Archive for the ‘Uncategorized’ Category

Meet Lauren Gibbs, from Willie’s Reserve

Monday, December 11th, 2017


www.Hightimes.com
by: Jeff Siegel

A couple of months ago, in response to the ridiculous comment made by Jeff Sessions, who declared that “good people don’t smoke marijuana,” I launched a new series called, Good People Smoke Marijuana.” The intention of this series is to draw attention to regular folks who consume or support the legalization of cannabis—and who are actually good people that deserve some positive recognition. Back in September, I highlighted Native American activist Shelly Wahweotten. This month, I’d like to introduce you to Lauren Gibbs.

Lauren Gibbs is a social media strategist who focuses on cause-related marketing.

In other words, through her company Rise Above Social Strategies, she helps businesses and non-profits that are making the world a better place, fine-tune their social media presence. She’s also the mastermind behind #EndTheSocialCannaBan, which is a watchdog group fighting the social media censorship of cannabis-related businesses and organizations.

Today, I’d like you to meet her.

Lauren Gibbs is a social media strategist who focuses on cause-related marketing.

In other words, through her company Rise Above Social Strategies, she helps businesses and non-profits that are making the world a better place, fine-tune their social media presence. She’s also the mastermind behind #EndTheSocialCannaBan, which is a watchdog group fighting the social media censorship of cannabis-related businesses and organizations.

Today, I’d like you to meet her.

Lauren Gibbs: Ten years of working in the center of American politics taught me that the best ideas don’t win the day—the best stories do. In my four years working for congressmen, I had meetings with hundreds of passionate advocates. Frequently, I could empathize with their causes, but many advocates were not equipped to tell their story in a way that would move lawmakers to champion their cause. I realized that no matter how much research or evidence you have on your side, you need the emotional connection of stories to give a cause momentum.

Once I understood the power of persuasion and storytelling, I switched gears. 

For several years, I worked in communications roles at nonprofits based in the DC area, all focused on education policy reform. During that time, I witnessed the birth of the most influential storytelling medium of our generation: social media. As social platforms emerged in influence, I integrated those tools into my work.

HT: A lot of cannabis companies seem to have a really hard time successfully utilizing various social media platforms. Why do you think that is?

LG: I see a lot of cannabis companies give social media a solid push for three months. Company leadership loses interest when they feel like their efforts aren’t paying off, and social media gets de-prioritized. Social media feels instant, and that tricks people into thinking they don’t need a long-term strategy to build relationships with customers.

The reality is that building a social media community that cheers for your brand is hard work, and it takes years to get it right. I started working with Willie Nelson’s cannabis company a year before the product even launched! The leadership at Willie’s Reserve understood the investment of time and skill that a strong brand demands, and thanks to their willingness to lay the groundwork early, we were able to build a community of fans that showed up as soon as the products debuted.

HT: There’s a new documentary out called Mary Janes: The Women of Weed, which is actually a client of yours. It’s an excellent movie that takes a look at the very important connection between social equity and the cannabis industry. The movie doesn’t glorify or promote drug use. It’s simply an educational documentary. But Facebook wouldn’t allow producers to promote the movie on Facebook. What happened?

LG: I joined the film’s production team to tell a story that could help mainstream America understand the forces for good that exist in the cannabis industry. As any documentary film’s marketing team should, we planned to promote our true story of Mary Janes on Facebook. Unfortunately, ads for the documentary have been and continue to be censored, with the rationale that the “product promotes illegal activity.”

Last year, Facebook blocked the film’s Indiegogo crowdfunding campaign. The decision was reversed after weeks of appeals—the day after the campaign ended. This fall, the film’s trailer was blocked in the critical pre-festival premiere promotion period. Weeks of appeals finally brought a reversal of the censorship—the day after the world premiere! These two instances alone cost the film many thousands of dollars in contributions and millions of lost impressions.

HT: It’s interesting that Facebook is involved in so many worthwhile philanthropic projects, yet won’t support those who are actively doing things to help end the War on Drugs, which has its roots based in racism and violence. Do you think this is because management hasn’t made this connection or do you think this is just a matter of fear? In other words, are companies like Facebook and Instagram simply afraid of doing anything that might “poke the bear”—which in this case is the federal government.

