I don't know how he still is where he does and Charlotte hasn't been a big. Hello and welcome to WNC original music episode 129, the Hindenburg episode. I hope not. I hope it's not the Hindenburg episode.
The Hindenburg's registration number was 129. It doesn't matter. On the podcast this week is Tyler Moore. Tyler is a very gifted singer songwriter from Mary and North Carolina.
You can find his music by searching Tyler Moore on Spotify and Apple. And also of course, we'll have links in the episode show notes. Make sure to look for his album called Man Mones out wherever you get streaming music as well. And I think you'll really like it.
Here is Tyler Moore. The title itself is kind of derivatives of a I found out recently that it's an old Irish, an old Irish saying, you know, bring it to your glass eye. You know, something so moving or emotional emotionally moving that even tears can well in a glass eye. And my dad would always say that when I was younger and he would, you know, we'd be listening to songs and stuff and you know, watching a movie and he'd say, you know, he'd say that saying, you know, he'd be like that, you know, that brings to your glass eye.
You know, so that kind of that title or that saying rather that that, you know, that saying words, you know, kind of stuck with me, you know, picturally, you know, like that way and also just it just always stuck with me. And when I started writing that song and I started writing those lyrics to that song, it basically without getting, you know, because I do, I do, you know, I like people to, you know, interpret, interpret things for themselves and whatnot. But that said, you know, it's kind of a song, glass eyes, it's kind of a song about there's meaning behind, there's meaning behind, you know, anything. And it's kind of a not bleak, I was going to say it's a bleak way of saying that, but maybe not bleak, kind of ambiguous way of saying that.
But yeah, that song, I love that song musically. It's in, what's the time that you turn that song? Oh, it's in five. It's in five four.
Yeah, I was in most, I think that's very, you know, I love five four music. I like jazz, I like a little bit of jazz and usually five four like Dave Brubek is like, you know, one of my favorite jazz players. I'll never hear an object. Yeah, he had a famous album called Take Five.
And I think the whole album, if not the whole album, most of it was in five four. There's a song, if you listen to it, there's a song, actually, I think the song is called Take Five. Maybe the album is called Take Five. If you heard it, you'd recognize it.
It's like a saxophone song. But it's really, yeah, check it out. If you like that. Yeah, I will, man.
I will. David Brubek. Dave Brubek. Yeah.
Yeah. He's out from the 60s. Yeah. When I wrote that riff, I love that riff.
It's very, I'm not one of the kind of stuff on the back to my drink like that. But, you know, because I, you know, I'm just, to me, you know, I'm like, catching playing catch with, you know, these sounds come in. You know, I kind of more so feel like conduit in a lot of ways. Right.
Which I love. And I'll never question or, you know, never try to question it too much or anything like that. But when I wrote that riff, I was like, oh, nice. I like this riff a lot.
And it kind of speaking of jazz, it kind of had this kind of samba, bassanovial, to me when I wrote it. Now, really don't want to do some guitar. All right. I'll do everything on acoustic guitar.
Oh, right. Just a, yeah, yeah. It's kind of a, I wouldn't have guessed that because it's such a heavy electric album, you know. Yeah.
Yeah. Yeah. Yeah. Yeah.
Every single dude, every single song, every single song I wrote on acoustic guitar. Yeah. I love that song. I love it.
It's a good album opener for sure. And so, I mean, I think writing riffs is a, you know, when you think about bands that have good riffs, usually if they have good riffs, they have a lot of songs that have good riffs. Like it's not a lot of bands don't have, you know, oh, they had one good riff and then then no more. Yeah.
Maybe my show or something like that. But, you know, the Beatles, the Beatles are writing riffs. The Rolling Stones are writing riffs, you know, Wilco writes riffs. And they make it, they like intentionally make it part of their song, you know.
Yeah. Yeah. And Halen is a good one too, you know. Big band, Halen band.
That's another, that's another talking about pop. That's a band that, you know, I was to a lot. That's a riff I've had written for a long time. I had that riff written a long time.
