One of the best country discs to come across the RMP review desk this year is the self-titled six-track LP from Nashville’s Jackson Delaney. A committed member of the Outlaw Country movement, Delaney has a big-hearted baritone that should find favor with any fan of Josh Turner or Chris Young. Whether it’s the haunting hypnotism of “Long Black Cadillac” or the polished and radio-ready gloss of “Ugly, Lucky and Me,” the LP opens with a veritable bang. The LP’s first half concludes with the firecracker “Shotgun Wedding,” a rising and ringing humdinger with zest, zing and an indelible chorus as strong as any currently circling terrestrial radio.

On the second half of Jackson Delaney, the grizzled troubadour soars on the patriotic “Freedom (Never Goes Out Of Style),” a tried-and-true yarn that should certainly do well on larger stages. Never one to surrender to a ballad, Delaney boasts his rough-and-tumble side on the playful and jaunty “You Make Me Wanna.” The LP closes with “The Good Drugs,” another radio-ready juggernaut that hits at the heart of what makes Delaney so rewarding.

From front to back there are few if any flaws. Moreover, Delaney has an innate talent that seems almost certain to find him headlining stadiums in the not so distant future. Being that four of the six songs on Jackson Delaney were written by Eddie Montgomery and/or Troy Gentry is proof positive that Delaney is on the precipice of something truly extraordinary. Put this in stone: He’ll be sharing stages with chart-toppers in the not-so-distant future. One listen to this LP proves exactly that.

RMP: This is Andrew Mudge, right?
-Yes it is.

RMP: This is Greg Robson, how are you sir?
-I’m doing great. I was waiting on your call, so its good to hear from you.

RMP: First of all congratulations, I just saw you won the Audience Award at the Florida FIlm Festival. So kudos.
-Yeah, thanks. We actually won the audience award at the Sarasota Film Festival, so that was pretty awesome as well.

RMP: Were you in competition for the Grand Jury at both events?
-Yes, we were.

RMP: Well an audience award is just as good, is it not?
-Yeah, we’re thrilled. Hey can I call you back, I actually have to pick somebody up. I’ll be back in five minutes.

RMP: Not a problem at all.
-Thanks so much. Be back in five. -Sorry about that. I’m on my way to the airport. I appreciate that.

RMP: No worries at all. So, it has been documented that you lived in Lesotho for nearly a year before making the film, is that right?
-Yeah. I had lived there off and on for about a year. I had been there in these three and four month spurts. I had about four of those, where I was sort of researching. I mean I loved being there anyway, and I loved spending time there. So it really worked out well. I needed to do my time. I guess I was there for four months, and then another four months, and then two months and then another four months, so I guess it was a year total before we shot the film. Just made a lot of relationships and it wasn’t just learning the culture stuff but making the relationships with people who would help me source crew and negotiate to find locations.

RMP: This sort of seems like a no-brainer, but do you think you could have made the film had you not lived there?
-Oh gosh no. Spending all that time in Lesotho before we started shooting helped bring the film to life.

RMP: You have mentioned that the Lesothoan people were very welcoming of you, was there any resistance at all from anyone during the making of the project?
-To be honest, no. The only negative vibe that sometimes happened was people thinking we were this big rich film Hollywood crew. And that we had all kinds of money. Its weird cause relatively speaking, the people on the film were paid so little. I didn’t get paid anything for it and neither did my producers. It was a labor of love project from start to finish. I mean people wanted money out of us but that’s kind of the nature of everywhere and everything. And we had to kind of be diplomatic as much as possible and try to explain what an indie film is. We did a lot of things on deferment and explaining that you don’t get paid upfront. The deferment comes when the film makes money and people have already assumed the film has made money. I wouldn’t say that’s resistance though, I would say that’s little hiccups. I swear the easiest place I have always filmed has been abroad. When I am outside of this country, people are more lax on the rules, its not like where you go into a neighborhood in the states, and just roll in and people are already cautious because they are so used to movies.

RMP: You had mentioned that the actor who played the child (whose name we never learn) was the direct result of a casting call. Do you remember his audition and what was it about his audition that stood out?
-Oh yeah. I remember at his audition, the part that stood out was during the improv. He was acting with another boy and he kept his eyes on the boy. And that was such a difference from what the other actors were doing. They’d look around and check with me to see how I liked them. And this kid basically was able to hold his attention and sort of lock down his partner in these improv scenes. And it wasn’t when he was speaking, it was also when he wasn’t speaking. He just had this presence that he intuitively got it. And this was without ever learning acting. He just listened. You could tell he was listening to the other person. Actors will say that’s what it call comes down to. Listening. I think there are people that like have this ability, this raw ability, this raw skill to just totally pay attention and listen and to draw from some visceral ability to just be honest and be real. We were never having him act. We were letting him be himself. We were basically asking him, what would you do in this scene, how would you respond, to try to make it fun for him. I mean, we’d give him games to get him engaged. And he really had a great rapport with the lead actor. They were really buddies the whole time and that made it a game for him, too.

