Boston-based artist Matt York recently released his new album, Between the Bars, which The Patriot Ledger named one of their local Albums of the Year. Stylistically the album is a varied, yet cohesive, collection - touches of rock, pop, the blues, and Americana can be heard throughout - that is anchored by honest songwriting. Here, York answers his Essential 8 and talks about the album, songwriting, dream venues, and more!

What’s the story behind your album’s title? Between the Bars is about people who are at the mercy of alcohol. I don’t drink but I’m around it a lot. When you’re a musician, your one of the first ones at the bar (for soundcheck) and last to leave, so you see a lot both good and bad that can occur due to drinking. 

Do you write about personal experience, the experience of others, observations, made-up stories, something else or a combination?
A combination. I joke that my wife was the worst thing that ever happened to my songwriting because we get along and all my songs are break-up songs. When I was younger, the songs were more personal experiences. However, over time, I’ve been able to channel what I imagine certain people are going through and write through them. 
 
What’s your favorite food on the road?
I’m borderline embarrassed to say this but I love going to Popeye’s because we really don’t have them in Massachusetts. However, it seems like every other city I visit does have them and I, invariably, gorge until the self-loathing kicks in and then I go play a show.
  
What’s your favorite venue and why?
​When I was young kid, I got to play at CBGB in New York a few times. I grew up loving NYC bands like The Talking Heads and Lou Reed, so to play that room with all the history there was a really cool experience. In Massachusetts, T.T. the Bears was my favorite venue to play before it closed. It was a room where virtually every night, you could count on a great band playing, the staff there was great and very supportive of the bands. 

Hailing from Virginia, Exebelle - Phil Heesen III (Guitar & Vocals), Kerry Hutcherson (Guitar, Pedal Steel & Vocals), Kevin Willoughby (Drums & Vocals) and  Mikey Bryant (Bass & Vocals) - take inspiration from their home state's tradition as well as the rural country-rock of songwriters like Ryan Adams. Recently, the band released their new double album, After All This Time, and here, Heesen answers his Essential 8 and talks musical mentors, inspiration, struggle, and more.

​Did you have a musical mentor?  If so, who was it and how did they influence you?
My biggest musical mentor growing up was my uncle Ed.  He’s a guitar player and always had a great taste in music.  There of photos and videos of me playing his guitars when I was a toddler.  He showed me how to play the theme from “Jaws” and how to scrape the pick across the strings to make it sound like an airplane crashing.  I found the instrument fascinating.  As I got older, he steered me in many musical directions that had a big influence on me.  He had an enormous impact on me in those critical formative years.

What’s the story behind your album’s title?
During the 6+ years it took to complete this album, a lot of things changed.  Band members came and went, some welcomed kids to their family, Belle (my great-grandmother for whom we named the band and whose house is pictured on the album) passed away, my drinking escalated and I eventually got sober.  And "after all this time", the end result is an album of hard work in the listeners ears and hands.  It hits on not only decay from the passing of time but also how much things can improve.  All of the things that went wrong in the past have lead us to exactly where we are, for the better.  The album took this long for a reason, whatever it may be.  And we ended up with something that we are proud of - scars and all.

Where do you draw inspiration from when writing?
I’m a big music gear nerd.  Guitar pedals, synthesizers, recording gear - I love it all.  I find a lot of inspiration through new and different sounds - mostly from guitar pedals.  They can be a catalyst for ideas because they can make you play differently than you usually would or search new avenues sonically.  I can be messing around with a new “toy” and very quickly come up with an idea than can be expanded into a full song.  I first experiment and come up with and idea and then draw upon the discipline to mold these raw materials into a work I’m happy with.

What’s the best advice you have ever gotten from another musician?
Some really important advice is to remember that, when performing live, the audience is rooting for you.  Musicians can get really down on themselves if they make a mistake or don’t perform something as well as they know they can.  We can feel like people are only paying attention to our imperfections - when really it’s our own inner voice that is the most critical.  Remembering that the audience isn’t hoping you mess up is comforting.  They came out to hear good music and to be entertained.  They aren’t hoping you fall on your face, they’re on your side.

Nashville-based artist Lynn Taylor's songs are narratives that tackle both life’s angels and devils. On his third release with his band the BarFlies, Staggered (February 9, 2018), Taylor continues this path while revealing a deeply  personal side on songs surrounding deep grief. Recently, Taylor answered his Essential 8 and discussed Staggered, his prized possession from a fan, and more!

