Displaying items by tag: musicians

Contributor Collage: Mad Flavor Fest in Retrospect, Part 3

"credit" Casey PiscitelliHOPKINS COUNTY, KY (6/25/13) – Scroll below to see a Contributor Collage, provided by Madisonville resident Casey Piscitelli, full of photos from the first year of the Mad Flavor Arts & Music Festival.

See previously posted photos by clicking the links below:
Community Collage: Mad Flavor Fest in Retrospect, Part 1
Community Collage: Mad Flavor Fest in Retrospect, Part 2

Thanks again to all of you who helped make the inaugural year such an overwhelming success!
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Written by Jessica Dockrey
Photos by Casey Piscitelli


Community Collage: Mad Flavor Fest in Retrospect, Part 2

"credit" Jessi SmithHOPKINS COUNTY, KY (6/25/13) – Scroll below to see another Community Collage full of photos from the first year of the Mad Flavor Arts & Music Festival.

If you haven't already seen the first Community Collage from the fest, click this link.

Included, are a few shots of the Sugg Street Post promoting the Mad Flavor Fest at the first Friday Night Live of the summer.

Thanks again to all of you who helped make the inaugural year such an overwhelming success!

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Written by Jessica Dockrey
Photos by Jessi Smith


Community Collage: Mad Flavor Fest in Retrospect, Part 1

"credit" Jessi SmithHOPKINS COUNTY, KY (6/21/13) – We wanted art and we wanted music. We wanted kids running around barefoot in the grass, filling the air with laughter. We wanted to bring the community together like a family, everyone joining collectively in their appreciation for the wide-range of local talent we had amassed in one place. We wanted to create electric synergy. Guess what? We pulled it off.

An idea that started with one man grew into a collaborative art/music piece that was woven together by over 250 people from the community and surrounding areas. It took a village to make it happen—that, hard work, and a lot of dedication.

Upwards of approximately 70 individual musicians, 12 independently made films by separate groups of filmmakers, over 20 local artists and crafts makers, multiple local food vendors, the Madisonville Fire Department, the Hopkins County Humane Society, the Ballard Convention Center crew, a group of over 20 local Red Cross volunteers, sound and light technicians, a group of kid-friendly entertainers, and a large crew of local Mad Flavor Fest volunteers—thus was the rallied team. We were an organized family of like-minded folks with a common goal: sharing art, love, and music in the hopes that money could be made for the Mid-West Kentucky Chapter of the American Red Cross.

"credit" Jessi SmithBut why the Red Cross?

The Red Cross seeks to prevent and relieve suffering both here at home and around the world. Yet, the American Red Cross relies solely on the generosity of the people. So, we decided to bring the people.

Only a few stood at the core of festival planning, but excitement is addictive and dreams are inspiring. The spark was thrown and a fire ensued. At the end of the day, with exhaustion taking hold, we were all filled with a sense of triumph. Over a year worth of planning had come to a head and we were left to put the final pieces back in their places. It was time to clean up and roll out of the Ballard Convention Center grounds. And, at the festival’s conclusion, once the music had stopped, only a few stood barefoot in the grass to reflect on the adventure.

In total, $7,325.31 was raised for the Mid-West Kentucky Chapter of the American Red Cross.

Good job. Well done. Tearing down the outdoor stage while tossing around a few jokes—laughter.

With festival planning already in the works for 2014, I leave you with a community collage of photos taken by Sugg Street photographer Jessi Smith. Keep an eye out for more photos that will be posted soon.

Thanks to the community for their overwhelming support and thanks to those who helped make the festival possible. At the end of the day, it takes more than just a few men and women to make things happen. It takes a mass of people to create change. It takes a group of dreamers to usher in a new way of thinking. It takes a loving family to make it work. And I consider all those who participated—from the big jobs to the small—my brothers and sisters in this strange and confusing world we share together.

See you next year!

"credit" Jessi Smith

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Written by Jessica Dockrey
Photos by Jessi Smith

  • Published in Music

Harper Guitars: One-of-a-Kind Music in the Making

HOPKINS COUNTY, KY (6/13/13)—Good music, like artwork, transcends the boundaries of time. Be it Bach or the Beatles, there’s no denying the virtually indefinable sense of universality and timelessness that flows through a powerful song or performance. It’s, in a word, electric. And while the innate “magic” of a truly talented artist, as well as their approach and technique, may ultimately define the sounds they create, it’s easy to wonder if the enduring music we enjoy on a daily basis would have ever became a reality without the aid of a skilled craftsman’s vision: an instrument.

While modernity yields an exceedingly accessible music market flooded with affordable, yet oftentimes machine-made and outsourced instruments—many of which are actually well-made, high-end productions—the mystique of an instrument constructed and customized by the hands of a true artisan remains unmistakable. In fact, it’s the touch of man that has become a sought-after commodity in an instrument-making age full of exact replicas and “perfect” tolerances.

Need evidence? Simply take a look at the current value of many vintage guitars. Though today’s vintage guitar market has shared in the nation’s overall economic downturn, a well-preserved 1959 Gibson Les Paul may still fetch well over half-a-million dollars in an auction-type setting. Why, you ask? To sum it up generally, it was produced at the pinnacle of an era that valued close attention to details and fine, hands-on craftsmanship.

Fortunately, however, there are still craftsmen out there practicing an old-world approach to the process with striking results. One of these artisans is Jacob Harper of Harper (JIH) Guitars.

A native of western Kentucky and a current resident of Boonville, IN, Jacob Harper displays a proficiency for producing some of the most beautiful, playable, and uniquely custom guitars in the region and, as some would argue, possibly the country. From his remarkable, signature solid body and hollow body designs, to his rather unorthodox creations like the “Hellhound” double-neck guitar/bass, Jacob’s particularly functional pieces of creative art work are known for instigating a drop or two of drool from the mouths of regional musicians. What’s more, accomplished performers like west Kentucky bluesman and thumbpicker extraordinaire, Alonzo Pennington, as well as Uncle Kracker’s touring guitarist, Kevin McCreery, have turned to Harper Guitars for their custom instrument needs both in the past and present.

Yet, for all the praise and trial-and-error know-how Jacob has accrued since he first started building guitars in 2007, he remains a humble, down-to-earth musician, architect, and family man that simply enjoys his time spent in the workshop.

In looking at his early inspirations, though, it’s really not that much of a surprise that he’s such an unassuming, albeit talented, human being.

In addition to a love for playing and listening to a diversity of musical styles, Jacob’s family has always been involved with architecture or construction in some manner. In fact, his childhood home in Cadiz, KY—a log cabin style residence—was constructed entirely by the sweat of his father and uncles’ brows. Undoubtedly, it was this continuous exposure to design and architecture that would eventually lead Jacob down a fulfilling path of architectural education and employment that bleeds into his custom guitar work today. Viewing these facts from an outside perspective, it seems that Jacob was simply destined to effectively combine the two facets—music and architectural design—at some point.

But how did he learn the "ins and outs" of being a luthier? What’s the actual process of making a guitar like? What keeps him inspired to create such intensive works of functional art? And what does Jacob have in mind for Harper Guitars in the future?

