Truth and Salvage, The Stone Foxes

The six musicians of Truth & Salvage Co. boast four lead singer/songwriters, each with a unique story to tell and voice to be heard. Together, they rise up from one common seed, and something bigger is made.
Originally hailing from Atlanta, New Orleans, Indianapolis, Tupelo and various cities throughout Ohio, each member has roots in a different past. It’s from these diverse origins that acCompany of brothers has formed, ultimately connected by the shared bond we now know as Truth & Salvage. The result is genuine American Rock ‘N’ Roll with a timeless sound and interwoven lyrical storytelling.
Prior to the conception of Truth & Salvage Co., the members had been involved in their own side projects that include bands like Scrappy Hamilton and Old Pike. In addition, they have all performed and collaborated with many other well-known and talented acts such as The Moldy Peaches, Ben Folds Five, Jack Johnson, and The Squirrel Nut Zippers; as well as members of My Morning Jacket and Rogue Wave.
A staggered exodus in 2005 brought all six musicians to Los Angeles, where they met at Hollywood’s famous Hotel Café where vocalist/guitarist Tim Jones served as the venue’s talent booker. First performing together during casual late night jam sessions, they quickly discovered their chemistry was undeniable. It was on that very stage that Truth & Salvage Co. was born.
The different paths that led each of them to this point engendered a remarkable range of sounds and styles. Their palette stretches from rock to country to alternative. The 12 songs on this self-titled debut provide us with a perfect balance of four-part harmonies and precise instrumentals, combining their own playful wit with thoughtful and enduring themes.
“From not having a clue of what will happen tomorrow, and not being concerned with that in the slightest,” says singer Scott Kinnebrew, the band agrees that the album pulls inspiration from every last aspect of their past sixteen years of trying to “live the dream.”
It was, in fact, “the sincerity of their song writing and passionate performance” that attracted The Black Crowes’ frontman Chris Robinson to produce their debut album. With Robinson, the members of Truth & Salvage Co. were pushed out of their comfort zone, transforming great songs into pure brilliance. “The man [Robinson] has got a story for every occasion and can spin some incredible yarn,” says Kinnebrew. Much like Robinson, this band is full of storytelling that is inextricably linked to the music.
The songs range from the celebratory “Hail Hail” to melancholy “Old Piano” to the wistful closure of “101.” This is thoughtful songwriting at its highest level – it is music that could only happen in America much like a great songbook. And it’s certainly a testament to their musicianship that a band of six can truly express the shared message of love, strength, and hope. The final track on the album “Pure Mountain Angel” -- which also closes their shows and consistently elicits standing ovations -- is the song that best describes this message, or mission, as they call it: “[It is] our stand, our take on life… it tells the tales of all six of us and reminds us that, though we are blessed with fortune, this life is as serious as a heart attack,” says singer Walker.
One thing that is certain is that this band has taken their time and crafted an album that speaks of the truth, yet flows like a greatest hits. “Choosing the songs we want to perform requires humility and gratitude,” says Scott Kinnebrew of the band, “but that's easy because we have known and worked with each other for a long time now. There is a lot of love between us.” Their different personalities and backgrounds branch out to different sounds and styles, but always hold on to the band’s unifying message, maintaining the integrity of their music and the truth behind their words.
Truth & Salvage Co. toured extensively in 2009 as the opening band for The Black Crowes and in 2010 they will tour with The Avett Brothers. In addition, the band also holds regular sold-out residencies at the Hotel Café. As a result of this extensive touring, they have managed to garner a loyal following, which continues to grow with each performance. The combined support of their fans with their own undying dedication to the music has truly kept this band alive.
“There are too many doctors and lawyers; lots of people clamoring for that so-called prized-position. We could buy into that frenetic race, compromising artistic integrity for supposedly quick results, like swapping cane sugar for corn syrup. Or we could just take our time and make sure that our songs sound good, using heart, wood, all natural ingredients... this is what we choose to do,” continues Kinnebrew. “We’re not sure if it makes us different from the rest, but it makes us different from most, and it makes us better people. If you keep on doing something long enough the people are going to hear about it, especially if it is awesome.”
Truth & Salvage Co.’s debut album will be released May 25, 2010.
www.truthandsalvageco.com

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It’s not just great song writing, warm guitars, a nut-tight rhythm section, and the occasional blues harp riffs that make The Stone Foxes’ so good; the Bay Area band consisting of brothers Shannon and Spence Koehler, and Aaron Mort have captured something else on their recordings and live shows that makes them huge, and very, very cool.

