This past Thanksgiving marks the second year anniversary of my yoga journey. It’s been an exciting year, lots of milestones and lots to be thankful for. At the one year mark, I decided to write a blog about my first year of yoga, so now that another year has come and gone I’d like to share how this transformational journey continues to evolve. For those of you who don’t know me, or didn’t read my first blog, I’ll start with a condensed version of how and why I got into yoga and then I’ll get into some of what I’ve learned during the second year (halfway through the writing of this blog I realized that it really wanted to be two blogs, one about the physical practice of yoga, and one about the mental and emotional benefits, so let’s start with the physical journey).
Throughout my adult life I’ve gone back and forth between two professions; music and construction. In 2011 I decided to go back into construction after many years of working as a touring musician. I was 43 years old and hadn’t worked in construction for about 15 years. Ouch, I was quickly reminded of how hard this work can be! Within a year I was having chronic shoulder and neck pain as well as relapses of tendinitis in my right arm from an old injury. Sometimes, after a few hours of work, my left shoulder would begin to hurt, the pain and stiffness spreading into my neck, ultimately limiting my range of mobility and causing intense pain. Once my shoulder and neck were “tweaked”, it might take several days to a week to subside. It was getting so bad that the condition could even be brought on by simply coughing or sneezing. I tried stretching, ibuprofen, lifting weights, but nothing worked, the condition was worsening.
Then one day a friend told me how he had used yoga to self heal an injury. I was intrigued. I began practicing with a yoga DVD (P90X Yoga) as well as putting together a few of my own short routines. I wasn’t consistent at first, but the ball was in motion. Then one day my wife, Kelly sent me a couple of YouTube video links. One was a 30 Minute Morning Yoga Class by Ali Kamenova (if you’re interested in exploring some great yoga videos, check out Ali’s YouTube channel). Almost instantly, this routine, and Ali’s style clicked with me, and soon this YouTube video had become my new best friend.
By one year into this commitment to self healing I was practicing Ali’s yoga routines almost daily, and the neck/shoulder pain and tendinitis were, for the most part, gone! Although they occasionally did show their face, the problems were minimal, and usually gone by the next day. There were a lot of other changes over that first year – a whole new sense of body awareness, breath, connectivity, improved attitude – I was stronger both physically and mentally, and had a growing sense of inner peace – all this from a 30 to 60 minute daily yoga practice at home. My first year of yoga was very exciting; self-healing my own injuries was very empowering. One of the biggest things I learned was the connection between the body, mind and breath, and I definitely felt an increased awareness of my physical and emotional state.
Figuring out what the body needs
When I first started practicing yoga, I was typically hitting the mat three times a week, occasionally four. By the end of that first year it was almost daily, and I often found myself struggling to figure out what my body needed on a daily basis, which class to choose, what type of flow, how to alternate routines to target different parts of the body, etc. Maybe a certain area of my body was holding extra tension and required specific attention. I was also exploring how to build my day around my practice (to ensure it happened daily) and what clothing was most comfortable. Over the second year of practice, I gradually found answers to many of these questions.
Creating a space for yoga
In order to practice yoga every day I believe you have to build it into your daily routine in a way that is sustainable, and this is different for everyone. I’ve learned that I don’t have the energy or focus for a challenging yoga sequence by the time I get home from work, so it’s pretty much a morning practice or nothing. For a while, I tried hitting the mat shortly after getting out of bed, and this was a struggle as my body was too stiff and I seemed to lack energy. Gradually, my schedule evolved into waking up around 5:00 AM, eating breakfast, doing a few other things around the house to kind of wake things up a bit, and then starting my practice at the last minute possible before leaving for work (allowing maximum time for digestion). On the weekends I find myself practicing much later in the morning and my body seems to like that a little better, but the compromise during the work week is essential. I think the key is to make a commitment to a daily practice, and then build the practice into your daily routine.
Types of routines:
I love a strong, moderate paced power yoga class, 50 to 60 minutes in length, with lots of warriors, backbends, twists, hip openers, and core work, and I do these as often as possible. However, sometimes my body wants something different. On some mornings I feel a little beat up from the workday before, so I might do a less intense routine that focuses on flexibility. I use these classes to take the edge off of whatever pains and tweaks I might wake up with and to prepare my body for another day of life’s abuses. Do you ever wake up feeling really tight, achy, and just really beat up from head to toe? Well even with all this yoga I still have days like that, too. On those mornings I try to do very easy, therapeutic routines, maybe 20 to 30 minutes in length with mostly seated poses. And then some days the body just wants a complete rest! Our physical state seems to fluctuate, going from higher to lower points of energy and stability, so it’s important to listen to your body; it is speaking to you and will tell you what it needs.
Loosening up, tightening up, loosening up, tightening up…this seems to be a pattern in my life. I get all stretched out with a wonderful morning yoga class, and then sit in my car for an hour drive to work. Sitting in traffic sucks, and boy, will that tighten you up! Then there’s the repetitive motion of the job itself. Throughout the day, I’ll throw in a few poses, almost always right before lunch, and then again at the end of the day right before the afternoon commute. Even just a couple of forward folds and a standing side stretch can work wonders.
My job as a painter and drywall repairman is very physically demanding and requires a lot of sustained, awkward body positions. Working over head, crouching, kneeling, climbing up and down ladders, painting with a brush or roller for hours…did I mention sitting in traffic? No matter what you do for work; it will take its toll on the body. This is where yoga comes in. For every task that stresses the body, there’s a pose or group of poses that will counter it.
Painting and/or repairing ceilings place more stress on the neck and shoulders than almost anything else I do. Over the last two years I have greatly increased my flexibility in that region with backbends, twists, and shoulder openers. This work still takes its toll, but much less so because of my increased range of motion. Work that is low to the ground, like painting baseboards, is also quite taxing. You’ve either got to sit, kneel, crouch, or lie on your side. I find myself sitting crosslegged to do a lot of this work, kneeling (with knee pads), or even squatting, and this requires open hips and loose hamstrings. Hip openers and hamstring stretches improve the ability to sit or kneel for extended periods of time. I’m constantly going from standing, to crouching, to climbing ladders, and this is where all the core work really pays off. Working over head or standing on a ladder requires the ability to balance and an awareness of my body in space. Balancing poses greatly help (if you want to get a sense of where you’re really at, try closing your eyes during tree pose!). When I perform music, I might be playing guitar and singing continuously for an hour or more, and this can be just as demanding as painting a house. All the muscles that get used and abused by performing music are stretched and strengthened by my yoga routines.