To find out the answers to these questions and more, myself, as well as Sugg Street Post writer Jessica Dockrey and photographer Jessi Smith, recently paid a visit to Jacob inside his two-level workshop and studio space in Boonville. The results of the intriguing encounter are as follows.

Luke Short: Tell me a little bit about yourself. How old are you and where are you originally from?

Jacob Harper: I’m 37, I believe. [laughs] I was born in Cadiz, KY. I was raised there and that’s where I grew up.

LS: What was your childhood like there? What were you into as a kid?

JH: We all grew up on, well, it wasn’t really farm, but it was a good-sized piece of land down by Lake Barkley. There wasn’t much to do other than to create your own fun. It was basically like you’d leave in the morning and wouldn’t come back until night. We’d just be out running around all day. It was a lot of fun.

LS: Is your family originally from this area?

JH: No. My grandmother is actually from India. She’s British. My granddad was from the states. He was in the Navy when he met my grandmother. Then they settled down outside of Christian County and they ended up moving to Rockcastle, which is near Eddyville, KY.

LS: Did you make it through school alright?

JH: I made it the whole way through Trigg County High School [in Cadiz, KY] and then I went to Murray State University for five years.

LS: What did you study at Murray?

JH: I studied Industrial Technology Design, which is focused on drafting, design, and architecture. My dad is a contractor, and when I was a kid, he was always building houses. I helped build them, became interested in that process, and I started drawing plans for him when I was 17. I just decided to do that in school and I’ve worked for architectural firms and civil engineers even since.

LS: What are some of the places you’ve worked for?

JH: Right out of school, I worked for a civil engineer based out of Benton, KY. From there, I went to work for Murray State in their Capital Construction Program. After that, I went to work for a place based out of Lexington, KY. We all worked in a satellite office in Paducah. I did that for probably five or six years. I moved there for that job. I met Andrea, my wife, during that time. She worked at Enterprise [Rent-A-Car]. Well, she ended up getting a promotion to the position of district manager in this area [Boonville, IN], so I said, “OK, you’re making more money than me, so I’m moving with you.” [laughs] We moved up here and she wasn’t happy with Enterprise, so she went to work for Alcon Pharmaceutical Sales. As for me, I work for Hafer Associates here in Boonville. They’re an architecture firm. I’m a project manager there.

LS: That sounds like a higher-level job.

JH: It can get pretty hectic trying to find personal time. It’s an eight-to-five job, but I often find myself working overtime. Plus, it’s pretty intense work, but I find time to be a dad and eat supper. I’m usually out here in the workshop most nights. I wake up extra early in the morning to come out here, too.

LS: At what point in your life did you get into music?

JH: I’ve always been into music. My mom’s a country singer and my grandmother was a piano player. She played in church for years. My dad has eight brothers and only two or three of them don’t play music. Some of them are professional studio musicians and others are weekend warriors, so I was always around that. They were always playing music, so it was just a part of my life even at a young age.

LS: Was there a point where you really started gravitating toward a certain genre and developed your own musical identity, so to speak?

JH: It’s kind of weird. I was always turned off by country music growing up, because my mom was a country singer. I guess I just thought it wasn’t “cool enough,” you know? It’s like you’re trained to be that way. On the flip side, the people who really started buying my guitars were country musicians. As I got older, I didn’t mind listening to country, and I actually appreciate pickers like [Brad] Paisley and [Ricky] Skaggs and all those other guys. But when I was younger and in high school, I dropped out of band because it wasn’t “cool.” I started playing in a rock band instead. We played heavy metal and rock, and it was a blast. I was probably way too young to be playing in bars, though. [laughs] That’s what I went more towards, as well as blues. The blues were what a lot of my uncles played.

Jessica Dockrey: What instrument did you play in band?

JH: I actually played saxophone.

LS: I played saxophone in band, too, but I was like you and quit because I didn’t think it was “cool enough” for me.

JH: There’s a low retention of saxophone players out there I guess. [laughs]

LS: I really kick myself sometimes now, though. If I could still play sax, I’d be doing Pink Floyd covers all day.

JH: [laughs] I still want to go get a sax every once in a while.

LS: I took piano lessons, too. I took them for about three years and then did the same thing—I quit because it wasn’t “cool”—and now I kick myself for that, too.

JH: As my son grows up, he will learn to play piano, because that’s the gateway to all other instruments. [laughs] I kick myself, too, because my grandmother had free lessons waiting for me if I wanted them, and she was an amazing piano player. I tried it out for maybe six months and just gave it up. That was so stupid of me. [laughs]

LS: So, at what point did you really get into playing guitar?

JH: I was probably 15-years-old and my dad had an acoustic, all my uncles played music, and I’d see and hear them playing all the time, so I wanted to do that too. So, I got my dad’s acoustic and I went through an entire guitar lesson book in about three days. It came pretty easy to me, but it hurt [my fingers]. You’ve learned guitar too, so you know what I’m talking about. I would play for six hours every day. I would just play, play, and play. That’s how I got into it.

LS: When did you say to yourself, “Hey, I’m going to build a guitar”?

JH: I was in Paducah in 2004 or so, and I just had an itch to build some furniture. I maxed out credit cards and bought a lot of tools during the process. I wasn’t married yet, so it was easy to do that. Building furniture was fun for a while. I had a friend there that I played music with at the time, and he was also a woodshop student from Murray State who was working for a guitar builder out of Mayfield [Kentucky]. I went over there with him and watched what he was doing one time, and the guitars the guy was making were amazing. I believe the guy’s name was Brad Smith. Afterwards, I said to myself, “I’ve got the tools to do that, and I’ve been playing for 20 years, so maybe I should try it out.” That’s how it all got started. It was kind of rough in the beginning, though. [laughs] I didn’t go to luthier school, so I had to make all my own mistakes. I’ve probably learned a lot more making those mistakes, though.

LS: On that subject, tell me a little bit about the first guitar you ever made, which, as I believe, was a Gibson Les Paul-style solid body.

JH: With basically any guitar, the math is the same, which is something that I should have paid more attention to when I first started. I should’ve looked at the details closer. That’s what I’ve learned: it’s all about the details and precision. You know, you measure things a hundred times and cut once. My first guitar was really rough; it felt like a baseball bat. [laughs] It was far too heavy.

LS: To you, what is the hardest or most frustrating part of building a guitar?

JH: Setting up the fretboard and getting the frets right is the hardest part, because there are so many things that you have to make just right all at once. A lot of companies have machines that they throw the guitar in and they bend the neck and shave things off, but I still do all of that by hand, and I’m sure other guitar builders still do it by hand, too. But that’s definitely the hardest part; that’s where you really have to slow down and take your time.

LS: Is that mainly because of the spacing between frets, fret height, fretboard radius, etcetera?

JH: I could start to tell you, but there are so many little critical dimensions to consider—the curve of the neck, the angle of the neck to the body, and on and on.

LS: What’s the story behind your workshop? When did you move to Boonville, IN and when did you get all your equipment set up?