LG: There are really two separate issues here.

First is cannabis commerce. Even if they wanted to support cannabis legalization, Facebook is already under fire for election manipulation. It’s just not an ideal time for a controversial move that would antagonize Jeff Sessions or the Justice Department. Facebook is a business, and I understand that it’s complicated. I dream of a day when dispensaries can use Facebook’s geo-targeting and age restriction technology to market only to adults in legal states who are interested in cannabis. That is smart, responsible marketing. But Facebook is justifiably afraid to regulate advertising for commerce that is not yet federally legal.

Second is cannabis advocacy and education. There is no reason to censor advocacy for cannabis legalization or education about its use. In fact, Facebook’s terms of service explicitly permit users to “advocate for the legality of criminal activities.” Advocates, educators, medical professionals and documentary filmmakers are very likely in compliance with Facebook’s terms. Unfortunately, Facebook’s sloppy enforcement confuses advocacy with commerce, and their inability to distinguish between the two slows down the legalization movement.

HT: As a migraine sufferer, you’ve personally benefited from cannabis. How did you discover cannabis as a treatment?

LG: Migraine attacks became a dominant force in my life around 2006. I spent years being treated by experts, half-living on more than a dozen pharmaceuticals. Despite all the pills and injections I tried, I was never really “better.” I had been a long-time occasional cannabis consumer, and the potential benefits of medical marijuana were finally reaching the mainstream conversation for the first time. When I decided to leave DC, I only considered places with medical marijuana access. I moved to Colorado in 2012, and I got my medical card right away. By 2014, I had become a daily medical marijuana user—and only then did I experience the full medical benefit. That was the year I started my business. Cannabis has been a major force for positive change in my health, career and life.

HT: What was it like being a migraine patient looking for information about medical marijuana?

LG: Almost all neurologists specializing in the field have little or no useful information to share with patients who want to explore medical marijuana. Migraine forums that exist online rarely discuss cannabis as a treatment tool. It took me years of trial and error to find the right cannabis regimen for my migraine condition because there is no information out there.

I hear from someone looking for advice every time I say something publicly about my experience as a migraine patient. As any migraineur will know, the condition is highly individualized, so you’ll need to calibrate a regimen that works for you. I use cannabis daily to manage one of my biggest triggers: stress. I have cut out alcohol completely and have a “chill pill” that grow in my backyard. At the onset of migraine symptoms, I used to take expensive abortives like Mirganol or Imitrex, with very limited success. Now, I rely on a 1:1 THC:CBD combination. CBD alone doesn’t cut it for me, so I rely on a 1:1 THC:CBD combo when I feel symptoms coming on. It’s an effective, natural and affordable abortive. At home, I will vape a 1:1 strain like Cannatonic. And I don’t leave home without my 1:1 distillate oil vape pen. It’s my migraine rescue inhaler. Sublingual tinctures are also a great option.

HT: Maybe if someone high up at Facebook has migraines, they should give you a call.

LG: DM me on Instagram! You can find me @RiseAboveSocial where my business takes a stand for #migraineawareness and medical marijuana.

Unfortunately, the bosses at Facebook and Instagram probably won’t be able to find the info I’m sharing because of their platform’s persistent censorship of cannabis education and even personal stories like mine.

HT: One of your clients is Willie’s Reserve. What’s it like working for one of the most culturally significant cannabis brands in the world?

LG: Willie Nelson has such a storied life, with a long history of speaking out and standing up for what he believes in. When someone trusts you with that story, it is an enormous responsibility. Playing out that personality on social media requires a constant conversation about mapping the brand’s voice around Willie’s legendary values.

Case in point: Meaningful support for the LGBT community requires more than a Pride Month promotion. It means you show up when the LGBT community is under attack. So when transgender troops were under fire from the president last summer, I encouraged Willie’s Reserve to speak up for something we already know their namesake believes in. The company posted a graphic overlaid by the transgender flag with Willie’s famous quote, “If you really want to get along with somebody, let them be themselves.” It is one of the most shared images in the company’s history.

