Stoll Vaughan
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Stoll Vaughan

Los Angeles, CA | Established. Jan 01, 1998 | SELF

Los Angeles, CA | SELF
Established on Jan, 1998
Solo Folk Singer/Songwriter

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"Goldmine Quick Picks"

Here’s an L.A. singer-songwriter originally from Kentucky
with verve, daring, vigor and an acuity of vision. One can
lose one’s self in his thought-provoking lyrics while grooving
to his instant old-friend voice. Like Mining Dylan lines for
golden meanings, in “Roll On,” Vaughan writes of “dreams
behind me, dreams ahead/to be broke down in the middle/I
would rather be dead." - Mike Greenblatt


"The Conversation Album Review"

Included on this brilliant new album are backing musicians such as Mike’s Mellencamp bandmate's Andy York on guitar, drummer Dane Clark and keyboardist Troye Kinnett, on tracks produced by Wanchic. Tracks produced by Broemel, you will hear Broemel himself along with MMJ bandmate Tom Blankenship on bass for 'Own The World.'

From the off, the vocal journeyman showcases what's to come on the splendidly atmospheric Americana cut 'Roll On' ("The road is shorter the further we go. Can't find answers to questions we don't know") and backs that up seamlessly with an acoustic live version of 'I Was All Alone' - my personal favorite on this quite stunning new album.

'Forgiveness' ("I've got voices in my head, that get me up and out of bed ... I've got ghosts here in my way, yeah, they haunt me every day") is next and then Side A comes to a close with the upbeat, jangle guitar work of another acoustic live cut, 'Low Down.'

'Bear Witness' kicks off Side B perfectly, and keeps all that's great about Vaughan's songwriting skills embedded throughout, and that's backed by 'Good Love.' A delicate, deep reaching moment of storytelling, it captures the essence of a great songwriter at his finest.

My second favorite track here is the beautiful roll-on flow of 'In My Arms,' an Americana ballad of the highest order. This second side then comes to a close with the gentle, tenderly acoustic guitar and vocal work of musical wonderment, 'Own The World.'

The Conversation via Digital Download includes these extra tracks: 'Further Down The Line, featured in the film The Open Road, 'Hurt No More,' 'Weatherman,' 'Change,' and 'Meet You In The Middle,' heard on the finale of hit TV series The Office.

This is a Limited Edition Blue and White 12" Starburst Vinyl out via All Welcome Records and was released on June 29th, 2018. The vinyl LP also contains a Digital Download link. - Russell Trunck's Exclusive Magazine


"The Conversation Album Review"

Stoll Vaughan, The Conversation. Folk music twists and turns in endless permutations, but at its core it is a person and their song standing up to the world. It's easy to add on instrumentation to underscore its strength, but it comes back to the artist writing their words and then singing them. Stoll Vaughan has been walking the folk road for 20 years, and has come to the spot where it now all adds up. His new album was recorded in two Nashvilles—Indiana and Tennessee—by two different guitarists. In Indiana, Vaughan worked with John Mellencamp co-producer and guitarist Mike Wanchic and in Tennessee with My Morning Jacket's Carl Broemel. Both sessions yielded the kind of songs that feel like they will be around a long time, moving listeners to use them as something to hold on to and hopefully make sense of what can sometimes be the senseless. People are that way: what starts out as a spark-filled affair doesn't always last long. And when it does there's often enough confusion to go around. That's why Stoll Vaughan songs like "Forgiveness," "Bear Witness," and "I Was All Alone" carry a sense of permanence. They come from a hard-earned understanding of what adults are capable of, but also offer a guiding hand to healing. Vaughan has had his music in television shows and in movies, as well as on best-selling album charts. Now it's time for when it moves into a place where folk music lives best: inside the human heart. Hurt no more. - Morton Report/Bentley's Bandstand


"Our Need For Music"

