Displaying items by tag: drums

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Fair-Weather Kings – Weathering Bowling Green’s Rolling Musical Seas

HOPKINS COUNTY, KY (8/22/13)—Hearing it from the proverbial “horse’s mouth” makes it official: “energetic” ranks highest among the descriptors fans use to define the sound and feel of Bowling Green, KY’s beloved five-piece band, the Fair-Weather Kings. And it’s a fact that is duly justifiable. Comparison-wise, many say the quintet’s unique style is akin to the vibrant, nationally-acclaimed indie sounds of The Strokes and The Arctic Monkeys.

Yet, once you start trying to dial in their insightful works any further—to do their sound justice through words, so to speak—the process of classification becomes much deeper and, perhaps, more metaphysical. That being said, here’s my personal take: the Fair-Weather Kings strike hard on the head of modernity’s pop-rock stake, while remaining punctual, compositionally edgy, fun, and experimental in a not-too-abstract way. Their lyrical originality, atmospheric grooves, and consistently frantic, multi-layered live performances—which come courtesy of vocalist/guitarist Wesley Stone, guitarist Zach Barton, bassist Jason Williams, keyboard/synth player Craig Brown, and drummer Marcus Long— mix together well, producing a seemingly perfect storm amidst an electric and inspirational musical climate.

While the Fair-Weather Kings have yet to gain a large-scale, national following, they have received a wealth of veneration from all corners of our region and beyond. In fact, the respect the Fair-Weather Kings have deservedly garnered from their peers since forming just under two years ago is evidenced by the fact that they have remained afloat, relevant, and well-loved in the virtual sea of talent found in Bowling Green.

So how do the Fair-Weather Kings maintain their prowess in such a saturated musical market? What’s their origin story and creative process? And what is their ultimate goal with music? To find out the answers to these questions and much more, I recently got the chance to speak with FWK frontman and guitarist, Wesley Stone, who informed me that weathering west Kentucky’s blooming and inspirational entertainment scene isn’t always an easy task to master.

Who are the members of the Fair-Weather Kings, where is each member from, what are your ages, and what instrument(s) do each of you play?

I’m Wesley Stone and I’m on lead vocals and guitar. Zach Barton plays guitar, Jason Williams is our bassist, Craig Brown plays keys/synth, and Marcus Long is our drummer. Zach, Marcus and I grew up in Hopkins County, KY. Craig and Jason grew up in Bowling Green. We all currently live in Bowling Green. We are all in our late 20’s, with the exception of Marcus, who is in his early 30’s.

How and when did the band first form?

We first formed in October of 2011 with Zach and I just sort of jamming around on occasion and presenting songs to each other. After a bit, we tracked down a drummer and bass player to sort of feel out the whole band thing. After a couple months, we had worked out a few songs, but our drummer and bass player at the time weren’t really a good fit with the type of music we were writing, so that’s when Marcus joined, along with another friend of ours, Will Kronenberger, who played bass. Shortly after they joined, we picked up Rory Willis to play keys, who was Will’s roommate at the time and the owner and operator of Greyskull Recordings. We all wrote and worked on the songs that would end up on our debut, self-titled EP and played our first show in January of 2012.

Where did the name of the band originate and how does it fit with the music or “feel” of the band?

The name sort of became a formality at a certain point. We knew we had to call ourselves something, so we just started throwing out a bunch of ideas over the course of a week or so. Ultimately, “The Fair-Weather Kings” came about when we combined two of our favorite names that we had come up with. I can’t really remember what those were, though. Fair-Weather….something and something…Kings. There isn’t really any intended significance as far as the name representing our music or style. I’m sure I could dig up some philosophical meaning to it, but, really, it was just the first name that we all agreed upon that remotely sounded cool.

What influences do you all draw inspiration from both musically and in life?

We have a wide variety of musical influences—too many to even begin listing them—but we all draw from some variety of rock or pop music, and we all have our own favorite singer-songwriters. We also get inspiration from the many great bands we hang out with and play with around Bowling Green. Mainly, our songs are inspired by love, life, and the universe, and revolve around observations within each.

How has the band changed over time?