 

HT: Willie Nelson is clearly a humanitarian, having done so much for the nation’s farmers and the hungry. There are a lot of other folks on your client list, too, who also seem to have a moral objective outside of their core businesses. Do you take these types of things into consideration before accepting new clients?

LG: Corporate social responsibility is a moral imperative, but it’s also great marketing. The market research shows that millennials care where their dollars go. They choose brands that share their values. The success of companies like Toms, Warby Parker and Willie’s Reserve is largely due to the opportunity they offer for customers to feel good about their purchases. That kind of emotional connection inspires brand loyalty, too.

And, on a personal note, I started my own business with the goal of working exclusively with brands that are working to make the world a better place. Yes, it is good marketing strategy, but to put my heart into my work, the work has to align with something in my own heart.

HT: Once the federal prohibition on cannabis is lifted, how will you celebrate?

LG: I’ll play a tune on this guitar I have with Willie Nelson’s signature on it. I don’t know how to play the guitar yet, but I figure I’ve still got a few years to learn.

To learn more about Rise Above Social Strategies’ watchdog campaign for social media censorship of cannabis, #EndTheSocialCannaBan, click HERE.

Another Willie Nelson cover, “Jim James: “Funny How Time Slips Away”

Thursday, December 7th, 2017

Jim James
Tribute to 2

www.slantmagazine.com
by: Josh Hurst

Composed of just six tracks, all of them covers of George Harrison songs, and released under the quasi-pseudonym Yim Yames, Jim James’s 2009 EP, Tribute To, always seemed like a lark. Its sequel is decidedly more robust. Not only is the awkwardly titled Tribute To 2 a full-length album, featuring covers from wide-ranging sources, but it’s consistent in mood and surprising in depth, its songs working together in dialogue with one another.

The selection of covers on Tribute To 2 is eclectic, ranging from jazz standards to songs by Willie Nelson, Bob Dylan, even Sonny & Cher. In its weary, haunted mood and use of studio space to underscore its wistful emotions, James’s take on the Beach Boys’s “I Just Wasn’t Made for These Times” immediately sets the album’s tone. The opening track is lavish, with strings, horns, percussion, and the hazy drone of an organ in the background. Throughout, James’s voice hovers above it all, echoing as though it was recorded in a cavern. The effect is to make him sound alien and alone, the singer’s velvety voice reverberating beyond the orchestrated din; it’s a technique that characterizes the rest of the album, even on songs that aren’t so ornate.

Indeed, much of Tribute To 2 is spare and intimate. That’s certainly true of two songs by Ray Noble and Al Bowlly, the songwriting team responsible for a number of big-band-era hits. James’s performances on “Love Is the Sweetest Thing” and “Midnight, the Stars, and You,” both arranged for just piano and voice, are jaunty and ragged, the romantic melodies undercut by his booming voice, which emphasizes how lonely these songs feel.

James’s interpretation of Willie Nelson’s “Funny How Time Slips Away” is even rougher around the edges: It’s performed with just voice and acoustic guitar, and the recording is so intimate that you can hear James’s fingertips as they move across the frets. James loses the song’s thread midway through, droning out the same chords and vamping on the title phrase over and over again, as though possessed by the song’s innate sadness.

While the album feels lonely and reflective, it’s not a downer. Instead, its sense of melancholy is inviting. “Wild Honey,” a wondrous love song originally recorded by the Fruit Bats, is another voice-and-guitar number, with fleet-fingered playing and a vocal performance marked by quiet awe.

There are propulsive full-band performances, too, including a version of Bob Dylan’s “I’ll Be Your Baby Tonight” that opens with thunderous drums before zipping along to the accompaniment of a warped, twangy steel guitar. Its big-footed stomp is somewhat at odds with the quiet intimacy of surrounding tracks, yet James is clearly having fun singing it, and that adds a welcome counterpoint to some of the album’s more plaintive material.