RMP: As you noted during the Q and A, the actor who played Atung was an actor in Tsotsi. Did you cast him having seen Tsotsi, or was it happenstance that it happened?
-To be honest, I wasn’t happy with any of the leads that were coming in. It was our third day and we were trying to find a lead. We knew he had to be Sesotho speaking, but in South Africa there’s so many divided dialects and the options were limited. There were about 20 eligible men available. Gosh, I make it sound like dating, but you know what I mean. So there were twenty actors who fit the age and the look and I wasn’t happy with any. So I just went back to Tsotsi. The film came out in when I was in the conception phase of this film and so I revisited it, and I said to myself ‘what about this guy.’ So I called the casting director and we called him in. So he walks in and he is very ban, he has this shaved head, city boy way about him and I did not immediately see him in the role. But then when he read it, he nailed it. He was sort of way above what we were hoping for. So my producers, and the casting director were all unanimous that needed to be our lead.

RMP: Carlos Carvalho’s cinematography was otherworldly. While the acting is certainly tremendous, the landscape of Lesotho is really the story, and he captures that as well as one could ask for. How did you find him, have you worked with him before?
-It was definitely our first time working together. I had found him through an agency. Again, I needed to find a DP (director of photography) in South Africa. And before I went over there, we went to an agency and they gave me about a dozen or so names, roughly 20, that they thought would be a good fit. Most of them said no because the rate was so low and we lost a majority to that, but Carlos had never done a feature. He had done commercials, and that was it, so he said yes. As for who he is, he’s a South African from Portugal, and he was great. He’s such a wonderful guy. He brought his little team. Well it was barely a team. He brought his first AC and a bunch of interns from Lesotho. So that camera team, which was really him and this white guy from South Africa who was a trained camera man were paired up with all sorts of interns that we basically taught as we went.

RMP: You had mentioned that the soundtrack for the film was one of the toughest parts about the film, but for me at least, the soundtrack is definitely one of the highlights. Do you think the film could have been made without the songs and the score? To me they feel essential. Do they feel essential for you as well.
-From the very beginning, we wanted the songs. Only a couple were really difficult to get and we ended up getting them, we just had to pay for them. I sort of thought we could just beg, borrow and steal, ya know, the old ethos of filmmaking. And we succeeded in that, but when it came to the rights, it was an uphill battle. No one cared about our little film, the bigwigs at Universal didn’t care. But I should pause and stop. I don’t want to speak disparagingly about Universal, because they came through and we got the songs, we just had to play the game, and pay money, and raise money to get them. Regardless of what happened, I was so committed to those songs. I mean I already cut the film with those songs. We needed to decide if we would recut it once we got the rights, and for now just suck it up and raise the money. But it all came together. I think it helps in South Africa having those well known songs. They just sort of give it a familiarity to people. And for me as a filmmaker, the songs are so fitting with what’s happening in the film. The first song takes place when Atung was going around the streets of Johannesburg. Its a Hugh Masekela song, and its about sort of about being a thug and about being young angry men. As Americans, we don’t know that because we don’t know what he’s singing about. I mean I didn’t know until we acquired the song and I asked what the song was about and when I found that out, it was kind of incredible. And the second song of his in the film is a classic. Its his song “Stimela,” which means “the coal train,” and it’s about the trains that bring men to Johannesburg to work in the mines from their villages. So it’s sort of fitting that the song is playing as this man is bringing his father home. I showed it to Hugh and he was psyched. He really loved it, so that was a real treat.

RMP: You’re a veteran of Sundance, Telluride and Hamptons Film Festival, all of which have featured your work on short films, documentaries and music videos. This is your first feature-length film. Which begs the question, how long have you been working behind a lens?
-Twelve or thirteen years, longer maybe. I guess I started after college, and I guess it’s been 15 years since I graduated college. I started with short films and student films. I just really couldn’t get a feature off the ground. I had many false starts in my career on different projects. I didn’t realize what a massive undertaking it was until I started walking down that road without the option of turning back. When we got investors and the first dollar in, I realized okay we’re not going back. I would say that I spent a lot of time on this film and we as a team spent a lot of time on this film. So many people at the film festival Q and A’s have been so shocked this was my first feature. And for me as a response, all I can say is, I just think there was a great deal of time spent on it. Some people bust out films and get them out there, but for me, this was a slowly carved film. I had a lot of time to go back into it and keep working on it.

RMP: You said the movie took five years to make, but only 55 days to shoot. Do you imagine the film could have been made in less time?
-I think it was around 50 days and that’s double of what a normal indie film would be. But most indie films sort of have the attitude of ‘okay we’ll shoot it in these two weeks and these three locations.’ And they contain the story to as few locations as possibles. Thats sort of how you make it and how you bang out it in about 20 days. They are really long days, but it gets done quick and you save money. With the nature nature of this story, especially cause it takes place over two distinct seasons in Lesotho, it demanded that we split it up. I knew it would cost more, I knew it would be a headache, to fly people back and forth between the States, and shutting down the production, and picking it up again. But I think you really see the film because of how deliberate we were. There’s been a transition and it’s important to me to show that transition along with the character transition and that scale, that larger scale of 50 days. Could it have been done less? I don’t think so. I mean there’s a part of me that says if we had more money, yes t could have been. But then we would have spent that money on an experienced crew. So, its this tradeoff. In the end, we trained these locals. We trained a crew, and the result is we didn’t pay much for it, it was like film school for them. The reality is, things took a long time, there were a lot of mistakes, and people learning how to start generators. These are all things that a professional crew would just bang through and we could have gotten more out of our days. So i would say we could have had done it less, but it would have costed more.

