Interview with Minton Sparks


To describe Minton Sparks as unique hardly does her justice. Unparalleled is probably a more accurate description of the speaker/songwriter Nashville resident whose music, poetry and storytelling about people and places in the rural South are gossip laced, provocative, intoxication, hypnotic and spiked with black humour. Minton took time out from her hectic schedule to discuss her career path to date and much more.

Comparisons with Flannery O’Connor and Hank Williams regularly feature in articles written about you. Were they actual influences and what other writers and musicians stimulated your chosen career. I’m particularly interested in your musical inspirations given that your Gold Digger album suggests full on blues, gospel and jazz leanings, whereas your earlier work were more rural country?

I’m a big Flannery O’Connor fan.  Musical influences are all over the board. Tom Waits, John Prine, the Indigo Girls, Patti Smith. My collaborator guitarist, John Jackson, is one of the most versatile musical talents I know. Once the piece finds it home note, or what I’m trying to say, he finds a way to come under that and make it soar.

You are extraordinarily unique in that no one else (with the possible exception of punk poet John Cooper Clarke) is mixing the spoken word with music as you do. What was the deciding factor that inspired you to put music to your poems?

I was a published poet for years before it dawned on me that maybe twenty people were reading my work. My guitar teacher at the time, Rob Jackson, was willing to begin putting my poems to music. Together we forged a possible new genre. It took me a couple of records to figure out what I was even doing because I didn’t know an artist at the time doing the same thing.

I particularly love the logo on your shirts that reads ‘The best country singer that doesn’t sing’. Not an absolutely accurate characterisation to be fair. Had you ever considered singing in full voice when you decided to put your words to music?

The past few year I’ve begun song-writing, working with dear friend John Hadley. So today I have 2 or 3 songs in each performance.

Which came first as a developing artist, the stories or the music?

The stories always come first. It takes me forever to dig in and see what the tone is, once I know that the piece comes together. Stories always point to something larger. Gold Digger the title track to current album evolved over time. I tend to edit after I’m able to perform a piece before an audience.

Are you the nosy next-door neighbour and people watching type in creating your tales, or are they all very much works of fiction?

I’m a sponge for drama. Always eaves dropping on nearby conversations. So, I guess you could say I’m the spy next door.

There is tragedy, black humour and desperation in your tales and characters. You seem particularly sympathetic to the people you write about and their predicaments. Do you consider yourself as a conduit representing the relationships and circumstances of ordinary and often voiceless people?

I worked as a therapist in my early days, and then attended Divinity school (though I dropped out later) so I’m very interested in giving a voice to the voiceless, or more importantly listening to those who are not listened to traditionally.

Tell me about the Nashville Writing and Performing Institute that you founded and the motivation behind it?

After each performance, someone comes up desperate to tell the stories caught inside their throat.  After a couple of years, I decided to create the Nashville Writing and Performance Institute as an outlet for folks with trapped stories. We have an open mic for the school once every few months so that students have a chance to perform their writing for an audience. I taught Psychology for 10 years and absolutely love teaching transformation. It’s deeply rewarding to hear someone own a story that used to hold them back. Novelist Dorothy Allison always says, “we are every story we ever survived”. I love her.

From your experiences conducting storytelling workshops across the country. Can the gift be taught or does the student require an inherent skill set that just requires a framework?

The story finding the page is a birth right that a lot of people never discover. I feel like our writing voice is basic to humanity; and it’s a fabulous way to alchemize experiences that otherwise get stuck in the throat. Whether or not, the result looks like someone has “a gift” or not, doesn’t matter. It’s the storytelling that heals the heart.

Does the current political in The States situation give you food for new material or is it a topic you’d prefer avoid?

Oh yeah, the week after the last presidential elections I wrote a piece, Fight Club, out of desperation. I’m trying to see why “my people would ever vote for someone who is so against their basic interests, their basic decency.

You have been working and performing with guitarist John Jackson for ten years at this stage. How influential is he is creating the music that decorates your lyrics?

We’ve worked together long enough that he completely understands the under song of the stories I write. He finds a way into what I’m saying musically. It lifts the piece into another realm. Very lucky to work with him.