JH: Well, we’ve been here six years now. When we moved up to Evansville, I had already been building guitars. I think that “number eight”—that hollow-body over there [points to a black guitar in the studio area]—was probably the last one done during the transition. We moved up to Evansville, I lived with my brother for a while, then we lived in an apartment, and I would travel back home to my dad’s place on the weekends and work in his barn. I had to relocate my entire shop from Paducah to my dad’s barn so I could keep on building. Then we moved up here [to Boonville, IN] and lived in an apartment for a little while, but it wasn’t long before we said, “This is ridiculous. We’ve lived in and owned a house before.” I hated living in an apartment. So we started looking for places, and I think this [the Harper’s current home] was the first place I went and looked at. I like it because of all the potential it had for housing a proper shop in the garage area. It’s a really old house. It was built in the 1800s and it has some issues. I love fixing stuff up, though, but it takes me away from building guitars.

LS: Is woodworking something that you’ve always had an interest in or was it something that just developed out of the blue?

JH: Well, my mom’s dad was a fine woodworker. He built furniture. My grandfather on my dad’s side was a machinist in the military, and he was kind of a “fix anything” type of handyman. Then, my dad’s brothers, as well as my dad, were all woodworkers, contractors, fine furniture builders, and finish carpenters. My dad and all his brothers actually built the log cabin we all grew up in. It was just always something I was around. With what I’m doing now, I already knew how to use the tools, so it was simply getting them.

LS: The tools are definitely expensive. So, tell me a little bit about the layout of the shop?

JH: To put it simply, it’s one part dirty and one part clean. You kind of have to keep the two parts separated. The downstairs portion is the woodshop. I do all the work I can in there up to the point of finishing, and then I bring it upstairs to actually apply the finish. I’m using all the space I can downstairs. I can’t buy anymore tools, because I don’t have room for them unless my wife decides to let me use the garage part. Maybe this interview will help with that. [laughs] As far as a layout goes, though, I’m always working on how things are set up. I’ve amassed so many tools, and they’re all specialty tools, so figuring out places for all of those where I can actually find them when I need them has been fun. I play music and I wanted a practice space, so I built this studio and an isolation booth up here on the second floor. Well, a paint booth was a necessity, so I eventually made the isolation booth my paint booth.

LS: I know there are a variety of tools used to create a guitar by hand, but what are some of the main tools that you use during the process and what is their function?

JH: Oh, that’s a hard one. [laughs] They’re all equally important. You know, there’s a lot of roughing out—because I get rough pieces of wood from sawmills, some of which still have bark on them believe it or not—and you’ve got all your heavy machinery like the table saw and the band saw that help to take the original piece from a rough form to a dimensional piece of lumber. Then, you go into all the carving stuff—hand carving tools, planes, and spokeshaves, all the way down to needle files and beyond. I mean, the whole finishing process is intense. I could seriously spend an entire day telling you all the things I’ve learned about finishing.

LS: You mentioned that you get some of your wood from local sawmills. Is that where you get all of your lumber?

JH: There’s a mill north of here. I get a lot of my ‘big stock’ stuff from there, like mahogany and maple. I usually find all my really highly figured stuff on eBay. I find it one piece at a time that way. I have to see detailed pictures of it before I buy it, though. I’ve paid $350 for a relatively smaller, highly figured piece of wood before.

LS: Did you acquire all your equipment at once or did you acquire it over time?

JH: It’s been a process of maxing out credit cards to get my bigger stuff in the beginning. Then I got married and we agreed that I needed to stop doing that. [laughs] But, at the very least, it’s set me up. I always argue that it’s an investment, which rarely works with her. [laughs] Since I started selling guitars, I haven’t made any profit. It all goes back into tools. At times, when I need something like a new jig or something like that, I’ll just make one myself instead of going out and buying one for $400 right off the bat. Then, I’ll buy a new one when I can, when I have the money. Right now, though, I’ve been able to cover most of my costs from selling guitars and we’re all happy.

LS: As far as smaller stuff goes, do you turn to places like Stewart-MacDonald?

JH: Yeah, Stewart-MacDonald is a big company for me right now. If I ever stepped up production, I’d really have to look at that, though. Stewart-MacDonald is great, but it’s a little expensive.

LS: What are the most common types of woods that you use? Also, what are some of the more exotic woods you’ve used?

JH: Maple and mahogany. Those are the most common. I’ve also used Korina, sapele, Honduran mahogany, African mahogany, highly figured maple, plain maple, rock maple, sugar maple, soft maple, purpleheart, ebonies, zebra woods, rosewood, and some others. I’m not big enough yet for them to bring the Lacey Act down on me, though. I’m not traveling to South America to get my lumber or anything if that’s what you’re getting at. [laughs]

LS: What happened with the Lacey Act and the Gibson Guitar Company is insane. It’s interesting that they were the only company to come under fire, because every other big guitar manufacturer—as far as I understand it at least—was using and importing the exact same woods.

JH: What kills me is that Gibson is probably a steward of forestry in those countries where the forests are pretty much raped on a daily basis. Gibson comes in and says, “No, we want to have wood to use in the future. Let us show you how to do this the right way.” Still, though, they came after them. I think it was all political. I guess everyone at Gibson was republican or something. [laughs]

LS: You mentioned that getting the frets correct is one of the hardest or most frustrating parts of building one of your guitars. What’s the easiest or most enjoyable thing about a build to you?

JH: I really enjoy the carving process, especially when I make hollow body and carved top guitars. I still do all of that by hand. I use the “old school” method where I’ll just lay out a kind of topography with the wood and sit there and work that down with a router. Then I’ll get a handplane and knock off all the edges, and I’ll handplane everything else down smooth. That part is tedious and your hands have blisters all over them at the end, but it pays off when you get some finish on it or see someone playing it on stage.

Jessica Dockrey: That makes me think of Alonzo Pennington’s guitar, “Goldie." That guitar is so beautiful. I love it.

JH: Yeah, that one came about when I had a little extra money and I was in between builds. When that happens, I just build my own guitar out-of-pocket. With the one Alonzo now has, I was actually sitting out here one night thinking to myself, “If I’m going to build a guitar, what am I going to do with it?” Well, I got to looking at my goldtop Gibson Les Paul in the studio, and I thought, “I’m going to see if I can beat Les Paul.” [laughs] Evidently, Alonzo thinks it does.

LS: I would have to agree with that, too. A handmade guitar that is well-build will beat a mass-produced instrument—like a Les Paul for example—the majority of the time.

JH: You know, there’s a really fine line that you have to cross. You can have a really, really expensive piece of trash. I definitely know what I’m doing, but I don’t always know everything about the wood I get from mills. I don’t know how much they’ve dried it and I don’t have the big, costly equipment you need to test a piece of wood’s moisture content. Keeping that in mind, I try to buy wood well in advance of a build so it can acclimate. If I worked with fiberglass or graphite, it might be easier, but that’s not what I want to do.

LS: A lot of people that aren’t that into the technical aspect of guitars don’t realize how much changes in temperature and humidity can severely alter, or even permanently damage, tonewoods. You really have to take care of a good instrument for it to retain its value and tone.

JH: When you tell a guitar store that you’re having problems with the neck or fretboard, they sometimes heat the neck until it pops off. If you leave a guitar in a car, it can do the same thing. It’s like putting your guitar in an oven basically.

