http://www.reverbnation.com/ebook/indie_band_survival_guide.pdf
http://creativecommons.org/weblog/entry/8756
21 May 2013
JASON JACK MILLER'S SECRET STASH: The Indie Band Survival Guide!
The secret? Works great for writers too. Special web edition available for free via Creative Commons.
http://www.reverbnation.com/ebook/indie_band_survival_guide.pdf
http://creativecommons.org/weblog/entry/8756
http://www.reverbnation.com/ebook/indie_band_survival_guide.pdf
http://creativecommons.org/weblog/entry/8756
20 May 2013
The Ghost of Backstory in Death Perception: Guest Post by Lee Allen Howard
The Ghost of Backstory in Death Perception
Backstory is everything that happened to the protagonist
before the story begins. In The Anatomy
of Story, John Truby calls this the “ghost.” The ghost is usually some
negative event from the past that still haunts the protagonist in the present.
This past trauma is the source of the hero’s current psychological and moral
weakness. It’s his internal opponent, what Truby describes as the “great fear
that is holding him back from action.”
In DEATH PERCEPTION, my just-released supernatural thriller,
young protagonist Kennet Singleton’s backstory ghost is his father’s drunken
violence, resulting in his father’s death and the loss of his mother’s eye. Lack
of a good role model has crippled Kennet from striking out on his own; at 19,
he still lives with his invalid mother in a personal care home and holds only a
part-time job at a local funeral home.
However, Kennet’s natural hypersensitivity toward his
father’s moods and abusive behavior birthed a psychic gift that blooms when an
old prophetess lays her hands on him. Later he discovers that he can discern
the cause of death of those he cremates—by toasting marshmallows over their
ashes.
When he begins believing in himself and using his gift to
avenge the spirits of those who have been murdered (ghosts of a different sort),
Kennet finds the courage to stand up for himself and forge his way toward
independence.
Good stories dramatize the process of a flawed character
overcoming past wounds on the path to wholeness. Even in a tale of horror and
supernatural crime, Kennet’s “ghosts” find justice—and peace.
DEATH PERCEPTION is available in trade paperback, Kindle
(.mobi) and Nook (.epub) at http://leeallenhoward.com/death-perception/.
BIO
Lee Allen Howard writes horror, dark fantasy, and
supernatural crime. He’s been a professional writer and editor of both fiction
and nonfiction since 1985. His publications include The Sixth Seed, Desperate
Spirits, Night Monsters, “Mama
Said,” “Stray,” and DEATH PERCEPTION, available in various formats at http://leeallenhoward.com.
You can keep in touch with Lee on his Facebook author page: http://www.facebook.com/pages/Lee-Allen-Howard-author/117844011639457.
Follow him on Twitter @LeeAllenHoward.
03 May 2013
JASON JACK MILLER'S Secret Stash: RADIOHEAD AND PHILOSOPHY Fitter Happier More Deductive
It's easy to see the Zen nature of this exercise--I saw what I needed (or wanted) to get myself through hard times. But it worked and it exposed me to some great writing and amazing personal experiences along the way.
RADIOHEAD AND PHILOSOPHY Fitter Happier More Deductive isn't a biography, but it serves much the same purpose--it stimulates creativity and encourages self-reflection. It helps if you're all ready a fan of the band, but I think there's enough here for everybody. I haven't finished it yet, but I like what I've seen so far.
http://www.scribd.com/doc/51280586/Radiohead-and-Philosophy
25 April 2013
Writing and the Art of Rejection.
People love rejection.
We get crushes on girls who never notice us. We buy lottery tickets knowing the chance of winning is small, but the chance of SOMEBODY winning is great. We root for underdogs, who--more often than not--prove time and time again why they were considered underdogs.
We dream of jobs we'll never have. Sights we'll never see. Cars we'll never drive.In some ways, some of us spend our waking hours dreaming of lives we'll never live. And most of us are okay with living vicariously through actors and athletes and musicians and models and writers.
But some of us think we are smarter than the rest. Some of us crave our own share of the spotlight, the blank canvas, the new chord or reinvented melody. The camera's lens. Some of us even sit in dark offices or quiet cafes, staring at virgin Word files, seeing possibility where moments ago none existed. We see characters that don't sleep. Landscapes that terrify and inspire. We catch glimpses of that emotional chain that binds us to every other human on the planet. We convert our frustrations and dreams into stories that we can package and sell to publishers and readers and in the process we're inventing whole new ways to feel that sting, the bitter bite of a rejection that we so deeply crave.
