy Awards, and Smyth's “Wish I Were You” was a soundtrack theme song for the 1998 box office smash ARMAGEDDON.  But it's no great secret, and maybe even a source of pride, that Smyth — who reunited with Scandal for a time during the 00s — has spent most of the past two decades below the proverbial radar. Family is the main reason, raising a brood of six mine, his and ours with McEnroe and giving those duties the same determined and passionate priority Smyth gave her music career.  “I was literally drowning in kids!” she says with a laugh — noting that it was daughter Ruby who encouraged Smyth to be part of the VH1 BANDS REUNITED episode in 2004 that resurrected Scandal. “My life just got too big for me to get around it. I've lived it, and it was great. But I had to step back (from music); I just didn't think I would step back for as long as I did.”  With the children all grown (youngest daughter Ava is 21), Smyth found herself using songwriting to take stock of where she finds herself in life now and what she's learned over those intervening years as a wife, a mother and a community member as well as an artist who hasn't entirely shed the chippy defiance of her youth. “Y'know, here we are. We still love music, we still like to have fun, but we're in our fifties — How the hell did that happen! It went really fast, y'know. And for me that's a little bit of a bittersweet thing. It's a privilege to get older and you're lucky to get older, but you do lose things.” Recording IT'S ABOUT TIME — which also includes covers of Bobby Gentry's “Ode to Billie Joe” and Tom Waits' “Downtown Train,” both staples in Smyth's live show — in Nashville was a treat, meanwhile. (She recorded “Downtown Train” before, in fact — on her debut solo album, two years after Waits' original version and two years before Rod Stewart's hit rendition.) She wrote songs with a variety of collaborators, including good pal Liz Rose, while she's known producer Huff since his days in the rock band Giant; He's since gone on to win Producer of the Year and Musician of the Year awards from the Country Music Association and Academy of Country Music, helming hits for the likes of Shania Twain, Keith Urban, Carrie Underwood, Martina McBride, Celine Dion, Kelly Clarkson and scores of others.   “I knew him as a guitar player. When I found out he was a big producer I was like, ‘Do you want to work with me?'” Smyth recalls. They recorded primarily at legendary Blackbird Studios, with co-producer Ilya Toshinskly handling acoustic guitar and a crack band that included guitarist Derek Wells, keyboardist Charlie Judge, bassist Jimmie Lee Sloas and drummer Chris McHugh.  “All I ever wanted to do was sing and perform, and when I discovered I could write I was so friggin' happy,” Smyth says. “I want to just keep getting better and more disciplined and keep moving forward. My No.1 priority, my kids, are all good and grown now, so the music can be it for me again, and I'm really enjoying that.”  

Dave talks to Tom over Zoom from Blackbird Studios in Nashville. They cover Dave's time supporting Elton John with Longdancer as a teenager, forming Eurythmics with Annie Lennox, working with Annie and Aretha Franklin on "Sisters Are Doing It For Themselves", producing for everyone from Daryl Hall to Bob Dylan and his recent work in Music City.