RMP: You have cited John Sayles as an influence and many of his films have a defined sense of geography, place and the people of the region. Your film seems to have many of those attributes, was that intentional?
Oh yeah. Absolutely. I mean John Sayles, especially in his early films. Matewan, Lone Star, ___. They start with such a sense of place and that always for me was the story. The character of Lesotho was the first character to emerge, and it was from there that I started to fill the story in with a supporting cast.

RMP: I mean from a tourism standpoint, this is a great postcard of Lesotho.
Yeah, absolutely. We’re hoping that the department of tourism are psyched about it. I mean its all kind of new to Lesotho. We’re hoping to get a really good reception when we play over there. It will be such a new adventure to show the film all over, and that will be its own cool story.

RMP: I have two more questions and then I will send you on your way. But thank you in advance for taking the time to chat a bit about the film.
-Like I said, I’m in the car on the way to the airport, so it’s no rush at all. I was happy to do it.

RMP: One of the long-term hopes of an independent filmmaker is getting a distribution deal? Has one been finalized or are things still up in the air? Can you comment on that?
-We have some nibbles, but no deal yet. We’re sort of just started premiering in the last week and so we are just starting that process and taking it to markets and trying to get a deal. We’re doing that here and also in South Africa. We’ll be playing at the Durban International Film Festival, which should be a good market for sales. I don’t know if it will happen in small ways or big ways. I think it will happen in a big way in South Africa, because some of the actors are well-known there and having the Masekela songs in it as well. But here in the States, it’s still really hard to tell. Despite the lovely audiences at these festivals in the past couple weeks, at the end of a day this is a foreign language drama in a country no one has heard of. So it will be an uphill battle, but I do think we will get a distribution deal. So yeah, that is definitely one of the goals of an indie filmmaker, but there’s another, and that one is foremost to me. For me, the second objective is to get a better film made, and make this current film a calling card for the next project. To me that’s equally important.

RMP: Well that just walks me into my next and last question. Are you working on any new material or is this film your primary focus for now?
-I am. I am working on a film that is sort of a comedy/drama that is set in the States. A funny, quirky but sort of sad story. It’s about a kid trying to find his lost/missing father who he finds out was a demolition derby champion. Do you know what that is?

RMP: Like monster trucks?
-No, not really, well sort of. This is like cars crashing into each other. So he organizes it and tries to revive his town’s forbidden smash-up derby in desperate hopes of finding out who his father is and was. So yeah, its like a Juno, Napoleon Dynamite kind of thing, but it’s a bit more sad, more like Harold and Maude.

RMP: Do you have a working title?
-Yeah, we have a finalized title. its called Commodore of Crash. The whole film is the Rust Belt rising. We are filming it in the decayed towns of America and that’s the gist of the story. These towns that are timeless and falling apart and in need of a hand, and this kid is trying to revive this town.

RMP: I’m glad you say that because What’s Eating Gilbert Grape is one of my favorite films and it takes place in a town that’s sort of dying a slow death and needs a rebirth.
-Yeah, Gilbert Grape is very similar. My film is set in that kind of town. Gilbert Grape is a great film. And my town for Commodore for Crash is that exact kind of town.

RMP: Well that’s a good signing off point that we’re in agreement on that. Andrew, thanks again for taking the time and continued success with the film. I’ll look forward to Commodore of Crash.
-Yeah, no problem. Thanks so much.

Those of us who have enough time on our hands to read 600-page musician biographies may or may not have stumbled across an absorbing if not exhaustive biography of Neil Young entitled Shakey that was released in 2003. Whether or not, The End of America named both a song and their new album after one of Canada’s favorite sons remains to be seen, but Young is at the forefront of what these Brooklyn folkies do. A concise and crisp follow up to 2010’s Steep Bay, Shakey is a fine record from a band very few are paying attention to.

The album opens with banjo picking and a lilting lap steel and sets the tone almost immediately: this is a roots record with a heavy emphasis on arrangements and execution. “Pick Yourself Up” follows and it’s a banjo-laden affair that is rustic and winsome. Ostensibly a song about rising above adversity, the song suffers from mediocre vocals and is far from the bang needed to make a solid opening statement. On the contrary, the understated “Grew Up Here” is an understated and simple yarn about hometown pride that hits at what the quintet does best. Never once do they try too hard, never once do they take on more than they can chew. And it is there that the album hits its stride. “Life Before the Change” is a subtle and gently lifting paean to adversity in which vocalist Brendon Thomas quivers and shakes with hesitance. That sense of anxiety and nervosa is what makes Shakey so compelling. Borrowing from “Intro,” “Interlude” is more banjo picking but with a running time of only a minute it ends far too soon.

