Issue #25: Farewell Chuck Berry, SXSW 2017, Mike Edge, Scout Paré-Philips + More - Featured Image

It's the newest issue of our magazine! 

Inside, you'll find a brand new episode of our podcast on the late Chuck Berry. Listen as we remember the musical genius and inventor of rock and roll with Nashville DJ and King of Honky Tonks, Heath Haynes! Flip through our SXSW photo essay by Emily Quirk featuring some of our favorite fresh-faced bands: Bleached, White Reaper, Las Rosas, Daddy Issues, The Nude Party, and more! We've got a new Five Minutes With interview, this time with LA's Mike Edge on his dreamy new EP coming out May 12th. Read our interview with photographer and musician, Scout Paré-Phillips, on using her classically trained voice and autoharp skills to find new meaning in her newest record, Door Left Open. Check out our new artist of the month in the latest FOUND interview with graphic artist, Olivia Throckmorton. And we've got Volume III of our mixtape, with an ambient theme inspired by Chairlift's Caroline Polachek's recent release, Drawing The Target Around The Arrow

Read on! 

Thank you to all of this month's contributors: Heath Haynes, Emily Quirk, Mike Edge & Stephanie Nicole Smith, Scout Paré-Phillips, Olivia Throckmorton, Liz Earle, & Lee McAlilly

Original Fuzz Mixtape Vol. 3 - Featured Image

Here's our latest mixtape of songs you can't live without brought to you by our Five Minutes With contributor Stephanie Nicole Smith. Play loud.

Let's face it, we all loathe tax time. Here is some music to unwind to during or post filing.

I was inspired by Caroline Polachek's (Chairlift) recent release under new moniker CEP called Drawing the Target Around the Arrow. I had her album on while painting the other day, and was moved to compile a short list of my favorite ambient tunes. You'll find two of her tracks on this list.

Enjoy!


Our LA friend and Five Minutes With contributor, Stephanie Nicole Smith, knows music. We met her in Brooklyn when she booked bands for Glasslands, back in the day, and dig her style. So, we let her pick the music.

Stephanie Nicole Smith is a visual artist and make-up artist in Los Angeles, CA. You can find her work at stephanienicolesmith.com and follow her @stephanienicolesmith

FOUND with Olivia Throckmorton - Featured Image

 Meet Olivia Throckmorton, our artist of the month. Olivia is a graphic artist, screen-printer, and musician who lives and works in Nashville, TN. Read our interview to learn about her process, how she got started, her influences, and why being uncomfortable is a good thing. Find more of Olivia's work on the internet at @oliviathrockmorton. And listen to her band, Mouth Reader, here.


 oliviathrockmorton-original-fuzz-found

Who are you and what do you do?

I'm Olivia. I make art that tries to encourage people to communicate and talk about the things they feel.

How long have you been making art?

Since I was a really little kid. I got into a performing arts school shortly before I had to move to Tennessee and that kind of propelled me into creating more. I didn't get to attend the school because of the move, but I started going to [Southern Girls Rock and Roll Camp] the summer after and that's where I learned to play music and found some good resources for making art.

What’s the first thing you remember drawing?

I have no idea, honestly. I guess some of the first things I really drew were when I had an art tutor as a kid and we worked on some still life drawings.

When did you get into digitizing your illustrations?

My dad has always been into computers, so I had one from an early age. I pirated Adobe CS3 around age 13 and that's when I started getting into Digital Illustration. Later on in my first semester at MTSU, is when I really started getting into digital design and illustration. I had an amazing professor for a 2D design class that let us use computers for our assignments—most just make you do it by hand—and that's when I really started to learn a lot about it. He liked my work and really pushed me to get into graphic design. I'm super thankful for that experience, it's a gigantic portion of the reason I'm in this place now.

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What’s the process like?

Nowadays, I keep it really simple. I actually draw on my phone A LOT and if I need to make something ready to screen print, I'll import it onto my computer in a really bare-bones style and work from there. I went for about a year without internet access or access to any of the Creative Suite, so I got very used to hand drawing or drawing on my phone. I also work a lot, so drawing on my phone is a good, easy way to draw with small amounts of time. Years ago I would spend a crazy amount of hours digitally designing, but since then my style has become much simpler; I guess as a result of the artists I've become more interested in since then. Especially, lately, I've been trying to work on designing things that are fairly simple to screen print.