'Inventing' because we invite that rejection into our homes. Sit down to dinner with it. Sometimes we even go to bed with it. Either way, we own it because we created it and requested it.
Personally, I love life post-rejection. The legitimized complaining and self-analysis. The guilt-free trips into the bottle. The bitter smirk that's my little way of saying, "Just wait and see what I'm going to do next. It's going to blow your doors off." And no time is more magical than that first hour or so after receiving the rejection. For about sixty minutes the mind is clear enough to let the writer solve all of the publishing industries' internal problems--distribution, marketing, genre trends. For sixty minutes we know what readers REALLY want. With luck there's time left over to tackle politics or the relative superiority of East Coast rap before reality sets in. Before the mind clouds and logic stops making sense. Before we're back in the artificial reality of our Word files.
Because you know what people love more than rejection?
We love being proven right. It's in our blood right between the hemoglobin and lymphocytes.We love knowing that our hours spent looming over the Word file weren't wasted. We love stepping around the naysayers that litter the path like dog crap on a sidewalk. Even if we have to become better writers to do it, we want to show the world that they were wrong. So we embrace rejection. We take the feeling and bank it, because without that feeling we are satisfied.
Without it, we are no longer hungry. We get sleepy. Lazy. Everybody knows that nothing good creatively can come from satisfaction.
Writing, and the art of creation--by nature--relies on rejection or some form of destructive element. Just look at how mammals flourished and diversified after the Cretaceous mass extinction wiped out triceratops and its cousins. Maybe working through rejection is how we learn to finally get it right.
I suppose we suffer rejection to achieve acceptance. We want the industry, peers and readers to like what we do and give it their stamp of approval. And as nice as that is, acceptance is a goal. The end of a path. But acceptance can't motivate because it doesn't fuel the fire quite like rejection does. Acceptance tells us that everything is okay. And if everything really WAS okay we'd have no reason to suffer the process of creation. No reason to write or create.
I say embrace the rejection. It's a reward for the hours we put in. Battle scars, and all that.
We get crushes on girls who never notice us. We buy lottery tickets knowing the chance of winning is small, but the chance of SOMEBODY winning is great. We root for underdogs, who--more often than not--prove time and time again why they were considered underdogs.
We dream of jobs we'll never have. Sights we'll never see. Cars we'll never drive.In some ways, some of us spend our waking hours dreaming of lives we'll never live. And most of us are okay with living vicariously through actors and athletes and musicians and models and writers.
But some of us think we are smarter than the rest. Some of us crave our own share of the spotlight, the blank canvas, the new chord or reinvented melody. The camera's lens. Some of us even sit in dark offices or quiet cafes, staring at virgin Word files, seeing possibility where moments ago none existed. We see characters that don't sleep. Landscapes that terrify and inspire. We catch glimpses of that emotional chain that binds us to every other human on the planet. We convert our frustrations and dreams into stories that we can package and sell to publishers and readers and in the process we're inventing whole new ways to feel that sting, the bitter bite of a rejection that we so deeply crave.
'Inventing' because we invite that rejection into our homes. Sit down to dinner with it. Sometimes we even go to bed with it. Either way, we own it because we created it and requested it.
Personally, I love life post-rejection. The legitimized complaining and self-analysis. The guilt-free trips into the bottle. The bitter smirk that's my little way of saying, "Just wait and see what I'm going to do next. It's going to blow your doors off." And no time is more magical than that first hour or so after receiving the rejection. For about sixty minutes the mind is clear enough to let the writer solve all of the publishing industries' internal problems--distribution, marketing, genre trends. For sixty minutes we know what readers REALLY want. With luck there's time left over to tackle politics or the relative superiority of East Coast rap before reality sets in. Before the mind clouds and logic stops making sense. Before we're back in the artificial reality of our Word files.
Because you know what people love more than rejection?
We love being proven right. It's in our blood right between the hemoglobin and lymphocytes.We love knowing that our hours spent looming over the Word file weren't wasted. We love stepping around the naysayers that litter the path like dog crap on a sidewalk. Even if we have to become better writers to do it, we want to show the world that they were wrong. So we embrace rejection. We take the feeling and bank it, because without that feeling we are satisfied.
Without it, we are no longer hungry. We get sleepy. Lazy. Everybody knows that nothing good creatively can come from satisfaction.
