PLEASE NOTE: Unless otherwise noted, all music links point to Dropbox folders that contain FLAC files. FLAC (Free Lossless Audio Codec) is basically a file type designed to contain full resolution audio without any degradation. It uses what's called "Lossless Compression" to make an exact audio copy of a WAV file, but uses less disk space. Conversely, other file formats such as MP3, AAC (m4a), and OGG use what's known as "Lossy Compression;" their algorithms affect not only the file size but also remove parts of the frequency spectrum from the audio itself. Lossy audio was designed to be transparent, but it adds audible artifacts that are easily heard on good playback systems or in files with low bitrates (this will usually be heard as a "swishing" sound in high frequencies like cymbals and sibilance).

FLAC files can be played back directly in many audio players. From my personal experience, I would recommend either
Foobar 2000 or VLC. Both are free apps and are available for several operating systems.
A couple iOS-specific apps I've used are Flacbox, which lets you play FLAC files by linking to your Dropbox folder, and Golden Ear ($7.99 in App Store), which actually offers smoother playback, but requires you to add the files to your phone manually using your computer and iTunes.
Alternatively, should you need to decode FLAC files to WAV (to burn to CD) or transcode them to the lossy file of your choice (if you actually still use an iPod), you will need a computer for this, but I recommend these free apps:
Trader's Little Helper for Windows users, and fre:ac for Mac users.



Everyone remembers their first band. Riverboat John was mine. I would consider the beginning of this band to be the time I first met Dan Pinson, which would have been in August of 1994. I was 13 years old and had just gotten my first real drum kit the previous Christmas. My step-sister was having her 13th birthday party at our house and invited over a bunch of friends from school, a few of whom I knew previously, so of course my inclination is to show off my newfound drumming skills. After all, I had just recently upgraded to a DOUBLE KICK PEDAL, a really big deal in 1994, just trust me on this. So a couple friends and I are sitting in my room and I'm playing along with a song, "Tomorrow" by Silverchair, when some dude bursts through the door (I mean he probably knocked, but in my memory he darn near broke the door down), wanting to know who's playing the drums and shouting that he was a guitarist. He came back over about a week later, we just jammed on some stuff and actually wrote 2-3 riffs that later became songs. We formed a 3-piece band with another guitarist I knew from school named Steve Sibley; we had a few rehearsals and debuted our band at a friend's birthday party shortly thereafter. We only had like 3 songs and maybe 1 cover, but I don't think anybody sang; we didn't even have a bassist, just 2 guitars and drums. I think we played everything we knew, then took a short break before repeating them all. I don't think we even had a band name at that point.

Steve left the "band," if you can even call it one at that point, and not long after that Dan recruited Seth Carico on bass guitar/vocals and Alex Estes on rhythm guitar. Dan and Alex had previously formed a band, named Sonic Insanity. Alex came up with "Riverboat John" by sticking two semi-random words together; we had absolutely no idea that there was a travelling folk singer from Alabama who was already performing under that name, and we wouldn't learn of that for a couple years (remember, the internet was still fairly infantile back then). Although, as a sidenote, I did actually meet Riverboat John Ferguson while working as a drum tech at a festival in the early 2000's and he mentioned having heard that the name was being used, but didn't seem bothered by it. Super nice guy, but again, I digress. Emily Kate Boyd also joined the band for a brief period near its inception. By this time, we had expanded our list of original songs to maybe 4 or 5, and we learned enough covers to make a 45-minute set list. We played our first show as RBJ at my sister's next birthday party. I wanna say that was the only show Emily played with us, but I would go on to join her band, Dry Weave, around the same time. During this time period, we wrote several songs, recorded a few EP's on 4-track cassette (some of which may to lost to time), and played as many shows as we could. We were too young to play in bars, so most of our venues consisted of coffee houses such as Mountain Java on Signal Mtn., but we did land slots in 2 local festival, Riverbend and Nightfall, both booked on the strength of an EP called "Invalid Behavior" that we recorded at Hope Studios in late 1996 with the help of Pete Fitzgerald. We were also afforded the opportunity to play at the legendary local venue, The Sand Bar, who's booker, Mike Dougher, was kind enough to open the doors to underage shows on a few Sunday nights, just before their doors closed for good.

