Fossil Blossom Studio

Cory Taylor Cox /// EXTENDED PLAY /// May 9, 2016

Link to original blog HERE

Not too terribly long ago, I worked as a production coordinator in a vinyl-record manufacturing plant where everyday I walked bands/labels/artists through the process of pressing a vinyl record. By luck of he draw, I met a fellow named Cory Taylor Cox via a local order placed. At that time I had been working with assigned clients long enough to know the novelty of a savvy, organized and kind one. Ever meet anyone who felt like you had already known forever? Those were always my favorite projects that made so much of the stress worth it-- when I was able to assist with a record/label I was really rooting for.

      Cory was beginning a label venture called Sons of Old Town Collective and his first release (as well as first vinyl project together) was a Christmas 7" that proved to be a delight to work on regardless of any typical manufacturing setbacks, mostly due to Cory's ultra-positive demeanor and work ethic. When I found out Cory was stepping into his own as an artist outside of his Sons of Old Town duties, I was thrilled and not the least bit surprised. We decided to catch up at a favorite local Nashville haunt and discuss his new EP and what lead up to it. Check out www.corytaylorcox.com for more details, high-res pictures and songs available for pre-order and streaming.  


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Most folks aren't aware of all the steps that go into actually plating and pressing a record. When we first worked together on your Christmas release, what surprised you the most about the process that you weren't aware of yet? 

I was really fascinated by how delicate, intricate the process of making a vinyl record was. Especially cutting the master, and then examining the grooves with a microscope to make sure they were right, what a skill to develop! Also it was very interesting how different colors of vinyl pellets were mixed to make custom color records, from splatters to the 2 tone split or trivial pursuit piece looking records where the colors are arranged by hand for each record.

You're doing a limited edition release of Extended Play on vinyl available for preorder now. For those of us in the music business and music fans alike, anything like that takes a lot of thought and effort in order to make it extra special. Why is it important to you to not only support the vinyl resurgence, but to also add to the collectability and novelty as well? 

Music is an investment, whether you’re a creator or an appreciator. The culture of music consumption has changed so much since the popularity of the internet, now a lot of music is only observed at-a-glance. I want to make music that creates an experience for listeners and collectors. For me, going to a record store, putting a record on a turntable, having a collection that you can show off, swapping stories and recommendations, those are infinite experiences. I invest in the bands I love; it’s a symbiotic relationship. I don’t buy records for charity, the artist gets my financial support (and acknowledgement-- for an artist that’s priceless) and I am privileged to continue enjoying their music. I want to fix the music that I’ve dedicated time and energy to in a tangible format that fans and friends can take home with them, share with friends, save for their kids, create memories. I think vinyl is a great way to do that. 

You're from a little bit of everywhere in the Southeast, all with a rich history of a music. What's the best contribution those experiences have given you for Extended Play?

I grew up in Booneville, MS (near Tupelo… ya know? Elvis.) It’s a small southern town that I didn’t really appreciate as much as I should’ve when I lived there. But looking back the simplicity of a place like that is something to be admired. Northeast MS Community College (where I graduated as a voice major) is where I first met Charlie Hardin Murphey. Charlie wrote the song “For a Gentleman” with me.

I moved to Florence, AL for college. Another small town, but one with a rich musical history. Visiting studios like Fame (where Aretha Franklin recorded) and Muscle Shoals Sound (Rolling Stones!) hit me so hard. I remember the smell of the old wood in FAME and the cool draft from the concrete walls at 3614 Jackson Highway.

Memphis, the obvious geographically reference in the new EP is my birth-city. When I was old enough to drive I’d go to shows there on the weekend and started playing my own music in the suburbs. Like the Shoals, the history of Memphis music and culture is something I really hold dear as part of my identity; Al Green, Sun Studios, Booker T & the MG’s, Stax Records, all the way to Justin Timberlake and Three 6 Mafia. When I moved back to Memphis after college I worked at the Rock & Soul Museum. I enlisted Memphis musician Joseph Barrios to write “Memphis Kids” with me. The song is an inside look at our journey through the Memphis music scene from playing coffee shops to the New Daisy on Beale and P&H Café in Midtown.

To be a musician in the Southeast, Nashville seems like a practical place to call home. Collaborating with old friends and making new acquaintances can open up so many creative doorways. And in Music City USA, those doorways are often just 3 houses over. 

What are the top 5 records you want the whole world to know they need to go to their local record store and purchase right now? 
Only 5? well, I made a list of 12 but whittled it down. These records are euphoric...
Michael Jackson – Thriller
Willie Nelson – Red Headed Stranger
Colour Revolt – Colour Revolt EP
Water Liars – Phantom Limb
Langhorne Slim – Langhorne Slim

Need a little Christmas in [almost!] July? You can stream the songs and purchase your own copy of the Sons of Old Town Collective Christmas release we worked on here:https://sonsofoldtown.bandcamp.com/