Podcast appearances and mentions of reed watson

#AlchemyFire #DavidReedWatson #KillRitual #heavymetal #melodicmetal This week Wayne is joined by David Reed Watson Vocalist for the band Alchemy Fire. We talk about the debut album as well as his former bands Kill Ritual and others. Check out Daves website https://www.davidreedwatson.com/ Also check out the Alchemy Fire website https://www.alchemyfireofficial.com/site/ Thanks to Online Metal Promo for setting up the interview OnlineMetalPromo.net --- Send in a voice message: https://podcasters.spotify.com/pod/show/rat-salad-review/message

My guest today is singer David Reed Watson. This guy is one of the nicest guys I've had on the podcast. He's been singing for years but he was also in the advertising game. But before ALL of that, he was a Marine. While he was deployed to Egypt he had the opportunity to lay in the sarcophagus in the great pyramid of Giza. That changed his life. That and getting hit by a car.  He tells me how a severance package and a promise to his sister before passed away from Sjogren's Syndrome kick started his musical career. He also shares what the advertising world (including his role in the famous Truth campaign) and the smell of Burger King's french fries has taught him.David has been a part of many bands. I think the last count was sixteen. But his latest endeavor is my favorite, A Rising Force. It's been a long journey and he shares a lot of stories, like how the band's name and their latest release, Eclipse, really have nothing to do with Yngwie Malmsteen, even though David HAS worked with him. Check out risingforceband.com to buy the album, Eclipse. Go to davidreedwatson.com to hear all the other great work David has done. Follow the band @arisingforceband on IG, ARisingForceof1 on Twitter, & A Rising Force Band MN on Facebook. Follow us @PerformanceAnx. Email us at theperformanceanxietypod@gmail.com. Buy merch at performanceanx.threadless.com. Buy us a coffee at ko-fi.com/performanceanxiety. Now strap in because this one has quite a few twists & turns. It's David Reed Watson of A Rising Force on Performance Anxiety, part of the Pantheon Podcast Network. And don't forget about our VIP Experience Contest at pantheonpodcasts.com/nickmason

On Ep #280, we welcome David Reed Watson from A Rising Force. Hear all about him and his band. Also coming on the show, Tom Collier of the band Held Hostage. We believe you are going to love hearing both of these rockers and all that they have to say. Plus, we have music by the following bands:Queensrÿche, Nordic Hard Rock for Peace, Vante, Crossplane, A Rising Force, Glass Alice, Tonic Breed, Held Hostage, The L.A. Maybe, and Gears Join Randy and Troy, for this and every episode of Ouch, You're on my Hair and subscribe to the show on ApplePodcasts, Spotify, iHeartRadio, Amazon Music, Podomatic, Podbean, and more. You can find them on Instagram, Twitter and Facebook as well.

This interview is from 7-6-22..David Reed Watson lead vocalist and guitarist of A Rising Force  David Reed Watson of A Rising Force joins the podcast and talks about A Rising Force second full-length studio album titled “Eclipse” via Dark Star Records and follow up to their previous album “Undertow”. Also check out debut single titled “Believe”   SUBSCRIBE to BODS Mayhem Hour YouTube channel AND available on all streaming platforms wherever you listen to podcasts.. 

