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POSTED 04-12-09

 

Richard Young

Part 2

 Interview By

Kentucky

Headhunters

 

 

Part 1 / 2 / 3 / 4

 

We're back with Part 2 of my recent interview with Kentucky Headhunters guitar player Richard Young.

In this edition of the interview Richard talks more about the 20 year journey he, his brother Fred Young and guitarist Greg Martin traveled to get to their ground breaking debut Pickin' on Nashville. The band was rounded out by the Phelps brothers Ricky Lee and Doug at that time and after hitting big the band had to continue on without the brothers.

 

We'll be back soon with Part 3, but be sure to check out Part 1 as well as Part 2 and learn a little about these guys and their Musical Journey.

 

www.kentuckyheadhunters.com

www.myspace.com/thekentuckyheadhunters

 

Richard Young of The Kentucky Headhunters               Part 1 / 2 / 3 / 4

 

 

Kentucky Headhunters-Dumas Walker

 

 

 

Richard Young of The Kentucky Headhunters             Part 1 / 2 / 3 / 4

 

 

 

 

 

 

continued from Part 1.....

 

Richard Young: It was about the time that Steve Earle had popped. Dwight Yoakum was comin' around, (as well as) K.D. Lang, Lyle Lovett. I'm goin, here's all these years where I was driving back and forth to Nashville, Tennessee writing songs and trying to learn about the industry down there and we all looked at each other and said, "I think we can do something with this."

 

So we worked about a year in rehearsal, just honing it down and getting the style and sound. It was pretty natural though. It pretty much happened on the first song actually. There really wasn't a lot of practicing, trying to make it happen. It just happened. It's magic. So what we did it. We just played and played. We played locally. We couldn't go out and tour because we were older guys and we had responsibilities and that sort of thing. Greg and I came up with this idea to start a radio show. A live radio show where the band would actually play once a week. We went to Munfordville, KY WLOC Radio and spoke with Mr. Berry & Joey Berry at the station and Joey was all about it because he was the type of guy that would play Hank Williams one cut and then the next cut would be Led Zeppelin. It was just a really, really cool scene there. It was a great time for music. Mr. Berry would allow us to come in on a Tuesday Night and do a live radio show. People would be driving down I-65 and they would be dialing the dial and all of a sudden they here these guys on the radio live, just like the old days.

 

 

SplatterTribe: So you played entire sets?

Richard Young: Yeah, absolutely and we would have a guest. We'd have a guest band or a guest singer or whatever. Then, actually, word got back to Nashville that there was this band that had all of these Blues, Country, Rock overtones that was doing a live radio show and they got to coaxing us to come to Nashville. That was, uh....I guess late 1988 that we were convinced that we should go to Nashville and do a showcase which, we all were against that. We didn't even want to do it at all.

I never will forget, we went down, it was at Douglas Corner (Cafe) in Nashville. Actually the showcase was for Lee Roy Parnell, who was a great slide player and everybody in town was hot on him. We actually were the shirttail act. We were the act that was going to play after the big showcase. Lee Roy played and was magnificent and then we set our equipment up and came on stage. I think we broke into Honky Tonk Blues or Walk Softly or somthin'. All the record companies jumped up and said, "Ahhh! This is too damn loud. Let's get out of here!" Everybody started running to the door like it was a bomb threat.

The only one's that stayed were....Through my meetings over the years, a guy that was actually with us in Georgia when we were working down there trying to get something goin', Tom Long had actually made his way to Nashville and was working with ASCAP. A guy named Larry Shell was running a publishing company for a fellow by the name of Harold Shed. Anybody that's been down Music Row and saw the cabin with the water, that was Harold's place. He actually discovered Alabama and produced them and that sort of thing. He was famous for rolling the dice on something that no one else would touch. Larry Shell and Tom Long brought him to see us play. Everybody else had left the room. I think there was eight people left in the room and Harold came up after the show.

We had previously before that had met a guy named Jonathon Lyle, I left this part out. He was from Richmond, Virginia and loved Blues and Roots music. He gave us some money and let us go into the studio and cut a little tape. It was called The Headhunters Pickin' On Nashville. We made some tapes and got like 300 tapes or something. They was supposed to be black....and when we got them back they were hot pink, which was ironic. Today that's a famous tape and if you have one of those your in like Flynn.

 

 

SplatterTribe: Well, I had heard about those. So they were actually pink, huh?

Richard Young: Yeah, and Harold said, "You got one of them Pink tapes?" We gave him one and he called us the next day and said, "You know, we may be all cookin' hamburgers next year, but right now I gotta take a shot at this thing." So we got together and we called Mitchell, our old manager/friend from New York who'd worked with us. He came down. We got together with Harold and we made a record deal with Mercury Records. We went and recorded two more songs. We had everything on the album smoothed up and we went in and recorded those two songs and mastered the record. It came out in, I think it was October 1989, actually the 19th of October, which was Mitchell's birthday, our manager and voila.