Breathing is the only way to deepen our practice
Anyone who has delved into yoga, even just a little bit, knows the emphasis placed on breathing. When we breathe deeply, with complete inhalations and exhalations, our body receives this as a signal to relax and to let go of tension. Sometimes I become aware of growing tension, and a few focused deep breaths almost always help to relieve it. If I do something that aggravates or tweaks a muscle, breathing can help to minimize, or even reverse what might otherwise become a runaway problem. As a chronic sufferer of migraines, I’ve learned that deep breathing can be a very powerful tool. And deep breathing can be especially helpful in dealing with the simple stresses of everyday life, arguments, traffic jams, etc.
I’ve learned so much in these last two years about how my body works, what it needs, how to use yoga to become less prone to injury, self heal injuries, and to optimize my physical and emotional well-being. My yoga practice, along with healthy eating is my own personal healthcare system. I believe it can have a powerful effect on anyone, and the best part is, it’s never too late to start. The transformational effects of my practice go way beyond increased strength and flexibility, and part two of this blog will delve into the positive effect it can have on mental and emotional wellness. As my initial exploration of yoga was centered on fitness, as it seems for many, I wanted this blog to partly serve as an inspiration or catalyst to those who are curious about it, or just getting started with their own practice.
Yoga practice seems to be dominated by women, and I think a lot of men don’t get into it because they don’t really understand what it can be. A big misconception among many who have never practiced yoga is that it’s all about meditation, or just for “stretching”. While it does include those things, the right kind of yoga routine can be as ass-kicking as any workout you’ll ever do. At its core, yoga is really about self exploration, and the breath, but it can also be an amazing physical fitness program. And with that, I’ve got to get going. It’s almost time for work and I’ve got to go hit the mat!
Here’s some photos my wife took during one of my recent yoga sessions (click or swipe the arrows to see all the photos): the before and after shots show my progress from one year ago.
By Eric Normand
Sunny days, dusty hayfields, huge crowds, great music, great people, light beer, diesel fumes, gator balls – these were the sights, sounds and aromas of the 2014 Luke Bryan Farm Tour. I can’t believe it’s over, it seems like I just hopped on the bus yesterday. The 8 shows spanning two weeks whirled across the Deep South with the speed of a jet plane and the intensity of a freight train.
My role in this mega-tour as lead guitarist and bandleader for Nashville’s most successful songwriting team of all time, The Peach Pickers, began with our pre-tour warm-up show at a sold out Third and Linsley in downtown Nashville on September 26. The show, which benefited The Wounded Warrior Project was a huge success, and a couple of days after this electric night we hopped aboard a bus bound for Knoxville, TN.
Even though it was October 1, it still felt like summer when I hopped off the bus around 8 AM, the temperature already approaching 80°. This day began for me like every day that would follow on this tour, a trip to catering! After some eggs, home fries and coffee I got ready for my daily trip to the gym with members of Luke’s band and one of the other opening bands, Cole Swindell. While I was doing my thing at the gym, other members of our entourage walked the hayfields, while others took advantage of another luxury provided to the touring musician, sleeping late.
By mid-afternoon it was time for our load-in and sound check. The level of production on this tour was top notch, sporting state-of-the-art lighting, some really cool video walls, and a PA system that would rival that of any mega-rock tour. They even had a remote-controlled flying camera that captured video footage of the audience and performances, otherwise referred to as “the drone”.
Luke’s crew, along with the other crews (which included the world-class sound company, Claire Brothers) not only knew how to make us sound and look great, they were a pleasure to work with. After sound check it was time for a little rest, a quick shower and some dinner before taking the stage at 6:40 PM. Our 40 minute set began just a few minutes after the tour’s first opener, Louisiana native and singer-songwriter, Chancie Neal. The sun was just beginning to set as the DJ introduced our show with something like:
“These three guys are the most successful songwriting team in the history of Nashville. They have 60 number one hits…230 million downloads… please welcome to the stage – Rhett Akins, Ben Hayslip, Dallas Davidson…The Peach Pickers!”
The crowd went wild and we began our onslaught of 13 number one songs with “The Only Way I Know”, a Peach Pickers cut by Jason Aldean. In rapid-fire succession we played down our list, each song greeted with, and followed by the sound of 15,000 people going absolutely berserk! After a few rockers we slowed things down with the heartfelt ballad “I Don’t Dance”. A few of the songs towards the end of our set really seemed to hit home with themes that everybody in this crowd could relate to – “Small Town Throwdown”, “Parking Lot Party”, “All about Tonight”, and the epic hip-shaker, “Boys Round Here”. The set went by like a blur, seeming to end as quickly as it began, and the three stars of our show left the stage to a deafening applause. The crew and stagehands helped us tear down and pack up our gear with lightning speed, and by quarter of eight it was all loaded on the bus and we were done working for the night. Only six more hours until bedtime!
Our show was followed by the fast rising, Cole Swindell, another Georgia native currently enjoying his second number one song, and his four-piece band kept the party going full force. By 9 PM it was time for the Tour-D-Force of this event, Luke and gang to take the stage, his show beginning with the modern day phenomenon of thousands of cell phones being raised into the air to capture an endless barrage of digital photos.
Luke’s show is an exciting ball of kinetic energy, his top notch band providing an AC/DC like “foot stompability” that kept the audience pulsating for his 90 minute set. The phrase “sing along” doesn’t even begin to paint the sonic picture of the sound of 15,000 people singing at the top of their lungs at a Luke Bryan concert. After Luke’s show ended, the crowd quickly dispersed the field, only to be trapped in a massive traffic jam as thousands of cars began their slow motion journeys down the one lane road that led out of this little piece of rural America.
