Kevin Gordon's Got a Home in Gloryland that Outshines the Sun
From the Country Fried Rock archives of 2012:
Kevin Gordon graces the airwaves of Country Fried Rock, diving deep into his latest album, Gloryland. He chats about how his early exposure to the sounds of legends like Jerry Lee Lewis and Ray Charles sparked his lifelong passion for roots music and Americana. Kevin shares some solid gold anecdotes from his time in Iowa, where he discovered a vibrant music scene that shaped his artistic voice and led him to Nashville. As he reflects on his evolution from punk rock to crafting poignant lyrics, it’s clear that authenticity and storytelling are at the forefront of his creative process. With a mix of nostalgia and humor, he highlights the serendipity of songwriting, revealing how life's twists and turns have influenced his work while giving a nod to the importance of collaboration in the ever-changing landscape of music.
Takeaways
- Kevin Gordon's journey into music began as a kid dancing to classic tunes like Jerry Lee Lewis and Ray Charles at his parents' parties.
- He found his footing in music through a punk band in high school, where he learned the value of self-expression and the joy of covers.
- Moving to Iowa for grad school opened his eyes to the rich musical traditions of the Midwest and the Chicago blues scene.
- In Nashville, Kevin embraced the songwriting process, blending poetry and music to create lyrics that resonate on multiple levels.
- His latest record, Gloryland, reflects a more layered musical approach, taking time to develop each song in the studio.
- Collaboration is key for Kevin; his partnership with Gwil Owen allowed them to write songs that truly capture their artistic vision.
Mentioned in this Episode
- Jerry Lee Lewis
- Ray Charles
- X
- Bo Ramsey
- Chess
- Little Ed and the Imperials
- Sun Seals
- Leroy Parnell
- Marty Brown
- Pam Tillis
- Cadillac Jack's
Recommended If You Like
country fried rock, Kevin Gordon, Americana music, roots music, Gloryland album, songwriting inspiration, Nashville music scene, blues influences, indie music, live music performances, music production, songwriting collaboration, music creativity, poetry and music, touring as a musician, music industry insights, Lake Charles music, East Nashville artists, Midwest music scene, independent music artists
Mentioned in this episode:
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Transcript
Welcome to Country Fried Rock, where we talk with musicians to find out what inspires their creativity.
Speaker A:Country Fried rock music uncovered.
Speaker A:My guest today on Country Fried Rock is Kevin Gordon with a great new record, Gloryland.
Speaker A:Welcome, Kevin.
Speaker A:Thank you, Sloan, thank you for being with us.
Speaker A:So, Kevin, how did you start playing music way back?
Speaker B:Well, I'd always been attracted to what I guess is called roots music now, or what would be called Americana.
Speaker B:You know, my folks, they would have have these parties at the house on the weekends and they would be playing things like Jerry Lee Lewis or Ray Charles.
Speaker B:I just remember being immediately drawn to that music rhythmically, you know, and as a four and five year old, would be dancing to those records.
Speaker B:As I got older, I was still just as interested in music.
Speaker B:And when I was in high school, started singing in what could be loosely described as a punk band.
Speaker B:Didn't really know what I was doing, but, you know, I guess that's the point, to have fun and express yourself, you know, that's what we were doing, albeit mainly through covers, you know, Ramones and Sex Pistol stuff.
Speaker B:And it was when I was in college, I guess.
Speaker B:Well, I can remember when I started playing guitar as a senior in high school, almost immediately wanting to write songs.
Speaker B:There was something about the connection between playing an instrument and I was also heavily into poetry.
Speaker B:So it was kind of like trying to put the two things I love together.
Speaker B:That's what led to the mess I'm in now.
Speaker A:Then it ramped up for you pretty quickly as you found ways to set your lyrics and your music together.
Speaker A:Where did that head for you?
Speaker B:In the early days in college, I was writing original songs, but they were still very much in the shadow of bands and artists that influenced me, like X, you know.
Speaker B:And that's all kind of coming back around to the roots thing.
Speaker B:Obviously their music very grounded in American roots traditions, albeit with some of the weirdest chord changes ever.
Speaker B:I say that with all affection.
Speaker B:I just kept writing and when I moved to Iowa to go to graduate school in poetry, I had the great fortune of getting to know a guy named Bo Ramsey, who at that time was strictly a regional phenomenon.
Speaker B:Kind of took me under his wing and was and is a mentor and great friend.
