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Nashville Recording Artists


by Miriam Lucero with Jesse & Noah Bellamy


Jesse & Noah, your music paints a path of Country/Folk/Southern Rock sound. How did you two develop that sound? Besides your father David Bellamy, and your Uncle Howard Bellamy of The Bel- lamy Brothers musical influences, any others along the way? Jesse: We grew up in a multi-generational household. Our grandparents played records going back to Jimmie Rodgers and Bob Wills. Dad’s a baby boomer, so he had everything by the Beatles and Bob Dylan. Growing up during our time, we saw the development of the different styles that form the basis for most today’s pop music: hip-hop, punk, indie, electronic.


Noah: We’re all products of our place and time. It’s how you put those influences together that makes the difference. What’s interesting now to see so many artists going back and finding new ways to use classic sounds. It was kind of an oddity when we started recording. Everything was supposed to sound like “now,” no matter what the song required.


Noah Bellamy, you have some serious guitar playing in “Driven Back”, what age were you starting guitar? Who are your guitar influences? First guitar you received or bought? Do you have a favorite guitar? Noah: I started taking guitar lessons around age 11. Early on, I listened to the classic rock guys, Jimi Hendrix and Dickey Betts. Later, I got more into jazz players like Wes Montgomery and George Benson. The first gui- tar that I got that was really mine, not borrowed from another family member, and was a 1980 Gibson Les Paul Deluxe. I still have that guitar and I record with it a lot. I don’t bring it out much, because it’s very heavy. I did bring it when we played the Charlie Daniels Volunteer Jam, because I knew everyone there would have an old Les Paul. I didn’t want to be “outgunned.” I’m not sure I have a favorite guitar, but I’ve been favoring an early ‘90s G&L ASAT lately.


Jesse Bellamy, you carry some interesting vocals, in “Pushing Off to Oblivion”, I hear a little Pink Floyd/Van Morrison sound. How was this song developed? What state of mind were you in? Jesse: I had the basic idea for the song for a long time. It started really coming together when we were jamming on it with our drummer, Her- schel Van Dyke. We set up a few microphones and jammed on it for a few hours. We came up with a version that we really liked, but it went on about 40 minutes too long.


(continued on page 42) HORSE & AG MAGAZINE I AUGUST / SEPTEMBER 2018 41


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