Your last album release Gold Digger was particularly powerful and somewhat darker than your previous work. It also rocked out gloriously on tracks like I Am From, Hi Helen and the title track and jazzed out on Mary Kaye Disciple and Black and Blue Tattoo. Was this experimental or a general change in musical direction for you?

We decided to record with a band on Gold Digger. At the time Joe McMahan a fabulous guitarist and producer here in Nashville suggested I do a record with some of the best musicians we could find. Go in the studio and see what we heard. He pulled in Dave Jacques on bass and Shad Cobb on fiddle. So, Joe produced and played on one side of the record and it was just going to be five songs. Six months later we went into the late, great, Brian Harrison’s studio to finish. Brian produced the second side. I’m constantly evolving musically because the stories are coming from a different place as time goes on. I’ve been incredibly lucky to work with folks like Chris Thile, Keb Mo’ and Waylon Jennings.

You’ve graced the Grand Ole Opry, which is a commendable achievement. How did the performance go?

The performance was a dream come true. My Dad always said that I couldn’t claim success until I was on the Opry.  What he wouldn’t understand is they never have spoken word artists on the Opry. So it was thrilling to play both at Ryman and out at the Opry House. The audience was incredibly open to us. Bill Anderson was complimentary after the performance saying, “I think we are going to be hearing a lot more from that lady with the purse!”

With the wealth of female talent in Nashville that find it difficult, if not impossible, to get deserved radio play, what outlets are available to you to market your work?

We almost have to make our own outlets. Americana stations will play us although it’s not an easy fit. We did play the first Americana show here in Nashville. We have a couple of loyal station in Ashville, NC.  We’ve been recently featured on the ACME radio show, and a local WXNA. We are touring and getting the word out that way. We really want to do a European tour next summer

And getting gigs, given how distinctive your shows are, easier or more difficult than regular musicians?

I have a regular series here in Nashville at the city Winery Lounge called, “No Lady’s Land” I’m trying to get the most brilliant talent as openers for the series. That’s how we met Emma Swift. Otherwise I’m out playing storytelling festivals, colleges, and performance spaces of all stripes.

You have worked with two of my favourite artists and indeed storytellers, Sam Baker and Jim White. How did that come about?

I met Jim White in Atlanta on a co bill at the Grocery on Home house show produced by the infamous Matt Arnette.

Jim and I became fast friends and he invited me to spend the winter in Calgary at the Banff Art Center with Sam Baker and Mary Gauthier trying come up with a Southern musical play of sorts. All those guys are brilliant and we had a wonderful time together. I’m so inspired by Sam, Mary and Jim.

I’m aware that you have had pieces published in literary journals but have you considered an anthology of short stories expanding on various tracks from your albums?

I’m in the middle of writing a collection of short stories having to deal with growing up working in an Amusement Park in Bunnell, Florida.

This will probably sound like a ridiculous question but your accent is to die for, to someone like myself from this side of the world! Is it altogether natural or exaggerated for greater affect?

I’m from a small town in Tennessee. I’m afraid it’s authentic. 

You performed in Ireland a few years back. Any plans for a return visit?

We loved playing the Belfast Songwriting Festival and would absolutely love to go back.

Interview by Declan Culliton   Photograph by Gina Binkley



Interview with Jeremy Nail 

Texas born Jeremy Nail is a survivor in the true sense. His latest and most impressive album Live Oak was released earlier this year. In many ways it follows a similar theme to his 2016 recording My Mountain, both albums having been written following his recovery from sarcoma, a rare soft tissue cancer, which resulted in the amputation of one of his legs. Written in the aftermath of such trauma, both albums are powerful, soul searching, reflective and yet laced with positivity and resilience. Lonesome Highway tracked down Nail to discuss the albums and his chosen musical career path.

How did the writing process for your recently released album Live Oak, compare to your 2016 recording My Mountain? 

It was a very similar process, actually. By the time I had finished My Mountain I had developed a style of writing that felt very natural. I like to work each line until the song can stand on its own as a written work. I like to experiment with melodies as well.  On Rolling Dice there was a version I had that was done on a keyboard, and had a few lyrical changes here and there. Live Oak had a sort of upbeat, Grateful Dead feel before I changed the melody completely. Once we get in the studio, we quickly realize what is working and what is not.   