Richard Maxwell has created and runs one of the most unique and inspiring creative musical arts and sciences program in the nation. For me, it reminds me of the entry level sound recording program I went through in college, only Richard's students get into the creative process early because of what he had the guts to create. This program happens in an area of the school campus where they have their own section of rooms that is their facility. It's made up of a larger classroom if you will that doubles as a performance room plus they have 15 Pro Tools stations and Pro Tools running in their A and B recording studios. They learn how to be expressive without fear of judgement, they write songs, they mutually assist and critique each others work in a helpful, loving way and it's magical to see what happens on a daily basis. Richard is a loving, caring person who, by his own efforts and fortitude, has created a platform where he can give the students, his very best in regards to guidance, ideas and processes.If you love music, talking about music, the process of making music, what music looks like in today's world, interested in how music could be handled in schools or always wondered how a single person can make a huge change in our education system, these episodes split into Part 1 and Part 2, are for you! Enjoy, share and spread the musical love. ********** Richard Maxwell's Links: Richard's Website: https://sites.google.com/view/richardmaxwell CMAS Program: https://sites.google.com/view/arcadiacmas YouTube: https://www.youtube.com/user/RichardMaxwellMusic/videos Facebook: https://www.facebook.com/richard.maxwell.3538 Instagram: https://www.instagram.com/rchrdmxwll/ Twitter: https://twitter.com/rchrdmxwll LinkedIn: https://www.linkedin.com/in/richard-maxwell-235ab513/ https://youtu.be/wtg_TV3j_wA ********** Podcast Music By: Andy Galore, Album: "Out and About", Song: "Chicken & Scotch" 2014 Andy's Links: http://andygalore.com/ https://www.facebook.com/andygalorebass ********** If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts/iTunes? It takes less than 60 seconds, and it really makes a difference in helping to convince hard-to-get guests. For show notes and past guests, please visit: https://joecostelloglobal.com/#thejoecostelloshow Subscribe, Rate & Review:I would love if you could subscribe to the podcast and leave an honest rating & review. This will encourage other people to listen and allow us to grow as a community. The bigger we get as a community, the bigger the impact we can have on the world. Sign up for Joe's email newsletter at: https://joecostelloglobal.com/#signup For transcripts of episodes, go to https://joecostelloglobal.com/#thejoecostelloshow Follow Joe: Twitter: https://twitter.com/jcostelloglobal Instagram: https://www.instagram.com/jcostelloglobal/ Facebook: https://www.facebook.com/jcostelloglobal/ YouTube: https://www.youtube.com/channel/UCUZsrJsf8-1dS6ddAa9Sr1Q?view_as=subscriber Transcript Part 1 – Richard Maxwell Interview: Richard: Basically on a whim. A weird situation develops. And I get a phone call from the then band teacher of all things at Arcadia. This is the late 90s, I'm giving away my age a little bit, I suppose, but we didn't know each other directly, but he had also gone to U of A at one point. And we've heard of each other and for a variety reasons, it just wasn't happy in Tucson. And he says, "Hey, I have a situation, would you be interested in moving up to teach here at Arcadia? [Richard] "Sure!" [He says] "You want to know what the gig is?" [Richard] "Not really" So we're three weeks into the school year at this point. So I come up and I spent a day with him at the school getting a sense for what it is and I walk away thinking, ok, this could be kind of cool. I want the orchestra too. Because that's where my love was, so, I, I meet the principal, great guy, Jim Lee. And he hires me and in the conversation I said, "Look, I'm so excited for it," it's like a first real, it's a big gig for me, it's a huge thing. And it's I'm going to, you know, bigger city, better music town, I'm thinking all these different things, but I tell him, like, "I know the orchestra teachers a couple years from retiring, I want writer first refusal." And he's, you know, whatever, but he, he agrees, thinking probably I'll forget and I can remember a long interview process, with parents and everybody else. Basically what happens is, is after my first year, a couple of things happened that kind of get things a little weird. So I'm still trying to do my own thing in the world of regular music but I don't know enough about the Phoenix music scene at the time I was trying to hold down this job, that is awesome but kind of beaten me up just because I'm new at it. So I make a whole bunch of changes, you know, he had a very, very big jazz program, which is awesome! I love jazz, but as a director, which I don't like the word director, if it makes me feel like a traffic cop, if I can still want to Greg's themes, but I didn't that wasn't where I wanted to be. So I morphed into more like wind ensembles and we ended some pretty heavy stuff. And there's a bit of a love hate with it, but you can see like the level of musicianship. And I'm like everybody who's gonna read notes, like we're not playing games with this, lot of wrote stuff, a lot of, you know, play it based on your, you know, improvising skills, which is fine and you need to do that as well. But I had a certain level standards and I was still pretty, pretty much full of my own brilliance at that point. I mean, let's not kid ourselves. Joe: And this Richard: And Joe: Was just band at this point. Richard: Was that Joe: Was this just Richard: This Joe: Band Richard: Is band Joe: At Richard: This Joe: This Richard: Is that Joe: Point? Richard: First Joe: Ok. Richard: Year. Joe: Ok. Richard: So the second year, two things happen. One is Jim, I guess, decides the principle that I must not have completely destroyed things. And he comes to me and says, "Look, we have this opportunity to expand your contract. We don't have a choir teacher anymore. Can you take over the choir?" I very foolishly said Joe: Well. Richard: "Yes!" It was bad idea, it  was a bad idea for the kids. It was bad idea for I mean, it was just bad. It was. It was. It was. It was well-intentioned... if had that opportunity now, because I do a lot of stuff with a lot of vocalists now, now I could do it and do it comfortably and make that experience significant in a way for those kids that they would be glad, I think that they had it, not then! Oh, my gosh, not even not, I mean, like, literally, I want you to imagine the worst possible experience for those students and then be grateful if they would have had even half of that level of a caliber of experience. I mean, it was, it was, it was horrible. But the other thing he asks me to do is take over the guitar class slash club. Because Joe: Interesting. Richard: He knows that I gig a little bad and I do the singer-songwriter thing a little bit and the studio stuff a little bit, he knows I have these other interests, but he doesn't really know to what extent. And you know, I'm not responsible basically anybody but myself in terms of my time at that point. I don't have any real you know, why not? And it's money and and it's a gig and I like the school and I like the people there and I like the community and da a da a da. So "Sure, why not?" So I take on this whole thing and basically what happens is, things start to build and eventually you wind up with, you know, I have two full symphony orchestras, winds, strings, percussion, all in the same rehearsal hall every day, all year round. We're still doing a marching band, while my version of marching band, which I have been justifiably criticized many times, I'm not a marching band guy, I'm a, I mean, I love the art of it. But I was I like, you know, one year we wrote our own show, the kids and you know, one year, you know, we were doing crazy, we were, it was just nuts, it was you know, they wanted to do rock shows the last two years. And I was kind of moving away from that because I you know, you just you know what you know and you know what you are Joe: Yep, Richard: Or what you're not. Joe: Yep. Richard: So I was like, okay, we'll do rock shows, but if we're going to do rock shows, you don't need a conductor, that's where literally we're wasting a ah resource, right? So, so we had a drum line, our drum line became our click track, screwed up everything in our scores because you didn't get a caption award and you didn't get points, they deducted points for not having a drum major. Joe: WOW! Richard: So it killed our scores. But musically, I think those kids benefited from that. Because that sense of internal clock and time and how you synchronize and what that does to intonation and every other musical element you can think of. I mean, all the things that you as a very seasoned studio player, let alone all your live work when you're sitting there in the control room, listening to playback on that and you're going, you know, because somebody can't...you know, Joe: Yeah, Richard: I know, you know, but Joe: Sometimes Richard: But Joe: It's me, Richard: well... Joe: So I do know. Richard: I doubt it. No, seriously. But my point is, is that, that, that was sort of where things started to change up a little bit. The guitar program is growing crazy. Some Joe: Still Richard: In Joe: To Richard: Some Joe: This Richard: Ways Joe: Day, Richard: Because it Joe: Are then. Richard: This is then Joe: Then Richard: This is Joe: Ok. Richard: Then. So we've got the orchestra building. We've got you know, there's Joe: A Richard: Now there's Joe: Wind Richard: Piano, Joe: Dancer. Richard: There's, you know, everything's building up and we've got songwriting I introduce because for me I've always been kind of a cool you play an instrument, what can you make with it. Well but it's the clarinet. I don't care, what can you make with it? You know, I don't, it doesn't matter to me. So guitar to me, you know, the first year or two was very much about just technique and then I got very much in to, I don't, I don't care about this technique. Let's write songs, let's make music. And it just so it seems kind of going and going, going and eventually it just, the circumstances are such, that there's basically too much to do for one person or even two people. My oldest son, who came in a minute ago, was born without going too far, but he was born 10 weeks early. And he's obviously, you saw he's fine. But at the time and I'm like, I need a change. I've been at Arcadia at that point for nine years. Joe: You Richard: There Joe: Basically Richard: Is a point. Joe: Have said yes to every single thing they've asked you to do. Richard: Well, Joe: Ok. Richard: But I've also enjoyed the challenge. I mean Joe: Right. Richard: I mean, the truth is, is I enjoy the challenge. I'll tell you, this is heading to something that you're probably going to go either think, WOW!, that's really cool or are you out of your mind or possibly both. But in any case, we, you know, there's an opportunity, that our principal has changed, and we have Anne-Marie Woolsey, Dr. Woolsey is there. And I start talking about this idea. And the idea is why, I'm starting to really and maybe it's just because of my own state of mind, but we're doing all these things with, you know, we have what we call the songwriters and we have the more traditional ensembles, it's not CMAS yet, but it's in its early stages of existing. And I'm actually still, I have I have a couple of now what I would say close friends that are graduates from that time who are incredibly supportive people you might even talk to, you just like, like I'm like, so I'll just, local guys like Thomas Brennaman and Alex Fry and Zach Tonkin and there's a ton of them, there's a ton, Ed Bakerman, Addie. She's still gigging all the time all over the country, she's brilliant. I mean, there's, there's, there's a ton of these people, but Joe: And Richard: They're Joe: This Richard: On one Joe: Is late, Richard: Side of. Joe: This is late. Richard: This is this is still within those nine years. Joe: Right. So this would be since you started there. Richard: This is like 08, 07, 08 kind Joe: Right. Richard: Of thing. Joe: Right. OK. Richard: And I am starting to get and it's just kind of I think it's a culmination of things. Most music teachers at a school are, you know, the average is less than five years, I'm at nine, which isn't like good or bad, it just kind of is what it is. But I'm also really struggling. I realize now in retrospect with this dual musical experience, because you know, this is at a time where these devices are starting to come of age, streaming is starting to become a thing and on and on. And you, I just, other people have phrased it so much better than I have but just this idea that the kids, it's done in their rehearsal and they explore all this music, but then as soon as the rehearsals over, they're going home and what are they listening to? Everything but what they're rehearsing. Joe: Right. Richard: And I understand the argument of well, but that's why you need to have those ensembles and do, and I don't think that's necessarily wrong. But fundamentally, there's something missing, if you are, if you, if the real world has one opportunity and the educational world has one that is completely diametrically opposed to that. And we're talking about something that ultimately comes down to a cultural element, a tell your story, if you will, element, which is what I think all art really comes down to. And that's being effectively either ignored or dismissed or in many cases, I would say, mutated into something that basically makes somebody feel, makes a student feel like somehow their musical instincts are either, I don't know, at best immature. But, you know, you talk about a terrible amount of disenfranchisement and disenfranchisement, you're talking about a terrible amount of just not, they think, they feel like it's not legit, like they're not legitimate somehow, that's their choice, you Joe: Right. Richard: Know, or we don't do that here, kid, that kind of thing. Joe: There's a misalignment. Richard: Yeah, and Joe: It's Richard: It doesn't Joe: Just weird. Richard: Mean anything if you walk the logic through, it doesn't make any sense. And yet, it is still essentially perpetrated across the world and a lot of ways, and I just was like, got to do something, now I, you could argue I went too far to the extreme and I regret but, you know, for all the things we've accomplished and all the things that we've done and, you know, the program is basically now I said, okay, look, I've got all these songwriters, we've got this, this is what I've become kind of like an industry history class. We've got the guitar players. You know, we had the pianist. We've got, we, we have this contemporary thing happening anyway. So I went to the principal and I basically said, "Can I just walk away from the band and orchestra part?" It's become, you know, "It's just not me anymore the way we'd like it to be," the politics with the parents and everything else is getting sick, I was just tired Joe: Yes. Richard: Of it. I don't do well with it anyway. That's why, I just, I'm just, I'm very confrontation adverse. It's just, just naturally. And then you get into like high school band and orchestra parent land, with all due respect and it just wasn't, it wasn't gonna be, I wasn't gonna last long without losing my mind. Plus again, Grayson, ten weeks early. So I held on for one more year and I remember very clearly that last concert we did, you know, the good, the farewell symphony, the Haydn at the, as the last piece. And I remember choreographing it and nobody knew about what I was doing, except for my very good friend, who's still my good friend, the theater teacher who was running the lights for us in the on the stage and the head of the school security who's still there, Jeri Eshelman. I told the two of them what I was gonna do, and that was it. Go through the whole concert, do the whole senior recognition thing, the whole thank you's and all of it and then we do, traditionally, we would do one last song. We do the one last song which the farewell symphony, which I'm not sure if you're familiar with, but literally the way Haydn wrote it was that as it's ending, the players get up and leave the stage until eventually Joe: Right. Richard: Not Joe: Right. Richard: Even the conductor is there and it's just I believe it's just the single first violinist if I remember right. So we did that and I added one element. I walked off the stage and very quietly walked out the stage door to my car and went home. Joe: Of course you did. Richard: I just left. It's kind of rude, I suppose. Joe: It's awesome! Richard: But, but, but it is. Joe: And you're still there Richard: Yes. Joe: And you're still employed by that school. Richard: I am, I am, but doing something very different. And it has been, I mean, you know, we could have an entire series of podcasts on the politics of what has gone on. Joe: Oh, Richard: It has Joe: I Richard: Been. Joe: Can Richard: It's Joe: Only imagine. Richard: It's been. I used to get really angry about it. I still am frustrated by it at times. But now I'm more like, I don't, I'm almost more entertained. Because there are too many people now that like yourself who are seasoned industry professionals or their education professionals, who see the concept of what what we've built there and very specifically say that concept is important and vital and necessary so that, you know, you get enough music education, professors and universities and like I said, actual, real in the industry, people saying this is what should happen. And all the arguments become a little bit silly after a while. So now Joe: Yup. Richard: I'm just kind of like, really? You want to line up, you know, your cynical view against of, forget me, you're going to tell all these other people they're wrong!? Joe: Yeah. Richard: WOW! Even in my most arrogant, I wasn't going to do that. So it is what it is. But, you know, it's, it's, it's, it has evolved a lot. I mean, you know, if you look at the setup and even now, I mean, obviously with the closure, Joe: But Richard: Things are different. Joe: Wait, Richard: But. Joe: Before you get past this, so you, you, you state you said you were gonna do one more year. Richard: This is the end of that year. Joe: Ok. Richard: So this is the end of that year. So I basically, you know, and, you know, I made several mistakes, big ones! One of them was, the then head of the district's fine arts and I've talked to Anne Marie since about this and she agrees that she should never have agreed to this. Basically said, ok, we'll support you doing this, but you have to stay away from your old program because you're still going to be on campus and the new teacher needs the opportunity, because, because that kind of community of students is it's a, it's a very family kind of thing. Well, what happened is it became very confrontational between the two programs. My new program is the new "IT." The new teacher is struggling for a lot of different reasons. Put in a situation that she cannot possibly succeed in. You know, imagine being a young teacher and they give you a class of band, a class of orchestra that they've separated now, you have a percussion ensemble, you have a piano class, I think she had a computer class, I mean, it was literally like we're giving you all of the leftovers. It was Joe: Yes. Richard: It was a terrible gig. Nobody is going to do well in that situation under any circumstances, period. It's just. Joe: Right. Richard: A nightmare scenario. But what winds up happening is it creates a lot of friction and a lot of confrontation. And I again, I am so committed to, we have to prove that this thing should exist because I like in my gut, I know it should but I don't have proof of concept yet. There's nobody doing it at a high school, the way I wanted to do it, you know, there was, there were programs that I had found it, then maybe, maybe this is more my inability at the time to search Google effectively. But, you know, you had people doing production. Absolutely! You had the technical side of it and you had people having like composition classes or songwriting classes, even rock band classes or whatever they call them. But I wasn't finding anybody that was looking at it in a more homogenous way, in a more holistic way of it needs to all be, it's all of it, you know. And so I was kind of starting from scratch. I took a lot of college curriculum. I talked to a lot of people that were in the industry and just kind of threw things against the wall to see what would stick. But in those early years, as I'm getting, you know, all these criticisms and destroying this, you know, you're killing the orig...you know, the traditional program, all these things that are provably false and everything else. But that reputation did build for quite a while and I I was like constantly biting my tongue because, again, you know, if I could avoid the confrontation and put it off for Joe: Yeah, Richard: A little while, I'd rather do that bad habit. Don't you know, Joe: Yeah. Richard: Kids don't do that if you're listening, don't do that! But I know, so I just, I really I struggle with that a lot. But we kept building things and one of the things that I saw, a couple of things that