How did you get involved with screenprinting?

I went to Southern Girls Rock and Roll Camp when I was a kid and took the screen printing workshop for a few years there. I took a relief printing class in college and then started screen printing independently a little after that. I really only got back into it intensely when I started at Grand Palace!

When did you start working with Grand Palace?

Last June! It's been almost a year and I'm really happy about that.

What’s your favorite story from working there?

I'm not sure! Maybe when they called me in to work on my day off and then took us all to see Star Wars.

oliviathrockmorton-original-fuzz-found

Have you always been into type design?

I never noticed it before I went back and looked at my notes from high school, but yes. I would get so bored that I would figure out how many minutes were left in the class and count them down by drawing the numbers in my notebook. In college, I had a professor that complimented my choice in type on a few projects, and I had a lot of people around me producing really great hand lettering, so I think that's what really made me jump into it. I started doing hand lettering a few years ago, just on a whim, and kind of fell in love with it. With type design, I can communicate feelings in a way that is quick and straightforward, so I think a lot of the allure is that I can get my point across easily.

What’s your favorite font?

Hmmmm. I'm not super into fonts, as I prefer to hand letter my own work, but Lost Type produces some fonts that I think are great. A lot of people use them, but I still think they're solid. Very straight forward, sans serif fonts are some of my favorites. Right now, a lot of the type that's in the Museum of Natural History comes to mind. Really simple, non-script fonts.

Who are some artists/pioneers/influencers you admire?

Oh man, so many. The first one that pops in my head is Wayne White. I love all of his word paintings, it seems like some people write them off, but I'm always so impressed with the way he blends the words in and duplicates the shadows that are already in the background. His use of color is something I also really admire. I'm not super into Robert Crumb, but that was one of the more absurdist artists that I first experienced. I also really like baroque art. It's so intricate! I used to be very into realism, but I'm just not that great at getting that level of detail.

Wayne-white-awopbopalubop-original-fuzz-found Wayne White "Awopbopalubop"

Robert-crumb-polite-original-fuzz-found R. Crumb "Polite"

Do you have any favorite themes among your work?

I think a lot of people know by now that I like drawing naked people. I think my point gets confused sometimes, but I make art hoping that it will make some people uncomfortable. I think being a little uncomfortable is good. A lot of people are weird about nudity (Surprisingly? Unsurprisingly?). I also try to focus on talking about emotions. I am an intensely emotional person, maybe to a fault, and drawing about it makes me feel so much better. I try to incite those feelings in other people. It would just be so much easier if we were all better about saying what we think! So much of the feedback I get on my art is people telling me that they can really relate to the things I post, which feels amazing. Making art that's relatable and has to do with things we might not all be comfortable with talking about at first is my ultimate goal. I know there are things in life I've felt very weird about, and being able to talk to someone openly about it and know that they've felt the same things has been so incredibly helpful for me. I want to help other people in that way.

oliviathrockmorton-original-fuzz-found

If President Trump asked for one of your pieces, what would you give him? Would you give him anything?

I think I just wouldn't give him anything. I'm still having a really hard time coming to terms with this presidency. Maybe, if I could come up with something that would just make his head explode from having to use so much brain power.

Any favorite collaborations you’ve done?

I haven't really done a lot! I don't know if I can think of any at all actually. I always want to but rarely follow through. I have a few artists that I would love to collaborate with, though.

Where’s the best breakfast place in town?

Proper Bagel. I went there for the first time recently. I love cream cheese—like, for real—and they have so many options.

oliviathrockmorton-original-fuzz-found-this-butt-kills-fascists

What are you working on now?

I have a few shirts that I'm trying to print soon. People seem to be really into my "This Butt Kills Fascists" shirts, so I'm going to reprint those and a few other things I have cooking. I'm also in two bands, so shows and band practices are keeping me really busy at the moment.

Where can we find more of your work?

I mostly post things to Instagram! I'm terrible at marketing myself. You can find me on Instagram as @oliviathrockmorton. Maybe someday I'll have a real website.

Anything you’re looking forward to?