The biggest change that has occurred for us has been losing and gaining members. Will and Rory got busy with their jobs and other projects, and that is when Jason and Craig stepped in. They both came in with completely different styles than Will and Rory, which ultimately changed our sound. But it was for the better. Each previously written song has since evolved into something that is, in many ways, completely different from what you hear in our recordings, which were all done with Will and Rory. Again, this evolution has been for the better. The songs have gotten tighter and even experimental at times, which make them fun and different every time we play them live. You will very rarely hear the exact same version of a song from show to show.

How do you all define the sound of the Fair-Weather Kings?

That’s always a hard question to answer, and I usually just refer to what others have compared it to or said. The most common word used to describe our music is “energetic,” and we have been compared to The Strokes and The Artic Monkeys.

Like you just said, a good deal of the Fair-Weather Kings’ music is highly energetic and, at times, feverishly frantic, which comes across well during your live shows. By the same token, you all seem to be very tightly-knit as a multi-piece band. That being said, how do you approach the creative process? Do songs come together spontaneously or is it more of an intensive, day-by-day process?

The majority of our songs were songs that I had already written or were nearly complete ideas that I then presented to the entire band. From there, everyone just sort of filled in the gaps with each of us giving the others input and experimenting with various ways to approach them. However, we have also written several songs that blossomed out of a jam session during practice.

While the band’s sound is ultimately rooted in rock, you all also incorporate a variety of electronic, synthesized sounds in your music through guitar effects and keys/synthesized sounds. Do you think it’s important to remain open to different sonic avenues in the modern age for the sake of creativity?

We keep ourselves open to various sounds and even various styles for the sake of creativity. I think if we confined ourselves to a specific sound, or tried to write songs that adhere to a specific style or sound, it would hinder us creatively. We are constantly picking up things from other bands and each other, which steers each new song or idea in a slightly different direction.

You guys hail from one of the region’s most vibrant music scenes—Bowling Green, KY. How much of an effect has that environment had on the band’s approach and creative evolution?

It has its positives and negatives. On one hand, all the bands are learning, supporting, and challenging each other to become better. On the other hand, it’s a constant struggle to keep from getting lost in the mix of all these great bands and musicians in the area. Either way, we are proud to call Bowling Green home and love being associated with its rising music scene.

You all played at the inaugural Mad Flavor Arts & Music Festival in Madisonville this past June. Why did you all decide to play the festival and what was your overall take on the event?

It sounded like a fun time. Again, Zach, Marcus, and I grew up in the area and still have friends and family there, so it seemed like a great opportunity to not only play our music to some different faces, but to also visit with some familiar ones. We had a great time and got some great feedback on our set.

If I’m not mistaken, your self-titled EP and single, “Satellite Galaxies”, were both recorded at Greyskull Recordings in Bowling Green. Tell me a little bit about what it’s like recording there.

During those recording sessions, Rory Willis was still our keyboard player. We recorded all the tracks on the EP in a “live” fashion where everyone was being recorded at the same time, minus the vocals, so, really, it was just like a more structured and professional practice—except we played every song a dozen times. We did “tracking” for Satellite Galaxies, meaning we each recorded our parts individually. That process is slightly boring, but produces a much higher quality end product. It also allows for changes, and gave Rory the ability to piece together the best parts of each take.

Are you guys working on any new music at the moment?

Yes. We have two new songs that we have been playing live for a while that haven’t been recorded, and we are currently working through some ideas for at least three more. We are taking our time with the new material—screening it so to speak. The first album was composed of literally every song that was presented. This time around, we are being a bit pickier and are presenting lots of ideas that will be narrowed down to a few songs at a time.

From your perspective, why is it important for area citizens to get out and support local musicians and artists?

Because most of those local musicians and artists want to be national musicians and artists, and the road to that outcome is paved by every single person’s support.

Over the years, what’s been one of the band’s favorite shows and/or biggest accomplishments?

One of our best shows was a house-show at a place dubbed The Manor. It is right next to Greyskull—which is where we rehearsed at the time—in the basement of this old Civil War hospital that is now a private residence. There were a ton of people all giving us as much energy as we were giving them. Those are the best types of crowds. I’ll take a crowd of 20 people that are all getting into the music over 2,000 motionless bodies any day, and that’s when we put on the best show, too. It’s a give and take relationship when it comes to our performances, and we were getting and giving quite a bit at The Manor that night.

What is the end goal for the Fair-Weather Kings?

