By Brent Thompson

Immigrant’s son, husband, father, tireless rock & roller, survivor – all of these descriptions define Alejandro Escovedo. Born into a musically-rich family, the 67-year-old singer/songwriter has woven his life experiences into a catalog of songs that is fresh and timeless at once. In September, Escovedo released The Crossing [Yep Roc Records], an album that documents the immigrant experience over its 17 tracks. Centered around two fictional characters, Salvo and Diego, The Crossing addresses the current state of our nation while touching on Escovedo’s own family heritage. On Tuesday, January 8, Escovedo will perform at Saturn. Cured of the Hepatitis C that plagued his life and career for many years – and now living in Dallas after a long stint in Austin – the stalwart musician recently spoke with us by phone.

Birmingham Stages: Alejandro, thanks for your time. I can only imagine the number of phone interviews you’ve done over the years.

Alejandro Escovedo: Believe me, when they stop I’ll be complaining [laughs].

Birmingham Stages: If you will, talk about your adopted hometown of Dallas.

Escovedo: I love it, man. I’m really having a great time. I live in a wonderful place surrounded by great people and a lot of musicians. Change was good for us – we’re happy.

Birmingham Stages: What prompted your move from Austin to Dallas?

Escovedo: There were a lot of things involved. We had been in that hurricane and we were dealing with PTSD and I was just about to start medication to get rid of the Hep C. Austin had become very expensive, very different. My wife had a job here working on a movie – a TV series called Queen of the South – and it was only supposed to be for four to six months. But when we first got here, I began taking that medicine which was a six-month program and I got rid of it here in Dallas. Things started to brighten up for us and it became a good place to be. We’re very happy.

Birmingham Stages: I assume the present state of our nation fueled the subject matter of The Crossing. With that said, had documenting the immigration experience been in your plans long before the writing and recording of this album?

Escovedo: I’ve always written about my family and my father was from Mexico, so he was an immigrant. I wrote a play called By the Hand of the Father that we took on the road. It’s always been part of my writing process – it’s where I go. Family’s always been important – the journey of my family to America and everything my dad did in order to provide us with the things he did. The things we experienced as a result of growing up in the ’50s, ’60s and ’70s has always been part of my story.

I think that on this record we really narrowed it down and focused on these two young men who were looking for a different America than what my father was looking for when he crossed. These young boys are coming across the border to look for an aesthetically-open America. The story is different but the journey is much the same. It’s not just about crossing the border – it’s about these young boys’ transformation from young men to men. Salvo is killed in America and Diego contemplates if the trip was even worth it at a certain point. So, The Crossing really represents different types of transformations in their lives.

Birmingham Stages: Were the songs on The Crossing newer compositions, older songs or a mixture of both?

Escovedo: I wrote this with [Italian musician] Don Antonio and Antonio Gramentieri is his name – we wrote it together. We talked about it when we were touring Southern Italy. He came over maybe six months later and we spent almost a month driving around Texas – the backroads – talking to a lot of Dreamers in this area around Dallas. We came up with 17 pieces of music by the time he had left. We had an outline of the story and it wasn’t until I went to Italy – I was there for about a month – that I wrote all the lyrics to the songs. So, it really kind of came quick but it was a story that was embedded in our psyche, too. A lot of what these songs represent is what Antonio and I have gone through in our lives.

Birmingham Stages: You mentioned in an interview with Rolling Stone that The Crossing also serves as a letter of sorts to your children.

Escovedo: I think all of my albums and songs have been like bread crumbs for my kids to discover a little bit about myself that they’re not aware of. I’ve been a hard traveler for many years – 45 years – and we’ve always been on the road. That’s the way artists like myself make their living. So, you’re gone a lot. I missed a lot of little league games and school events and things like that. The only method I have of communicating with them are these songs. My father was a storyteller and the stories that he told me helped me understand who he was as a boy and how that led to him becoming a man and my father. Hopefully, these songs will bear the same kind of gift.

Alejandro Escovedo will perform with Don Antonio at Saturn on Tuesday, January 8. Showtime is 8 p.m. Tickets to the 18+ show are $25 – $40 and can be purchased at www.saturnbirmingham.com.