Speaker B:I basically got in his van and drove around the Midwest for a couple of years.
Speaker B:Learned a lot, you know, that was a big turn for me back towards what would more obviously be called roots music.
Speaker B:He was and is a big fan of blues and comes out of those traditions in his own way.
Speaker B:So we were doing a lot of that Stuff and listening to a lot of old Chess records in the van and doing original songs and trying to take that somewhere.
Speaker B:I spent five years in Iowa City, went on to play in my own bands up there.
Speaker B:And I just decided if I were going to try to do something with my music professionally, that I needed to come to a so called industry town.
Speaker B:Nashville was for me personally at that time the most palatable of the choices.
Speaker B:I couldn't see moving to LA or New York.
Speaker B:I was too much still the provincial guy from north Louisiana.
Speaker B:So the obvious choices for me were Nashville or Austin at that time.
Speaker B:And still the majority of the business community is here in Nashville.
Speaker B:I woke up this morning and it's 20 years later and wondering what happened.
Speaker B:I like it here.
Speaker B:It's a great city.
Speaker B:My own neighborhood.
Speaker B:East Nashville has kind of come into its own as a kind of an artist enclave.
Speaker B:It's kind of been amazing to see.
Speaker A:When you first moved up to Iowa for grad school, was that where your first culture shock kind of came in or had you had experience outside of north Louisiana at that point?
Speaker B:Yeah, that was definitely my first time out of the.
Speaker B:To live outside the South.
Speaker B:So yeah, that first winter was pretty brutal.
Speaker B:I actually, in mid February of that first winter, I dug my Chevy S10 pickup out of the snow, which as you know, is a fairly small vehicle, not well suited to driving on frozen road.
Speaker B:Dug it out of two feet of snow and myself and one of my classmates in the workshop from California drove to New Orleans from Mardi Gras.
Speaker B:It was almost a, you know, physiological reaction to the weather.
Speaker B:So yeah, it was, it was definitely a change for me.
Speaker B:It was a good thing.
Speaker B:Definitely a growing experience.
Speaker B:It was kind of a two headed thing in that, you know, I would go to, you know, my poetry workshop once a week or go to the classes I was taking which were all kind of highbrow literary seminar kind of things.
Speaker B:And I'd come home and I remember I had this.
Speaker B:Still have it actually, this vinyl LP of live Eddie Cochran performances, I think from his last tour before he was killed.
Speaker B:He does a version of Milk Cow Blues on there.
Speaker B:And I remember sitting there playing that solo over and over and learning it playing along with.
Speaker B:I had a double LP of Freddie King instrumentals.
Speaker B:Same thing, you know, guys who didn't play so fast that your brain hurt trying to decipher what in the was happening, but played with great soul.
Speaker B:So that was kind of the way things went then.
Speaker B:Just the climbing in the van on the weekends was such a great release from Sort of what we used to refer to, somewhat humorously as the compound.
Speaker B:Hey, this is Kevin Gordon, and you're listening to Country Fried Rock.
Speaker A:I know nothing about the music scene in the northern Midwest, like the Iowa area.
Speaker B:I didn't realize it when I moved there.
Speaker B:Even though I was a fan of Chicago blues.
Speaker B:I mean, I owned several Muddy Waters records.
Speaker B:Kind of knew about the Chess thing.
Speaker B:I didn't realize when I moved to Iowa City that Chicago was only 200 miles away.
Speaker B:You know, that for decades, a lot of those artists based in Chicago Would play Iowa City and other towns in Iow when they were heading west on a tour.
Speaker B:You know, that's one thing I did while living there was you would get to see contemporary Chicago blues artists.
Speaker B:Like Little Ed and the Imperials and Sun Seals.
Speaker B:Yeah, it was just very odd.
Speaker B:I didn't even think about that.
Speaker B:But this was a guy who, you know, when I lived in Louisiana.
Speaker B:Seldom traveled more than, you know, 100 miles for a gig.
Speaker A:How then did you end up bringing some of this poetry that you had been working on.
Speaker A:Both academically and personally.
Speaker A:Bring that towards your blues?
Speaker B:I was always drawn to music that had interesting lyrics.
Speaker B:Be it Chuck Berry or be it, as I mentioned before, X both great examples of songwriters who used language in provocative ways.
Speaker B:Gosh, Chuck Berry, Nadine.