Summer! I feel way more creative this time of year. I work a lot, so I don't find a lot of time to sit down and draw, but I always draw more in the summer. Also, really excited to have all these screen printing resources at my fingers now, too.


FOUND is a monthly series by Original Fuzz Magazine. We aim to discover visual artists from every corner of the world, no matter the background or creative vision. We believe it's not just what you do, but how you do it. All art is as important to our culture as music, words, news, science, even religion. FOUND celebrates the visual and those who create it, serving as a platform for the creative pioneers who embody Original Fuzz and our products.

FOUND is brought to you by Liz Earle, a writer who likes art. If you'd like to be a featured artist, let us know! Send a message to our editors at hello@originalfuzz.com.

Dark, Neo-Folk Angel Scout Paré-Phillips Articulates Art Through Heartbreak and Song - Featured Image

Scout Paré-Phillips is an incredibly gifted musician and visual artist from Brooklyn, NY. A classically trained first soprano turned neo-folk/ rock and roll angel, Scout transcends genres with her unique voice and obscure instrumentation. Former balladeer and bassist for Baltimore's post-punk/country band The Sterling Sisters, and once Jack White collaborator, Scout has released her second solo record, Door Left Open, out now via Dais Records. 

Read our interview to learn about Scout's songwriting, finding her voice, working with Jack White, recording her newest record, and what she's looking forward to. Head to her website, scoutparephillips.com, to find more of her work and art. You can find her new record, Door Left Open, on iTunes or wherever else you get your music. 


 scout-pare-phillips-door-left-open-original-fuzz

Growing up, was music a large part of your life? What did your parents listen to?

My father was a country musician when he was young, so he was omnipresently plucking the guitar in the background of most of my childhood memories. My mother has extremely diverse and worldly taste in music, since her profession in aviation has taken her all over the globe. I remember when I was about six, they acquired a fifty-disc CD changer for the home stereo and I memorized the track listing and sequence of every album. It was comprised of an eclectic mix of classical music, opera, jazz, country, and a lot of native African music, since both of my parents spent a significant amount of time there before I was born.

Your voice is an incredibly unique instrument. When did you realize you enjoy singing? Do you enjoy singing?

I began playing in bands and singing when I was about eleven or twelve. There was a club in Red Hook, Brooklyn that allowed us to play on certain days even though we were underage. That tradition caught on, and I made a lot of my enduring childhood friendships at those shows. We created a network of young musicians that’d often share band members. I had a lot of trouble with my tone because my speaking voice is quite deep, so I presumed I should sing in that register. It wasn’t until I started training formally when I was fourteen that the instructor speculated I was actually a soprano, after listening to me—not even an alto or second soprano, but first soprano, the highest possible range. That was a difficult transition for me to make as I built up my muscles over those four years of training and initiated my quandary of how to still play and sing rock music as a classical soprano.

Was it the first instrument you learned how to use?

The first instrument I learned was actually trumpet, which I played in classical orchestral settings and in jazz bands. When I was eleven, my dad taught me my first three guitar chords—Emaj, Amaj, B7—the necessary building blocks for a country-blues progression. He sent me home to my mother’s house with a beat-up box of a classical guitar he’d put steel strings on. That was when I first tried out singing.

Official video for title track, "Door Left Open," off Scout's second solo album out now via Dias Records.

How old were you when you wrote your first song? What was it about?

Hilariously, my first entirely solo composition was a torch song about a budding romance and the fruition of one of my first childhood crushes when I was maybe thirteen. I had this little red 8-track on which I would layer all the instruments I played and do vocal harmonies. By the end of high school, that inkling matured and a friend who was studying engineering helped me record a full-length record. My music teacher at the time and still mentor, Jonathan Elliott, helped me arrange it for strings and a full band to give a kind of “record release” performance my senior year at a recital that typically showcased only our school’s most talented classical and jazz musicians, both students and faculty. It was invigorating to play after a string quartet absolutely nailed their piece, to be able to get onstage following up peers who were so clearly gifted, to play my original compositions and still receive standing ovations from the very same audience. That was the resolution of my black sheep identity within my school’s exceptionally proficient music department; I was a girl who was capable of skillfully singing soprano arias, but it was not until I started performing my own original pieces that my tone was suddenly imbued with the heart and fervor it lacked when singing songs that were hundreds of years old and not written from my own experience. My heart was audible in my work and I sang expressively, emotively, painfully—everything a coach wants to hear conveyed in the performance of an aria. I also sang one of my own songs (as well as an aria) during my final appearance at the senior recital of the classical voice program, and I remember my old private vocal instructor coming up to me afterwards and saying, “THAT was how I’ve always tried to get you to sing.” It’s a sentiment I’ll always carry with me, when looking back on my training.

