Tune Bones: Ain't Living by Joel T. Mosman & Oklahoma Uprising

Round about the year 2010, my good buddy J.D. Smith from the band Rugged Grace came over to my place to do a little bit of jamming. He showed me a song for which he had written a couple verses, a chorus, melody, and chord progression. It was a slower, haunting tune that was a kind of reflection on Appalachian moonshine and the culture that surrounds it. I got a little excited when he asked me if I could come up with something for it. Especially since I felt like I was having ‘that’ kind of day.

I’ve talked about this in other blogs and I will continue to talk about it in the future. The craft of songwriting is something that can be approached many different ways. Sometimes it takes years to write a single song, picking out words and rhymes from subconscious musings. Other times the words come on all at once like a freight train. I was having ‘that’ kind of day because I knew I was in the zone to get out some lyrics in a hurry.

"The craft of songwriting is something that can be approached many different ways."

He played the tune for me again and I wrote down the words he had already written. I remember we stepped out on my front porch and I sat down with a pen in hand and literally wrote the next five verses (as you hear them today) without stopping; one solid stream of thought. After it was finished I looked back on the song to see what we had. It turned out to be very similar to Sinkhole by the Drive-By-Truckers and Copperhead Road by Steve Earle. But really, the general theme of the song was something very familiar to a lot of people.

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As I have said before, I don’t in any way condone the killing of people. I just enjoy a good dramatic story as much as the next person. And I enjoy writing very dramatic songs with intense narratives. The song is about a guy who is backed in the corner by circumstance. His father dies, his kids are hungry, he is struggling with poverty, and he turns to the only solution that he knows- lawless living. At the end of the song the man from the bank comes to collect his money and is met by the main character wielding a loaded rifle. It’s up to the listener to determine what happens next.

"I enjoy writing very dramatic songs with intense narratives"

I took it to the studio and started to work on some different versions of it. We added all kind of different parts with snaps, claps, and different fiddle parts. At one point I even drove up to Zach’s house in Ark City, Kansas and recorded a guitar riff on a small travel guitar he had. If I’m not mistaken, the only part that survived those earlier takes is the harmonica crescendo during the introduction of the song and the banjo part I also did at Zach’s.

By the time we had the bones of what we would call the final product the rhythm and feel of the song had changed significantly. It went from a slower ballad with each chord ringing out to a more rock rhythm that was closer to Neil Young’s Down By The River. There were even times during experimental recording that we had all electric guitars. Needless to say, it got a little out of hand and we had to reel it in.

When I sent my first scratch tracks to Zach he put down some solid drum takes on the verses. We both racked our brains trying to figure out a cool drum part for the chorus. At the time, I was a new Dad and we were at another kids birthday party with my daughter who was only a few months old. I was scarfing down a piece of cake when a drum part popped in my head. I asked my wife Dana to watch our daughter for a second while I ran to the car.

The thing about drums is that they aren't very portable and it would be a great hassle to carry them around with me everywhere I go. Nevertheless, when the musings come you have to get the idea into some kind of tangible format before it's whisked away. So i used the very handy voice recorder on my phone to do an example of the drum part ‘beatbox-style’.

😎 Zach smelt exactly what I was stepping in and laid down the part in real drums just as I had envisioned it in my head. From then on we referred to the drum parts in the song as “doogie-cheeses” and it has kind of been an ongoing joke every since.

Thank goodness for Zach on this song. He really took this song for his own and added a lot of color. He spent a lot of time working on the parts to get them right, adding different flavors and effects as he went. He spent so much time on it at one point he sent me a version labeled ‘Ain't Livin’ (AS GOOD AS IT GETS!)’.

In 2016 we really buckled down and started putting the finishing touched on the song. We had bass, drums, percussion, and rhythm guitar the way we wanted it so we called up Scott Hunt to play fiddle and mandolin. Scott is an exceptional instrumentalist and one of the coolest guys I've ever met.

I first met Scott at the Powerhouse in Oklahoma City. I was doing a Black Friday jam with Kelly and Buffalo Rogers, Kevin “Haystack” Foster, and a couple others. Scott Hunt walked in mid-song, tuned up his fiddle, and jumped right in. It was an absolute brilliant performance. Some of the best musicians I have either met on stage or right before going on stage.