The disc’s brief second half opens with “Shakey,” a breezy and autumnal affair that is equal parts sun-drenched and sensational. Anchored by harmonica and banjo, the vocals once again fall short but thankfully with a band of this caliber, the music does the heavy lifting. The quintet are first-rate lyricists and Shakey is the song on which the band proves their lyrical mettle. One of the album’s strongest is the rising “Cemetery,” a homespun meditation on mortality that builds on a supple banjo and a cresting crescendo. Dedicated fans of three-part harmonies should find a lot to like on this one as the song allows Thomas, pianist James Downes and guitarist Trevor Leonard to shine from the very onset. Arguably the apex of the disc is “Raining in Philly” an arresting study in realness that has a sense of humanity and compassion not often heard in song. Buttressed by scintillating piano, there’s a sense of empathy and sincerity that makes it one of 2013’s finest tracks. A veritable home run, “Raining in Philly” is also self-deprecating as the band wails away with the cheeky line, “This is going to be our hit album, baby.” Shakey concludes with “IV,” a song that once again lets the arrangements do the heavy lifting. And it is there in those final few minutes that The End of America makes the most sense. Intimate, warm and undeniably melodic, The End of America is indie folk at its finest.

Olympus Has Fallen
Two stars at best. This appeals to those that want high-octane action, Armageddon-esque plot structure and paper-thin acting. Though its Korean terrorism plot device makes it somewhat topical, the entire thing is just one wanton mess. This kind of film is par for the course these days, so take it from what you will. As a critic, the real nugget is how far Antoinue Fuqua has fallen. What appeared to be the start of a brilliant career with Training Day has spiraled downhill at an alarming rate. Come to think of it, I can’t think of the last Fuqua film that had me deeply moved.

The Call
Two and a half stars. A white-knuckle thriller that teeters off in the latter stages, the film earns kudos for the taut screenplay, a fine performance from Berry and a cast of no-names doing strong auxiliary work. Foremost of those is Michael Eklund as the villain and second is Abigail Breslin, who charmed in Little Miss Sunshine. Now all grown up, Breslin is still proving that she’s a fine talent. Though she has yet to found that Oscar-worthy role since Sunshine, it’s only a matter of time before that roll finds her again. The Call is not that film, but it’s not exactly a throwaway either. Director Brad Anderson, who had me awed with much of his back-catalog (Happy Accidents, The Machinist, Transsiberian) falls a bit short here but not by much. A fine film for a night in at home.

Spring Breakers
Three stars. Ostensibly a 90-minute foray into how-far-can-the-envelope-be-pushed, Breakers uses a first-rate performance from James Franco, handheld camera work and a frenetic soundtrack. Harmony Korine is no stranger to shock value, but what he does in Spring Breakers bends it about as far as it can go. Anyone who is insulted by ample nudity, drug use, gun play, foul language and excessive partying might want to steer clear. But even with all of envelope-pushing, the film has something to say, and even more, announces the arrival of a new talent well worth looking out for in the years to come.

Oz, The Great and Powerful
Two and a half stars. L. Frank Baum’s classic tome gets the Disney treatment and falls apart far too often. Under the direction of Sam Raimi, the classic tale has plenty of inspired moments but ultimately suffers from a saccharine sweetness that’s just too sticky. Franco, who dazzled in the aforementioned Spring Breakers, is far too cute and charming in this one. Sure his smile works a few times, but after awhile the entire act gets tired. Dazzling visuals and engaging performances (Foremost of these is Michelle Williams) help make the film less of a disaster, but Oz had a chance to be something tremendous and instead is anything but.

Nine Days are back at it. The band that brought the early 2000s hit “Absolutely (Story of a Girl),” are hard at work on album number eight (their first in six years). The band is set to head to Nashville this summer with a scheduled fall release. Frontman John Hampson has noted that the sound will be in a roots-pop/Americana vein, a sound the band wore well on its pre-major label releases, most notably This Music.

To sample the new material the band will be “touring” on select weekends in March and April. Dates are in the jump.

April 12 – Mojoe’s, Joliet, IL
April 13 – Music Hall, Kokomo, IN
April 27- Tupelo Music Hall, Londonderry, NH
April 28 – Infinity Music Hall, Norfolk, CT
May 3 – Boulton Center, Bay Shore, NY
May 4 – The Note, West Chester, PA
May 17 – Exit/In – Nashville, TN
May 18 – Riverside Amphitheater – Montgomery, AL

For the last week I have not stopped listening to Matt Nathanson’s new single “Mission Bells.” Matt has been one of my favorites since I heard Still Waiting for Spring in college. Beneath These Fireworks is probably one of my most favorite albums of the new millennium and Some Mad Hope is somewhere in the top 100. While his last album Modern Love was a significant drop from his previous work, I still consider him to be a must-listen.

“Mission Bells” is a lot of what makes Nathanson so compelling: strong, clean vocals; simple, yet provoking lyrics; and sleek production. Though the song has a bit of a machinated vibe at times and stills seems tethered to Modern Love in some respects, the hook itself is uncanny.