Ultimately, we want to reach as many people as possible with our music. So, short answer: major label support.

Where and how can people check you out and purchase your music?

We have a ReverbNation profile, as well as a Bandcamp profile. We don’t really charge for digital downloads, and both places have all of our recorded material for free. We have physical copies of our debut EP, which we have re-released with “Satellite Galaxies” for sale on our Bandcamp page. We have stickers and t-shirts for sale there as well. Of course, you can pick up any of those things at our shows, too.

In closing, feel free to give any shout-outs you want.

All of our fellow BG Sceners…
Canago, Buffalo Rodeo, Morning Teleportation, Schools, Chris Rutledge, Sleeper/Agent, Cage the Elephant, Opossum Holler, The Reneaus, The Beech Benders, Plastic Visions, The Black Shades, Lost River Cavemen, Fat Box, The Hungry Ears, Technology vs Horse, and others…

Also…
D93 WDNS, Revolution 91.7 WWHR, Spencer’s Coffee House, and Greyskull Recordings.


____________________________________________________________________

Want to hear the Fair-Weather Kings right now? Check out the ReverbNation player attached below this article. Want to support the band by downloading some Fair-Weather Kings tracks or purchasing some merchandise? Visit the official FWK BandCamp page by clicking here.

For more information on the Fair-Weather Kings, such as upcoming shows and updated news, visit their official Facebook page by clicking here.

Sugg Street Post
Written by Luke Short
Photos by Jessi Smith

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Chasing the White Buffalo with 'Home Videos'

BOWLING GREEN, KY (2/24/13)—Intense, yet spacious vocals, snappy and often times energetically raw guitar work, a striking wall of synthesized sounds, thick bass lines, and a varied mix of splashing cymbal and sharp drum work define much of the musical catalogue created by Bowling Green-based band, Buffalo Rodeo.

From the juxtaposition of chaotic breaks and joyously insightful lyrics found in “A. Hook” on the band’s 2012 sophomore album, Common Cults, to the ethereally impassioned feel of their latest single, “Cargo,” Buffalo Rodeo’s music is fresh, inspiring, and, in a sense, spiritual. And with a new EP, Home Videos, set for release in March, there’s no doubt that the unique musical atmosphere they have created will expand. 

Never heard of this progressive band of musical gypsies?

Even if you haven’t, the Sugg Street Post recently got the chance to interview the up-and-coming five-piece to find out what the story is behind their name, their influences, plans they have for the future, and much more. And, like their sweeping, experimental compositions, the individual and collectively-voiced answers they offered us are perhaps some of the most original responses we’ve received so far—and that’s a really great thing.

Luke Short: Who are the members of Buffalo Rodeo and where are you all from?

Buffalo Rodeo: Buffalo Rodeo is comprised of Zach Preston on vocals, Ryan Gilbert on drums, Nathaniel Davis on guitars, Jordan Reynolds on keys and vocals, and Patrick Duncan on bass. We all reside in Bowling Green.

LS: How and when did you all meet up and start jamming?

BR: There was an earthquake and we met under a rainbow of glorious salvation and love; forever.

LS: What is the meaning behind your name, and how does it fit with your music?

BR: We have a neighbor who is really into Native American culture and he also used to be a bull rider. However, one night while he was meditating and smoking the medicinal and spiritual holy plant, God came down to him from high and said, “Two Rivers”—which was his name—“your destiny is to ride the great white buffalo,” and when he told us about this, we knew that our calling had come. We named ourselves thusly: Buffalo Rodeo. Amen.

LS: Do you define your music by a certain genre?

BR: Progressive indie experimental alternative rock.

LS: What are all the albums you’ve released since forming?

BR: We released Wanderers in 2011, Common Cults in 2012, and are in the process of finishing our latest EP, Home Videos, which is due for release in March.

LS: So, what's the story behind the new release? Where are you recording it? 

BR: We're recording Home Videos at Greyskull Recording Studios here in Bowling Green. We're really excited to release this EP because the music is a lot different than any of the other stuff we've previously recorded. It's also going to be the first recordings we have with Jordan and Patrick on them.

LS: Who are some of your major influences musically?

BR: Portugal. The Man, Local Natives, Manchester Orchestra, Arcade Fire, and Band of Horses.

LS: Who are some of your major influences outside of music?