The blues is music for all time—past, present, and future—and few artists simultaneously exemplify those multiple temporal moments of the genre like North Mississippi's Cedric Burnside. The Mississippi Hill Country blues guitarist and singer/songwriter contain the legacy and future of the region's prescient sound stories. At once, African and American and southern and Mississippian, these stories tell about love, hurt, connection, and redemption in the South. His newest contribution to this tradition is I Be Trying, a 13-track album treatise on life's challenges, pleasures, and beauty. “Life can go any kind of way,” Burnside says. He would know with almost 30 years of performing and living blues in him. Burnside's blues inheritance, the North Mississippi Hill Country blues, is distinct from its Delta or Texas counterparts in its commitment to polyrhythmic percussion and its refusal of familiar blues chord progressions. Often, and especially in Burnside's care, it leads with extended riffs that become sentences or pleas or exclamations, rendering the guitar the talking drum like its West African antecedent. Riffs disappear behind and become one with the singer's voice, like the convergence of hill and horizon in the distance. Sometimes they become the only voice, saying what the singer cannot conjure the words for. Across some nine individual and collaborative album projects, Burnside's voice eases seamlessly into, through, and behind the riffs spirit gifts him, carrying listeners to a deep Mississippi well. There is a mirror there in the water of that well, in Burnside's music, that shows us who and what we have been, who we are, and what we might be if we look and heed. The 42-year-old Burnside was born in the blues as much as he was in funk, rock, soul, and hip-hop. These latter sensibilities are reflected across his work as he drives Hill Country blues into grooves that lend themselves readily to an urgent, modern moment. But he is also keenly his grandfather's grandson, who he studied so carefully over a decade playing with him that he came to know him better than his self. The elder Burnside bluesman, the hill country blues luminary RL Burnside, and his wife Alice Mae wrapped their Holly Springs land and family in warmth, joy, and music. RL Burnside, alongside collaborators and contemporaries from David “Junior” Kimbrough to Jessie Mae Hemphill and Otha Turner, cultivated the sound and feel of Black North Mississippi life and offered it up to the world. Cedric observed and absorbed this art world intently and with wonder as a child, declaring to himself, this is the music I want to play, and I want to do that for the rest of my life. Moreover, this was the offering he, too, wanted to make and the life of service to the spirit through blues that he wanted to live. By age 13, he was on the road with his “Big Daddy” Burnside, playing drums, being raised by the music and the road, and developing the next, electric generation of the Hill Country calling and sound. Burnside's two Grammy-nominated album projects— the 2015 Descendants of Hill Country and 2018's Benton County Relic—were capstone statements for a lifetime of musical labor channeling the blues spirit on drums, guitar, and vocals in the North Mississippi Hill Country tradition. I Be Trying, Burnside's second release with Alabama's Single Lock Records, is another unfolding of his influence and voice as an architect of the second generation of Hill Country blues. This album pushes just beyond his long-time roles as Hill Country blues collaborator, torchbearer, and innovator into the artist's inner life rooms. Written in reflection on and off the road in 2018, the album responds to the confusion and anger he felt in the years after a series of deaths in the family and a host of other interpersonal hurts, some he dished out and some he took. The album opens with an acoustic lament, “The World Can Be So Cold,” that encapsulates the tenderness of this pain and then quickly rallies and pleads with the Lord for help on the rousing second track and the album's first single, “Step In.” The title track, on which Burnside is accompanied on background vocals by his youngest daughter Portrika, is a plea for grace and forgiveness from a man “still learning and trying to be the best me.” Burnside's signature approach and contribution to the Hill Country genre—electricity, intention, and timeless timbre—is seamlessly complemented by star collaborators Alabama Shakes bassist Zac Cockrell, and North Mississippi All-Stars guitarist Luther Dickinson, and principal collaborator Reed Watson on drums. With lessons to