Singer-songwriter Sara Rachele is gearing up to release her new full-length, April Fool, on November 10th. The project is nine tracks of atmospheric indie-Americana propelled by sparse instrumentation and Rachele's haunting Southern croon, mixing originals and renditions of classic songs including John Lilly's "April Fool" and The Beatles' "If I Fell." Here, Rachele talks about her musical mentors, songwriting, and more in the Essential 8.

​Did you have a musical mentor? If so, who was it and how did they influence you?
For sure, I’ve got a couple… My music is semi-autobiographical, so there’s an element of whatever phase I’m at in my own life, and in my tunes. I look to a few trusted folks for guidance all the time, but I try and go with my instincts, no matter what. Melissa Ferrick has made a big impact—She’s really ridden through this industry with a grace and honesty that I think is inspirational to any writer, regardless of gender. She’s got an authority about her work, which I look at with great admiration. Also, Butch [Walker]—he’s got swagger and a hometown charm that you can just hear in his tunes. And his songwriting—I love it when I hear a song, look it up, and find out it’s his…..The way his melody rides on a set of chords, and all the harmony. I look to him for that, but I’m still working on the being effortlessly cool part.
  
With "If I Fell", what was the “a-ha” moment when you knew the song was completed and perfect?
When Johnny and I worked with “If I Fell,” the Beatles cover, we really wanted it to be simple, and not overdone. We went with that as framework for the record, and just got through the tune. It’s just such a well-written song that we didn’t have to do much besides do our best at playing it. 
 
What’s the story behind your album’s title?
“April Fool” is a Johny Lilly tune, and I made it the title track for this record. Lilly’s song really epitomized where I was at in Nashville at the time. I heard the song around a campfire, and it gave me groundwork for the way some of the music came to me in Nashville when I was living there. That was the sentiment—evocative and sweet, lilting over a fire and into my lap. That’s how we got around to naming the album, April Fool.

On the 30th anniversary of Carmaig de Forest’s 1987 Alex Chilton-produced album, I Shall Be Released Omnivore Recordings will issue a special expanded version of the album entitled,  I Shall Be Re-Released that will reintroduce an artist many may have missed the first time around.

The package combines de Forest’s original album and live EP with four previously unissued tracks from the original album sessions plus an additional unissued live recording, and includes new liners from set co-producer Pat Thomas, new interviews with Carmaig and his contemporaries, and rare photos. With the album out November 10th, de Forest kindly took the time via email to talk about the album, Alex Chilton, and more.


Many albums do not receive re-issues. Does Omnivore releasing I Shall Be Re-Released have any special significance for you and do you have any hopes for the album since the original never received proper exposure?
The original never received proper exposure? Well it’s true that Good Foot Records (who put out the LP in the US) was a tiny label that didn’t survive the climate of independent distributor bankruptcies of the late 80’s and yes Alex and I were “supposed” to make an LP for a bigger label with major distribution. But from where I sit, the world is full of real injustice and tragedy. Though not heard by many, I Shall Be Released got heard by supercool booking agent Bob Lawton who added me to his roster, I was able to tour, do a residency at CBGB, meet and work with a really high level of musician (e.g. Will Rigby, Jim Sclavunos, Bob Wiseman), play big festivals, and all sorts of other cool things. Sure, Good Foot closed shop, the LP was unavailable mere months after its release, a lot of people who would have probably dug my music never got to hear it, blah blah blah – that’s just life. And now, like you said, Omnivore has put this reissue together and ha-ha, I Shall Be Re-Released  ;~)
​
Significance? I left music for a new career almost 13 years ago. So rather than point you to the ukulele-playing punk whose name is on the cover, let me suggest I Shall Be Re-Released is more significant as an undertold chapter in the Alex Chiton story. Seven years after his death, I get the sense that fans and musicians are still trying to fathom Alex’s depth and brilliance as a recording artist. The projects he took on as a producer certainly offer clues – both from the not-from-central-casting gallery of artists he chose to record and his choices and techniques in the studio – and in this case the recording aspect is stunning and his guitar playing is a wonder to behold. I’m certainly proud of my own contribution here, but in the grand scope of things the significance belongs to Alex.

Hopes? Hell yes. I’m full of hopes. I love music, and love learning more about the music and music makers I love. I’d be thrilled if this reissue became a part of any larger exploration of Alex Chilton’s legacy and of course of me, me, me. There are a few other gems in my basement that I’d be happy to see reissued as well :~)

Based in California, Fanny and The Atta Boys fuse American roots, country swing, depression era jazz, and classic blues into a sound uniquely their own. Comprised of Natt Wise (lead guitar), Toby Pykles (rhythm guitar), Eriberto Montoya (stand up bass), and Fanny (Tiffany Christie, lead vocals), the group recently released their latest album, the dynamite, First Time Out . Here Fanny and Natt answer their Essential 8 (+) on touring, writing, and much more.