Alejandro Escovedo is a man much admired and loved by Lonesome Highway and an artist that recovered from his own health issues to return stronger than ever. He appears to be like a father figure or even possibly a tutor, in your artistic journey. How did your relationship develop with him?

We hit it off when I filled in playing guitar in his band a few years ago. It was a great experience cut short by health problems that I had to stay home and take care of. When we reconnected, our relationship grew as friends and artists. I was going through this period, of learning how to walk again and dealing with some pain (after battling a rare form of cancer - Sarcoma - which resulted in the loss of one of my legs). He really took me under his wing, and shared a lot about what helped him get through his own health struggles. Alejandro guided me to make an artistic statement on My Mountain in the wake of suffering, which is something he is a master of. I am forever grateful to him for that.

What did you particularly learn from his production input on My Mountain?

I learned a lot about what it means to give songs space. When you add more layers, you still want to do it in a way that serves the song and story being told. 

The Zone Recording Studios in Dripping Springs would appear to be the most perfect setting for recording Live Oak, given how much landscape you use in your song writing. You co-produced at The Zone with Pat Manske, who has worked with the cream of Texan artists. What influenced your decision to work with him?

The last phase of recording for My Mountain was done at The Zone. Working with Pat, we got into a great flow so it felt natural to keep working there. This time around, we collaborated more and really locked in musically. He has a great attention to detail and knows what makes a song special. He also mixed the record onto 2” tape, brilliantly. There is a great vibe with him and the band. I’m anxious to keep going!

The album’s title is inspired by the 600-year survival of an oak tree in Texas and is a classic theme for the album. Was this always going to be the title track of the album or did it surface during the recording process?

For most of the recording process, I thought it was going to be called Abiquiu, but I was afraid people might have a hard time pronouncing it. Then it dawned on me where I was, in terms of place and phase of life. Live Oak was the perfect fit.

The opening track Abiquiu, a small town in New Mexico, articulates the presence of both beauty and decay residing side by side. The sentiment in the song could speak for so many small towns throughout The United States. Presumably it was written based on a live experience passing through the town?

Yes. I was driving through there last summer. What I saw and experienced felt spiritual to me. Both the beauty and decay I saw were very heightened, in such a way that I had to write about it. I grew up going to visit my uncle in Taos who was an artist there, Bill Bomar. There is something about the landscape and air there that is so inspiring to me. 

Till’ Kingdom Come, which bookends the album, speaks of your recovery ‘to this new life that I live and breathe’. On reflection, had you not encountered your health issues, do you consider that your musical career might have headed in a somewhat different direction?

I think about where I was before I got sick, if I would have continued that way I don’t know if I would be playing my own music or doing this at all. Though I was playing in several bands at the time, I had sort of a creative block with my own songwriting. Having this experience changed all of that. I love what I do. 

There is a noticeable calmness throughout the album. Is this a reflection of your state of mind during the recording process?

Maybe so. There is a certain intensity in record making because you are listening so closely, seeing what works and what doesn't. I’m lucky to work with people who share the same instincts.

On the subject of your use of landscapes in your song writing.  Is this motivated by your upbringing in rural Albany, Texas surrounded by lots of open spaces?

Definitely. Going back now, I realize what an influence being raised there was. As I go further along in writing and music, as a listener as well, landscapes are like colours on a painter’s palette.

Your family appear to be either farmers or art purveyors. I understand that you studied agriculture. What encouraged you to the artistic career in favour of agronomics?

I was studying at Texas Tech and I wasn’t doing very well in school. I came home one summer and wasn’t sure what I wanted to do. My stepdad, who was also a rancher, was listening to me play guitar one day and said, “You ought to do something with that”. I enrolled in the Commercial Music program at South Plains College, and just took it from there.

Ironically, there are unfortunate similarities between farming and musicianship, given how both careers have dramatically changed from the opportunities they offered a few decades back. How difficult is it to survive in such a crowded musical environment at present? 

Everyone is on different paths. At a certain point, you have to define what success is for yourself. Like ranching, if music is a part of you, hard times will come and go. You do it because that’s what you do and it’s who you are. If I stay creative and inspired, I know things will work out.