I’ve never been one to shy away from a good radio hit and “Mission Bells” is no exception. Here’s hoping he comes back to Orlando.

Just a couple weeks ago I waxed rhapsodic about Ohio’s The Strange Familiar. To many the name is probably new, so I figured what better than letting the band introduce themselves. Frontwoman Kira Layden recently took a few minutes to answer some questions about the band. Head to the jump to read up.

Hey, how are you?

Doing well, thanks.

How was Lemon Grove last night?

It was good. It was a good show and we had a good time. We had a nice turn out, too, so that’s always good.

Had you played there before?

No we hadn’t.

What did you think of it then? Did it cast a good first impression?

Yeah. I liked the venue, it was cool.

So there doesn’t appear to be much on your radar in terms of touring, is it safe to assume that ya’all are working on another album? What can you tell me about that?

Well, yeah. We’re writing, we want to get into the studio soon. We are eager to record some new music and get a release out there. We’re thinking early summer or late spring.

You worked with Brian Malouf on the last two records. Are you thinking about working with him again?

We haven’t figured that part out. We’re thinking it would be nice to work with him again, but we’re also thinking we might try Nashville. We’re kind of trying to figure out those options right now.

I’m glad you brought up Nashville. Two of my favorite Ohio musicians, Rascal Flatts and Kim Richey, have both left Ohio for Nashville. Have you ever considered that?

Yeah. We have definitely entertained the Nashville idea. But I will be honest, we are comfy here. We do go down to Nashville to write a lot and we love it every time we go. it’s a great music town. It’s definitely something that could be in our future.

Speaking of Nashville, have you ever thought about dabbling in songwriting and setting up a song shop. I know you’ve had some songs that have been recorded by other pop artists that have made it on the pop charts. What are your thoughts on that?

Well. We mostly do everything for the band. The songs we had picked up were originally for us. I think sometimes that works better. We do enjoy writing and we do like a lot of country songs. And we have songs that we’d definitely like to get out there, some songs that more than likely would not work for this band, but a lot of other artists in the country genre. I’d say its more everything is geared towards what we’re doing with this band and if something arises that is elsewhere, then great.

Have you ever thought about what country artists you’d like to record your songs. That is in a perfect world, if all could work out in your favor.

That is a great question. Oh my God. Let me think. Ummm. Well at one point there was a song we sent to Faith Hill, and she was considering recording it. That was kind of cool. Um, who else?Miranda Lambert would be good. . Carrie Underwood. Gosh, I don’t know. Even maybe some poppy stuff like Taylor Swift. We do have different kinds of songs, some more mature material, and I think that would be more classic. I feel like we could go in either direction. The more poppy stuff, the up and coming talent or the veterans like Faith Hill.

It’s no secret that your husband is your songwriting partner and a member of the band, and the history of your music and music in general is dotted with plenty of husband-wife couples. But each couple is different. Can you describe your dynamic at all. How does Jeff, being your husband help the process, and how does Jeff being your husband, hurt the process?

We’ve been together so long, it just fits. We started playing when we were 13. We were writing songs together at that age. And at first it was very separate. We did our own part and that was that. But it has grown over the years. Now we are very collaborative. I try to do most of lyrics, but he helps with that. He definitely challenges me more, to dig deeper. And musically, he’s more on the producing side. He definitely loves that world. And I am more about the song and formulating the song first. Sometimes we go other ways. I think we don’t try and get into each other ways. He just encourages me to write and go from there. And thats good for me because I am so picky. We are definitely not the group that writes a ton of songs and picks out the ones we like. Every song we like is important to us. If it gets finished, that’s a good thing, it means we love it.

Do other band members contribute ideas, or it just you and Jeff mostly?

We worked hard at this for a long time. It took for awhile to form this band as it is now. We had a bass player from the beginning, he is the one that helped us pick up and move to L.A. I’ll be honest, we are slow to make decisions. We were a little wary of the LA thing, but we did it and it was great for us. To be out there, and in another city, away from the Ohio comfort zone. And then, well, we didn’t find a drummer for theband for almost two or three years. We tried different people constantly, and nothing was working, and then finally Nick, our current drummer, messaged us and said I’m going to come to L.A. to go to school there, maybe we can get together. So we asked him, do you want to audition? And his reply was whatever. So at that point we had had it with drummers. So we just decided to have him come in and play stuff with us. He played the song “Gravity.” And he played it just like the record and that blew us away. Even though he nailed it, it still took us a couple months before we committed to him. When we finally did, it was done. And with that, its developed from there. The long answer to this is everybody contributes more in the current line-up. Nick contributes more on the songwriting side. He co-wrote “Redemption” and he has a bunch of new ones. He’s very musical, he plays piano and guitar. And with his angle on things, its cool. Its a totally different perspective. And its nice to get a different idea. For example, he’ll send us a demo of a song and music, and we’ll go with that and work with that. And sometimes great stuff happens. It’s really neat. At least I think so. It adds something to what we do. And gives us another perspective I guess.

You and Jeff have been writing music and chasing the ever-elusive dream for years now. Are there ever any days you just want to quit and stop and pack it all in and pursue a life outside of music?

