The High Lonesome Story

Part One - Many, many years ago (circa 1986) what eventually came to be known as The High Lonesome came together through a series of friendships, recommendations and good fortune.  Phil Ward and Larry "Dex" Poindexter were in an impov group together (Thin Ice) with Tim Frisbie, and had been fooling around with performing music in their show. Rehearsing in an empty apartment in Dex's building and generally mucking around, they worked with a couple of other members of the improv troupe (Phil on keys, Dex on guitar, Tim on bass and two other members on sax and drums) trying to come up with something for the show - ultimately failing to actually integrate it into their act. As Thin Ice ran its course,  Dex got a gig on soap opera "Santa Barbara" where he met fellow musician and actor Jon Lindstrom - they both saw the other bringing guitar/practice pads to their respective dressing rooms - and a plan was shaped to get together with Phil, Tim, and Jon's friend Don to jam and play covers, among them Badfinger's "No Matter What," Marshall Crenshaw's "Little Wild One (No. 5)" and long time live staple for THL "Mona/Hey, Good Lookin'." During this time, Dex discovered he and girlfriend Jane were being bought out of his apartment by their landlord. So they decided to have a going away party to the residence. A P.A. was rented, some extra lights strung up and friends invited to the back patio/driveway/garage for food, drinks and a concert by the boys. Two sets. Gary "Gig" Grantham - Dex's longtime best friend and excellent musician - showed up to sit in on guitar, tambo, harmonica and everything else. A fun time was had by all (and a recording made inadvertently on the home answering machine!). After the first public performance, Gig joined the group with the next rehearsal. 

Now, like everything, bumps, bruises, missteps and growing pains occured. As the band started to focus on original material, it was clear Don wasn't interested and soon left. A female singer - Lauren Sterling - was added and the band really started clicking.

We all thought we really wanted to "play out," but where? We wanted a nice gig at a decent club but none of us had a lot of experience booking bands. Then Dex decided to throw himself a birthday party and he decided to kill two birds with one stone by booking local mainstay, The Central. The Central was an iconic Hollywood club on Sunset Blvd. - originally dubbed Filthy McNasty's, it would later became The Viper Room - and it was available for cheap on a Sunday night in December. So invites were sent and our band - at the time we'd settled on the name "Hiatus" (since all the members were actors - Gig  had a theatre degree even if he wasn't currently using it ) - and we played. And it was a blast! Lots of friends came out and we had such a nice response that the owner - who happened to be present - offered us the opportunity to come back. And so we started writing more songs, practicing more often and preparing for some more shows. 

As we got into it, it became apparent that we'd be losing Tim. A great guy, but just not really fitting how the band was evolving. However, Lauren knew of a recent transplant to the west coast (also an actor) and who played bass and sang. Thus Jeb was introduced to us at a rehearsal and he just fell in so perfectly it was a no-brainer to have him join us. He and Jon jelled and suddenly we had a very tight rhythm section. It inspired new songs and arrangements of what we'd already done. Growth. Art. Fun. Eventually, we parted ways with Lauren (though I don't recall why and I'm fairly sure it was amicable) and our lineup was solidified with Jon, Jeb, Dex, Gig and Phil. We also decided on a name change for the band - Johnny Socko!  We didn't want to continue with a name that emphasized us being an "actor band" - we thought we were better than just an ego driven side gig. 

We continued playing around L.A. picking up gigs as our careers continued. Eventually after 2 or 3 years we took a break. Not really planned, but Jon was doing really well on the soap "General Hospital." Phil was doing great with improv and other gigs. Gig had created a fantastic business that he was running solo. Dex was getting steady work in TV and film and stage as was Jeb. and we just kinda let it fall by the way side.

Part Two - Jon is at the Farmer's Market and runs into a young woman, Julie Zeitlin,  who Jon knew via a manager. She'd worked for Interscope Records and seen us play, but the label wasn't interested at the time. However, she and her business partner Carol Magbojos had decided to start their own indie label and were looking for acts to sign. She asked about Johnny Socko! and when were they playing next. Jon told her he wasn't sure but would get right back to her. 

