Jim Morris Music

Jim has something in his music that everyone can like. Along with great guitar playing like Joe Satriani and up-lifting and inspirational melodic movements like Dream Theater, Jim captures the music lovers heart as well as their mind.

Jim Morris is an articulate singer/songwriter with a devotion to storytelling. Whether it is a thoughtful ballad about doomed love or an anthem to a night of drunken revelry, the listener can always count on well-crafted songs with carefully drawn characters, clever lyrics, and satirical charm.
Although Jim’s musical style is admittedly reminiscent of Jimmy Buffett and Jerry Jeff Walker, he has a knack for defying categorization. He mixes a whimsical island sound with a splash of Texas to produce a sound that is uniquely Gulf and Western.

Jim grew up in Georgia and has a heritage rich in music. His grandfather led a dance band, and everyone in the family either played an instrument or sang. At age 10 Jim taught himself to play the guitar by listening to Hank Williams records. After college (BA in English and graduate studies in English and Human Resources Management) while pursuing a career in human resources management, he continued to write songs and dream of the day when he could do it full-time. "After I graduated, I wanted to be a drifter and a writer; instead, I settled for corporate executive and closet entertainer."

During his 15-year corporate career, his job allowed him to live in several interesting locales, such as Montana, New Orleans, and St. Simons Island, all of which would figure prominently in his writing. Following a business trip during which he renewed his love affair with the southwest coast of Florida, Jim took the leap he had been contemplating for some time and left the corporate world for good.

Jim spent the subsequent years writing songs and playing gigs around Florida. From the beginning he took a big risk by featuring original music. "I spent about a year writing and developing a catalog of songs. I was unsure of my ability to sing and play the guitar professionally, but I thought my songs might separate me from the other performers."

A fortuitous meeting with recording artist Randy Matthews would result in Matthews producing Morris’ first recording, "Laid Back and Key Wasted," released in 1996 by Fish Head Music. As you would expect, each song tells a story: the title track is about a guy who gives up the corporate world for the beach; one is about the exploits of a pilot who flies contraband; another is about roadkill and the people who collect it; others tell great stories of sailing, fishing, and drinking. "After my first CD was released, I changed my focus. I stopped playing bars so much and I worked coffeehouses and bookstores. I wanted to play before a listening audience who might appreciate what I had to say. I made less money, but I started to develop a fan base."

Jim returned to the studio during the summer of 1997 to work with noted guitarist/producer Chris Hattingh. The result was "Bocanuts" which was released by Fish Head Music the following November. "Bocanuts" shows again that Jim is capable of creating memorable stories in a variety of musical moods. "With 'Bocanuts' I found a formula that I’m comfortable with and that people seem to enjoy: some tropical, some jazz, some country, some acoustic folk, and some humor. It certainly reflects my musical tastes."

With the success of "Bocanuts" and a growing catalog of songs, Jim decided to release a CD every year. In November of 1998 he was back with Hattingh recording "Looking for a Place to Happen" which was released in February 1999. "The CD didn’t turn out exactly as planned," says Morris. "Several songs I was hoping to include were not as good as I wanted them to be. Sensing my frustration, my wife, Sharon, sat me down with a list of my songs and pointed out a lot of songs I had neglected. Consequently, songs like "What Kind of Fool Can I Be," "The Hammock Club," "Gatsby Dreams," and "Sometimes I Wish" were added." "Looking for a Place to Happen" became the most critically acclaimed CD to date. Hattingh had little doubt that the CD would be successful. "As soon as we listened to the final mix, I knew that Jim had topped his other CDs. For a CD with a variety of musical styles, it had such an amazing continuity."

