FEBRUARY 4, 2010 ISSUE
Brewer’s Briefs
For decades, conventional wisdom told us that you had to have a record label behind your band in order to enter a decent recording studio and record a quality record. Well, if the last decade has taught us anything about the music industry, it’s that conventional wisdom is a thing of yesteryear. With technological advances, bands and artists can cut a sonic masterpiece in their bathroom if they so choose.
But just because you can do it yourself doesn’t mean that fancy recording studios are a thing of the past. For bands that aren’t particularly gifted with recording software or just want that studio vibe, choosing to drop the kind of cash it takes to record a full-length album in a decent facility can be a leap of faith and a major stretch of the wallet, neither of which are backed by any guarantees that you’ll be satisfied with the final product.
Some friends of mine in a band called Big Daddy Love are currently ensconced in Echo Mountain Studios in Asheville working on their second album. By all reports, things are going great and the tracks are coming together nicely. Which is good, because at $1,000 a day, I’m willing to bet that the band can’t really afford to fool around and not get work done. Some other bands you might have heard of recently cut albums at Echo Mountain, including The Avett Brothers and Malcolm Holcombe among others.
Back in the spring when my Possum Jenkins bandmates and I were making plans to record, we initially booked time with the legendary Mitch Easter (R.E.M., Drive-By-Truckers), but, through what seemed at the time like a cruel twist of fate, our date got bumped. We ended up working with Doug Williams at EMR Recorders in Winston-Salem, which, as it turns out, was a serious blessing.
Charging about half as much as Easter, Doug saved us from blowing all of our money and walking away with a half-finished record, which is almost certainly what would have happened had our original plan worked out. Which probably would have ruined the band.
Crisis averted. Thanks Doug!
This Week…
-The fabulously funky world music sounds of Toubab Krewe will return to Legends this Thursday, February 4. In case you guys were wondering, this band is the real deal, having trained with African masters and honing their craft on the road. Prepare to dance your butt off.
-The one and only King Bees Duo will be stingin’ and swingin’ the blues at Pepper’s this Friday, February 5. Catching Rob and Penny up close and personal at Pepper’s is the perfect way to enjoy the veteran duo’s blues and soul mastery. And you can even be home before midnight!
-Head to Galileo’s this Saturday, February 6, and catch local quartet The Worthless Son-In-Laws. With heavy doses of Gram Parsons-influenced country rock and ‘80s indie pop sensibilities, the Son-In-Laws write and perform some of the best original music in the High Country. And their covers are great too. And their new drummer rocks. So yeah, you should go.
Next Week…
-No, Bob Marley will not be joining The Wailers for their upcoming show at Legends on Thursday, February 10, but a guy who sounds just like him will be singing all the classics. If you love Bob Marley, go see the best Bob Marley cover band around at least once.
-Local jam rock kings The Native Sway will return to Boone Saloon on Thursday, February 11. Armed with riffs that would make Z.Z. Top proud and working classic tension and release dynamics, these guys know how to kick out the instrumental jams. Just don’t expect them to sing.
-Raleigh-based outfit Zegg will return to the High Country after a long absence for a show at Canyons Saturday, February 13. Zegg (which stands for Zero Excuses Gets Groovin’) are the prototypical funky jamband designed to get people moving on the dance floor. But don’t let me mislead you—these guys aren’t noodlers, they’re a tight funk machine.
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