Bryon White (of Damn Quails fame) came in next to put down some lead parts on the electric guitar. He played a Gibson Explorer T. Hodge refurbished. Bryon’s takes were spot on, as usual. It was important for me to get Bryon to put some ‘stank’ on the song because it gave it the perfect balance between Americana and Rock.

After Scott and Bryon had their parts we had everything that we needed to start editing and mixing. I basically moved in at the T. Hodge Lodge for a few days in order to get this done. Editing Ain't Living was a daunting task. When I first opened the project file it was one of the biggest files we had. Between all the different takes from all the different instruments, it looked like a big mess that we had to somehow make sense of. I got the core rhythm tracks the way I wanted them and then started to work in Bryon and Scott's leads. They each did roughly three takes on the song. I went through the song, measure by measure, auditioning each of the three takes. Most of the parts were solid gold so it was hard to choose the best. By the time I finished it was enough to make sense out of. I handed the project over to T. Hodge to spit shine and I packed my bags and headed home.

T. Hodge is our guru for anything that is musically technical. He has honed in his skills over the past several years to make his own way as a music producer and mixing engineer. His studio, the T. Hodge Lodge, has all of the capabilities and equipment of any commercial recording studio. The atmosphere is eclectic and cozy and just a fun place to hang out in general.

"T. Hodge is our guru for anything that is musically technical"

When Travis sent me the final mix I was blown away. He really made it shine in a way I never imagined. He uses his DAW, pre amps, compressors, and other gear as instruments. If you think about it, mixing and recording is an art form just like musicianship.

I'm really happy with the way this song turned out. I wanted it to be the first one on the EP because I feel it is the most unique and is a good representation of who Joel T. Mosman & Oklahoma Uprising are as a band. You can download the entire EP for only $6 below and it would really help us out a ton. We worked really hard on it and I hope you like it!

For more information, tshirts, videos, music, and to sign up for our email list go to http://www.oklahomauprising.com

-Joel T.

Read “Ain't Living” by Joel T. Mosman & Oklahoma Uprising on Genius

Tune Bones: Armed & Dangerous (Mom's fight with the devil)

Songwriting is a funny thing. Sometimes I'll write a song about a specific topic, and it turns out exactly the way I intended. Sometimes I'll intend for a song to be about one thing, but when it's finished it is about something entirely different, as if the conscious mind were just an avenue for the greater expression of the subconscious. Though I didn't realize it until after I recently released the song to the public, Armed & Dangerous turned out to be a song about something entirely different than what I expected.

(Listen to Armed & Dangerous by Joel T. Mosman & Oklahoma Uprising)

My Mom came from a rough breed of southerners who ended up in the wild and undeveloped brand new state of Oklahoma in the early 1900s. As a child she witnessed many scarring atrocities like an alcoholic father who abandoned her, poverty, hunger, and close relatives afflicted with alcoholism and other destructive addictions. From generation to generation, criminal tendencies, nefariousness, and injury was passed down as if it was a genetic condition. But these traits weren't genetic, they were demons.

Lilly and Dewey Merritt

Of course, her family wasn't all bad. Much of her pain and hunger was eased by her Grandparents Lilly and Dewey Merritt. Through her childhood instability they stepped in to provide her with a firm foundation to catch her balance. They fed her when she was dangerously underweight and helped nurse her back to health, they provided a safe place for her to retreat, and loving arms when Grandpa Dewey got home from work. My Mom loved Dewey so much she even regarded him as a ‘God-figure’ when she later wrestled her demons as an adult. But even the best of creatures have their flaws.

When I was a kid, I loved western movies and books with lots of drama and mystery, so when I heard a story about my Great Grandpa Dewey I was immediately intrigued. According to family lore, Dewey was involved in a poker game in the woods, and there was a dispute over a gambling debt. A scuffle broke out and when the dust cleared one man was dead with a blow to the head and another, Dewey, was charged with murder. There were many other details that were unclear; but nevertheless, I was fascinated by the real-life drama that was present in my family history. The more genuine emotions I would feel about what happened that night wouldn’t manifest until much later in my life, more specifically, a couple weeks ago when I publicly released the song I wrote inspired by Dewey. With some soul searching, I found out that Ed, the main character in the song, didn't represent my Grandpa Dewey. Instead that character represented my Mom. More on that later, first I want to talk about the writing and recording process of the song.

"...Dewey was charged with murder."