I've discovered in all of this, which is that, kind of like what I was saying earlier about the shows we did even during the COVID closure, that are very imperfect. If you, if you were to sit down and look at those shows that we did just these last several weeks, you could be arguably disappointed in a lot of there's, there's glitches and sound and some other things like but this is not what, don't you deal with audio and all this other stuff? But that wasn't really the point. And so we would have we have shows and in some shows there's people that are like, wow, you put that act onstage? Really? I'm like, yeah, is that kid now has been on stage and now we can move from there. Process has to matter more. I get in the professional world why it can't on some level but at the same time, boy, I wish it could. I'm Joe: Yeah, Richard: Sure you do too. And a Joe: Yeah. Richard: Lot of ways just knowing you, you know, I mean, you don't, you get duplication and you get repeats and you get even a certain level of perfection, but you don't get real originality unless you're willing to deal with process over product. I mean, you have to really embrace it. You know, Little Richard just died, as you know and it really, I mean, aside from I mean, is there anybody he did not influence in some way? I mean, literally, the man's legacy is endless. The other thing that kind of is horrible to say, but we're getting to a point where we are going to be out of truly original musicians, truly innovative people, there are very few people and I'm not even saying it's an age thing, it's just who's out there doing things that you go, WOW!, I've never heard that before in that context. And they're just, you know, there's a lot people perfecting it. There's a lot of people doing incredibly viable things and wonderful things musically. But to truly be innovative like that. But anyway, I'm so sorry I get Joe: No Richard: On tangents. I'm Joe: Better. Richard: So sorry Joe: It's okay. Richard: He I'm so, so, so this idea of, you know, process becomes really, really important and we're building it. And then. And what I was gonna say is, is that. Joe: But at this point, I'm trying to just make sure that both the viewers and listeners and I'm clear, though, that that you have this woman who is now responsible for these various things like band and orchestra and whatever else she was given that you have now been given the license, you know, the stamp of approval by the principal or Richard: And the district. Joe: The Richard: Yeah, Joe: District Richard: Yeah. Joe: To create this program that involves what at that time? Richard: Ok. So I you know, I'm sorry. Thank you for pulling back. So there actually is another player, analyst named Mitch Simmons, who needs to be mentioned. He is the director of the district's what's called Career and Technical Education Department at the time. And Mitch is brilliant and wonderful and will self-described himself as not having a musical bone in his body. But when I made this absurd proposal to him and I gave him like a 20 page document, like I had a curriculum and I had standards that I had adapted and which later wound up becoming basically the first draft that the state used and is still using for a lot of, a lot of things. Thankfully, they've had other people come in and perfect them and not just be stuck with my mediocrity, but. But Mitch, Mitch looked at and he goes, we so need this, this is the bridge, we've been looking for the bridge. Arts and here's the thing, everybody looks at career technical education, they get so hung up on the t the technology part. That's, in my view, as I get a lot, I get on a lot trouble with actually CTE people. I get, I get in trouble with the arts people for one thing and then I get in trouble for CTE people with the other. The "T" is, is completely to me, is nearly, it needs to be like lower case and in the smallest font possible. It's the "C" it's the career part. Joe: Right. Richard: Where's the job? Mitch saw it even better, like I understood, like it was my idea. But he saw other things in it and he's like "You", he's like, "Oh, my gosh, we can get, kids could get jobs in these industries." I'm like, "Yeah, we could!" And he gave me, I was, it was a perfect storm. He gave me the flexibility to just screw it up and rework it and reiterate it and retry and my principal did the same thing. And coming back to these shows that we had done, I told you I knew I would loop around back to my tangent. One Joe: And Richard: Of the Joe: This Richard: Things Joe: Is still Richard: That I. Joe: 2009. Richard: We're Joe: Is Richard: Still Joe: This Richard: In 2009, Joe: Ok? Richard: But Joe: Ok. Richard: It relates to something that just happened in the last few weeks. When you have students go through a process where we start with essentially nothing and they go through a self derived process or a self adapted process at the very least and then at the end there's a thing. I don't care what that thing is, that is powerful and wonderful and awesome and so that when you have like we would have shows, we still sometimes have shows that are just like, oh, you got to be kidding me. Because underneath that, there's also the, you've got to be kidding me! Joe: Yeah. Richard: Like, I mean, it works in both directions because it's derived and, and one of the things that I've learned is, teachers and educators who live exclusively and vicariously through their students are doomed to get burned out, frustrated and every other negative you can possibly think of. And I, I am committed to that completely. I don't think you can be competitive and creative at the same time. I believe that is like one of my very big mantras. I think that, you have to be your own creative, like I have struggled a lot, like, like thank God for therapy a lot, with not feeling like I've been able to do my own creative stuff. And I've sort of over the last year and it's been a struggle, it's made this year very weird and very difficult in some ways to say, like wait, I need to find a way to have my own creative outlet because it's not healthy. Like, it just isn't healthy. And whether that creative outlet is me throwing a video up on YouTube or a song up on SoundCloud that four people listened to or four million people listened to is kind of not really the issue. But that, we go from nothing through the process that a thing exists. It's all, it all ties together in this weird Zen ying yang thing. But as we grow, you know, we start doing all kinds of live events. We are, you know, we start very cobbled together. The early parts of the program in the early versions of the program, I didn't let the kids record anything in the first year. It was all learn an instrument. Keeps Joe: Did you even Richard: Them. Joe: Have the equipment Richard: Oh, yeah. Joe: That early? Richard: I mean, it was it wasn't what we have now. Don't Joe: No. Richard: Get me Joe: But Richard: Wrong. Joe: But you went Richard: Yeah. Joe: In there and you said, I need this, this, this, this and this to make this happen. Richard: So we started they got me a bunch of iMacs and we got some interfaces and we got Pro Tools early on because I know we're gonna do it for real and I was very committed to the legitimacy. Overcommitted, possibly, that I allowed other things to suffer. That battle that I know, the politics of things that I allowed myself to fall into the traps of these circular logic arguments that now I would never allow myself to do but, you know. Joe: Guy. Richard: Past is behind us and what's been has been, you know, that is what it is, but. But we just kept evolving and it's still evolves and, you know, we've we've, we've gone so far, as you know, there were years, the marching band kind of fell into a state of disarray and almost non-existence for several years. We started playing all of the home games, kind of like mini Super Bowls. Literally wheeling stages out and putting together shows for that. We still do them once a year. The marching band is back and is now for the last several years, like wins every award on the planet, literally. And God love them for it. It's amazing! Not my, you know, but that wasn't me. And that needs to be ok. I have some people that are still mad at me about that too, but whatever I don't, you know. But we, you know, we can go into studios, we go into every couple of years now we've been going to Blackbird Studios in Nashville this is like, in Nashville. This is a multi-million dollar facility. The last time we were there in February, just before all the closure happened, we were, I mean this is how far the things have evolved, this is possibly the greatest, I've gotten a lot of big compliments and they all mean a lot to me. We befriended Steve Marcantonio because he's the uncle of one of my former students. I don't know if you know, forgive the namedrop but Steve, I mean, like he got his start on John Lennon's last album. What, I mean, so you mean he's, the man knows his stuff! He's a genius and the nicest guy in the world. Like, like unbelievably giving of his time. He has come in and produced our sessions at or engineered our sessions at Blackbird and supervised them while we're there. So we're like one of the greatest recording spaces on the planet with one of the most gifted engineers to ever live and it's a bunch of high school students and me. Joe: That's amazing. Richard: Yeah. Life, Joe: How many Richard: Eight life. Joe: How many go to that trip? Richard: We took like 25 or so, this time 30. Joe: And how do you how do they get chosen? Richard: They just decide they want to go. Joe: Ok. Richard: We make it through tax credit. I have, I'm not going to do the cookie dough thing. I'm just not going to. You know, Joe: Yeah. Richard: Hey, I just I can't do it, but and it's expensive and it sucks and we try to scholarship where we can, Joe: Yeah. Richard: You know, we don't take nearly as many. But, but it's an opportunity. We do other things, we go to the conservatory recording arts and sciences. I'm looking at doing more. There's a lot of great stuff here in Phoenix for that opportunity Joe: Right. Richard: Or similar opportunities. But there is something cool about it, I mean, Nashville is Nashville. Let's not kid ourselves. It's just it's a great if Joe: Get. Richard: I could move anywhere and know I could still make a living, Joe: Yeah. Richard: I'd totally I'd totally being Nashville. I Joe: Yeah. Richard: Just. What a great place! But what you say is, is that this is this, this, this is unbelievable to me. So Steve walks in and he's giving the students an orientation and he's talking about all this gear and he gets about two minutes into it and then he looks at me and then he looks at them and he literally goes, "What? I'm wasting our time, your kids already know all this!" Because he's like talking Joe: Nice. Richard: About how, like the studios are set up and everything else. Ok, so that's not even the biggest compliment. We start getting everything set up and the boards placed and you know, Blackbird's provided interns and these are very highly skilled professionals and we've got Steve, ok? I have a couple of my more experienced students, one in particular who's she's like, I don't even think she's five feet tall, she's a graduating senior. She's just really quiet, sweet little girl, Emma. And she's up at the board and he just walks away. Like, not like I'm quitting, he walks away and he leans over to me and goes, "You don't need me." Joe: What's so funny? Richard: He goes, "She's got this!", he's like, "I'm going to just sit here and listen and I'll give some suggestions." And literally, that's how we spent an entire day recording, I don't know, 9 or 10 tracks or whatever it was of the students, some of them are great, some of them not so much, it doesn't really matter. But, you know, he, and it wasn't because he was lazy. Steve is like the least, you know, like between the two of you, it would be a really tough pick of who works harder. I mean, he wasn't just walking away because he didn't feel like helping, he was just like I'm going to give them the chance at this and this is a like it's like an 18, 20 million dollar place. This was not like, you know, these weren't inexpensive facilities with inexpensive gear. This was, you know, potentially massive, you know, liability and he's like "They have, they have this, just just do what you're doing." Joe: And I assume Emma is running a Pro Tools session? Richard: Oh, yeah, yeah, Joe: Right! Richard: A but, but mostly running the board, you know, on the side. I think it was an API. Joe: Ok, Richard: Something worth like more than my house, like Joe: Sure. Richard: 10 times over Joe: Yeah. Richard: In a room, you know, I think at one point Queen had recorded in the same room. I mean, this is not you know, Joe: Yeah. Richard: And who knows who else. I mean, this is unbelievable! I mean, Joe: Right. Richard: It was, but that to me, that was one of those moments where I was like, ok, the ups and downs of everything that may have gone on, clearly, again, at least as terms in terms of the concept, wWe're doing ok. You know, Joe: Yeah. Richard: If Steve Steve Marcantonio feels like he can let my students run a session on that equipment...ok Joe: Yeah, Richard: I'm going to take that for the win. I just Joe: Sure. Richard: I just don't think Joe: So the program Richard: I. Joe: At this point still in 2009 involves what different aspects? And how do kids get into it or not be in it? Richard: Ok, so I and I still, as much as I can have a, if you like anything at all about music in any capacity, I want you in here. Joe: Ok. Richard: If you're hard to work with, this is probably not going to go well. If you're, if you're lazy, that's going to be ok, as long as you're not blaming me for your laziness. If you own up to it, we'll find a way to make it work. I know that there's a lot of people will say, you know what? "You got to drive the kids, you got to drive the kids." And you know what? That's probably true. I just can't do it because my brain keeps going back to like I get, I get, I get hung up on the I, "You don't want to pick up that instrument and play it!?" I don't, what? what? "Why would you not want to pick up that instrument and play it!?" It literally, doesn't, I can't, I can't sort it, I wish I could, I know that maybe that's a cop out. But basically, at this point, everybody comes in and it's a year of intense, got to play instruments, got to play instruments, got to play instruments. There's a lot of benefits to that. But I start running into a philosophical problem, which maybe I needed to get over myself. But, you know, at the time, the original name of the program was not Creative Musical Arts and Sciences, it was Contemporary Music and Sound. The word contemporary has a lot of baggage, I soon found out. And I also felt like it wasn't really accurate. I wanted the word creative. Joe: Super important. Richard: It needed, it just needed to be there. So there you have the name change. And what, what starts to happen over the preceding years and you know, we get better at producing more material. We are proving ourselves more and more so we can get a hold of more equipment and things of that nature. And all the while, in the back of my head, is this creative name thing happens. You start referring to like what I wanted to be, which is a truly open, creative platform. And so what happens is I start to look at that first year and I go, well, wait a minute, I'm setting up roadblocks for these kids, well-intentioned roadblocks. And I think from a pedagogy standpoint, the idea of you have to rock or a rock...you to walk before you can run. I get it! I understand it! You know, you got to start with, you know, plan like, you know, your 50's kind of surf beats before you're gonna go play Tom Sawyer kind of stuff or whatever, you know, you're not you know, you're not playing a Purdie shuffle right out of the gate. You know, it's I mean, there's you know, and I understand that. But, and maybe this is a, a nod to the reality of the world that students currently live in and maybe maybe it's wrong of me to to say, well, it's ok but there is a, if you're going to be truly open and creative, then you need to be open and creative. Richard: And I started to develop this process where I would look at the program and anything we would want to do or anything the kid would propose and I would say, "Does this move their process forward or not?" And I started to look at the first year and that massive intensity on learning to play an instrument. And I looked at the well, ok, it could be argued that the long term benefits outweigh the short term frustrations but I'm loosing kids. And I'm also, I realize the thing that made me stop having just a year long exploration, if you will, of how to play an instrument, was I realized that the very thing that I was railing against in the traditional music world that, you know, you got to stop telling kids that just because they want to, like the turntables thing, is somehow illegitimate musically. I realize that in my own way I was doing that. And there are so many graduates now that I have been so tempted to try to find on social media and be like, hey, you probably don't remember me, that jerk music teacher you had for a year or two in high school but I wanted to tell you, I was wrong about this part of the approach. And I'm constantly looking like, to me, this is cathartic, like I will confess that in a heartbeat. Whereas other people what are you doing? What do you know? But I'm I can't, I can't, I have a hard... Richard: I look at the program right now. I look at the program in terms of this closure and I even thought, we were doing a workshop yesterday with a bunch of students on some stuff and we got on the topic of it and just their frustrations and the whole thing and I said, honestly, I'm not looking for false compliments here, I said "I would give myself a C plus for how I've executed things as the instructor, as the facilitator." And I'm pretty good at this stuff, I actually have been consulting for years with other people on how to move their game forward and you know, weird situations or whatever. And I'd only give myself a C plus. And, you know, that's really made me think. But in any case, it all comes back to this open creative platform idea. And so what I realized is that when I tell a kid, look, you're going to spend a year really getting good at guitar so that in year two we can start writing and recording. What I've actually said to them is your ideas aren't worthy yet. And the more I thought about it, the more I got really upset with myself. And I just basically decided that whatever happens, happens but I'm not going to do that anymore. And if a kid comes in and all they can do is grab a single drumstick and whack a snare drum in time with their friend. Go back to that Marcus Mumford kick drum idea Joe: Yeah, Richard: A little Joe: Yeah. Richard: Bit, if that's all they can do? We're going to legitimize that because and here's what I found. It's like a slingshot a little bit. Yeah, they seem like they're almost moving backwards in their musical skill set because you're not pushing that but what seems to happen is when you legitimize it a couple of things happened, including they get self-motivated. Because that kid that starts just on that snare drum hitting out time, if they stick with that in the context of I'm making music with my friend, they will get it in time, and then once that's in time, they're going to go, "What happens if I pick up another drumstick and now I've got one in each hand?" And now we have, you know, doubled the rhythmic possibilities. But they're looking at it through the perspective of what can I do with it musically, not all about technique. Technique can't be the "T" for technique can't be important, just like the "T" for technology can't be important. It just can't! The creativity, the career, the career part has to be the over shouting or over overarching thing and it has to be overshadowing everything else on, as far as I'm concerned, a multi expo, an exponential level. It just has to be! So I've continued to move into that. So now the technique is covered differently. I have what I call the, I just, I call it the GAC should be the GEC. It's G, E minor and C and the premise is you're going to learn G, E minor and C or you're going to learn how to keep a very basic beat to somebody else who's learning G, E, minor and C and we're going to have you make a piece of music with those three really basic chords that are all white keys on a piano, that you can play with one finger on a couple of strings on a uke or a bass or a guitar, or you're gonna you know, you're gonna sing unison tones if you're a vocalist or match it with that clarinet or I don't care, it's not about that. It's about seeing the musical connections with somebody else. You are going to collab, that's the other thing, the collaboration part. I can keep bringing on all these "C" words, but it really. They'll become, the self motivation will make up for it. The other thing, too, is, you know, if I want to play Beethoven, I need a certain amount of technique or I'm not getting Beethoven, I acknowledge that, that's important. There is an art to that, that cannot be overstated. But I don't require Beethoven to express myself. And I think a lot of people get confused about that. And I think a lot of people don't understand the importance of it. I think. well, heck, Beethoven himself changed things so radically because he himself believed that he should express himself the way he felt he should express. I mean, I mean like literally by ironically moving away from Beethoven, where if we do it, I think in this context, we're actually paying an odd sort of homage to him Joe: All right. What he believed Richard: Philosophically Joe: In. Richard: in terms of music. And it's just evolved from there. I would rather see a kid get up and play something that's theirs, that is imperfect. But that is them. Then have a kid get up there and feel like, well, it doesn't sound like it's supposed to because that's not what the recording sounded like. Who cares? That's not what it's for. I found over the course, you know, as it's as this is as grown. It was interesting over that, we're finished out. The school year ends next week. But I've been having weekly scheduled workshops that I have kids come into when they can. I should have probably and this is part of my C plus or C minus that I'd give myself. I made them essentially optional as long as they kept up with the asynchronous assignments and stuff. But what I found happened was, is a lot of kids are showing up to these things, just for the sense of showing up to something. You know, we're having conversations that are Joe: To Richard: Rooted Joe: See their Richard: In Joe: Friends Richard: Music. Joe: And. Richard: Yeah, but, but, but, but that's, that's OK. Like, like that's turning into good things. Or I'll go out and frequently what happens is we'll have our session, we'll be talking, we'll come to the end of it, I'll have to go on to something else with another group or whatever and they'll be saying, "Hey, can you hit me up real quick? You know, open up another Zoom?" Or they'll do it on Dischord or whatever and, you know, let's play around some ideas or stuff. So it's, they're still making connections and if they use the workshops for that, do I really have to care that they didn't present the project, you know, in the same circumstance? They submitted the project, will take a look at it or we'll do it in a different workshop. It's ok. I think things like that have to matter more. What I was gonna say and I know, oh, my gosh, I'm gonna hit your two and a half hour mark. I'm so sorry! Joe: So Richard: I mean, I'm, I'm embarrassed. Joe: It's okay...No not at all Richard: I do have to, but I do have to share one other part of the program that has evolved since just last year. And I'm glad you're sitting down for this, because when I describe it to you, it's almost comically funny, but I mean to preface it by telling you that I am now so committed to this because I see the open creative platform element, in such a different way now, that I am, I'm well into my career as an educator. I'm not that old, but I'm old enough. This has given me so much of an interest in what could the next phase of this CMAS program be that I can't even begin to tell you. I would love to bring back the more traditional ensembles. I know, I actually have derived a plan. I know it would work. Politics won't let me do that.  