Two studio albums in two years is quite an output, particularly when the material reflects personal moments in time, reading in many ways like intimate diaries. Is this a theme you intend to pursue in further recordings and how precious is song writing for you in dealing with everyday challenges? I’m practically anticipating a third similarly slanted album to complete a trilogy!   

I can’t explain it, other than it’s just the way I write songs. As life goes on, so does art and the things you have to draw from. I imagine I will stay the course.

Like so many of your Texan contemporaries you cut your teeth playing in indie/rock bands. Is this a direction you intend returning to at any stage in the future?

I don’t think so. At this point, I am more satisfied making quieter music.

Any plans to tour Europe in the near future?

No plans yet, but I would love to play there.

Interview by Declan Culliton   Photograph by Todd V Wolfson


Interview with Paul Burch

Paul Burch's unique vision of American roots music has attracted characters and collaborators from punk to honky tonk and beyond. His debut album Pan American Flash (1996) was ranked No. 5 on Amazon’s Best Country Albums of the Decade and all of Burch’s subsequent LPs have been acclaimed up to and including the release of his most recent album, his 12th, Meridian Rising (2016). Lonesome Highway has been fortunate to have seen play in Ireland on a number of occasions and to have interviewed him during this visits. We thought it was high time to catch up with him and ask him a few questions about his musical memories and observations about the Americana music scene in general.

You’ve had a varied musical career that has seen you as an instigator of the scene that revitalised Lower Broadway along side Greg Garing, BR5-49 and others. It’s now a totally different area a regular tourist trap. How do you consider your involvement with the re-genesis of the area now or do you have fond memories of that time?

I do have fond memories of playing on Lower Broadway. At that time I was discovering the first generation of songwriters who had come to Nashville after WWII and started writing from personal experience. I already loved Hank Williams very much and had since I was a lad. But I also started listening to Floyd Tillman who was from Texas and was an influence on Willie Nelson. It’s challenging to write a song as beautiful as Afraid by Fred Rose or as direct as Floyd Tillman’s “Slipping Around” or as funky as Vic McAlpin’s Rocket In My Pocket. Many of the early writers from that era were still around Nashville. And the sound of our band at the time–just guitars and Hawaiian steel - was like a siren song. We had been playing just a few weeks before they came out of the woodwork. Many songs from that time were also admired by my favourite R&B artists like Ray Charles, Arthur Alexander, and Sam Cooke whose work crossed over into rock ‘n’ roll.  

Plus at that time in the early 90s, many of the musicians who played on my favorite records - both country and R&B - were alive and very approachable both in Nashville and in Memphis and Muscle Shoals. Bobby Hebb, who wrote Sunny, came to my work and did a solo concert with just guitar that was absolutely thrilling and beautiful. Though I never met Sam Phillips he was just over in Memphis as was Charlie Rich. I did meet Carl Perkins and George Jones. Everywhere I went I was introduced as someone who was a “pretty good singer” and who cared about the artists. And I was happy to be thought of that way. Downtown there was a kind of flea market junk store that had a whole room piled high with 78s. The good stuff had been picked through but there were lots of one-off pressings of sermons and funerals, odd demos. And it seemed like only Greg, BR549, and myself were interested in that stuff. We had it all to ourselves. To give you a picture of how unplugged we were, around 1995 or so, the Country Music Foundation put out Johnny Paycheck’s early records from the Little Darlin’ era - early 60s - and we each bought out all the copies at Ernest Tubb records. Probably the day it came out. And probably the only copies they sold! But we weren’t listening to the radio at all. I couldn’t tell you what came out between 1994 and 1997 or so. I might as well have been on an island.

We were totally engaged in the music. Everyone told us we would never get anywhere, which just stiffened our resolve - at least mine. My ambition was to make records which itself was considered a bit weird. We really believed that the artists we were covering were vastly underrated. We had the fantasy - mostly wrong - that the musicians from that generation before Elvis knew a change was coming but were not encouraged to be as creative as they could be. As for its current state as a slum for drunks, it was probably inevitable. A lot of investment was happening just as we were getting some press. One might have helped the other. But it didn’t take a lot of vision to see that it could be exploited.  