By Adam Johnson

Fans of the jam scene will often talk of going to a show as an experience. They will recount their experience in a way that conveys a deeper connection. Every show is special- meaningful in its own unique way. We discuss the band with the pageantry that rivals only the most loyal Alabama/Auburn fans. We “geek” out on how a setlist was engineered. We will spend hours studying how “this one song” played at “this venue” is nuanced in a way that you can understand only if you were there. Our passions overflowing- this is my story about my NYE run. 

My first Umphrey’s show was New Year’s Eve 2010 in Chicago. It is only fitting that my 50th would be a New Year’s Eve show as well. The four-night Atlanta run started strong and set the bar high. It’s a marathon, not a sprint. Umphrey’s set the stage for a NYE run that would have a long list of epic bustouts, teases, debuts, collaborations and set several records for the band. More on that later… 

Night one highlights:

Set one- Higgins, August 

Set two- Bridgeless (unfinished), Much Obliged, Time (Pink Floyd cover) 

Encore: In the Kitchen (unfinished), finish Bridgeless 

There’s something about the Tabernacle that makes for a great “Higgins.” This “Higgins” would be no exception to the rule. Set two opened with a strong “Bridgeless” and was left unfinished as they morphed into “Example 1.” No Umphrey’s show is complete without Waful’s artistry. Without his light show, the show just isn’t the same. Night one would be a special night for the senses as Waful’s turned the Tabernacle into a life-sized snow globe and a blanket of fog so thick you almost had to climb your way through it. The Encore put a nice cap on the night as we were treated to a four-night cliffhanger with “In The Kitchen.” As we continued to breathe in the open-minded air, the band finished the night by revisiting “Bridgeless” that was left unfinished from the set two-opener. 

Night two was an interesting evening. While some songs seemed abbreviated at times, the jams from the evening were tight and long. Stasik, Kris and Andy seemed to be exploring quite a bit and were really in sync. Despite some debate over whether a couple of jams were stopped short, they featured highlights from each band member at one point or another. 

Night two highlights:

Set one- 2 x 2, Band on the Run (Paul McCartney and Wings cover- bustout tune with a 781 show gap) 

Set two- Wappy Sprayberry, YYZ (Rush cover, bustout tune with a 324 show gap) 

The “2×2” was one for the Hall of Fame in my opinion. At times the band produced a groove so hypnotic, the crowd made the entire venue shake. I’m a sucker for a good cover tune and the first set cover of Paul McCartney’s “Band on the Run” brought a smile to everyone’s face. Newcomers and avid followers had something to celebrate with the bustout of this one. You can’t deny the pull of “Wappy”- it’s a personal favorite for me. The mix of trance-like grooves, metal crunch, happy up-beat dance sounds and plenty of space for each member of the band (Waful’s included) to explore. We were also treated to another bustout, and cover tune when they guys played Rush’s “YYZ” and nailed it. 

Night three was such a unique, special night for me! I think this night alone will go down as a top five for sure. Just when you thought they couldn’t do something “new,” they proved you wrong with an original 

trick up their sleeve. From the design of the set-list, to the collaborations, each song seemed to provide a special touch, making for a most magical evening. 

Night three highlights:

Set one- 1348 opener with long jam and left unfinished, Utopian Fir with Genesis tease, Made to Measure (only my second time to see this one) with Jeff Coffin on sax, Virtual Insanity (Jamiroquai cover- this one is very special to me- in addition to it being unique to me, it’s the first time UM covered Jamiroquai and, they had Jeff Coffin on sax, Cory Wong on guitar and Jake on keys) 

Set two- Ocean Billy, Can’t Rock my Dream Face (only second time played and bustout with a 281 show gap), All in Time set closer 

Encore- Triple Wide (also another very special tune) and 1348 finished in the encore 

Walking away from the venue from night three was a bit surreal. So many highlights packed into one night. Usually you get all of that over the course of a 3-night run. UM packs all of that into one night! How can you not be hooked and begging for more? 

