Quailbones interview with Corbet Hall and Tim Peyton

August 25, 2013

Quailbones interview with Corbet Hall and Tim Peyton

A lot of bands turn it up to eleven these
days but the thing is there’s not a lot of bands out there who sound like they
should be blowing the ass end out of a speaker on-stage.  When you hear one of ‘em though, you can tell
from the get-go.  The Quailbones crank it
to twelve and sound perfectly comfortable on top of the mountains of reverb,
echo and distortion!  And as much punk I
can hear rattling around in the din, I can hear just about as much straight up
60’s garage rock bleeding from the composition and execution as well.  It’s an utterly bizarre juxtaposition of the
way I usually hear and see those influences affect music and I think it just
might be utterly brilliant.  As hard as
it might be to label or classify exactly what Quailbones music sounds like it’s
easy to toss out reactions and feelings, catchy-as-hell, fun, loud, structured
and at once chaotic.  Did I mention
fun?  It’s not often that I feel like I’m
genuinely having fun when I’m listening to a band, but it feel like the
Quailbones are gonna take you out for a drink at the local pub when the singles
done playing.  I was lucky enough to have
picked up a copy of the super limited Wilbur Crane single last year and was
stoked to hear that they had a new single on the way!  I’m a fiend for music and I love some
Quailbones so I thought this was as good a time as any to track the guys down
and interrogate the hell out of them about the band, ha-ha!  I was lucky enough to get Corbet Hall and Tim
Peyton to take some time out of their hectic schedules and fill all of us lucky
folks in on the past, present and maybe even some predictions of the future for