Your last album Meridian Rising was about an imagined musical telling of the life of Jimmie Rodgers, the Singing Brakeman. You tell the overall story on your website. Tell me what inspired you to create this set of songs that was conceived in musical style that would have been familiar to him?

By chance I heard an unreleased recording of Jimmie with Clifford Gibson, an African American bluesman who mostly worked out of St. Louis. The song was called Let Me Be Your Sidetrack. It was the surviving take of two that were made and you can tell because Clifford anticipates Jimmie’s yodel at the end. I think at the time I was either working on the songs for Last of My Kind - based loosely on the characters in Tony Earley’s Jim the Boy which takes place in the 1930s - or I was working on gathering songs for a documentary about Appalachia. Both might have been going on at the same time.  

But anyway, I was struck by the recording because Clifford was a good guitar player and played in an open-tuning with phrases that reminded me a little of Robert Johnson who was a few years in the future. In other words, his sound was contemporary to blues at the time but also a little more forward. That’s how I chose to hear it anyway. Clifford was also the only bluesman that Jimmie ever recorded with. So all of this just intrigued me about what Jimmie’s life was like as a musician. I had already read the biography by Nolan Porterfield but it didn’t give me the sense of Jimmie’s personality on record as it connected to the facts of his life. His personality is easy to hear in his music. But integrating the two was what I wanted to do. I thought it would be an interesting challenge as a writer. 

Gradually, after a few years of keeping the idea in my back pocket, it struck me that using the styles of Jimmie’s influences like the Mississippi Sheiks and others would be the best way to present the story. Occasionally I dipped into his forms but for the most part I had the freedom to draw on sounds and arrangement styles that Jimmie probably enjoyed but didn’t cover. For instance, If I Could Only Catch My Breath  has the kind of death-march sound I know from Duke Ellington’s early records for Okeh, which were out at the same time. Most of all it was a great writing trip. And I got to spend time in that world which is pretty wonderful musically.

Are you working on a new release or what consumes you creative energies these days?

I am working on a record. It might be a series of records - I’m not sure yet.  But I’m hunting and gathering as we speak for release next year. 

After eleven albums does get harder to find something new that you want to express?

Thankfully not. I feel more challenged after Meridian Rising to try to take more risks and do something that is hard to qualify but easy to like. Perhaps initially I wanted to state my case that I could write and sing a song and produce an album. For better or for worse - as far as the market place is concerned -I don’t have run that race anymore.  Ultimately, I’d like to create something so beautiful that it lives far beyond my name. 

You toured at one time as a member of Lambchop was it refreshing to be part of a band rather than leading it or do you still like to be the man in charge?

I like both. I’m not sure anyone was in charge of Lambchop - though certainly Kurt was and is the leader. They were his songs. I’m by nature someone who likes to help. I can’t keep quiet if there is an opportunity to encourage freedom of expression. In my own group there are several members who encourage me to take chances and they’re not afraid to disagree. I think there is a Keith Richards quote somewhere about first turning on the drummer and then the band. Once you’ve done that, look out world. As far as being in charge - I know there are better guitarists, vocalists, bandleaders - you name it. But I’m uniquely qualified to tell the story I’m telling in the way I think it should be told. If I can express myself freely, they will too. We’re in it together.   

Your current WPA Ballclub roster includes some 21 names. Do you ever all get together or do you have to pick and choose to suit a venue or budget?

I think you’re the first that’s put a number to it. Typically - on an occasion where everyone can make it - we work best as a quintet. I like the variety of sounds. But anything can work. Ideally it’s nice to have an array of colors that way you’re not boxed in. 

In that light, do you get to tour these days?
Not as much as I’d like to but as I said last time, if someone calls and says “go here”, “go there”, I’ll probably do it. I kind of like working in obscurity except for things that come with obscurity like lack of resources and fewer opportunities. 

A lot of the imagery on your website has a look that seems to be taken from the last century. Is that a time that hold s the most interest with visually and musically for you?

In most cases I used the photos that appealed to me. I was born in the last century so it doesn’t seem so far away to me. As for the photos of me, they where shot just where I happened to be. When the photographer says, “hold still” I’m not going to argue. 