Someday I still have hope but this is different. Out of the blue last spring, I get asked and I still don't fully understand why I got asked. I got asked to, of all things, pilot, no, not pilot. I got us the first started with teach at Arcadia, an engineering design class. Why are you giving me an engineering design class? Well, because you're technically qualified because of the CTE, the way the rules are written for CTE. And you like having the extra contract and this way you can keep the extra contract, because every I look at everything through the lens of my two little boys. That I will literally do I will braid your hair, Joe, for a six fig, for an extra contract. Richard: That's literally where my, that's I mean, I will totally do it. So but so I'm like, ok, sure, why? why not. Right? And I'm, I don't want to throw anybody under the bus, but to put it nicely, I'm promised a whole lot of resources and none of them, none of them come through. On a whim, I threw a thing like, the one thing that they said they were setting up for me, the people organizing were like, "Yeah, you don't have the engineering background to come to this conference for us to work with you, really sorry." The woman who was basically organizing it for this conference, not in my district, not at my school, actually still have yet to meet her. I would like to meet her. Jill was really kind. She's like, but I know of this other thing going on. I'm going to call you back in half an hour. She calls me back with these phone numbers. I went up on the phone with these people that are going to pilot for this previous school year, for the first time, they have a multi-million dollar grant through the National Science Foundation to revamp the entire concept of engineering in schools. Richard: It's headed up by and now I am flexing on their behalf. ASU, which is one of the large...I think it's the largest engineering school in the world, believe it or not, Vanderbilt, University of Maryland, Virginia Tech and I forget the fifth major university that is supervising this. And they, because the woman, Jill, from this other thing, this small little training session that they won't let me go to because I don't have the degree in engineering. Got all this experience in audio engineering but none of that, and that's fine. They are all excited and I think they may all be drunk. I don't know what's going on. So literally, they're like, no, no, no, no, we, I'm like, I'm like, what are you talking about? They're like, okay, here's your, [Them]"Can you come to Maryland for a week over the summer?" [Richard] "I guess" [Then] "We'll pay for it, don't worry, we'll pay for everything. Just can you come to the University of Maryland, we're gonna do a training session." [Richard] "Yeah, OK." [Them] "It starts Sunday." This is like a Tuesday. They're like [Them] "If you can get on a plane, we want you here for a week to do this thing. We just got to make sure we, we just got dot some "i's" and cross some "t's" or whatever. Richard: So we get to Friday night and I get this call from, you know, one of their head lead, lead investigators on this whole thing and he goes, [Them]"Ok, yeah, yeah, we need you here!" I'm like, [Richard] "Are you sure? [Them] "No, no, no, we've been looking at your website and we've been looking at you, you're the perfect person for this!" And I'm like [Richard] "I'm a musician, maybe, I sure as hell I'm not an engineer, and they're like, [Them] "No, you don't understand." OK, they're like [Them] "Just come to Maryland." So I literally, I booked a flight on a Friday, I get on a plane Sunday morning and Sunday night I'm at a dinner where I am so not the smartest person in the room, it's not even funny, Joe. I mean, it's, and by the end of dinner, I realized what they're trying to do and what they've basically decide, what they've basically come up with and they've done all this research prior to it over the last several years, that the concept of what people think engineering is, is completely off. I say the word engineering not to be funny and flip the script here a little bit on you, what are the first three words when I say engineering that you think of? Joe: Well, I always think when you and I are talking and you say engineering, I'm thinking just sound engineering. That's like so when you keep, you keep talk, you keep talking about engineering, I'm like, what does he know about engineer, like Richard: Ok, Joe: Sound engineering? Richard: Ok, Joe: But Richard: So remove Joe: There's electrical Richard: The sound. Joe: Engineering, there's, I don't know, mechanical engineer, I don't know. There's whatever. Richard: Right. But are you going to minus the sound engineering part, you're not going to time much of any of that to music in any fashion right? And the thing of it is, where they did all this research is that apparently most people don't tie it to creativity either. And they don't tie it to solving problems for people. And they don't tie it to something that I've latched on to that, there's a story behind every single thing that has to get designed or built or created or engineered, because otherwise, how would you come up with the need? And some of these stories are incredibly impactful. So their whole premise is that they wanted to pilot this year, there were nine of us across the country, most of them on the East Coast and the Midwest. I was the only, one part of the reason they got excited, I think was also because I was from Arizona and Arizona didn't have anybody in it. And the University of Arizona was one of the biggest contributors to this whole thing excuse me, not University of Arizona, Arizona state. But in any case, but what started to happen, we start having these conversations. And by the end of dinner, we are talking about what they call the engineering design process and what I have for years been calling and have gotten, I guess you could say, known for of the creative process. And what we start to realize are, well, they're, they're kind of like halfway laughing at me, halfway laughing with me because they understood this already. This is why they got so excited for me, I know and they've told me this since. Because when you take the two processes, engineering, design and creative process and you put them next to each other when you keep the definitions the same, but change the jargon on a few terms, they're not just similar, they're actually identical in a really freaky way. So all of a sudden, last fall, I'm in the summer and fall, I'm like, oh my gosh! Well, now and you have to remember all these years of building this thing, then that whole epiphany about open creative platform and what that needs to mean. And now I just feel like I'm on a mission with this. So I go through this whole year and it's, it's very much kind of an engineering design process, although interestingly, I'm still getting and I still am every year getting the music education interns from ASU, nearly every music I get, I don't know I don't get every one of their music education majors, but I get almost all of them. At some point they spend a semester with me, for better or worse. They're coming in and they're watching this class, too and it's getting really interesting to see. And we're talking about parallels and process and parallels and possibilities everything else. And as we're going through this and I'm having meetings with these engineering folks from all over the country and we're talking about all the connections. And I'm like, I have an idea for year two. And I'm like, so I've built this industry based music program that has proven itself, I'm not saying we've got it perfected, but you know, I have a, I do at least have a reasonable track record for flying a plane while it's being built. Richard: And for upping the possibilities of where we can push things in terms of opportunities for kids. And I've been successful,I mean, it's not like, you know, I think that, you know, on balance, the risk of sounding a little egotistical, it's not unreasonable to say at least "Give me a shot to explore the idea." Right? So I started looking some like I'm looking at the standards for this new program I've been piloting for a year and looking at the state education standards. I'm looking at my music standards and my own program standards. And I'm going, oh, my gosh, we could take all of this stuff, you know, speaking of mixers, could have a kid build a mixer. Why not? They're going to have to, I mean, there's electrical engineering in that, we're getting into mechanical engineering because of what a mixture does in terms of its functions, in terms of controlling the sound of space in a room. There's all kinds of engineering already that and I was starring in little projects throughout the year. You know, had them designing windows. We'd need a window between our control room and our life studio space. These are the champagne first world problems that we have in CMAS. But I had the engineering students designing how that would look. We were talking, you know, the lighting on the soundstage and how can we build a different mechanism, door thresholds. I mean, we were already starting to do some of these stuff, at least as concepts and on all these different things. And I'm like, there's so many things. So I called the head of the State Joe: Wait, Richard: Department. Joe: Wait. Please Richard: I'm sorry. Joe: Tell me please tell me you're addressing the the buzz that can potentially come through the console from the lights Richard: Oh, absolutely. No, Joe: And Richard: We're talking about the electrical Joe: Please, Richard: Interference. Joe: Please tell me you're you're talking about the the awful sound of the air conditioner when it comes on while you're in the middle of Richard: Absolutely, Joe: All those all those Richard: All Joe: Things Richard: Those Joe: We Richard: Different Joe: Struggle. Richard: Things. Joe: That's right. Richard: You know, right now above my head, there's a fan because we live in Arizona and this is a house that I've been very lucky enough to be not to convert to a nice home studio, but it's still a house not built as a studio from scratch, you know. And we're talking about things of that nature, you know, how do you deal with isolation when you don't have isolation? I mean, you name it, we're, we're dealing with all this kinds and it's endless and this is my point. So I'm, I'm, I'm, I have this idea my, my district, God love them, doesn't quite see it. But the people who run the pilot with the National Science Foundation, they're looking at, they're going, "You're basically just talking about changing up the projects, not really changing up the standards of the curriculum goals." And I'm like, "Exactly!" Because it's the same thing, the prob...I mean, it's just the same thing. So I call the state, the head of the State Dept. of Ed, who I get along with to be fair. And I'm just like, "I just want to run this by you so that if anybody comes back and says you can't or shouldn't." And she hears that and she's like, "That's just I said, I already wanted to take your classes and now I now, I think I'm going to like, I'm going to come take your class!" Like she's all over it, but she's giving me ideas. So now, just to give you a sense of where this is headed, she goes, "OK, what about this?" I looked like she was even worse than I was. She's like, "What if you had the kids simulate like they're touring, like they're, they're a production company for a tour and they have to get the band from, let's say, LaGuardia Joe: That's awesome. Richard: Airport Joe: Yeah. Richard: Over to London and they got a design like, how are they going to put the gear on the plane? And they've got to calculate now, like, how much tonnage can they actually take and what are they gonna have to buy or rent over there versus what can they take it? How are they gonna get all these other things calculating like the air velocity and how long it will? Well, I'm like, we are so open like that, I mean, like the creative options are there, the industry options are there. And if you had told look, if you had told me years ago that, first of all, I'd be making, you know, my day job would be an education and I would enjoy that, I would think you were nuts! If you told me that I would be developing a pilot for an engineering program that somehow tied in the music industry legitimately and I'm not just like phoning it in and I'm like passionately committed to it. I would have had you locked up somewhere for being certifiable. But, but, you know, back to the original thing and I know that sounds funny, but this all still comes back to those key concepts to me, and that's why I'm excited about it. To me, what is the, what does the art need? Well, the art needs engineers. The art needs musicians. The art needs producers. The art needs...and I'm not just talking about sound engineers. They are important too. The art needs marketing. We've actually had and you've mentioned we've brought in a marketing track a little bit into, you know, what we do with the program. Anything that's industry based, the career part, you know, if it's career based, if it's creative, if it's collaborative. We should be able to do it, and if we can't, what I have learned is that's not because we can't do it, it's because we haven't figured out how to do it yet. And so I'm really big on any silos or any walls that block creative process. I'm knocking them down, you know, and I'm going to try piss off some people doing it. This engineering thing, there are some people that aren't thrilled about it and I'm gonna have to work through that at some point with them, just like there are people who aren't happy that the program exists. You know, on the music education side of it. Joe: That, to me, is just, blows my mind because and Richard: Because Joe: I Richard: Your career, Joe: Don't get it. Richard: But that's because you're career oriented. To you, you love the art but you also know what's necessary to pay the bills. Joe: Yeah, but it's just, it's a tool set that is invaluable because you're, you're going to run into situations where you're gonna be like, I'm so glad I was a part of that, because I can take even that one little piece of it and it's going to help me get through this moment. I mean, to be able to be a musician but at the same time, understand the process of recording, of acoustics, of, you know, so many other things. It's, I don't know. I'm blown away to even hear that. But that's. Richard: I, I, I hate to say it, but it's true. I mean. But like I said, part of me now looks at that and thinks it's just kind of funny almost. And not to, I don't I'm not wish, I'd like, I don't want the confrontation. But I mean, like the people that are going to say no to this, are going to go on record and saying those five major engineering institutions. You know, the National Science Foundation is wrong, Joe: Yeah. Richard: That that's not a real engineer. The state, the Department of Ed for the state, which is funny enough, almost like the smallest bat to swing in all of this, and that's a huge bat to swing. So I'm just kind of like, I'm just going to keep moving forward. It's good for the kids, the good you know, my site administration think they've, they don't get it, but they like it and they're kind of like, we're just going to stay out of your way. I'm not really worried, you know. I mean, it'll be what it'll be. If I'm wrong, I'll go find some, I mean, I guess I'd go find somewhere else, but I just don't I know I'm not wrong, I hate to say it that way. That's such a horribly arrogant thing to say after I talk all of that about not being arrogant. But these people have convinced me people like you have convinced me, you know, like I said, the industry part of it. Why? You know, of course, we all want to be A Listers with valets and somebody plugs in all our gear for us and everything else. But at the same time, the best musicians know how their gear works. Joe: Yeah. Richard: They just do. And to some extent, want to go and make sure it's, like even if they have somebody who plugs it in for them, can you honestly tell me? Look, I know you've had gigs where some but, you know, you've got a drum tech or whatever. You don't go and check that kit before before you perform on it? Just Joe: Yeah, it just Richard: I mean, it's Joe: It's part of your being. Yeah. Richard: Exactly Joe: Yes. Yeah. Richard: It's absurd not to. So I think all of that put together. This is fascinating to me. Joe: And you've already proven the concept. So you would think that, I guess that would be the most frustrating part for me is that you've already proof of concept been done. It's how many years is the program now been in running. Richard: It's officially 12, I guess. Joe: Because of the CMAS program is 12 years, is it, is it, you're in the program from what? What year of high school. To. Richard: So well, and this is becoming an issue, too, it's always been open from freshmen through senior. Joe: Ok. And is it you're either in it or you're not? Or is there tracks that you can say, I'm interested in the sound recording track. But I'm not Richard: Ok, Joe: Interested Richard: So, Joe: In the songwriting Richard: Yeah. Joe: Tracks. Richard: As he was saying, so I'm going to take the this new engineering, in the traditional word of the word engineering, I'm going to set that aside, because that's where that's going to take some years to develop. Richard: So I'm going Joe: Right. Richard: To set that aside. But as far as the rest goes. Basically, it's what's your interest? I want to be in it, I want to I want to do sound engineering. I want to be a producer. I want to be on the stage as the performer. I want to be a beat maker. You name it and again, I, I, I want to promote the shows. I want to make the music videos, whatever. OK. Everybody's gonna go, there's like some core things, I need everybody to understand the basics of how this microphone works that I'm talking. I need the basics of why your headphones need to go into an interface and what that interface does. I need you to understand the stuff on the walls here, why it does what it does and why it's actually not gonna soundproof the roomm, it's only treating the roo

