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A few months ago I was at Schubas for a Scott H. Biram show. Everybody was milling around in the front bar when a the opening act, Radio Moscow, took the stage. Parker Griggs and company would soon capture everyone's attention in the house.

I'd seen Radio Moscow before and had been listening to their self-titled debut release prior to its release date, so I high-tailed it from the bar to Schubas' back room. It was a sparse crowd, but as soon as Parker lit into the first song you could see heads turn. The room soon filled with people standing around, their mouths agape. I asked a buddy of mine what he thought and he said, "Holy shit. That kid can play."

That has been the reaction both times I've seen Parker and Radio Moscow. I was expecting the same from Shirk and my brother-in-law who joined me at the studio for our 12th live session. It didn't take long for jaws to drop as Parker and the boys began with "Frustrating Sound."

Parker Griggs' hands are like meat-hooks and they swallow the neck of the guitar. His hands move effortlessly, driving a heavy blues sound that seems odd for someone so young (he's 23 I think). As the session continued, Radio Moscow were firing on all cylinders and we just soaked it in. At one point, after kicking out "Whatever Happened", Parker asked if he could try out some new material. Shirk's response? "You can play all day for all I care."

Parker is the centerpiece of the band, but by no means is Radio Moscow a one man act. Shirk compared them to Jimi Hendrix & The Experience. Now before anybody freaks out, we are not comparing Parker Griggs to Jimi Hendrix, but the overall approach is fairly similar. Todd and Zach do a phenomenal job laying down the rhythm and then get out of the way, letting Parker do his thing. And his thing is nothing short of amazing.

Parker Griggs is one of the best young guitarists out there today, if not the best. He's a prodigy. As he matures and his songwriting chops get refined, there is no limit on what he and his band can do in the future. Next time they are in your town, go see them.

Downloads:

Exclusive: Radio Moscow - Frustrating Sound

Exclusive: Radio Moscow - Whatever Happened

Exclusive: Radio Moscow - New Untitled Track

Exclusive: Radio Moscow - Deep Blue Sea

Exclusive: Radio Moscow - Mistreating Queen

Exclusive: Radio Moscow - Fuse

Original Post Here.

Ha Ha Tonka made their way into our studio a couple weeks back on a beautiful, Indian Summer day. I arrived late and walked in on the band setting up. After the usual introductions and pleasantries, we just started shooting the shit.

I asked them about their previous name Amsterband and what led to the name change to Ha Ha Tonka, a state park in the Ozarks near their hometown. Basically they said, Amsterband was leading to some confusion on a couple of fronts: 1) that they were jamband set and 2) that they weren't serious musicians. While the boys can certainly put out a fine racket, I wouldn't label them as a jamband and I can attest that they are certainly serious and tremendous musicians.

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Soon all were settled in and I took my place in Shirk's soundbooth as the boys rans through five tracks from their phenomenal debut, Buckle In The Bible Belt. It was great to hear Brian introduce a few of their songs with the inspiration or story behind them, like the VH1 Storytellers or MTV Unplugged that we all know and love (or loved).

One cut that really stood out was their a cappella rendition of "Hangman." As they eased into the tune, I commented to their booking agent, Matt, and JP from Bloodshot, about how Phish used to do a number of a cappella tunes back in their day. Phish went so far as to take barbershop quartet lessons to better their skills. While HHT's a cappella dabbling is more gospel based than Phish's efforts, its something I hope they continue to pursue as their harmonizing is second to none, and is one of the many traits that make this band so special and so full of promise.

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After the session, which included a couple of new demo tracks for our delight only, we ended up hanging out a bit and listened to the raw cuts. I logged onto emusic to check their ranking and tried to find Lucas some love. Any adoring female fans should send qualifications to hearyablog at yahoo dot com and we will forward to Lucas.

Overall it was a great day of music with an easy-going group of guys that are definitely going places. I have played Ha Ha Tonka to many friends and each has had nothing but exemplary things to say about them. This is a band that is going places and I felt privileged to have them play for me in such an intimate setting.

Exclusive: Ha Ha Tonka - Gusto

Exclusive: Ha Ha Tonka - Caney Mountain

Exclusive: Ha Ha Tonka - Falling In

Exclusive: Ha Ha Tonka - Hangman

Exclusive: Ha Ha Tonka - St. Nick on the Fourth in a Ferver

As Oz so lovingly put it, "I'd rather the artists (sic) make the money they deserve and continue to put out quality music ... instead of answering phones in a cubicle." Selling out in the indie world has been a long debated topic, yet when it comes down to it, the artists need money. Even if it is only to continue making music. Whether through CD sales, touring, merchandise, or --- GASP! --- commercialization, bills need to be paid.