And I'm always again talking about jazz. Boston, I used to play like that, that riff of that song, like in a very Boston, I know it written in fashion. And I'll just, I was just playing with those chords one day. And I was like, I need to be a pumping, you know, good job.
So, you know, I just love this love of music. So the riff, the riff and the lyrics, I really love, I really love that song. I really think that song a lot. There was a again, like I try not to give too much, you know, too much away or whatever, like just naturally counted that way, which some people are probably like, that's the exact opposite of what you are.
But but some regard, you know, but that's it. There was this girl I was dating and I remember and she's cool. She's awesome. But there was one morning we woke up and there were birds chirping outside.
And she was just like, which I love, I love some birds in time of the day, all day. You know, usually it's not usually it's not in here birds, something's wrong, which, you know, which is not not fun to hear. But I remember she just like, whatever, she's like, Oh, these, you know, these birds, you know, these birds. I was like, Oh, it's great.
Like it's a beautiful day to summer shot. I mean, it's gorgeous. I wasn't like here bursting. It was.
He tried to, he tried to voice instead of white. Like, that's a red. That's a red flag if there ever was one. Yeah, there are many men.
I don't know if it's the Olympics, but yeah, enough for every country. No, but we sure will. We sure will. But yeah, I love that song, man.
Strong as where you left the ghost sitting by the hillside where I'm seeing every green is more of a deep, I quote unquote, deep track per se. I love the the riff, the A, A, D, B kind of like the swaying, the swaying kind of of thing. It kind of reminds me of leaves on trees kind of swaying and wind up. But it's got a good walls to it.
It's got a wall to it. And that song live with a full band. See, I wrote, I wrote and have written a full intro to the song that didn't include on the record. It's a really, it's a, I wouldn't say it's a nod or a tip of the hat to that.
I love band horses. Yeah. Horses are bands as a very, the intro to that song, not it's on the record. The intro to that song is very, I don't want to compare, you know, horses, they're beautiful and they're their own entity.
But I would say some kind of cousin that definitely a sway song that said, I feel like what's a drummer's name of band horses. I want to say Creighton, but Creighton might not be right. I can't remember right off Creighton. Creighton might be, I might be, I might be diminishing or for name calling right now.
It's not name calling, right. But that dude, that dude's, that dude's way of playing is very, very washy, kind of like, so to speak, for like a better word. And I've always liked, I've always liked that openness. Yeah.
Like, like band horses, like the album, like Infinite Arms, like, I love the drums, love the drums on the album. Who's playing on your song? Is this all you or you know other people? I play it.
No, on that song, it's a player named Phil Richards. He's one of my good friends. He's a great drum. Great drum.
He played on five songs and I played on four songs and he plays on that track. He plays on the three. He's a powerhouse man. He's a he's a metal head, which I like metal to, but he is a cash dude.
I don't know how he still is where he does in Charlotte and hasn't been a big. I really don't, man. I really don't know how, but I'm glad he still has a house. Yeah, that's good.
Why would he be evicted either? Just I mean, just I mean, I'm so in summer of summer of 18, like, I was driving back and forth from Asheville, I was around seven at a time to his place in Charlotte. Well, he's getting a place in Charlotte. He was we've made up it.
Sometimes we beat up at his, his parents' house in like the Newton area. And we had jammed there and like wasn't a big deal. You know, we're in a basement. I'm not just kind of saying I'm close off and whatnot.
But when he got, he got this house in Charlotte on like a, you know, this kind of suburb, suburb, like suburb area. And we would just, I mean, we would jam for hours. Oh, yeah. We just jammed hours on end, man, like I was like four to five hours.
You know, and I'm there to be points where I'd be like, you know, I was enjoying where we were. Like in the hub, you know, where. But like I'll have moments where I was like, I'm going to the neighbors. Right.
You know, and he's still alive in well in Charlotte, man. So do you have a do you have like a standing band or a group of guys you do play live with? At the moment, not really, man, because mainly I hate to be Mr. Blamer or anything like that.
But in a lot of ways, COVID really, because we made this record, we wrote, we wrote on the record. It was mostly me and Bill, the drummer, the non-addicted drummer. Right. Yeah, we wrote on this record in like summer of 19, like together.