I must have written the song a hundred times before I thought I could do the story justice. I wanted it to be fast-paced and in a minor key to highlight the dramatic twists in the lyrics. When I nailed down the chord structure and rhythm I finished the lyrics. For the record, the song is entirely fictional. I took creative licence with the lyrics but the story was merely inspired by, not based on family lore, although there are some very personal themes that I will touch on later.

T. Hodge Lodge Studio

With the song written, marinated, and stage-trialed, I was ready to begin the recording process. This was one of the first songs we started recording as a band so a lot of the ideas were spawned from fresh chemistry. I went to the T. Hodge Lodge and started some ‘scratch tracks’. I did a simple acoustic guitar take and a vocal take and emailed them to Zach for Drums. He had a few ideas and when he got a part we liked he emailed the individual tracks back to T. Hodge to add to the project. Drums can be tedious because sometimes there can be as many as 9 or 10 separate tracks. Travis lives closer to Zach than to the T. Hodge Lodge so he went to his house to record his bass line. I really like the bass line in the song because there are a lot of chords but Travis makes the transitions flow naturally. It was Travis and Zach who came up with the idea to half time the rhythm on the verses and double time on the chorus. I really dig the feel of that.

When we had drums, bass, acoustic, and vocals down we brought in Bryon White and Scott Hunt to fill in the lead parts. Bryon played electric guitar and Scott played fiddle and mandolin. They put down about three solid takes on each instrument back to back and then afterwards I went in and picked out the best of the best of their takes, measure by measure and set the basic mixing to my general preference to give T. Hodge an idea of what I was going for. After the grueling editing process, T. Hodge took over to really make everything blend well and shine.

We had a pretty good time with this song at the Lodge. After editing and mixing the song, everyone at the Lodge was singing “Dangerous! Dangerous!” because it was stuck in their heads from listening to the song so many times. T. Hodge and some of our friends came up with some alternate lyrics, and one day we’ll probably do some parody tracks just for fun.

As Travis started working his magic on the song I went home and started getting curious about my Great Grandpa Dewey and his story again. I called my sister Rachel Mosman who works for the Oklahoma Historical Society and talked to her about the story. Her interest was rekindled as well, and we dove into our family genealogy to try to find some concrete answers. Since she works at the History Center she had a plethora of useful resources at her fingertips and she found a TON of information we had never seen before.

Rachel found several newspaper articles about the confrontation in the woods between Dewey and the mystery man. She called me up as soon as she printed them off and read them to me. We both had mixed feelings about the discovery. The headline read “Man Killed in Quarrel Over 25 cents.” The story was not only factual, but even more dramatic than we thought.

Before I relay the story, I want to make something clear. I don’t in any way condone the actions my Grandpa took that day. I don’t think violence is acceptable behavior, and I especially don’t intend to glorify or brag about it. I’m truly sorry that this ever happened, and that it affected so many people.

Dewey and his brother Roy worked for the CWA and they were helping to dig a lake in southern Oklahoma. It was late 1934 and they were in the woods near their camp with another relative, Ray, and two coworkers - one we'll call Billy. The five had been drinking and playing poker all afternoon. One of the men accused Billy of owing Roy 25 cents. When Billy refused to pay, he and Roy started a knife fight. Billy cut Roy on the arm, and blood poured profusely from the gash. Billy ran off with Ray, leaving Dewey to take Roy to the hospital. At this point the details got a little hazy, but we're still researching. Dewey and Roy approached Billy, who allegedly charged at them again with a knife. That’s when my Grandpa Dewey took a club and hit Billy in the head, knocking him to the ground. He then hit him several more times, killing him with the final blow. Dewey then took Roy to the hospital and both were arrested. When tried, Roy and Dewey were sent to McAlester State Prison.

"...a family mystery had been solved, but on the other hand, our Great Grandpa killed a guy."

After hearing the story, Rachel and I shared mixed emotions. On one hand, a family mystery had been solved, but on the other hand, our Great Grandpa killed a guy. It had become so real. What was once just family lore was now a factual event that affected real people. It made me question who my Grandpa was and why he did what he did.

I could speculate until the cows came home, but at the end of the day, it was a terrible thing that happened that day. Some terrible decisions were made while a bunch of guys were drunk in the woods. There is no way of justifying any of their actions, but judging the stories I have heard about Dewey, he was a good man that just made some really bad choices. He would do anything for his family, and his family adored him. With that being said, I’m sure Billy had some good sides to his character also. Certainly, no one deserves to die over drunkenness and gambling debts, and I’m truly sorry it ended up the way it did. There is no way of telling how it affected Billy’s family, but I can tell you a little bit about how this kind of thing affected my family.