impart, Burnside strips down the sound with precision so there can be no misunderstanding, allowing for space and breath where otherwise chords and reverb might be present. This portion of the offering is a guidebook for life's dark times, set to mostly minor riffs and pulsing bass and percussion rhythms that immediately set in the soul like the gospel. If you wake up on the wrong side of the bed, “Ask the Lord for revelation/so [you] can see clearer” and “keep on pushing as hard as [you] can,” he advises to a march on “Keep On Pushing”; “Be careful who you talk to/ain't no telling what they might do” he warns on “Gotta Look Out” over a menacing bass eighth-note couplet on the one and three. Recorded over a few sessions at Royal Studios in Memphis with lifelong friend and fellow North Mississippi descendant Lawrence “Boo” Mitchell, I Be Trying is Burnside boiled down by a wave of fiery blue anger from descendant to relic to human. What is left, and this is everything, is a resonant kind of love. Buoyed by his readings of Lao Tzu and rumination on his own life choices and hurts, Burnside says he is “trying his best to implement love” in his life and relationships with others. “There's not enough love shown in the world. People have a lot of regrets. The world needs more love.” In the places where love glistens on the album's surface, like in the harmonies on the anthem groove “Love Is the Key” or in the smooth, purposeful falsetto sliding over the strings on the final track, “Love You Forever,” Burnside's desire for us all to “really just try to come closer” is palpable. But this is the blues, so love is necessarily double-edged. On two covers, one of RL Burnside's “Bird Without a Feather” and another of Junior Kimbrough's “Keep Your Hands Off Her,” which Burnside titles by its signature opening threat, “Hands Off That Girl,” there is hurt and fear, quiet menace, and outright danger. “Dark,” he admits, “but what people go through.” Flashing this side of love's sword, Burnside reminds us of the complex, raw, blues people legacy that undergirds his art. Still, he says on the soaring “Love Is Key,” which is his thesis as of late, “a life filled with love is the key/yes it is.” Blues is an embodied practice that frequently crosses the boundaries of reality and fiction, and as such, Burnside appears as himself in Bill Bennett's Tempted (2001), a New Orleans-set thriller; Arliss Howard's Mississippi-based romantic comedy Big Bad Love; and Craig Brewer's Tennessee-based drama Black Snake Moan (2006). However, he also can become something other than himself. In 2021, Burnside played the title character in Don Simonton and Travis Mills' story of Texas Red, a Franklin County, Mississippi juke joint owner who was hunted by a mob for a month after defending himself from an attack and eventually caught and killed. Burnside brings a bluesman's haunted gravitas to the role, balanced about life and death and freedom even in the most unspeakable moments. Like his music, this role is ancestral blues work that honors the dead and their legacies to teach and heal new generations. Burnside recalls chopping wood and hauling water as a child, and these days he is in his garden growing food and contemplating getting some chickens. This penchant for cultivation and innovation that has always characterized his music spills over to the land, especially in this moment of shift wrought by pandemic life. On a hunting trip to Montana, Burnside connected to nature and his interior life in a new way. This feeling, one of opening, was a revelation to him. It underscores his love strivings and, along with his studies of the Dao, even changes how he structures and writes songs. It is a process of “realizing what was already there,” he says, of remembering. Love is vital, and love is work. Burnside's turn inward has him considering his place in the family legacy of professional blues musicians. He is a proud father of three daughters, ages 22, 18, and 15, all of whom can play drums and guitar, and is looking forward to more collaborations like the one with the youngest Burnside daughter on “I Be Trying.” Striving for transparency with his children about his own life, he lets them know not to be too hard on themselves. He says Big Daddy always cared for his family, including his 13 children and several grandchildren and great-grandchildren. Despite his touring schedule, Burnside is deeply grateful for his capacity to support and be present for his children. He says, “I have been there, and I will be there.” That's for sure about the past, present, and future of the North Mississippi Hill Country blues, too.

