Buster Blue - The brigade of the imaginary cowboy

Ghost hunters and wandering musicians: with a name suggested in a dream by a mysterious cowboy, Buster Blue could easily be the protagonists of some old folk song. A gang of childhood friends who found their home in an America haunted by the spirits of tradition. Following the release of the new album by the Reno-based band, “Sleep Less Where The Heart Is”, we asked Bryan Moses Jones to tell us more about the Buster Blue adventure.

On your website you describe yourselves as a “family band”. Could you tell us something about how your musical journey began in the small town of Gardnerville?

We all come from different musical backgrounds, but we found a common bond in our love for marching bands and garage bands. Coming from a small town forces you to channel your focus either in a destructive direction or toward something better.

When and how did you get the idea to start a band?

I wrote a song called “Moonlight” (originally included on “This Beard Grows For Freedom” and later reissued in a new version on the EP “Still On Conway”, ed.) for a childhood friend of mine who had died after I graduated from high school. It was my way of telling her everything I wished I could say. I'd never been much of a folk music fan before that, but I found myself writing in that style and discovering my voice as a songwriter. It seemed only natural to ask my childhood friends to get involved. I don't think it ever crossed my mind to hold auditions or anything like that.

A curiosity: where does the band's name come from?

From a cowboy named Buster Blue, who gave me advice and song ideas in a dream.

Alongside the band's original core (Andrew Martin, Rachael McElhiney and Brendon Lund), a few new members have joined. How did the band's current lineup come together?

Our previous drummer, “The Drum Panda”, left the group last winter to go back home and marry a lovely lady. Billy Dohr, who used to be our tour manager, took on the challenge of teaching himself to play drums. Filly Corbitt, another new member, was my next-door neighbor growing up. They all switch off between drums, percussion, banjo, guitar, and so on.

Your previous album, “When The Silver's Gone”, was recorded on the stage of the historic Piper's Opera House in the ghost town of Virginia City, Nevada. Do you think the places where you play can have an influence on your music?

I think places definitely shape the mood. You have to have enough respect for the music to seek out and find the right setting for recording it. Recording our new album in an old house was perfect for the songs Andy and I had written, both sonically and in terms of the lyrics.

Was there any ghost you would have liked to meet during those recording sessions?

I actually did have an experience with ghosts while recording “When The Silver's Gone”. A window opened and closed on its own in my hotel room. I think it was after the whisky I'd left on the table. You can't be too picky about the ghosts you run into. It'd be a pleasure to meet one on the road.

What was it like recording and producing the new album?

We produced it ourselves, with one of the band members, Brendon Lund, acting as sound engineer. It was truly liberating to be able to work on things for as long as we wanted. It can also be a curse when there's no one there to tell you to move on. I learned a huge amount working with Zak Girdis and Kevin Bosley as producers before, but I feel we all became better musicians by having to steer the ship ourselves.

“Sleep Less Where The Heart Is” sounds more intimate and stripped-down. What difference do you see compared to your previous album?

We never want to repeat ourselves. This handful of songs worked best served with closer attention to the words and the story. I think that, lyrically, it's our densest album yet.

The songs on “Sleep Less Where The Heart Is” often deal with sleep, dreams and nightmares... Is there a common thread running through the album?

Both Andy and I have gone through similar experiences touring with the band. Even though our songwriting styles are different, I think we managed to find a group of songs with a common theme that could express what we were feeling. Everyone has their own take on what the album means. Personally, I like to think it's about someone reimagining their own life in a fantastical way while sitting in an empty house.

What do you think of the current folk/Americana scene? Do you feel part of it?

I'm a bit hesitant to attach myself to anything that could be considered trendy. Until a couple of years ago, it wasn't always cool to play the banjo. I think real musicians are more concerned with writing great songs and don't really care how trends come and go.

Is there any artist you particularly admire?

I've always been a huge fan of Langhorne Slim. Both for his music and his tenacity. I took his advice after a show about putting everything on the line to follow music. I have to admit, I really did listen to it.

In 2011, your cover of "Rex's Blues" by Townes Van Zandt was included in the volume of our OndaDrops project dedicated to outlaw country. In your opinion, what's the key to making someone else's song your own?

Generally speaking, people tell stories differently from one another. Playing someone else's song is a chance to tell that story in your own musical voice.

Your shows are described as very theatrical: what do you value most in a live performance?

The connection with the audience during a show is the most important thing. Music has the power to break down barriers between strangers. I think giving everything you've got at a show helps break the ice, building a deep bond between the audience and the band members, both on stage and off.

Is there any story from life on tour you'd like to share with us?

We love going ghost hunting. We've spent a lot of nights on the road looking for the dearly departed. We've been lucky enough to stay in quite a few haunted places.

The time a prostitute offered to have sex with "Drum Panda" in Denver, Colorado was pretty fun too…

In Buster Blue you often swap instruments. Which one is your favorite to play?

Mine might be the banjo or the electric guitar. I find myself smiling most of the time when I pick them up. Sometimes, though, I get jealous that Brendon gets to play the chains.

You made "Sleep Less Where The Heart Is" through a Pledge Music campaign. From social media to crowdfunding, what do you think of the opportunities the digital age offers artists to promote their music?

I think an artist has a shot at making anything work, if they put everything into it. Social networks have given a voice to groups that would otherwise have struggled a lot. It's like a room where everyone's allowed to talk loudly at the same time. You need to know exactly what you want to say to get something across to someone.

If you could collaborate with another artist, past or present, who would you choose (and why)?

Neutral Milk Hotel changed my perspective on what beauty in music can mean. I doubt they'd want to play my songs, but even just throwing a birthday party together would be enough for me.

What are your plans for the future?

We're at the start of a long tour. My current goal is to write as much as possible along the way and come home ready for whatever adventure comes next.

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