This first day and night of the tour was a huge success, and with each following show, the tour seemed to gain momentum. The only snag of this first week was some torrential rain during Friday afternoon in Tallahassee Florida, and despite what seemed like an impending disaster, the rain subsided right before showtime and the night went off without a hitch. The following night we ended the first leg of this tour to a crowd of 17,000 in Gainesville Florida, and this was, in my opinion, The Peach Pickers strongest performance yet.
A few days off and we were back at it for round two. The week started out smoothly, but late Thursday afternoon in Columbia, South Carolina it began to sprinkle, with the sounds of thunder and the view of lightning in the distance. Oh no, it was happening again! We pushed back the start of the performances by 20 minutes, and midway through Chancie’s set a downpour began. With a handheld wireless microphone, this brave girl stood out in the pouring rain on the middle of the runway and kept everybody’s spirits high. By the end of her show she was soaked head to toe, as was her acoustic guitar player and percussionist, Austin Marshall (who also just happens to be the Peach Pickers tour manager). The rain stopped as she exited the stage, which was now soaked, and a dozen stagehands began to dry the stage using push brooms, towels, and high-powered electric fans. We began our show with a strange hue lurking behind us in the form of some ominous storm clouds and lightning in the distance.
By the second to last show in Columbia, South Carolina our band was really beginning to hit its stride, and by the final night of the tour, Saturday in Macon Georgia, we were on fire. On the bus shortly before our set, we all talked about our agenda for the night, which basically consisted of kicking some serious ass. And that’s exactly what we did! At one point of the show, me and Dallas even did a couple of moves that might have almost seemed choreographed. The show ended with our usual closer “Boys Round Here” during which Dallas, Rhett, and Ben walked the runway with their wireless microphones, slapping hands with the audience in a climactic sing along.
There’s a really unique aspect to a Peach Pickers show. We play songs that are the most successful chart-toppers of modern-day country radio, songs written by these three guys, yet made famous by others. So the crowd knows our tunes, yet most have never heard them performed by the original writers. A Peach Pickers performance is very organic, powerful, sometimes rough around the edges, and performed by what many in Nashville would consider a “stripped down band”. Most of the radio versions of our songs feature multi-tracked guitars, layers of fiddle, steel, keyboards, background vocals, etc, and most touring bands that play behind country artists consist of this instrumentation. Our group is basically like a traditional rock band – drums, bass, and two electric guitars. Nothing against modern day radio production, but I find that this stripped down approach allows us to rock a little harder while allowing the essence of the song to shine through without obstruction.
While Rhett has had success and experience on the big stage, Ben and Dallas are newer to this forum, yet they rise to the occasion every time, perhaps with an excitement and enthusiasm that would be impossible to have in any other scenario. Together, the three of them make a formidable team. It probably doesn’t hurt that the rest of our band is made up of some extremely talented folks – Nick Forchione on drums and former G-men, Mike Chapman on bass and Chris Leuzinger on electric guitar. I’m extremely proud of this band, were all friends, we love playing music together, and we make it happen every time.
The farm tour might be over, but the memories are forever. Luke’s entire crew, band, and management treated us with great care and respect, which speaks volumes of the man himself. We all made some new friends and strengthened the bonds between old ones, and I sure hope we get to do it again next year! In the meantime, The Peach Pickers might just have a few more surprises for you, stay tuned!
By Eric Normand
I recently read an article on Huffington Post, “Art and Music Are Professions Worth Fighting for, and while I agree with some points of this article I think the author does a major disservice in presenting the pursuit of music as a profession in a kind of “all or nothing” approach. He talks about a presentation he made at a high school career day where he suggests music as a possible career choice for young people. He says that those interested should “go for it, with abandon and furious joy, and that you do so without a plan B”. This is where I disagree. I also disagree with the distinction this makes between “career musicians” and nonprofessional musicians. Just because you don’t play professionally doesn’t mean your music isn’t valid. I agree, if you love music and want to pursue it, why not pursue it wholeheartedly, but what’s the matter with pursuing music while earning a living from something else? What’s the matter with pursuing music for the mere enjoyment of it? I believe you can pursue music as a career and for fun, but you need to keep your eyes open and realize that you will need a steady income stream along the way. To decide how music or a music career might fit into your life, perhaps the questions you really need to ask yourself are; why are you pursuing music, what do you want to get out of it, and what will it take to be successful? What is your definition of success?
When I was a senior in high school, if you had asked me what I wanted to be when I grew up I would have said, “a professional musician”. Immediately after high school I got a job as an apprentice drywall carpenter before enrolling in the Berklee College of Music two years later. After Berklee I played professionally in nightclub bands for the next 14 years, eventually also becoming a guitar teacher. In 2002 I relocated to Nashville Tennessee where I’ve had the good fortune to work as a hired gun on several major tours. My first gig was as a guitar tech for Toby Keith, and I went on to play lead guitar with several country artists – Daryle Singletary, Vern Gosdin, Rhett Akins, and the hit songwriting team known as “The Peach Pickers”, among others. I also wrote a book about how to navigate the Nashville music industry, “The Nashville Musician’s Survival Guide”.
Looking back, if you had told that starry-eyed high school kid that one day he would be a musician, painter, drywall carpenter, teacher, author, and website designer, he would’ve said “Naw, I’m not interested in any of that other stuff”. But as they say “life is what happens while you’re busy making other plans”, and one of the things I’ve learned along the way is that you have to wear a lot of hats to survive in this world. The truth is, my original goal of being a professional musician was based on the glamorization of the musical era that I fell in love with, and I had no idea about the reality of any of it.
We starve! Just kidding (well, not entirely). The options for musicians trying to earn a living from their craft are somewhat limited. The way I see it you can pursue one or more of the following avenues; nightclub musician, music teacher, touring musician, or session musician. Sure, there are other gigs (orchestra musicians, jingle writing, etc.) but these four are the most practical, and out of these, the first two are the only ones that ever become reality for most. If you want to be a touring or session musician, you will need to live in a music metropolis such as Nashville, New York, or LA, and these are extremely hard (but not impossible) gigs to land.