Night four, New Year’s Eve marked a milestone for me! Show number 50! I woke up bright and early that day and felt like a kid on Christmas Eve. Counting down the minutes until showtime all day. Reminding myself, this is what I need. 

Before I cover the highlights, I need to explain something. My connection to music started at an early age. Some of my favorite memories as a kid are when we would spend all night listening to tapes and watching mom play Pac-Man on Nintendo. She took me to my first concert, INXS. It was the “Kick” tour. We would listen to that particular tape over and over while she would play Nintendo. I lost my mom in 1989- she was 36. Several weeks ago, I had a dream that I met Umphrey’s and shared my story with them. In my dream we were hanging out I asked if they would please play an INXS song for her. They sort of laughed it off and left it as a “we’ll see.” That was only in my dream of course and not in real life. I have a personal philosophy not to request a song from a band. Rather to trust the music and let the set-list create the experience it’s supposed to. Trust the band. 

Night four highlights:

Set one- Cemetery Walk II into Cemetery Walk (first time they’ve reversed the order of these two), Roundabout (Yes cover and bustout 311 show gap) 

Set two- Draconian, Whistle Kids (Mad Dog and his Filthy Little Secret on horns), Looks (Mad Dog and his Filthy Little Secret on horns and Dr. Feelgood jam/lyrics) 

Set three- Hurt Bird Bath, In The Kitchen (finish from night one), Booth Love (Mad Dog and his Filthy Little Secret on horns), What You Need (INXS cover, first time ever playing INXS, Mad Dog and his Filthy Little Secret on horns) 

Encore- The encore could be a stand-alone show honestly. Mad Dog and his Filthy Little Secret started up in the balcony while the band took the stage. The band and MDFLS took a band-vs-horns battle and played: with In the Mood (Glenn Miller), The Ocean (Led Zeppelin), Voodoo Child (Jimi Hendrix), So Fresh, So Clean (Outkast), Donna Lee (Charlie Parker), and Unskinny Bop (Poison), then they went into Hajimemashite into Detroit Rock City (KISS cover and bustout with a 674 show gap). 

Umphrey’s MCGee will be back on tour when they kick off the “Wax On, Wax Off” tour in Richmond, Va. on January 11.

By Brent Thompson

Todd Coder has been a fixture on the Birmingham music scene and beyond for many years. Now, the veteran promoter and talent buyer – known for bringing high-profile, national touring acts to WorkPlay, The Lyric Theatre, Avondale Brewing Company and numerous other venues and festivals – is launching his own company, CODE-R Productions. Based in Birmingham, the company will book shows at Iron City, The Lyric Theatre, Nashville’s Mercy Lounge, Cannery Ballroom and the High Watt among many others. 

“Starting my own company is something that I’ve envisioned for years but it just never came to fruition,” says Coder. “I’ve been lucky enough to establish outstanding relationships in the industry over the last two decades. I’ve gained a tremendous amount of experience from programming and producing major events and by working with a multitude of artists and venues during this period. It was obvious to me that the time was now.”

Exiting Emporium Presents after a two-year stint, Coder leaves the company on good terms and says he envisions a continued alliance with his former employer.

“The experience that I gained alongside Dan (Steinberg) and Josh (Zink) and the rest of the team at Emporium Presents is unparalleled and will forever be appreciated. I look forward to working even more with them in the future.”

https://coderproductions.com

By Brent Thompson

Photo Credit: Dave Schlenker

As grunge filled the airwaves in the ’90s, an antithetical and hopeful sound rang out that was both fresh and familiar. The band responsible for that sound was Florida’s Sister Hazel. More than 20 years later, the quintet – Ken Block, Jeff Beres, Andrew Copeland, Ryan Newell and Mark Trojanowski (aided by touring member Dave LaGrande) – is expanding its audience while retaining its loyal fan base. Two Sister Hazel EPs released earlier this year, Wind and Water (from a thematic series titled “Elements”), appeared on Billboard’s Country Charts. In addition to recording and touring, the group remains committed to its multiple charitable endeavors. On Thursday, November 29, Sister Hazel will perform at Iron City. J. R. Moore (from Ingram Hill) will open the 8 p.m. show. Recently, drummer Trojanowski spoke with us by phone from his Atlanta home.