And then we got in the studio in March, you know, that's when, I mean, you know, I think we went in the studio at landslide studio in Asheville. March, I think it was the 14th. I think it was the 14th of March. And that's when, I mean, all of us, man, I mean, me, my friend, Bill Andrew, the engineer, producer at landslide.
My friend James, that played on a couple of tracks or he played on a few tracks. We all were just, you know, we were just like anybody else on the planet, you know, just like what the heck's going on. And so that said, you know, we were working on this record. At the time, you know, we worked on it from, we worked on it from March to March till about October, I'd say on and off, you know.
Andrew has other clients and all that kind of thing. And dude, he shot at Andrew, he does great work. He's a, and he's a great dude. Really, really, you know, I'd love for Andrew and all that, like a million percent.
But yeah, we, uh, there was no, you know, I think, you know, I think I can speak for everyone at that, that portion of the year last year, you know, there was no, there was no definitive end in sight. Yeah. So that said, we didn't really, yeah, we like jammed and stuff and did that, this and that. But we haven't really since then, we haven't really, we haven't really gotten together and just hash it out and jam much.
I took a new job, you know, in January of this year delivering, working for Pongla, getting accustomed to that and everything. Haven't been, yeah, I'd answer that, and have it really been making a lot of music with a lot of other people. You're planning on, are you like working on getting started back up? No, things are up there and not breathing.
Yeah, yeah. Yeah, as far as, as far as live shows, I know that I'm going to be playing. Probably which I need to, I need to get some work, I need to get some work in with some, with some musicians, play some, you know, plural, plural people shows. Yeah.
But that said, I've got some acoustic, acoustic solo sets. So cool. Then I'm playing. Yeah.
Well, do you have any places you've played, played a lot like you kind of a regular. Yeah. I really cut my seat at the White Horse and Black Mountain. Oh, yeah.
Or some white mountain. It's probably my favorite, probably my favorite places play. I mean, I've never played like, well, yeah, I mean, that said, I had played full band, full band there with another friends band. I played really guitar and friends band back in January 2020 for everything, you know, everything, but not.
But that's, I've been going and playing it the White Horse since I was probably 19, 18, 19. That's that that's probably my favorite place. OK, more from Tyler Moore in just a moment. I want to remind you to look for him on Spotify and Apple music.
Also check him out on Bandcamp. And of course, we'll have links to all of that and the show notes. Do not forget to subscribe to the podcast. Wherever you get your podcast, wherever you're listening to it right now is probably a good place.
Also look for WNC original music on Facebook and Instagram for extras from the show. And as always, if you like the music on the show, there's usually ways to get in touch with the musicians in the show notes or you can email me and I'll let you know. But just drop them a line and let them know how much you appreciate what they're doing. Corrections and clarifications from last week's episode with Will Easter.
Jenga Reinhardt was a jazz guitarist from the early 20th century. And Jengo Unchained is a Western movie by Quentin Tarantino. So we were both right. Hi, this is Mandy Ngoes and you're listening to WNC original music.
That's a fun one. That's a tip of the hat to my jaded need for companionship. Yeah, I love that song. It's always a lot of fun.
And speaking of Phil, the drummer, that's a song that he plays on on the record. And he every time we would get around to play that song, you know, like rehearsing stuff, you'd be like, yes, I get to wail for a while. Right. I was right there with him because that song is on guitar is literally a hammer on.
It's more than the hammer on the bass. But it's the main riff is right. Literally, I open string hammer on a bass. Again, it's again to Andrew, man, Andrew really the producer and engineer at Lancelot.
He really pushed me and he I love working with him. I'm working with him on the next the next record I'm making. Yeah. Was that you already started recording that?
No, yeah. No, yeah. We recorded demos record demos and back in May, recorded some demos. It's going to be a 10 song record.
And I'm really excited for this one. And again, again, to not be unable to really get up with. Well, it's not that we haven't been we just haven't really had the time personally and everything. But I have and I have these songs that I've read that said, I'm going to get up in the studio with some session players.