Regarding paying gigs, I’m talking about work you can get on a regular basis that pays real money for your services. Therefore, I’m leaving out songwriters and aspiring artists because these do not pay any real money unless you become extremely successful. TV shows like “American Idol” and “The Voice” have propelled the myth that anybody that learns how to sing a good cover song can become a national recording artist and superstar. Out of the tens of thousands who audition for these shows and the hundreds that perform on them annually, how many are ever heard from again?
While I cherish many of my experiences as a professional musician, I’ve learned the hard way that it doesn’t always pay the bills. Night club gigs still pay what they paid 25 years ago when I first got into this ($100 a night is still considered good pay) and most club gigs in Nashville don’t even pay that. As far as touring musicians, most tours only pay during the part of the year that the tour is active and, unless you are on a very high profile tour, you’ll have to find another income stream during the winter.
Two years ago, I went back to full-time construction work, and put my music career on part-time status. I began approaching music as simply one component of my life, and for first time since I’ve been in Nashville I’m actually earning a steady living year-round. I still play music, sometimes for pay, always for fun, and I get just as much reward, if not more, out of a local club gig playing for tips as I do when I perform with The Peach Pickers on the Luke Bryan farm tour in front of 15,000 people.
Don’t get me wrong, I’m not here to talk people out of their dreams; after all, I did write a book about surviving the Nashville music industry. But if this is your dream, you need to arm yourself with knowledge and know what you’re up against. If you’re thinking about pursuing music or arts as a profession you must first “define your success”. What is your definition of success in music? Then ask yourself why you want to do this. If it’s because you think it’s an easy and fun way to make a living you might want to do a little more research. It can be fun, but it’s definitely not easy. If it’s because you absolutely can’t see yourself doing anything else, then go for it, but have a plan B, and have a way of earning a living while you pursue it.
There’s nothing wrong with pursuing music as a career, and there’s also nothing wrong with being a musician or artist that never becomes “professional”. Music is one of the oldest forms of communication, music has the power to heal and unite people, and playing music makes you smarter. So go ahead and work at becoming a great musician, it’s a noble thing to do and the world always needs good music and art. Approach your music with abandon and joy, but don’t be afraid to have a plan B.
by Eric Normand
This year’s Luke Bryan Farm Tour was an epic event and as a “Peach Pickers” band member I was a first-hand witness to what has become a yearly phenomenon in the Deep South. We played eight sold out shows in eleven days, most of them taking place on actual farms, and the fans showed over-the-top enthusiasm for Luke, The Peach Pickers, and the other acts on the bill, Cole Swindell and Chancie Neal.
For those of you not in the know, the Peach Pickers are the most successful songwriting team in the history of Nashville and are comprised of Rhett Akins, Dallas Davidson, and Ben Hayslip who together have penned 40 number one hits and countless top 20’s. Lifelong friends of Mr. Bryan, they’ve written and co written several of his biggest songs and at the time of these concerts had five out of the top 10 songs on country radio. Full of nothing but chart topping hits, our 12 song, 45 minute set was extremely well received and while these Georgia natives don’t perform live on a regular basis, there is an undeniable honesty and vibe to their performances when they do.
The Peach Pickers band consists of Nick Forchione on drums (on loan from the Black Crowes crew), “G-men” members, Mike Chapman on bass and Chris Leuzinger on guitar (the G-men are a group of session musicians who played on all the Garth Brooks records), and myself on guitar and bandleader duties.
The production on this tour was truly impressive and it was amazing to watch the daily transformation of an empty field into a state of the art concert production in just a few hours. In addition to the audio, lighting, and video crews, the Luke Bryan Farm Tour travels with its own catering company, stagehands, security personnel, and mobile stage – they even erected a fence that encircled the concert grounds on a daily basis. Setups began in the early morning, the complete production was up by early afternoon, and all the bands were sound checked before the crowd funneled in at 5 PM. The first act was on at 6:30, Luke’s show ended around 11, and by 2 AM we were rolling down the road to the next farm (at least most of us were).
The evening’s first opener, Nashville based singer-songwriter; Chancie Neal played an intimate, acoustic set to begin warming up the capacity crowds of 8,000 to 17,000. Following Chancey was Cole Swindell who rocked the attentive crowds with his high-energy four-piece band on a nightly basis. By the time Cole finished his set the sun was just going down, and after a brief changeover we began our show to a crowd that was primed and ready.
Our set list was a literal Who’s Who of modern country radio featuring several number one songs written by The Peach Pickers and brought to the masses by artists like Billy Currington, Blake Shelton, and other country music giants. Our show went like this:
A set list of such well played radio tunes makes for quite the sing along and at times the sounds of thousands of voices singing along rivaled the volume of the band. Our show-ender, “Boys Round Here” made for a pinnacle moment during which Ben, Rhett, and Dallas walked “the runway” – high-fiving audience members while taking turns singing verses. Our shows ended with a roar of applause and minutes later our gear was packed up and under the bus. Shortly after the conclusion of our set, Luke and band brought the night home – their high energy, action-packed set as well received as any touring entity out there. Their show even featured an acoustic set, during which the entire band converged on an intimate setting created in the middle of the runway.
For me, this two week stint was one of my musical high water marks of the year and only bestowed a few minor inconveniences (bad cell phone coverage, short nights of sleep, and maybe a little extra dose of pollin and ragweed). I got to reconnect with some old friends and made some new ones – I even participated in a daily run to a local gym with some of the guys from Luke’s and Cole’s bands.
One thing I can say about the Luke Bryan Farm Tour is that it has a family-like vibe. The artists, musicians, and crew members all worked together with the common purpose of making a great show happen every night, and a great show did happen every night! On the last night of the tour, I found myself in a moment of irony watching one of Luke’s final songs of the evening from side stage, “I Don’t Want This Night to End”. I think there was some real truth in that moment for many of us.
If you want to learn more about what happens behind the scenes in the Nashville music industry, check out Eric’s book “The Nashville Musician’s Survival Guide”.