Following the release of "Looking for a Place to Happen," the pressure grew to perform more outside the state of Florida. "I wanted to be a 'lifestyle artist,' fishing by day and playing music by night. But I also wanted to broaden my fan base, so I hit the road a bit." He also formed the Big Bamboo Band in order to capture the full sound of his CDs in live performances. "Playing with the Big Bamboo Band required more discipline and concentration than playing solo. It took a while to get used to it. Playing with a band is like playing team sports, and you get the same feelings after a tight performance that you do when you win the big game."

True to his plan to produce a CD every year, December 1999 found Jim back in the studio working on his fourth CD, "Bar Stools and Beach Chairs." He took a different approach this time, preferring creative spontaneity to careful planning. "I wanted to feel my way through the project and do some tweaking and changing as we went along." As it turns out "Bar Stools" may be his best effort yet. Along with his customary strong lyrics Jim has produced a work with remarkable musical diversity. Chris Hattingh knew that once again Jim had a winner. "I know that Jim felt some pressure to top "Looking for a Place to Happen," but there is something for everyone on this CD."

Jim will direct his efforts to expanding his fan base and touring with the Big Bamboo Band. He will still make time to fish and will always be on the lookout for song material. "I don’t have much to show for my years except some great experiences, and that’s what I write about – the characters I’ve met and the places I’ve been. The thing that is both satisfying and alarming is that most of it is true."

Check out some of Jims Tracks below:


Find more music like this on Sojournstar Music Industry Network


Jim will also be perfoming in Richmond Virginia on August 22, 2009 with Sunny Jim for
Stars On The Water. Time to be announced.

The excerpts here are from Jims website Jim Morris Music! where you will also find full tour schedules and more.

You can also find Jim on the Sojournstar Music Industry Network
Jim Morris Network Profile!

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Sol from Alexandria Virginia

Band/Resource Name : Sol
Band/Resource Rep Name : 9th Floor Music


Take two scoops of Funk; throw in a heathly serving of Reggae; stir in a few large cups of deep Piedmont Blues; throw in a pinch of Latin Flavor for spice, and top it off with some Old School R&B. Shake it up and you've got the music of Sol. A venerable pan stew of groove.

Sol leads a collaboration of musicians from the southeast and mid-atlantic US. Sol and his band members are no strangers to the road.

Sol has covered much of the surface of the earth on tour, lighting up venues across North America, Europe, Australia and the Caribbean.

Sol has shared the stage with blues heavyweights such as Taj Mahal, BB King, Cootie Starks, Cool John Ferguson, John Dee Holeman, Robert Randolph, Kenny Wayne Shepherd, Derek Trucks and others.

Paying homage to the greats, Sol seeks to bring Roots Music to a new generation of listeners.

Sol's CD release entitled Freedom, features the core musical unit of Sol on guitar and vocals, King George on drums, and Jake D on bass. Also guest appearances by Tim Smith (Squirrel Nut Zippers, Hobex, and Countdown Quartet), as well as members of VA’s reggae groups the Seed and the Alliens. With these special guests, the new album moves from greasy delta grooves to deep reggae, and from stanky funk to soulful R&B.

Here's what some reviewers are saying about the new CD Freedom:

"one of the top 15 CD's of 2008!"- Green Arrow Radio (created by the Funk Soul Music Director at WHUS) placed the album alongside Sean Costello, Taj Mahal, Bill Laswell, PBS, Marcus Miller & more in top picks of 2008!

“Sol is excellent at morphing rock, blues, soul, and reggae, taking it all to a different level and contributing to the evolution of music into- quoting Sly Stone- 'a whole new thing'. Freedom is a great example of this band’s music and a truly enjoyable listening experience”- Len Comaratta- WUVT Music Director

"Sol pulls together funk, soul, blues and reggae elements...

Sol uses his right hand fingers, not a pick, to get his bluesy, dirty-sweet solo lines, and he delivers the raw and tasteful in even helpings....

