Fri, May. 16th, 2014
- Raymond Sparks
- Ashley Brown
- Rollin Nashville
- Claire Rogers
- Lisafur LasVegas
- Jason Frazier
- Jack Parkey
- Jason Mossman
- Michelle Duncan
- Kayla Faye Mcdonald
- Marc Taylor
- Sara Woodward
- Natalie Bee
- Bonnie Walker
- Wes Poole
- Jessica Eatherly
- Nick Gragg
- Carrie Janes Marlin
- Carolyn Lethgo
- Anna Bryant
- Andrew Mischke
- Tiffany Arnold
- Michael Beatty
- Stephanie Willis
- Jennifer Preston
- Ashley Chilton
- Amy Akin
- Katy Murphree
- Andrea Mossman
- Jill Poston
- Robert B Bragdon
- Adam Monroe
- David Henley
Portugal. the Man
It was last spring 2012, and John Gourley—frontman of Portugal. The Man—found himself in New York City about to ring the bell at Danger Mouse’s apartment--a long way from his current home in Portland, and farther still from his real home in Alaska. Six full-length albums in six years, nonstop touring, a stint with The Black Keys and festival stops at Coachella, Bonnaroo and Lollapalooza—up until this moment, Portugal. The Man embodied all dimensions of DIY rock range.
When it came time to begin work on the seventh album, Gourley thought long and hard about the next move and kept coming back to one concept: The most satisfying work is collaborative work. From building houses with his father in Alaska to building a devoted fanbase, he had sought partnerships. So he took a bold step — bold for a proven band, bolder still for its uncertainty of sound — a step up to the apartment of a possible collaborator, Danger Mouse.
“I walked into his place,” Gourley remembers now. “And it wasn’t going to happen. He was like, ‘Hey, man, just so you know, I don’t really want to record a rock band.’ And I was a little relieved. We’d done this by ourselves before, and we knew we could do it by ourselves again.”
But then they got to listening, and to talking about how much Danger Mouse had loved In the Mountain in the Cloud — the 2011 followup to Portugal. The Man’s break out record The Satanic Satanist. “From that very first meeting,” says Danger Mouse, “we were very ambitious about what we could do…otherwise there was no point. So we decided: Let’s try and make something really special.”
So Danger Mouse — aka Brian Burton, the five-time Grammy award winning producer behind everything from Gnarls Barkley and Beck to The Black Keys and now U2 —and the band agreed that they were game for the challenge and began production on what would become Evil Friends, the undaunted re-awakening for Portugal. The Man. As much as their collaborative imaginations melded, to construct songs that lived up to the ambitious visions they had would take some time. After all, here was a band with an evolving lineup — Kyle O’Quin on keyboards, Noah Gersh on guitar/percussion/keyboards, and Kane Ritchotte on drums joined Zach Carothers on bass and vocals and Gourley on lead vocals and guitar — building new songs with a new producer trying to do something neither of them had done before.
They went, together, to Los Angeles and worked through several sessions — at Mondo Studios, Eltro Vox Studios, and Kingsize Soundlabs. The band worked months longer than they ever had on one thing. And somehow — maybe it was the collaboration in the air, or maybe sheer will — they finally stopped searching and started realizing: “What really brought our record together was getting past that period of looking for something, and figuring out how to do something really new, really hard, and really satisfying,” said Gourley.
Each track on Evil Friends is as different from the next as Portugal. The Man’s previous records were from each other, which is to say a piece of a growing mindscape, and wholly a part of the group’s tumbling fever dream. Where the 2009 hit “People Say” was a cheery guitar rally, the new title track is a bells-and-balls ballad emerging from darkness into a pipe-whistling punky thump, albeit with Gourley’s trademark falsetto and thundering guitar. And yet here is Evil Friends swirling, like a tornado that sends a napping child toward Oz, into something of a tale of Portugal. The Man’s arousal from when it decided to make something special to when it actually did: The weighted down questions of “Plastic Soldiers” (Could it be we got lost in the summer? / Well I know you know that it’s over) give way to the confident melodies of “Modern Jesus” (The only rule we need is never giving up / The only faith we have is faith in us) and finally, brazenly, to the anthem “Smile” (We watched the sun come up / But took it down to hide it / Seems like the spring has come and gone / It felt like forever).
It took all year, and Portugal. The Man — a group guaranteed for seven years to pump out a record, to tour and tour and tour, to tuck its fans to bed at night with a community of psychedelic rock — had learned to slow down and transform all-day, all-night recording with Danger Mouse into adrenaline, into words that are at once dark and light, into sounds that are overlapping with danger and charm. The whole “evil friends” thing was just a happy writing accident, by the way, a lyrical coincidence belying a collaborative friendship Burton says taught him, too: “I felt like I was watching them do something special and I wanted to let them do it, so sometimes I was more hands-on, but sometimes more hands-off than I had been with anyone,” says Danger Mouse. “They had done enough albums that I thought it would be fun to shake it up a little bit.”
“In the beginning, I asked Brian why he had wanted to talk about making a record,” recalls Gourley. “And he admitted that he was surprised when he saw us live. ‘I didn’t know you guys could sound like that.’ There had been this perception that we’ve been something else — and I’ve noticed it, at festivals, everywhere — that we were something we were not. But then we got in a room with Danger Mouse, to the place where we could just throw that out, wake up and say, Here we are. We’re this band! Let’s just make it, together.”
Lightning 100, owned by Tuned In Broadcasting, Inc., has called Nashville "home" for more than 23 years and is the city`s longest running independently owned adult alternative radio station.
We were recently voted "Best Rock/Pop Station" in the Nashville Scene`s Readers` Poll for the 14th year in a row.
We also received six awards at the March of Dimes` Achievement in Radio (A.I.R.) Awards ceremony, including Best Locally Produced Specialty Show for Retro Lightning; Broadcast Leadership Award for Dan Buckley; Best Locally Produced Public Affairs Program for Soup Sunday; Best Afternoon Drive Show- Music Format and Best Show Producer for David Hall; and Best Entertainment Interview for Lightning 100`s interview with Lindsey Buckingham.
Originally known as WIZO-FM, WRLT-FM has been broadcasting to Middle Tennessee on 100.1 MHz since November 16, 1961. Licensed to Franklin, Tenn., WIZO-FM was the FM counterpart of WIZO (AM) 1380. After a number of ownership, format and name changes, it became Rebel 100 in 1987 as WWRB-FM and was one of the country`s first alternative rock stations.
In the fall of 1988, it changed owners, switched call letters to WRLT-FM and changed formats to "Nashville`s Lite 100." As Lite 100 faltered in the ratings, it was obvious that a major overhaul was necessary to make the station appeal to more than just the aviary creatures inhabiting our transmitting tower.
On March 5, 1990, "Radio Lightning" debuted and changed the face of Nashville radio as we know it. WRLT is a true anamoly in a crowded radio environment.
When WRLT first switched formats to Radio Lightning, our studios were located in a rather mundane Brentwood office park. In March of 1991, our studios moved downtown to the hip and cool Second Avenue. We watched Second Avenue grow to become a tourist mecca.
In January 1995, we moved to a perch on top of the Life and Casualty (L & C) Tower at Fourth Ave. North and Church St.
Then, in 2005 we took up residence among the artists` lofts and Yazoo Brewers at Marathon Village.
National Shows 2 (NS2) is a Nashville-based, full-service concert promotion company. NS2 creates, produces and promotes live entertainment events in arenas, amphitheaters, performing arts centers, clubs and other venues across the country.