What memories do you have of playing in Ireland?
Good ones!  I’m not there enough. My grandfather’s family was from Cork. I’d like to go back again soon.

Do you have a particular favourite in the albums you have release yourself?
I don’t - but I don’t say that in a disparaging way. They all have their sound, which I’m thankful that happened. I learned something from making all of them. In retrospect, even making one album seems remarkable. I remember thinking after Pan American Flash that it was a nice album and if I couldn’t make a better one or another one, that would be ok. I guess I suffer from being philosophical. I remember the feeling of wanting to write the records and putting them together. But the ability to actually make the songs happen, that’s as much of a mystery now as it was then.  

What about in you production and guest roles?
I’d like to do more. I always keep my ears out. Producing is a lot of work - it’s an investment. 

How difficult is it to keep control of your music in these times. It looks like you have the rights to your albums?

Glider Ltd. is my little label which the older records are available on. But I like labels. I wouldn’t want to own one but I don’t mind being on one at all. As Jason Ringenberg says, a team beats a single person everytime. 

What ambitions have you yet to fulfill? Do you have many interests outside musical ones that take up your time? 

I don't know about any specific ambitions other than to stay alive and keep working. I do still think Meridian Rising would make an interesting film or play so I hope a good young film maker or playwright might emerge from the dark who has an idea. I think perhaps I’ve gone as far as I can in its current form. I have a few more album ideas I’d like to pursue. I’m just happy to be interviewed, really. Will anyone be reading this? 

Finally what has music given you? 

A keen sense of purpose and desperation. 

Interview by Stephen Rapid  Photograph by Jim Herrington


Interview with Kacy Anderson (Kacy & Clayton) 

My first encounter with Kacy Anderson and Clayton Linthicum was when they appeared at The Kilkenny Roots Festival in 2015. The young duo, teenagers at the time, were chaperoned by Ryan Boldt of Deep Dark Woods fame, who was playing solo at the festival, having performed with his band at Kilkenny Roots a few years earlier. Boldt has been like a father figure to Kacy & Clayton, bringing them on tour with him and plugging them from an early stage in their careers as Kacy explained. ‘Ryan’s been very encouraging to our career not only advocating our music, but as an example of how to become touring musicians outside of Saskatchewan’

Second cousins, Kacy and Clayton early acoustic albums suggested a maturity in both writing and playing well beyond their years and they eventually came to the attention of Wilco’s Jeff Tweedy, who invited them to open for Wilco at The Fillmore in San Francisco. So impressed was Tweedy that he offered to produce their latest album, The Siren’s Song, at Wilco’s recording studio The Loft in Chicago. The album, released in The States in 2017and in Europe in the spring of this year, unlike their previous work as a duo, features bass and drums to supplement Anderson’s striking vocals and Linthicum’s finger picking guitar style. The inclusions of the additional instruments give their songs extra depth, something no doubt recognised by Tweedy, whose production rewards the listener with a very late 60’s early 70’s feel, recalling in particular the U.K. folk rock sounds of that era, together with the flower power Laurel Canyon vibe. I get the impression talking to Kacy that working with Tweedy was very much a teacher and pupil scenario, with little time wasted in the studio and I even detect an innocent reverence of the whole experience. ‘Jeff has an endless amount of gear and I got to play a couple of his guitars on the album. His presence was respected which made for timely sessions. We didn’t do any messing around because we knew he wasn’t going to be staying all night for us to get a take!’.

The album features a number of co-writes between Kacy & Clayton ‘I find that finishing songs with Clayton gives me more confidence to bring them forth to other people to listen to because it’s been filtered through another set of ears that I trust with all of my heart,’ adds Kacy. The album tour has them performing with a band rather that the duet format of previous tours, but has she a preference for one over the other? ’It’s nice to have the band with us on tour since the majority of the latest album has a rhythm section. Playing as a duo feels comfortable also as that’s how we started out. Playing as a duo also gives us an opportunity to do some traditional folk songs we love that we haven’t arranged with the full band. The person paying us gets to decide their preference I suppose’.