You have to admire a blues/soul singer who is trying to sound like himself, instead of some old blues guy... Good Party Music... " - Tad Dickens- Press Review

"Sol pours out his heart and soul on Freedom. A must have for any music collection" - Wes Lee- Locals Only Radio (Washington DC area)

Band/Resource Website 1 : http://www.sol-roots.com
Band/Resource Website 2 : http://www.myspace.com/solblues


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BEFORE THE MACHINE PICKS UP STEAM.

By Crystal Snyder

Far down West Broad Street 11:00pm is oddly quiet for a Friday night in Richmond, cars come and go, few people walk the street, but in their hurried rush to get to various clubs and bars they miss my destination, a small pool hall called The Triple.

Upon approaching this unlikely venue, I see several familiar faces, one in particular of the man who had me coming out here in the first place, Seth Nicholls (also of Red Clay Village). Seth was excited, I could tell that from down the street, and his voice belied his cool demeanor as we talked before entering the club. He told me about the bands that were playing that night, and about his new band, the one I came to see, Before the Machine.

I quickly took stock of my surroundings as we entered the bar, blood red walls, a cool tile floor, billiards in the back, and the familiar smell of alcohol and cigarette smoke encompassed my senses, as the first bands music assaulted my ears. I looked for the familiar faces I had seen outside, the other members of Before the Machine, Johnny Throckmorton, Jeb Mease, Chris Ratterree and Mike Lester. Knowing the superb talent they showed in other bands, I felt that this new project had a lot to live up to, I knew then this was going to make for an interesting night.

As the second band took the floor, I talked to some of the other patrons of the bar, all of them excited to see Before the Machine. This was their second show, and as the second band’s set drew to a close, the tension grew thicker, almost suffocating as the guys picked up the instruments that had been so patiently waiting in the corner.

Sound check and tuning commenced as people rose from their various perches like bones rising from the dead, waiting to pass judgment. Then it happened, the first note, the first chord , and Throckmorton took the mic. With a quick shout out of “What’s up RICHMOND?!?!?” Before the Machine had arrived, and even in the Intro it was apparent they were at no less than 110%.

As they slipped into “Blissful“, “Mikie’s Song” and “Eye if the World“, the crowd reaction went from swaying bodies and nodding heads to a full on mosh pit. Mease’s drumming was right on, never once skipping a beat, the phenomenal guitar work of Ratterree and Lester surpassed my expectations, and Nicholls’s bass work rounded out the whole outstanding package.

They ended the night with “Silent Movie” and “The New Song”. Even as the clock approached 2:00am all five members never lost the breakout energy of the Intro. Before the Machine is a ton of talent a mile outside of the box and a live show should not be missed, find out where you can catch them next near you on their MySpace Page!


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Circles of Concrete: Prabir and the Substitutes!

Pop rock all around fun band Prabir and the Substitutes played nothing less than a kick ass show at Gallery 5 last night. They boys released their latest CD entitled Hello to a packed audience and turned their awesome-ness factor to 11. Not only did they play new songs from their new album as well as favorites from Five Little Pieces , they also played a few covers including "These Boots Were Made For Walking." To cap off the evening, the boys destroyed their instruments Clash-style during the finale.



Prabir and the Substitutes are on tour supporting Hello. If you get the chance to see them, do yourself a favor. Drop what you are doing and go.

To hear a clip of Who's Gonna love Ya from the album Hello, check out the link
Circles of Concrete: Prabir and the Substitutes!

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MusicRVA: Get on Our Top List - New Fun Ways To Link

MusicRVA: Get on Our Top List - New Fun Ways To Link

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Morrissey and Mia Riddle

Christy Sheppard
Richmond.com
Thursday, March 19, 2009
Scene + Heard Concert Review: Morrissey at the National and Mia Riddle at Poe's

Sometimes you look forward to a show for a long time and you end up disappointed. Sometimes you hear a band's recorded music and are bummed when you hear them live. Sometimes, though, reality exceeds your expectations.

I saw two shows last week that were excellent. I see a lot of shows. Shows about which I don't usually care enough to write.