Sometime after Riverbend, Seth left the band. As he was both our bassist and the de facto lead singer, we ended up filling those roles separately, bringing in multi-instrumentalist Russell McLean on bass, and Robert Brunson on vocals (but he could also play some mean chest percussion). This version of the band was a bit more focused, whereas before we were kinda just trying to mesh a bunch of different genres together, things took a turn that was decidedly more in line with what rock & roll was in the mid-90's. Some songs still had their funky moments, but for the most part we were aiming for thicker, more distorted guitars. I mean it still sounds like a bunch of kids playing music together when I listen back now, but it was a pointed if not subtle change. This time around, we found a new studio to use in Ultrasound Studio, run by Michael Johnson. I think we spent two 10-hour days there and came out with an album. Almost everything was tracked live with very few overdubs. We named the result "A Moveable Feast" (again, being completely ignorant teenagers just picking random words, we had no idea it was the name of a Hemmingway novel until someone pointed it out later), and released it the Spring of 1998. This album actually marks Dan's debut on bass; he and Russell switched instruments for 2 (of the best) tracks (on the album). By the Fall of 1998, Russell was away in his sophomore year of college, and after a while it became almost impossible for him to be in Chattanooga in regular intervals.

Enter Jason Essary. Dr. S.R.E. and I had been players in the Wind Ensemble at our high school; he played trombone and I played trumpet. Somewhere along the way I learned he could play bass guitar too, either in Jazz Band or as members of the Pit Orchestra for the school's musicals each Spring (we did Fiddler On The Roof; Hello, Dolly! and a third one [maybe Music Man?] from what I recall), so I suggested we audition him. He nailed the audition and was eager to join the group, so made the decision easy for us. It's this 5-piece incarnation of the band that you may have seen on such award-winning local access shows like "The Ledge" on WTCI. Now, somewhere in here I began listening to Phish and attending their shows, as did Dan. We started drifting away from rock & roll and began experimenting more with improvisational jamming, basically trying to make up songs on the spot with no particular start or end point in mind. A lot of people will call this noodling. What began as an earnest attempt to take the music in a different direction inadvertently ended up isolating me, Dan, and Jason from Alex and Robert, both of whom would leave the band by the time we returned to Ultrasound Studio in late 1998/early 1999. We actually made a bunch of cassette recordings around this time, mostly just 2-track stereo recordings tracked live using a few dynamic mics and a very old Fender powered mixer. The tapes actually sound pretty clear, but as Michael Johnson was very quick to point out, "There's no low end, man!" We returned to Ultrasound a third and final time in 2000 to record a 5-song demo. We would play several shows over the next couple years, including Rhythm & Brews in 2001, which by then was being managed by ol' Mike Dougher (who actually remembered us). By this time, all 3 of us were out of high school and scattered across the state in 3 different cities. Jason had basically taken the reigns as the lead singer of the band over the past couple of years after we had a vocal "shootout" at a studio session in Savannah; his voice clearly sounded more appropriate than what I was was doing. He was gritty, whatever I was trying to do came out too quiet, and it just didn't work with the songs. One of the last times we jammed was in May 2002 in Folly Beach, SC. We were there for a few days working on some new songs that were really cool (but kinda complicated from what I remember), then we got really drunk together on the last night before driving back to our separate daily lives. Not long after that, I received a phone call with both Dan and Jason on the line, where I was told that it was best for the band that they move on without me. I had been in Little House for several months and had already auditioned for Up With The Joneses, so I didn't necessarily disagree. I think they briefly continued the band after that, but I don't remember if they changed the name or not. I recall seeing them once at The Attic and hearing the completed version of one of those songs we'd been working on at the beach house. That show kicked ass, but I don't think they remained a band for much longer after that. Perhaps a reunion is in order?