New to InObscuria? It’s all about digging up obscure Rock n' Punk n' Metal from one of 3 categories: the Lost, the Forgotten, or the Should Have Beens. In this episode we talk about the forgotten years of gothic rock from the 80s, and the relatively unknown impressively aggro 90s bands from the state of Illinois. Be sure to also check out what Elizabeth and Kent have to offer!https://www.facebook.com/theswear/https://www.pastemagazine.com/noisetrade/music/theswearSongs this week include:The Damned – “Sanctum Sanctorum” from Phantasmagoria (1985)Fragile Porcelain Mice – “Accolades” from All This Baggage (1998)Peter Murphy – “Marlene Dietrich's Favourite Poem” from Deep (1989)NIL8 – “Northwest Incenerator” from Hallelujah, I’m Gonna Kill Myself (1996)Concrete Blonde – “Still In Hollywood” from Concrete Blonde (1986)HUM – “Iron Clad Lou” from Electra2000 (1993)Please subscribe everywhere that you listen to podcasts!T-SHIRTS ON SALE THIS MONTH!: https://www.redbubble.com/people/inobscuria/og-shopVisit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://twitter.com/inobscuriahttps://www.instagram.com/inobscuria/

Country Star Eric Paslay is on his Nice Guy Tour right now, performing around the US and the world. He talks to Stacey about managing type 1 diabetes on the road. Learn more and buy Stacey's new book "The World's Worst Diabetes Mom" Stacey & Eric also nerd out on podcasting a little bit.. he started his own T1D show – Level With Me - earlier this year. Join the Diabetes Connections Facebook Group! Tell Me Something Good this week… so much creativity this diabetes awareness month! Did you see the Bachelor with Diabetes. And an elementary school rallies behind a student with T1D. Sign up for our newsletter here This podcast is not intended as medical advice. If you have those kinds of questions, please contact your health care provider. ----- Thanksgiving episodes Stacey mentions: Ask the D-Moms Holiday Version Thanksgiving Round-table: Adults with T1D   ----- Use this link to get one free download and one free month of Audible, available to Diabetes Connections listeners! ----- Get the App and listen to Diabetes Connections wherever you go! Click here for iPhone      Click here for Android Interview transcription  Stacey: My guest this week is country music star Eric Paslay. He is touring right now I caught up with him, tpaslay his is several weeks ago actually but there's nothing dated here. I wanted to talk to him again. He was first on the show back in 2017. Because in addition to being diagnosed with type one at age 10. He is now a podcast host. He started Level With Me this year. I'm not sure if he's coming back with that or if it was a one season thing when we talked to him quite worked it out. It's a branded podcast with Dexcom. But we had fun talking about the technical side of podcasting, and what he got out of meeting so many people living with type one. So here is my talk with Eric Paslay.   Eric, welcome back to the show. I'm excited to talk to you again. Thanks for joining me.   Eric Paslay  7:29 Thank you, Stacey. Good to be back.   Stacey Simms  7:31 Alright, so put your podcaster hat on. And I wanted to talk to you about that. Because truly, you know, doing a show like that is such an incredible experience. I'm not sure people realize how much fun it is to be on this side of the microphone, you know, talking to other people going through experiences with type one. What was it like for you to do that?   Eric Paslay  7:54 It's just it was it was a lot of fun. I mean, you know, it's fun to get to talk to people. There's so many awesome podcasts. out there about juvenile diabetes, and you're a rock star with Diabetes Connections. And I think it was just fun doing Level With Me we get to go visit people, at their houses where they're at. And kind of you kind of hear what life's like with diabetes. I think a lot of times it's either you have diabetes, the world's ending or I'm overcoming and that's on everything, you know, I can do anything and a lot of times you don't talk about the in between and and I think that's what these podcasts are great for is just talking about these things happening. And with level with me, we just got to talk about real life of, of how spouses and parents like you know, you have a 14 year old son with diabetes, being a parent and just kind of all the day to day activities and things that you did to deal with having diabetes and it was just it was a lot of fun. As you know, there's just incredible people all around the world and it's fun meeting up with type one diabetics that really live life to the fullest.   Stacey Simms  8:57 As I said, though, it's a different hat for you to wear well. What made you want to do something like this?   Eric Paslay  9:03 I'm not just talking about, talking helps people get used to talking about stuff. You know, I mean, I think there's a lot of type one diabetics who hide it from the world. And it's like, how you go to work and no knows you're diabetic? What if you actually do have a crazy low sugar level happen? What are they going to do? They're just going to not know you're diabetic. You know, I think a lot of people are afraid to talk about it because they're either ashamed or they think they're not tough enough and it's like, you should be excited. We're like living in a time where we're we're getting to survive as diabetics.   But you know, I'm not afraid of a microphone on and when we thought, hey, let's let's do a cool little podcast. I was like, sign me up. That sounds like a good idea. And, and it sounds like a great way to get to meet great people and, and just spread the news that you really can't do anything. With me traveling around on the road all the time. It's crazy, crazy, crazy life. of just traveling all the time. Not a lot of people, Lot early flights, late shows that it's cool. Just getting to talk about all the devices I know y'all talk about with the CGM Dexcom and insulin pumps and just all these cool things that really help you live life and not let diabetes get in the way too much.   Stacey Simms  10:15 Yeah, let's talk about that. Because you know, you've been on the show before and shared a lot about how you do it on the road. But tell us a little bit about your routine these days with those early flights. As you mentioned, it's kind of a crazy schedule. Anything you've learned that you can pass along.   Eric Paslay  10:27 I don't know protein bars don't have tons of carbs but they let me cruise for a good time. I've learned that, you know, I think it's it really is finally getting a CGM. It's like truly life changing. It's you hear the beats that beep beep bepp and you go Okay, I need some sugar or the beep and go Wow, my insulin is not working. You know, Everyone does that sound you know, in the middle of the night they're like, Oh, no. What do you think? Protein bar time.   When did you start wearing a CGM?   About a few years, and it's truly life changing, it's it really is mind blowing thinking 100 years ago, they figured out these proteins make a thing called insulin and keeps us alive. And to think that there's we're holding a small TV in our hand that tells our blood sugar level. Yeah, I mean, that we can share with friends on a phone is crazy. It's it's truly amazing to see how science and just it's just amazing science and technologies coming together. And it's exciting to see in the next even 10 20, 30 years, what happens with taking care of diabetes and just all kinds of sicknesses, just all the information coming together and people figuring it out. And you talk about on your show. There's just so many cool things happening. I got to do an amazing tour at Vanderbilt here in Nashville a couple weeks back with Dr. Powers. He's my doctor here and it's just exciting to see people doing such amazing research, trying to figure out the immune system And everything with beta cells. Everything that a type 1 diabetic is made out of, trying to reset all those things. It's cool to just just hear how many people really are out there trying to figure out a cure. And until we get a cure, figure out amazingly just easy ways to treat yourself.   Stacey Simms  12:17 I'm curious with the CGM, you know, because you were diagnosed it 10 right? Yeah. What your mom and dad might think of a CGM. Do you share with them now as an adult?   Eric Paslay  12:28 No, I don't sshare with them now see how they're fine. They (laughs). I share with my wife. Now I share with my wife so she knows where I'm at when I'm on the road, you know, early in the morning, she can check and see if my blood sugar levels cruising. And I share with my band so my tour manager watches my blood sugar level on the road while I'm on stage. And that's insane. It's amazing. He’ll let me know over our in ear monitors were note the crowd doesn't even know what's happening. He'll be like, Hey, you got an arrow down. Orange juice, you know, I'll go over and drink out of Dixie cup. The crowd thinks I'm just partying along and I'm, I am I'm making sure the party keeps going and get some sugar in me. And it really is amazing. It's like a magic trick and I think back to 20 some odd years of finger pricks and and thinking how much picture I really didn't know like really what was the patterns of my blood sugar level and getting to see that on a graph now, but with the CGM it’s is truly amazing and, and I think, hopefully, you know, adding more years to my life with with taking even better control of my blood sugar levels.   Stacey Simms  13:36 Let's talk a little more of the podcast because one of the really nice things about yours is you're able to get out of the studio, you know, if you haven't listened to half the show, he he kind of meets with the people he's talking to or hangs out with the family for a while and then the second half, they're in the studio. So it's a really nice mix. And I'm just I'm always curious from a technical standpoint, how are you doing the stuff on the road? I'm gonna get technical here. Are you wearing a mic? Do you have a crew How's it all work? (commercial break) Right back to Eric in just a moment I'll answer that question. But first diabetes Connections is brought to you by one touch handwriting your blood glucose levels is the ultimate throwback, the one touch Vario flex meter seamlessly syncs with the free onetouch reveal mobile app to create your dynamic electronic log book. And when you choose the onetouch reveal mobile app, you'll be joining thousands of other people living with diabetes. In fact, as of this past October, one touch revealed was the number one downloaded diabetes management app in the US, Canada, France and the UK to upgrade today to the one touch Vario flex meter and onetouch reveal mobile app, visit diabetes dash connections.com and click on the one touch logo. Now back to Eric talking about production of his podcast.   Eric Paslay  14:52 Yeah, there’s a crew, they go out, hang out with the families that we're talking with and just kind of get the sounds of their life where they're at their family. He's running around. I think a lot of times when you're in the studio you can talk about it but you don't really hear the sounds of real life happening sometimes and it shouldn't really is just a just a sweet moment where we get to go and hang out at people's houses or where they're living and hear everyday sounds of being there.  I think it helps people who’ve just been diagnosed or that had been diagnosed for many years to realize you're not alone. And there's a lot of people going through type one diabetes and there's a lot of spouses and kids and family members who have one people they love with Type One Diabetes and just how do you live with that every day. And and it really is, I think it's a really cool thing that we get to do is go hang out with the families for the we saw on the national need to hang out with Blackbird Studios here in Nashville where tons of bands record every year so it's fun for them to come see that and I get to tell him some stories of hair cut my album in here and that is fun. It really is one thing on the podcast I always try to make sure is like you Not just dealing with diabetic, you're a human being like, you're not just to do that back your mother, your father, your brother, your sister, your professional, your student. And I that was one thing I always try to make sure people remember that they don't just wear I'm a diabetic t shirt everywhere they go. It's like no, you said one ingredient of your life, not your whole life, even though it definitely is a big part of how your engine runs. But just making sure people don't just categorize themselves only as diabetic.   Stacey Simms  16:30 Yeah, that's what I say to a lot of parents Remember, you're raising a child, not a number. You know, worry less about that straight line and more about is your kids happy.   Eric Paslay  16:37 Raising child not a number. I love that.   Stacey Simms  16:40 And this is really a dumb question for people who are not  in podcasting or in broadcasting. But I'm always curious, is there different mic technique? You know, when you're talking into the microphone and interviewing these people, and then you're singing or playing instruments, you know, are there different things that you need to do in the studio?   Eric Paslay  16:57 I don't, you know, talking to the mic, and I mean, Singing a lot of times, you know you do the vocal set maybe I'll try the vocal fade while the next podcast be like it's so far away from you. When your blood sugar levels everybody wants to be how do you level with it? I mean, it's just like we were just talking with this podcast right now and it's amazing just the technology we have from, from lapel mics where you can hide a mic on you to just a big old studio mic that you've used in radio for years. It's, there's so many cool ways to do it. It truly is amazing, just, I mean, and there's so many podcasts out now from anything and it's just so easy to really record a podcast these days with a computer and a home studio and, and all that and it's, we always joke in the music business. The coolest thing about a home studio is you have a home studio. The worst thing about studios, you can have a home studio. Is it good for music? Is it bad for music? I don't know. You know, there's a lot of music, but it's it really is amazing To do this right now people getting to hear to their little speakers wherever they're flying in the sky or driving the car, on their smartphone to watch them the device being when you're when you're hopefully cruising on a good good level.   Stacey Simms  18:15 So you know you mentioned making music of course we haven't talked about that at all. Are you still having fun? What's you know anything new? Eric Paslay  18:24 Heck yeah. earlier today I've been talking about going on tour and Europe here soon and get back for a few days in Nashville and then Australia for a week. And just traveling around we've got a live album from live in Glasgow that's coming out we recorded it  last summer in Glasgow, Scotland and have all the hits I've written for myself other people so we'll have the five number one songs on there and it's great and excited for that to come out and people get to hear the whole band and hear us live. Fun show have a great crowd and Glasgow Scotland and and then I've got an album that we just pretty much are mixing and kind of putting the final touches on that'll be out probably early next year. So got a live album in a studio album that are coming out and I'm excited to go tour and and play these songs and, and people get to hear how great the band is when we come to your town here. But a lot of really, really exciting things happening.   Stacey Simms  19:21 Keeping busy man, thank you so much for joining me. I really appreciate you spending some time Welcome to the world of podcasting. I'm so glad you did it.   Eric Paslay  19:29 Thank you, I think yeah, I think the more of us talking about taking care of that it is the more people will be unafraid of asking a question of Hey, I'm having trouble with high blood sugar levels at night or when I eat this. I it doesn't work. You know, I think the more we talk about that, the and more unafraid kids will be to raise their hand and class when they need to go see the nurse. I really was I was always afraid to like disrupt class, something when I'm sitting there and I can feel my blood sugar level crashing. Hopefully a little just people talking about it will help people not be afraid to get up from the meeting and go get take care of their blood sugar level so they can keep rockin and and have a good time doing it.  