The closing cover of “Blue Skies” lasts just over a minute and finds James’s voice layered to boisterous effect. The arrangement here differs from Nelson’s take on the song on Stardust, yet both covers are similar in how they subvert Irving Berlin’s whimsical lyrics, suggesting menace lurking just below the surface. It’s a funny and surprising end to an album that builds considerable emotional depth and complexity both in its song selections and production values but most of all through James’s fully engaged performances

Bob Schieffer with Willie Nelson in Luck, Texas

Monday, November 27th, 2017


Willie Nelson and Bob Schieffer, Luck, Texas

www.cbsnews.com
CBS News July 16, 2017, 

For Willie Nelson, the autumn of life is colorful

Willie Nelson has been “On the Road Again” — and again and again — ever since he released that song back in 1980. And a song on his newest album proves he hintention of hanging it up any time soon, a point he underscores to our Bob Schieffer, For The Record (An earlier version of this story was originally broadcast on April 2, 2017):

“I woke up still not dead again today
The Internet said I had passed away
If I died I wasn’t dead to stay
I woke up still not dead again today.

“Now, how in the world do you come up with that song?” Schieffer asked.

“Oh, I don’t know — I’ve been killed several times throughout the years!” Nelson laughed. “And so I just thought I’d write something funny about it.”

It’s easy for Willie Nelson to laugh off these greatly exaggerated rumors of his demise. Now 84, he’s on the road again — performing and writing music. His last album, “God’s Problem Child,” was his 110th, give or take, with songs like “Still Not Dead” and “Old Timer.”

“There’s a theme here,” said Schieffer. “This is about the autumn of life. Is that hard for you to think about?”

“No,” he laughed. “You remember one of those deep thinkers, a guy named Seneca? He said you should look at death and comedy with the same countenance. And I believe that.”

gods-problem-child-cover-sony-legacy-244.jpg
Sony Legacy

“The autumn of your life — and I’m right there with you, buddy — it’s like the springtime in everybody else’s life. I mean, you’re at the top of your powers, I would say, right now.”

“Everything’s going good,” Nelson said. “I think age is just a number. I’ve heard it all my life: It’s not how old you are, it’s how you feel. And I’ve been lucky with [everything], health-wise and career-wise.

“I haven’t really got anything to bitch about!” he laughed.

It wasn’t always so. Early on, Nelson left his native Texas for Nashville, making a name for himself writing hits for others, like “Crazy,” recorded by Patsy Cline.

Nashville liked his songs, but his singing? Not so much.

At one point Nelson became so dejected that he went out and laid down in the middle of the street in Nashville hoping that a car would run over him. “‘Course, it was midnight — there wasn’t a lot of traffic!” he laughed. “No car got me!”

“What were those days like?” Schieffer asked.

“Oh, they were wild and crazy. You know, I was going through one relationship after another, one divorce after another. And those things will make you write songs. If you’re a songwriter, that’s where you get your material, from all your headaches and heartaches.”

Nelson went back to Texas, changed his look, and changed his tune — less Grand Ole Opry and more good ole boy, spiced with a little hippy and redneck. With his friend Waylon Jennings came a new, raw sound: Outlaw country.

Willie Nelson and Waylon Jennings perform “Mammas Don’t Let Your Babies Grow Up to Be Cowboys” at Farm Aid (1986).

Through the years, Nelson’s music came to transcend genre. He’s won eight Grammys, and honors he never imagined.

Regarding the record producer Harlan Howard’s quip that “Country music is three chords and the truth,” Schieffer asked Nelson, “What is it that sets your songs apart?”

“Well, you know, it’s three-quarters of the way true. You can have more than three chords!  But the truth matters.”

“What causes you to come up with these songs that people say, ‘Well, that’s right’?”

“I don’t know. I’m just writing what I’m thinking. And if it comes out pretty good, I’ll write it down somewhere and come up with a melody to it. But I’m just writing what I’m thinking, just off the top of my head, really.”

When he’s not traveling on his bus to one of the more than 100 shows he stills does every year, Nelson splits his time between a home in Maui (where he hangs with friends like Woody Harrelson), and his ranch outside Austin, complete with an Old West town he named Luck, Texas.

Correspondent Bob Schieffer and Willie Nelson in Luck, Texas.

When Schieffer dropped by, 3,000 fans filled the town for the Luck Reunion, the brainchild of Willie’s great niece, Ellee.