What do you notice first in a song, lyrics or melody? Do you form a song around words you’ve written, or do you create the sound first?

All of my compositions are melody driven, so that’s typically what I latch onto as a listener, how the melody line interacts with the accompanying chord progression. Melodies materialize first for me, and then it’s just a matter of sitting down with a guitar or piano and working out what the chords are. Lyrics are finalized during that stage. That’s part of the reason I only feel comfortable describing myself as a “singer,” because it’s the only instrument I’m completely fluent in. Everything else I play only with the competence needed to support the voice.

scout-paré-phillips-original-fuzz

How did you team up with Jack White? Did you spend much time working with him? Would you do it again?

He discovered me through my singing in my country/post-punk band, The Sterling Sisters, and reached out. I worked for him repeatedly on a few of his projects over the course of about a year and had a lovely time doing so. So, certainly, I’ll gladly work for him again. It’s not common to have the opportunity to work with a musician of that echelon; it was important and influential for me at a time when I’d just recorded my first full-length solo album for a label, to have the chance to observe the complex structure and organization that necessarily surround musicians of that portent.

Accompaniment in Jack's video for his single, "Would You Fight For My Love".

You’ve just released your second album, Door Left Open, what was the recording process like? How long did it take?

I’ve recorded every album I’ve ever made in a few days. My aspiration is to someday work with a producer at length to help me flesh out my songs with instrumentation I wouldn’t think of, but when you’re just starting out, it’s always a race against the clock to adhere to the label’s budget. First, I went in and laid all of my personal instrument tracks and vocals for three days, and then a few months later, in April 2015, I came back for two days with my collaborating musicians to record drums, cello, keyboards, and bass. The harp is always interesting to record. Since it’s a distinctly percussive string instrument, we always record two outputs in the studio: one from the electric pickup through my Fender Reverb amp, then a mic right on top of the strings in order to blend back in some of the rhythmic hits in post production.

Of the instruments you play, which brings you the most joy?

Guitar, since I’ve been through such a journey with it teaching myself patterns, chords, and gaining dexterity with my finger-picking. Although, if we’re talking about pure bliss, then bass! Possibly because I’m a soprano, but something about being the deepest tone in the song and hiding counter melodies in my bass lines is very gratifying to me.

Do you think writing about heartbreak forces you to overcome the emotional loss, or is it more of it being an accessible topic because it’s what you’ve experienced? Or both?

I only compose from my direct experience. For me, the process of writing about love is a pursuit to approach lucidity and transparency of my feelings and emotional states. You can begin with blind passion or rage and then reach a point of complacent coherence, once you have the opportunity to reflect on the finished piece. I craft my lyrics assiduously, choosing each word to give just enough information to convey the stories accurately and elegantly, yet leaving just enough concealed so they don’t betray my partner’s confidence. Even in interviews, I am careful to never breach the content of what is recounted in the lyrics, to divulge and point out nothing that isn’t already contained and audible within the work of art itself. Maybe because of my formal training in art and routine exercises in teaching and critiquing, I am a strong believer in the notion that if a supporting quality or narrative you want relayed by your work isn’t manifest to your spectator, it isn’t there; the piece failed to articulate your intent. It is irksome to me that some artists—even some people who claim to be producing work about me and responding to my pieces—use interviews and personal statements as freeform soapboxes to revise their initial process and suffuse their work with clever, complimentary content and meaning that wasn’t concurrent with their pieces creation. To feel the need to saturate your work with significance afterwards is an indication that you have foundered.

What’s on your turntable right now?

I’ve had a lot of catching up to do as a folk musician who grew up listening to post punk-music. It’s been liberating to research and unearth old folk bands. However, I will say that parallel to amount of vintage folk music I discover, I regret more and more not having been born in a different era, as my music might’ve made a lot more sense! Right now, I’ve been listening to Alexander Skip Spence’s Oar. The song “War in Peace” is astounding.