Birmingham Stages: Mark, thanks for your time. We are looking forward to Sister Hazel’s Birmingham show. As you know, our city has enthusiastically supported your band for many years.

Mark Trojanowski: It’s definitely been a city that was there for us with the first record and ever since then. We knew a lot of the radio programmers there from day one and Birmingham was also instrumental in breaking “Push” for Matchbox Twenty, too. That station there [WRAX FM] supported bands and our genre and helped develop a fan base for us. Between doing the Crawfish Boils and the other shows, we really have a great fan base there.

Birmingham Stages: Sister Hazel has maintained the same lineup for more than 20 years, a rarity in the music industry. How has your band maintained such consistency?

Trojanowski: I think a lot of it had to do with our philosophy. Bands that came out during our time period would put out a record and then disappear for a year and a half or two years and they’d try to start the machine up again and it was so difficult. We did that only on our first record because we needed a break. We did three years of 200-plus dates and we turned down an offer to tour with Aerosmith because we thought the band would break up if we went and did it [laughs]. Ever since that point, we never have gone away. For the last 10 to 15 years, we pretty much play every month and we play six to 10 shows per month. That has worked for our families, our home lives and meeting the needs of our fans. You just can’t disappear for months or years at a time and hope to have a consistent career, especially if you’re independent and doing everything on your own. Touring is the only way to keep yourself going.

Birmingham Stages: We are enjoying the Wind and Water EPs from the “Elements” series. If you will, tell us how the concept took flight.

Trojanowski: It came upon us out of nowhere. We got into the studio and recorded three songs and there was a push to record three more songs and put out an EP because we had all of this momentum. Why do we have to wait until we finish 12 songs? People are buying singles now anyway and don’t even care about full-length records. So, we had that concept of putting something out quick to get music out. From that point, Jeff – our bass player – came up with the concept of putting out four EPS in 24 months and trying to come up with a theme for it. But it was more than just getting out music quicker and it fit our touring life and home life. We didn’t have to stress about recording 12 songs and mixing and mastering and all of that  – you could do a little bit at a time and get it out. It worked better with our touring schedule.

Birmingham Stages: Expanding on your point of releasing music on your own terms, some artists applaud the current climate given the available avenues to reach listeners – Youtube, iTunes and other modern outlets – and the ease of do-it-yourself recording. Other artists say that today’s climate creates clutter and over-saturation for all of those same reasons. How do you view the current industry?

Trojanowski: I have mixed views. All of the technology and accessibility is great. When we first got signed to [record label] Universal, we didn’t want tour support but we wanted $10,000 to build a website because we knew where things were going digitally. They looked at us like we were crazy. I think what bothers me as a songwriter and an artist is that people that make movies and write books all got it right and the record companies and the Recording Academy blew it. There should be no reason why someone that writes or records a song is treated any differently than someone who puts out a book. People are still paying for books, whether they’re on kindles or in hardback or paperback. But ever since Napster, everyone expects music to be free. It’s frustrating because you just cut off an income stream to everyone who basically makes original music. There’s no money in streaming. [Technology] is great to get it out there, but I think that the people running the recording industry at the time didn’t have their act together and didn’t find a way to protect everyone. Now the train has left the station and there’s no going back. As soon as they went to single downloads, that was the end because it killed the record.

Birmingham Stages: Each night, there are certain songs that remain constant in your set list. How do those songs stay fresh after you’ve played them hundreds or even thousands of times?

Trojanowski: That’s a good question. There are two things with that. One, we try to do some different versions of songs over the years. “Champagne High” is a great example. We went through a time period where it was like the record and then we created an extended solo section and then it became an acoustic song and then it was a trio a cappella song. So that’s one way. We tried to make changes to “All For You” over the years, but some songs you just play them the way they are. Also, people sing back the lyrics and that makes it fresh because it’s fresh to them. You look at how people react to a song after 25 years. You always have 10 core songs you have to play and the rest is a mixture.