She said the Luck Reunion had started as a one-day event: “Celebrating singers and songwriters who were kind of forging their path in the same kind of vein as Willie is. Just, you know, doing their own thing without compromise.”

“A lot of people get to hear a lot of good music and hang out, have a good time,” Nelson added. “So it’s turned out to be real good.”

Things didn’t always turn out “real good” for Willie. Back in the ’90s there was the little matter of back taxes he owed Uncle Sam.

“I gotta say,” Schieffer noted, “you’re the only guitar picker from Abbott, Texas that I ever knew or heard of that owed the federal government $32 million!”

“It’s kind of funny when you think about it!” Nelson laughed.

“But I’m sure it wasn’t funny to you at the time.”

He worked it out, and paid it off. But he never declared bankruptcy. “I don’t believe in that,” Nelson said. “You know, I believe if I owe some people some money, I want to pay them.”

He’s been arrested more than once for possession of marijuana.

“I want to ask you a little about pot,” Schieffer asked.

“You got one?”

“No.”

These days he’s in the cannabis business in places where it’s legal. So why has he been such an advocate? “For myself, it’s good for me,” he said. “It keeps me from going off and doing crazy things. I can relax and play some music and sit around and visit and act like a grown-up, I think.”

Nelson once said that his fourth wife, Annie, married a better man than his other wives. “I did!” she laughed. “I got him after everybody else sort of trained him.”

They’ve been together more than 31 years.

And what’s it like to be married to Willie Nelson? “It’s not boring! It’s never boring. He has a lot of energy. There’s 23 years between us, but I think his goal is to wear me out so that we’re both the same age!”

Schieffer asked Nelson, “You think you’ll ever retire?”

“What do you want me, to quit?  All I do is play music and a little golf, and I don’t want to quit either one of those!”

For Willie Nelson the way to stop wearing out is to speed up.

Schieffer noted, “Andy Rooney said one time, ‘We don’t ask to get old. We just get old … And if you’re lucky, you may get old, too.’  You and I have been pretty lucky!”

“Yeah, we have,” Nelson said. “Very lucky. We’re still here. We woke up still not dead again!”

To hear Willie Nelson perform “A Woman’s Love” from “God’s Problem Child,” click on the video player below:

Willie Nelson – A Woman’s Love by WillieNelsonVEVO on YouTube

Monday, November 27th, 2017

www.WillieNelson.com

Wednesday, November 22nd, 2017

The Raelynn Nelson Band

Friday, November 10th, 2017

www.DailyTimes.com
by:  Steve Wildsmith

When Raelyn Nelson makes the claim that she’s the “black sheep” of her family, it raises some eyebrows.

After all, this is the granddaughter of country icon Willie Nelson, one of the original outlaws of country music. What kind of wild woman might she be, one wonders?

As it turns out, she told The Daily Times recently, “black sheep” is a relative term.

“I think, in a way, we all kind of feel like we’re the black sheep of our family, but I do feel that way,” said Nelson, who brings her band to The Shed Smokehouse and Juke Joint in Maryville on Friday. “My mom’s side is extremely conservative, my dad’s side is extremely liberal, and I’m kind of in the middle, where I’m not extreme either way. I’ve fought that battle my whole life.”

It’s one of many battles she’s had to fight — after all, with the Nelson surname and a legacy of making music casting large shadows, she’s had to scrap and claw to stake out a claim as her own woman. Not that her famous grandfather has put any expectations on her, she said; if anything, he’s been a kind and gentle guiding force as far back as she can remember.

“My earliest musical memories? My dad (Willie Hugh Nelson Jr., who died in 1991) and my grandpa singing ‘Jingle Bells’ to me,” she said. “I remember them singing to me, and my dad playing guitar to me. I remember going to Papa Willie’s shows and them being crazy, just tons of people there and it taking a long time to get to him.”

Her parents separated when she was 3; her mother kept her a safe distance from the wild ways of the Nelson clan, but the sounds of her grandfather and his peers had a way of sneaking around the barriers her mother erected. She cut her teeth on artists like Loretta Lynn, Patsy Cline and Amy Grant; as a teenager, she discovered pop, R&B and rock, and when she met Jonathan “J.B.” Bright — the musical backbone of the Raelyn Nelson Band and her partner in music — her world got a whole lot bigger, she said.