With any particular song, was there an "a-ha" moment when you felt it was completed and perfect?
Writing the lyrics to "Staggered." My wife, Kim, was in the hospital in Orlando. We had to stay there for 4 or 5 weeks. Our kids were at home with my parents. My mother-in-law and I would take shifts staying with Kim.  On one of my breaks, I'd gone for a long walk, meandering through backstreets, trying to get lost. I was working on the lyrics as I walked. Stopped for lunch, wrote down what I had so far. Found my way back to the hotel. Showered and finished the song. I sent they lyrics to Larry O'Brien, and he came up with the halting kinda clumsy waltz. I knew that "Staggered" would be a cornerstone to whatever I recorded next.

Is there a story behind your album's title?
Staggered was the best way to describe how I felt the summer of 2015. Pushed, pulled but hanging on. I noticed that several people depended on me greatly, and I depended greatly on several others. It was an awkward dance through life, being beat down and propped up simultaneously.

Why did you chose to close the album with "Crumble Away?"
I had carried the idea for this song for a while. I heard a woman on the radio speak of a piano that was in her backyard as a piece of lawn art. I became fascinated with the idea of composing on a decomposing piano. The song was fleshed out towards the end of Kim's illness. The piano ended up on the porch.  It speaks of losing Kim incrementally as well as from Kim's perspective, of me not taking care of myself. Again, Larry beautifully set the lyrics to song. It seemed to be the natural end to the record.

When/where do you do your best writing? 
I don't write very well sitting down with paper and pen. It's far better for me to write in my head, at work, or while driving, or walking, saving phrases into my phone.  I then transfer to paper, rearranging phrases like putting a puzzle together.

Canadian roots triple threat Sue Foley (guitarist-songwriter-singer) will release her new album, The Ice Queen, on March 2. Recorded in San Marcos, TX and produced by Mike Flanigin, The Ice Queen features a trio of legendary Texas guitar slingers — Jimmie Vaughan, Z.Z.Top’s Billy F Gibbons and Charlie Sexton — as well as a host of other all-stars, including Chris “Whipper” Layton, George Rains (drums), Derek O’Brien (guitar), Chris Maresh. among others.

The all original project focuses on love, anguish, struggle, forgiveness and rebirth via eleven tracks including the  funky, swamp-meets Bo Diddley beat of “Come to Me,” the rollicking “The Lucky Ones," and the soulful “81." In advance of the album's release, Foley graciously took the time to answer her Essential 8 and relay the interesting story behind the album's title, discuss her musical mentor, the freedom of the road, and much more.

Did you have a musical mentor? If so, who was it and how did they influence you?
One of my musical mentors is blues guitarist, Ronnie Earl. Ronnie is simply one of the most soulful, intense, deep, real, imaginative, technically virtuoso, and creative guitarists alive. Ronnie taught me to play dynamically and to try to stretch as far as I can, between being intense, aggressive and energetic to being soft, soulful and sweet. When I was young, Ronnie was my hero, and all the young blues guitarists revered him. He gave me his stamp of approval way back when I was 20 years old. He was the first real established US based blues musician to notice me and help me believe in myself. That validation keeps me going to this day.

What’s the story behind your album’s title?
The Ice Queen is about the idea of an “ice queen,” - that is a woman who has cut herself off emotionally because she’s been through heartache. It’s a compassionate look at someone who people assume is cold and hard but inside is really warm. They just don’t know how to show their vulnerability. The title is also a play on the fact that I’m from Canada, the land of ice. Then there’s one more thing…I’m a Fender telecaster player and one of my favorite musicians and guitarists I emulated was Albert Collins, The Master of the Telecaster, also known as The Ice Man because of his icy guitar tone. So, I’m a Tele player too and I’m the Ice Queen.

Why did you chose to anchor the album with the songs you did?
The songs on The Ice Queen show a transition through time of all things related to being lost and disillusioned to finding your way back to center. It’s basically a blues album, but there’s a lot of flavors within, including rock, some acoustic folky stuff, some vintage jazz and even a trip toward Latin and flamenco sounds. It’s just a cumulation of all my musical interests and influences mixed together with personal experience.

When/where do you do your best writing?
I think I write best when I’m confused. Writing helps me sort through my thoughts.

Do you write about personal experience, the experience of others, observations, made-up stories, something else or a combination?
I write from personal experience. I don’t make things up. I only know what I know.

A native of the Missouri Ozarks, Jodee Lewis was raised on folk songs and honky-tonk - and her music reflects the best of both worlds. The first place winner in the 16th annual Great American Songwriting Contest is gearing up to release her latest project, Buzzard's Bluff, where she explores the themes of loss, heartache, and hope. In advance of the album's April 6th release, Lewis answered her Essential 8 and relays the story behind the album's title, discusses the pros and cons of the road, details her favorite venue, and much more!