while you read at: http://quailbones.bandcamp.com/
Do you come from musical households? 
Were your parents interested or involved in music at all?  How were you first exposed to music?
Not so much.  My parents weren’t
really involved with music besides listening to it in the car and around the
house.  That’s where I was first exposed
to music.  My mom was more about the
oldies and Motown hits and my dad was a classic-rock guy.  I do recall being frequently annoyed by my
mom’s constant need to scan the radio for the right song.
My mother has been singing since she was a young girl, some of my earliest
memories are of her singing hymns at church and around the house.  She still has a beautiful voice, could sing
that Susan Boyle woman right back to the shed. 
My father would always play a great assortment of Alan Jackson, John
Mellencamp and lots of rap music in the car. 
He also surprised me when I was a teenager by singing and playing guitar
in front of me for the first time, a song my great-uncle would sing to himself
while on missions during his service in WWII. 
I know both Matt (our guitarist) and Jeff’s (our bassist) fathers have
been playing guitar since their youth, and were in bands such as Brass
Boots/The Frogs ha-ha!
How did you first become interested in music?  When and how did you become interested in
writing and making your own music?
I started really getting into music at the beginning of middle
school.  At that age I was listening to
whatever came my way, some of it was teenage garbage and some of it I can still
appreciate.  It wasn’t until high school
that I had any interest in making music. 
There was usually a guitar around and someone would be playing it.  You can have a lot of fun singing out
whatever comes to mind and what’s great about it is that anyone can do it.  You might not want to share it, but it’s
always there for you.  One of the first
memories I have of playing music was during High School when Tim and I recorded
a bunch of songs by a local band called the Dishwashers with only an acoustic
guitar and a fisher price tape recorder. 
There was a lyric sheet that came with their album and we thought we
could do it better.  So without even
being familiar with the originals we went through each song as fast we
could.  I don’t believe the tape still
exists and that’s probably for the best.
When I was about seven years old I became involved with community
theater with a lot of the plays being musicals. 
I was involved with quite a few productions up until I started High
School, so that really instilled a creative confidence in me musically and
kick-started my interest in performing in front of people in general.  I became interested in making my own music
around the age of fourteen.  My father
bought me an acoustic guitar, showed me three or four chords.  Within a couple months I was coming home
after school and recording really dumb, simple songs on my computer.  A lot of children’s songs, sometimes just
myself screaming random phrases as loud as I could.  It turned into friends getting together,
sometimes with instruments, essentially making noise and having a good time;
teenagers being teenagers, trying to make each other laugh.  It didn’t matter what it sounded like, it was
ours.  Corbet, Jordan (drums) and I all
grew up here in Murray together.  Matt
(guitar) and Jeff (bass) grew up in the next town over and played in bands
together and had experiences very similar to ours.
Where are you originally from?
The majestic city of Murray, Kentucky.
Matt and Jeff grew up in Marshall County just a few miles away, the rest
of us are Murray babes.
Where is the band currently located?
Murray, Kentucky.
How would you describe the local music scene where you are at now?
It feels small at times, but it’s growing and that’s exciting.  Music scenes are up to the people who care
enough about the scene to make them succeed or not and in the past Murray
hasn’t been the greatest environment for local music.  It’s good to support and encourage
variety.  Even if it’s not your cup of
tea, you can appreciate the flavor exists for someone else.
It has been one of my greatest joys to watch Murray grow musically.  I remember being frustrated as a teenager
with the lack of variety in the little bit of original music that was being
made around here and the out-of-town bands that would come through.  There were some cover-bands that would come
through to play the local bars, but if you weren’t twenty-one that did you no
good.  Don’t get me wrong, it was never
completely dead.  Every few months there
would be a Christian metal show or a horror-punk show on the Murray State
campus and annual bluegrass festivals would go down in our community
park…  I appreciated and respected
those things as much as I knew how, but I just needed more; more variety and
more mutual respect/support.  All of the
things I mentioned still exist and still happen here, but there is so much more
now.  Rarely does a week go by where
there aren’t at least two or three different types of shows going down
somewhere in this town.  That might not
sound like much to a lot of folks, but having grown up here and seeing, and
hearing, the difference these days, it’s a wonderful thing to be a part
of.  People keep coming out to these
events whether it’s something they think they’d be into or not, just coming out
to show their support for whatever is going on.
Are you very involved in the local scene?
We try to be.  Tim works at the
only record shop in town Terrapin Station, and has been organizing shows there
for the past couple years which has really helped to improve the local
scene.  Jordan (drummer) and I also open
our home up to the public as a DIY venue called Tater-Tot Mansion.  So far this year we’ve been lucky enough to
bring Parquet Courts, Useless Eaters, Colleen Green and Glow God to Murray,
just to name a few.
If you’re in a position to provide a platform for something you think is
important, you better do it.  Bobby and
Valerie, the owners of Terrapin Station, allowing us to have bands play in the
shop has been crucial to the growth of original music being created around
here.  The amount of quality bands,
local, regional and abroad, that have been interested in playing there is amazing
to me.  The place has been open for
almost thirty years and from time to time would host daytime in-store
performances.  Wanting to try something a
little different, a couple of years ago we had some “trial shows” at
night with multiple bands playing, not charging at the door but encouraging
donations.  The turnouts we had and all
the positive feedback was enough to convince me to make it a regular
thing.  Connecting with near-by towns
such as Paducah and Metropolis, Illinois, forming friendships and connections
with people involved in music there has been important too.  A real regional, musical comradery has
sprouted around these parts that was sorely lacking for a while and it’s
benefited everyone involved.  Doing that
has helped in getting this area’s foot into the vast web of folks that are
interested in doing things for the right reasons.  It’s rewarding.  There’s a lot of quality and authenticity in
that web.  It won’t matter unless you
make it matter and a lot of folks have picked up on that here.  To watch that grow has been great.
Has it played a large role in the sound, history or evolution of
Absolutely.  Being able to bring
in bands we like and enjoy has been inspiring. 
It’s interesting to hear feedback on the music you’re making from other
bands and the people who come out to shows.
One of the first shows we had at Tater-Tot Mansion was with a great band
on tour called Diet Cokeheads.  They
played a spectacularly intense, noisy fifteen-minute set, terrifying about half
of the people there that didn’t know what they were getting into.  Theirs was really the first bit of feedback
about our music we received from outside of Murray.  It’s always nice to have local support from
friends and family, but getting a thumbs-up from an outside source gave us a
big boost of confidence.
What’s the band’s lineup?  Is this
your original lineup?
The current lineup is Tim Peyton – Guitar, Jordan Ferguson – Drums, Jeff
Bugg – Bass, Matt Rowan – Guitar and me Corbet Hall – Vox.  The original lineup’s only difference is that
Matt wasn’t playing with us.
Are any of you in any other bands? 
Have you released any material with anyone else?  If so can you tell us about it?
We’re all involved with other music projects to some degree.  Tim makes music as Secular Pets and I’ve made
music under the moniker Birthday Wars. 
The majority of our projects can be found on a compilation called Once
Upon A Time The End: Musical Offerings From Murray, Kentucky.  It’s available for free download through the
Ghost Orchard Records blog.
am absolutely loathe to label or classify music, how would you describe your
sound to our readers that might now have heard you yet?
It’s hard for us to classify as well. 
Somewhere between garage rock and post-punk.  Moon Punk? 
Your guess is as good as mine.
There are some seriously complex sounds kicking around in your music,
can you talk about who some of your major musical influences are?  What about as a band rather than individuals?
Thank you.  It’s difficult to list
all the music that’s influenced me over the years; I’m overwhelmed just
thinking about it.  Those early Modest
Mouse albums were huge in making an impact on my life.  I have no idea what happened to that band and
why they’ve dropped the ball.  More
recently I’ve been influenced by guys like Bradford Cox and the late, great Jay
Reatard.  For a good while now everyone
in the band has been mesmerized by the music coming out of Australia, anything
involving Mikey Young is always worth checking out.  He’s got the magic.
That’s kind.  Hearing Built To
Spill as a kid pretty much changed everything for me, musically or otherwise,
it made me look at the world in a different light.  Wilco, Guided By Voices, Pavement, all the
good stuff from Athens, and so much more, it sounded absurd and I couldn’t get
enough, it changed my brain.  Around that
time my friends and I also started listening to a radio show on WKMS, our local
college station, called Beyond The Edge, which was a bottomless well of great
music we probably wouldn’t have heard otherwise.  That was a huge influence on us and I still
listen to it today.  Realizing there was
a whole world of music out there that didn’t sound like it took itself too
seriously, but wasn’t any less thoughtful, really helped open my mind as a kid
and brought a lot of influence.  Finding
out where that stuff originated from, tracing it back and getting into all the
weird stuff in the hidden corners of the 60’s and 70’s has been a good journey.  Lately we’ve all been into a lot of
Australian music.  Marked Men and pretty
much anything Mark Ryan puts out, the Memphis and Goner stuff is always
great.  Atlanta punk, the Scavenger of
Death stuff, has had an impact on us.  I
too am overwhelmed with this question. 
It would be impossible to list everything!
Tell us about Quailbones’ songwriting process, is there a lot of
exploratory jamming or does someone approach the rest of the band with a more
finished polished product and work it out with them?
We never set out to make a specific sound or style.  Most of our songs are comprised by playing
around and working out the structure during practice.  If we all like it then we’ll move forward
with it.  Sometimes I’ll already have
words in my head, but usually I’ll go back and write it out afterwards.  It’s a very laid back approach.
We’re always trying to find that sweet spot between goofing off and
being “focused”.  When we can
find that place, we get the best results. 
Everyone in the band has their own self-taught style of playing, so it
often gets pushed in different directions and we feed off that.  I think we’ve grown to know each other well
enough to play off each other’s strengths, and we’re comfortable enough to be
able to admit when something isn’t working. 
It ends up sounding pretty weird that way, and hopefully, like its own