Whataworldpodcast.com - I met David when he was working for Blackbird Studios in Nashville, TN as he was the engineer for a project I was hired for to do session vocals. Ever since then I have worked with David and kept in contact because he is one of the nicest and funniest men I have met in the industry. David Hall is a music engineer and producer who has worked with world famous artists from across the globe and was mentored under Csaba Petocz. In this episode we talk about his start in the music industry in the 90's and how he met his mentor. This is the first part of a 3 part conversation I had with David about his story and his eventual break from music. David is back in the game though and has a very dramatic and tragic story to tell. He opened up to tell his story to me and I am so grateful. . . Podcoin --- Support this podcast: https://anchor.fm/whataworldpodcast/support

John Darnielle has been writing and recording songs as the Mountain Goats since 1991. He’s released 17 studio albums, and also written two books of fiction. In April 2019, the Mountain Goats released the album In League with Dragons, and in this episode, John Darnielle breaks down a song from it, called Cadaver-Sniffing Dog. We’ll hear his original demo, and then, hear how the song evolved at Blackbird Studios in Nashville, with the help of John’s band, some incredible session musicians, and producer Owen Pallett. songexploder.net/the-mountain-goats

This week, Chris explores a different side of the music industry with recording studio designer and builder Mike Cronin. Mike has worked on countless famous studios around the world, becoming an integral part of the music business here in town through his work on Oceanway and Blackbird Studios, as well as various projects for independent clients such as Chris Stapleton, Mutt Lange, Kendrick Lamar and even our very own Aimeeland Studio. Listen on to hear how having a space you love and enjoy working in can influence the work you do and the things you create - more than you might think. https://americansongwriter.com/american-songwriter-podcast-network/

Michael talked about building recording studios around the world from Mutt Lange to Blackbird Studios to your home studio wherever you are. My guest today is Michael Cronin who has never once had a hit record or for that matter even recorded one himself, but nevertheless has played an important role in the creation of hundreds of millions of records through his famous designs for over 200 world class recording studios all around the globe. Michael started out restoring a 19th century London church as a modern recording studio for the Eurythmics in 1984. Then worked with Tom Hidley afterwards creating his own company, Michael Cronin Acoustic Construction. Some of Michael studios include: Guillermo Tell and MEGA in Paris, France; the renovation of MOSFILM in Moscow, Russia;  BOP Studios Bophuthatswana, South Africa; The Tracking Room, Ocean Way, Blackbird Studios and Masterfonics in Nashville, Tennessee; Capri Digital in Capri, Italy, and even producer Mutt Lange’s famed hideaway studio Sully Sound in Tou de Pays, Switzerland. In addition, Michael has been a pioneer in designing and building educational recording facilities such as the multi-studio complexes he has done in New York City, Miami, and Atlanta for SAE, the world’s largest multimedia academy. He has also contributed his skills to culturally significant facilities, including the archivist mastering room at the Country Music Hall of Fame and acoustical consulting work for the Songwriters Hall of Fame, both in Nashville, Tennessee. He is also one of the most sought after designers and builders of advanced, high-end home theaters in the U.S.   Thanks to our sponsors! Roswell Pro Audio: https://RoswellProAudio.com Tegeler Audio Manufaktur: https://www.tegeler-audio-manufaktur.de/ Hear more on Youtube If you love the podcast then please Leave a review on iTunes here Want to learn more about mixing? Get Free mix training with Lij at: http://MixMasterBundle.com CLICK HERE FOR SHOW NOTES AT: http://RSRockstars.com/151

In today's podcast we chat to Tom Peel, bassist with English singer-songwriter James Bay.James Bay shot to stardom with the release of his debut album, Chaos and The Calm, back in 2015. Recorded at Blackbird Studios in Nashville, the album debuted at number one in the UK and cemented Bay's reputation as an incredible songwriter. But as with all bands that emerge as if from nowhere, the backstory often proves more extensive than you might expect. Tom Peel's journey has been a steady and assured one, from a natural inclination towards music as a young lad through to playing festivals and rock arenas all over the world.

In today's podcast we chat to Tom Peel, bassist with English singer-songwriter James Bay.James Bay shot to stardom with the release of his debut album, Chaos and The Calm, back in 2015. Recorded at Blackbird Studios in Nashville, the album debuted at number one in the UK and cemented Bay's reputation as an incredible songwriter. But as with all bands that emerge as if from nowhere, the backstory often proves more extensive than you might expect. Tom Peel's journey has been a steady and assured one, from a natural inclination towards music as a young lad through to playing festivals and rock arenas all over the world.

These Little Wrists and Big Fists have been picking up the pace. A trip to Blackbird Studios, creating Graphics for Mid Tenn entertainment, writers rounds, upcoming showcases and house shows, a new record store and you can swim in the deep sea with your Deep Tropics recap here on Little Wrist Big Fist. 

About Aaron Lewis: Aaron Lewis, the self-proclaimed “Northern Redneck” and Staind front man, achieved critical and commercial success with his latest album, SINNER, which earned him the #1 position on the Billboard Top 200 Albums, Top Country Albums and Top Digital Albums Charts upon release. The 12-track project, voted one of Whiskey Riff’s 40 Best Country Albums of 2016, was recorded in 16 hours at Nashville’s Blackbird Studios with producer Buddy Cannon (George Strait, Merle Haggard, George Jones). Lewis penned eight of the songs, in addition to covering Chris Stapleton’s “Whiskey and You” and The Dixie Chicks’ “Travelin’ Soldier.” Additionally, Lewis collaborates with Willie Nelson on the album’s title track while Grammy Award-winning artists Alison Krauss, Dan Tyminski and Vince Gill are also featured. SINNER was also one of Billboard’s 10 Best Country Albums of 2016, while The Boot raves, “Aaron Lewis shows a surprising understanding and respect for country music with his latest album, SINNER. Drawing from his childhood influences of listening to country music in his grandfather’s car, SINNER shows Aaron’s abilities as a singer, songwriter, musician and stylist. SINNER might just be the record that propels Aaron to a permanent place in country music.” http://aaronlewismusic.com/ http://barbecuetricks.com BBQ BLUEPRINT BOOK: http://amzn.to/2uiBpNi

