Old Hoss prefers to keep the rough edges on debut album Mid-Atlantic
Country music is slicker than ever these days, but if you’re someone who still prefers the days when producers like Sam Phillips only needed a few microphones and some ad hoc slapback echo to change the course of history, then Mid-Atlantic, the debut album from Old Hoss, is precisely what you need.
Old Hoss is the alter ego of Toronto musician Kris Gies who over the past few years has found himself transitioning from bass duties in hard rockers Flamingo Bay to creating his own brand of mutant country. The crackling energy on Mid-Atlantic was captured with the help of producer Steve Bigas, an old friend who relocated his original Hamilton, Ontario recording studio/label Porcelain Records to Raleigh, North Carolina.
Armed with his bedroom demos, Kris and his guitar headed south in his 2008 Ford F150 and he, Steve and some of his friends and neighbours banged out Mid-Atlantic in true old school fashion, song count-ins and all. A little ragged? Sure, but above all ALIVE!
Americana Highways: Mid-Atlantic is your first recording as Old Hoss. What got you motivated to undertake this project?
Old Hoss: I had been focusing on my songwriting and eventually felt I had a collection of tunes that were worth recording. I had to write a lot of junk to get the good stuff out. These were songs that would get stuck in my head. I was making demos on a small handheld recording device and I would go back and listen to these songs constantly. So that’s when I knew I had a strong batch that were worth the professional treatment.
AH: Was there anything that inspired you to create an Old Hoss persona?
OH: I’m much more comfortable in a band setting than a solo performer so the idea was to come up with a band name even though this was very much a solo project. One day perhaps Old Hoss will be known as a band but if I’m Old Hoss on my own then I’m alright with that as well.
AH: What was your songwriting process like in general?
OH: I don’t have a specific formula but I suppose it all starts with taking notes, either on my phone, a notepad or scrap paper. Taking notes of words, phrases or things I see that could become a song somewhere down the line. Everything comes together once a melody is established. A melody can seemingly drop from the sky so you have to be ready to grab it when it’s there. Once the melody is flowing I can look at my notes and then just let the song tell you where it wants to go.
AH: You worked with producer Steve Bigas at his studio in North Carolina. What’s your relationship with him?
OH: I first met Steve in 2013 when we both lived in Hamilton, Ontario where Porcelain Records was originally set up. He worked on a record with my former band there. He eventually moved his operation to Raleigh, North Carolina and we stayed in touch. Looking for advice I sent him the demos I had created to get his opinion. He really liked the tunes so we arranged a time I could make my way down there to record.
AH: The album is just basically you and your electric guitar. What were you essentially trying to capture on tape?
OH: I wanted the songs to be the focus. Any instrumentation just needed to serve the songs. I gave Steve as the producer the freedom to add what we felt helped the song. We agreed the soundscape didn’t need to be crowded. So I laid down the guitars, bass and vocals. Steve added drums and percussion. We got another Hamilton area musician Ron Cole to add organ and accordion. Personally I think the accordion in particular adds the perfect touch.
AH: Did the vibes in North Carolina play any part in the sound of the record?
OH: Absolutely. Not only North Carolina, but the entire drive down there from Toronto. I visited some states I had never been to before. The journey was as important as the record itself. It was good for the soul.
AH: Some might compare Mid-Atlantic to the sound of Sam Phillips and Sun Records. Are you a fan of early rock and roll?
OH: My favourite music to come out of Sun Records is definitely Johnny Cash. I prefer his early Sun recordings to anything else he has done. The raw, spacious sounds have just the right amount of grit. I love Luther Perkins’ guitar work as well. Excellent tone and style.
AH: Based on the album’s first single, “Smellin’ Like A Rose,” you’re a fan of old time pro wrestling. What got you into that?
OH: I got into wrestling as a young kid and the bug never left me. As it evolved I found myself looking backwards into the past and so today I prefer the earlier territory days of wrestling. The darker arenas with low production budgets often on local television make for a badass atmosphere. You can feel the crowd’s excitement and the wrestlers needed to be able to work without all the bells and whistles. I try to take that feeling of the buzzing crowd in a smoky old arena and transfer that into song form. I want to bring the listener into the setting of which I am trying to write about.
AH: Many of your other songs came out of unusual personal experiences. Do you think listeners will get a good sense of who you are from this album?
OH: I think people can relate to some of the adventures or mis-adventures told in the album. Some common themes on the album are hitting the road, seeking thrills and just living your life. Whatever it takes just do what ya gotta do.
AH: There are a lot of country music influences on Mid-Atlantic as well. Where does your interest in country stem from?
OH: Country music was pretty big around my family. My Grandpa loved George Jones. My parents always had artists like Dwight Yoakam, Alan Jackson and Jerry Jeff Walker going on around the house. I like all kinds of music but there are several country artists and bands that are always on heavy rotation for me.
AH: You’ve played in rock bands in the past. Do you foresee forming a new band as Old Hoss at some point?
OH: The hope is for Old Hoss to be a full proper band at some point. I’m still putting those pieces together so we will see where it ends up.
AH: Are you currently working on new material, and if so, what can people expect?
OH: Yep, I am always writing new tunes. I have a pretty solid batch coming together now. I have been listening to a lot of Stax Records music lately. So there might be some subtle r&b influences sneaking in there. It all goes through the Old Hoss filter though so no matter the influences it will still be the sandpaper country-rock that comes natural to me.
AH: Are there any specific Canadian influences in your songwriting?
OH: Stompin’ Tom Connors of course! I am fascinated with his entire story. His life was incredible. Reading his autobiography definitely inspired to me hit the road and do what you love. Matt Mays and Corb Lund are two songwriters who I have been listening to for a long time. Both of them are huge influences on my writing.
AH: Along with that, are there any fellow songwriters you’ve come to admire more since you’ve started working as Old Hoss?
OH: My current favourite artist is Charley Crockett. Much like Stompin’ Tom he also has a wild life story of hopping boxcars and busking all over before finally getting his break. I have been following him for some years but it really hit a new gear once I started focusing on this Old Hoss project.
AH: Lastly, overall, what do hope people will connect to most in your music?
OH: You gotta have a good time in this life. Do what you enjoy doing. Don’t let the news affect your life too much. Hit the road and write the story.
Good advice. Thanks very much for chatting with us! Old Hoss’s Mid-Atlantic is available at http://www.oldhoss.bandcamp.com/album/mid-atlantic.