Do you enjoy recording?  I’m a
musician and while I love the final product there’s a certain sense of dread
that rises up in my guts when someone mentions going into the studio to record
I do, but I completely understand that sense of dread.  There are a lot of factors that play into
recording and all it takes is one thing to throw off the rest.  The fortunate thing about making music as
Quailbones is that we’re all friends, and being able to work on something
together that we enjoy is incredibly rewarding. 
So far no one has been put in the chokie.
I’m well acquainted with said dread. 
It actually overtook me for a little bit when we were recording the Lord
Dion 7” and derailed a song we were attempting, one that we’ve played together
successfully many, many times.  I psyched
myself out and just couldn’t get back on track, so we scrapped it for another
time; bad feels.
You released You Stay Out of My Family. 
You Stay Out of My Face on cassette tape in 2011.  Can you talk a little bit about the recording
of that album?  Where and when was it
recorded?  Who recorded it?  What kind of equipment was used? 

That was our first attempt at recording music as Quailbones.  It was a learning experience for sure.  We recorded the first four tracks at our
friend Austin’s house here in Murray.  He
had set up a small home-recording studio and offered to record us.  I believe he was using an older version of
Pro Tools.  Nothing too elaborate, we did
it all fairly quickly.  The other two
tracks were recorded by us in our practice space.  Down By The Water was a live take and
Sinister Soldiers was a poor attempt at using Garage Band.
Who released You Stay Out of My Family. 
You Stay Out of My Face?  Was that
limited and is it still in print?
We did.  It’s on Ghost Orchard
Records which is really our own little label. 
Ghost Orchard was created as an outlet for us and our friends to release
music.  It was a limited release of
one-hundred copies and is no longer in print. 
You can download it on the Quailbones bandcamp page though.
In 2012 Ghost Orchard Records released your debut 7”, Crane Wilbur
EP.  Was recording that material very
different than your previous cassette release? 
Where was that recorded?  Who
recorded it?  How many copies was that
limited to?