LS: How many guitars have you made since you started building in 2007?

JH: I’m on my 35th guitar right now. I’ve built more and more each year. I’ve probably made four this year so far.

LS: How long does an “average” build typically take to complete?

JH: My standard solid body flattop guitars usually take around two months to make. If I get more weekends at home, it may take a week less. The killer part about guitars is that you get everything to the finishing stage, you put the finish on, and you have to wait. Then you put more finish on and you have to wait more.

LS: Is that just part of the drying process when you use nitrocellulose?

JH: Yeah. In about a week-and-a-half, I can have a guitar ready for finishes, but then it takes a month or a month-and-a-half for the finish to cure.

LS: Wow, I had no idea that it took that long.

JH: A lot of the bigger companies use different finishes. For example, PRS [Paul Reed Smith Guitars] use acrylic-based urethanes that dry super quick and become really stable. They look really good and they probably have their own mixture, but all the “gear heads” love the nitrocellulose finish. They say nitro is the best and that’s what I use. I think there are ovens and drying rooms that you can set up that make the process go faster, but I don’t really have room for that at the moment.

LS: I actually think it’s cool that you let it dry and cure naturally, so to speak. You’re not rushing it and it seems like a much more organic process in that sense. So, who are some of the guitarists you’ve worked with? I know Alonzo Pennington is a well-known customer, but who are some of the others?

JH: Yeah, Alonzo is definitely a more well-known customer. One of my buddies from college, Bryan Fox, has actually bought four from me. He’s buying his fifth from me right now. He collects guitars and I guess he believes in me. [laughs] The first guitar I made for him was inspired by Waylon Jennings’ famous black and white, leather-bound [Fender] Telecaster. He’s like, “I want that,” and I was like, “I don’t work with leather!” [laughs] He said he just wanted my take on it. So, I hand carved a rose and all the vines on top of a really nice piece of figured, black-dyed maple. It turned out great. He just shoots me new ideas and we go with it. After I finish up with the two I’m working on now, I’ll start in on his next one.

LS: Yeah, tell me about the two you're working on now—the paisley bass and the Gretsch-inspired white hollow body.

JH: Yeah, I’m building those for two other guys that have been good to me. They’re friends of Bryan [Fox] up in Louisville, KY. One is for Chip Adams, who is the director of the Louisville School of Rock. He’s a great guy. He said to make him a bass and it’s turning out well. The other guy, Kevin McCreery, who’s friends with both Chip and Bryan, used to play with Tantric. I guess I got with Kevin right as he was starting to work and tour with Uncle Kracker, which is what he’s doing now. He’s a touring guitarist. Bryan was like, “Get Kevin a guitar right now!” I was like, “Well, I’m finishing a guitar right now, so take it!” [laughs] I gave it to him and he ended up really liking it. After that, I got with him about making another one, because guys like him get endorsed by the bigger companies, like G&L and Gibson, and they send guitars for them play. There was a point where I didn’t see him playing my guitar all the time and I was like, “No. I can’t deal with this.” So, I stayed on him about building another one. He said that he had always liked Gretsch White Falcons, so I told him I’d do my take on it. I’m hoping they don’t have a patent on white paint and gold sparkle binding. [laughs] Other guys that play my guitars are Drew Lambert from Sam Hunter & The Two Tones and Ronnie Paul Kingery of the Glen Templeton Band. They were actually both in the Glen Templeton Band. Ronnie wanted a guitar and Drew saw the whole process, became interested in my stuff, and had me build a bass guitar. Drew’s was the five-string black and green bass I made. It turned out really well.

LS: That reminds of me of something I wanted to ask you. What’s been one of your favorite guitars to build so far?

JH: “Goldie” was my old standby. I played it out a lot. That’s really hard question, though. In truth, my favorite is always the last one I’m finishing.

LS: Is there anything that you get “third-party” help on during a build?

JH: Up until about two guitars back, I did every single detail myself. Now, though, I’ve got a good friend, Tony Dorris—who has his own amp company called Volition Amps—helping me out with installing and wiring the electronics. He makes his own effects pedals and amps. They’re all boutique. Tony’s kind of like a mad scientist, too. Of course, he’s a down-to-earth, awesome guy, but he has this mad scientist thing where when he talks to me I’m like, “I can tell you how I want this to sound, but I have no idea what you’re talking about right now.” [laughs] He’s done the wiring in the past three guitars. If it’s artwork outside that I do, he’s doing artwork on the inside. Now you can take off my [electronics] covers and it’s like human anatomy in there. Everything’s laid out perfect. Before, I’d just wire everything myself and it wasn’t perfect, to say the least. I got pretty good at soldering, and I can read a schematic just fine, but I didn’t know the real technical theory behind what I was hooking up. So, Tony is my go-to guy for all the electronics. It’s pretty cool too, because we bounce ideas off each other and come up with new wiring possibilities.

LS: So, is your son, Ian, who is two-years-old, rocking out on the guitar yet?

JH: If he could pick up a guitar, it would be smashed. [laughs] I call him Sid Vicious.

LS: Where did the idea come from for your signature “Harper scroll” cutaway on your guitars?

JH: There are actually two different things that are kind of like my signatures: the scroll on the bout of the body and the headstock scroll. The headstock scroll is kind of 3-D. On some of my earlier designs, I was drawing inspiration from the blueprint of an old F5 mandolin I had. I liked how they did the scroll and I tried to incorporate that scroll in those designs, but I actually made a mistake by cutting it at the wrong angle. That’s really how that came about and you can see how the design has changed over time in my guitars. Some of it comes from a need for simplicity too, especially when it comes to putting the binding on.

LS: I was actually thinking that applying the binding, especially when it comes to the "f-holes” on one of your hollow bodies, might have been another one of the most difficult or frustrating parts of a build too.

JH: Oh man, it really is sometimes. I think of it as the game of Operation where it buzzes when you touch the sides. That’s just how frustrating it can become. [laughs]

LS: With so many guitar companies making instruments on a mass-produced scale, what makes a handmade, custom guitar special now?

JH: You can really argue for both sides of the market. If I ever expanded and had to step up production, I would probably add a CNC [Computer Numerical Control] machine to my equipment just to cut the rough outs, because you can lose a finger working with your hands. I’d rather have a machine doing that part for me. There’s something to say about people who mass produce guitars, too, because they have specific tolerances they work with. You can pick up one guitar and then another down the road and they’ll feel the same. There’s consistency there. When you do it by hand, you really have to take your time. You get a guitar, take all the critical dimensions from it, write it all down in a notebook, and you say, “That’s going to be my next guitar.” Then, you have to look back at it and figure out everything you did, and you’ll sit there with a micrometer and measure it all out. It’s a slower process, but you can feel a real difference in the end product. There are always going to be these little imperfections that remind you it was handmade. They’re not bad imperfections. With wood grain, the bigger companies will trash a body blank with a small imperfection because they can, whereas I’ll work that imperfection into the guitar as a focal point. It’s just a lot of work doing it by hand and getting all the tolerances the same. Now, you can pick up one of my guitars and say, “That’s a good feeling neck,” and you can pick up another one and it will feel the same. It’s taken me a while to get to that point.