Beverly Ann Coley (Mosman)

Dewey was most assuredly tough as nails. But, I have verified through at least three sources that his family loved him fiercely. He was a good influence on my Mom and she may have not even survived her childhood if it weren’t for him. But there were many other figures in my Mom’s life who had a negative impact on her. The violence and anger my Mom experienced as a child manifested itself when she became an adult and had kids of her own. She wrestled with these demons that had been passed down through generations for who knows how long. It was a cycle that we are all familiar with. A parent’s negligence breeds the same characteristics in the child, influencing the child to develop the same characteristics and perpetuate the cycle. But that was not the case with my Mom.

Before I turned five years old my Mom sought help to end the cycle. Through hospitalization, extensive therapy, soul searching, prayer, and divine intervention she exorcised the demons. It was very difficult for her but she put a stop to a cycle that none of her ancestors could. She fought the devil and won. Because of her courage, faith, commitment, the loving support of my Dad, she was able to give my three sisters and I a life that was never offered to her. And because of her we can keep up that tradition, a new positive tradition, with our own family and children.

"...she was able to give my three sisters and I a life that was never offered to her."

When I first wrote the song, it was intended to be a fictional tale of two brothers standing up to the evil antics of a bully; but the underlying plot is about my my Mom and her fight with the demons that ravaged her family. She armed herself to battle her past, and courageously looked that demon in the eyes. It’s about how she put an end to that evil and passed down that legacy to us, her children. My Mom was Armed and Dangerous; a spiritual force to be reckoned with.

To listen to Armed & Dangerous or for other music, videos, merchandise, show schedule, news and blogs, join the Oklahoma Uprising at OklahomaUprising.com!

Mom and I

Armed & Dangerous

by: Joel T. Mosman & Oklahoma Uprising

Billy Bearden flew the pen late July of 1910
Stole a horse and headed north to San Antone
Slapped a brawler in a bar turned a shoulder took a cheap shot
He took an empty fifth straight to the dome
He was wilder than a bullet fired at random from the hip
He was tougher than the dude behind the gun
Running rampant from the law making money playing cards
Now he's in Oklahoma armed and dangerous

Dangerous! Dangerous! And after every one of us
Billy Bearden's horse is treading trails of flames
Raise a fuss! Raise a fuss! Tearing every county up
Here comes the devil he's armed and dangerous

In a Carter County boom town there among a few mesquite trees
There was a place they called the ‘House of Cards’
Merritt brothers Ed and Roy made a living drilling oil
But they had clubs for eyes and spades for souls
“Brother Ed come here quick Billy Bearden needs a fix
And he's steaming like the devil branding iron”
Ed Merritt didn't blink cocked his pistol took a drink
He's waiting for him armed and dangerous

Dangerous! Dangerous! And after every one of us
Tonight the House of Cards is gonna fall
Raise a fuss! Fight and cuss! The Merritt brothers had enough
They're standing tall, they're armed and dangerous

Well the dealer dealt the deck with a single bead of sweat
Three players at the table folded out
Just Billy now and Roy and brother Ed behind the door
And a table full of chips and playing cards

And it's seven cards in hand and there is nothing left to draw
Aces wild with pocket twos is all he's really got
Seems like the two are hiding something deep inside their sleeves
And the living at the table soon would go to 2 from 3

Most gamblers come a merry man but leave the table soon
But Billy came to cheat and lie and rob a man or two
He looked at Roy straight in the eyes and pulled his shooting iron
But a wall of lead left Billy dead from Eddie’s forty five

Eddie lived his life out in a Carter County home
And when he died his family got everything he owned
My mama got his pistol and she kept it like it was
She passed it down to me and now I'm armed and dangerous

Dangerous! Dangerous! His legacy’s with us
And I keep it cocked and loaded at my side
Toughest cuss in the dust just like my Grandpa was
Don't mess around I'm armed and dangerous
Don't mess around I'm armed and dangerous
Yea, don't mess around I'm armed and dangerous

Credits
Released May 26, 2017
Joel T. Mosman- Vocals, Acoustic Guitar
Hannah Mosman- Vocals
Zach Wiederstein- Drums/Percussion
Travis Lyon- Bass
Bryon White- Guitar
Scott Hunt- Fiddle/Mandolin

Produced by: Travis Hodge, Joel T. Mosman, Zach Wiederstein

Recorded at T. Hodge Lodge Studio, Shawnee, Ok 
http://www.thodgelodge.com

NEW MUSIC from OKLAHOMA UPRISING SET TO RELEASE!