With any particular song, was there an “a-ha” moment when you knew the song was completed and perfect?
Buzzard’s Bluff – I wanted this song to feel menacing and dark because it describes a child caught in a cycle of abuse who’s powerless to do anything to help themselves. However, I really hated to leave it like that because I wanted there to be a hint that the kids get out of there at last. So I tried adding a double-time instrumental outro. When I brought it to my band, I asked Doug (guitar) and Katie (fiddle) if they could try some quick solos over it and I absolutely loved what they did right from the beginning. It felt as if the victim was running - escaping.
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What’s the story behind your album’s title?
Buzzard’s Bluff is the name of the first song on the album, but it’s also the name of a real bluff in the Missouri Ozarks near where I grew up. It’s pretty hard to get to – you can’t drive – you have to hike up; you’d never just stumble across it as an outsider. It’s a beautiful place; my sister and I spent a lot of time there as kids and then as teenagers. We’d be looking over this amazing view, but circling in the distance would be these huge birds of prey. As I was writing this album, I was thinking a lot about growing up in the Ozarks, and the imagery of Buzzard’s Bluff seemed to fit my thoughts. The Ozarks are beautiful and secluded, but in the quiet places, predators sometimes lie in wait.

Do you write about personal experience, the experience of others, observations, made-up stories, something else or a combination?
For me, song ideas usually start with an emotion that I’m feeling and want to express. Sometimes I’ll use the actual circumstances that have caused the emotion, but typically I make up a story. Like most songwriters, I carry around a notebook and use the voice recorder on my phone to jot down lyrics, ideas and melodies that I think about during the day. And then when I sit down to write, I check the lyrics against the melodies and see if any of them seem to go together. If I’m feeling something very strongly, then I usually finish the song right away, otherwise I’m distracted and can’t function well in my regular life. But I also have lots of ideas that never get finished until I’m on a deadline – like studio time is booked, or a show is coming up where I’ve promised new material.

San Diego roots-rocker Jackslacks is back on the scene with a brand new album, Earthling Sessions. The eleven track recording is truly imaginative while remaining faithful to the distinctive Jackslacks' sound: finely crafted, guitar driven rockabilly melodies, tight harmonies, and hooks a plenty that transport the listener to a different era. Here, Jackslacks answers his Essential 8 and talks the new album, musical mentors, favorite concerts, and more!

Did you have a musical mentor? If so, who was it and how did they influence you?
Yes, I do… I grew up on Long Island and befriended a classmate in elementary school named Tommy Byrnes. Tommy won our second grade talent contest with a rocking acoustic version of CCR’s “Bad Moon Rising.” I took second place, covering Trini Lopez’ “Lemon Tree.” Since then, Tommy has gone on to play with Stray Cats, Brian Setzer (solo), Joan Jett and the Blackhearts, and for the past 20 years or so has been guitarist/musical director for Billy Joel. He lent an ear to my new music and has what I can only describe as incredible musical memory.

With (please choose a song), what was the “a-ha” moment when you knew the song was completed and perfect?
I felt an “a-ha” moment after our guitarist Gig Fortier laid down the lead guitar for “The 92107,” which is the opening song on our new album. It’s such a super cool part, definitely original, with serious influences from Cliff Gallup (Gene Vincent) and Scotty Moore (Elvis). It completes the song and starts the album off with a bang!

Why did you chose to anchor the album with the songs you did?
I love rockabilly music; especially the original rock ‘n roll period from 1954 -1959. That being said, I picked “The 92107” for an anchor because I wanted to start the record with a song that, in some small way, would honor those great rockabilly artists I grew up listening too.  Cats like Jerry Lee Lewis, Buddy Holly, Eddie Cochran, Johnny Burnette, and my personal musical hero, Carl Perkins.

Where do you draw inspiration from when writing?
For me, songwriting is a combination of raw human emotion, honest self- examination, and scrupulous social observation.

Johnny “Chops” Richardson may best be known as the bassist with the Randy Rogers Band, but the artist is also a talented songwriter who has landed several songs on the band’s albums, including “Ten Miles Deep,” “Last Last Chance,” and “Shotgun," among others. Now, the singer-songwriter-guitarist is prepping to release his new album, JOHNNY CHOPS & THE RAZORS due March 23rd.

Produced with Reckless Kelly guitarist David Abeyta, the album is distinguished by a bluesy grit and soulful vocals brought forth by an all star band. In advance of the album's release, Johnny kindly took the time to answer his Essential 8 relaying the story behind the album's title, offering some key touring tips, his thoughts on drinking at gigs, and much more!