BR: Family, God, and friends.

LS: With a lot of your music, there is this sense of spaciousness and freedom, as well as some powerful emotional chaos. Is that something intentional or does it all come out spontaneously when you’re jamming and recording together?

BR: A lot of our music has evolved from spontaneous jamming; however, we also spend a lot of time deliberately and meticulously sifting through each part to make sure that everything sounds as it should. So, in essence, our music is the product of spontaneity and careful decision.

LS: What kind of instruments do you use?

BR: Bass - Fender P. Bass and Warwick Powerbass; Drums - Ludwig Vistalites; Keys - Nord Electro 2 and Roland Juno-Stage; Vocals - baller-ass chops; Nate - an excessive amount of rare, vintage, badass gear that only a gearhead would be able to identify properly.

LS: What are some of the most memorable places playing music has taken you?

BR: [Bowling Green’s] Starry Nights Festival and Movers and Shakers in Chicago.


LS: Who are some of BR’s favorite local bands?

BR: Cage the Elephant, Sleeper Agent, Morning Teleportation, Mahtulu, The Black Shades, The Fair-Weather Kings, Canago, Heavy Chase, and Schools.

LS: You guys are based out of Bowling Green, KY, and there’s a very strong music and arts scene there—and has been for a long time now. What are some the components of BG that keep the scene alive and strong in your opinion?

BR: Honestly, one big component in the BG scene is the fact that there’s not that much to do in Bowling Green…besides play music. The things that people do on the weekends mostly consists of going to a show. There’s constantly music being played or watched. There’s also a big respect for music that goes on. We have a lot of inspiration from our peers—people like Cage and Sleeper Agent and other bands that have gone out and tried to make a name for themselves.

LS: For a community like Madisonville and Hopkins County that is just starting to really grow artistically, is there any advice you can offer to improve upon the scene here?

BR: Start more bands, play more music. It always helps to have a good venue in the area, so out of town bands can come in and play as well. Get a decent sized bar to invest in a good sound system and start having shows.

LS: What is BR’s ultimate goal with music?

BR: We’d like to do this, for real. We want to tour and play music for our lives and not have to have other jobs. Music is what we love, and we want to do it always.

LS: What kind of plans do you have for the future?

BR: In the short future, we’re just going to tour as much as possible and get our name out there to people in other places. We just got a van, so we’re really excited to get out on the road. After that, we’d love to get picked up by a record label of some type and release a full record. That would be tight.



LS: Where can people check you out?

BR: You can check us out at www.facebook.com/buffalorodeo, buffalorodeo.bandcamp.com, and on Twitter @buffalorodeo.

LS: In closing, feel free to give some shout-outs.

BR: We want to give a shout-out to Jordan’s dad for being a cool guy, to Greyskull recordings for recording our EP, and to Richard, our neighbor, for painting that cow skull in our living room.

Want to check out Buffalo Rodeo’s music right now? Simply click on the the ReverbNation player attached below this article, visit their official Facebook page, or check out some of the links mentioned above.

Sugg Street Post
Written by Luke Short
Photos provided by Sean Marshall Studios/Buffalo Rodeo

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Gear Guide—Patson’s Modded Fender and ‘Mutt’ Drum Kit

HOPKINS COUNTY, KY (2/9/13)—Good music is born from a musician’s experiences, feelings, or ideas. Yet, without the proper instrument, attaining the desired expression and personality of a song can be difficult or nearly impossible. Fortunately, modern musicians have a plethora of finely tuned options at their disposal. From variations in tonewoods, string gauge, and speaker construction, to the customization of electronic pickups, drum heads, microphones, and beyond, contemporary players have the ability to dial in exactly what they want or need to get their “dream tone.”

But, on the flip side, figuring out the differences between each of these options can become a major, and often times confusing, learning process. That’s the beauty of it, though—it takes time to age into a fine musician.

So, instead of trying to lay everything out on the proverbial table, the Sugg Street Post would like to bring you periodic information about the instruments area musicians use to get the sound you hear live or on their records. Enter: The Gear Guide.

For this installment of The Gear Guide, we would like to bring you an in-depth—yet out of the ordinary—look at Patrick “Patson” Richardson’s modified Fender guitar and drum setup.