Any favorite collaborations you’ve done?

I really enjoyed singing improvised vocals for Wrekmeister Harmonies’ Then it all Came Down, performed here in Brooklyn at Signal Gallery. J.R. organized such a phenomenal lineup of musicians to be in his band for that gig; it was invigorating to be able to play alongside such talented musicians. Since some of my first experiences playing in groups were in jazz, it’s fun to get the chance to riff with my voice; essentially an extended, live exercise in finding a melody.

It’s pretty amazing that you’ve created a life making a living from your art and just being yourself. Between your music, photography, film, modeling, weaving, and now going to school for a masters, have you found the secret to happiness?

As I’ve grown, it’s become increasingly important to me to read and educate myself as much as possible. I used to have this backwards conception that the most purely original work would occur in isolation. However, accruing vast amounts of sheer information certainly alters, informs, and enriches how you interact with your life as you live it.

What are you looking forward to?

Playing in a band again! That’s when I’m at my happiest.

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Thank you to Scout for inspiring us with your words and to Heather for introducing us. Download Scout Paré-Phillips' new record, Door Left Open, on iTunes or buy the vinyl from Dais Records. See and listen to more of Scout's art & music on her website scoutparephillips.com

Five Minutes with Mike Edge - Featured Image

Mike Edge is a Los Angeles based singer-songwriter, multi-instrumentalist and producer. He has worked with notable artists such as Dr. Dre, Roy Davis Jr., and legendary producer Andy Johns. Drawing on inspiration from John Lennon, George Harrison, David Bowie, Al green, Air, and Lou Reed—his introductory, self-titled EP was written, recorded, produced and mixed by Edge in his studio, while mainly utilizing recording equipment he built himself. While nearly all instruments are played by Edge, he did enlist the help of a few guests, such as Cassidy Turbin (Beck) on drums. With a nostalgic nod toward his influences, Edge brings to the conversation a fresh, present-day point-of-view that is at once sentimental, laid back, and very much his own.

Read our interview below on Mike's favorite gear, preferred recording techniques, influential bands, and what he's listening to now. Check out The Mike Edge EP coming out May 12th via Edge’s own label, Long Weekend. Follow Mike Edge on Instagram, @mike.edge, to get updates on his upcoming record and shows.


 mike-edge-five-minutes-with-original-fuzz

Did you have any formal study with how you learned to play music?

I didn't. I taught myself.

Who were your main early influences?

Nirvana and grunge bands.

What was your first instrument?

A cheap Tele was my first guitar. My main guitar now is a ‘57 Danelectro u2. I also like to play a Fender Duo and anything with P90 pickups. My main amp is a tube amp I built. Sounds a bit like a Vox with an El84 tube. But I also use custom amps my buddy Tim Gogue builds, his amps are killer. Before that, I was using a Magnatone and a Fender Deluxe. Fender champs are also great for recording.

What is your favorite recording setup like?

I love old Electrovoice dynamic mics, I use them a lot on my record. I have a large condensor mic I built that is based on a Telefunken 251. I also like Coles ribbon and Neumann u47 mics. For compression, I use Vari mu compressors and an 1176. The main mic pre I've been using is a tube pre I built. Favorite console is a Sphere or Quad Eight. For slap, I use either an Ampex 351, an Otari 2 track, or a Space Echo. Reverb, I like all of the Akg or Quad Eight springs. But, sometimes, I'll just run things through my guitar pedals.

Do you have an opinion regarding analog vs. digital recording? What is your stance on it?

I used to be a tape purist. I use Ampex machines, the 440s. I like the sound of tape better. But, I think digital is getting better and better. Having to maintain tape machines is a pain in the ass and tape is getting really expensive. There are also great editing things you can do digitally that you can't do with tape.

five-minutes-with-mike-edge-original-fuzz

What is your favorite studio?

My favorite studio is sunset sound, I love the rooms and the consoles. I usually record in my own studio, though.

Which players should aspiring musicians study and learn from?

The Beatles.

What are you currently working on / any new releases in the works?

I have a self titled EP coming out on May 12th. It's the first release on my label, Long Weekend. The second release is a sampler of various artists I've produced that will be releasing on the label. I have an original song on the sampler, too.