With a reading of the script and his artistic consent, Ferraby Lionheart signed the dotted line and his song was played during last week's episode of Gossip Girl. The world didn't implode, black wasn't white, up wasn't down and maybe most surprising of all, his music still sounded the same. And while millions of viewers heard Ferraby's song for the first time while watching the CW on Wednesday, 175 crammed into Schuba's to see him live.

I was a bit in both groups. The Monday before the Live Session, e-mails amongst the writers began circulating as we tried to figure out who could make it to the studio. Oz was trapped on the West Coast 2,100 miles away. It was even further for Woody who was sunning in Cabo and Drinking Buddy had something called "Work." So, as the only remaining Chicagoan, it was up to me. This was the first I'd heard of Ferraby Lionheart.

Already running behind schedule, Ferraby and the guys cabbed it to Shirk's and quickly set up. On mostly borrowed equipment, they banged out the fastest, yet tightest Live Session we've ever had. Two songs with Ferraby playing guitar and then two with the borrowed Wurlitzer... and then they were gone (at least out of the studio).

We rode the always dependable (bitter sarcasm) CTA north to Schuba's. Drummer, Jay, was excited to finally see the Marina City Towers made famous by Wilco's Yankee Hotel Foxtrot album cover. Despite our good intentions, Schuba's didn't appreciate our lateness to the sound check but Ferraby rocked the completely empty room, albeit with slurred and madeup lyrics. After a dinner, a shared a plate of macaroni and cheese, and a few cups of coffee, it was time for the show.

Schuba's, more packed than most weekends, brimmed with people. Drinking Buddy, who actually arranged the Live Session, finally showed up and joined me in the middle of the crowd. Ferraby's set was excellent and his songs took on a different feel under the lights along with a slide pedal and real piano. After the show and some time at the merch table, the guys quickly (I'm sure you've spotted the trend at this point) packed up the van and left town. They had to be in Ann Arbor or Detroit (they weren't sure which) by 8am for a radio show. Once again, all for free and in the good name of self promotion.

Though the tours and sales at shows certainly help, The Gossip Girl gig really pays the bills. Despite this, however, not all offers are accepted. A line is drawn. It's different for each artist, but they decide on where their craft can be seen or heard. So next time you see an ad for a Mexican beer not named Atlantico, remember that it's not Ferraby Lionheart's song playing in the background.

Exclusive: Ferraby Lionheart - Under the Texas Sky

Exclusive: Ferraby Lionheart - A Crack in Time

Exclusive: Ferraby Lionheart - Car Maker

Exclusive: Ferraby Lionheart - Small Planet

Fire up some past sessions!

You'll find Cracklin' Moth, The Record Low, The Antiques, Buffalo Killers, Illinois, and the Morning Pages.

Coming up....

Ha Ha Tonka

and

The Gore Gore Girls

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The HearYa Nation is in for a big treat this week – the venerable Cracklin Moth. Before you read any further, do yourself a favor. Scroll to the bottom of this article, click on "Eulogy for Bashu", and prepare to listen to one of the best tracks I've heard all year. I simply can't let you read any further without a little mood music. Feel free to take your pants off – the song is that good.

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My non-sexual crush on Cracklin Moth began when Oz gave me a copy of their Redbird EP right before he moved to the Bay Area. I texted Oz a few months later and the exchange went something like this:

DB: Wow – Cracklin Moth is awesome
Oz: Who is this?
DB: Bo Diaz

I'm sure, until now, Oz has been wondering "Who is this Bo Diaz and how did he get my cell phone number?"

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Anyway, flash forward to last Monday night. I walked into the hallway of Shirk's studio to find lead singer Matt Ammerman smoking a duster and knocking back a Fat Tire. I liked this guy already. We exchanged pleasantries as the rest of the band filed in with their gear. As they warmed up in the studio, I knew we were in for something special.

Cracklin Moth are five musicians that unite to form a magical sound all their own – Matt Ammerman's one-in-a-million voice and melodic guitar, Shawn Rios' varied arsenal of percussive beats, Griff Baron's trotting basslines, Drew Lindsey's whimsical keys, and the pedal steel guitar of Rocco Labriola that gives the band its signature sound.

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After several savory heaters out on the fire escape, Cracklin Moth settled in and started playing the type of music that makes you thirsty. It was a Monday night, but the beers were flowing for all. They started things off with "My Suicide", the first of five previously unreleased tracks that the band played. As mentioned earlier, the crown jewel of the night for me was "Eulogy for Bashu". The rest of the tracks are exceptional, as well. Take note of the bass-percussion interplay that starts off "Walking the Cow" (another favorite), the fuzzy guitars on "Extragalactic", and the landscape that the pedal steel guitar creates on "My Suicide". Almost the antithesis of the Steve Miller Band, each song Cracklin Moth played was uniquely different and uniquely good.