Speaker B:You know, the verses to that are just incredible, you know, and it's not that I call them poetry.
Speaker B:I actually pretty staunchly against calling them the same thing.
Speaker B:Mainly for formal reasons that, you know, in a song, you can basically get away with murder lyrically with a good melody.
Speaker B:I was always intrigued by that idea of just because it's a rock and roll song.
Speaker B:Doesn't mean it can't carry some weight
Speaker A:lyrically in your process.
Speaker A:Do you mentally differentiate that when you were writing poetry versus lyrics?
Speaker B:Oh, yeah.
Speaker B:Not that I do both much anymore.
Speaker B:I mean, rare is it that I work on poetry these days, unfortunately.
Speaker B:But music has been pretty much all consuming.
Speaker B:I still read a lot of poetry, and I'm a fan, of course.
Speaker A:When did that switch for you?
Speaker B:When I moved to Nashville, pretty much immediately.
Speaker B:And most of that was just, I guess, natural.
Speaker B:You know, My girlfriend, now wife, and I moved here together.
Speaker B:And we knew people here through various ways.
Speaker B:But still, you're landing in a new town and you're in a music town.
Speaker B:And when you're a musician, it's easy to get nervous.
Speaker B:So poetry began to take a back seat.
Speaker A:Because it's been quite a stretch of time at this point.
Speaker A:There are, naturally, changes that occur over time in anyone's creative output.
Speaker A:Where were you first feeling pulled, and how did that come out to the world for you?
Speaker B:When I first moved to Nashville, I'd say within a year, I had a publishing deal, which is basically where you're trying to write songs that will be commercially viable.
Speaker B:And if you're living in this town, that means for the country music business, you know.
Speaker B:Luckily, this was with a guy who's basically a manager who I think was just trying to help me pay my rent for a year while hoping that I would write something that one of his artists would cut.
Speaker B:We had Leroy Parnell and Marty Brown and Pam Tillis.
Speaker B:Pretty tasty roster.
Speaker B:But that was also the worst creative year of my life.
Speaker B:Trying to get a cut as if I would go through the people in their cubicles on Music Row and shaking hands and then sitting down and trying to rework some sort of cliche based in somebody's idea of rural living that's been done to death for 50 years.
Speaker B:I just ended up not being interested in that at all because it was just dead to me.
Speaker A:So then this is the fun part.
Speaker B:After that, I started writing songs with a guy who would end up becoming one of my closest friends, Gwil Owen, with whom I've written quite a few songs, a number of which have been recorded by other artists or have been in films.
Speaker B:We just worked really well together.
Speaker B:We hit it off, you know, it was right then that I just sort of realized, okay, maybe I'm just supposed to do what I'm supposed to do.
Speaker B:Just follow.
Speaker B:Follow those songs where they take you aesthetically.
Speaker B:And Gwill was of the same mindset.
Speaker B:He's a great editor.
Speaker B:I would bring in a verse and a half and maybe an idea for a chorus, and, okay, this is terrible, you know, and has a very transparent way of being the voice that the song is in.
Speaker B:And it's been a lot of fun working with him over the years.
Speaker A:How does that language between you two develop to where it is now?
Speaker B:I think early on, we were getting together fairly regularly, and I was also getting ready to record what would eventually become my first.
Speaker B:I think it was through writing those first seven or eight songs that we kind of figured out the way to communicate with one another.
Speaker B:It's hard to say what that means, although at this point, I would say that we've done it enough that it's a completely natural thing, which helps the ideas show up.
Speaker B:You don't feel as shy about saying, well, how about this?
Speaker B:And then it's, you Know the stupidest thing you've ever thought of, but it's all you got.
Speaker B:Just a long working relationship and a long friendship makes the collaboration Several great
Speaker A:musician friends of Country Fried rock generously donated songs for a free music sampler.
Speaker A:Download it at NoiseTrade.com CountryFridRock 19 songs to help raise awareness and money for Nucci's Space, a nonprofit serving the mental health needs of musicians in the Athens, Georgia area.
Speaker A:Find out more about Nucci's at n u c I.org so what was leading to that first record then?
Speaker B:I had met first of all when I was in Iowa.
Speaker B: I had done a solo record in: Speaker B:You know it sounds good.
Speaker B:I co produced it with Bo Ramsey.
Speaker B:But it was before I moved to Nashville and when I hear it now all I hear is my pre Nashville anxiety.