What is in your record player today?

Paul McCartney Ram.

Official video for, "Been So Long," the first single off Edge's forthcoming, self-titled EP.


The Five Minutes With series is brought to you by Stephanie Nicole Smith, a visual artist and make up artist in Los Angeles, CA. You can find her work at stephanienicolesmith.com and follow her @stephanienicolesmith

Original Fuzz Goes To SXSW 2017 - Featured Image

We're fortunate to have a PA who loves to travel and shoot photos of her favorite bands as much as she loves to trim guitar straps—okay, maybe she enjoys the former a little more. So, we couldn't not let her skip work to high-tail it to hot-as-hell Austin, TX for this year's SXSW showcase and fest. Scroll through to see photos of Bleached, Daddy Issues, Las Rosas, Meatbodies, NeHi, The Nude Party, Roya, Pudge, Tamarron, Wand, and White Reaper. All photos by the one-and-only Emily Quirk


bleached-sxsw-2017-emily-quirk-original-fuzzBleached, Los Angeles

daddy-issues-sxsw-2017-emily-quirk-original-fuzzDaddy Issues, Nashville

daddy-issues-sxsw-2017-emily-quirk-original-fuzzDaddy Issues, Nashville

daddy-issues-sxsw-2017-emily-quirk-original-fuzz Daddy Issues, Nashville

las-rosas-sxsw-2017-emily-quirk-original-fuzzLas Rosas, Brooklyn

meatbodies-sxsw-2017-emily-quirk-original-fuzzMeatbodies, Los Angeles

nehi-sxsw-2017-emily-quirk-original-fuzzNeHi, Chicago

nehi-sxsw-2017-emily-quirk-original-fuzz NeHi, Chicago

nude-party-sxsw-2017-emily-quirk-original-fuzz The Nude Party, Boone

nude-party-sxsw-2017-emily-quirk-original-fuzz The Nude Party, Boone

pudge-sxsw-2017-emily-quirk-original-fuzzPudge, New Orleans

pudge-sxsw-2017-emily-quirk-original-fuzzPudge, New Orleans

pudge-sxsw-2017-emily-quirk-original-fuzzPudge, New Orleans

roya-hotel-sxsw-2017-emily-quirk-original-fuzzRoya, Brooklyn

roya-hotel-sxsw-2017-emily-quirk-original-fuzzRoya, Brooklyn

roya-hotel-sxsw-2017-emily-quirk-original-fuzzRoya, Brooklyn

tamarron-sxsw-2017-emily-quirk-original-fuzzTamarron, Austin

wand-sxsw-2017-emily-quirk-original-fuzzWand, Los Angeles

wand-sxsw-2017-emily-quirk-original-fuzzWand, Los Angeles

wand-sxsw-2017-emily-quirk-original-fuzzWand, Los Angeles

wand-sxsw-2017-emily-quirk-original-fuzzWand, Los Angeles

white-reaper-sxsw-2017-emily-quirk-original-fuzzWhite Reaper, Louisville

white-reaper-sxsw-2017-emily-quirk-original-fuzzWhite Reaper, Louisville

white-reaper-sxsw-2017-emily-quirk-original-fuzzWhite Reaper, Louisville

white-reaper-sxsw-2017-emily-quirk-original-fuzzChad from Tamarron

white-reaper-sxsw-2017-emily-quirk-original-fuzzWhite Reaper, Louisville

white-reaper-sxsw-2017-emily-quirk-original-fuzzWhite Reaper, Louisville

white-reaper-sxsw-2017-emily-quirk-original-fuzzWhite Reaper, Louisville

white-reaper-sxsw-2017-emily-quirk-original-fuzzWhite Reaper, Louisville


Emily Quirk is a photographer that has been documenting the Nashville DIY scene for a decade. She enjoys long drives across the country, exploring new cities, controlling the Aux cord, and snacking on popcorn. Find her around town, or on the internet at emilyquirk.com, Instagram @equirk, and Twitter @quirkymind.