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Cracklin Moth is a band that's sure to be reckoned with in the Chicago music scene and beyond. Be sure to check out their upcoming My Heart is Leaking EP release party at Subterranean in Chicago on July 26th. They're also rumored to be teaming up with another HearYa favorite (and the other best unsigned Chicago band), The Record Low, at the Metro in August. Look for me at both shows – I'll buy you a Stone Cold Steveweiser.

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Exclusive downloads were all recorded live in downtown Chicago at Shirk's Studio:

Exclusive: Cracklin Moth - Eulogy for Bashu

Exclusive: Cracklin Moth - My Suicide

Exclusive: Cracklin Moth - Walking the Cow

Exclusive: Cracklin Moth - Extragalactic

Previous Sessions:

The Morning Pages

Illinois

Buffalo Killers

The Record Low

The Antiques

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I think the real idea behind these sessions finally came to fruition. We were hoping for organic sessions where each band can visit Shirk's studio in Chicago and play whatever inspires them: Old songs. New songs. Skynyrd songs. Whatever.

Even for The Morning Pages, it took an hour of playing, a few beers, and some encouragement from both Shirk and myself to settle into their groove. Early on I overheard the guys talking about which 4 songs they would play. While we would surely be thankful for those 4 tracks, there are no really no minimum requirements and The Morning Pages ended up cutting loose. Those four songs quickly turned into six and then eight and then nine.

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Shirk and I were standing out on the balcony overlooking the city as we waited for the guys to show up. After fewer than 30 seconds, or two sips of beer, the nicest tour van (opposite of the Illinois van) I've ever seen pulls around the corner and up to the gate of the studio. We headed down the stairs to help lug the equipment upstairs, but end up holding the doors as the five guys somehow managed to carry everything on their own. A few minutes later we were ready to go. In what seemed to be a sense of the openness to come, Alec the keyboardist, even opted to play Shirk's Wurlitzer and old Hammond organ instead of his own set of keys which he had already carried up the three flights of stairs.

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Two of the first four tracks put down were included on their EP, The Company You Keep. After a quick break, which included a lengthy discussion of better WWII movies (Battleground, The Great Escape, A Bridge Too Far) and Tele Savalas' bald head, we were back in the studio and just running with it. After putting down a few previously unrecorded tracks, we needed another break so that singer and guitarist Grant Maxwell could write down the words for "Slippin and Slidin" for the harmony parts. The amazing but short Little Richard tune took a few takes due to a tricky progression between the verse and chorus but ended up as one of the best tracks of the day.

While lead guitarist, Kevin Drost, grew up in the suburbs, many of the other guys had never been to Chicago before. In the industrial, train track locale of the studio, I think the New York City native band felt right at home. Their comfort level definitely came through in their performance. And if I were to have one experience in a new city, this certainly would be the one.

Exclusive: The Morning Pages - With the Lord

Exclusive: The Morning Pages - City Keeps Me Down

Exclusive: The Morning Pages - Slippin' and Slidin'

Exclusive: The Morning Pages - Hey Man

Exclusive: The Morning Pages - My Name is Lion

Exclusive: The Morning Pages - No One By Your Side

Past Sessions:

Illinois

Buffalo Killers

The Record Low

The Antiques

The most modern thing about the Buffalo Killers is their early 90s white conversion van, grayed out "racing" stripes and bottle opener on the back door included. They have packing it down to a science. Every guitar case, padded amp, and drum case, even both (yes both) kick drum cases, has its own specific place within the back. Even the order of packing is down to a science and one might even consider it entertainment to see them make it work.

The Buffalo Killers would be returning to Cincinnati the next day, but only after a session at Shirk Studios and a show later that night at The Beat Kitchen. Typical Chicago rush-hour traffic delayed the band's arrival nearly an hour, yet there was a calmness despite the time constraints. Naturally this attitude fit their style, both musically and fashionably as two of the band members sport months long beards and all three have hair that would have rivaled The Beatles in their hay-day of the White Album. All of them wore authentic bell-bottoms and tee-shirts: perfect tour attire. After a few minutes, several glasses of water, a few trips up and down the stairs, the sound check began.

A smoke break got the recording started. After a quick run through of "River Water," a blues heavy song, the guys came back into the studio to hear it for themselves. Despite their laid back attitude, the importance of their music obviously showed. They wanted to sound just as good as they know they are. During the soundcheck, drummer Joey even took the time to tune each one of his toms to ensure the sound quality. Approving of Shirk's initial mix, they guys headed back around the glass and did a rockin' 4 song set including an absolutely amazing cover of Neil Young's "Home Grown," a fan favorite that has never been recorded before today. Unless you see these guys live, you can only their version of a classic at HearYa.com.

Chicago was the last stop on this tour, but they'll be recording a new album starting in July with Dan Auerbach from the Black Keys. Until then enjoy the session.