7 Questions with Jason Sutton of Brother Trouble

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By Ryan Meehan

The only “trouble” brothers Mark and Jason Sutton are about to encounter in the near future is the head-spinning dilemma on how to cope with the side-effects of super-stardom in country music. Lavish caravan of tour buses, hit music, world-class venues, millions of fans –count the ways Brother Trouble are about to face the ‘realities’ of life…Endorsements from world-class entertainers like Kenny Chesney don’t come every day, but they did come to this brotherhood. “We had the Big Star competition goin’ on, and these guys were by far the best,” Chesney told a throng of screaming supporters as Brother Trouble blew all the competition out the doors on Chesney’s much publicized “Next Big Star” national talent search. With the praise, the brothers landed a $25,000 paycheck and the hallowed ground onstage of opening spot on the closing dates of Kenny Chesney’s jammed to the rafters, Poets & Pirates tour. A far cry from the Sutton brothers early career experience of singing for tips on the Honky Tonk circuit. Fresh on the scene in Nashville just a few short years ago, Nashville’s Wildhorse Saloon put gas in their tank—both literally and creatively—when the brothers landed the rarified spot of a regular gig–allowing them to showcase their original music in one of the town’s hottest clubs. “It was like a chance to ‘go viral’ with our sound and songs,” noted Jason in a recent interview with Ellen Barnes of Gibson.com “It was one of the biggest tourist spots in Nashville and the weekend audience would take our music back to Texas or Illinois or wherever they came from.” “Nobody today is just one genre,” notes Mark in talking about the amalgamation of early influences the brother’s developmental musical chops paid homage to. Cutting their teeth early-on on the Myrtle Beach club circuit the brothers showed flashes of a creative heritage that included influences like Hank Jr.’s hard-edged honky-tonk, with pop-tinged shadings of Alabama. A shaker of Joe Walsh riff-and-hook laden blues made love to the southern fried rock of ZZ Top, 38 Special and Skynyrd. What emerged from the sands of South Carolina summers was a very unique sound that Brother Trouble solidly owned. Today, songs like Summer’s Little Angel, and Get It, Get It have pre-built a fan base for the brothers’ distinctive sound and musical vibe long before the thought of ‘radio impact’ ever had a chance to cross their minds. What has impacted with their audiences is their uniqueness. Brother Trouble has consistently stamped their brand on a free-wheeling approach to music that authentically brings the too often missed bona fide ‘kick-back and party down’ fun roaring back into the fabric of country music. With rarefied success just ahead, the Sutton brothers have hit the re-set button on a fresh wave of energy in country music! They’ve officially left ‘trouble’ in their dust, and Jason Sutton of Brother Trouble is my guest today in 7 questions. Continue reading

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The Deep Six: Why Getting Weird Al Yankovic to perform at the Super Bowl XLIX Halftime Show might not be such a weird idea at‏ all‏

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by Ryan Meehan

As die hard sports fans, we’d all like to think that we have no real opinion on the Super Bowl Halftime Show. This is the time that we use to relieve ourselves from all of the Busch Heavy that we drank in the first thirty minutes of the contest, and perhaps type up a few first half wrap-ups. But in reality, like it or not it is part of the experience. Over the past couple of weeks, a petition started by Ed Ball of Washington over at change.org has been getting a lot of attention.  Ball supposedly drafted the petition while intoxicated, but the purpose of this petition is clear as day:  He wants the National Football League to get Weird Al Yankovic to perform at halftime of Super Bowl XLIX this February in Glendale, Arizona.

I used to listen to Weird Al a lot when I was younger.  We used to get the tapes and copy them for each other, and Al was a seemingly never-ending source of entertainment.  “Dare to be Stupid” was one of my favorite albums.  Eventually my tastes progressed towards much darker subject matter, and there was a certain passage of maturity that came with saying “I don’t listen to that stuff anymore”.  Nevertheless, I still respected the guy and the career he was able to put together with an accordion and wire-rimmed glasses.    Continue reading