Kacy comes across as a particularly grounded, practical and polite young lady, no doubt a result of her upbringing in the remote town of Wood Mountain, a four-hour drive to Saskatchewan, where the possibilities to witness live music was restricted. ‘We saw local rodeo dance bands and went up to Regina or Saskatchewan every once and a while to see people like Bob Dylan, Neil Young, John Fogerty perform at the Stadiums’ she explains.  

Self-confessed music nerds who were both experimenting with old folk and country sounds, I wondered how that resonated with their school peers given that they are not the music genres normally associated with teenagers. ‘No one in our school cared about music at all really, so we just got as weird as we wanted with our tastes because everyone already thought we were weird anyway!’.

With the nearest record store, a five-hour bus ride to pick up second hand albums and the internet unreliable in The Wood Mountain Uplands, the opportunities to research their combined fascination of old time country and folk music was limited. A neighbour who grew up on 40’s and 50’s country legends Hank Snow and Bob Willis was one source and The Carter Family and Doc Watson’s music was discovered on a cassette tape of Kacy’s Grandfather. Given that the majority of today’s music lovers and artists have an unlimited source of information available at their fingertips via the internet, it’s refreshing that the majority of Kacy & Clayton’s song writing ideas originated from stories passed down from family members and neighbours, very much in keeping with the origins of the old timey music that fascinates them so much. The daily three-hour journey to and from school also gave her the chance to devour books on the history of music and any biographies she could get her hands on. 

Rehearsing involved driving the six miles from each other’s houses – illegally initially given that they were under the legal age to own a driver’s licence – and their opportunities to perform live were restricted to playing at a senior citizens home on Sunday evenings. It’s remarkable that they are making waves in the Americana scene given these impediments. However, it’s still no gravy train, four albums later and even support slots with Wilco and an upcoming tour opening for The Decemberists. As Kacy explained, ‘It would be nice to get down to play The Americana Fest again in Nashville, but unfortunately it’s very expensive to do’. 

In the meantime, their aim is to attempt to maintain a steady album/tour cycle and see where that brings them ‘Our plan is to keep making an album every couple of years and touring to support it. I hope to repeat the cycle as many times as possible. I think it’s pretty much impossible for us to break into the market in The States but we will keep trying our best’.  

I wondered where the U.K. folk influences came from given how striking they are on the album. Kacy replied, ‘It began for me about 8 years ago when I started listening to Fairport Convention, Anne Briggs and Shirley Collins on my iPod riding the bus for an hour and a half to school every day and then back again’.

Comparisons could be made with Dori Freeman, another independent young female artist also residing in the equally rural setting of Galax Virginia and who has an equally passionate love of old time music. Both Kacy and Clayton appear on her latest album Letter Never Read and I wondered where the connection had been made. ‘We became friends over the World Wide Web a couple years ago and it lead to Clayton and I playing a little on her album, ‘She’s a wise woman and I have a great appreciation for her support of our bands existence’.

Interview by Declan Culliton


Interview with Timbo of Speedbuggy USA

Speedbuggy USA are an exciting no holds barred country-punk band from Los Angeles who released their first album in 2000 and Kick Out The Twang this year. They are fronted by guitarist and vocalist Timbo. Lonesome Highway caught up with him after a recent European tour to ask him a few questions.

Tell me what was the inspiration and story behind Speedbuggy USA? 

The band started out as a nitro-infused Cowpunk band. I wanted to blend my love for Merle Haggard, Johnny Cash, Buck Owens, Hank Williams and so on mixed with the energy of The Clash, Creedence Clearwater Revival, The Jam, The Pogues. The list of influences goes on forever. We had Steve Kidwiler from NOFX on guitar and Pat Muzingo from Decry and Junkyard on drums.This was in the 90's we just wanted to tour and play our hearts out. We played mostly with punk bands back then. I think it made our music more gritty, it toughened us up .  

Usually when a band adds a UK or USA after their name it is because there another brand with thew same name. Is that the case here? 

After we released our first record on Greg Hetson's label Porterhouse in the 90's we found out there was a Canadian band (who have now broken up) with the same name. So adding USA seemed to make sense at the time.  

Did you have a clear vision for what you wanted the band to be when you started out?