“He opened me up to the world of The Clash and the Ramones, and he was playing in a band called Defense Wins Championships at the time, which was real hard, loud rock music,” she said. “When I told him I was looking for a place to record

my own music, he told me to come over and record at his place. When I got over there, he asked if I wanted to write songs and put together a combo, and I said yes immediately. All of our music is a hybrid of my country and him adding his rock influence into it. We do everything together — videos, songwriting, websites, social media. He’s a true part of the Raelyn Nelson Band.”

She had come into her own several years earlier; discovering Shania Twain lit a fire in her, she said, and when she reached out to her grandfather at 14, asking if she could have one of his old guitars, he sent her a Martin. She started writing songs on it (and still owns it today), but while working with Bright, she found a ukulele that he had used to make an album of Replacements covers. While Bright was in the engineer’s chair, she started playing it; Bright taught her chords, and she decided to play ukulele instead.

“It’s a lot of fun to play, and it’s easy to swing around and perform on stage with it,” she said.

In 2014, the Raelyn Nelson Band released a debut EP; it’s a rough-around-the-edges record, and rightly so, she pointed out; she and the boys were still figuring out their sound. But the potential for what the group would become is there, in Nelson’s vocals, which burn hot as a Texas wildfire, and Bright’s deft rock ‘n’ roll licks. They’ve released a number of singles over the past couple of years and hope to eventually put out a new EP, she said.

“With the new stuff, I think we kind of honed in on the sound, because it has that cowpunk feel to it” she said.

“I like happy, fun songs; I’m not a big fan of songs that make people sad,” she said. “When we do ‘Daddy’s Grave’ live, it brings everyone down — it brings me down! — and I can see it. I decided I didn’t want to bring people down in that environment. ‘Daddy’s Grave’ is great for listening at home or in the car, but I don’t want to leave people with that taste. I want them to have fun and hang out with us. That song was kind of therapy; I was able to get it out, and it needed to be said, and it’s really touched a lot of people.”

And it proves that while she’s established herself as an artist in her own right, the apple doesn’t fall far from the tree. And she doesn’t mind a bit, she said.

“I’m very proud of my grandpa; I always have been, because he inspires me every day,” she said. “He inspired me to write songs, to play music, to live an unconventional lifestyle, and that it’s OK to do so. He has this aura about him that’s different than anybody in the world, and I think he really is more like Jesus than a lot of people, because he’s just so kind. It’s amazing how people from both sides just love him, and he can relate to anyone.

“I want to be just like him; however my music is not. I’m not as good of a guitar player, so you won’t get the same music, but hopefully you get the same kind of feeling you get when you see him play, because it’s coming from the same spot. I strive to have the same heart as he does.”

Monday, November 6th, 2017

Thursday, October 19th, 2017

Willie Nelson and his fans

Monday, October 16th, 2017

Willie Nelson & Family in Concert in Wichita with Lee Anne Womack (Nov. 24, 2017)

Wednesday, October 4th, 2017

by:  www.Kansas.com
Dion Lefler

Nelson played to a sellout crowd at the Hartman Arena in April 2016, six days after the death of his friend and then-touring partner, fellow country legend Merle Haggard.

Nelson’s unique singing style has earned him numerous solo hits including “On the Road Again,” “Always on My Mind,” “Blue Eyes Cryin’ in the Rain.” He was even more successful in duets including “Mamas Don’t Let Your Babies Grow Up to Be Cowboys” and “Beer for My Horses,” which he recorded with Toby Keith at age 70.

The concert will be at 7 p.m. Nov. 24, the day after Thanksgiving. That day, which most Americans have off from work, semi-officially kicks off the Christmas shopping season and is widely known as “Black Friday” for the throngs of shoppers who mob stores seeking bargains.

Tickets will range in price from $45 to $150 and are available at the Hartman Arena Box Office, online at www.ticketmaster.com and by phone at 800-745-3000.