Speaker B:But it was a good experience when I moved here.
Speaker B:When I was writing with Gwill, I had met a fellow who was interested in helping me.
Speaker B:He and my father in law actually put together a little company, raised some money with which we made what would be that first record for Shanecy, Cadillac Jack's number one son.
Speaker B:Now along the way after we had recorded that record which Gary Talent produced, we were shopping it around and I was still on the road playing but I had nothing for my merch table.
Speaker B:Inconceivable now.
Speaker B:So about a year after that was done, we did put out an EP.
Speaker B:It was a limited edition CD.
Speaker B:It was an EP length thing.
Speaker B:I think it was seven songs called Illinois 5am it was through that that we eventually got the deal with Shanecy.
Speaker A:You were on the road playing your own stuff or you were still supporting with others?
Speaker B:I was doing my own stuff.
Speaker B:I was still trying to maintain a presence in the markets where I was playing in the Midwest while trying to figure out what the touring thing was all about in a bigger sense, how to make it work.
Speaker B:Lessons I wish I'd learned so much earlier than I seem to be learning them.
Speaker B:I'm just grateful that the illumination does come.
Speaker B:Over the years, hopefully the touring has gotten smarter, healthier about touring, I mean,
Speaker A:you know, now that it's not just let's go out and drink our bar tab, that there's the only thing they're actually paying us for the night.
Speaker A:Not that there's anything wrong with that, but you know at some point you have to move beyond that to sustain a career.
Speaker A:What works for you just have to
Speaker B:be smart in the driest sense.
Speaker B:I tour solo about half the time, which seems to be the most economically viable way of getting the music out there.
Speaker B:It's just a skill that I had to develop.
Speaker B:When the first Shaughnecke record came out, I was still trying to tour as a quartet, living in a music business town.
Speaker B:It's not like it's you and your three best friends driving to Chicago for the weekend.
Speaker B:It's you and your three employees who have to be guaranteed a certain amount of money to get in the van.
Speaker B:It's a competitive environment, you know, so, you know, I kind of ran head on into those kinds of issues.
Speaker B:So now, you know, I kind of look at the solo thing as, you know, just a different way of getting the music out there.
Speaker B:Much quieter in the van.
Speaker B:I can listen to, you know, unfinished tracks that I'm working on.
Speaker B:It can be a good thing.
Speaker A:Is that what you do in terms of what you listen to while you're on the road by yourself?
Speaker B:Well, I'm ashamed to admit it, but, yeah, just because the van tends to be, at least at this point, the best listening environment I have in terms of being able to concentrate.
Speaker B:So, yeah, with, you know, hours of Interstate in front of me, it's easy to kind of bear down on Song Fragment and think about it.
Speaker B:I listen to other stuff too.
Speaker B:It just depends on what kind of phase I'm in, if I'm writing or if I'm not.
Speaker A:What led to your recent history of the most recent record with Gloryland.
Speaker A:So what led up to you before that happened?
Speaker B:Well, I did two records for Shanecke and then it just became unfeasible to continue that relationship.
Speaker B:It was a time when independent labels were caving left and right, so it just made more sense for me to go off on my own.
Speaker B: I made the burning record in: Speaker B:We co produced that record and then made Gloryland over, I think about a two and a half year period.
Speaker B:Yeah, it took a while.
Speaker B:Part of that was just trying to find the funds with which to make the record with in terms of paying players and paying for studio time, et cetera.
Speaker B:But part of it was deliberate, we knew that.
Speaker B:Well, Joe produced this one on his own and he had a pretty clear idea of what he was going for.
Speaker B:So we knew that this was going to be a more layered record, not as much dependent on the feel of a live performance or capturing a live performance.
Speaker B:So we needed more time and he would work on the record a lot on his own, say, if it were guitar parts that a song needed or something.
Speaker B:So we just kind of took our time.
Speaker B:We would do some overdubs and then we would not listen to it for a week or two.
Speaker B:And then we'd listen to it, we'd think about it.
Speaker B:So it seems incredibly decadent now to think about it because it did take a while to get it out.
Speaker B:I'm glad we did.
Speaker B:The record's better because of it.
Speaker B:Hi, this is Kevin Gordon and you can find me on the Internet@kevngordon.net.
Speaker A:that's a long period of time.
Speaker A:Had you already written everything that you intended to be on it?
Speaker B: , probably second half of: Speaker B:I started writing again after the Burning record came out.