Not really, I definitely had my influences I wanted to blend my love of honky tonk and bluegrass music with a bit of punk rock angst. But I always knew I would let my writing go where ever it would take me. Sometimes band members will help sway a song one way or the another. But I must say my vision of music goes in and out of focus. 

Cowpunk is a term that has somewhat fallen out of usage but seems appropriate here.

I think that is true. I really love those older bands like Jason and The Scorchers and Rank ’n’ File. It's a tough road trying to play honky tonk and mixing in something that blows the barn doors off. You really have to love playing it .

The band’s music though has light and shade on the recordings. Do you take a different approach to the live material? 

I let the songs change according to the mood of the show and who is sharing the stage with me live. I try not to hold the songs hostage to the recordings. 

You have mentioned that you are playing workingman’s music, do you see that as the backbone of country music?

It used to be the back bone but I think country music has gotten more of a pop sound over the years. It's so much more commercial. I lean towards the past for inspiration. Something about those old songs about truckers, cowboys, rail riders, construction and factory workers or the beaten down, the outcasts, the alcoholics and out of luck souls have always appealed more to me.

Do you have a love of the spirit of the West, of the cowboy lifestyle? 

That's one reason I stayed for so long in Los Angeles. The history of cowboy music, film and clothing are a big part of Los Angeles history. Once I put a cowboy suit on I'm ready to roll out on the stage like a singing cowboy of the silver screen. “Go west young man” still echoes in my heart . 

In that light I’m sure you must have some favourite books and films? 

Those old Hollywood westerns were staples of my youth, they were always on the television Saturday nights and in the Sunday matinee’s. As a kid I was crazy about 50'-70's TV cowboys like the Cisco Kid, The Lone Ranger, The Rifleman, Gene Autry and Gun Smoke were all some of my favourites. I also have a strong affection for those Sergio Leone spaghetti westerns. I love how Sergio showed the fine blurred line between the good guy and the bad guy. Nothing is better than a western film . 

Speedbuggy seem to be making inroads in Europe do you find that that audience more appreciative of your music? 

I love touring Europe, our fans over the great pond mean the world to us they are very sincere and a blast to hang out with. Europe is one reason we have kept going all these years. 

Are you able to sustain the band through live work and album sales?  

When not touring I'm a carpenter I love building. Not only the camaraderie of a job site but the self worth of constructing something. I'm proud to be a working class blue collar man .

I read that you recently had to deal with serious illness. How did that set you back? 

It's been a long road. We couldn't tour or play much. I think in the big picture it's help in my song writing. Nothing like a dose of pain and financial struggle to help write a broken-hearted country song.

How do you feel the music has progressed since releasing Cowboys & Aliens in 2000? 

I've really  tried to bring more of that California, Bakersfield sound into our mix. Our guitarist Seth Von Paulus who is the producer of the bands last two records has helped expanded and explore different instruments, tones and rhythms over the years. This has really helped the band get deeper into American roots music .

Were you musically involved prior to that and was your musical direction different? 

I've been playing music since I was a kid. The minute I saw Elvis I was hooked. I don't think I had one specific direction in my younger years. I just loved playing  guitar  and singing. I was lucky growing up in Louisiana and being surrounded by so much great music. Cajun, country, blues and rock ’n’ roll 24 hours a day. I always tried to learn from the artists around me and I kept my eyes and ears wide open.

You guys can rock but in a way that works whereas some of the current crop of “country” bands seem more like a bad metal act. Can you explain the difference? 

I think maybe the passion is different for Speedbuggy. When I work on a song I'm trying not only to express my art but I want it to find a truer sound. I want it to be real. I think if you are only trying to find that radio hit, you as an artist could suffer. I try to get back to my roots, that’s why I started to play music and pick up the pen, paper and guitar and get to work . 

What’s next for Timbo and Speedbuggy USA? 

We are working on writing another record. I've been getting with Brady Sloan, our bass player, and our drummer Jaimie Dawson and bashing out ideas for the next record. Fresh off the road has always been a creative  writing time for me. Speedbuggy is also setting up more festivals and tours. For the future Speedbuggy hopes to come to Ireland to perform. So spread the word and let's get this buggy rolling!

Interview by Stephen Rapid