These two shows I didn't want to let fade from my ever-waning memory without putting down in writing for all of you (and all of the world!) to see. Hey, I'm a giver.

First, I caught Mia Riddle and Her Band as they stopped through Richmond via Poe's Pub on their way to Austin's SXSW, promoting their album, Tumble and Drag.

I arrived around 8:15 (because I thought the show as supposed to start at 8) and around 10 o'clock all preparation was complete and Mia's band was ready to go.

I'd been listening to their myspace playlist for a few days prior to the event because I never like going to show completely in the blind, and Mia's band is new to me. She sounded just as great in person as she did in recording. She was pop and she was rock, and she was a little country ... a delightful mixture.

Mia's voice continually reminded me of Jenny Lewis'; a comparison most would welcome. Although she did sound a little raspy and admitted she was battling a cold, it didn't distract from her performance and her voice was strong and pleasant.

I don't know if you've ever seen a show at Poe's but the "stage" is rather small. On several occasions I felt like the band really wanted to rock out but were hindered by the size of the stage. Despite the space limitations, they made the most of the night, and our attention spans.

Everyone but Dave Wyss (bass) had a mic; geez, he must really be a bad singer, huh? I kid.

The rest of the band consisted of Amy Merrill (keys, back-up vocals), Dan Barry (guitar, back-up vocals) and Jeff Neuberger (drums, back-up vocals). Mia stuck to singing and the guitar although she also plays the glockenspiel and keys.

Amy and Mia harmonized well and sounded sweet together. At the risk of sounding creepy, Amy had these super delicate fingers that looked as if they were sculpted just for the keys or for rescuing objects that have fallen into really tight spaces (or for stealing food from the vending machine). She had a funny smirk on her face that lasted most of the set. Apparently we were all having a great time.

As a testament to their songwriting skills, I recognized "Grandchildren", "City Song" and "Open Wide" right away and (happily) was even able to sing along.

In red flats that matched Amy's keyboard, Mia stomped and played her way though the set. I'm compelled to liken her to actor-turned-singer Zooey Deschanel; but Mia has a stonger voice and she's cuter, too. Sorry, I'm only into She & Him sans the "She &" part.

This was the first stop on their tour, so naturally they had a few blips here and there but they easily laughed them off. I've seen bands make a big deal out of mistakes and, frankly, peeps, most of us won't notice unless you don't call attention to your screw-ups.

I kept thinking to myself that this little performance deserved more of an audience and perhaps a larger venue. I won't complain, though, I'm glad they stopped by and I'm hoping they'll return. Maybe one day soon, they'll have ample opportunity to show off their talent to larger crowds.

Check out their video for "Open Wide" on YouTube.

The next night, myself and a few friends ventured our way out to the National to see the legendary Morrissey.

I've said this before, but I've never been a really big fan of his or of the Smiths, the band he used to front. This only means I had no idea what to expect and that I was blown away by what I saw and heard.

The guy is pushing 50 and he ran that stage like it was his, umm ... let's just say he showed everyone who was boss. Looking like a mixture between Dr. Troy McNamara (Nip/Tuck) and Robin Williams (in looks and in stage presence, respectively) he commanded the attention of every face in the crowd.

The stage was set up so the Moz had plenty of space to stalk around, whipping the mic cord to and fro. Picture a bullfighter with his cape ... with imaginary bulls coming at him from every direction.

I recognized more songs than I'd expected to, and when that insane riff from "How Soon Is Now?" started, nearly everyone in the sold out crowd of 1,500 took to their feet.

As big a ham as Morrissey was, his band wasn't leaving without making its presence felt. Drummer Matt Walker rocked an impressive set of drums that included an 18-wheeler-tire-sized bass and even a gong. Chris Bopst said recently, "The larger the drum set, the more likely the band is going blow." Sorry, Chris, but in at least this instance, that argument fails. (read the article here)

Moz sang the line 'But then you open your eyes and you see someone that you physically despise' from "Let Me Kiss You" at the precise moment he decided to remove shirt number two of three for the evening (if the timing was unintentional I'll eat my chucks). He'd already briefly left the stage long enough to change from a blue and white checkered print into the black dress shirt he was currently removing.

