Page 31 - The Noise August 2017

BY BEVERLEY NAPALM
mandolin and backups and we work out a basic arrangement. Then we add the other in- struments, usually based on instinct, tweak it, and there’s a goddamn tune. Franklin writes constantly. He’s nearly impossible to keep up with. For every grassy song he writes, there are four or five different styles. He knows I’m uncomfortable in certain keys, but he writes them anyway. Sometimes I think he’s doing it just to f*** with me. Either way, it makes me a better musician.
It’s refreshing to hear several AZ towns name checked in the song “February.” And your debut album is titled (Almost) Live In Greenlaw. And you also have a song called “Butler Ave.” Are you Arizona natives? Because it seems there is some AZ pride going down at least!
BOB: I was born in Phoenix and have lived in Flagstaff going on 6 years with no plans to leave. We’ve all been in Flagstaff for a while.
ERIC: Well, I think Franklin, Bob, and Zach could at least be considered AZ natives. Frank- lin was born in Ohio but spent most of his life here. Zach was born in California but moved here when he was pretty young. Bob’s a lifer. I grew up in Minnesota, then moved to Alaska, before coming down to Phoenix to finish high school, which is where I met Zach. Hannah moved here from Oklahoma, but I’m not sure when exactly. “AZ Pride” is an interesting way to put it. I think Franklin’s lyrics tend to move from emotional territories that might be cous- ins of pride or nostalgia, but as I read it, there is just as much dismay and disgust as there is of the previous. I think AZ is a state in which we can both love and be distinctly aware of the outright absurdity of some of the political environments we have to navigate. Without making an outright statement I’ll just say it’s nice to live on this blue island in the red sea.
How did you hook up with the very talented David Strackany? And whose idea was it to record a live LP at Firecreek?
BOB: I met David while working with him at the Orpheum Theater. We were considering our options in town and decided David would be the best fit for us. We are kind of the odd- ball group in Flagstaff’s otherwise very traditional if sometimes snobby, bluegrass scene. He is willing and able to embrace that aspect of The Regrettables. David’s background and skills as a musician, engineer, and producer are very impressive. I look forward to working with him. We sound our best live when people are dancing and spilling drinks all over the place. Recording in a studio setting just doesn’t capture what we do. Plus Eric’s raunchy jokes and banter between each song are a huge part of seeing The Regrettables play. You can’t get that in the studio!
ERIC: I’ve known David for a while through open-mic nights and booking at Hops. Bob worked with him quite a bit at the Orpheum, and he is our main point of contact with David. We recorded our EP with Jeff Lusby, who is extremely talented and produced a great album for us. For the LP we wanted something a bit different — a bit dirty, a bit rowdy — more indicative of our live shows. So we just decided, “Let’s just do the damn thing live.” There is something about the stage and the audience and the nerves and the booze that creates an energy that cannot be replicated in the studio. We are a live band. This is the way we play, and we like it that way.
You are the house band at Hops On Birch. How did that come about?
ERIC: I suppose we kind of were when I was booking for them. I would give our band one show a month, not to abuse my power, but ended up playing there more often due to cancellations and special events. Franklin and I would open every open mic, and other members of the band would often join. It is definitely our home base. The Regrettables were born there and we love to shake the walls there, although Vino Loco might not ap- preciate the occasional loss of inventory.
| Band line up: Franklin Hoover (guitar, lead vocals), Eric Hays (mandolin, vocals), Bob Waters (bass, banjo, vocals), Hannah Prizznick (violin, vocals), Zach Zemlicka (drums). The Regrettables bring their rag-tag drunken bluegrass to Firecreek on August 31. You can track down the band’s music on Spotify.
From Atlanta, GA, and making a rare and welcome visit to the Southwest, 100 Watt Horse are set to dazzle y’all with their off kilter pop chops. Their songs run the gamut from spritely folksy indie, syrupy introspection, to melodic avant-pop. Topped off with Girl/Boy vocals, a smattering of acoustic fragility and some foot stomping frivolity, it’s a winning com- bination. The author posed the following questions to songwriter and front-man George Pettis, and he responded despite a plethora of tour difficulties and broken phone chargers.
I am always interested in how the environment influences a band’s direction and sound. Do you think living in the South, with its rich heritage of independent music, has shaped your approach?
Man, that’s kind of hard to say. I didn’t really listen to country music or traditionally“south-
ern” sounding bands until I moved out to the Pacific Northwest, so I’m not sure how much influence those genres have had on me. I typically just listen to the music my friends are making, and that probably informs the music I make more than anything. Back in Atlanta, I used to love watching bands like Hello Ocho and Reptar do their thang. Their energy and showmanship is sort of incredible to behold. Lyrically, I think Madeline Adams is the best songwriter in the South, and I still listen to her albums on repeat.
I like that your sound is dialed in, yet hops around a lot with varying accompaniments on dif- ferent tracks. Is this deliberate, or simply just a creative approach using whatever equipment is at your disposal at the time of recording?
>> CONTINUED ON 32 >>
3
31
s|
1
NO
O
I
S
S
E
|
A
AU
UG
US
S
T
20
01
17
.
•
.t
t
h
e
e
n
o
is
i
e.
w
w
.
ww
w
w
u
h
no
se
|t
N
u
s
th
h
e
I
Ea
s|
e
ar
r
t
ts
s
&
&n
n
ew
GU
T
2
7
•
e
w
s