I can’t believe summer is drawing to a close! Well, not really…It’ll still be really hot down here in middle Tennessee for at least another month or so. But to me, especially being from the north, Labor Day weekend always feels like the end of summer – kids go back to school, it begins to get colder, the holidays start creeping up, and so on. And it has been a great summer, at least for me. I worked hard, played some cool shows, hosted a couple of Berklee alumni events, took my first yoga class, released a CD of originals with my band “Skinny Buddha” and had an action-packed 10 day trip to New England, during which I gave a clinic and performance at the Berklee College of Music. And most importantly, I celebrated another anniversary with my wife and best friend of 18 years (I think this is the beginning of a beautiful friendship…).
So what’s in store for the fall, you might ask? I’ve got lots going on – I just had the transmission rebuilt in my van, began a new round of P90X, started an herb garden on my back deck, plan to have a yard sale this coming weekend…seriously, I do have a lot of big things in the works.
Skinny Buddha will be the guest artist on “The Mando Blues Radio Show”, with the taping coming up on Monday, November 16, and aired on Wednesday, September 18 on 107.1 FM Radio Free Nashville. Thanks to Whit Hubner from Nashville’s very own “Hippie Radio” we will be rocking the “Mando Blues Tent” with a six song performance. If you haven’t yet discovered it, Hippie Radio is the coolest radio station in Nashville, and you can get a free phone app from their website and listen to them anywhere. Pretty groovy stuff!
Coming up in October, I’ll be playing guitar with “The Peach Pickers” featuring Rhett Akins and Dallas Davidson on the sold out “Luke Bryan Farm Tour”. We did this last year and it was a hoot! This year’s band will consist of Nick Forchione on drums, “G-men” Mike Chapman on bass and Chris Luzinger on guitar, and yours truly on guitar and harmony vocals (for those of you who don’t know, the G-men are an infamous group of Nashville session players who played on all of the Garth Brooks records). Look for us when we come to a farm near you!
On Monday, October 28 I’ll be hosting the last Nashville Berklee Jam of 2013 at The Rutledge with special guest speaker, performance coach, Diane Kimbrough. Diane has coached a wide array of artists ranging from beginners to artists like Shania Twain and Toby Keith. After her talk, she will be critiquing and coaching some of the regular performers from our bimonthly jam. This event is open to the public and should be a great night!
Starting in November, I will be playing some shows with a northern Alabama-based band “The Flashbacks”. Along with Mike Chapman and some other veteran players, I will be digging into a night of 60s and 70s R&B and Motown.
On Wednesday, November 27 Skinny Buddha will be performing a set of Jimi Hendrix music at Nashville’s “Soulshine Pizza” for their special “Jimi Hendrix Tribute Night ” being held on the great guitarist’s birthday. This night will begin with our performance at 9 PM and will conclude with a second show of Hendrix music performed by the legendary, Phil Brown (formerly of Little Feat). This is a great excuse to learn some new Hendrix tunes (well, new to me) and I’m planning on digging into some deep cuts like “Who Knows”, “Hear My Train a Comin’”, “Drivin’ South” and “Stone Free”, in addition to my regular repertoire of Jimi favorites. For any of you that know me, this is an extra special night; one I am honored to be a part of. I first heard Jimi Hendrix at the age of 11, when the sounds of his Woodstock performance of the Star-Spangled Banner sent me on a musical adventure that I am happy to be still exploring.
And lastly, I am planning to record some more Skinny Buddha music.
That’s about it for now. I hope you all had a great summer and that the fall will bring you much peace and happiness. I guess I’d better go clean out my garage to get ready for the big yard sale!
It’s the first week of this brand-new year of 2013 and, not that I believe in New Year’s resolutions, one of the things I’m going to try to do differently in this new year is to get back to blogging more regularly. In that spirit, I also want to learn how to write shorter blogs. Let’s see how I do at my first attempt.
2012 was an interesting year, a lot happened in our world. A long-winded, and divisive election season came and went, it was one of the most extreme years of extreme weather since record-keeping began; our military is still in the midst of several conflicts around the globe; the tragic Sandy Hook shooting in Connecticut terrified us all, gun control is now a national conversation, and Facebook is still here after a disastrous stock market ploy.
I also had a few big moments. I played a handful of shows with The Peach Pickers (Rhett Akins and Dallas Davidson) on the sold-out Luke Bryan Farm Tour (you can read more about that adventure here), I hosted a monthly Berklee Alumni Jam, got to play music with Jack Pearson (read “Jack Pearson at the Nashville Berklee Jam) and Reese Wynans (read “Stevie Ray Vaughan keyboardist, Reese Wynans talks at Nashville Berklee Jam”), I ran in my first-ever 5K road race, met a lot of cool people, listened to a lot of great records, and cooked and ate a lot of good food!
I’m not sure what lies ahead in 2013, I’ve got a lot of big ideas and plans – we’ll see what happens. One thing that’s on my 2013 to-do list is to get out on the town little more often. After 23 years of being a professional musician I found that it’s still easy to get myself off the couch for a gig, but much harder to just go out and hang. I’m going to try to change that. I plan to still host the Berklee Alumni Jam (we are now going to be doing it quarterly). Thanks to my wife, Kelly, I’ve learned to enjoy running, and we are both training for our first half marathon in April. I’m trying to reassert myself into my musical craft, to take another step, and therefore practicing the guitar and vocals daily and learning new material is a top priority. Basically, I’m trying to stay healthy, inspired, and viable, while trying to help a few folks along the way.
So that’s about it for now. Let me know what you’ve got going on and don’t be afraid to drop me a line. I hope this New Year brings much happiness and success to you and your family. Thanks for reading!
By Eric Normand
What an amazing run of shows we had with Rhett Akins and Dallas Davidson on the forth installment of the Luke Bryan Farm Tour! The sold out tour embarked on eight shows across the Deep South, with Rhett and Dallas performing acoustically on the first four, and me and the boys joining in for full band performances on the second leg. The weather for these events was picture perfect, the crowds were huge, and the shows an amazing encapsulation of kinetic energy!
Me and the rest of the band (Nick Forchione on drums and Tom Good on bass) converged at a bus yard in Nashville on Tuesday night and hopped on Luke’s band bus. You never know what to expect in these situations, (as the two bands began this run as total strangers) and we were pleased to learn that Luke’s band and crew are some of the nicest people you could ever hope to work with. Gracious hosts, they made us feel instantly at home.