When he took off said black dress shirt, it was just too much for one excited fan to handle. This super-fan squeezed his way through a team of scowling security guards and chased Morrissey off-stage, dragging annoyed staff-members along with him. In line with the theme of the night (Morrissey is touring in support of his latest album, Years of Refusal), this eager-beaver wasn't giving up without a fight.

An unphased Morrissey reappeared in less than 5; donning another button-down ... this one pink.

Everything about the show was huge: the sound, the production, the enthusiasm, the egos.

All week I'd been a little skeptical as to whether he'd even show up (many shows had been cancelled prior to this one). Luckily he didn't let us down. Maybe he showed because it was Friday the 13th, maybe not. Whatever the reason, I'm glad I was there.

Morrissey on myspace | Mia Riddle on myspace


NOTE: Christy Sheppard is an established writer with publications like Richmond.com and was kind enough to share this article with us. We look forward to many more of Christy Sheppards writing contributions. Keep watching.

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An Interview with Joe Buck

Joe Buck, or Jim to his friends, has a plan. He plans to stay pissed off and sing about it until there is no need to anymore. In a way Joe Buck is an activist, but not by protesting or props, which he finds redundant, but by translating and transferring emotion and energy to his audience. During my phone interview with him, tape recorder by the phone, praying it was working, Joe was somewhere in Florida, on tour as always. Joe Buck is a humble man who doesn’t think he is anything special. He plays for us and he will always play for us, whether it’s a crowd of 2 or 2000. Joe Buck and I found common ground on many topics and shared some personal stories that showed me the roller coaster that has been Joe Buck’s life. I am now not just a fan of Joe Buck Yourself, I’m a fan and I hope a friend of Jim.


Cindy: You just returned from Europe. How did that part of the tour go? Is playing Europe any different than playing the U.S.?


Joe Buck: Well, it was exactly the same. It was weird, it is weird. I mean this first show in Rotterdam I was singing “Evil MF from Tennessee” and I usually let the crowd say “Tennessee”, and I’m in Rotterdam and I was like, okay, and just stopped, boom, and sure enough I heard “Tennessee”!


Cindy: So your fan base is strong in Europe?


Joe Buck: Well I’m not trying to be different, it’s just the way it comes out. I mean, obviously they’re looking for something different and you know there’s not too many places for them to get something like that I guess. It was amazing. I’m going back over there in the fall for about two months.


Cindy: I’ve noticed so many bands booking Europe dates on their tour schedules. It seems like a popular thing to do, I guess it always has been.


Joe Buck: Well, I don’t book the shows, I just let people know where I am, so it’s good because I just deal with people. We’re not getting in touch with clubs, it’s not like that. I just want to go where the people want me to come. I’m just excited about having a show. The best shows are when you get your local bands together and there’s people and you have a party. I only care about the people who are there.


Cindy: We may not have had a huge crowd for you last year when you played here, but everyone was there for you. And what I thought was so special was you telling everyone to come stand by you as close as they could, and they did for the whole show, and that was a very different experience. It made me feel like I was part of your performance. It was very memorable for me.


Joe Buck: Well, I mean, it’s all about the people. I mean, I’m playing for them, you know, so yeah, the whole getting up close thing is like it takes all of us to make that show happen. The energy has to come from all of us and yeah, that’s not like most shows.
In most shows the band comes on and the people stare at them, and they go through the show, and they go off stage, you know? That’s not what I’m doing.


Cindy: You are well known in The Legendary Shack Shakers. Were there bands before that? What was the beginning for you as a performer?