I've been waiting a long time to write this blog. After much hard work, time, money, and stress we are FINALLY ready to release some NEW MUSIC! We have about 15 songs to be released as part of a series of EPs and singles. The first single “Armed & Dangerous” will be released at the end of this month on May 26th, followed by the first band EP released at Anthem Brewing Company at the end of June, then a Joel T. Mosman solo EP at the end of August, and finally, a second band EP released in November.

You're probably saying ‘wow, that's a lot of releases in a short time!’ Very true. For a long time we have gone back and forth about releasing multiple EPs or a single album and after taking a few things into consideration, we decided multiple releases would work the best. Here's a few reasons why…

Whether you're a fan or performer, it's difficult to ignore the rapidly changing music industry. Fan's are consuming music faster and cheaper than ever. There could be as many as 35 million songs on iTunes alone- a plethora of music to bury oneself in. With shorter attention spans, high competition, and a barrage of social media posts, it's difficult to to get music from the studio to the listener. In this musical climate, smaller doses of music would help us get ‘out there’ a little easier.

As a self funded, locally based artist, ‘getting out there’ can be very tricky when you don't have a million dollars to throw at a project. Sure, there's crowd funding, and we're not above that. We just figured that self funding these EPs would be a more honest way of debuting music that most people have never heard. After all, why would anyone want to invest in a band that hadn't proven themselves in the studio? These EPs are simply and economical means by which we can prove ourselves as competent, local musicians. That way, when we launch a crowdfunding campaign in the future, our friends and fans might be more willing to help us out (wink, wink)

The changing musical landscape, and rite of passage are only a couple reasons we chose the multiple EP release route. The budget of a ‘self-funded local band’ plays a huge role in our thinking.

The fact is, the cost of mixing and mastering is a lot easier to pay for when the releases are spread out. We could have dusted off the old cassette tape recorder and churned out a couple of tunes, but that just wouldn't be right, would it? We wanted to make some QUALITY recordings for our good friends, family, and fans who have supported us. We wanted something we could be proud of and without the aforementioned one million dollars to foot the bill, we were fortunate enough to rely on some high quality home recording gear at our respective residences, and the help of a tenured studio master and his pro studio.

None of these releases would have been possible without the help of Travis Hodge. I’ve been making music with Travis since we jammed out to Sabbath’s Planet Caravan when we were 14 years old. Since then Travis has invested lots of time, money, and energy into a full fledged, state of the art, professional recording studio called the T. Hodge Lodge in Shawnee. Travis has done us many favors for these recordings and I owe him my spleen. Check him out at thodgelodge.com

These releases will be spread out over the next several months and for each song I plan to do a blog about why I wrote the song and how it was recorded. I’ll also do my best at getting lyric videos up for each song.

In addition to new music releases, we also have a new website to be published soon, an online store, some new t-shirts, koozies, and stickers. We’re working with some other visual artists for some cool content and I’ve also just booked a bunch of band, solo, and live stream shows for the next several months. So, if you’re feeling underwhelmed by Joel T. Mosman & Oklahoma Uprising, just sit tight because we’re about to be all up in ya business!

For more information, music, booking, videos, blogs, and much more check us out at OklahomaUprising.com!

That time I hung out with Jason Isbell

We all have our stories about how we met some famous person. My friend Buffalo has a story about eating Thanksgiving dinner with Jimmy Dale Gilmore, my other close friend Brent just recently had Toby Keith sit in with him on an acoustic set, and then there was the time my wife Dana and I had a chat with Sturgill Simpson’s trumpet player, Scott Frock, in a Bricktown alley after he played a sold out show in front of 4,000 screaming fans. In Oklahoma you can throw a cow chip and hit some one who has similar stories about John Fullbright, Parker Milsap, Wayne Coyne, and Leon Russell. This is a little story about how I got to have a couple drinks with Jason Isbell at the Wormy Dog.

(FULL DISCLOSURE: I'm writing this in hopes that you will attend my show at the Wormy Dog on Thursday, March 16th...more on that later)

I have seen many shows at the Wormy Dog including Bruce Robinson, The Damn Quails, and Jason Isbell. When I thought about the Isbell show, a memory came into my head that, for some reason, I had forgotten all about until yesterday.