This week I'm talking with Reed Watson, a founding partner at https://www.singlelock.com/ (Single Lock Records). Launched in 2013 in Muscle Shoals, AL (and recently expanding with an office in New Orleans, LA) Single Lock has released a litany of successful projects from the likes of Lera Lynn, Nicole Atkins, Erin Rae, Penny & Sparrow, Cedric Burnside, and many more.  Reed walks us through what a label release plan looks like, answers that ever-pressing question of “how do I get signed?”, and offers his advice to artists looking to take the next steps in their career. 

Reed Watson, drummer and label manager at Single Lock Records in Florence, Alabama, discusses his experiences as a musician and the label's philosophy. They seek to be a platform for Southeastern musicians whose work, to quote their website "doesn't fit neatly into a specific category. Our goal is to gather and release an interesting and accurate collection of the best of Southern American music." He also talks about a collaboration between Single Lock and the Muscle Shoals Music Association to assist artists in financial need due to the coronavirus pandemic.

In this episode of SOTA Pop, join Mark, Salina, and Tyler as the dive into the music industry and how it is adapting during the COVID 19 pandemic!

What is it like growing up with a mother who is a sex therapist? Join sex therapist and author Laurie Watson and her son, sex therapist Reed Watson as they talk about the unique experiences of growing up with a mother who is a sex therapist.

Vocalist David Reed Watson from melodic metal act Kill Ritual is on the podcast mic as the band tours North America opening for Iced Earth and Sanctuary! Credits: excerpts from the track "Megalomaniac" (All Men Shall Fall, 2018) used with permission from the artist via Extreme Management Group. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw www.facebook.com/thegreatmetaldebate www.instagram.com/metaldebate www.twitter.com/metaldebate

Protecting species is often a complicated task. It doesn't help when the feds overreach. Reed Watson of the Property and Environment Research Center comments. See acast.com/privacy for privacy and opt-out information.

In the American west, if you don't use your water rights, you can lose them. That's not a great plan for conserving water. Reed Watson of the Property and Environment Research Center comments. See acast.com/privacy for privacy and opt-out information.

The Alabama Leaning Man straddles two generations of Muscle Shoals music. Even at 75, Donnie Fritts still holds his own as a prolific songwriter who's work has back up many musicians throughout the years. However, tonight is his night. Listen as we talk Ray Charles, acting in Mexico and a benefit concert at the Shoals Theatre. Many thanks to Reed Watson and the awesome people at Single Lock, and Steve Price at the Shoals Theater "Sumpin Funky Going On" Donnie Fritts Prone to Lean Atlantic Records "From the Bottle to the Bottom" Kris Kristofferson Full Moon A&M Records "Memphis Women and Chicken" Donnie Fritts Oh My Goodness Single Lock Records

Brent Rosen and Reed Watson talk about making music, running a record label, and listen to some exclusive new tracks from Single Lock Records

Interviews with Reed Watson, Executive Director of the Property and Environment Research Center and Drew Bennett, lead of the Private Lands Conservation Initiative at Colorado State U. Produced by Chuck Woodford. Edited by Sonia Koetting.

Drought creates big problems in California. Bad water allocation makes those problems worse. Reed Watson of the Property and Environment Research center comments. See acast.com/privacy for privacy and opt-out information.

It's the thrilling conclusion of Episode 11: The Precarious Peril of the Public Parks! In the land rights utopia of Never-Ever-Federal Land, Chuck and Davey are quickly finding that it's more haunt than jaunt! Can they escape the dastardly roughrider Teddy Roosevelt before the National Parks system extends its icy grip around the neck of freedom? Written By and Starring: Gary Pascal, Brad Einstein, Charles Pettitt, Shannon Noll, Libby Schreiner, Tom Fell, and Sean Sullivan Music and Sound Design by: Chris Yearwood

Chuck and Davey are trapped in time-out, dreaming of the ungoverned land rights that continue to elude them. But when they heed the beckoning call of a mysterious trickster, our heroes are about to get a whole lot more than they bargained for! Written By and Starring: Gary Pascal, Brad Einstein, Charles Pettitt, Shannon Noll, Libby Schreiner, Tom Fell, and Sean Sullivan Music and Sound Design by: Chris Yearwood Want Even More Koch? We bet you do! Be sure to subscribe to and review The Koch Brothers Mystery Show on iTunes, follow us on Twitter @KochBrosMystery, and like us on Facebook at facebook.com/kochbrothersmysteryshow. You can also find episodes, extras, and news at kochbrothersmysteryshow.com. Self-promotion awayyyy!

This episode features Reed Watson, drummer for Muscle Shoals bands The Pollies and Belle Adair. He talks about how he fell into his current bands, how the April 27 tornado still haunts him, how he thinks he’s less abrasive and how Tuscaloosa has the building blocks to become the arts community everyone knows it can … Continue reading Ram It, Jam It #9: Reed Watson