Joe Buck: I’ve been in bands my whole life. There have been a zillion other bands. I had success with this band named Gringo back in the early 90’s. I mean, you know, drinkin’ and druggin’ ruined it, but I was doing shit then, in rock bands from late ’79 on and I was in all these punk bands in the beginning. I mean, I was from a farm in Missouri, so when I was a kid growing up there was Bocephus, Van Halen, The Cars, but when I left the farm it was like I immediately found punk. You know, it was like 3 years after the fact, but it was late 1979, it wasn’t 1977, but it was still new enough to where I said, okay, and played in punk bands.


When I was 21, I think I heard Hank Williams on a commercial or something and it was usually someone else doing his songs, really badly. Then I met a great friend of mine, Jerry Bender, who I owe a debt of gratitude to. He was the produce guy at the Piggly Wiggly and lived around the corner from me. I’d have my little punk rock parties and he was my neighbor, just lived right around the corner, and one day he said “your music sucks, I’m bringing my own music”. So he brought over Hank Williams 40 Greatest Hits and you know, it changed my life. Jerry Bender! And that was in the early 80’s. I still played in punk bands until 1994 just because I knew that playing country takes skill and time so I worked on it all those years, but I still played in punk bands to get by.


But my band Gringo got a bunch of great reviews. I thought I was trying to be Hank Williams. I was just so strung out and drunk that I was just kind of lost in that, but those were great records, I was in great bands, but I just ruined it, just played too hard.


Cindy: How do you describe the type of music you play and especially the way you play in your solo act?


Joe Buck: I have to play every song as hard as I can. I mean, that’s the first thing people always come up to me and hug me after a show and say “Oh my God” because I’m soaking wet. Not just a little wet, I mean like somebody just dumped a bunch of water on me. And that’s because, yeah, I play every song as hard as I can. It’s all rooted in old hillbilly music and blues. I’m not doing anything new, I mean, maybe the approach is about something different.


Cindy: Where does all the aggression come from?


Joe Buck: Because I’m pissed off, man. I’m pissed at the way people treat each other, I’m pissed at all the cold blooded greed. I’m so sick of all the bullshit in the world. There’s so much to go around, man. I’m pissed off at mass communication. I’m pissed off at Nashville, you know, as a kid growing up on a farm, instead of having somebody from my area on the radio singing to me, for me, like Hank Williams would’ve been, no, I got fu#@ing Barbara Mandrell. The worst bullshit in the world. So that music didn’t speak to me. I hated that music. I mean, openly as a kid I said I hated country music, so it made me hate where I was from. I had issues and I had to get them out.


I left Nashville and moved to Western Kentucky, just over the border. The people in Nashville were great, it’s the music industry that polluted a whole generation of good country kids. That’s why they’re listening to Fifty Cent right now. They’re adopting a culture that has nothing to do with them. You have to know where you’re from to know where you’re going.


Cindy: I heard you had a show here about a year ago with the infamous Cuz’n Wildweed and the Vapor Rhinos. Something happened at the club, Poes Pub, can you fill us in?


Joe Buck: The Vapor Rhinos had a fog machine that you could’ve put in an arena. So we saw smoke coming out of the club from our RV. Kathy and I looked and there was all this smoke billowing out from the club. You couldn’t see inside the club. The club was completely filled with smoke and it was billowing out the doors. It was like the place was burning down. So we’re running out of the RV to see what’s going on and the Vapor Rhinos were still playing on stage. You couldn’t even see them. It was the funniest thing I’ve ever seen in my life. It ran everybody out of the bar, which was even more genius. I was like, yeah, they’ll remember that show forever.


Cindy: What was it like performing with Cuz’n Wildweed?


Joe Buck: Well, I’m glad that Cuz’n Wildweed is here on this planet. What can I say, you rarely meet somebody that has a giving soul, because the majority of us are cancerous, lecherous thieves. So to find somebody like Cuz’n shows me that good people are out there and it gives me hope, otherwise I’d blow my brains out! We’re in this thing for the long haul, and that’s what we need, are people that give a shit.