LS: I think those little imperfections are things that people should still value about anything handmade. You know, making instruments by hand is how it all started, and you’re carrying that tradition into the modern world.

JH: For sure. There’s definitely something to say about the way I make them, too. You know, the guy who’s playing one of my guitars knows that it was made it a shop and knows all the specific components it was made with—the woods, the design, and all the electronics. I also send my customers pictures of the process so they can see exactly what’s happening and where I’m at with it, which is something I think is pretty cool. I’ll give them a CD of all the pictures I took, too; they go all the way from the chunk of wood I got at the mill to the finished product. I don’t really know if there’s an argument about which way is better—handmade or mass-produced—but it’s kind of like, “Why do you buy the Rolls-Royce instead of the Ford?” I’m not saying my guitars are a Rolls-Royce, but it’s the same concept.

LS: Specifically, what are some of the customization options that you offer? Is it pretty much wide open to the customer?

JH: I love that each guitar is different. People call and they’re like, “I have this idea and I hope I can make it happen.” And really, the sky is the limit, but I’m learning something new every time. I like to stay with my shape just to keep my name and signature out there. Fortunately, unique finishes are really a popular thing, so I don’t have to change the body shapes too much. With finishes, I’ll try anything pretty much. I’ve been successful with all of them so far. The last one that I did, a flat black eight string guitar, was difficult. That was the first time I’d done a flat finish on a guitar. It’s nothing like going to Lowe’s and picking out flat paint. It truly is a pain. On that guitar, I had it all completed, everything on it, and all the electronics had been tested, but all of a sudden the paint started cracking on the back. There were big red cracks. It was basically some kind of chemical reaction between the lacquer I used and the paint that caused it to happen. So I had to strip everything off. I had big chemical gloves on and got some heavy grit steel wool and just worked all of it off. I try to be as clean as I can with filters, but with satin finishes you get it all glassy, put it in the paint booth, spray it, and you hope that one little piece of dust doesn’t land on it. But it’s all whatever the customer wants. I can get different woods, electronics, tuners, bridges, and I can make the finishes happen.

LS: I know that you won’t build an exact clone of a well-know style of guitar. For people who ask you why you won’t make one, what do you say?

JH: I won’t, because it’s just a waste of time. You know, for the guy who decides to call Stewart-MacDonald, orders a Les Paul guitar kit, and puts it all together, that’s fine. But if you’re calling yourself a builder and you’re using a kit, you’re really not a guitar builder. There’s so much knowledge to gain when it comes to really building a guitar, from tools to wood to processes. I actually want to make a name for myself and the company. I want this company to last into the future, and I think having a signature shape on a quality guitar is the key. It’s what keeps me up at night. I’ll send a guitar out and I’ll just worry about it making to the customer safely, and I really hope the customer loves it. I’ve had guitars go out and the customer will call and say there’s something wrong. I’ll pay to have it sent back and I’ll fix whatever is wrong on my own dime. I don’t think I’ll ever turn a customer away after they've paid when something’s wrong or if there’s something they don’t like. Everyone is genuine about any issues they have, too, so I’m always going to make it right. I think that’s the only way to be.

LS: What you do really is an art form. There aren’t that many people that are true luthiers, but it’s a centuries-old craft. With that in mind, what keeps you inspired and moving forward?

JH: Getting custom build orders and having people call and say that they have a new idea is really what gets me inspired to do this. I could build a copy of one I’ve made before and be just as happy, though. I really enjoy doing it. If I did any more volume that what I do now, I could see certain parts of it becoming kind of monotonous, but I just really love doing all of it. You know, there’s the kid in school who has to explain what their dad does for a career and some say an accountant while others say a firefighter. Of course, the kids are going to think the firefighter is awesome.

LS: So, basically, you want to be the dad who builds rock n’ roll guitars. [laughs] That’s a pretty cool profession to pursue. Why do you think music and art forms like guitar building are still relevant and important for people to hold on to, to respect?

JH: It’s a release. It’s a universal way to communicate with people. Anybody could talk about music and art and find common ground. Or, at the very least, it can start a discussion. Plus, I think it makes the world a little bit smaller. It brings everything together. You can learn more about other cultures through music. It may sound lofty, but it’s true. As far as what I listen to, it really depends on my mood. I’ll listen to just about anything other than hardcore rap, but I’m a Beastie Boys fan from way back believe it or not.

LS: At the end of the day, why would you ultimately tell someone to check out Harper Guitars?

JH: You’re getting something boutique. A lot of people will argue that something boutique just costs more, but that’s not the issue. There are regular guys and girls out there making things with their hands and I think that’s worth the extra money to get that. You know, it’s like the “Walmart versus Ma & Pa stores” argument. Walmart makes it easier to get everything in one place, but when you spend a little extra time searching things out you can get something better usually. When people get my guitars, they know that every little piece of it has been looked over and all the details have been paid close attention to. Plus, I’m a musician. I’m not going to give someone something that I don’t enjoy playing. I put a lot of care and time into it because it’s something I really enjoy.


Want to find more on Harper (JIH) Guitars, such as additional photos, how to order a custom creation, artist testimonials, and more? Visit the official Harper (JIH) Guitars website at this link: http://www.jihguitars.com/. You can also interact with Jacob Harper or peruse additional photos of his works by visiting the “JIH – Custom & Handmade Guitars” Facebook page.

To read a “Gear Guide” on Alonzo Pennington’s custom “Goldie” guitar, which was made by Harper (JIH) Guitars, click here. A full interview with Alonzo Pennington can be found here.

Sugg Street Post
Writing/Interview by Luke Short
Photos by Jessi Smith

  • Published in Music

The Marcens Play Final Show at The Coup

"credit" L. B. BlackCLARKSVILLE, TN (2/22/13) - Some artists have made a career out of putting on final shows.  

When Dispatch played what they said was their last show in 2003, they famously held the largest show in independent music history only to play Madison Square Garden in 2007, tour in 2011, and then announce another tour for 2013.

Jay-Z threw a retirement party at Madison Square Garden in 2003 only to release six more platinum-certified studio albums in the following ten years.

But it would be tough to question the sincerity of Nnaji Singleton and Layne Robertson as they played what was billed as The Marcens’ last show Wednesday, February 20th.

A packed audience at The Coup watched on as they played their most popular songs, Robertson perched on the stage and Singleton working the audience from the ground floor.

But the duo had made it clear that this wasn't a publicity grab or stunt to get more people in the door. While the crowd would have to say goodbye to The Marcens, and most of their songs by the end of the night, Singleton and Robertson explained that they would be coming back in a new, revised form.

"credit" L. B. Black
Monolith Empire, their next project, is slated to kick off this coming summer with a Michigan recording session bookmarked on either end with a tour heading north and then a tour coming back down south.

Robertson said they will be adding a drummer, lead guitarist, and a bassist to Singleton's vocals and Robertson's guitar.

In one quick year, The Marcens have become one of Clarksville's favorite bands, but Robertson seemed ready to leave that project behind and start this next journey.

"It [The Marcens] helped us grow as musicians; it helped us mature. I realized what works for us and what doesn't," says Robertson.