Listeners sense it right away. There’s a genuineness here that’s rare and refreshing, and it’s something that can’t be achieved simply by grabbing a couple of vintage axes and plugging into a stack of tube amps. Because while The Stone Foxes may be influenced by the greats of the late 60s and early 70s like The Band, Bob Dylan, and Led Zeppelin, they never sound like they’re trying to be anything but exactly who they are. But then they don’t need to: their style of blues-rock stands on its own.

Still though, there’s something about their sophomore album “Bears & Bulls” that sets it well apart from other records. And to understand what it is, what makes this record so unique, so good; you need to know how The Stone Foxes approach their music.

“We’ll never be a traditional studio band,” says Aaron.

“The songs are worked out on stage and are meant to be played live,” adds Shannon.

That makes perfect sense to anyone that’s been to one of their shows: it’s clear the Foxes care far more about performing their music for living, breathing human beings than an empty room filled with microphones.

So rather than holing up in a studio, writing songs in a void, then cutting an album and touring it, The Stone Foxes work their new material out on stage over a period of months, playing it for their fans. And that’s part of what makes their shows, and this new record, so special. Each song in their arsenal has evolved organically over time, taking on a unique personality while retaining the core DNA that makes it a Stone Foxes original. Every song, every lick, every fill on Bears & Bulls has had its own unique path to maturity, taking the energy and feedback from the live experience and making it a critical part of the music.

When it was time to cut the record, the band knew that in order to capture the real soul of the music it would be critical to maintain that energy, those unique aspects of each song. So Bears & Bulls was recorded with virtually no overdubs, at a studio they built themselves.

“We found mattresses, put them against our garage walls and used planks of wood as dividers. Then we played the songs live and let the sound bleed in the mics,” says Shannon.

As a result, Bears & Bulls is an audio snapshot of exactly who and where The Stone Foxes were musically when they recorded it. They were all living together, listening to the same records, and singer songwriter Avi Vinocur was a member of the band at that time. It’s a reflection of their live show and a tribute to the interplay between musicians and fans. It’s a moment in time captured digitally, then mixed by Alex Newport and mastered by John Cuniberti in beautiful, warm, old-school analog. Just like it should be.

Spence Koehler, who along with brother Shannon grew up in the Sierra Foothills before moving to the Bay Area a few years ago, points out another thing about the new record that makes it unique. “You know,” he says, “all the instrumentation on the recording is the same as it is live.”

Right, the instrumentation thing: The Stone Foxes don’t have a set lineup on instruments. Since each song is unique, who plays what changes depending on the song’s personality. Shannon may come out from behind the drums to sing and play harmonica. Aaron and Spence regularly swap rhythm, lead, and bass duties, and every member sings lead on at least a few songs. But it’s no gimmick: like everything The Stone Foxes do, the instrument and vocal changes are a function of the natural evolution of their music and what works best on each song.

“It doesn’t matter who writes the lyrics,” says Shannon, “if someone else has a better voice for the song, they sing it.”

And the way they play it live is the way it’s laid to tape.

So you’ve got this band of players that can actually play, writers that can actually write, none of whom seem to have much ego: it’s about the music and the band over all – not the individual. You turn them loose to create songs that evolve and mature over time, then you drop them in a studio to track a record on their own terms. As it turns out, what you end up getting is something way deeper and more heartfelt than most bands ever deliver.

You also get a hint of what they’ll become. Because this collection of songs, from the raucous fun of “Stomp” to the slow grind of “Through the Fire” from the bad ass lick that opens “Patience” to the down and dirty blues of “Mr. Hangman” could only have been created by a band that’s fearless about following their music where it leads, and has the skills to share what they learn on the trip. And it’s a trip they’re still taking: The Stone Foxes and their music continue to evolve, and continue to deliver live shows that blow the doors off of venues along the way.

When asked if there’s one thing that they want their fans to know, there’s no hesitation: they say they have a huge amount of fun playing live, loved capturing their work on the record, and that they wouldn’t be doing any of this if they didn’t.

Really though, that’s completely unnecessary to mention: one listen to the record, one visit to a gig, and all that is clear from note one.

Bio written by Bradford Schmidt

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