Writing, and the art of creation--by nature--relies on rejection or some form of destructive element. Just look at how mammals flourished and diversified after the Cretaceous mass extinction wiped out triceratops and its cousins. Maybe working through rejection is how we learn to finally get it right.
I suppose we suffer rejection to achieve acceptance. We want the industry, peers and readers to like what we do and give it their stamp of approval. And as nice as that is, acceptance is a goal. The end of a path. But acceptance can't motivate because it doesn't fuel the fire quite like rejection does. Acceptance tells us that everything is okay. And if everything really WAS okay we'd have no reason to suffer the process of creation. No reason to write or create.
I say embrace the rejection. It's a reward for the hours we put in. Battle scars, and all that.
21 April 2013
JASON JACK MILLER'S SECRET STASH: Radiohead, Later with Jools Holland, London, England on June 9th, 2001.
Because I'm tired of Preston Black getting all the attention...
So I decided to retire THE MUSIC AND PRESTON BLACK and replace it with this: JASON JACK MILLER'S SECRET STASH. The concept is the same--I curate the stuff that interests me. But unlike Preston, I'm mostly literate, and plan to diverge from the 'all music, all the time' format. You can expect to see books, film, videos, photos from the archives, and trip reports.
And lots of music.
You may not enjoy everything I post here, but at least you'll get more of my jokes. (Still scratching your head over than Cesar Chavez comment? Can't help you there.) My main interest is creating a personal archive of the stuff that I like. And I figure I may as well share it with you guys.
Let's kick it off with a little Radiohead. The way I see it, there are two types of people in this world--people who'd follow Thom Yorke into a collapsing star, and those who'd claim 'Creep' as their favorite Radiohead song. I'm going to try to remedy that with a little show from 2001, taped right after the release of AMNESIAC--an experimental album they recorded at the same time they made KID A in an attempt distance themselves from the success of OK COMPUTER. The pressure of constant touring created a bit of psychological strain on the band, particularly Thom Yorke, who said, "I always used to use music as a way of moving on and dealing with things, and I sort of felt like that the thing that helped me deal with things had been sold to the highest bidder and I was simply doing its bidding. And I couldn't handle that."
So here's the music, in a live format, which makes it a bit more accessible for new listeners. And if you're a fan, you know this show. And you know how amazing it sounds.
So I decided to retire THE MUSIC AND PRESTON BLACK and replace it with this: JASON JACK MILLER'S SECRET STASH. The concept is the same--I curate the stuff that interests me. But unlike Preston, I'm mostly literate, and plan to diverge from the 'all music, all the time' format. You can expect to see books, film, videos, photos from the archives, and trip reports.
And lots of music.
You may not enjoy everything I post here, but at least you'll get more of my jokes. (Still scratching your head over than Cesar Chavez comment? Can't help you there.) My main interest is creating a personal archive of the stuff that I like. And I figure I may as well share it with you guys.
Let's kick it off with a little Radiohead. The way I see it, there are two types of people in this world--people who'd follow Thom Yorke into a collapsing star, and those who'd claim 'Creep' as their favorite Radiohead song. I'm going to try to remedy that with a little show from 2001, taped right after the release of AMNESIAC--an experimental album they recorded at the same time they made KID A in an attempt distance themselves from the success of OK COMPUTER. The pressure of constant touring created a bit of psychological strain on the band, particularly Thom Yorke, who said, "I always used to use music as a way of moving on and dealing with things, and I sort of felt like that the thing that helped me deal with things had been sold to the highest bidder and I was simply doing its bidding. And I couldn't handle that."
So here's the music, in a live format, which makes it a bit more accessible for new listeners. And if you're a fan, you know this show. And you know how amazing it sounds.
02 March 2013
From TIME: Literary Revolution in the Supermarket Aisle: Genre Fiction Is Disruptive Technology
I happily avoid the literary/genre debate, because no good can come from such discussions. Feelings get hurt, people cry. But by not worrying about the distinctions between genres, or between genre and literary, I've been free to write pretty much whatever I've wanted. So don't call me a 'genre writer' or a 'literally writer.' I'm neither. I'm a happy writer.
Writers should take the time to read Grossman's commentary though, if only to arm yourselves against the haters.
"Blue-chip literary writers — finding that after years of deprivation under the modernist regime their stores of plot devices are sadly depleted — have been frantically borrowing from genre fiction, which is where plot has been safely stockpiled for all these decades."