Recordings Available:
Riverboat John - Riverbend Festival (1997.06.15)
Riverboat John - Ultrasound Studios Session (Jan. 1999)
Riverboat John - Ragtails Concert Series @ Baylor School (2000.03.10)
Riverboat John - Ultrasound Studios Session (Jan. 2002)



Dry Weave was the second band I ever joined, founded by Emily Kate Boyd on guitar, Kelly Evans on vocals, and Anna Tepper on bass. I knew Emily from the early days of Riverboat John and at some point they decided to part ways with their original drummer, Brooke. My first experience in a studio came from this project; we cut a 5-song demo at Hope Studios in December of 1996. That demo landed us a spot in the 1997 Riverbend Festival (Riverboat John followed this blueprint "to a T") and several other gigs around town including The Kudzu Festival. I don't remember exactly what led to me leaving the band but I think it was probably just a decision I made to focus more of my time on Riverboat John.

Recordings Available:
Dry Weave - The Sandbar (1996.10.23)
Dry Weave - Hope Records Session [2020 Remaster] (1996.12.06)



My involvement with Little House can be traced back to Jay Lawson. In 2001, we were working together at a pizza delivery franchise whose name I won't mention; let's just say that they had "Pizza" in their name and we worked out of a small, simple, single-storey shelter. I asked Jay if he knew any bands that were looking for a drummer and he only mentioned one, so I reached out and set up an audition. I had arranged to meet the lead singer at Pickle Barrel, and arrived to find a kinda thin, waifish lookin' dude with long straw bleached-blonde hair. I knew this had to be the guy, but I really had to pee so I went to the restroom first, then introduced myself to Jason Ewton. We hopped in my car and drove out to Flintstone, GA, to a practice space located inside a small building (literally a "little house") adjacent to the home of their current drummer, Nathan, who was leaving the band. At that time, Little House was a 4-piece band, rounded out by John Avakian on guitar and Andy Elliott on bass. We probably jammed for about an hour or so; I think we ran through a couple of their original songs (which I had never heard before), but I know for a fact that we jammed on "Stinkfist," by Tool (somehow Tool had been a band that eluded me during my adolescence, and I had just recently discovered their album "├ćnima," so I was vaguely familiar with the song). That audition also introduced me to a song by Helmet named "Unsung." I had never heard it before, but John kindly explained to me that it starts with a drum fill that sounds like "Shi-kak-a." I immediately interpreted that correctly and I think we played through the entire song right after that. Little House had a manager named Keith Sherman back then, a grizzled old music veteran from the Overland Express/Cowjazz days, who really was a sweet dude and was genuinely trying to help the band however he could. Keith described me as a drummer with a lot of "finesse," and that compliment always stuck with me.

John would soon leave the band as well and we focused on becoming a "Power Trio," and basically ripped off Tool for the next 6 or 7 years. We played a bunch of shows at The Attic and The Local; most of our shows were in Chattanooga, but we did occasionally head out of town. We played a couple showcases from what I remember, and even got a bunch of notes from some A&R people who worked for Warner Bros. We recorded several songs with Michael Johnson at Ultrasound Studios, but for one reason or another were never satisfied enough with those recordings to release them (although several of those songs ended up being played on Rock 105). We got offered a last-minute spot in a "Battle of the Bands" at Rock & Country Club after one of their bands dropped out. I wanna say all the other bands had to pay entry fees, but since we were asked to join at the last minute, the fees were waived. We didn't expect much from it, but we were well-rehearsed at the time, so we put a short set together and gave it the old college try. We ended up winning our preliminary night and got invited back to the finals with 4 other bands. When we also won the finals, all hell broke loose, just as you would expect it to with a club name like "Rock & Country." I mean, it's exactly the kind of place you'd picture in your mind. I had actually left the premises after our set, but before the end of the night, so I was able to escape the chaos, but I got some hilarious first-hand accounts from Jason and Andy about them basically having to fight their way out of the club while the other bands assimilated into lynch mob, accusing us of cheating our way to winning. I recall one of the claims was that I was the cousin of one of the contest's judges and we won through nepotism. In any event, first prize for that contest was 40 hours at a local studio, which we chose not to use a single minute of, opting instead to make the trek up I-75N, off exit 33 and way out past the water treatment plant, to our friend V.J. Maxwell's house, where he had a studio in his basement. He helped us record our album, Anticipointment, which I would end up mixing (without having any prior mixing experience or even really knowing how to use a compressor). We released that album in the summer of 2006 and threw our release party upstairs at RAW (thanks Stryker!). I got on the mic at one point between sets and randomly said some disparaging words about Jim Morrison (I think after someone requested we play a song by The Doors); someone responded by throwing our album at me while I was still speaking, which I want to say I picked up and resold later that night, but I could be fabricating that part. I ended up moving to Nashville shortly after the release show and Little House was not long for this world after that. One of the last shows we played, if not the very last, was the very first set played by any band at the first Roots Fest festival, organized by Ada Barnes. We were scheduled to be the second band to play, but the first one didn't show up on time, so we got the honors. I have a recording of this show; it's not very pretty from what I recall, but I will probably still share it here eventually. Little House reassembled once or twice after 2007 for a couple benefit-type shows, but we have no plans for another reunion, despite constant requests from friends.