Sister Hazel will perform at Iron City on Thursday, November 29. J.R. Moore (from Ingram Hill) will open the 8 p.m. all-ages show. Advance tickets are $20 and can be purchased at www.ironcitybham.com.

By Brent Thompson

Bitten by the Blues: The Alligator Records Story

Bruce Iglauer & Patrick A. Roberts

The University of Chicago Press

October 2018

For a young Bruce Iglauer, Chicago was heaven – and a haven – for a blues fan seeking the real thing. The city’s South Side clubs rang out with sounds of the genre’s true legends. Taking his passion to the next level, Iglauer produced and distributed Hound Dog Taylor’s debut album and Alligator Records was born. Since then, the label has released recordings by Otis Rush, Koko Taylor, Albert Collins, Johnny Winter and Son Seals among countless others. In Bitten by the Blues, Iglauer – with the help of Patrick Roberts – recalls the sessions and stories that turned his record label into a national treasure. Along the way, we learn about Chicago blues in general and Alligtator’s place in its fertile scene. And though he likely wouldn’t take credit for it, Iglauer’s label played a vital role in keeping a sometimes less-than-commercial – yet distinctly American – art form relevant.

In addition to being an enjoyable read for blues and Chicago enthusiasts, Bitten by the Blues reminds us that one’s passion can become one’s profession. Genuine Houserockin’ Music indeed.

https://www.press.uchicago.edu/index.html

 

 

 

Drive-By Truckers took the stage at Saturn on Thursday, November 8 – the last show of the band’s three-night run at the venue. We were on hand to capture the performance. The Rock Show, indeed.

Photos by Brent Thompson

 

 

 

 

 

By Brent Thompson

Photo Credit: Andy Barron

Since 2001, Joy Williams has released a steady stream of music, both as a solo artist and as one-half of The Civil Wars. In 2019, the Grammy-winning singer/songwriter will release the album Front Porch [Sensibility/Thirty Tigers]. Two tracks from the upcoming album (produced by Kenneth Pattengale of The Milk Carton Kids), “Canary” and “The Trouble With Wanting,” are available now. On Thursday, November 1, Emporium Presents: Joy Williams at WorkPlay. Anthony da Costa will open the 8 p.m. show. Advance tickets to the 18+ show are $20 and can be purchased at www.workplay.com.

 

By Brent Thompson

For its 2017 release Sleeping Through The War [New West Records], All Them Witches enlisted the help of A-list producer Dave Cobb (Jason Isbell, Chris Stapleton, Sturgill Simpson). But when it came time to record the recently-released follow-up album ATW [Red River], the band’s members – Robby Staebler, Charles Michael Parks, Jr. and Ben McLeod – put the production duties into familiar hands: their own. On Wednesday, October 31, All Them Witches will perform at Saturn. The Birmingham show marks the opening night of the band’s upcoming tour. Handsome Jack will open the 9 p.m. show. Recently, Staebler spoke with us by phone from his Tennessee home.

Birmingham Stages: Robby, thanks for your time. If you will, talk about the creation of the ATW album.

Robby Staebler: There were two things on that album that existed in some random form. “Half Tongue” – we just started playing that at a soundcheck at some point last year, just that riff. The other one was the heavy part of “Rob’s Dream” – that was something that me and Ben recorded years ago, like when we first started the band. That was something that we demoed and never looked at it again. Everything else just came about it – it was another fast process which has its drawbacks and bonuses, but it was a relatively quick thing. Over the course of two weeks of writing sessions and rehearsals, we basically structured the album and took another week to sit down and record it in a place we rented.

Birmingham Stages: It must be nice to write and record in such a quick, efficient manner.