Welcome one and all to THE MISSION, STYX's sonically sweet 16th studio album and its most ambitious, most challenging, and most rewarding release to date. Please take note of the official stardate, as THE MISSION has duly been set for liftoff June 16 on the band's label, Alpha Dog 2T/UMe. Fans can pre-order the album at any of these online retail outlets and Styxworld.com. The first single, “Gone Gone Gone,” was released today at radio and online retail outlets. A video premiered on Billboard.com and can be seen here. “The planets truly aligned for THE MISSION, and I couldn't be prouder,” says vocalist/guitarist Tommy Shaw, who co-wrote the album's storyline with longtime collaborator Will Evankovich (Shaw/Blades, The Guess Who). “It's our boldest, most emblematic album since PIECES OF EIGHT.” As founding guitarist James “JY” Young continues, “In the 40th anniversary year of our release of our biggest selling album of all time, GRAND ILLUSION, it just seemed truly appropriate to save our new studio album until this year. Needless to say, I'm very excited.” “THE MISSION is a deep, conceptual, and cinematic epic that offers listeners a thrilling emotional journey — and all ‘cast' with impassioned guitar parts and those textured, ‘chill-inducing' Styx vocals. Guitarists Tommy Shaw and James Young sound like they're energetic upstarts with something to prove, rather than members of a band with decades of history. This is a truly brilliant soundscape, as well as a tribute to the evocative power of the guitar.” — Michael Molenda, Editor-in-Chief, Guitar Player “A throwback to the styles of classic Styx records like THE GRAND ILLUSION and PIECES OF EIGHT, THE MISSION is a wonderful mix of knotty, '70s-era progressive rock madness alongside the melodic power pop the band does so well. Todd Sucherman might be the baby of the group, but he's an old soul when it comes to finding the right flavor for the new material—and he's not shy to provide a healthy slab of blazing hand technique, elevating parts to a whole other level of excitement.” -- Ilya Stemkovsky, Modern Drummer “Styx have really delivered a welcome addition to their catalog with the arrival of THE MISSION, which wraps in all of the important elements of their much loved classic sound, with a wealth of big hooks, anthemic choruses and most importantly, an album's worth of really good Styx music.” --Matt Wardlaw, UltimateClassicRock.com Indeed, THE MISSION is an aurally adventurous 43-minute thrill ride that chronicles the trials, tribulations, and ultimate triumphs of the first manned mission to Mars in the year 2033. From the hopeful drive of “Gone Gone Gone” to the stargazing machinations of “Locomotive” to the rough-riding blaze of glory that permeates the hard-charging “Red Storm” to the elegiac optimism of the closing track “Mission to Mars,” the album succeeds in delivering the greater good from a band that continues to fire on all cylinders, 45 years after signing its first recording contract. In fact, THE MISSION--which was recorded over a two-year period at Blackbird Studios, The Shop, and 6 Studio Amontillado in Nashville--displays the best aspects of the ongoing in-harmony musical intersection of the six-man STYX team: the aforementioned guitarist/vocalist Tommy Shaw, co-founding guitarist/vocalist James “JY” Young, keyboardist/vocalist Lawrence Gowan, original bassist Chuck Panozzo, drummer/percussionist Todd Sucherman, and bassist Ricky Phillips. The new music was created to reflect the viewpoint of the six-person crew enlisted for the maiden voyage of Khedive, the first entry in a new fleet of nuclear-powered interplanetary spacecraft underwritten by the Global Space Exploration Program (or GSEP, for short). The Khedive team consists of The Pilot, a fully hands-on, seat-of-the-pants born leader; a First Officer who serves as the team's big-brother figure; an Engineer who is skeptical of every phase of the mission but remains co...

Here's episode 15 of The Hexagon: A Podcast For Singer-Songwriters.  It's a podcast about 6 aspects of being a singer-songwriter today (songwriting, performing, recording, business, growth, and life).  This month, Kyshona Armstrong and I sit down for a talk...we discuss some of the following, and a lot more. Her time as a music therapist Tempering our emotions in song Lucky breaks and feeling blessed Keeping costs of a new record low Songs of Kyshona's featured: Same Blood - Single (Available on BandCamp) Do Nothing - from The Ride Cornelius Dupree - from Go The Best of You - from The Ride   Random Notes: Shout out to Erica Hayes-Schultz, the DJ from Nashville's WXNA 101.5FM's Soul of the City show…every Thursday from 4-6PM CST (as of this taping).  Give love to this woman that gives love to local music!   Music Therapy - use of music to achieve non-musical goals   Jenn Bostic, who later co-wrote Kyshona's latest record The Ride, played a part in Kyshona's decision to move to Nashville on the day they first met.   Influences: Nina Simone Ruthie Foster Sam Cooke Otis Redding Rose Polenzani Anais Mitchell   Kyshona often feels the need to temper her emotions in song…to ease up the darkness, make a story more palatable.  She calls it putting a little sugar in anything she says, so that no one is alienated in the process.  She knows that how she communicates can impact future work in certain arenas.   She feels that on tour she needs to be aware of women, and women of color, who will come to that venue after her.  To be kind, and never give someone a reason to treat you negatively.  Can she teach someone in this moment.   The Bomb Shelter Partly where she recorded The Ride… http://bombshelterstudio.com   …and she also recorded some of the songs at Blackbird Studios. https://www.blackbirdstudio.com/   She mentions an interview with Ann Powers for World Cafe http://www.npr.org/sections/world-cafe/2017/03/23/521235898/world-cafe-nashville-kyshona   She also mentions an interview with Jewly Hight from Nashville Scene http://www.nashvillescene.com/music/article/13057909/music-therapist-turned-singersongwriter-kyshona-armstrong-embraces-activist-role   Get in Touch with Kyshona: http://www.kyshona.com/ https://www.facebook.com/kyshona/ https://twitter.com/kyshona https://www.instagram.com/kyshona8/ https://soundcloud.com/kyshona-armstrong https://open.spotify.com/user/129805678 https://www.youtube.com/channel/UCCXoi9immUyYw5oN1g6p1SA https://itunes.apple.com/us/album/go/id902713713   http://www.hexagonpodcast.com/episode/episode-15-kyshona

  Get FREE mix training videos, eBook and multi tracks at MixMasterBundle.com   My guest is Mark Rubel, the Co-Director of Education and Instructor at The Blackbird Academy, which is an intensive recording school at famed Blackbird Studios in Nashville, TN. Since 1980, Mark has made about a zillion recordings at his Pogo Studio in Champaign IL (currently reopening in Nashville), including such artists as Alison Krauss, Jay Bennett, Ludacris, Hum, Adrian Belew, Melanie, Fall Out Boy, Duke Special, and many others. Get full show notes at RecordingStudioRockstars.com/17 LEAVE A REVIEW

Working Class Audio Session #034 Mark Rubel!!! Mark Rubel is Co-Director of Education and Instructor at The Blackbird Academy, an intensive recording school at famed Blackbird Studios in Nashville, TN. Since 1980, Mark has made about a zillion recordings at his Pogo Studio in Champaign, IL (currently reopening in Nashville), including such artists as Allison Krauss, Jay Bennett, […] The post WCA #034 with Mark Rubel appeared first on Working Class Audio.

Join us this week as we welcome country music singer songwriter, Garrett Steele. Originally from West Texas, Garrett Steele currently resides in Nashville, TN. On stage, Garrett’s distinctive performance style connects him with his audience, allowing his true passion for his lyric’s and music to shine through. Garrett will tell you, “I love playing for people and sharing my music with them, that’s what it’s all about!” It’s that simple; a man who sings from the heart, singing music that people long to hear. His most memorable performances have included sharing the stage with John Prine, Steve Wariner, Stephen Curtis Chapman, Roxie Dean, Jim “Moose” Brown, Gary Tally, Brent Mason, Dean Hall, Dave Salyer, Wynona Judd and Dolly Parton. Garrett’s 5 track EP sets the cornerstone for a career being built on meaningful songs. Recorded at Ocean Way Nashville, the Sound Shop, Omni Sound Studios, and Blackbird Studios. Garrett recently garnered a top 5 nomination for the Nashville Universe Awards for Song of the Year with "The Suitcase". Also, he is part of the pro angler duo, Crappie Country, promoting country music and fishing and family fun. We will talk to Garrett about his upcoming schedule, get a behind the scenes look at his music, feature his latest songs, and ask him to share his message for the troops. Please be sure to visit Garrett Steele at www.garrettsteele.com/ and spread the word. Fans are welcome to call in and speak live with Garrett during the show (718) 766-4193. If you would like to participate in the live chat during the show, you must sign up on the show site first and then log in during the show. And as always we will give shout outs to our deployed military listeners. Be sure to join us, Sunday 5/31/2015 at 4 PM EDT! Our message to the troops....WE do what we do, because YOU do what you do.

Join us this week as we welcome the country music band, 2Steel Girls. Some things that are meant to happen just happen. You can call it fate, you can call it luck or happenstance, but better yet lets just call it 2Steel Girls. In just a few short years the mother daughter country, rock-pop duo from Nashville, went from their first public performance at the legendary Bluebird Cafe’ in April 2011 to performing in front of an audience of millions on The Voice in 2012, releasing their first independent single on The Today Show in 2013, the Hallmark Channel, touring over 250 performance dates, public and television appearances. They are currently recording their second fan funded CD at Blackbird Studios in Nashville with “A List” musicians that have played on albums including, Genesis, Journey, Blake Shelton, Vince Gill, Amy Grant and more. The single will be released spring/early summer 2015 and CD to follow shortly thereafter. We will talk to 2Steel Girls about their upcoming schedule, get a behind the scenes look at their music, feature their latest songs, and ask them to share their message for the troops. Please be sure to visit 2Steel Girls at http://2steelgirls.com/ and spread the word. Fans are welcome to call in and speak live with them during the show (718) 766-4193. If you would like to participate in the live chat during the show, you must sign up on the show site first and then log in during the show. And as always we will give shout outs to our deployed military listeners. Be sure to join us, Sunday 5/17/2015 at 4 PM EDT! Our message to the troops....WE do what we do, because YOU do what you do.

This Show: Katie Barbato! Kaite talks about her recording at Blackbird Studios in Nashville, her work on the soundtrack for the independent film "Sugar" ! Included in the interview are her songs "Revolution" and "Drive Faster"

Hailing from Summerside, Prince Edward Island, Country singer-songwriter TRINITY BRADSHAW became the youngest winner of the Summerside Festival Talent Search at age 14. She performed twice at the East Coast Music Awards before moving to Calgary, Alberta in 2011. In January 2014, Trinity was nominated for Female Artist of the Year and Song of the Year at the Alberta Country Music Awards and performed at the gala awards show. She was CMT Canada’s Fresh Face Feature Artist in March 2014. She has recently performed at the Grey Eagle, and Century Casino in Calgary, Billy Bob’s in Red Deer and the CRE Rodeo Dance in Camrose, Alberta. 2014 performances include the Ponoka Stampede, the Calgary Stampede, Festival Place in Edmonton, and the Boots and Hearts Music Festival in Bowmanville, Ontario. Trinity's new EP will be released on June 17th, 2014 featuring the current single Never Drinking Again which is getting played on country stations across Canada. The songs were recorded at Blackbird Studios in Nashville with all-star session players Chad Cromwell (Neil Young, Emmylou Harris, Taylor Swift), Tim Marks (Taylor Swift, Jewel), Russ Pahl (Blake Shelton, Luke Bryan, Eric Church) and Russ Broom (Jann Arden). The songs were produced by Russ Broom and Trey Mills. Tune in as Trinity joins me to celebrate the release of her new EP and to share some songs from it.

In this episode, we get completely sidetracked discussing atheists and religion and fight over which painting God has hanging over his couch. Our guest, Jesse Smigel from Blackbird Studios, has plenty to dish about his upcoming Atheist art show at Blackbird, "Celebrating Existence."Here are some links to help guide you through the rarified experience of this episode:Blackbird StudiosJesse's Facebook pageJesse's YouTube channel Episode 3: Jesse Smigel by SinCityArtcast

Welcome back to the Sin City Artcast! You're in for an hour and 17 minutes of highly qualified art-tastic bantering, dark secret revealing and surprisingly politically charged conversation. So grab a cold beverage, sit back, and prepare your ears to be tickled ... with CULTURE.Guest: Cindy Funkhouser, co-founder of First Friday Las Vegas, owner of the Funkhouse antique store/art gallery, and all-around awesome lady, who helps us remove the veil covering the lovely faces of First Friday's new -- and welcome -- overlords.Hosts: The usual gang of idiots (Danny R., Gina Q., and the Mad Pj)Magic links that will take you to strange, new lands:Statement Art GalleryBlackbird StudiosBryan Christiansen: Trophy HunterWhirlygig Las VegasFirst Friday Las VegasThe Arts Factory222 ImperialBrett Wesley Gallery Sin City Artcast Episode 2 by SinCityArtcast

You have the pleasure and rare honor to be among the first to call yourselves Las Vegas art insiders, because somehow, you've stumbled upon the debut episode of the Sin City Artcast! Lucky you -- you get to hear it with warts and all. Though we're kinda new at this podcasting thing (well, most of us), we're not new at this Vegas art thing. Our goal (as will be explained in the episode) is basically to pimp Vegas-based visual artists, galleries and events, learn more through in-depth interviews, and possibly entertain and educate you along the way. Your hosts for the inaugural episode are:Danny Roberts - OverlordGina Quaranto - Giggle MistressPj Perez - Knob-TwiddlerAnd our special guest this episode is Dale Mathis, whose complex, often motorized sculptures are on display at Statement Art Gallery throughout the month of October.If you like what you hear, it would be super cool of you to "like" us on Facebook, subscribe via iTunes or RSS, and maybe even tell your friends.Here are some important links you might want to check out while listening:The Art of Dale MathisFirst Friday Las VegasStatement GalleryBlackbird StudiosOtherwiseThank you and we're sorry. Sin City Artcast Episode 1 by SinCityArtcast

