Joshua Lavender songwriter rhythm acoustic guitar washboard singing piano
Some folk I play with:
Patrick Morales (of The Viking Progress) production lead acoustic guitar banjo keyboards bowed banjo harmonies bass etc.
Bob Titolo (of Orange Vanessa) lead acoustic guitar keyboards lots of other stuff production
Hary Mitchell (of The Jazz Bandits) lead acoustic guitar
Jason Payne mandolin
Greg Callas drums harmonica
James Lavender (of No Cash Value) lead electric guitar classical guitar
Luke Rispin (of Southern Cream) lead acoustic guitar harmonies harmonica
Influences
the poet
the humorist
the storyteller
the fatalist
the loner
the folklorist
the lovebirds
the switchback
the dreamer
the balladeer
the experimentalists
the rambler
To name a few:
Iron & Wine
John Prine
Minton Sparks
Gillian Welch
Neil Young
Bob Dylan
Mike & Ruth Merenda
Townes Van Zandt
Jim Croce
Dillard Chandler
The Be Good Tanyas
Hank Williams Sr.
The Duhks
Skip James
James Taylor
Adrien Reju
Jeff Zentner
John Lee Hooker
Paul Simon
Hope for Agoldensummer
Bruce Molsky
Jolie Holland
Nick Drake
Madeline Adams
my musical friends
folksingers everywhere
My thanks to Bill Davis, an artist friend from down in Hoboken, Georgia, whose pencil drawing inspired my song Look Who's Come to Say Goodbye. You can find the drawing in my pics. If you're interested in Bill's work or would like to pitch him your business, check out his site!
Sounds Like
The grate and rasp of rusted tin on old tobacco sheds. The rough howl of a hounddog sprawled sleeping beneath a gallows tree. Distance. Age. Twanging in the twilight, a jew's harp. Old dusty records. The murmur of a creek creeping through backwoods. Wind in the longleaf pines. The rising rustle of crickets at dusk. In the outer dark, a sigh—a strum of old strings.
My earliest clear memory is of our claustrophobic single-wide trailer. I'm sitting on the coffeetable, dangling toes which don't quite touch the carpet, while my father plays an old Alvarez guitar he bought in the army: that old Johnny Horton song, 'The Battle of New Orleans,' some Kristofferson, and lots of John Prine. I'm sure I pestered him to keep playing long after he was tired of it. I'm glad he did.
Hailing from rural Irwin County in the deep south of Georgia, I grew up on country, 70's rock, and the sounds coming out of Dad's guitar. A blonde-haired gangly kid, I spent most of my time in books until high school, when I picked up the Alvarez and started to practice rhythm in the cab of a '68 Ford Ranger rusting away in the backyard. I played Neil Young songs mostly, and I played them hard, fast, and loud. I didn't pay attention to anything but the music. My wild strumming damn near wore a hole in Dad's guitar, right below the pickguard.
I chose to focus on poetry during my early college years. But a friend introduced me to the bluegrass festival scene, and I began to jam often with my brother James (who is now a classical guitar major in college). Then, while I was roughing out a case of writer's block, Dad challenged me to write a song. The result was "Black Jim," a dark folk rambler about life during the Great Depression inspired by the music of Gillian Welch and a novel by Cormac McCarthy.
"Black Jim" was a turning point. I discovered I could write a song and do it poetically. I've been cocooned in music ever since.
While "Black Jim" smacks of Welch à la Revelator, my so-called influences are as far-flung (or far-fetched) as the stories, spiritual questions, and disasters of love found in my songs: the eerie blues of Skip James; early folkster Dylan; acoustic Neil Young; storytellers like Townes Van Zandt, John Prine, Minton Sparks, and Jim Croce; a bit of jazz infused by way of Paul Simon; and the sepia-toned lo-fi and lyricism of Iron & Wine. With character studies of hobos, murderers, carnies, cowboys, miners, postmistresses, old men, and Indian chiefs, and evocations of backwood creeks, worn Bibles, summer storms, switchback trails, ghosts, mantle clocks, and washboarded dirt roads, my songs aspire to sound poetically fresh, musically surprising, and tonally older than Methuselah.
College is behind me now, and many other prospects ahead. I'm presently working on my first album, Look Who's Come to Say Goodbye, a 12-song journey through a labyrinth of old-timey instruments, traditional balladry, and indie-pop experimentation. And I still play coffeehouses and busk on the streets. It's not a living, you know, but it's a life.
glad you thought I was funny...I just try not to take myself so serious and hope that other women in similar positions at the end of the day see the that even if there is no silver lining thats ok too sometimes there is only one thread and we have to use it to hang ourselves with hahaha.
Hello! I posted some new songs awhile back and I am just getting around to letting everyone know. Hope you stop by and provide some feedback. Be well and have fun!! Jason
hey :) thanks so much for the friend request - really wonderful music! beautiful sounds.. i hope you like my songs too, and that you're having a good week x
Oh no, seems like some bug is going around then. Hope you feel better :)
Currently I am at my parents house in Stone Mountain. I'm applying to grad schools and hope to be going to NY in December. If not, I'll be in Atlanta trying get there eventually.
So what are you up to nowadays? Moved back did you? I do stop by every now and again...I was there fairly recently for an opening at the gcsu museum. This weekend there was great fun at Dragoncon, but other than that not too much new around here. Next time I'm around, we should meet at Blackbird for coffee. Hope you're having a pleasant day. :)
"Ticklin' The Strings" by Sweet Hollywaiians
Amazing Japanese hot string band playing 1920's, 30's, 40's style hawaiian, swing, calypso, blues, italian music and originals,featuring vintage instruments.3 songs with Robert Armstrong and Tony Marcus(from Robert Crumb and His Cheap Suit Serenaders)
"The Sweet Hollywaiians have probably the best feel for this 20's music of any string band working today. They manage the rare feat of sounding relaxed even when their playing is hot, are top notch musicians with tasteful arrangements and a full, rich, warm sound.Plus, they have a nice gamut of tunes, from King Nawahi to Giovanni Vicari to Bobby Leecan. See them live, if you can, for an unforgettable experience. If you can't, buy their Cds!" ~ Terry Zwigoff
it has been such a long time, josh!! good to hear from you again.. i really appreciate your comment.. maybe one day i will muster up the courage and time to put an album out there.. i wouldn't know where to begin. i'm just happy i can tag along on a few rides with interested people out there. :) dead flowers was written by Mick Jagger and Keith Richards ... i looooove that song.. i put it up on my page for my sister.. she is fond of it as well... i'm glad you like the Edward Gorey illustrations. they are dark..yet they have a sweet humor to them. gosh... hands on the mantle.. i love it..i do believe that is my favorite ..... we should collaborate on something sometime soon if you are up for it! thanks for writing. josie
I'm glad you're liking the Old 97s, they're a favorite of mine :) I've been listening a lot to the Flatlanders for the past few weeks - another major favorite, and I was fortunate enough to get to see them in San Francisco in May, along with Colin Gilmore - awesome show! Have also been absorbing the new releases from other 'old' faves Ryan Bingham & Slaid Cleaves; brand new to me: Kerri Powers, heard her first just yesterday and am totally intrigued :) Are you familiar with Eilen Jewell?