Staebler: The last three albums we did were a relatively similar process. We just took an extra week with this one. I think we’re going to do something different for this next record. We were all living in different places, but I’ve moved back to Tennessee and I’m a good middle spot between Parks and Ben and I’ve got a studio. I’m renting a church and we’ve been rehearsing a bunch and just jamming. We haven’t been able to hang out and just jam for probably five years. We’re looking forward to this year and everyone being close and being able to play whenever we feel like it. I live 50 miles outside of Nashville because I can’t handle [living in Nashville] – I can’t be distracted. If I live in Nashville, I’m going to bars and making friends and spending all of my money. I live in this really small town and all I do is play drums everyday and work on graphics.

Birmingham Stages: After working with Dave Cobb on Sleeping Through The War, your band decided – with Ben at the helm, as the album’s press release states – to self-produce ATW. If you will, talk about that decision.

Staebler: It wasn’t really much of a discussion. We could’ve gone the same route – the producer thing – but we don’t really need someone to nudge us in directions. I’m not saying working with Dave diluted our process at all because it didn’t. It was a new experience and it was exciting. But we’re confident enough to be what we want and not really seek outside counsel for things like that. Ben’s super nerdy about the engineering aspect and recording – he really wanted to be at the helm, as they said. It was super easy and it was fun and relaxing. We could go as late or early as we wanted – there was no rush.

Birmingham Stages: At this point, do you see the band using the self-produced approach on upcoming albums?

Staebler: I think so. We’ve always been doing it ourselves with the exception of the last one. I’d put my money on us doing it ourselves.

Birmingham Stages: Your band is known for is work ethic and incessant touring schedule. How do you guys maintain that level of intensity?

Staebler: Because we’re each a real musician and that’s what our whole lives have been to this point. We’ve always played music and now I can pay my rent, see progress and talk to people and see that [our music] means something to them. If you call that “work ethic,” then you can, but we’re just doing what we love to do and being able to pay our rent doing it is more motivation. It’s always an adventure. We love traveling – it’s hard, it’s tiring and we miss our girlfriends, our families and our pets. But you only live once and if we get to go around the world and play stuff that we made and share our art with people, then we have to keep doing it.

Birmingham Stages: Going back to the subject of do-it-yourself recording and producing, artists now can forge careers without the required help of a label. Some artists say that’s great and some say it creates clutter because there is no gatekeeper. Simply put, anyone can record and release an album anytime. How do you view today’s overall climate?

Staebler: It’s definitely a pro that you can do it on the cheap. It’s accessible to people who couldn’t do it before and they can do it now. If they really want to do it, they can do it. It’s very saturated, but it’s just the world we live in. You can’t do anything about it. It’s just a matter of chance that someone listens and passes it on. There are so many things people will never hear that are amazing. Maybe it’s luck of the draw, but that’s how it is.

All Them Witches will perform at Saturn on Wednesday, October 31. Handsome Jack will open the 9 p.m. show. Advance tickets to the 18+ show are $12 and can be purchased at www.saturnbirmingham.com.

By Brent Thompson

Photo Credit: Jen Rosenstein

“The only moment you can do anything about is the one you’re living, so you might as well live in that moment,” Chris Vos says, speaking by phone from his Los Angeles home. And if anyone should be enjoying the present moment, it’s vocalist/guitarist Vos and his band mates in The Record Company. Bursting onto the scene with the release of its 2016 debut album – the Grammy-nominated Give It Back To You – the trio’s raw, timeless sound found mass critical and commercial appeal. In June of this year, The Record Company released All Of This Life [Concord/Universal], a 10-track collection that has charted on the strength of the single “Life To Fix.” On Tuesday, October 30, the band will perform at Saturn. Madisen Ward and the Mama Bear will open the 8 p.m. show. Over the course of our interview, Vos gave his take on songwriting, the current music industry climate and recording the follow-up to a successful debut.

Birmingham Stages: Chris, thanks for your time. How did the material for All Of This Life take shape? Were these newer songs, songs that had been around for awhile or both?