Both of these guys are well known in the area and basis. His name is Zach Page. He's great. He played.
He played on. Let's see. He played on. If I don't at least four or five track well, see.
Yeah, he might play on six tracks. I think he played on five or six tracks on that self title. The down and then on the next record, drum wise, a drummer by the name of Jeff side, who I met briefly. And he again, he's well known in the area.
I'm really excited to work with him. So that for a long time, that was probably my favorite, favorite song. Slow mo the best way to describe that song in short is it's a it's a it's a it's a it's a tempo. It's a tempo song about relaxing.
Yeah, it's kind of like an allegory again, like riding riding that song. I read that song on guitar. So it's what is what is it? It's a G sharp G sharp and F is like the main.
Yeah, you know, the make. I like the vocals in this one. The vocals have kind of an effect that's very similar to the guitars. You know, it mixes very well to what it sounds like an instrument itself.
It was really good to me anyway. Yeah, that was as intentional as possible. Oh, yeah. You know, again, going on with us about saying earlier, like it's I kind of from the school of thought that, you know, no one's a million percent or a hundred percent responsible for a piece of music.
I really do believe that, you know, and I've seen I've seen I believe in I've seen almost trust that it, you know, kind of like a wind, you know, like the answers in the wind. You know, it really it really comes through. But that said, I love that song. Another thing comes through it was going on more less, less, less metaphysical thing that harp that bridge into the outro solo in that song.
A lot of that was Andrew and his idea to take out the guitar and just have the rhythm section just have the bass and the drums and build that harmony. Yeah. That builds that blooms into that that slide guitar outro. I love that section.
That just musically I love that section. I like the harmonies in the whole album. One of my favorite things is that a lot of your a lot of your melodies, a lot of your lead vocals, you know, have a either it almost sounds like I don't know if I call it a harmony or double vocal where you know, I think some of the songs sound like it's vocal and harmony throughout the whole song. Are you doing the harmonies or someone else doing the harmonies?
I am. Yeah. It's been doing the harmonies. But it blends really well.
You know, it almost there are times when I've seen a couple people play live that have those harmonizer pedals. I mean, if you think it sounds really good and it just makes the harmony really close. It's just your voice, but it's you know, harmonated harmonized anyway. But yeah, it's not really good.
I like that sound. I like that a lot anyway because I love harmonies. So if there's like a lead vocal, yeah, it's really cool. Yeah, that kind of goes back to talk about the roots, not the band.
I love the roots of that. But going back to the roots of playing with my friend, landed, growing up by the way, down by the way, I'm just I'm just laden with, you know, it's unreal with that. And that's always and I grew up on the Eagles. Oh, yeah.
Yeah. I mean, that was household. Right. Yeah.
Thank you for that. That's cool. Oh, I'm so much busy body and I don't like my favorite too much, but busy body is my favorite song about 100%. Not to take favorites, but that's your favorite.
Yeah, but like, yeah. Yeah, a lot of song. It has a lot of movements. The outro, the outro is probably, oh, God, talk on that for a second.
So I had that was the last song we did. We were making the record and there was a, you know, the outro that has the repeating day of another name called Wing Conopetter, all his other names. No, it goes out that lyric fades the song out. I didn't have that lyric written.
I didn't have that stands written. And it was just instrumental in that part to the outro. And I thought at the time, you know, I thought at the time I was like, oh, it's great. You know, oh, sweet.
And Andrew, the, you know, just push her man. So he is, I mean, I think you need to write something through here. And I remember I was sitting in the, I was sitting in the recording, like in the room, like in the recording, like session. And I just, I remember letting out like, like just like a sigh in like, you know, exhaust.
You know, it's like, oh my God. Seriously. You know, like we've been working on like, he's like, he's like, you really need to. You really, I think you really should, you know, he's like, you know, like do what you want.
You know, it's your, it's your thing. But like, he's like ours. You just, you know, he, he, he, uh, non-forceively urged. Oh, yeah.
And I knew he was right. I left there that day. He's right. He's right.
