The Road To Freedom - Conversations With T.M. Souders.

I'm really pleased to be featuring author T.M. Souders this week. I first met Tia around a year ago when we were participating in some cross promotion activities for our respective novels "The Hambledown Dream" and "Waiting On Hope". At the time, I reviewed Souders' "Waiting On Hope" describing it as an engaging and absorbing work with fully realized characters, dense and intelligent plotting and romantic as well as dramatic tension. I also observed that it didn't walk a traditional path towards absolution - a quality that I found really satisfying in her work, so I was assured that Tia would take that approach to her writing forward. 
  
And, true to form, Tia hasn't disappointed. This past Monday, September 17th Tia's new novel "Freedom Road" hit the shelves on Amazon and already, the buzz is that Souders' has delivered yet another richly imbued tale filled with all of the ingredients that made (and continues to make) "Waiting On Hope" such a hit with fans. I have to admit to feeling a sense of kin-ship with Tia in her efforts to translate music to the page in a literary sense and I think that she totally has the smarts to do it well.

So the guff on Freedom Road is thus:


Since the tender age of eight, music served as Samantha Becker’s source of solace against her father’s tyranny and her mother’s alcoholism. Now at eighteen, her only dream is to study classical guitar at Juilliard. But when her father’s careless actions lead to an “accident,” which threatens her ability to play the guitar, Sam becomes despondent. Losing all confidence in her future, Sam hides behind the emotional barriers that have protected her for years.

Just when Sam has given up, two unexpected people enter her life, giving her the confidence she needs, and forcing her to evaluate all she’s ever known. Battling her father’s plans for her future, band mates using her for personal gain, and a permanent injury, the odds are stacked against her. With auditions approaching and time running out, Sam must relearn to play the guitar, or be destined to give up her dreams forever.


In some early conversations with Tia, the research curve on this novel was a huge step up from her previous work, such that she was required to explore music and guitar in order to bring a sense of realness to the page and her protagonists' journey. Tia revealed to me her limited musical experience which presented some challenges.

"I played the violin when I was younger for about a year, grinding away with my bow, until I moved on to something else. Thus, writing Freedom Road was a bit of a challenge for me. I knew little about the guitar, so everything put into the book relied on my research. I wish I had more personal experience with the guitar. I've always been awed by those who play and, frankly, a bit envious. 

Okay, a lot envious. 

This particular book, in general, was a struggle for me. It took me three complete rewrites, front to back, to get it right, and that doesn't include revisions and edits. I have to say I was inspired by my own character though. I now have a beautiful black guitar waiting for me to play it. So far, I've only self-taught myself to the extent of Amazing Grace. Now, if only I could just stop writing and find the time to take lessons!" 

- T.M. Souders.

An additional challenge for Tia was portraying a young musician who has to overcome significant physical challenges in order to chase her dream. During the research process, finding people cognisant of disability and music  - even those for whom guitar is a daily passion - was an almost insurmountable problem.

"In my novel, the main character has an accident which leaves her with one less finger on her fretting hand," Tia says. "I tried calling local guitar shops for advice and information on what a person would do if they were missing one of their fingers, but honestly, they were of little help. None of the instructors had experience with teaching someone with a missing digit. Most of my knowledge of the guitar and playing came from information I found through tons of research on the internet. When it came to my character, Samantha playing in some of the more vital scenes to the book, particularly the last scene, I had to figure out a way to “show” her playing through words, which was certainly difficult. I think music, in essence, has so much emotion tied to it, and those who play like the character in my book have so much passion, that I pulled on her emotions for the descriptions of the music she played." 

- T.M. Souders.

T.M. Souders was born in Johnstown, Pennsylvania and grew up in the suburbs outside of Pittsburgh. She graduated in 2004, from Youngstown State University, with a degree in Psychology and minor in Women’s Studies. She is the author of best-selling women’s fiction novel, Waiting on Hope, as well as the novelette Dashing Through the Snow and the newly released young adult/crossover novel, Freedom Road. In her spare time, when she is not writing, she is an active volunteer for the World Literary Cafe, a site dedicated to authors and readers. T.M. is an active presence on the Twitter-sphere and is an engaging presence, readily interacting with authors and readers, discussing trends in the digital marketplace and is happy to act as a sounding board in the exchange of opinions and ideas. Oh - and she has a really infectious smile - doesn't she?? I mean, seriously! She currently lives in rural Ohio with her husband and children.

Purchase "Freedom Road" here.

Purchase "Waiting On Hope" here. 

Connect with T.M. Souders here.

Tweet with T.M. Souders here. 

DFA. 

Then Came The Sun by Trainwreck In Sarasota.

I've talked about the work of singer/songwriter Rob McCann previously when I took a look at his début E.P. "The Narrow Escape" back in 2011. Under the stage name of "Trainwreck In Sarasota", I enthused about his talents as a songwriter at the time, but I was also taken by his exquisite talent with the guitar combined with his nuanced vocals which made him one of the stand out musicians of 2011. 


Well, Rob is back and has just released a follow up E.P. entitled "Then Came The Sun" via his Band Camp portal.