Dion Lefler: 316-268-6527, @DionKansas

Read more here: http://www.kansas.com/entertainment/music-news-reviews/article176554491.html#storylink=cpy

Owen Bradley’s Quonset Hut

Sunday, October 1st, 2017

Music Graduates »

owenbradley

Willie Nelson, Harlan Howard, with Hal Smith.  Smith, along with Ray Price, owned Pamper Music. Pamper published  Patsy Cline hits including “Crazy”, written by Willie Nelson,  and  “I Fall To Pieces”, written by Harlan and Hank Cochran,  and “She’s Got You”, written by Hank Cochran.

https://www.facebook.com/owenbradleysquonsethut/info

The “Quonset Hut” is the legendary studio on Nashville’s Music Row, built by Producer Owen Bradley, where some of the greatest songs in music history were recorded.

Biography

The “Quonset Hut” was regarded for years as the foundation of Nashville’s country music industry. It had the distinction of being the first recording studio in what would later become “Music Row”.

Owen Bradley, along with his brother Harold bought the property at 804 16th Avenue South in 1954 which had previously served as a rooming house. Over the next year it would become the most successful re…cording studios in Nashville. It initially opened it’s doors as Music City Recordings but had changed it’s name to Bradley’s Film & Recording Studio by 1957/58 after they moved the recording facility from the basement into the Quonset Hut attached to the back of the house. The “hut” was used for filming musical performances until the late 1950’s.

In just a few short years , artist of every genre of music walked through it’s doors–creating some of the biggest records in music history such as Patsy Cline’s “Crazy”, Brenda Lee’s “I’m Sorry” and Bobby Vinton’s “Blue Velvet” to name a small few.

Owen Bradley is credited as a pioneer in creating the “Nashville Sound”.

The Bradley’s would sell the studio in February 1962 to Columbia records although they continued to record there until late 1965 when Owen moved his operations to his new state of art facility in Mount Juliet, TN dubbed, “Bradley’s Barn”.

In the years that followed Owen Bradley’s exit, the “Quonset Hut” continued to be used as a viable recording space. In 1965 Columbia had demolished the old rooming house and built a new studio known as A–the Hut became studio B.

Pop acts such as REO Sppedwagon, Bob Dylan, Edgar Winter, The Beach Boys, Paul Simon & Art Garfunkel, Les Paul & Mary Ford, Bobby Vinton, Connie Francis, Patti Page, Anita Bryant, Clyde McPhatter, Trini Lopez, Dave Loggins, Johnny Ray, Helen Shapiro etc all came to Nashville to record here. In 1982 shortly after John Anderson recorded his crossover hit, “Swingin’”, the facility was closed and gutted for office space. Columbia continued to build around the structure leaving few traces of the original such as the distinguishable curved roof which is still visible today.

During the next 25 years, the “Quonset Hut” would be nothing more than a memory until music mogul, Mike Curb ( Curb Records ) stepped in and purchased the property–which was now up for sale–and began plans to restore the historic structure.

In 2009, the studio was reopened to serve as a teaching facility for Belmont University students.

Plans were to open the studio for tours in the future–stay tuned. –Alan Cofer

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Tune in Saturday

Thursday, September 14th, 2017

Willie Nelson and Garth Hudson

Wednesday, September 13th, 2017

Willie Nelson’s Outlaw Music Festival

Sunday, September 10th, 2017


www.RollingStone.com

The Outlaw Music Festival Tour kicked off earlier this month with shows in Dallas, Texas, and Rogers, Arkansas, before winding its way to Detroit this weekend for the third stop of the tour. The eclectic lineup varies from city to city, with two constants: Willie Nelson and Sheryl Crow. Both delivered crowd-pleasing sets Saturday night at the Joe Louis Arena, illustrating the scope of what it means to be a musical “outlaw.” Jason Isbell, Lukas Nelson & Promise of the Real, and Bob Dylan – making the first of only two appearances on the tour – were also on the bill. Here’s 10 photos that capture the wild spirit of the Outlaw Music Fest. (All photos by Jordan O’Donnell.)

See more photos here

Honk!

Saturday, August 26th, 2017