We recorded the songs on the Crane Wilbur EP at Loud and Clear in
Paducah, Kentucky.  Shelby Preklas and
Allan Ramsey recorded us and they’re great at getting the sound you want, so
that made things much easier.  Everything
was done in an afternoon, one of the quickest and most relaxed recordings I’ve
ever been involved with.  It was limited
to one-hundred copies as well.

know you also released a split cassette with Happy Forever.  Can you tell us about that album?  Where was it recorded?  Who recorded it?  What kind of equipment was used?
Happy Forever is Quaibones plus our main man, Scott Cook A.K.A. Scort Corfin.  We recorded it at Tater-Tot Mansion using a
Tascam 424 MKII Portastudio.  It’s
comprised from recording sessions that took place in the winter of 2011 and
2012; that’s when Scott comes to visit from Nebraska.

Who released that tape?  How limited
was it?  Is it still in print?
Ghost Orchard Records.  Limited to
one-hundred copies and is still in print.
You recently followed up the Crane Wilbur EP with a new 7” Lord Dion’s
House Of Discovery which was also released on Ghost Orchard.  Was the recording of this single very
different than the session(s) for the Crane Wilbur single?
Not really.  For Lord Dion’s House
of Discovery we returned to Loud and Clear and did everything much like before.

Shelby was kind enough to allow us to record on 1″ tape using an
older, but legit, reel-to-reel for that 7″.  That took care of the low end, allowing it to
shine on wax.  He got the drums and bass
to sound just like we wanted.

Has Quailbones released any other music?
We released The Day Ben Kingsley Sailed Away as a single video that was
animated and directed by our friend, Trevor Anderson.
Do you plan on re-releasing any of the out of print material either
physically or via digital means?
At the moment we’re concentrating on new music, but all of our releases
are available online to download for free through the Ghost Orchard Records
Are there any plans for a follow-up release anytime soon?  I missed You Stay Out of My Family.  You Stay Out of My Face and this single got
me amped for a full-length really badly!
I’m not sure what the next release for us will be but we’ve started
working on new material which will hopefully lead to a full-length.
With the recent international postage rate increases where’s the best
place for our overseas and international readers to get copies of your music?
Sorry State Records (http://www.sorrystaterecords.com/).
What about US readers?
Quailbones Bandcamp page (http://quailbones.bandcamp.com/) or Sorry
State Records (http://www.sorrystaterecords.com/).
What do you have planned as far as touring goes for the rest of the
We’ll be playing the Cropped Out music festival in Louisville, Kentucky
September 27th to the 29th.  A tour is in
the works, but currently we’re only doing a few shows here and there.  Our Blog (http://quailbonesband.blogspot.com/)
or Facebook page (https://www.facebook.com/quailbones) is the best way to keep
up with future shows.
You have played with some awesome bands, who are some of your personal
favorites that you’ve had a chance to share a bill with?
Whatever Brains, Parquet Courts and Useless Eaters are at the top for
Aw man, I won’t argue there. 
We’ve been lucky enough to play with some of the best bands I’ve ever
seen.  Definitely the ones Corbet mentioned,
along with Final Club, Glow God, Ampline and Shoppers.  It was surreal to have Kelley Deal’s new
project, R. Ring, come to town, having listened to her music for years.
Do you have any interesting or funny stories from live shows that you’d
like to share with our readers?

It’s always interesting to see what kind of responses we get when we
play shows locally.  In bigger cities
we’ve generally had positive responses to our sets, and for the most part,
people seem to be into it, or at least willing to give us an honest
listen.  When we play around here we
never know what kind of reaction we’re going to get, sometimes we’ll clear the
room with only our friend(s) left sticking around, sometimes we’ll draw quite a
few people in and get them to pay attention. 
Small-town reactions to unconventional things, especially music, are
always interesting.