A literal master of his own musical destiny, Patrick creates and performs raw, original music on the mic, drums, and guitar simultaneously. And while it has taken some trial and error on Patrick’s part to find what works within this unique “one-man” context, the distinctive sound he now coins as his own—“Stag” style—is a powerful merger of unfettered, minimalistic approaches. The result: a fast-paced, in-your-face experience complete with squealing guitar distortion, booming drums, and wailing, punkish vocals. In truth, you’d be hard-pressed to ever find another musician like Patson.

Though Patrick’s inner drive to create “out of the box” sounds stands as the main piece to his musical puzzle, his customized guitar and one-of-a-kind drum kit are huge parts of what makes his remarkable, one-person creations possible.

So what are the technical specs and stories behind his customized Fender guitar and ornamented drums? Read on.

Modified Fender “Pawn Shop Series” ’72 Stratocaster – Tech Specs

Pickups—Two humbuckers; Fender “Enforcer” (bridge) and Fender “Wide Range” (neck)
Body Wood/Design—Semi-hollow, alder body with bound “f” hole
Neck Wood—Maple, 1950’s Fender reissue Stratocaster; maple fretboard
Neck Shape/Style—Soft “V” shape profile; 21 frets
Finish—3-color sunburst with custom “relic” modifications
Tuners—Standard chrome machine heads
Bridge/Tailpiece—70’s-style hard-tail Stratocaster bridge
Volume/Tone Controls—Master volume; (non-functioning) blend control

As noted by Patrick, the neck pickup adds its own curious flavor to the mix by operating at 10% of its full capacity (an electronic flaw) thereby making the sound it produces somewhat thinner and nearly incomparable.

Other than using a burlier, aftermarket reissue neck, Patrick also mentions that he’s modified the location of the guitar’s output jack, which helps to avoid onstage and in-studio space issues.

“I dropped the tone or ‘blend’ knob under the control plate so I could move the output jack, which was originally on the bottom edge of the body, into its place,” says Patrick. “Before I changed it around, it was hitting my snare drum down there and bending the insides of the jack, making for poor contact.”

In furthering the guitar’s ease of use in a one-man setting, Patrick also chose to remove the relatively bulky volume knob that originally came with the guitar and replaced it with rubber O-rings to keep from hitting it with his strumming hand. What’s more, Patrick has sanded down many of the sharp edges inherent to the guitar’s bridge to reduce cuts and scrapes when playing hard.

On his choice of steel, Patrick says he sticks with 10-gauge strings that are tuned down to E-minor or drop-D flat. He plucks them with a .60mm Jim Dunlop pick that is taped to the finger of a modified, fingerless leather glove, which also sports a bolted on drum stick (see photo below).

The wide, “Patson” guitar strap he uses onstage was handmade by a gentleman based out of Tennessee who—as Patrick testifies—has done custom work for notable performers Shooter Jennings and Joe Perry.

But how did Patrick come to own such a strange and unparalleled guitar?

“I was attracted to playing a Gibson 335 [semi-hollow body guitar], but the body was too thick for doing ‘Stag’ music. Plus, it was a little too ‘bassy’ for me,” says Patson. “I had begun playing guitar on a Stratocaster, so it's always felt completely natural to me. I tried other, less obvious guitars, but the Strat was what made the tone, and it felt like home, so I embraced it. My first ‘Patson’ Strat was a red HHS model. I later found the Pawn Shop model that looked more like what Merle Travis would have played, or even Bill Monroe's mandolin. I love the local tradition and heritage of music, so I want to melt into it as much I can.”

Regarding his choice of amp and electronics, such as effects pedals, Patson explains that, “I’d say a key part to my tone comes from the combination of the amp and mic placement simulators used in my Line 6 ‘POD X3.’ For most of the last couple of years, I had been using a big, 100-watt Mesa Boogie Mark III head with a Sunn 4x12 speaker cabinet for the high-end and a 15" bass combo by SWR for my sub-lows. I was always frustrated with how loud I had to run the Mesa to get my tone right, so I recently switched to another piece from the Fender Pawn Shop collection. It's called the ‘Excelsior.’ It’s a 13-watt, 1x15 combo that’s much easier to carry and sounds great. And it even looks cooler. I use the same thing live as in studio. I will go back to the big rig once I get to a point where I don’t have to carry all my stuff, and maybe when I’m playing outdoors and stuff more often. I like it loud, but not everyone does, so it’s good to have the option of both without affecting tone by going to the 13-watt amp.”