"Something nagged at me while I was reading Krystal’s piece, something familiar, and I’ve finally figured out what it is: it’s another New Yorker piece, from a few weeks ago, a profile of Clayton Christensen, the Harvard business professor who first applied the word “disruptive” to technology. Christensen had observed that in many industries, established companies based on high-end, sophisticated technologies tend to become complacent. They consider themselves invulnerable, or at best they look for challenges from even-higher-end technologies. But they’re looking in the wrong places, and what in fact happens is that they are disrupted from below: crude, low-end technologies develop at the bottom of the marketplace, then evolve to the point where they take over their markets and displace the established high-end companies, who never saw it coming.
I’m beginning to wonder if something like that is happening in contemporary fiction. We expect literary revolutions to come from above, from the literary end of the spectrum — the difficult, the avant-garde, the high-end, the densely written. But I don’t think that’s what’s going on. Instead we’re getting a revolution from below, coming up from the supermarket aisles. Genre fiction is the technology that will disrupt the literary novel as we know it."
Read more: http://entertainment.time.com/2012/05/23/genre-fiction-is-disruptive-technology/#ixzz2MObwFIUE
Writers should take the time to read Grossman's commentary though, if only to arm yourselves against the haters.
"Blue-chip literary writers — finding that after years of deprivation under the modernist regime their stores of plot devices are sadly depleted — have been frantically borrowing from genre fiction, which is where plot has been safely stockpiled for all these decades."
"Something nagged at me while I was reading Krystal’s piece, something familiar, and I’ve finally figured out what it is: it’s another New Yorker piece, from a few weeks ago, a profile of Clayton Christensen, the Harvard business professor who first applied the word “disruptive” to technology. Christensen had observed that in many industries, established companies based on high-end, sophisticated technologies tend to become complacent. They consider themselves invulnerable, or at best they look for challenges from even-higher-end technologies. But they’re looking in the wrong places, and what in fact happens is that they are disrupted from below: crude, low-end technologies develop at the bottom of the marketplace, then evolve to the point where they take over their markets and displace the established high-end companies, who never saw it coming.
I’m beginning to wonder if something like that is happening in contemporary fiction. We expect literary revolutions to come from above, from the literary end of the spectrum — the difficult, the avant-garde, the high-end, the densely written. But I don’t think that’s what’s going on. Instead we’re getting a revolution from below, coming up from the supermarket aisles. Genre fiction is the technology that will disrupt the literary novel as we know it."
Read more: http://entertainment.time.com/2012/05/23/genre-fiction-is-disruptive-technology/#ixzz2MObwFIUE
18 February 2013
Love Tweets like these!
RT @micaelchadwick: Newest addition to my reallibrary by @jasonjackmiller !Can't wait to read it again. twitter.com/micaelchadwick…
— Jason Jack Miller (@JasonJackMiller) February 19, 2013
17 February 2013
Jason Jack Miller's Top Nine: Best Beards in Rock!
Beards come and go, but the nine groups listed below have done their part to make sure the beard is more than just an accessory. We've heard from the Lepsches, but I get the last word? Is it definitive? Read their posts below and decide.
To top it all off, At Fillmore East, is ranked #49 on Rolling Stone's 500 Greatest Albums of all Time. My boys weren't playing. They lived it. The fact that two of the band's members died in motorcycle accidents (a year apart and three blocks apart) tells you these fools were for real. They are so far removed from bearded hipster shit, that bearded hipsters don't even know to look to The Allman Brothers for guidance. I mean, we don't look AT the sun when we want light, do we?
Were they the first? No.
Did they do it better than anybody else, before or after? Most definitely.
When The Beatles reinvented themselves, they did so in a big way. They were the forerunners of the beard. They invented retreating (India) and reemerging with a whole new look. Post Sgt. Pepper they owned the look. Zeppelin, The Who and the rest just copied. Check out "Something" to see what I mean. Paul, George and Ringo rocked beards. For some reason, John didn't (and we all know how he could pull off a beard) but he was rocking a cape (that matched Yoko's) so he gets points for that.