Speaker B:But I mean, up until the time we were tracking it, I was finishing Bust a Shreveport.
Speaker B:I mean, literally writing that section at the end, that is kind of the refrain, writing the music and the lyrics for that, you know, on the back of the lyrics I had beforehand in pencil.
Speaker B:And as the band is, as we're sitting there waiting to hit record.
Speaker B:This was at House of David studio on Music Row.
Speaker B:It's a cool, cool studio in an old house.
Speaker B:Doesn't feel like a laboratory environment.
Speaker B:It's very cool.
Speaker B:But there were a couple of things where I was like, oh, we don't have a solo section for this.
Speaker B:This needs to go somewhere.
Speaker B:So those are the times that kind of unnerve me more than anything.
Speaker B:But, you know, also you can have some really happy accidents happen because you're not overthinking it, hopefully.
Speaker A:With the luxury of time to record that, did you find yourself returning to songs repeatedly for revision?
Speaker B:Yes, for various reasons.
Speaker B:Not so much lyrically as for production related ideas or issues such as Bust a Shreveport.
Speaker B:That track is actually slowed down like half.
Speaker B:Like a quarter tone.
Speaker B:It's not even a real note, what key it's in.
Speaker B:It's somewhere between G and A, somewhere in there.
Speaker B:But the problem was after listening to it, we decided that it sounded too peppy, you know, and that for what it was talking about, that it needed some kind of grunge and kind of a slower tempo.
Speaker B:So by slowing the tape down, that does things sonically to the sound of certain instruments, including the drums, but also, you know, overall, tonally made for a different sounding track.
Speaker A:How does that translate live then?
Speaker B:Well, let's see.
Speaker B:I think I'm doing it in the key that we originally recorded it in.
Speaker B:I think I played in A albeit at the slower tempo.
Speaker B:Although when I do it solo, it's kind of hard to play that same groove in a solo setting.
Speaker B:I tend to do it more of like Ramones thing.
Speaker B:Like, you know, just kind of, you know, downstrokes, eighth notes on the guitar, more aggressive, which fits the song, you know, other than it being about a ZZ Top show, the rest of it, you know, fit in just fine.
Speaker A:Just from the nature of the conversation, you would think, oh, someone who takes it solo is gonna slow it down.
Speaker B:Maybe it is slower.
Speaker B:That's an interesting thought.
Speaker B:I'm gonna have to find a live recording of me doing it solo, if I have one.
Speaker B:See how it compares to the track.
Speaker A:Specifically in terms of choosing both where to record and who to record with.
Speaker A:What kind of sonic qualities were you going for in those decisions?
Speaker B:Originally, the idea we had was to actually do all the tracking at my friend Joe's home studio, which sounds more luxurious than it is.
Speaker B:It's an old house with a bunch of really hot old analog gear stacked up against the walls instead of sofas and chairs.
Speaker B:I mean, he's also set up for digital too.
Speaker B:And we knew we were going to use digital for this record just because it was going to be a more layered thing and much easier, practically speaking.
Speaker B:But we ended up.
Speaker B:We tracked three at first at his house and then didn't do the rest of the basic tracks until the following April.
Speaker B:April of 09.
Speaker B:And that's when we went to House of David.
Speaker B:Just made a slight change as far as how we were approaching the thing.
Speaker B:I mean, originally the idea was for me to go in and record a guitar and vocal track to a click track.
Speaker B:You know, it just makes me want to climb the walls most of the time because I am not the most meter centric guy.
Speaker B:And we did that for the first three, but then we just figured out that maybe going for some of that live connection, bringing in two drummers to play together at the same time with the rest of the band.
Speaker B:Although being a very complicated thing to engineer might make for better performances.
Speaker B:So that's what we ended up doing.
Speaker A:As you were getting to the end of that long recording process, when did you know that we've got something that's going to become a cohesive unit now?
Speaker B:When we listened, it felt good lyrically.
Speaker B:I still wasn't quite sure on the recording.
Speaker B:I went back and redid the vocal.
Speaker B:Probably did do some revision on some of the words, but I just sort of had that feeling that there was enough good stuff in there.
Speaker B:Stuff that felt Good lyrically and otherwise, that we had a song, kind of played it for Joe as kind of an afterthought before we went in to track that April of 09 where it was just me with him engineering at his house.
Speaker B:And he just said, okay, play every song you're thinking about recording.
