Mike Heidorn lives in Belleville, Ill., not far from the neighborhood where he lent his punk gunfire drumming to Uncle Tupelo for its first three albums. Over a three-hour lunch at a local restaurant with his band's framed album covers on the wall, Heidorn talks as fast as he drummed for the band.
The Magnolia Avenue Studios hosted hundreds of musicians, and over 70 different bands from all genres for 2013's Live at KDHX recording sessions.
Despite its carefree nature, making a summer mix can be a harrowing task. Do you opt for of-the-moment pop jams or comfortable nostalgia? These are the questions that kept us cassette-dubbing youth up at night in summers past.
When George Jones passed away in April, Jay Farrar posted this about him on Son Volt's Facebook page: "George Jones epitomized the spirit of country music. He represented the Honky Tonk zeitgeist like no other." Farrar did Jones' legacy proud last night as Son Volt brought its own unique version of honky tonk -- the apropos title of the band's new album -- to a packed house of adoring fans.
Jay Farrar's love of country music is no secret, but in recent years he's fallen hard for the classic honky-tonk sound of the '50s and '60s. But it's not just the sound that's currently inspiring him.
Son Volt's "Honky Tonk" calls on inspiration drawn directly from the heartlands of America and takes on a much more classic approach to their alternative-country craft.
Will Johnson's never been stingy with his art. From his work with Centro-matic, South San Gabriel and Monsters of Folk, to producing and playing on albums by other artists, to painting portraits of baseball players, "prolific" barely describes the Missouri-born artist.
Woody Guthrie had his own views on copyright law, which he often expressed on his lyric pages with a clear and humorous addendum.
Whether he realizes it or not, Jay Farrar, much like the afternoon sunlight in fall, casts a long shadow over the St. Louis music scene.