HEADPHONES RECOMMENDEDAs Officer Mann and the enigmatic Z stealthily navigate the shadows, hope flickers in their pursuit of justice. But in this unforgiving landscape, hope is a treacherous illusion. With their lives hanging in the balance, the desperate bystanders must act swiftly, yet the line between salvation and peril blurs dangerously. As another plan crumbles to dust, they scramble for survival, stumbling upon a concealed chamber harboring a sinister secret that could seal their fate forever. Hear for yourself an enthralling episode of intrigue and suspense, where the desperate struggle for life unravels in the darkest corners of the hidden room.STARRING:Kathleen Turner as Joanna VaingloriousMargaret Cho as Dr. Jane SeymourBeth Dover as Alicia HydeJoe Lo Truglio as Dirk Pifler-HydeJon Gries as ZLuke Cook as FriendMonte Markham as Father AntonDarren Criss as Billy Bobagginsand Wayne Knight as Officer MannNarrated by: Jane LynchFEATURING:Kevin Farley as Manager KelRyan Everett as Chick N' Chips EmployeeEthan Richardson as Scooter KidHeather Morris as Training Potty VocalsJaclyn Hales as Fauna, Timer Voice, and BaristaCreated by: Ash Lendzion and Jaclyn HalesExecutive Produced by: Black Label Media, Heather Morris, Ash Lendzion, Jaclyn Hales, Nick Blair Wilfong, and Marilee StaffordDirected by: Heather MorrisWritten by: Heather Morris, Ash Lendzion, Nick Blair Wilfong, and Jaclyn HalesMusic by: Tory CumminsAudio Engineer and Sound Editor: Alex CarterSound Design by: Tim McKeownMusic Mix by: Tevin TurnerDolby Atmos Mixing by: Alex Carter and Tim McKeownAssistant Audio Engineer: Oliver Boon, Sloan Welsch and Mark De La FuenteAssociate Produced by: Alex Tassopoulos and Josh FisherCasting by: Brenden Rodriguez and Daniel SchwabSpecial thanks to: The Cutting Room, Dave & Dave, and Blackbird Studios

HEADPHONES RECOMMENDEDIn the shadowed corners of the warehouse, a mysterious figure emerges- an additional bystander who witnessed the harrowing attack. Doubt creeps in like cigarette smoke as the group questions how he eluded the clutches of their captor. As desperation gnaws at their resolve, a daring scheme is unveiled that teeters on the razor's edge of fatality. Tune in to this riveting episode to witness a moment of self-preservation, where the bystanders contemplate the chilling thought: better him than me.STARRING:Kathleen Turner as Joanna VaingloriousMargaret Cho as Dr. Jane SeymourBeth Dover as Alicia HydeJoe Lo Truglio as Dirk Pifler-HydeJon Gries as ZLuke Cook as FriendDarren Criss as Billy Bobagginsand Wayne Knight as Officer MannNarrated by: Jane LynchFEATURING:Ignacio Diaz-Silverio as LordJaclyn Hales as Fauna and Timer Voice"Let the Binkies Hit the Floor" Vocals by Tory CumminsAsh Lendzion as PoppyScott Lendzion as BruceCreated by: Ash Lendzion and Jaclyn HalesExecutive Produced by: Black Label Media, Heather Morris, Ash Lendzion, Jaclyn Hales, Nick Blair Wilfong, and Marilee StaffordDirected by: Ash Lendzion and Jaclyn HalesWritten by: Nick Blair Wilfong, Jaclyn Hales, Heather Morris, and Ash LendzionMusic by: Tory CumminsAudio Engineer and Sound Editor: Alex CarterSound Design by: Tim McKeownMusic Mix by: Tevin TurnerDolby Atmos Mixing by: Alex Carter and Tim McKeownAssistant Audio Engineer: Oliver Boon, Sloan Welsch and Mark De La FuenteAssociate Produced by: Alex Tassopoulos and Josh FisherCasting by: Brenden Rodriguez and Daniel SchwabSpecial thanks to: The Cutting Room, Dave & Dave, and Blackbird Studios

HEADPHONES RECOMMENDEDIn the dark underbelly of their captivity, the unsuspecting bystanders are thrust into a sinister game orchestrated by their captor: maneuvering through treacherous 90s board games designed to reveal their deepest, darkest secrets all while teaching them what it means to be a friend. While the shadows grow thicker, a former cop and his newfound sidekick, take up the scent, tracking the elusive kidnapper's trail from the outside. Brace yourself for this nail-biter of an episode where survival, friendship, and a relentless pursuit of justice converge in the face of overwhelming odds. STARRING:Kathleen Turner as Joanna VaingloriousMargaret Cho as Dr. Jane SeymourBeth Dover as Alicia HydeJoe Lo Truglio as Dirk Pifler-HydeJon Gries as ZLuke Cook as FriendDarren Criss as Billy Bobagginsand Wayne Knight as Officer MannNarrated by: Jane LynchFEATURING:Ignacio Diaz-Silverio as LordDavid D'Agostini as Sheriff ShareefJaclyn Hales as Fauna and Timer VoiceAsh Lendzion as PoppyScott Lendzion as BruceJohn Weselcouch as Stefan LondonCreated by: Ash Lendzion and Jaclyn HalesExecutive Produced by: Black Label Media, Heather Morris, Ash Lendzion, Jaclyn Hales, Nick Blair Wilfong, and Marilee StaffordDirected by: Ash LendzionWritten by: Ash Lendzion, Nick Blair Wilfong, Jaclyn Hales, and Heather MorrisMusic by: Tory CumminsAudio Engineer and Sound Editor: Alex CarterSound Design by: Tim McKeownMusic Mix by: Tevin TurnerDolby Atmos Mixing by: Alex Carter and Tim McKeownAssistant Audio Engineer: Oliver Boon, Sloan Welsch and Mark De La FuenteAssociate Produced by: Alex Tassopoulos and Josh FisherCasting by: Brenden Rodriguez and Daniel SchwabSpecial thanks to: The Cutting Room, Dave & Dave, and Blackbird Studios

HEADPHONES RECOMMENDEDIn a nostalgic trip to the 1990s, Todd Cuisinart unveils the touching tale of his fateful encounter with Billy Bobaggins, his closest confidant, and the hidden truths of that ill-fated day at Twitchercon 1990. Meanwhile, in the shadowed alleyways, Z battles against the relentless darkness, desperately seeking aid until an unexpected ally presents him with a perilous revelation that could transform an improbable savior into a true hero of the night. Gird your loins for an episode where friendships are forged, secrets unravel, and the line between heroism and villainy blurs beneath the city's brooding skyline.STARRING:Kathleen Turner as Joanna VaingloriousMargaret Cho as Dr. Jane SeymourBeth Dover as Alicia HydeJoe Lo Truglio as Dirk Pifler-HydeJon Gries as ZLuke Cook as FriendDarren Criss as Billy Bobagginsand Wayne Knight as Officer MannNarrated by: Jane LynchFEATURING:Lincoln Bonilla as Young ToddKellen Raffaelo as Young BillyIgnacio Diaz-Silverio as LordKristian Kordula as Jack VerstigoHeather Morris as News Anchor CarolShaun Broyls as News Anchor KevinAmelia Morck as Todd's MomAsh Lendzion as Billy's MomLynn Lendzion as Nurse LouiseJaclyn Hales as Fauna and Timer VoiceNick Blair Wilfong as SherryAlex Carter as Mr. WalkerBradley Andersen, Charlie Andersen, Chloe Cluff, William Cluff, Harrison Cluff, Kahea Hales, Nixon Lendzion, and Bentz Lendzion as The Kids Created by: Ash Lendzion and Jaclyn HalesExecutive Produced by: Black Label Media, Heather Morris, Ash Lendzion, Jaclyn Hales, Nick Blair Wilfong, and Marilee StaffordDirected by: Jaclyn HalesWritten by: Jaclyn Hales, Ash Lendzion, Nick Blair Wilfong, and Heather MorrisMusic by: Tory CumminsAudio Engineer and Sound Editor: Alex CarterSound Design by: Tim McKeownMusic Mix by: Tevin TurnerDolby Atmos Mixing by: Alex Carter and Tim McKeownAssistant Audio Engineer: Oliver Boon, Sloan Welsch and Mark De La FuenteAssociate Produced by: Alex Tassopoulos and Josh FisherCasting by: Brenden Rodriguez and Daniel SchwabSpecial thanks to: The Cutting Room, Dave & Dave, and Blackbird Studios

As the bystanders last moments dwindle, they are cornered into confronting the chilling truth of the Beachview Lake assault. The secrets of that fateful day emerge into the light, leaving them no choice but to reckon with their past. However, in a distant corner of the city, Z stumbles upon a glimmer of hope, a flickering beacon that may finally offer the salvation he desperately seeks. Get ready for an explosive final episode, where the bystanders are given one last chance to do something. Will they seize this opportunity or succumb to the allure of their dark past?STARRING:Kathleen Turner as Joanna VaingloriousMargaret Cho as Dr. Jane SeymourBeth Dover as Alicia HydeJoe Lo Truglio as Dirk Pifler-HydeJon Gries as ZLuke Cook as ToddMonte Markham as Father AntonDarren Criss as Billy Bobagginsand Wayne Knight as Officer MannNarrated by: Jane LynchFEATURING:Heather Morris as News Anchor CarolShaun Broyls as News Anchor KevinAsh Lendzion as PoppyScott Lendzion as BruceDavid D'Agostini As Sheriff ShareefJaclyn Hales as Fauna and Timer VoiceNick Blair Wilfong as SherryAlex Tassopoulos as Deputy DepudyJosh Fisher as Officer OfficeMichael Minto, Will Rubio, Ryan Ratcliff, Nabyl Sohle, Shannon Swartz, Joey Ariemma, and Jim Hales as The Homeless CampCreated by: Ash Lendzion and Jaclyn HalesExecutive Produced by: Black Label Media, Heather Morris, Ash Lendzion, Jaclyn Hales, Nick Blair Wilfong, and Marilee StaffordDirected by: Jaclyn Hales and Ash LendzionWritten by: Jaclyn Hales, Ash Lendzion, Nick Blair Wilfong, and Heather MorrisMusic by: Tory CumminsAudio Engineer and Sound Editor: Alex CarterSound Design by: Tim McKeownMusic Mix by: Tevin TurnerDolby Atmos Mixing by: Alex Carter and Tim McKeownAssistant Audio Engineer: Oliver Boon, Sloan Welsch and Mark De La FuenteAssociate Produced by: Alex Tassopoulos and Josh FisherCasting by: Brenden Rodriguez and Daniel SchwabSpecial thanks to: The Cutting Room, Dave & Dave, and Blackbird Studios

HEADPHONES RECOMMENDEDIn the midst of a serene paddle boat tour, Billy finds himself thrust into a world of darkness when he becomes the victim of a vicious attack while his fellow tourists stand idly by. Billy's fate hangs in the balance as the apathetic bystanders continue their carefree lives…but in the shadows, a reckoning awaits. Prepare for a gripping episode where complacency and cruelty collide, and the haunting question lingers: How long can they evade the consequences of their indifference?STARRING:Kathleen Turner as Joanna VaingloriousMargaret Cho as Dr. Jane SeymourBeth Dover as Alicia HydeJoe Lo Truglio as Dirk Pifler-HydeJon Gries as ZLuke Cook as FriendDarren Criss as Billy Bobagginsand Wayne Knight as Officer MannNarrated by: Jane LynchFEATURING:Ignacio Diaz-Silverio as LordKristian Kordula as Jack VerstigoHeather Morris as News Anchor CarolShaun Broyls as News Anchor KevinNick Blair Wilfong as SherryAsh Lendzion as Teddy RuxbyJaclyn Hales as FaunaCreated by: Ash Lendzion and Jaclyn HalesExecutive Produced by: Black Label Media, Heather Morris, Ash Lendzion, Jaclyn Hales, Nick Blair Wilfong, and Marilee StaffordDirected by: Jaclyn Hales and Ash LendzionWritten by: Jaclyn Hales, Ash Lendzion, Nick Blair Wilfong, and Heather MorrisMusic by: Tory CumminsAudio Engineer and Sound Editor: Alex CarterSound Design by: Tim McKeownMusic Mix by: Tevin TurnerDolby Atmos Mixing by: Alex Carter and Tim McKeownAssistant Audio Engineer: Oliver Boon, Sloan Welsch and Mark De La FuenteAssociate Produced by: Alex Tassopoulos and Josh FisherCasting by: Brenden Rodriguez and Daniel SchwabSpecial thanks to: The Cutting Room, Dave & Dave, and Blackbird Studios