After a good night of sleep on a smooth riding Prevost I awoke in Villa Rica, Georgia. This first show was on a football field, and by the time I wandered over to catering around 10 AM the mobile stage was already up, the field buzzing with activity. Luke went all out on the production for this tour, and there were no less than eight buses accompanying the five semi’s full of staging, audio, lighting, video, and pyro it took to put on these mega-shows.
I was thrilled to find out that there were some other health-conscious folks in Luke’s entourage, and me and Nick joined several of Luke’s band-mates on a trip to the fitness facilities at the University of West Georgia. By 4 PM the stage crew was ready for our sound check, quickly dialing in our in-ear monitor mixes and a bigger than life sound through the mains of the million-dollar Claire Brothers sound system. As a guitar player, I’ve always struggled with in-ear mixes, lack of warmth and ambience being my main gripes, but on this lucky day I learned a new trick. Upon the suggestion of the Claire Brothers monitor engineer, we put a little reverb on my guitar in my ear mix, and this created some extra depth.
Later that night and after the first two openers, Chancie Neal, and Cole Swindell, we took the stage for the first full-band show with Rhett and Dallas. As members of the red-hot songwriting team known as “The Peach Pickers”, Rhett and Dallas have 13 number one songs and countless top 20 hits between them, including a few of Luke’s recent hits “Rain Is a Good Thing”, “Country Girl Shake It for Me”, and “I Don’t Want This Night to End”. This fact makes it pretty easy to create a blockbuster 45 minute set which included Blake Shelton’s “All about Tonight“ and “Honeybee”, Rodney Atkins’ “Farmer’s Daughter” and “Take a Back Road”, and the Trace Adkins chart topper “Honky Tonk Badonkadonk”, among others. At times the crowd was singing along at a volume that was as loud, if not louder than the band! The action-packed set went by at warp speed, and it seemed like no sooner than we had started we were walking off the stage.
The stagehands helped us get our gear off the stage and by 9 PM our workday was done. A short workday is characteristic for an opening act on a major tour – you’re the last to sound check and the first to play. Now it was Miller time, or in this case “Coors time”, or for a few of us “Crown Royal time”! After a quick cocktail and a little chill time on the bus we went out to check out Luke’s show. The level of musicianship in Luke’s band is nothing short of exceptional, and their 90 minute set was a rocking good time with some stunning visual aspects as this night was a dress rehearsal for the following show which was being taped for a television special.
The following day I awoke and looked out the bus window to the view of an open, grassy field in Athens Georgia – this concert was actually taking place on a real farm! After a little morning chow I decided to take a jog down some of the surrounding roads of this picturesque farming community, Rhett’s song, “Take a Back Road” having some real relevance on this warm autumn day. The day evolved similarly to the previous and the ultra-professional crew did an outstanding job erecting this mega-production in less than ideal circumstances. I later learned that the stagehands on this particular tour traveled from show to show (unlike many touring situations where stagehands are local to each venue) and this creates a continuity that helps the production run smoothly. The performances on this night went off without a hitch, with all of the bands delivering outstanding performances. Luke’s show was filled with special visual effects for the filming of the television production – including a laser show, pyro, and a massive finale of fireworks to end the night.
The next day would find us in Tallahassee, Florida and I joined up with some of the guys to go work out at the fitness facilities of Florida State University. After a great workout at a great facility we were ready to get back for some lunch, but not before winding up in a “runner altercation”. The runner informed us that he needed to stop at Lowe’s to get some stage pins for the production crew. Of course they didn’t have what he was looking for and sent us to another store that didn’t have it either. An hour and a half later we caught a lucky break at a John Deere tractor store and were finally heading back to the venue with the necessary part, and some growling stomachs. Another sold out show, another night of great performances and we were off to the tour’s grand finale in Macon, Georgia.
As Luke’s buses were returning to Nashville after this final show and we were going on to play one more show with Dallas and Rhett at the Georgia Throwdown in Dallas’ hometown of Albany, Georgia (a festival that Dallas helped organize), we had another bus arriving in Macon late morning. After the bus arrived we loaded our stuff onto it and continued about our day. As Macon is home of the final resting place of Duane Allman and Berry Oakley, a couple of us took the mile and a half walk to the Rose Hill Cemetery, a place from another world where a young Allman Brothers Band once played guitars, wrote songs, and partied into the hot Georgia nights.
Later on we took the stage in front of 16,000 fans for a final, climactic performance on this epic tour. I’ve played countless big shows over my decade in Nashville, but on this particular night a special energy was present. The songs just seemed to play themselves and the crowd was singing every chorus (and many verses) at a near deafening volume. At one point I pulled out one of my in-ear monitors to really internalize the feeling of the moment. As a musician it’s almost otherworldly to hear and feel your guitar coming out of 100,000 watts or so of PA speakers, and to feel the interaction between artists, band and audience on a show at this level is truly amazing! Our band was really on and Rhett and Dallas were at the top of their game, putting on a dazzling show for what looked like a sea of humanity that stretched to the horizon.
A little while later Luke and his boys played their final show of the Farm Tour, and their epic performances received over-the-top responses after each song. When the show ended all of the artists, musicians, and crew members gathered on the stage for a group photo of the entire entourage. I was sad to see this run end, but we left for Albany with the knowledge that we made a lot of people happy over the course of this week, and we had also made some great new friends! See you next year, Farm Tour!
Guitarist, singer, songwriter, producer and session-musician, Jack Pearson shared some unique perspective about his musical journey with a room full of Berklee alumni and others from the Nashville music community last Tuesday. The Nashville Berklee Jam, held monthly at the Fillin’ Station in Kingston Springs, saw some new faces and old friends on this special night, and Jack’s decades of experience as a world-class musician provided a rare peek behind the curtain for all those in attendance.
Jack’s musical career began in the mid 1970’s, when he played in multiple bands and logged his first recording session at age 16. In 1993 the Nashville native began his relationship with The Allman Brothers Band as a sub for Dickey Betts, eventually becoming a member of the ABB from 1997-1999 and also touring with Gregg Allman & Friends. Over the years he’s also worked with Vince Gill, Delbert McClinton, Jimmy Buffett, Earl Scruggs, Bobby “Blue” Bland, Amy Grant, Faith Hill, Gov’t Mule, Buddy DeFranco, and countless others.
