Having the FireDisc on the road is the perfect grill. With its size, we can cook burgers, fajitas, breakfast tacos, etc., for twelve people with ease. And the setup and clean-up is easy, which makes it even better. No more fast food for us!”
Somewhere on the shores of Lake Travis, just outside of Austin, there’s a house with a blue tile roof.Truth be told, there may be more than one place that fits that description.If you had hiked up to this one particular place during one particular stretch of days last year, you’d know you were exactly where you were supposed to be. You could tell by the music. Somewhere inside, Kyle Park and his studio band were rattling the walls with one hard-hitting, crank-it-up song after another. Those who had followed Park these past 10 years or so would recognize his sound – raw, heartfelt and rooted in the honest-to-God, real country music.But they’d also notice something different – a tougher edge, a beat that slammed a little harder, guitars that slashed and sliced with a more aggressive attitude.
Yes, this was Kyle Park. No doubt about it. Specifically, it was an invigorated Kyle Park, adding a jolt of rock ‘n’ roll intensity to the mixture of Strait, Waylon, Cash, Haggard and more than a dozen other influences that had helped define his unique artistry.
The good news was that he was recording all this as it happened. Best of all, it’s coming your way on Park’s new, self-produced album, aptly titled The Blue Roof Sessions, released by Thirty Tigers.Key to this expansion of his style was his decision to not record the basic instrumental tracks in a traditional studio. “Recording in the house, the idea was to use the feeling of being in a house to go for an open feeling, something really big, with the drums very prevalent in the mix,” he explains. “It wasn’t about making a rockin’ album as much as making an album where the music comes first.”
This meant, first of all, that there was no clock ticking the minutes away toward the end of time booked in a commercial facility. “Sometimes we’d do two songs in a day,” Park says. “Sometimes we did three. Sometimes we didn’t even produce one. The point is, we just kept working until the song felt right. I remember being in the house and thinking, ‘Alright, we’re gonna cut this unfinished song. Once we get to a point where I’m not sure to go lyrically, we’ll let the music take us there.’ And if I felt like it should go to the IV chord, not the I, or it should go to a bridge instead of a solo or a pre-chorus or whatever, I would write the lyrics around that.”
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