I promise I will always show up to play as hard as I possibly can. I don’t care if it’s the 20th show of 20 shows in a row, you’re gonna get the same show. You have to give if you’re an artist. It’s the truest thing. And I only learned that from losing everything and being pummeled by everything. Then I realized I didn’t need anything. The only things I need are the things I can carry inside of me.


Cindy: Have there been any spiritual influences or experiences that have helped guide you to where you are now?


Joe Buck: All I need is to not feel worthless, because I was. So, by working so much and playing, those things make me feel good. If I feel something or smile or rock out, whatever it is, then I did something that made somebody feel something, so being able to give them whatever that is and by them feeling something, then I don’t feel worthless. So it’s really as simple as that.


What changed, I have no idea man. It’s like one day, I just can’t explain it. I was almost dead, so I really don’t know. It’s weird too because the dope, I’m around it all the time. It’s so funny. It’s like, here’s the funniest part about your addiction, here’s your job and you’re gonna be surrounded by it and that’s the best way to have it. Keep your enemies close, man. But I never wanted it, and it’s like I said, twenty years of full on crazy and then one day just like, I can’t explain it. I did think I had a dream kind of thing that was like, I gave up all the drugs and pills, it doesn’t matter what it is, it’s all the same thing, so it’s like, if you give up one thing, all the rest of the things that you need in your life will bear themselves.


I was like, man, I’m not stupid, this sounds like a pretty good deal. And that’s pretty much how it worked out. I don’t judge anybody by what they do or what road they’re going down. Everybody’s got to live their own life. And as awful as it was, because there is no glamour in it, you know, it’s just pathetic. I don’t look back on any of this stuff fondly, but I wouldn’t change a thing. I’m fighting fire with fire, filth with filth, decease with decease.


Cindy: You played with Hank III for years. To anyone that would seem like a perpetual party. How long did the party last before you had enough?


Joe Buck: Well I never had enough of it. That thing was a pro gig man. Yeah, we had fun but we rocked every night, I mean everybody was f@#ked up, you know, you can’t do that shit, you have to almost be an athlete. Yeah, it’s fun, but I mean….there were several things like, this thing now is steady work, and that gives me peace of mind.


Cindy: Your fans now know about the split with you and Hank III. Do you mind telling us what happened?


Joe Buck: First of all, he (Hank III) is a solo artist. I was just a side guy. I mean, he’s had a zillion guys in his band. I mean, it’s about the songs. I loved every minute of that, but I started working (solo) after we played Nashville on Thanksgiving of 2007 and when I started doing this no tours (with Hank III) were booked, so I kept working. You know, and he went on. So that’s what happened, there was no “split”. There was no big decision made, I just never heard from him. So he got another bass player and I was like, okay, I’ll keep touring.


Cindy: Are you happier as a solo artist?


Joe Buck: I’ve always written and played, besides Hank III, I always wrote and sang the songs, so I mean, because I played with him for so long, sure I miss that, but not for the reasons you think. It’s like, I miss my friend. But this thing that I’m doing, you said it, it’s really important and it’s growing like crazy, and yes, when you’re a side guy, you don’t know what’s going on, you know? This way works for me. It gives me huge peace of mind. And then, I love my girlfriend. We’re getting married as soon as I can pull off the road long enough!


Cindy: What’s next for Joe Buck? Are there any new releases we can get excited about?


Joe Buck: I’m recording and I’ll have a new release out by July. I’ll have it ready for the tour with Wayne (Hancock). Oh yeah, Wayne Hancock and Joe Buck are gonna f@#ck up the West Coast man!!!


Cindy: What more really needs to said?


Joe Buck will be playing The Triple on May 12, 2009


You can visit Joe Buck’s website: www.joebuckyourself.com



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