Recordings Available:
Little House - The Bay (2002.02.23) (contains a few random audio drops)
Little House - Live at The Bay (2003.06.20)
Little House - Ultrasound Studios Sessions (circa 2002-2004)



There's probably a bit too much personal history in this band to fit in this blurb. I met Matt and TJ at The Attic around 2000-2001. At the time, TR Hill was the band's drummer and Walter Alvarez was the bassist. A couple years later, TR and Walter left the band and I learned that an old soccer buddy of mine, Joe Grubbs, got the job as the new bassist, so I learned their "Numbers & Vultures" album and we arranged a time when we could jam without bothering Mrs. Eckleberry. Needless to say, it was a successful jam session that led to 2-3 years of fairly consistent gigging. The band endured two hiatuses of differing lengths, both due to tragic circumstances. TJ was lucky enough to recover from a pretty bad rainy night car crash which resulted in several months of inactivity, but the band was ultimately able to return to the stage. Life has a funny way of throwing things at you when you least expect it though, and the next event was one nobody expected. Joe Grubbs passed away while on a camping trip with friends. Nothing can ever prepare you for losing a friend, but Joe left behind so many fond memories and shared experiences with each of us. We didn't see any way we could keep the band going at that point and decided to move on to other things.

A couple years went by. I moved to Nashville. We started kinda kicking around the idea of getting the band back together. I had recently gotten reacquainted with Dan Pinson, who had now switched from guitar to bass and started calling himself "Danimal." We put a short setlist together, Dan studied the music a bunch on headphones, and the first time we jammed felt like we'd done it a thousand times. I don't know why but Dan also started jumping around and flipping us all off that very day. This would've been around 2007 I think? Anyway, from there we recorded a live album at The Rutledge in Nashville, released as "Melt Your Face Off (Live!)," which took us on a short run up the East Coast to NYC and back. We continued touring for the next 3 or 4 years, where we played with a slew of awesome bands, most notably our "road brothers," Lamb Handler. I may not have any recordings of that band, but by-gawd they're getting a blurb on this page, but I digress. Sometime in 2008, we all descended upon Jake Caldwell's parents' house in Coalmont and began recording sessions for what would become the only full length album that Up With The Joneses would release while I was in the band, 2009's "Over The Sound." But we argued a lot, as bands are prone to do, we were on the road maybe 2 weeks out of every month, the money was sparse (although we were somehow never in the red), DAN USED TO FART IN THE VAN WITHOUT ROLLING THE WINDOWS DOWN THEN SIT THERE SILENTLY AND WAIT UNTIL SOMEONE ASPHYXIATED ON HIS ROTTEN FART AROMA THEN BUSTED OUT LAUGHING UNCONTROLLABLY AND WOULD STILL NOT ROLL THE WINDOW DOWN (WHAT A JERK), and we all had a bunch of different projects going on at the time. I mean there were a lot of reasons we broke up, but Dan's farts were bad, okay? Everything sorta came to a head and we decided to call it quits after one big blowout show at JJ's Bohemia on June 26, 2010, which by the way, was meticulously recorded in multitrack format...