What works for The Marcens was on full display Wednesday. Singleton sings with such powerful nonchalance, extending lyrics over a dizzying rollercoaster of notes, punctuating words by pushing his voice to an exasperated, almost broken end.

And Robertson's guitar backing compliments Singleton's choral prowess. He's fine strumming in the background creates a foundation Singleton can build his voice from.

But the current lineup also leaves the listener wondering how a full band could better them. What would it sound like if a lead guitar player could shoulder some of the spotlight and give Singleton a rest? How much better would Robertson's compositions be if they were rounded out with bass and percussion? How much more powerful would Singleton's exposed voice be if it was exposed only after a full band built up the song?

"credit" L. B. BlackWhen Singleton goes to his most vulnerable point on the crowd-favorite, "Oceans," belting out "your body is on fire," he's able to pull every listener in, both with the intimacy of his lyrics and his amazing vocal intensity. But Singleton stays that exposed for the whole song - and, to reiterate, how much more drawn in would the listener be if that exposure came after a full band's build up?

And with more members on stage they'll be free from the burden of holding indie rock guitar parts and bluesy singing together with just two people.

Singleton already takes the liberty to move around at a show, interacting with fans, but he recognizes that a full band will give Robertson more room to experiment.

"It let's Layne relax and move and do more s***," says Singleton."He has to stick to the script now."

"Our stage presence is going to go through the roof," says Robertson. " I'm going to be kicking mics and Nnaji and stuff. It'll give me much more freedom to move around."

We should all be excited to see the two young musicians get that freedom. Robertson, 20, and Singleton, 19, established an impressive following as teenagers – you’d do yourself a favor to pay attention to what they produce in their twenties.

Editors Note: L.B. Black grew up in a place called Mukilteo, lives in Clarksville, and really wishes you would listen to more Modest Mouse.

Sugg Street Post
Written by L.B. Black
Photos by L.B. Black

  • Published in Music

Picnic Kibun EP Release 'Taganga' Raises the Bar

Picnic KibunHOPKINS COUNTY, KY (11/13/12) - What does Chile's indie music scene have to do with Hopkins County? It is currently being shaped by former Madisonville resident Harvey “Tatsu” Jones via his fresh Electro-pop duo, Picnic Kibun.

According to the official Picnic Kibun website, not only does the group have a “dirty reputation on the dance floor”, but the two masterminds behind the music “have been releasing bangers and dropping jaws” since 2007.

Tatsu, alongside counterpart Juan Necochea, released their debut album, Fiebre Tagada, in 2009. Featured tracks such as “Nalgas Rock” and “Drop Your Panties” created a thrilling buzz within the indie music scene. Many considered the album to be one of the most exciting indie releases of the year.

I had the pleasure of talking to Tatsu about Picnic Kibun’s new upcoming release. Endemika Records and Australian label, Tuff’em Up! Records, have joined forces to promote Picnic Kibun’s new single and EP titled “Taganga”, which was released in early September this year. The music video for “Taganga” was directed by Pablo Gonzalez (Francisca Valenzuela, Los Mono, Pedro Piedra). “Taganga” was produced by Picnic Kibun, and mixed by Picnic Kibun and Vicente Sanfuentes (Surtek Collective, Boys Noize Records). The EP contents are “Taganga featuring Moustache!”, “Madisonville featuring Matanza”, and remixes by Myam Myam (UK), Black Asteroid (UK), Polymorphic (RUS), and Made in Paris (AUS).

Jessica Dockrey - What does the name Picnic Kibun actually mean?

Tatsu Jones - Picnic Kibun is a Japanlish word, "Picnic" is just as it is in English and "Kibun" means "feeling" or "vibe" in English. So Picnic Kibun means "Picnic Vibe", the feeling you get when you go out on a picnic with your friends and family.

JD - How did you and Juan come up with the name?

TJ - The word came from a video game called "Katamari Damashi". It had crazy happy music and the main theme song had a line that said,"Picnic Kibun feels so good". We thought that was pretty funny at the time and ran with it. It's a very silly and playful word, but it did sum up the general attitudes expressed in our first album, Fiebre Tagada (2009). I think our newer material retains a lot of the experimentation and dance orientated elements of the first album, but listening to "Taganga" and "Madisonville", I guess you could say we have grown-up a little.

JD - Where do you practice?

TJ - We practice where we can, right now at a friends house. Santiago is a big city and you just can’t play loudly like I would in my house in Kentucky. We sometimes rent practice rooms when we need to.
Currently we perform as a four piece. I sing and play with some machines and guitar, Juan Necochea, the other fifty percent of Picnic Kibun, plays bass and synths, and we have two drummers, one acoustic and one digital.

JD - What “machines” would you be referring to?

TJ - Well, along with the typical "rock band" instruments, like electric guitars or a drum set, we also like to use analog synthesizers, electronic drums, and MIDI controllers.

An analog synth is like a normal electronic keyboard in appearance. The difference is that you begin with a simple sound wave that can be manipulated in various ways to produce more unique sounds. For example, you can filter out certain frequencies of the sound wave, or even have two different sound waves superimpose to create a new wave.

We use a few electronic drum pads like the Octapad series from Roland. They have different prerecorded drum samples which can be triggered by hitting the rubber pads. They allow our live shows to have a combination of acoustic percussive elements and a punchier "club" feel.

A MIDI controller is just a fancy name for any device that can control a computer program. They come in different shapes and types, but we tend to use them to control "soft-synths" and a program called Ableton Live. Soft synths are synthesizer computer programs, which do similar things to the analog synths I previously described, and Ableton Live is a program that allows you to play electronic music in a more hands-on kind of way. Ableton Live is sort of a milestone in electronic live performance. It's definitely worth checking out.

JD - Where is your favorite place to gig?

TJ - I like playing in smaller places to be honest. The audiences tend to be wilder, more fun jumping up and down, and sweating in a place where you touch the ceilings. We also DJ clubs and events. I actually quite like it, just as fun as playing as a band if you have the right crowd.

JD – Does the band have a pretty good following? Do a lot of people turn out for your gigs?

TJ - For the type of music we make, and it being mostly in English, we have a surprising amount of support in Latin America. We have been very lucky and been scored in a few Chilean movies and even on MTV series. Our music is pretty atypical for a country like Chile, so we do occupy an interesting niche in the local indie scene.

JD - I saw a video clip of you all on MTV. Tell me about that.

TJ - A song of ours scored on a MTV show called "Niñas Mal". It was a show aimed at teenagers. You can pretty much imagine the type of entertainment it showcased. It was not my cup of tea, but it did expose us to a lot of people. I think it even played in the US on MTV LA. It is ironic if you think about my background as a Kentucky boy.

JD - How did you meet Juan Necochea?

TJ - I met Juan through a mutual friend eight years ago. We started the band with two other friends that left the band shortly after the release of our first album. I still hang out with all of them. The best way to learn a new language is to start a band.

JD - Do you all plan to tour outside of Chile?

TJ – Well, we just signed to Australian label, Tuff'em Up!, so we will probably be going there sometime soon. We'll be playing in Colombia and Argentina soon also. I'd love to play in the US though.