And I came home that day and I don't remember how when it ended up, you know, because I was thinking this was going to be the last session. I was thinking like, wrapped it up. You know, I remember that morning, that morning, driving out there like, yeah, like, like my chops like it's done, you know, like working on this for a while, you know, driving miles down the road, this that, you know, size, you know, all that kind of stuff. It's all, it's all good.
It's all good. When he hit me with that, oh my God. Well, today's go by those lyrics, those lyrics that stands a came to me. And it's my favorite part of the record.
It's my, it's my absolute favorite part of the record. It's my favorite part of a written band. And I, yeah, man, like I've written, I played in a lot of bands growing up and made it's not first full link, that should say first full link made up made EPs. Like bar cover demos, you know, whatnot.
But yeah, it's part of my favorite thing that I've ever written for sure. I like that far in the, I think it was either like the chorus or pre chorus, whatever you want to call it. There is a part where where there's like a dissonance, like you're playing a major chord, but singing minor almost, you know the part I'm talking about. Oh, yeah, the the courts.
I think you're talking about. Yeah, that vocal build was interesting. That's cool. We bring it up.
Remember, I remember it didn't make sense necessarily to me when we were recording it because again, that's that's a tip of the hat to Andrew. When we were when we were creating that chorus, because again, like you're saying, I love harmonies and when they're done right, when they're done right, they they work and they're moving and it's not too much. And I think, you know, if I can cut myself on the back a little bit, I think that it and Andrew as well, I think that this record was just in addition to that. I think that these harmonies didn't come off as cheesy or too much.
And that's that's cool. You know, that's cool. I really that's something I did. But yeah, when we were making our member vividly, it didn't sound right in my headphones.
I was just thinking like what, you know, I mean, I played music for a pretty long time, you know, like I understand it. I'll say that's always be a student. I'll always be a student. But I know enough to think like, oh, like, yeah, I go together.
Like I was stumped. I was like, I don't know, man. And but yeah, it is. It's a dissonance that works.
Yeah. And I think because you have, but not mistaken, you have two, you have two, because it's a harmony part. Both harmonies go against the chord against the major chord. So, but they also because they're harmonizing together, it does it.
It's attention grabbing, but it doesn't sound wrong, you know. So yeah, but I can see where you might quite when you hear that, you might question it. If you wrote it and you're like, should I put this out there? But it really comes off you made it work.
So Joe, I appreciate that. And to go to add to that, trust the well, the background vocals and trust the well throughout the chorus, they're like kind of like your kind of textural thing. Yeah. So if you listen to those like themselves, sounds super ridiculous, laid upon the vocal melody.
But it works. Yeah. All right. So I want to thank Tyler for being on the podcast.
I just really love this album. Make sure to go and check it out again. Look for Tyler Moore on Spotify, Apple and Bandcamp. There will be links in the show notes.
Also, if you can't wait that long, you just want to type something into the internet right now, you can go to manmoans.bandcamp.com. As I mentioned in the podcast, I was putting together a band. I hope to start doing real soon. So make sure to go check him out if you see him.
Follow him on Facebook and Instagram. So you see when that's coming up and make sure to go out right now. There's a lot of local artists playing live right now. Be safe with it.
Don't be crazy or anything, but there's a lot of live music happening. And also support local artists by buying their songs and merchandise whenever you get a chance. If you're kind of already set with your you know, you close for the season, you've already selected that out with your personal shopper. You can always buy a t-shirt from someone, some artist and send it to me.
Feel free. Don't forget to subscribe to the podcast, WNC Original Music, wherever you get your podcast or at wncoriginalmusic.com. The closing song this week comes from Wolf Willa, a band from the Great Northern Plains of Saskatchewan, Great Northern Plains or Northern Great Plains, Northern Great Plains of Saskatchewan, My Home Town. They play original country in Western and Spide by a honky talk, Western swing and country politics and retro sounds.
They played several tours and festivals across Western Canada. And they are preparing a full link album for release in fall of 2021. Make sure to check them out at facebook.com slash Wolf Willa band and check the links in the bio for more information. Here's Wolf Willow.
Have a good week. You do sound like you're in the basement of like your mom's house.