There are definitely days where you say ‘oh, I can’t do this any more. Oh, its just so hard.’ This past summer we did a mini-tour. We were outdoors, playing for these rock show camp things. It was for younger kids, kids in high school and stuff. And there were a couple days, that were at least over a 100 degrees. And you have to put on a show, and you just have to do it, even after driving eight hours. I mean every band has that moment, where its ‘why are we doing this.’ But for every moment like that, a fan writes to you and says your song changed my life and you inspire me. And we’ve been fortunate to have a lot of those moments in our career. And because of that we know the music is reaching people and that makes you want to go forward. But we have wanted to throw the towel in for sure, but then every time you feel miserable, you remember those letters and you remind yourself this is what you want to do with your life. One day is yuck, the next day is come on, let’s do it. That’s just the dichotomy of being a musician.

Its widely documented that your songs have been featured on various TV shows. Can you remember the first time you heard your song on a TV show and were there to witness it. Can you describe that feeling?

I think maybe we had a small couple of things that really left us going wow. “Courage Is…” was the first song we saw on TV and TV ads. It was handpicked to be on Secret Life of the American Teenager. And actually, this is so random, but it was on the Internet and the producer of the show was listening to music on-line and stumbled across it. And he just connected with it and felt it what was he needed for the launch of the show. It was just awesome. We had to wait for months for confirmation and had to go through all the different levels. The CEO, the people at the TV station, the network. But the day we saw the ad, we actually came into the place where the ads were being produced. We were all emotional, it was really amazing, actually. I mean it basically ran all that summer, with our name at the bottom, that was really cool. We were shocked by the people that heard the song and found us. It’s all so much to take in. But yeah, when we saw it on TV, gosh, that was so surreal. That’s probably the craziest thing ever. And on top of it, they used video footage of the band, so we were on TV as well, and that was pretty awesome, too. It’s just like wow, this was so cool. And then it just sort of beyond recognition, like oh gosh, we’re playing again on TV, let’s watch it. This will sound silly, but we had ABC Family running in the background of our lives that whole summer. And the only other time before that when we were on TV was Ashlee Simpson when she was doing the song Invisible. It was on TRL constantly, back when that show was quite popular. And I think it ended up getting to the top of the show. And that was so crazy. That was more surreal actually than anything else, because that was someone else. So it was like oh man I wish it was us, and at the same time it was us. But I think we definitely appreciated the whole experience. That whole thing with Ashlee helped us get LA and keep doing music. And we are grateful for that.

Chasing Shadows felt very autobiographical in places. Was that intentional or did it just happen? By that I mean, do you intend to write about past experiences, or do you just draw inspiration from wherever? I know some artists draw inspiration from current events, politics, sociology, and others just like to relate their own life stories and relate it to the human condition.

You know, its kind of a toss up. With us, sometimes it’s an outside influence that comes in and pushes us to write a song. Other times it’s not. Everything we write, we try to be really true. I don’t know how to say that, but I hope it makes sense. Basically, even if its someone else’s story, it has to be honest. I want to put someone else in their shoes. Cause I mean I can’t live someone else’s life. I cant do that, I cant ever fully understand. But I can try. I think with “Being Me,” that was the first single. And it was also the first time, we did something funny and tongue in cheek. At the same time it was freeing to be able to say those things, and do that video, and wear those clothes. We were in a band for 10 years before The Strange Familiar. And when you try to make it, you build up rules and do things a certain way. With this record it was the first time we were able to let go of certain things and say this is who we are. And that was refreshing. We try to write from the heart, that’s our goal. I think this time was more, I don’t know. I think it was deeper, and it came closer to home, more so than our previous efforts.

Will you try and go down that path again on this next release?

I think so. The music we are writing now is definitely is going even farther than Chasing Shadows, in that personal element so to speak. But some of it is darker, which I really like, and there’s a lot more energy than what’s on the last record. There are more beats. One song we are working on is very, I don’t know how to explain it. We play it live a lot, its kind of tribal, it always gets attention, its almost beyond the level of Chasing Shadows. There’s just a passion and letting it all out. At least on that song. With the new material, it takes what we’re doing a step farther. Music-wise, we are creatively trying to push ourselves a little farther. We want to take it to the next level without totally changing what we’re doing. We don’t want to change what we’re doing at the core, and to us that is reaching people people with true stories and true experiences.

You mentioned it was tribal, is it percussive and heavy on rhythm?

It’s just driving beats that go through the song and it just goes really well. It goes in waves, it’s really neat. Its one I’m really excited about. I think we are going to try and add more harmonies, and layer the vocals a little more. I think that would be really cool. We also still have ballads and stuff that we will do. I feel like they are even more, more honest. Ugh. I don’t know how to say it. Its nice to feel like you’re free to write.

From start to finish Chasing Shadows felt very cohesive, almost as if, it took awhile to come together and you guys were all very methodical about how you put it together. Is this true? Or was it more natural, relaxed and organic?