Recordings Available:
Up With The Joneses 6-Song Demo EP [w/ Joe Grubbs] (2003)
Up With The Joneses - Tower ("Over The Sound" B-Side) WAV

Commercial Releases:
Up With The Joneses - Numbers and Vultures (2001): Spotify | Apple Music | Amazon | YouTube
Up With The Joneses - Melt Your Face Off (Live)! (2007): Spotify | Apple Music | Amazon | YouTube
Up With The Joneses - Over The Sound (2009): Spotify | Apple Music | Amazon | YouTube

Up With The Joneses - Live at The Rock Shop (Fayetteville, NC) 2009.01.17:



Another great band name, The Icons was actually the band's second choice behind "The Better Than You's." The band was founded by longtime friends, Tim Medlin (lead vocals, guitar) and Jason Ewton (guitar, vocals), and rounded out by VJ Maxwell on bass and Kenny Kinnamon on drums. I think they got their start in late 2004 and from the outset, focused on songwriting first. VJ had a home studio in his basement, Subterranean Studios, where the band recorded a 5-song EP before ever playing a live show. Their live debut was at The Local (a former venue in the same space where JJ's Bohemia is now located). Shortly after that, Kenny left the band and I was asked to fill the role. I had already been playing with Jason for a few years at that point, so it was a pretty easy transition. The band remained active for most of 2005, including two more recording sessions at Subterranean Studios that resulted in 3 released songs and 6 unreleased recordings. My time with The Icons came to an end when I moved to Nashville in 2006, but the band would later reform with Chris Eves on bass, Jason Reed on keys and Josh Cannon on drums.

Recordings Available:
The Icons - Local Performance Hall (2005.05.13) [Debut Show w/ original drummer Kenny Kinnamon]
The Icons - Rhythm & Brews (2005.08.10)
The Icons - Rhythm & Brews (2005.09.01)
The Icons - Bayou Benefit Bash (2005.09.18)



Toward the end of the Summer of 2006, I got a call from Dan Pinson asking if I could learn 17 songs within about 48 hours and turn around and play a show. The band was called Andy & The Enablers, he was playing bass now, and their drummer got in a pretty serious bike wreck just a couple days before their show. So I went up to Nashville for a couple of days and took a crash course in Andy Beckey's music, with a few cover songs sprinkled in. Over the next couple years, we played a bunch of shows in Nashville and a few in Chattanooga. I have at least one recording from live performance and 2 mixes of a song we recorded at Ocean Way Studio with P.J. Fenech. We also recorded several songs in the same studio that was used to record Up With The Joneses' "Over The Sound" album, but the copies of those sessions that I had were on a hard drive that was stolen from my house in 2015. Dan ended up joining Up With The Joneses and eventually moved back to Chattanooga (as did I), which pretty much spelled the end of The Enablers.

Recordings Available:
Nope, not yet. Sorry.



Dick Falcon came about as a byproduct of my first move to Nashville in 2006. Through my previous experience in Up With The Joneses, I had met a guitarist named Ian Wolczyk. He had a Nashville-area band named Del Giovanni Clique that had shared several bills throughout Tennessee with the Joneses between 2002-2005, and I had always admired his unique-but-tasty guitar tone and writing style. I was crashing on Dan Pinson's couch at the time, where we also had a jam room, so the idea to form a power trio just naturally fell into place. We began jamming and quickly wrote 3 or 4 songs from riffs that Ian had been playing around with at the time. A lot of the material was influenced by bands like Shiner, Oceansize, and maybe a little Radiohead, but it was definitely fairly rock-heavy. We didn't play a ton of shows, but we played a few over the course of the next year or two, and recorded a 5-song EP with Paul Jenkins at Velvet Elvis Studios. This would become my 3rd mixing project, following Little House's "Anticipointment" and Up With The Joneses' "Melt Your Face Off (Live)!" and remains one of my favorite personal recordings to date.