Speaker B:Go.
Speaker B:20 songs later I finished with that.
Speaker B:Listening back to it, you know, it's a train wreck.
Speaker B:You know, it's just me kind of going, uh.
Speaker B:And I think this goes, you know.
Speaker B:His immediate response was what the is that?
Speaker B:You know, in a good.
Speaker B:So he encouraged me to work a little harder on that one.
Speaker B:I'm glad we did.
Speaker B:It's a fun song to do.
Speaker B:I had a.
Speaker B:A very interesting brief conversation with my dad, but that's part of the fun back end of things.
Speaker A:In what way here?
Speaker B:Oh, you know, it was his half brother who took me to the concert, the uncle.
Speaker B:So, you know, we had a brief talk about past transgressions being forgiven, etc.
Speaker B:The joys of adolescence.
Speaker B:And I did learn a lot.
Speaker A:I'm sure you did.
Speaker B:Probably not exactly the things that might parents would have preferred that I learn,
Speaker A:but there you are.
Speaker B:That's right.
Speaker B:Hi, this is Kevin Gordon.
Speaker B:I hope you'll check out my latest record, Gloryland, which you can find at my website kevngordon.net or@Amazon.com since this record
Speaker A:has been out, what is changing about that music or any other of your music for you?
Speaker B:The response to the records have been wonderful press on this one and the response has been fantastic.
Speaker B:So I'm just trying to hang on, really.
Speaker B:I have started writing again.
Speaker B:I've got a couple of new songs, partially.
Speaker B:So, you know.
Speaker B:Yeah, it's already time to start.
Speaker A:Where are they headed?
Speaker B:One of the two songs is actually a song for my daughter, who's 13.
Speaker B:I know I never write sentimental stuff, but I kind of made myself do this because it's something that, you know, is affecting me.
Speaker B:Her sort of going through the changes, you know, and I don't think she's heard it yet.
Speaker B:She'd probably be terribly embarrassed.
Speaker B:So that's kind of a pop song really, in the way that I think of like somebody like Ron Sex Smith, kind of secretly try to imitate in situations like this.
Speaker B:The other song is a very long narrative thing, kind of like Colfax, except darker and grungier.
Speaker B:It's kind of assorted fables about things that happened in the town where I grew up, where it's going.
Speaker B:It kind of scares me, actually, but it's good.
Speaker B:You know, I'm trying to embrace that kind of not knowing.
Speaker B:We'll see.
Speaker B:You know, the song about my daughter definitely being sort of living in the present tense.
Speaker B:While the song about Monroe is just things I remember.
Speaker B:You know, I worked as a bar back for, oh, over a year at this place that I used to refer to as the Divorcee bar.
Speaker B:Yeah, it was called Little Caesars, actually and was all the Vegas you could conjure in Monroe.
Speaker A:But not the pizza chain.
Speaker B:That's right.
Speaker B:No pizza.
Speaker A:Just to clarify.
Speaker B:Just really salty popcorn.
Speaker B:You know, a wait staff that had definitely been around the bend once or twice.
Speaker B:We're all too eager to share that information with a 19 year old kid.
Speaker B:So things like that are coming back, wanting to be talked about.
Speaker A:You just got back from Spain or somewhere, right?
Speaker A:Where are you headed coming up in the next few months?
Speaker B:Well, I'm going back up east at least twice in the next couple of months.
Speaker B:I'm also probably going back to the Midwest in the fall.
Speaker B:Going out to Oregon before the year's out.
Speaker B:Just trying to go everywhere, really.
Speaker A:Excellent.
Speaker A:Do you have any places that you love to return just because of the sound or the crowd?
Speaker B:I love a place called Fitzgerald's in a suburb of Chicago called Berwyn.
Speaker B:I say suburb.
Speaker B:It's not really a suburb.
Speaker B:It's just a town right outside of downtown on the southwest side.
Speaker B:That's like one of the best music clubs in America as far as I'm concerned.
Speaker B:One of my current favorites.
Speaker B:I'm playing the Birchmere with Todd Snyder soon.
Speaker B:That's always a great room and I love playing in the D.C. area as well.
Speaker B:Pretty much like going everywhere.
Speaker A:Thank you so much for your time.
Speaker A:I really appreciate the opportunity to get to chat with you, Kevin.
Speaker B:Oh, well, you're welcome, Sloan.
Speaker B:It's my pleasure.
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