Podcast Episode #30: Remembering Chuck Berry With Heath Haynes - Featured Image

We remember the genius of the late Chuck Berry with Nashville DJ and musician Heath Haynes. For the last decade Heath has immersed himself in the local Nashville scene with his DJ sets and band The High Dollars. He's been along for the ride as Nashville has grown from backwater southern town to the latest "It" city, and a lot of what he does today he owes to Chuck Berry. Like Chuck, Heath knows how to work a room and get folks dancing. And this month he helps us remember just how influential Chuck Berry, the true king of rock and roll, was to so much of the music we treasure today.

Follow Heath Haynes at instagram.com/heathhaynes and facebook.com/heathhaynesmusic.

Music

  • "You Can't Catch Me" by Chuck Berry, Chess single, 1956
  • "School Days" by Chuck Berry, Chess single, 1957
  • "I'm Talking About You" by Chuck Berry from New Juke Box Hits, 1961
  • "Too Much Monkey Business" by The Kinks from Kinks, 1964
  • "You Can't Catch Me" by The Rolling Stones, 1965
  • "Roll Over Beethoven" by The Beatles from With The Beatles, 1963
  • "Carol" by Chuck Berry, Chess single, 1958
  • "Havana Moon" by Chuck Berry, Chess single, 1956
  • "Around and Around" by Chuck Berry, Chess single, 1958
  • "Around and Around" by the Rolling Stones, from 12 X 5, 1964

Playlist

Follow us on Spotify: djoriginalfuzz

We're Making a Banjo Strap - Featured Image

We're working on a banjo strap and would like your feedback. Be one of the first to try out this new product line and let us know what you think. We'll make you a custom strap and incorporate your thoughts and feedback into the process. We can make a banjo strap in any of the styles currently available on our website, or you could even send us a fabric of your own.

If you're interested, send us an email.

New Strap Collection Featuring Your Best Fur Friend - Featured Image

We at Original Fuzz are music lovers first, but our love for tunes is rivaled only by our love for animals!

Our best fur friends are the inspiration for our newest custom strap collection. We know you can't always have your furry companion on your lap while you're playing guitar (Fuzzcat Miles is especially skittish around loud noises), but now you can have a piece of them next to your heart.

All you have to do is mail us two standard FedEx sized boxes of your collected pet's hair and we will do the rest. Whether you shave your dog bald at the start of every summer, or have regular 'ole fur balls from Garfield floating across your hardwood floor in every corner of the apartment, you FINALLY have something GOOD you can do with all that fur.

Send it to us! Our team will weave the fibers from your pet's hair into a strong yet soft woven textile, then cut and sew it onto our signature cotton backing. We'll complete each strap with our durable hardware and classic leather end tabs. Each strap is a unique representation of you— and your favorite furry friend!

*Please note: Yes, we have considered doing this with human hair, and we just aren't willing to go that far.

Podcast Episode #29: Reed Turchi's Got the North Mississippi Desert Blues - Featured Image

Reed Turchi joins the pod this week to talk about how North Mississippi hill country blues and the desert blues of the Taureg people of North Africa have more in common than you might know. They both relentlessly pound you into the ground. Listen to us nerd out with Reed on some good blues music, and talk about what took him from North Carolina to North Mississippi to North Italy.

Reed is a songwriter, an accomplished guitar player, once started his own blues label while still in college, and previously was the label director for Ardent in Memphis. His new album is called Tallahatchie, and you can find it wherever music is streamed. See him in action at reedturchi.com and get his playlist below.

Music From This Episode

  • "Cottonmouth Drag" by Adriano Viterbini & Reed Turchi from Scrapyard, 2014
  • "My Babe" by Otha Turner and The Rising Star Fife and Drum Band from Jim Dickinson Field Recordings Delta Experimental Project vol. 3, 2003
  • "My Babe" by Mississippi Fred McDowell from Shake 'Em Down: Live in NYC, 2006
  • "Be Alright" by Turchi feat. Luther Dickinson from Road Ends in Water, 2012
  • "Toumest Tincha" by Tinariwen from Emmaar, 2014
  • "Achaka Achail Aynaian Daghchilan" by Tamakrest from Taksera, 2015
  • "Juggling Knives" by Reed Turchi from Speaking in Shadows, 2016
  • "Ganges Delta Blues" by Ry Cooder and V.M. Bhat from A Meeting by the River, 2011
  • "Let It Roll" played live at Original Fuzz by Reed Turchi from Tallahatchie, 2016

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