Recordings Available:
Dick Falcon - Antecedent EP
Dick Falcon - Rhythm & Brews (2007.10.13)



One of the less creative band names on the site, The Bohannons are a band fronted by brothers, Marty and Matt Bohannon. I think they got their start in 2004 or 2005 when there was a lull in activity for Up With The Joneses, but they had been playing and writing songs together for a long time before that. In fact, Marty has at least one songwriting credit from the Up With The Joneses catalog. Marty also served as The Joneses' manager for the first two versions of the band (first with TR and Walter, then with Joe and me). The first iteration of The Bohannons included Nick Sterchi on drums and Josh Beaver on bass. They recorded their first album, "Songs For The Disenfranchised," with Mike Pack and released it in 2006. Sometime after that (I think around the spring of 2007), Nick left the band to pursue other projects and I was brought in on a semi-temporary basis. We played several shows near the end of 2007, including the second (and final) Mucklewain Festival in Pinewood, TN. 2008 was a big year for me; in addition to playing several shows to begin the year, we also went up to Murfreesboro to Grand Palace Records and recorded an EP, "Bright White Light," on 2-inch tape with Alex Norfleet. We then took that EP and in March of 2008, went on a 10-day tour around England with Black Diamond Heavies. It was an amazing experience to say the least and felt like a whirlwind of activity. We traveled around almost the entire country, sharing van with James Leg, Van Campbell and US Justin. I remember feeling jetlagged and kinda half-awake pretty much the entire time, but we were playing shows every night to crowds that were so much more attentive and appreciative than we were used to back home.
Sometime after that, I stopped playing with The Bohannons. They had a few drummers come and go from what I remember. I wanna say Nick Sterchi came back, then Ivan Garcia had a short stint at one point. There's at least one more drummer whose name escapes me, but at some point our paths crossed again. In what I think was the summer of 2009, the band and Mike Pack all jammed into an SUV and drove up to Electrical Audio in Chicago to record some songs with Steve Albini. As if working with a legend like Albini wasn't prestigious enough, the band had the album mixed by Vance Powell and mastered at Chase Park Transduction in Athens, GA (the studio built by Dave Barbe and Drive-By Truckers). I think I played a couple shows around then, but by the time the EP, "Days of Echo," came out in 2010, Nick was back in the band (and he even played tamborine on the album). Nick would stick with the band and help them record what's now considered to be their first two full-length albums, 2012's "Unaka Rising," and what would eventually be released in 2015 as "Black Cross, Black Shield," but would again leave to pursue other projects. Sometime before Black Cross was released, Josh also decided to leave the band. Billy C. Robinson replaced him on bass guitar and around this same time, the band found a permanent drummer in Mike Gaut. Billy and Mike would help the band record their next two full-length albums, 2017's "Luminary Angels," and 2019's "Bloodroot," both of which were recorded at Dial Back Sound in Mississippi, where Black Cross was mixed. I've sorta retained my "on-call" status with the band throughout the years, first filling in for Nick around the Unaka era, then later for Mike during the Luminary era, and again shortly before the release of Bloodroot. Mike Gaut takes a lot of vacations. In 2019, Bill left the band and was subsequently replaced by Justin Colburn.

Recordings Available:
Bohannons - Rhythm & Brews (2007.09.23)
Bohannons - Mucklewain Festival [Pinewood, TN] (2007.09.28)
Bohannons - Rhythm & Brews (2008.01.09)
Bohannons - Live at The Library w/ Richard Winham (pre-recorded Nov 2018) [cassette recording of WUTC broadcast]*

*Richard mistakenly says Mike and Bill played on this session when it's actually me on drums and Lewis Oehmig on bass.

Commercial Releases:
The Bohannons Commercially Released Discography available on: Bandcamp | Spotify | Apple Music



Overzealous is yet another band to which I was introduced through my association with Fizgig/The Gigs. Overzealous began in Murfreesboro as a project between Dustin Sellers and Brad Crittenden. I had definitely heard the name throughout the years, and maybe even caught a show or two in Chattanooga around 2005. Sometime in 2009, I received a message from Dustin upon the recommendation of Adam Thompson (Fizgig drummer). They had recently recorded several songs with Adam at SonyTree Studios in Nashville. However, Adam had just injured his shoulder and was unable to play shows, so they were in the market for a touring drummer. We met at a rehearsal studio near downtown and started learning a 9-song setlist; I still have the notes I wrote to help myself learn the songs quicker. In the late summer of 2009, we went on a weeklong run up the east coast that included stops in Charlotte, New Jersey, and New York City, where I got the only recording I have from my time with the band (although it is a multitrack recording, so I may soon revisit it in an attempt to improve upon the original mix I made back then). We recorded an EP that would come out about a year later, called "The Valley." I also played a couple shows with Dustin's post-OZ solo project in 2013/2014, but my involvement came to an abrupt end when I broke my hand and subsequently moved back to Chattanooga for work. Dustin and I still talk about "kicking the tires" from time to time; he has kept his solo career alive since I left, but has moved slightly away from the loud, guitar-driven power trio sound that was Overzealous, to a more refined, laid back instrumentation and sound. Brad (who I like to refer to as Greg Bass) now lives in Portland.