 

 

SplatterTribe: So it was a major journey just to get to that point.

Richard Young: Years and years. 20 plus....well, me, Fred and Greg.......and then of course, the first album came out and it was just suicidal. It blasted everything else dead, you know? It sold, I don't know, probably two and a half million now, but it sold like a half a million records in three months or something. People were starved to death Luie, for that kind of music. Then like, especially roots music, there was a scene going on in Rock N Roll with 'roots' people. I'm talking about the crowd that wore flannel shirts, drunk beer and got 22 pistols, you know. That crowd really, they didn't have any music and then all of a sudden we came along and we were their savior, as far as music. Everybody had a weekend band again.

I guess we were kind of the early 90's, late 80's, early 90's answer to Creedence Clearwater Revival. A band that came out of nowhere. That had a roots sound. We were able to achieve a whole lot of things and create a huge audience and following. That's why we are still here today because people never gave up on us or our music. They always know that when we do put out a record, naturally it won't be selling in the millions maybe like it used to, but there are several hundred thousand diehards out there that know when they pick up one of our records it will be a good thing to stick in their car and go party with. It's kind of like buying a Coca-Cola, when you snap the top, you know what it taste's like.

I mean, we've varied on our styles and sounds. We've changed things from album to album. There's times that we get left of center to a lot of people or right of center, but I think that's another part of what has kept the band alive this long. We haven't been so complacent. We've kept a lot of people second guessing. Not because we wanted to be thought of as smart or anything like that, just because we had to do it for ourselves. We were losing our minds. We had to create different things. That was the thing that was magical about the band and still is, that we draw music from all styles and era's like a sponge.

You know, tomorrow we might be listening to Benny Goodman playing clarinet and then the next day we might be listening to Billy Gibbons or Led Zeppelin. We listen to everything. We never turn off anything. I think that's been one of the biggest things for our success. There are little elements that we don't even know ourselves, that are in our music that we've picked up over the years, with all of our years playing. We've listened to everything. I mean we've been around long enough that we've seen a lot of fads come and go. You've got to create good music, you know?

 

 

SplatterTribe: What was the difference between Kentucky Headhunters and it's previous incarnation Itchy Brother? Was you always on the same sort of path or was there a big difference?

Richard Young: Itchy brother was like uhm....if you could imagine.....It was, of course, Greg on guitar, like always, Anthony Kinney on bass, our cousin, Fred on drums and me. Mainly I did vocals and played guitar on very few songs. It was kind of, if you could imagine, a Hillbilly version of Jeff Beck's 'Truth' Group. A Hillbilly Led Zeppelin almost, is what it was like. It had the same....passion...nucleus as musicians, but it just had a different vocal inspiration, a different attitude. I think that probably was maybe the biggest difference between what we did over the years. That same passion was there, you know, the drive and passion was there all those years.

Of course in 1992, I'll never forget the day, June 6, 1992, the Phelps brothers took off for a while and it was pretty shaky for us. Nobody could believe that someone would walk out and leave when something like that was goin' on. Not only was it great for us but it was great for all of the people. People were loving what we were doing. They were like, "Geez, Your....'n up my band here buddy", you know. It was just something were those boys had never been together and I feel like they felt like they had walked into a situation that had been there for 20 years, you know? The circumstances they were a part of, but I guess they wanted to try and do their own thing. It didn't have the same vibe to it, you know? They were better off being a part of something much greater than themselves, as we've always felt. That didn't work, so after about a year and a half we called them up and invited them back to the band.

I got to tell you though, before we even got there, had they not left the band in '92....It changed the course of The Kentucky Headhunters in a great way too. Even though the audience loved the Headhunters for the way they were as far as doing the Country/Rock thing, Southern Rock, we were able to bring our cousin Anthony back into the band. We also brought a friend of ours who back in 1968 when we were listening to The Beatles 'White Album' he was in Mia Chau, Vietnam. It was really cool that we were able to bring Mark (Orr) into the band. He was truly one of the greatest Rock N Roll singers that I ever heard in my life. Had it not been for that happening, we would have probably never met Johnnie Johnson. We definitely couldn't have done a Blues album with Ricky (Lee) Phelps singing lead. He's not a Blues singer. For the folks who don't know who Johnnie is, Johnnie Johnson was Chuck Berry's original piano player. The song Johnnie B. Goode that you've heard all of your life, that's (about) Johnnie Johnson. (continued)

 

 

Part 1 / 2 / 3 / 4

 

 

 

Itchy Brother

 

www.kentuckyheadhunters.com

 

www.myspace.com/thekentuckyheadhunters

 

 

 
   
   

 

 

 

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