Jack began his part of this night by playing some beautiful sketches of “I Can’t Get Started”, and for those who have never heard him play, his ability to transport an audience through time and space with nothing other than an unaccompanied electric guitar became quickly apparent. Following the spontaneous applause, Jack cut straight to some Q & A. One of the first questions asked was about his guitar, and I found it interesting that the deep, rich tone coming out of our backline Fender Deluxe originated from a Fender “Squire” Stratocaster, which he had recently bought for $100 at a pawn shop. Plugged into nothing other than a lone tube screamer, this drove home the point that great tone comes from within.
Learning from his oldest brother, Jack was exposed to rockabilly and blues as a teenager and explored the music of Chuck Berry, The Ventures, and Carl Perkins at a young age before eventually discovering jazz greats like, Wes Montgomery, Django Reinhardt, and Charlie Christian. Learning from friends, other musicians, and records, he slowly pieced together his musical vocabulary. He shared some thoughts on how to approach a II-V turnaround, demonstrating some different voicings and melodic approaches, underscoring the importance of putting song and melody above the technical understanding of modes and scales.
“It takes a lot of experimenting… a lot of guys come to me that get out of school and they say, “when I hear this chord I’m supposed to play this mode and scale”, and it locks them up. They can’t make any melodies because they’re told to play a mode or a scale.”
This simple, but prophetic thought resonated, and I had flashes to a time in my life when I over analyzed the music I played. Jack drove this point home with “…it comes down to the chord and the melody and where it’s going to…”
He went on to talk about the blending of styles and how he went through different periods of his life where he would be deeply immersed in a singular style for a few years – Delta blues, jazz, etc., and that after a while, all these different styles started coming together. Not afraid to take some chances musically, he demonstrated how he might go from a Howlin’ Wolf lick to a Charlie Parker lick within the same phrase, and that while some players will say this is wrong, he believes that “the main thing is to get the music out, and play with feeling.”
In response to a question about some of his best and worst gigs, Jack said that some of the worst gigs are when people don’t listen, and the music that you play with somebody is more important than the venue, or how famous somebody is.
He explained how learning all of the Allman Brothers songs as a kid helped put him in the position to sub for Dickey Betts on an early 90s Allman Brothers tour, which led to some recording with Gregg Allman and eventually to a phone call from Greg in which he was asked if he wanted to join the Allman Brothers band.
He candidly shared how this landmark gig damaged his hearing, causing an already existing case of Tinnitus to worsen, ultimately forcing him to leave the gig, perhaps sooner than he otherwise would have.
“There’s really no way to describe how loud it was on stage…Dickey Betts wasn’t in the PA…he was 135 dB side stage…”
As a fellow tinnitus sufferer I completely related to this portion of his talk and gained some new perspective as he explained that, despite wearing earplugs, extreme SPL’s (sound pressure levels) can still do damage, as the sound can affect your inner ear by entering your nose, mouth, and through your bones.
In response to a question about life lessons learned through music he answered, “Try not to take music for granted, it’s so special, and you can reach so many people…lyrics can encourage you, relate to your pain, but you can also do it with notes.” He demonstrated this by showing how the same group of notes can sound happy, or sad depending on where the emphasis is placed. He talked about the endless possibilities of how you can play even a single note, demonstrating this concept by playing a huge range of variances on a high “G” note.
After Jack’s talk concluded he played a short set with our Alumni House Band, the air becoming filled with the sounds of spontaneous applause after each inspired performance. Jack left shortly after his set, and the other alums in attendance continued jamming into the night. I, and everyone else in attendance would like to extend our appreciation and gratitude to Jack for sharing his music and journey on this special night!
Some of my earliest childhood memories are of my dad playing records and, dare I say, reel to reel tapes of the music of Paul Butterfield, John Lee Hooker, Santana, and Derek and the Dominoes. I guess this music made an impression, because by my early teens in the early 1980’s I was buying my own records, not of the pop-based FM radio music of my generation, but of the previous generations more blues-based artists. While everyone else was listening to E.L.O. and Michael Jackson, I was discovering Jimi Hendrix, the Allman Brothers, BB King and Bobby Bland. Sure, I liked some of the 80’s guitar rock of the day, but always kept digging back to a more rootsy sound. Then right smack in the middle of 80’s hair band mania came Stevie Ray Vaughan, and I immediately related to his music.
Stevie’s music influenced a generation of guitarists and, at a moment where rock and pop music was winding itself up, almost single-handedly brought blues music back into the light. You couldn’t go see a club band during the late 80’s and early 90’s without hearing his music. I found myself covering his renditions of blues classics like “The Sky Is Cryin’”, “Empty Arms”, as well as originals like “Cold Shot” and “Walkin’ the Tightrope”, as did many others at that time. Stevie’s instrumental “Riviera Paradise” from the album ‘In Step’ is a beautiful piece of American roots music, and I always loved the spooky vibe created by his magical band on that song in particular.
I’ll never forget the day I heard of his tragic passing, how sad it was that we had to lose such a wonderful artist at such a young age. But his music, and the influence of his music, lives on, and I, like many others, will always appreciate everything Stevie did for music, and everything his music has done for the world.
So that’s why when I began hosting the Nashville Berklee Jam I felt compelled to have Reese Wynans, the keyboardist who played with Stevie for the last five years of the great guitarist’s life, as a special guest speaker/performer. Reese was kind enough to share his story with me and a room full of alums at our monthly Nashville Berklee Jam last Tuesday at The Fillin’ Station.
Almost 20 years before he began working with SRV he was playing in cover bands in his home state of Florida, and he recounted one of his first bands playing five sets a night, six nights a week. Two of the other members were Dickey Betts and Berry Oakley and on their one day off they would play a weekly free jam, adding Duane Allman and Butch Trucks to the mix. Eventually Duane decided to start his own band and stole these key members to form The Allman Brothers.