The E.P. comprises four tracks of unadorned beauty, again showcasing McCann's skill as a song smith, instrumentalist and vocalist. Recorded, once again, in a stripped back fashion in Oklahoma, McCann delivers a varied musical palette that, from a story perspective, traverses themes such as reflection, determination self doubt and questions of endurance in an industry that favours polish over substance.


His vocals are complex as he marries them with superb guitar instrumentals that are acoustically wondrous. His chord progressions a crisp and he favours a use of minors and sharps over straight up conventional chord groupings which makes for a more interesting sound form. 


As I was listening to Then Came The Sun, I was reminded of a passage from "Every Man For Himself by author Beryl Bainbridge. 


'Think of music," he said. "Why is it that we are most moved by those works composed in a minor key?" 


It's a obscure reference I know but it is entirely apt.


I really wish that I had been acquainted with Rob's work during the period in which I was writing The Hambledown Dream. In early incarnations of the novel, I'd expanded my protagonist, Andy DeVries, repertoire to include both vocals as well as guitar but I opted to go for a pure instrumentalist in the final cut of the novel. If I had known of Rob's work back then, I most certainly would have infused his musical influence into my characterization.  


McCann is an artist in the truest sense and there is a patience and deliberate quality to his compositions that is so appealing because it is honest. Honesty in music is an increasingly rare commodity. 

"Then Came The Sun" can be purchased from Rob's "Trainwreck In Sarasota" Band Camp portal. How this works is that purchasers can nominate an amount they would like to pay for the artists work and are then able to checkout securely. It's a wonderfully democratic way to purchase music, so long as one respects the time, effort and sweat the artist has put into their work. 


In the case of "Trainwreck In Sarasota", no less than his heart has been poured into these tracks, so it is deserving of a proper reward.


Buy "Then Came The Sun" here.


Follow "Trainwreck In Sarasota" here.


Tweet "Trainwreck In Sarasota" here.


DFA. 

Train Wreck In Sarasota - There Need Be No Other Title.

Continuing on my journey of musical discovery, this week I'd like to share with you the music of Rob McCann whose acoustic project "Trainwreck in Sarasota" is turning heads - and ears - in all the right ways.


McCann's newly released EP "The Narrow Escape" has just landed through McCann's label Basement Session Records as a follow up to the 2010 release "Something To Call Your Own" and both releases herald a unique take on the trident of singer/songwriter/guitarist that is all at once refreshing and familiar but never stagnant. So it's worthy to explore both pieces as a way of showcasing McCann in his entirety.   


Upon first listen to "The Narrow Escape" I was greeted with the most satisfying of acoustics and I imagined the performer having set himself in some sort of disused apartment building or warehouse with high ceilings, exposed double brick walls and solid timber floors - tall windows along one side, letting in fractured light through dusty glass. Such environments lend themselves to a raw and organic sound that takes you into them - they are tactile and sensual - something that can oft be missed from the crispness of the studio. I often talk about good music's ability to evoke vivid imagery and Trainwreck in Sarasota achieves this handsomely.

Cover art for "The Narrow Escape" (2011 Basement Session Records).

McCann's playing is intricate and complex and by this I mean he doesn't simply stick to safe chord progressions nor labor on one particular rhythm. His instrumental pieces are in and of themselves a dance where the guitar itself is the vocalist and he achieves an almost classical flourish to what is otherwise indie/experimental folk and blues. This is what impresses me most about the performances on both releases - though I tend to favor "The Narrow Escape's" depth of musicality, which is merely a personal preference and in no way diminishes "Something To Call Your Own. As an artist - be it a musical or a literary one - we tend to pride ourselves on our first productions.  


Trainwreck in Sarasota' songs are lyrically appealing and McCann is a songwriter and lyricist of considerable talent. His songs on both releases range through the territory of deep emotional reflection, dealing with such abstracts as depression, substance abuse, fear and loathing as well as soul searching, love and absolution. As vocalist, McCann has a range and a rawness that suits the folk/blues sound of his guitar. It is honest and passionate, reflective and melodious. Most important of all - it is unquestionably individual, which is so refreshing to find in among the dearth of manufactured music that has swamped the mainstream in recent times.

Trainwreck in Sarasota's Rob McCann.

I don't like to compare musicians with one another because I think it can sometimes be unhelpful but McCann himself does cite as musical influences the likes of The Decemberists, Jeff Martin, Hawksley Workman and The Weepies. I myself, was reminded a little of Colin Hay, Chris Whitley and even Seasick Steve. The quality of Trainwreck in Sarasota's sound, combined with McCann's vocal presence, song writing smarts and guitarmanship make him worthy of being mentioned in the same breath. If there were any criticisms at all to make of Rob and his music, it would be to simply say that his sound is crying out for the addition of a session band and some additional harmonies.


"The Narrow Escape" and "Something To Call Your Own" are both available through McCann's official site and, while both recordings are free, I would encourage prospective listeners to kick in with a donation. Both works are highly deserving given the care and attention that has gone into them. 


The final word on Trainwreck in Sarasota, to me, is luminous. Go get yourself some.


DFA.