We didn't have a gig scheduled. We hadn't played together for at least a year if not longer. So he hopped on the phone, gave the band the skinny and we got back together to rehearse and see if we could get signed to a label.

We quickly booked a club gig - somehow - and invited Julie and Carol to come by and see. We pushed to get a crowd there and thankfully we did the gig and the club proud and sure enough the women's label - Spark Records - was interested. Negotiations were started and eventually concluded and we became the first signing for Spark.

The "Sparkles," as Gig named them, got to work and found producers and a studio for us to record in. Spark lined up Steve Plunkett  (of Autograph fame) and Tom Weir, who owned the studio in North Hollywood, to  co-produce the album.  The band started daily workouts at The Alley  studios, an iconic rehearsal joint started and run by Bill Elkins and his lady Shiloh, it had hosted everyone from Jackson Browne and Bonnie Raitt to Eagles, Tom Petty and even Paul McCartney and Stevie Wonder - quite a thrill for us to get to sign a brick like the legends before us! 

Plunkett sat in on sessions to help pick the final ten songs, offering guidance - like having Jon play to a "click track" to help set consistent tempo - and fine tuning arrangements as well.  As an indie label, Spark didn't have unlimited resources, so they set 10 days in the studio to record and mix the album. And THL was ready for that. However, as we planned for recording it became apparent that we'd have to change our band name again - evidently there was a popular Ska band in the midwest that was already using it and Spark had concerns. Thus The High Lonesome became our final moniker.

Recording began with Jon laying down the drum tracks over the first couple of days. We added bass, guitar and keys over the next week, tweaking as needed. And, of course, finally vocals. We had a couple of guest players come in, and Plunkett even added some BG vocals - as well as contributing a song (Good Book). Many hours spent waiting for others to finish their piece led to bouts of "BaKaZaa!" (Jeb's pool table game using no cues...you had to be there), and we'd listen, critique and encourage. It was the most musically creative experience we'd ever had. A joy to be involved in. The album was mastered, photos shot for a cover, a title chosen (one of Dex's oft-time used sayings) and production and marketing began. We hit the road in a ten passenger van, did meet-n-greets, played record stores, did early morning radio spots, and generally got the word out on the record. And it paid off! With the indafatigable efforts of everyone involved we got good reviews and the single "True Believer" charted on AAA  and Americana charts. We played and played...everywhere from telethons to brewery pubs

And then...

Well, like most bands and records we just couldn't quite get over the hump to major sales. As we continued to rock, we also had to address the need of a second album and where we were going with this band. We ended up in limbo. Spark didn't want or wasn't able to put us back in the studio and was actively shopping our contract...it was a sad situation.  At some point Jon's responsibilities to his rapidly rising star in soaps led to his decision to step back from the band. We were lucky to get Doug Stanny to come in and we continued to roam, pushing the album and making a slight bit of cash. Then Jeb made the decision to head back to his true home on the east coast (and Broadway!) and the band brought in Mark Allen. Eventually, our contract with Spark ended and we were free to go sign elsewhere.  So, this version of the band recorded a self-produced EP and signed with new management hoping to get a deal.  Showcases in L.A. and Nashville followed but, alas, no takers. THL had seemed to run its course....

However, with the advent of digital music online - which THL had never been part of - an idea was formed to put out a re-mastered version of their original album, plus the EP and two new songs recorded by the original gang. Thanks to modern tech, they recorded at home and put "Shannon Tweed" and "Silver Lining" on "The Collector's Edition." So now folks can find THL on all the major platforms...

In honor of the new album a reunion was planned - a fun rehearsal and performance. Jeb flew in from NYC, a rehearsal hall was booked and the band played a full set with much fun ensuing. 

And as they move through the years, mayhaps another reunion will occur...

Till then: "BaKaZaa!"