Recordings Available:
Overzealous - Arlene's Grocery (NYC) (2009.09.06)

Commercial Releases:
Overzealous Discography: Spotify | Apple Music
Dustin Sellers Discography: Spotify | Apple Music



This may come as a shock, but Danimal Planet is the brainchild of Dan "Danimal" Pinson. The DP has origins that date all the way back to 2010/2011, when I finished mixing Danimal's solo album "Allegory of The Cave." Dan formed a 4-piece band called Ickybod Crankin' that consisted of the two of us plus Maria Jordania and Josh Sable. We played a handful of small shows, then disbanded and I moved to Nashville in 2012. Over the next couple years, Dan started playing solo shows built around pre-recorded loops, using several different instruments chained together to create a full-band sound coming from just one person. By the time I moved back to town in 2014, I had spent a couple years getting more familiar with my Roland V-Drums (an electronic drum set) and combining that with the already electronic-based music that Dan was creating seemed like a no-brainer. I learned how to connect our devices using MIDI, and after a couple jam sessions in his closet/apartment, we played a few small shows as a 2-man band. Shortly thereafter, both Maria and Josh were brought back into the fray. I was playing both electronic drums as well as traditional acoustic drums, and began playing bass guitar and synth whenever I had a free hand; Dan fronted the group as lead singer, guitarist, bassist, and keyboardist. Maria sang harmonies and played keys, and Josh provided a huge lift to the music with his ethereal guitar style. We recorded and released an EP in 2015, called "Penny In The Well," which was intended to be a sophomoric follow-up to Dan's Allegory album. We played several shows that year, including Fly Free Fest, Nightfall, and Roots Fest, as the band's popularity continued to grow locally. We had a very successful New Year's Eve show at Honest Pint, then took a couple months off to begin working on the next album. Unfortunately, I left the band shortly after that and any plans we had to record another album got shelved. Dan kept the band going after my departure, bringing in Andrew Minnick on drums. Other musicians that have been involved in the band in one way or another include Jessica Nunn (viola), Ben Van Winkle (bass), Jorge Mateu (voice), and Tyler Martelli (bass, guitar).

Recordings Available:
Danimal Planet - Rhythm & Brews (2015.02.07)

Commercial Releases:
Danimal Pinson - Allegory of The Cave (2011): Spotify | Apple Music | Amazon | YouTube
Danimal Planet - Penny In The Well (2015): Spotify | Apple Music | Amazon | YouTube

Danimal Planet - Long Winter (Music Video):