Did you have a musical mentor? If so, who was it and how did they influence you?
Tiffany: I've had a lot of mentors. My mother is a singer and she definitely was my first mentor. She would encourage me to sing for family and friends at dinner parties when I was three and four years old. She always gave me a platform to perform on.
Natt: I had many, Sergio Estrada and Indian Joe. Mr Estrada was the guitar club teacher from my middle school, he let me play drums for all the learning guitar players. Indian Joe was my only real guitar teacher, he opened my ear to many different ways to approach the guitar ​

With any song of your choosing, what was the “a-ha” moment when you knew the song was completed and perfect?
Tiffany: "Ain't no money" was the first original I wrote for Fanny and the Atta boys. The entire song came out all at once. It was like it all came to me fully-formed.
Natt: "Entertain Me." When we started playing it live and performing a classic call and response for the crowd.
 
What’s the story behind your album’s title?
Tiffany: Pack of dirt is an idiom that Natt's Grandma used to use. The saying goes "you have to eat a peck of dirt before you die." It's basically saying you have to go through your share of trouble in life. We chose that title because it really was a struggle for us to get the album made and released.
Natt: It's the first time we had a chance to record with professionals as a band and put something out. (for First Time Out)
 
Where do you draw inspiration from when writing?
Tiffany: I'm not sure! Sometimes a line or word we'll just kind of float up to the surface of my mind. Other times, I'll hear a melody or guitar riff and I'll ask myself "well what's that song about?" And I'll write it down.
Natt: Playing for my son, putting him to sleep or making him dance 
 
When/where do you do your best writing?
Tiffany: I’m a daytime writer. I find a quiet spot and work. It can be outside in the yard or in my room, but it has to be silent for my brain to work.
Natt: The best writing comes out when you are not expecting it. At home, or the barbershop, or the car lol 

Do you write about personal experience, the experience of others, observations, made-up stories, something else or a combination?
Tiffany: Yes! I write about whatever occurs to me. I've made things up, been inspired by others, or my own experiences have inspired songs.
Natt: Definitely a combination of personal and others life experiences 
 
What’s the best advice you have ever gotten from another musician?
Tiffany: I think the best advice I've ever gotten from another musician would be to play for yourself not to play to the audience. As long as you're having fun the crowd will have a good time no matter what.
Natt: Just have fun. Don't let your mind take over 

Named "Best Band in Nashville" by the Tennessean's Toast Of Music City readers choice awards (2012-2015), Anthony Orio's unique blend of country mixes the traditional sounds of the genre with progressive contemporary vocals and production. Known for his electrifying live performances and strong ability to connect with the crowds, Orio has performed at The Grand Ole Opry, Ryman Auditorium, and Tootsie’s Orchid Lounge.

On October 9th, Orio released his latest EP, Undeniable, a six-track project that blends R&B ("Nobody"), ballads ("I Already Know"), and southern rock ("She's Mine"), along with a cover of "You Can't Always Get What You Want." Here, Orio answers his Essential 8.

Did you have a musical mentor? If so, who was it and how did they influence you?
I really didn’t have a “musical mentor” per se.  Of course, I have had a lot of influences over the years.   I love the way The Boss doesn’t break up his show with many stories or speeches, but just rolls from one song to the next.  I try to take that element to the stage with me.  I love the energy of guys like Garth and Mick Jagger and I try to incorporate that.  I look at a lot of the 90's Country Music I grew up on and songwriters like Jeffrey Steele, Tony Lane, and Anthony Smith- guys I heard when I first moved to town- as the benchmark for great songwriting.  

With UNDENIABLE, what was the “a-ha” moment when you knew the song was completed and perfect?
I’m not sure that a song is ever “perfect” (unless you’re Paul McCartney), but for “Undeniable,” and really for a lot of my songs, when I play them live and I see the crowd respond to them, I know we’ve done a good job. 

Where do you draw inspiration from when writing?
Most of the time it comes from just conversation with my co-writers.  We write about things we’ve been going through or have gone through.  I get a lot of inspiration from groove and feel.  When a song grooves and feels good, the lyrics seem to just flow. 

What’s the best advice to give to a musician just starting out?
Be prepared to wear a lot of hats.  If you are a writer/artist, and you’re determined to this no matter what, then you’re going to have to be a songwriter, a singer, a producer, an advertising agent, a booking agent, a tour manager, etc. etc. etc.

One of Pandora's “2017 Country Artists to Watch,” Canadian born singer-songwriter Tenille Arts' 2016 debut EP landed at #1 on the Top Country Albums chart on iTunes Canada, cracked the top 100 on the U.S. Country Albums chart, earned her the 2016 SCMA Emerging Artist Award and the 2017 SCMA Album of the Year. Her full length follow-up, Rebel Child, was released in October and finds Tenille, who had a hand in writing ten of the eleven tracks, further step into the spotlight. Here, Arts answers her Essential 8 (plus).