We actually started the record and recorded half of it at one time. The first half was actually funded through Kickstarter. That was before we started with the label. The fans helped us and that was a cool process. During the recording, we could update fans and they were able to help us with the record. But, that meant we only had six. Thankfully the label loved it and agreed to do a deal and finish all of it. Those other five came from that need to finish it. All of it was done very quickly. The first six were done in a very short period of time. We were in LA and our drummer was in Ohio, so he had to fly out. When we went back out there the second time to finish the last five, we all flew out together and finished at Christmas of 2011. It was really a good experience, even though it was fast. Some of the songs we had to write at the last minute and bring them in. And that was crazy. It’s hard to record a song you just finished, we worried maybe we hadn’t tested it out enough. There were some we had played live, so we juts said let’s do it, and that was really off the cuff. I like how we recorded Chasing Shadows. We all played together, all of us in the room, it just worked. We were all recording at the same time. And then I think we were very methodical about what this album meant with all the songs together as one whole unit. What was the overall message? What did the songs and the record mean? And we were really happy how it all fit together. We really thought a lot about that. We made it quickly, but it still felt methodical. I hope that makes sense.

How did Brian help shape that process?

We love working with Brian. He’s really great and we like how he works. The best thing is that he didn’t ever kind of say, oh totally change this. I don’t like what you’re doing. He just enhanced the songs that we had there. And I like that. If he didn’t like it, he’d tell us and say okay, let’s not mess with it., lt.’s not totally go in there and re-route and change things. Thats what we like about Brian. He’s all about making us the best that we can, but doing so in a way that is refreshing.

You mentioned the band was based in Los Angeles? When was this, and for how long? Can you describe the differences in the two music scenes?

We spent four years in LA. The scene out there was more eclectic, and definitely had so much different stuff. But I think it was kind of hard for us. We were so mainstream, pop-rock. In some ways, we were pretty music and that was kind of hard. We definitely weren’t cool or trendy. We just wanted to write timeless music, from the heart. And sometimes that works. We had our niches though. I think back here in Ohio the scene is way more rock. We left it though, because we felt like we had played every club in our area. Cleveland, Akron. And we just felt we were trying really hard to fit into that rock scene and to be harder rocking and all about the rock show and not really the substance. And obviously, the Black Keys are from here in Akron and they have their thing going on. Did we play with them at one point? I don’t remember. I remember Peabody’s in Cleveland. Gosh that was so hardcore. We were playing in between metal bands. That was in our old band. We felt a lot of pressure to fit into that. When we moved to LA, we felt we had to do what was real for us and what was true to us. I think the scene here now in Ohio, we are fine fitting into it, and there are not as many places to play in Akron. A lot of the venues we started with in Akron are closed now. So its definitely something that can take a toll. We play fewer shows. Right now, we will split it up between Youngstown and Akron and not play the same places. We try and spread it out. Sometimes that doesn’t always work, but we do try.

If you can, list three CDs that are at the top of your list right now?

Oh gosh, what are we listening to. I think when we were going to SXSW, Nick introduced us to new stuff. Before the whole explosion of Fun onto radio and stuff, Nick had introduced us to them. They were at South-By, and he was playing their record. So yeah, we definitely like them. There’s a band from Cincinnati called Walk the Moon and I really dig them. So that’s definitely another one. Nick is really into the Lumineers right now. I’ll admit I like their songs but I haven’t dived into the record. I guess I need to do that. Ugh, what else? I was into Adele. Gosh, I hope she puts out a new record, that would be cool. We are really weird though, We don’t listen to the radio. If its anything its our own iPods. I also think we’ve been at times, closed off to what’s in the music world and I sort of like that. I don’t want to feel influenced by something else and become obsessed with what and who we sound like, and worry if this takes someone else’s idea. I think its cool to be exposed to that. And sometimes it filters into what we’re doing. I think last year it was fun to be at South By and the whole gamut of SX. It was pretty amazing.

Was that your first time at SXSW?
Yeah, it was. I don’t even know if we’re the kind of band that would go there. We are definitely not in the indie crazy underground thing. It’s hard being this kind of band. I think we definitely are very mainstream, and that’s who we are, its just what we do.

I still feel like if Chasing Shadows was released in the late 90s, it would be a huge commercial success. But music has sort of slid away from the late 90s model for radio rock. Have you often felt the same way about the record. I feel like the late 90s was far more accepting of mainstream pop-rock. What are your thoughts on that?