JD - When exactly are you playing in Columbia and Argentina?

TJ - We are working on a few dates in Bogata for the 2013, but nothing is certain.

JD - What would it take to get your band here, to tour in the U.S.?

TJ - We'll let you know when we get more info.

JD - What has been your musical journey up to this point in your life?

TJ - I started playing music relatively late. I decided to buy a guitar for some reason when I was twenty years old, and I've been at it for nine years now. I started off wanting to sing folky, Americana stuff I was hearing in Kentucky and then started listening to hip-hop, like Atmosphere and Electronic Dance Music (EDM). These days I use the acoustic guitar only to compose; I spend most of my time working with digital instruments and software like Ableton Live. The music we are making now is a mix of electro-pop and EDM. I'm happy with that right now, but I would love also make acoustic music like bluegrass. Maybe one day.

JD - How do you feel you have been influenced throughout your life, considering all the moves you have made in your life-journey?

TJ – I have lived in the US roughly for about sixteen years. The rest I have spent in Japan (four years), Guam (two years) and Chile (eight years).

Living in different cultures has had a substantial influence on pretty much everything I do. Whether it is the art I make or my social-political stances, the international experience has allowed me to push the limits set by each individual country's perceptions. It has caused me to create a more globalized approach to life. Traveling as a child was difficult at times because I was frequently changing schools, and I was a minority in the southern United States. But, in general, I feel very fortunate to have had these privileges. Sharing life with people from around the world is a thrilling experience.

JD - Who has influenced you the most? Who is your hero, your inspiration?

TJ - I am inspired by everyday things. I’m inspired by my experiences with my girlfriend, my friends and family, random people I read about or come in contact with. I'm inspired by amazing landscapes and wild life, maybe even horrible situations or hardship.

In general, I like to write about common fascinations or experiences that all people share. I think we all like to ponder at ourselves. We study representations of ourselves in songs, paintings, and literature. It's as if art were like a mirror. With my music, I try to make interesting mirrors for people to take a look at, and maybe have a new interpretation about something. I really don't think there is too much out there more interesting than discovery.

Sugg Street Post
Written by Jessica Dockrey
Photos provided by Picnic Kibun

  • Published in Music

Laced Stitches Together Dynamic EP, ‘Reflections’

HOPKINS COUNTY, KY (11/13/12)—Born from the embers of Despite the Fallen, the recently reconfigured Madisonville-based band, Laced, is rising in rank with the release of a hard-hitting debut EP entitled Reflections.  

From the infectious rhythms and melodies of “Anthem” and “MayHAM,” to the thunderous all-out assault of “Swamp Thing,” Reflections draws its name and content from what band members Brent Seaton (vocals/guitar), Taylor Sanders (drums), Matt Parker (bass), and Tim Cullen (lead guitar) describe as an eclectic list of musical influences. 

But how has Laced grown into the powerful foursome it is today and what are their plans for the future? 

Luckily, I was able to pay a visit to the band’s official practice “shed” deep in the hills of Manitou, KY soon after Reflections was released to find out the answers to these questions and more. 

Luke Short: What are the origins of Laced? 

Taylor Sanders: In late 2008, Brent and I—and this was right after I graduated high school—got together and tried to start something up, but nothing really happened with it because we had a hard time drawing in a larger fan base here in Madisonville. Plus, I was going to school in Tennessee at the time. Then, I came back in 2010, which was because my dad had a stroke in 2009, and we decided we’d try it again. I knew Tim from high school and it just kind of developed from there. 

Tim Cullen: I’m always down to jam. So, they just called me up and asked if I wanted to play and I was like, “Yeah, sure.” At the time, we were called Despite the Silence and we had a different bass player named Seth. He was a cool guy and we got along with him really well, but it just didn’t work out for personal reasons. So, Taylor knew Matt played bass and called him up to see if he wanted to jam, but he didn’t want to come out at first. 

Brent Seaton: Yeah, he thought the whole thing was a joke. He was going to come out just so he could make fun of us to our faces. He really was. [laughs]

Tim: He thought it was some nonsense, but then he came out and we’ve been spanking it ever since, just getting better. We’ve all been playing together for about six months now. 

Taylor: Since Parker’s come around, our whole “charisma” has changed, because Matt’s more funk oriented in the way he plays bass.

Matt Parker: I probably play slap [style] a lot. More than I should probably. 

Taylor: But Matt brought up a good point. He said, “The music you guys are playing is really cool, but I feel like we should not only make it more funky, but should also write music to accommodate Brent’s vocals better.” That’s the direction we’re taking now and it’s really taking off now that he’s here.

LS:  So, how do you guys write songs? Is there one person who’s the official “songwriter” for the band? 

Matt: Usually, Brent writes all the lyrics. With the music itself, though, we just get together, start jamming different stuff, and take the parts we all like. If we like it, we keep it; if we don’t we just scrap it. 

Taylor: We seriously talk maybe ten percent of the time we’re practicing. The rest of the time is straight jamming. 

Tim: With that kind of approach, there’s not really any kind of plan behind it. We just do what we do. 

Brent: Every time we play, we come up with something new and different, too. 

Matt: We were even able to write one of the songs that are on the EP at the studio while we were recording. I mean, we wrote the music and vocals in about one hour and 20 minutes. 

LS: You mentioned that there were several reasons the band’s original name had to be changed—a new direction, trademark issues, etcetera—but why did you all decide to go with Laced? How does the name fit with what you’re all about? 

Matt: We feel like we our style is mixed with a lot of different types of rock. For instance, “Swamp Thing” is hard, but we also have more chilled out and funk inspired songs on the EP, too. 

Taylor: Basically, what we play is rock n’ roll laced with all our other different influences. 

LS: And what or who are some of the band’s influences? 

Brent: Slash—the guy plastered up on the wall right there [points to a several Slash posters on the walls of the practice space]. 

Matt: I dig bands like Incubus and 311, and other stuff like that. I draw some influence from hip-hop, too. 

Tim: I listen to a lot of metal, but right now I’m purposefully trying not to listen to too much rock because I also end up taking riffs from stuff I hear and trying to play them with the band. Instead, I’ve been listening to dubstep and anything else that’s kind of off the wall. 

Taylor: The Californication album by the Red Hot Chili Peppers that came out in the mid ‘90s pretty much shaped how I play drums. I always underestimated [Red Hot Chili Peppers drummer] Chad Smith, because a lot of what he does in songs isn’t really that extravagant, but if you watch videos of him playing by himself, you realize that he’s a boss. He’s disgustingly good. 

LS: How many shows have you all played since you reformed, so to speak? 

Matt: Since I’ve been with the band, we’ve played two shows in Bowling Green, four shows here in Madisonville [including the latest show at Elite Tattoo Lounge] and we played at the Hard Rock Café in Nashville a little over a month ago. We've got a couple local shows coming up, too. Of course, we'll be playing at the Sugg Street Post launch party on Tuesday, November 20th, but we've also got another show coming up at Legends in Madisonville on November 24th. 

LS: What was it like playing at the Hard Rock in Nashville? 

Brent: It was awesome. There were about 600 people there checking us out. 

Taylor: It’s been one of—if not the best—show we’ve played so far. 