Okinawa is a band that plays the compositions of Charles Allison. I met Charles in the late 2000's (or maybe early 2010's?) when I showed up at his home studio on State Line Road (that's just a stone's throw away from Lake Winnepesaukah for those of you playing at home) to track some drums for a solo album Matt Bohannon was working on. When I left there that day, Charles gave me a couple copies of the EP he'd finished recently called "All This Beauty..." The CD stayed in my car CD player for a long time after that. Back then, Charles had a band named Land Camera; I think the Joneses played a show with them at JJ's once. Several years later, I started hearing rumblings about a new Chattanooga band named Okinawa, but I had no idea it was Charles' thing until worlds collided at Fly Free Fest in 2014. I was there playing with Danimal Planet and Angel Snow, but I stayed to watch Okinawa. I can't recall who was in the band at that point, but I wanna say they were a 5-piece group. Hit the fast forward button again and maybe sometime in 2016 I started seeing videos of the band playing on social media. They had pared down to a tight 3-piece group and I vividly remember doing a double-take when I realized that it was my buddy, Ivan Garcia playing drums. I think I casually mentioned something to him about how I've always admired Charles' songwriting, but didn't think much of it. Lo and behold, I got a message from Ivan sometime later saying that he was considering switching to bass and current bassist, Jarrod Gee, would be switching to guitar. He asked if I'd like to audition to be the drummer. Things went well, but Ivan was busy for a little while and I ended up playing my debut show with Okinawa as a 3-piece band with Jarrod still on bass. After that show, we got Ivan back from the Big Smo tour, Jarrod moved to bass, and we started rearranging the songs for a 4-piece band. It was a very unique experience because all 4 of us are audio engineers. We were able to basically rehearse at Charles' home studio and multi-track record everything we did. That being the case, we still didn't get a whole lot done in the way of finishing and/or releasing anything, save for a couple of singles that Charles and Jarrod had recorded prior to me and Ivan joining the band (a couple really big, epic songs recorded by Mitch Easter at Fidelitorium). Charles ended up leaving Chattanooga for Portland, OR in the summer of 2019, where he will reform the band and keep it going. I have recordings of a few live shows and one full-band radio performance, most of which were recorded to multitrack, which I hope to share on this site.

Recordings Available:
Coming soon...

Commercial Releases:
Okinawa singles available on: Bandcamp | Spotify | Apple Music

Okinawa - "All This For A Melody" live at Revelry Room (2017.12.23):



What a great band name. I became aware of this band through Little House sometime around 2001 or 2002, Dieselhum was a really powerful 3-piece Chattanooga band with killer songs and an insane frontman. What's not to like? I was fortunate enough to get to know the guys in the band over the course of playing several shows together. The Little House\Dieselhum\Fizgig "family" seemed like a pretty tight knit group for a little while there. I even got to fill-in on drums for a couple shows. The normal Dieselhum lineup consisted of Ryan Fortenberry on guitar/vocals, Jonathan Raper on bass, and Nick Sterchi on drums.

Recordings Available:
Dieselhum - The Bay (2002.02.23) (contains a few random audio drops)
Dieselhum - The Bay (2002.03.13)
Dieselhum - The Bay (2003.06.20)
Dieselhum - The Local Performance Hall (2003.10.13)
Dieselhum - The Local Performance Hall (2004.05.07) [w/ me on drums]
Dieselhum - Rhythm & Brews (2007.01.06) [w/ me on drums]



One of the only bands on the site that I haven't personally played with, Fizgig was a phenomenal band that I met in the early 2000's. By that point in time, the core band members had been playing together for several years, after forming the band in their teenage years. Fizgig was fronted by Jay Lawson on vocals/guitar/keys, who also served as the primary songwriter. Their drummer, Adam Thompson, was heavily influenced by Dave Grohl's drumming in Nirvana, to the point where watching him play live felt more like seeing Grohl himself. Adam had an extremely fast right foot (kick drum), had great meter/timing, and played with a very high energy. Bill Jones was the band's original bassist, but he would transition to guitar by the time I was introduced to them, with Seth Smallen on bass rounding out the 4-piece version of the band. Little House played several shows with Fizgig (and Dieselhum) in this time period, so I got to record a few of their shows whenever it was feasible. In 2005, the band sorta rebranded, transforming from a 4-piece to a 3-piece band; they lost Bill along the way and changed the band name to The Gigs. They had a practice room just across the hall from mine in the Nautilus building, so I got to sit in on a few rehearsals. I was able to get one recording of the group from Gigs era, a 2005 show at Rhythm & Brews with The Icons and Little House. Jay and Adam ended up going to Murfreesboro to record this new material, which became "Pop Vulture," The Gigs' only official release. Bill has a personal YouTube channel where he has a fairly extensive Fizgig/Gigs archive, with a couple post-Gigs songs that Jay has finished. I definitely recommend checking it out.

Recordings Available:
Fizgig - The Bay (2002.03.13)
Fizgig - The Bay (2003.06.20)
Fizgig - Rhythm & Brews (2005.08.10)

Other Fizgig Stuff:
Bill Jones' YouTube Channel


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