We definitely feel that way. I think we spent so much time trying to fit into a scene here in Cleveland, and even in LA. When we were doing our own thing, we kept saying ‘Oh gosh, what are we doing? We don’t belong here in LA or the Midwest.’ I think we grew up listening to those records in the 90s that you spoke about. Back when songs were all about lyrical-driven pop music with a meaning and a purpose. And we kind of were totally grossed out by the whole N-Sync, Britney Spears thing. So I think its definitely something I wish was going on right now and was more recognized. The closest thing I can think of is Coldplay and bands like that. They are just writing really good music that is mainstream music. And I know they have had their departures here and there, but you have to keep challenging yourself. We were watching the Grammys the other night and Katy Perry was introducing someone. And she said something to the likes of ‘We all want to write a timeless song.’ And at the end of the day that’s whats most important. It’s true. I think that’s the approach we’ve always taken, just write a good song and don’t worry about the rest. The song is the king. Maybe that means we aren’t the artist doing the song, but whatever, so be it. I think its so important to write something good, something real and something that can go out into the world and be something positive, as oppose to oh how do I catch the latest thing. Our lawyer always reminds us we’re not a dangerous band. We’re not controversial. We’re safe. And I always tell him, I can’t do that. This is who we are and it would go against everything I am. I don’t want to put on an act. We did that for many years. I think it would be nice if people were to embrace that. Us as how we are now. There are some bands that are doing that, that are not super dark or super indie, but are not afraid to be themselves. The only thing that pops into my head at the moment is Adele. She is so refreshing. She writes some great music, and it is heartfelt. And to top it off, she didn’t do anything but go up on stage and sing. Cause at the end of the days, its about the song. I don’t know where that will take us. Honestly, I just hope we keep doing what we do and hope it all works outs.

It’s no secret that being a musician is not an easy lifestyle. What do you do to balance the insanity of it all? Yoga? Soccer? Hiking?

For us, we’re very much committed to this. Our lawyer calls us apple pie, from apple pie town. We’re just great people. I mean, I work with a lot of people who are not very nice. I think for us we are. I mean, it’s so nice to be home. When we are on the road, we miss our families. We are total family people. Jeff and I are the babies of the family. We have older siblings, so we have always been about that, being with our siblings and families. Our down time is hanging with the family. Other than that, for me, I teach dance on the side, so dancing is really nice. Its a totally different creative art form. You use music and work with it, but you create in a totally different way. That gives me a nice break from just writing music and doing that. And Jeff. I don’t know, what you do? He just gave me this face. He works on web sites. Yeah, its good to be back in Ohio. You spend so much money traveling from LA to come home for every holiday. Now we spend that money to travel to Nashville or New York or LA . But yeah, we don’t do much crazy stuff. No skydiving here.

Well, Kira I really appreciate the time. Thanks so much for taking a few minutes.

You too, thanks so much for taking an interest.

Her struggles with depression and substance abuse are littered all over the Internet but suffice it to say it was the hope of us at RMP that McCready would right the ship and get herself to a better place. Perhaps she is in that place now. Regardless of one’s opinions on the afterlife, one fact remains: McCready was a talent who let the murkiness and vagaries of life cloud what could have been a truly remarkable music career. For this there are truly no words. May her, her loved ones and the music she left behind, rest in peace.

Even though they didn’t make my year-end list, easily one of my favorite bands of 2012 is Ohio’s The Strange Familiar. Their debut release Chasing Shadows has a cozy charm that is easy to like. Vocalist Kira Leyden has a warmness not unlike Colbie Caillat or Schuyler Fisk. Though she veers more towards Sara Bareilles in her range and scale, there’s a honeyed easiness about each of the 12 songs on Chasing Shadows. Buttressed by a phenomenal backing band and air-tight production, there are few if any missteps on the 45 minutes that make up Chasing Shadows. Whether it’s the sturdiness of single “Redemption,” or the cinematic sweep of the gorgeous ballad “Unwanted,” Leyden and Co. have tapped into something truly potent here.

Clearly I’m not the only one who sees something special in the band. Ashlee Simpson recorded the band’s song “invisible” and it successfully charted on the Billboard Hot 100, and Orianthi recorded the band’s song “Courage Is,” where it charted at #37 on the Adult Top 40. In addition to those accolades, the quartet has been featured on the likes of The Vampire Diaries The Secret Life of the American Teenager, Jane By Design, Switched at Birth, Brothers and Sisters, The Biggest Loser, Degrassi, the 19th Wife and Pretty Little Liars. Though it is arguably “soccer mom rock” and veers heavily towards adult contemporary, there’s still something irresistible about this band.

Agree? Disagree? Leave a comment in the replies and let us know.

Stand Up Guys is a movie about testosterone. If you’re skeptical, consider the ample amount of sex jokes, comical gags centered around a brothel and erectile dysfunction, and an adrenaline-fueled car chase in a Dodge Challenger. But for all its raunchiness, profanity and skirt-chasing, there’s some nuggets of wisdom about aging, friendship and savoring the golden years.

Doc (Christopher Walken) is an ex-hitman who has retreated from his halcyon days and now spends his time painting. Val (Al Pacino) is a felon free on parole after serving 28 years in jail. Through a series of crazy turns, the duo wind up at a nursing home, where Val wants to visit old friend Richard Hirsch (Alan Arkin). From there, hilarity and sentimentality reign. While Noah Haidle’s script is far from perfect, there are enough pleasant scenes to keep the film from careening off a cliff.

But whether that has to do more with the veteran actors or the roaring soundtrack than first-time director Fisher Stevens is up for debate. What’s not up for debate though is the blatant underuse of Emmy-winner Juliana Margulies, an underdeveloped familial subplot involving a diner waitress (Addison Timlin) and more shark-jumping scenes than can be counted. Alas in a movie brimming with potential, the whole thing comes across as nothing more than a Saturday night Netflix rental.