Yonder Mountain String Band
Somehow YMSB missed the Mumford/'New Banjo Revival,' which is a shame, because Yonder brings it. Hard. They are as much at home with John Hartford and Ralph Stanley as they are with The Misfits and Pink Floyd. And if you don't know who Ralph Stanley is, you should be ashamed to call yourself a music fan.Band of Horses
SGs AND Les Pauls? They ain't playing. They are more Seventies than Mr. Neil Young himself. For BoH, the beard ain't a phase, it's a way of life. I bet they drive Chevy Novas, too.The Civil Wars
Any time 50% of the band has a beard, you're in legit territory. And covering The Jackson Five? Well that's just showing off. (Civil Wars--get your shit together and make some more music!!)Foo Fighters
Dave Grohl is facial hair x2. Even though he didn't rock the beard in Nirvana, Kurt did. So having Cobain as a stubble mentor is like having The Dalai Lama as your personal therapist. (Dave is rocking the mini-beard here.)Middle Brother
Flannels, beards and thumb picks! It's a hipster trifecta, and I don't even care. (Is that a red Solo cup?) They rock so hard, they require members from three different bands (Dawes, Delta Spirit, Deer Tick) just to make music. They are the hipster Beatles, and I love them.Bob Marley
Beards were (literally) his religion. So don't come at me with your white dreads, telling me about how you're Rasta because you like to burn one because this man lived it. He took bullets for his faith. And he died because he wouldn't cut any of that lovely hair.Bruce Springsteen
The Boss didn;t always rock facial hair. But when he did, he owned it. From 70 to 83 he carried the beard torch. Beard + knit hat + leather jacket = hipster savior. Throw in a gold earring, and you're seeing God.The Allman Brothers
When At Fillmore East was recorded, the Allman Brothers were batting 1000%. Duane Allman--facial hair. Gregg Allman--facial hair. Dicky Betts--facial hair. Berry Oakley--facial hair. Butch Trucks--facial hair. Jai Johanny "Jaimoe" Johanson--facial hair. Don't believe me? Take a look.To top it all off, At Fillmore East, is ranked #49 on Rolling Stone's 500 Greatest Albums of all Time. My boys weren't playing. They lived it. The fact that two of the band's members died in motorcycle accidents (a year apart and three blocks apart) tells you these fools were for real. They are so far removed from bearded hipster shit, that bearded hipsters don't even know to look to The Allman Brothers for guidance. I mean, we don't look AT the sun when we want light, do we?
The Beatles
Were the Fab Four known for their beards? No.Were they the first? No.
Did they do it better than anybody else, before or after? Most definitely.
When The Beatles reinvented themselves, they did so in a big way. They were the forerunners of the beard. They invented retreating (India) and reemerging with a whole new look. Post Sgt. Pepper they owned the look. Zeppelin, The Who and the rest just copied. Check out "Something" to see what I mean. Paul, George and Ringo rocked beards. For some reason, John didn't (and we all know how he could pull off a beard) but he was rocking a cape (that matched Yoko's) so he gets points for that.
Scott Lepsch's Top Nine: Beards!
(In response to Deanna's list: "That's actually a great list. Ray Lamontagne has an awesome beard.")
Maybe a bonus section for "oldies but goodies"?
Follow @scottlepsch on Twitter!
Jim Morrison: He might be most recognizable for his early days with the model-esque clean shaven look, but when he took the turn to the hairy side he went all out. The later years saw him sporting a lion's mane of bearded manliness.
Rob Zombie: While the "evil goatee" concept didn't originate with him, like everything else he's taken it to the extreme.
Dave Grohl: He gains points for keeping it throughout the decades, even when it wasn't "cool", but loses points for jumping between beard & goatee styles.
Kenny Rogers: Country-cool with a beard to match.
John Lennon: Imagine all the time it took him to maintain that Jesus-beard.
Mick Jagger: Maybe it was an effort to cover up his freakishly large mouth, but Mick sported a grizzle man beard that lumberjacks would be envious of.
Jerry Garcia: Even if you don't love the Dead, you've got to appreciate Garcia's beard volume. Apparently acid is good for hair growth.
ZZ Top: Iconic beards, their dedication to facial hair is only topped by their dedication to rock n roll.
Motorhead (Lemmy): Any musician that has a beard style named after him deserves to be first in a bearded band list.
Bonus: Rick Rubin - Music producer extraordinaire, and obviously the inspiration for Hagrid.
Deanna Lepsch's Top Nine: Bearded Bands!
What started as a series of Twitter asides has turned into a full-blown blog-off. I gave her the honor of first blood. Little does Deanna know, I take my beards very seriously. (Follow @dlepsch on Twitter!)
Deanna’s Bearded Bands:
For being such a chill band, they rock it. One of my favorite shows of 2012 despite a less
than stellar venue. "Lazy" was the first song I loved from this band.