With "Run Out Of You," what was the “a-ha” moment when you knew the song was completed and perfect?
With "Run Out Of You", the "a-ha" moment was right after Adam Wheeler and I finished writing the bridge. The song just flowed out in the most perfect way, and it was as simple and as powerful as I hoped it would be. I had the end of the chorus written and a couple ideas for the verses before the writing session, but Adam and I brought the ideas to life and I think we both knew it was going to be a song on the album right after we wrote it! 

What’s the story behind your album’s title, Rebel Child?
The album is titled "Rebel Child" because that was one of the first songs I wrote for the album. It was written a few years ago on a writing trip to Nashville and it was the first song that felt like my own sound. I can clearly remember writing it in my bedroom in my hometown and I couldn't wait to take the idea into a writing session in Nashville. I didn't put the song on my first EP because I wanted to save it for my first full-length album. The song ties all of the different songs on the album together, and I wear all black, so I felt that the title described me in 2 words. A "Rebel Child" is someone who makes their own path and does things differently, even if it's not the easiest road to take. 

Where do you draw inspiration from when writing?
I try to draw inspiration from real life situations of my own, but my siblings and my friends are very open about their lives, so it's easy for me to create lyrics from what their going through. 

When/where do you do your best writing?
I get some of my best ideas in the middle of the night! Sometimes from dreams. I usually just start singing something that pops into my head, record it into my phone and go from there. Sometimes I finish the song by myself, or I take that idea into a writing session. 

Do you write about personal experience, the experience of others, observations, made-up stories, something else or a combination?
I write about a combination of experiences of my own and others. I don't usually make-up stories unless they start from something real. I'm very observant of people's behaviors, and I often write down lines that people say.

What’s the best advice you have ever gotten from another musician?
The best advice I've been given, is that nobody really knows what they're doing. Haha! So it's okay to break the rules and try to do things your own way. No two people are discovered in the exact same way. There's no specific formula to make it. ​

Hailing from New Mexico, singer-songwriter Max Gomez recently released the follow-up to his debut album, Rule the World, entitled Me & Joe, in September. Produced by Jim Scott [Cash, Petty, Lucinda Williams] and featuring Williams’ collaborator Doug Pettibone (guitar) and Eric Clapton accompanist Greg Leisz (pedal steel), Me & Joe is a five-track collection that is enveloped in a gentle melodic warmth coupled with an emotional lyricism that will overwhelm your heart with love and hope...or break it, but somehow, in the best possible way. Gomez, currently on tour promoting the album, kindly took some time to speak about the record, working with Jim Scott, and more.
 
Your dad was a craftsman and you have said that you see similarities between what he does and what you do. How so? 
Well, let me rewind a bit and say that when I first started doing music on a professional level, these sort of questions, like how did you become a musician, how do you write, or is your family musical, would often come up. I never had answers for them, but over time I started to think about it. My dad is an artist, a painter, and a builder of fine old-fashioned New Mexican furniture. One day when I was younger, I was sitting in the woodshop watching him, and looking around at his cabinets, which were loaded with books on different types of furniture and making specific things like dovetail joints….and it made me sit back and realize that maybe I wasn’t so different from him because my little bookshelf was filled with books about musicians I looked up to, songs, music theory, and other things music. I started to connect that a little bit and laid that out as a little piece of my history and how it correlates to me feeling that that’s partly where my drive and self-education comes from. Even though it’s different from what I do, when I look at my old man and what he does, I see a reflection; and underneath it all, it feels very similar. 

Hailing from Denton, Texas, singer-songwriter Blake Vaughn recently released his debut album, I Cannot Relate to a Thing But the Wind. Recorded at Mockingbird Sound, the ten tracks were all penned by Vaughn who has been writing since the ages of 12 or 13 after becoming infatuated with lyrically driven songwriters such as Townes Van Zandt. Here, Vaughn answers his Essential 8.

​Did you have a musical mentor?  If so, who was it and how did they influence you?
Maybe less a mentor than a musical confidant of sorts, but Alex Hastings, who engineered the whole thing, always had answers for questions I had pertaining to the recording process. I'm pretty much the least gadget saavy person in the world, and studio mixing boards just look like airplane cockpits to me, so it definitely felt like we were both performing eventhough it was my album. We found out pretty quickly we both had so much in common, influence-wise, so it was easy to trust him.

What’s the story behind your album’s title?
Aside from being the second track on the album, I guess I felt like it eluded to the varying subject matter. Most records are more cohesive, whereas with this being my debut and me already having amassed so much material to choose from I was just picking songs (old and new, sad and happy) that weren't related, to try and present some kind of balance.

Where do you draw inspiration from when writing? 
In every aspect of life purity and rawness are the things I'm attracted to. The art that has made the biggest impact on me has always been utmost honest and vulnerable. Everything on the table. I'm really into deconstructing conventional wisdom too, we could all live a lot more authentically if we thought for ourselves and did what was best for us individually.