At the end of the day, though, what is it about this combination of electronics and his guitar that makes Patrick satisfied? And how does the combination help him in reaching the sound inside his head?

“I try to get a gritty, blues sound. I like Joe Buck’s old Shack Shakers tone, and Jack White’s tone is always rad; it’s all this dirty garage rock sound,” says Patrick. “The semi-hollow is a little different that the regular Strat, and it feels good. It helps me get that gritty sound. I’d also like to find and try an even thinner full hollow body, too.”

Now that the six-string piece of the puzzle is complete, let’s move on to the rhythm and thunder: the drums.

Patson’s Custom “Mutt” Drum Kit – Specs

• 26”, red sparkle Ludwig bass drum (originally from WKU’s marching band)
• Vintage Ludwig “Steel 14” snare drum
• 12” tom (on left); custom “Van Halen” covering
• 16” floor tom; custom-made in Nashville; custom “Peter Criss” covering
• Two, medium thickness, 20” (or bigger) jazz-tone, marching band Zildjian cymbals

Of the mix-matched set, Patrick explains that, “It's really a ‘mutt’ set made from random pieces. I use a red sparkle 26" Ludwig bass drum that was once part of Western Kentucky University's marching band. I am a big fan of [Led Zeppelin drummer] John Bonham, so I like to do things his way when I can. The vintage Ludwig snare I use is a steel 14 like John used. I have a 12" tom to my left that I custom covered to be a representation of Alex Van Halen's ‘1984 vibe.’ That was a big influence on me. I also use a 16" floor tom to my right. My floor tom was made for me by a good guy down in Nashville who built drum sets for [KISS drummer] Peter Criss through Pearl. The guy who made it used a covering that looked like the one Criss used for KISS’s 1977 album, Alive. It's very special to me since Peter Criss was the first drummer to really blow my mind as a kid with the “100,000 Years” drum solo. The coolest thing was that the guy who made the drum just knew to do it. I never even told him about how much I love Kiss; he just ‘vibed’ it. I like old marching band cymbals, too. I like Zildjians, preferably 20" or bigger. I use two of them that are medium thickness for jazz tones. So, my set really kind of represents some of my main influences. The kick drum is John Bonham/Meg White; the high tom is Alex Van Halen; and the floor tom is KISS. I enjoy representing them, if only just in my mind.”

So, how did Patrick accrue such a distinct bass drum, and what is the story behind it?

“As I mentioned, John Bonham’s sound is something I’ve always strived for,” says Patrick, “so that dictated my purchase of the 26” kick back in 1995. That’s really the only vital difference in these drums and other sets. I bought the drum at Royal Music in Bowling green from good ol’ Webb Hendricks. I was standing there just looking at it thinking, “This is Led Zeppelin all over,” and then Webb said it too, so I knew it had to be mine.”

Other than an emulation of John Bonham’s timeless and earth-shaking tone, though, what sounds can Patrick conjure from the setup and how does the kit fit with his self-proclaimed “Stag” style?

“I go for a jazzy sound when I can get it there; I like the drums to be loose,” explains Patrick. “Tracy Coss of Spider Virus was one of my biggest influences as a drummer. I spent many years learning all their songs, hoping to replace him in the band when he left, so his style bled into mine. I like the booming Bonham kick beat, too, even though it’s not so easy to do standing up. But I do all I can to stomp one out.”

And while the noticeable custom shell coverings, as well as the “Patson” adorned bass skin, may draw some immediate attention, there are also some even more unconventional “ornaments” that make Patrick’s playing completely personalized—and even kind of comical in certain respects (mainly the deer whistle).

“I have an old bird hood ornament on the top of the bass drum,” explains Patrick. “Someone once told me that I had everything but a deer whistle on there, so I got one of those, too.”

Want to check out the innovative, yet raw, sounds of Patrick “Patson” Richardson for yourself? Visit his official Facebook page by clicking here or click here to read an in-depth interview with him via the Sugg Street Post. You can also listen to some of Patson's music right now by clicking the ReverbNation player attached below this article.

Sugg Street Post
Written by Luke Short
Photos by Jeff Harp/Luke Short

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