In 2008, my friend Byron and I were big Drive By Truckers fans. Jason Isbell, songwriter, singer, and guitar player for the Truckers, announced that he would be leaving the band and launching a solo career with a band called the 400 Unit. One of the stops on their debut tour was the Wormy Dog in Oklahoma City. Bryon and I couldn't pass up the opportunity to see Isbell with his new band.

The Truckers had been around since the mid-nineties and had gained a lot of popularity. Isbell’s songs were certainly staples in the Trucker’s catalog, but when he left the band he didn't take all of the fans with him. Many milder Trucker fans may not have even known who he was. In those first couple years as a solo artist, he was popular as a former Trucker, but no where near as popular as he has become since.

November 8th, 2008, Bryon and I showed up at the Wormy Dog early. There was only a handful of people that sat around while Bryon and I talked about the band gear already set up on stage. (We still like to geek out about that kind of thing) As we hung out a couple more people filed in the front door. One of them happened to be Jason Isbell himself.

He came in by himself, no one seemed to pay any attention to him. Bryon looked over and said to him casually “what's up, man?” Isbell nodded his head to us and walked over as if he had intended on meeting us there.

Let me just say this about Isbell. The guy doesn't age. He looks the same today as he did in 2008 when I met him; and as he did when he started with the Truckers at 22 years old. He stood there with us at the back of the Wormy Dog and talked for a minute. We talked about his gear, some of the places he had been to lately, and what he thought about Oklahoma City.

After a great conversation, Isbell disappeared while Bryon and I went upstairs and sat at a table overlooking the dance floor. There was still some time left before show time and the Wormy Dog had yet to fill out. While Bryon and I had a drink another guy walked up. He had long hair and glasses and while he seemed a little awkward to talk to, he was nevertheless cooler than a pocket on a tshirt. It was Jimbo Hart, bass player for the 400 Unit.

So, here we were again, talking with another really cool performer who we had great respect for. I found out that, in addition to playing with the 400 Unit, Hart had also played with the Drive-By-Truckers. While we sat upstairs and talked a few minutes with Hart, there was Isbell, once again, drink in hand and ready to hang out some more.

While I started writing this, I have tried to confirm some of the hazier details with Bryon. While I'm not too sure, I bet we must have sat and talked with those guys for at least an hour. The only thing Bryon could confirm for sure was that Jimbo Hart was the bass player, not the drummer (as I thought before) and that night we had also been given free cigarettes from a young promoter from Camel.

Since that evening in 2008, I quit smoking cigarettes and Isbell quit drinking. Even though I'm sure Isbell won't be there, my band Oklahoma Uprising will get to follow in his footsteps on the same stage that he burnt up all those years ago, when I was just a face in the crowd.

Jason Isbell and the 400 Unit put on a killer show that night. I remember standing on the dance floor, hypnotized by his lyrics. Since I got to hang out with him that night, Isbell has gone on to be a tremendous success on the Americana scene. He has played a key role in a revolution that has redefined ‘Country’ music. He has gone on to win many Americana Music Awards, 2 Grammys and a number 1 spot on Billboard charts. He has played sold out shows at the infamous Ryman Auditorium, Austin City Limits, and toured the world.

Needless to say, I'm still a HUGE Jason Isbell fan. He has been a major influence on my approach to songwriting. I'm proud to say that I will be playing the same stage that he did nine years ago. And if you are ever lucky enough to see him live, tell him Joel T. and Oklahoma Uprising sent you… and he will inevitably look at you in confusion and wonder what on earth you're talking about.

If you want to know more about my musical endeavors, or if you haven't heard us yet, come check us out on March 16th, 10pm at The Wormy Dog Saloon in Bricktown! We will be doing original music with a five-piece band, the great Scott Carson on lead guitar and the notorious Scott Hunt on virtually every other instrument. I can also give my personal guarantee that EITHER Jason Isbell or me will be there.

As always, we appreciate the support we get from all our family, friends, and fans. There has been an overwhelming response to our music and shows and we are humbled by all the positive feedback we've received. We have much more in store for you in 2017. Be on the lookout for our new album coming out this spring!

If you dig it, share it on social media! Like us, follow us, we appreciate the support!

Much Love

Joel T. Mosman