After spending a few years in San Francisco and working with a still-unknown artist at this time, Boz Scaggs, he returned to Florida for a brief period and then worked the East Coast in a show band for a few years. Reese then migrated to Austin, Texas, a booming town full of blues-infused music by this point of the mid-70s. Of this time, Reese spoke passionately.
“It was really great for me living in Austin…everything was so rootsy…they had a great music scene back there in the 70’s. They had a great blues scene, and a great blues club called ‘Antone’s’…and I would go and sit in at Antone’s anytime I had a chance. I was ending up really lovin’ the blues during this time.”
By 1980 he found himself working for Delbert McClinton, playing on four of his records and touring extensively for the next five years. By 1985, Reese was ready to get off the road, and would have if not for a fateful encounter at the end of his final gig with Delbert. Apparently, Delbert’s sax player had been invited to play on one song of a Stevie Ray Vaughan recording session after Delbert’s concert, and at the last minute Reese was asked to join in as the other keyboardist did not show up. Things went very well at this particular recording session, one which produced the hit, “Look at Little Sister” and Reese was asked to come back and record the following day. By the end of that recording session he was asked if he wanted to join the band. Reese summed up a life lesson from this critical moment,
“When a door opens for you, you’ve got to be willing to walk through it, and then be able to deliver once you get through there.”
The next five years would yield three Grammys, several world tours, and a reintroduction of the blues to the masses –
“We were spokesman for Texas blues…as much as Stevie didn’t want to, BB King had to open for us, because we were just more popular than him. He said “no we can never, BB’s always closing the show”… but finally, we had to headline…I loved playing in that band…we were all totally immersed in the blues, and we felt like were the vanguard of the blues. We were dragging Buddy Guy and Otis Rush into the light and presenting them out on our shows to people who were just hungry for that music…the stuff that we played I thought was shining a light on all the huge blues guitar players that had come before us, and that was a wonderful thing to do, I felt like it was really worthwhile.”
After Stevie’s tragic passing, Reese wound up in Nashville, TN, a place where he has continued to record and perform on a national level. During the talk, Reese passed around his All Music Discography, which reveals a staggering body of work, including Brooks and Dunn’s 2006 single of the year “Believe”. He offered us some thoughts about the differences between studio and live performance –
“I like being in the studio, I like playing gigs, I like playing clubs…all you people who do studio work know it’s two different things. Playing a club is really a chance to experiment…a chance to reach out in different directions and really find yourself. The studio isn’t really a place for that. The studio is where you don’t have to play it safe, but you’ve got to do something that’s exactly right for the song…it’s a place for finding something that works, finding something unique that works.”
After his talk was finished, Reese was gracious enough to perform a set with our house band – a performance that was nothing short of inspired. I’ve heard his playing on many records, but there’s something intangible that you can feel in the heat of live performance that goes beyond a recording, and that was evident on this night. One of the songs we played together was “Little Wing”, a song that he had played on tour with Stevie, back in the day. On this song, Reese seemed to really stretch out in one of those magical musical moments in which time seems to stand still (see video below).
Eventually, this special night had to end, and we said goodbye after a quick photo op. Thanks, Reese, for sharing your wisdom, and for continuing to shine some light on that crown jewel of American music we call the blues.
I hope everybody is having a great winter so far and that 2012 will be a great year for us all. February is looking to be a busy month for me and I would like to tell you about some of these gigs and events.
Thursday, February 2nd I’ll be playing a benefit show for “My Friend’s House”, a group home for boys in Williamson County, TN. The benefit will be at Mickey Roos in Franklin starting at 7 PM and will feature a ton of great Nashville talent. One of the organizers of the event, Keith Landry (currently of the band Leroux, (former credits including harmony singing for Toto and Lee Greenwood) will be fronting a set of classic rock ‘n roll and coordinating the guest musicians. Some of the music we will be covering will be songs from Journey, the Doobie Brothers, Toto, Van Halen, and others. This just might be the most rock music I will have played in one night since moving to Nashville! It’s a great cause, so come on out!
Tuesday, February 7th will be the first ever “Nashville Berklee Jam”, featuring special guest, Nashville session bassist and former “G-man” Mike Chapman. This is something I have been working on for quite some time, and will take place on the first Tuesday of each month at The Fillin’ Station in Kingston Springs, TN.
Friday, February 10th I’ll be playing a gig with Nashville songwriter and artist, Carl Wayne Meekins at the world famous Puckett’s Grocery in Leiper’s Fork, TN. Carl is a fabulous performer and a great guy and I have been fortunate to do several gigs with him over the last several months. The band on this night will feature some top-notch Nashville session players, so come on out and support some great live music!
Saturday, February 11th will be my monthly outing at The Fillin’ Station in Kingston Springs, TN. The lineup on this show will be Heston Alley on drums, Tom Good on bass, and yours truly on vocals and guitar. Patrick will be behind the bar and guesting on harmonica throughout the night. Come get your blues rock fix with us!
Towards the end of February I will be playing with upcoming Nashville artist and South African native, Mirka at Nashville’s 3rd and Lindsley. Our set of original material will be part of a monthly showcase hosted by Nashville producer and guitarist, Kent Wells. The date hasn’t been set yet, I’ll let you know as soon as it is.
My book, “The Nashville Musician’s Survival Guide” received a great review on the popular Nashville blog “Music News Nashville”, follow the link above to check it out. I also submitted the book to The Country Music Hall Of Fame and there’s a good chance they will start carrying it this spring!
And completely unrelated to music, I have decided to enter in an annual event called the Warrior Dash that will take place in middle Tennessee on September 22nd. This is essentially an off-road 5K race integrated with an obstacle course that includes things like climbing a rope wall, jumping over a fire pit, crawling under barbed wire through the mud, etc. I may or may not be in the shape I need to be for this event at the moment, but the goal is to be in good enough shape to kick some serious ass on this course come September! Similar events take place all over the country and you can learn more about it on the website above. Anybody out there want to take the challenge?
So that’s about it, I’m excited about the possibilities that this New Year might bring and looking forward to making new friends and playing some great music!
P.S. If you haven’t yet picked up a copy of my book, “The Nashville Musician’s Survival Guide”, you owe it to yourself to check it out! Available in hard copy and ePub.