Chris Vos: It came both ways you just described. There were a couple of creative bursts and there were a couple of concepts that had been hanging around for awhile. “Make It Happen” had been hanging around for awhile and on “The Movie Song” we had a chorus we liked but we didn’t have anything else. “Make It Happen” came together that way, too. “Life To Fix” is a creative burst I would say. When we made our first record, we made it in our living room borne out of the struggles like any other band. Nobody knew who were and we didn’t know if anybody would ever care who we were and we just wanted to make the best record we possibly could. When it came time to make All Of This Life, we wanted to stay true to the experiences we’d had. Life had changed, but we stayed the same in a lot of ways and that’s how we wanted the sound to be. We wanted to evolve and grow but hang true to our roots.

Birmingham Stages: An artist recently told me that sometimes a certain song tells you that it’s time to make a new album. Was that the case with All Of This Life?

Vos: We just knew we wanted to make another record. We had just finished the first record and we were playing those songs for a year and a half before the record came out and then the record comes out and you’re playing them for two years after and we wanted more music to play. There wasn’t a song – we just knew when we were done touring we wanted to start recording the record.

Birmingham Stages: To your point of playing a limited number of songs repeatedly, how have those songs stayed continually fresh to you along the way?

Vos: I don’t know. When you’re in love and walk through the door and see your wife for the 500th time or the 50,000th time and you really love each other, it’s always a good thing. That’s how the music is – when you really love what you’re doing, everything matters and every show matters. If you feel like it’s getting stale, you need to look in the mirror and ask yourself, “What am I doing? Is my heart in the right place right now?” It never gets stale for me. That being said, as an artist you get done with the painting and you want to paint another one. I can still play all those songs and feel them on a very deep level every time  because every time is different. I just look at it as a tremendous gift and you’ve got to work hard to stay worthy of it.

Birmingham Stages: Given the success of Give It Back To You and the touring and promotional demands surrounding it, was it difficult to find time to write songs for a new record?

Vos: Bob Dylan said in the movie Don’t Look Back, “When I’m out here, I’m collecting ideas and then I go home and write songs.” I am constantly typing phrases in my phone and singing into the phone. It gives you a constant recording device that is in your pocket. The chorus for “Life To Fix” – we were crunched in the back of a van in Colorado and Alex started humming this melody. I said, “What is that?'” He said, “I don’t know.” I said “Record it.” Later on, we listened and it became one of the strongest melodies on the record.

Birmingham Stages: You mentioned recording Give It Back To You in your living room. Today’s technology allows you to self-record, release and distribute music, but some artists say the ability for anyone to do so creates clutter. How do you view today’s climate?

Vos: I think it’s great. I grew up on a farm and it puts a field in front of everybody and you’ve got to go out there and tend to it – you’ve got to work. It’s got to be about the music first, no matter what the technology is. It’s got to be about saying something. Once you put it in the technology, the secret ingredient is working your butt off. It does seem impossible, especially in the beginning. You have to set the mission – What are the songs? Who are the people that are going to play them with me? The journey is very rewarding. You make friends with the word “No.” A lot of times you don’t even hear that. When you hear “No,” someone actually cared to reply.

Birmingham Stages: The phrase I often hear from artists regarding the current industry climate is, “The gatekeeper has been removed.”

Vos: In any era of music, the gatekeeper is the individual listener. There are a million little gates. The greatest gift a listener can give an artist is 15 seconds of their time to say, “Alright, show me what you’ve got.”

Birmingham Stages: You mentioned staying true to your sound on the new album, but obviously your band’s circumstances changed between the recording of the two albums. Did those circumstances tempt the band to change or tweak any part of the approach?

Vos: This is the first time any of us have ever gone into a record knowing there are some people out there that are going to want to hear it. That is intimidating at first and every artist that has made more than one record knows that feeling. We just looked at each other and said, “It just comes down to the three of us sitting in here and working it out.” When the three of us sit down and work together, things start happening. The focus has to be the music. We had gone from a living room to clubs to theatres and opening for bigger artists – we did Madison Square Garden with John Mayer. So, we wanted our sound to grow because we had grown. But the center is always the music and that’s something we didn’t want to compromise.

The Record Company will perform at Saturn on Tuesday, October 30. Madisen Ward and the Mama Bear will open the 8 p.m. show. Advance tickets to the 18+ show are $22.50 and can be purchased at www.saturnbirmingham.com.