I love her voice. It’s so Iceland-ish! This was the perfect show to end out my 2012 year of
music. "Mountain Sound" gets me rolling every time I hear it.
I frequently say Matt Nathanson is single-handedly changing my mind about beards. It’s not completely true. Chris Hemsworth as Thor is helping that cause, but Matt Nathanson started it. His tunes are catchy which you’d think would make him a ready addition to the pop scene but he hovers just on the outside of the top of the Top 40. I love his lyrics and he’s hilarious in concert.
The Cab holds a very special place in my heart. This particular song inspired a scene in
one of the books I’m currently writing. Plus, the band let me check out their tour bus in
the name of research after one of their shows.
Grace Potter is a flower amongst a bunch of weird bearded dudes. This woman can rock
it with the best of them. She can play piano, in the next breath pick up the tambourine
and manages to belt out soulful tunes without missing a beat. I want her voice!
This may be cheating. Amos lee doesn’t have a beard so much as he has scruff, but he’s
so good I had to stretch it a little.
Clearly the lead singer does not have a beard but you’ll find a few on her band mates.
I was blown away by her voice and presence on stage. The girl can sing and she does it
with more soul than most folks twice her age.
This song inspired a scene in my current novel, BASS DESIRES. It’s such a real portrayal of
relationships and so many of the lines have me shaking my head and cringing and crying
a little at their honesty and truth.
Ray LaMontagne has the mother of all beards! His music is earthy and relaxing and wonderful. You can’t listen to it and not feel the stress melt away. Yes, it’s a little melancholy too.
Needtobreathe: "The Outsiders."
Old Crow Medicine Show (though there may be a set of mutton chops in there): "Wagon Wheel
The Raconteurs: "Top Yourself" and "Many Shades of Black."
Deanna’s Bearded Bands:
Silversun Pickups: (so many songs!) "Lazy Eye."
For being such a chill band, they rock it. One of my favorite shows of 2012 despite a less
than stellar venue. "Lazy" was the first song I loved from this band.
Of Monsters & Men (Beauty and the Beard): "Love Love Love" and "Mountain Sound."
I love her voice. It’s so Iceland-ish! This was the perfect show to end out my 2012 year of
music. "Mountain Sound" gets me rolling every time I hear it.
Matt Nathanson: "Run" (Sexy Adult time!) and "Modern Love."
I frequently say Matt Nathanson is single-handedly changing my mind about beards. It’s not completely true. Chris Hemsworth as Thor is helping that cause, but Matt Nathanson started it. His tunes are catchy which you’d think would make him a ready addition to the pop scene but he hovers just on the outside of the top of the Top 40. I love his lyrics and he’s hilarious in concert.
The Cab: "Endlessly."
The Cab holds a very special place in my heart. This particular song inspired a scene in
one of the books I’m currently writing. Plus, the band let me check out their tour bus in
the name of research after one of their shows.
Grace Potter and The Nocturnals: "Apologies and "Paris (Ooh La La)" (because it rocks!)
Grace Potter is a flower amongst a bunch of weird bearded dudes. This woman can rock
it with the best of them. She can play piano, in the next breath pick up the tambourine
and manages to belt out soulful tunes without missing a beat. I want her voice!
Amos Lee: "Colors" and "Southern Girl."
This may be cheating. Amos lee doesn’t have a beard so much as he has scruff, but he’s
so good I had to stretch it a little.
Alabama Shakes: "I Ain’t the Same." (Damn, that Brittney can SING!)
Clearly the lead singer does not have a beard but you’ll find a few on her band mates.
I was blown away by her voice and presence on stage. The girl can sing and she does it
with more soul than most folks twice her age.
The Civil Wars: "Poison Wine."
This song inspired a scene in my current novel, BASS DESIRES. It’s such a real portrayal of
relationships and so many of the lines have me shaking my head and cringing and crying
a little at their honesty and truth.
Ray LaMontagne(!): "Hold You in my Arms" and "Jolene."
Ray LaMontagne has the mother of all beards! His music is earthy and relaxing and wonderful. You can’t listen to it and not feel the stress melt away. Yes, it’s a little melancholy too.
Bands that sound bearded but aren’t:
Needtobreathe: "The Outsiders."
Old Crow Medicine Show (though there may be a set of mutton chops in there): "Wagon Wheel
The Raconteurs: "Top Yourself" and "Many Shades of Black."
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