With "Taking a Chance on Me," what was the “a-ha” moment when you knew the song was completed and perfect?
That song actually had two “a-ha” moments. I had written a couple of verses and a chorus but just got stuck. The song seemed flat.  So I text a friend of mine, Adam Hood. He’s from Alabama and has a great, natural, laid back, Southern vibe to his writing and singing that I’ve always admired.  We had never actually written together but had talked about it some.  So I asked if he’d be around Austin any, but unfortunately he wasn’t but said “Send me what you’ve got, I’ll take a listen”.  A couple weeks later he text me back and bam. He had smoothed out a couple of chord changes, tweaked a few lyrics to make them a little more relatable and put that lilting, groovy flow to the melody and it was like a light bulb going off in my head.  It’s the first song I’ve ever co-written by text message. The second “a-ha” happened in the studio. We were all listening down after we tracked the basic instruments and our studio guitar player, Eric “Ebo” Borash said, “you need male background singers on this. Like a Gospel quartet.” Everyone in the room perked up at that.  It was different and no one had heard anyone do that in a long time. In fact, I guess it’s been so long since anyone attempted it that I had a hard time tracking down some singers to pull it off. But once we found the Gospel Starz and got them in the studio, I knew we had something special.  It took the song to a whole other level.  I’m incredibly happy with how it turned out and thankful for all the people that contributed to make it happen.  

What’s the story behind your album’s title?
Every band has a self titled album at some point. Why not do ours at the beginning? It's a statement: “Here we are, here’s what we sound like.” It's a simple, recognizable blueprint of sorts.  I really wanted this album to be a foundation of a sound that we make together.  It’s our flag planted on our home turf.  While I write the majority of the songs, they don’t sound the same with just myself and an acoustic guitar. They need a band to flesh them out and make them whole.  I’ve always been a fan of that kind of writing and I love the process filling out those parts and listening to them come alive.

What’s the best advice to give to a musician just starting out?
If you’re a songwriter it's “Finish a song, then start another one.”  I know when I was starting out, I would begin a lot of tunes and then never take the time and discipline to finish them. There is a feeling I get when a song is completed that always boosts my mood for the rest of the day, if not for several days afterward. But you also have to keep going. Not to be discouraging, but it's extremely rare that anyone has a “hit” with the first song they’ve ever written. You have to finish one and then another and another and another. The more you write, the better you get.  

With a love of language and traditional, yet distinctive, bluegrass instrumentation, City Hotel has become a pillar of the Savannah music scene. The group has cultivated a strong following in the low-country, played extensively throughout the Southeast and toured the Eastern coast of the United States from Miami up to New York. In August, the quartet - Cory Chambers (Mandolin), Aaron Zimmer (Guitar), Jay Rudd (Banjo), and 
Anthony Teixeira (Upright Bass) - released their latest album, Don't Go To The Porch, and here Chambers answers their Essential 8 and talks the story behind their album's title, songwriting, and more!

Did you have a musical mentor? If so, who was it and how did they influence you?
The late  Col. Bruce Hampton from Atlanta was a huge lyrical influence for me while working on Don’t Go to the Porch. He regularly sings about towns and cities in a way that makes them seem like spiritual destinations instead of physical ones. I tried to emulate his powerful whimsy with a few of the songs.
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With any particular song, was there an “a-ha” moment when you knew the song was completed and perfect?
The band took “Montreal” from a bare bones structure to a really elaborate arrangement. They are great at creating interesting transitions and vocal parts. The instrumental part of the song makes it for me and I knew it was where I wanted it to be once the band worked that out.

What’s the story behind your album’s title?
My father’s childhood next door neighbor was a man of few words. The man was working on his back porch one day when it collapsed and he fell along with it. When his wife came home he said, “Don’t go to the porch.” When his wife asked why he replied, “because there ain’t one.”

Consisting of Sarah Fuerst and Phil Barry, Kalamazoo-based duo Thunderbolt & Lightfoot released their sophomore outing, Songs for Mixed Company, in 2017. The ten song collection maintains the earthy, close-harmony vocal approach of their self titled EP, while expanding their palette to include strings, keyboard, electric guitar, accordion and mellotron. Recorded at La Luna Recording and Sound, Songs for Mixed Company is a complex work that moves between moody acoustic fingerpicking and fleshed out full band arrangements, all tied together by the duo’s intimate vocals. Here, the duo answer their Essential 8 and talk songwriting, the story behind their album's title, their dream venue, and more!

What’s the story behind your album’s title?
Phil: Songs for Mixed Company was the title that we kept coming back to. We liked the idea of the album being played at cocktail parties. It was also a good reminder that there can’t be any snoozers and all the songs have to work well together. 

When/where do you do your best writing?
Sarah: I find that it’s best to strike while the iron is hot, as they say. If I have a flicker of an idea, it’s best for me to just sit down, usually at my piano or with my uke, and work on it right then. That said, it’s not always possible to do that, so often times I’ll record a quick voice memo of the idea and revisit it when I have some time. Honestly, I also do a lot of lyric writing during my day job- I’m a registered nurse and part of my job is doing phone triage, which tends to have periods of down time. Nothing like being trapped at your desk, waiting for the phone to ring, to inspire you to think about rhyme scheme.