the best place for our readers to keep up on the latest news like upcoming
shows and album releases at?
The Quailbones Blog (http://quailbonesband.blogspot.com/) or our
Facebook page (https://www.facebook.com/quailbones).
I’ve got a problem.  I’m
completely addicted to physical music. 
Having an album to hold in your hands, artwork to look at and liner
notes to read, it all makes for a more complete listening experience; at least
for me.  Do you have any such connection
to physical releases?
I know exactly what you mean and I couldn’t agree more with you.  The physical release is essential to music
for me.
Yep.  That experience can’t be
replicated.  Gotta have it
Do you have a music collection? 
If so can you tell us about it?
I use to have a huge CD collection that I started accumulating in Middle
School.  By the end of High School I had
hundreds of CDs, but I also began my transition into vinyl around this
time.  I took what I liked from my
parent’s collection and went from there. 
Sometime during college I sold my CDs and started seeking out music on
vinyl.  You can’t beat the sound of a
vinyl record but I do enjoy a good tape. 
There’s something special about that tape hiss.
I’ve worked in a record store for a long time, so I might have a bit of
an unfair advantage?  Even before that,
instead of getting an allowance when I was a kid, my dad would take me to
Terrapin every couple weeks and I’d get to pick out a CD.  I started collecting records when I began
working there, so I’ve accumulated quite a few.
I’m always curious whenever I talk to artists during the digital era
what their opinions are on digital music and distribution.  While it seems like it’s destroying a lot of
the decades old infrastructure in the music industry, it also appears to be
leveling the playing field somewhat for independent bands that are willing to
go the extra mile and promote themselves. 
What’s your take on digital music and distribution?
I can’t say that I have an issue with digital music.  It’s convenient to download music and throw
it on your phone or an iPod and take it with you throughout your day.  I think it’s especially great for new music
though, if you make your music available digitally you’re allowing a larger
audience the chance to check it out.  The
music industry has been in a terrible position for a while and I could really
care less about that side of it.  Music
should be in the hands of the musicians who make it, not the mongoloids who
only want to make money from it.
Tim: It’s a great tool that can be very
helpful if you utilize it correctly. 
There are pros and cons to everything, embrace the pros and learn from
the cons.
The other thing that I always make sure and ask is who I should be
listening to.  So, who should I be
listening to from your local area or scene that I might not have heard of
The fact that I have a few varied bands to recommend makes me smile, it
wasn’t always that way.  Based on peeking
through your site, the band you’d probably be most interested in from this area
would be Leonard the Band.  They’re based
in Metropolis, Illinois, a little over an hour away from Murray but play shows
here all the time; poppy, feel-good, psychedelic stuff.  Bawn in the Mash have been at it for a while,
they’re a psychedelic-bluegrass outfit, they’re probably the most well-known
band from the area and it’s neat to see them get the attention they do.  Voyage of Slaves are a thrash-metal band that
always put on a great show and bring a lot of heavier acts to the area.  Kentucky Vultures are a weird, thoughtful
rock band.  Shark Week do a fun lady
pop-punk thing.  The Savage Radley make
the prettiest songs around.  The Great
Gatsby Jazz-Funk Odyssey are the best jam-band we have, they keep it
interesting.  Paducah’s Oh Yeah Dakota!
have a nice bluesy-rock thing going and The Hi Fi Ninja rock and do a great job
of getting people out to shows.  I’ve yet
to see Terrapin Pond, but have heard good things.  All these bands are actively involved in
making sure original music is alive in the area and full of variety.
What about nationally and internationally?
So much great and interesting stuff out there it’s hard to know where to
start.  Whatever Brains from Raleigh just
put out my favorite album of the year thus far, so, so weird, Globsters from
Hazard, Kentucky, the opposite side of the state, that’s some of the wildest,
most chaotic stuff made by the sweetest guy. 
Onri are a great three-piece from Nashville that have grown into a dark,
droning, menacing act…  They’ve taken
it to a far-out place and it’s been fun to watch that happen.  Linear Downfall are another Nashville band
that are about as weird as you can get. 
Plenty of great, hazy stuff in Athens, Georgia, as I’m sure you’re
aware, especially all the stuff that goes down at Gypsy Farm; The Humms, Shoal
Creek Stranglers and Old Smokey, who recently put out one of my favorite
7″s of the year.  The Sensibles from
Milan, Italy are making super sweet, catchy tunes and put on a great show.  Touch A.C. from Louisville puts out some
mind-expanding hip-hop.  The Jackson
Purchase, also based in Louisville, make damn fine folk songs.  One of my favorite shows I’ve seen of the
past couple years was Deaf Wish from Melbourne, Australia; holy hell, highly
Thanks so much for doing the interview! 
Is there anything that I missed or you’d just like to talk about?
Anytime!  Thanks for giving us the
opportunity to talk about our music.
Tim: Thanks for reaching out!  This site makes me happy:

Quailbones – You Stay Out of My Family. 
You Stay Out of My Face – Cassette Tape – Ghost Orchard Records (Limited
to 100 copies)
Quailbones – Crane Wilbur EP – 7” – Ghost Orchard Records (Limited to
100 hand-numbered copies)
Quailbones/Happy Forever – Split – Cassette Tape – Ghost Orchard Records
(Limited to 100 copies)
Quailbones – Lord Dion’s House Of Discovery – 7” – Ghost Orchard Records
(Limited to 300 copies)

Interview made by Roman Rathert/2013
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