Tim: It was really nuts in there. That was the biggest crowd we’ve played for.

Taylor: Yeah, there were so many people packed in there that everyone had to hold their cups in the air to get through to the bathroom. 

LS: How did playing there come about? 

Tim: We were actually competing against 16 other bands while we were there, and we got second place. We were supposed to play an encore, but we didn’t. 

Taylor: We lost to a band all the way from New Zealand, so second place was a pretty awesome accomplishment. 

LS: Though you guys have some comparatively slower and more relaxed songs on Reflections, most of what you play is on the heavier side of rock. With that in mind, has it been harder to gain a real fan base in a primarily bluegrass, blues and southern rock-oriented region? 

Matt: Honestly, I think it’s kind of hard to get a lot of attention and support in our community period, regardless of what style you play. Everyone always complains and says there’s nothing to do in our town, but when you offer something up—like a concert—there aren’t a whole lot of people that actually come out and check things out. 

Taylor: It’s so weird. You can create an event on Facebook and have 300 people committed to attend, but when the show happens, about four of those people actually show up. Right now, it just seems that there’s no market locally, so that’s why we’ve played out of town more.  

LS: Why do you all think that is? Is it simply a lack of venues in Madisonville?

Matt: I think that that’s a big part of it, but we’re also a really loud band. When we play, it’s seriously loud, and we tell people that before we ask to play on their stage. We mean no disrespect whatsoever, but we’re not going to "sugarcoat" it. For that reason, we just can’t play places like The Crowded House in Madisonville.

Taylor: My boss [Cliff Nance] actually owns The Crowded House and he’s asked me several times why we haven’t played there yet. I just tell him that I really respect The Crowded House, but we’re just not a part of that “scene.” We rock out. I would love to play there, and that facility is seriously nice, but if we played there I feel like people would be like, “This is too loud. I’m leaving.” 

Matt: You know, I guess we could give acoustic stuff a shot, but that’s just not our style. 

Tim: Though we totally respect it as musicians, we just jam too hard to do softer acoustic stuff. 

LS: The new EP, Reflections, is the first album Laced has ever put out. How did the opportunity to record your music come about and how was it playing in a studio? 

Tim: We’ve been to a couple different studios actually. We recorded some stuff in Ben [Laskowski’s] SoundBox Inc. studio back when we were still Despite the Silence, but none of the tracks were ever put out. Then we went down to Murfreesboro, Tennessee right after the first bass player quit and the mix just wasn’t right. Finally, Matt got in touch with The Fair-Weather Kings and Rory [Willis] with Grey Skull Recordings down in Bowling Green, and that’s where we recorded Reflections. It’s the best studio we’ve been to. 

Taylor: It’s a really simplistic studio, too. Rory just rents this place out and lives there with his girlfriend. They basically use the kitchen, bathroom, and bedroom, while the rest of the place is strictly business. 

Tim: Rory’s really talented in his own right. He just listened to our live stuff and figured out how he wanted to do things, which I’m sure he does with a lot bands that record there. He told us that he didn’t want to do a timed-out “click track” with us, which is kind of crazy. Instead, he wanted to record us actually playing together, like a live setting. 

Taylor: When Rory said that, it kind of freaked me out and I thought it wouldn’t work. I thought it was suicide, but Rory explained that “click tracks” are really more for editing purposes. He made a good point and he told us that if we felt confident enough, he’d much rather record us live. He told us that he personally likes recording bands without a “click track” because the energy of the music is more natural in the recording. 

LS: How long did it take to record the album taking the “live” approach? 

Matt: [laughs] It seriously took us about five hours to finish. We came in there and played and Rory just knocked it out. That’s just how good he is. 

Taylor: Rory’s mixing is on point for sure. He had the finished copy back to us in about eight days. The whole time we were playing, out friend Tyler watched him and told us that Rory was all over the place tweaking knobs, messing with the mix. 

LS: Did you all use your own equipment when recording or did you use stuff Rory had at Grey Skull? 

Brent: Everything we used was basically ours except for the drum set. 

Taylor: The situation with the drums really baffled me, because when I looked at the drum set he had there, I was kind of like, “Dang, this sucks.” Rory saw me eyeballing the set and was like, “I know it doesn’t look like much—and when you play them, it won’t sound that good either—but I have it all set up so that the EQ will be just about perfect on the recording.” And they sounded awesome, just like he said. 

Tim: At the time, Brent and I were both running Fender [212 model] Frontman amps and mine blew up while we were recording. Fortunately, Rory had this Marshall [MG 100] amp stack on-hand, so I used it and really liked the sound of it. From there, I was like, “Screw it, let’s go buy one,” and that’s what we did. So that’s what I’m using now. 

LS: You all chose to call the album Reflections? What was the reasoning behind that? 

Taylor: Basically, the album is kind of a reflection of our influences, more or less. It’s our first form of credibility, too. And honestly, our parents and all of our friends and peers, are like, “OK, Taylor got a drum set when he was 12-years-old and he never outgrew it.” They’ve never actually taken our “hobby” seriously, but this isn’t really a hobby at all; we’re definitely trying to make a career out of this. There’s always going to be haters, but that’s just how it is. It’s either playing music and doing what we like, or working a miserable nine-to-five job. I know which one I’d rather do at the end of the day. 

Matt: Before the release of the album, it was hard to get gigs, too. All they had to go on were videos or recordings of our live shows. With those, it’s nearly impossible to really hear what us, or any band, actually sounds like. Now we have something that’s solid. 

LS: So what’s next on the plate for Laced next? A full album perhaps? 

Taylor: Finishing a full album is one of the next big things on our “to do” list. We’ve already got a ton of music that’s just floating around, too. It’s really pretty disgusting how many songs we’ve created but haven’t officially written down yet. 

Matt: We’re writing stuff here and there, and we’ve got a lot of music that we’ve already put together that we can work with, but we’re focusing on playing shows and promoting Reflections as much as we can at the moment. From there, we’re looking to have all new songs on the full album when it’s released.

LS: Any final shout-outs? 

Brent: We want to give a shout out to Undead Anna, The Fair-Weather Kings, Pat Ballard and 93.9WKTG for the interview and for playing our song live, and to Dairy Queen.  

Want to check out Laced live? If so, Laced will be performing this upcoming Tuesday, November 20th during the Sugg Street Post launch party at Focus Photography Studio (4160 Nebo Rd., Madisonville, KY) from 6-midnight, and will also be playing at Legends Bar in Madisonville starting at 9pm on November 24th. And even if you can't attend, you can give Laced a listen by downloading Reflections from BandCamp.com, via their ReverbNation page, or through their official Facebook fan page. You can also listen to each track from their new album by clicking the song titles on the ReverbNation player attached beneath this article (NOTE: some songs may contain "explicit" or "offensive" lyrics). 

As of this writing, the band is also working toward the unveiling of their official website, the sale of their tracks via iTunes, and the creation of a Laced SoundCloud.

If you would like to book Laced for your next event or simply have a question for the band, please contact them via email at laced42431@gmail or send them a message on Facebook.

Sugg Street Post 
Written by Luke Short
Photos by Jeff Harp

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