Listening and hearing are two different things. Hearing is more about perception, as in some driver’s car horn asserting a right of way in traffic, or a dog barking in the distance; the crowd at a football game or a food vendor hawking the best sand- wich this side of anywhere. Listening is entirely different. It’s the idea that you give your awareness to the sound, taking notice, turning your head, paying attention; you begin a journey with comprehension and (hopefully) arrive at enjoyment. The difference between hearing and listening is why I ended up working in the music business for so many years.
Once heard, a great song, a great recording is not forgotten. It isn’t the ear-worm of a bad (and likely annoying) advertising jingle, but rather an emotional connection to something that connects with and within us. Twenty years ago a group of neuroscientists (in Nature Neuroscience, 1999) posited that
“Music has an extraordinary ability to evoke powerful emotions. This ability is particularly intriguing because, unlike most other stimuli that evoke emotion, such as smell, taste or facial expression, music has no obvious intrinsic biological or survival value.”
All that being said, I don’t need a neuroscientist to tell me
when a great record is playing. My brain (and heart) tell me that in seconds, or even fractions of seconds.
Art is personal. Accept, for the moment, that radio is always playing to an audience of one. Radio programmers are often taught to think and perform that way: talk on the radio as if you're speaking to just one person. Whether the station has thousands, tens of thousands or hundreds of thousands of listeners, the audience is always an audi- ence of one: you, me, her, him. Even when two or three of us are trapped together in a car on California’s roads or highways, most of the time if one member of the group says “did you hear that”, the likely response from the other passengers is “huh? Hear what?” That’s why I love radio. It’s personal.
Some six weeks ago I was returning to the Mendocino Coast from the San Francisco Bay area. As I got somewhere north of Marin County I pushed the button on my car radio for KRSH, The Krush. It’s a predominantly Americana station situated in the middle one of the most famous wine-regions of the world: Napa and Sonoma counties. Hence, KRSH (crush, as in grapes....) The midday host was about to begin interviewing a recording artist, singer/songwriter, and as she introduced her guest I wasn’t certain I heard the name, but the interview was worth the listen. At some point she told her audience she wanted to play a cut from the new album by Stan, or Steve, or Stu. I wasn’t certain just what his name was, but when the music started I re- ally didn’t care about his name. The track was “Forgiveness” and for the next 3 1/2 minutes I was only about this amazing song with haunting lyrics.
"I got voices in my head
Get me up and out of bed
I’ve been busted and I’ve been burned
My heart is beating but you know it hurts
And I can tell you every name
But that will never change anything
I ain’t saying I’ll forget it
Or their wrongs will ever be right
We’re just talking about forgiveness
And how it gives you back your life."

So simple. Whatever the hurt, forgive, and that forgiveness will give you back your life. The bridge in the song reminds us (particularly those of us who’ve been married for more than a few years) that
"I know it’s never easy
Being torn apart
Forgive to be forgiven, It will open up your heart."

As happens to many of us, I assume—because I know it happens to me—I couldn’t get enough of this song, this recording. Arriving home in Mendocino County I immediately tried to figure out just who was this guy on the radio. Some internet surfing, including a look at the KRSH website and, voila!, I had his name: Stoll Vaughan. Like any music lover bordering-on-groupie, a couple of weeks later I had a phone conversation with Stoll. First, it’s pronounced “stall”, not “stole”. (Stoll is a family name.) He’s from Kentucky and now calls Los Angeles home. “Forgiveness" is not his first song, and The Conversation is not his first album. As the saying goes, this is not his first rodeo. Stoll’s Kentucky origin didn’t surprise me, as all those years having traveled to and through Nashville (not to mention the film project I did with the Bluegrass Music Association some 20+ years ago) immersed me in con- versations with the sounds of a rural and cosmopolitan mid-south gentleness. He’s had education at Michigan’s Interlochen
Boarding High School—one of the single best possible schools for an arts-oriented teenager. The Conversation was recorded back near Stoll’s home turf, using studios in Indiana and Nashville, with help from players like Duane Betts (son of Allman Brothers alum Dickey Betts), and Devon Allman (son of the late Gregg Allman), producer Carl Broemel and others.
Stoll’s album has more than one cut, by the way. There are 13 tracks offering a listening experience just under an hour. “Bear Witness” “Weatherman”, “Meet You In The Middle” confirm his authenticity as a solid songwriter. And happily, like I experienced in my glory days in the music industry, it only takes one track to get someone’s attention, and then, like a good deed done to you, you’re duty-bound to pass it on. We no longer have hundreds of Top-40 radio stations, helping break an artist. Today we have to help music along, by passing the knowledge in conversation, in email, and through social media. If you frequent a bar with live music, let the owner know about your discovery. I’m passing “Forgiveness” on to you so that you can discover Stoll Vaughan for yourself. While you're at it, take credit for his success too. Stoll won't mind and neither will I. - Lighthouse Peddler/ David Steffen


Discography

Hold on Thru Sleep and Dreams 2005

Love Like A Mule 2006

Weatherman 2010

The Conversation 2018

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Bio

Originally hails from Kentucky. His first two records “Hold on Thru Sleep and Dreams” and “Love Like A Mule” were in the Top 10 on the Americana charts. Stoll has toured all over the United States and Europe. He has played venues such as Red Rocks, Hollywood Bowl, The Troubadour (NY and LA), Jones Beach. He has played Farm Aid. He was in the top three at the Telluride Bluegrass Festival songwriting competition. He has toured with the likes of John Mellencamp, John Fogerty, James McMurtry, Marty Stuart and opened for a Def Leppard/Journey co-bill (to name a few). Vaughan made his way to LA via Nashville, where he now resides. His music has been featured in major motion pictures and television series such as True Blood, Friday Night Lights, Shameless, The Office, The Open Road and composed music for David Lynch’s Webby Award winning Internet series Interview Project.  Vaughan helped develop, co-produce, and co-write for recently released Sketches of American Music, the debut EP by Duane Betts, son of Allman Brothers Band guitarist Dickey Betts.  Stoll then became the co-writer for the Allman Betts Band, co-writing their debut record, "Down To The River," and follow up record, "Bless Your Heart."

Stoll Vaughan’s last record "The Conversation," was co-produced by Carl Broemel, guitarist of My Morning Jacket and Mike Wanchic, Mellencamp’s longtime guitarist and co-producer.  The album’s title, Stoll says, signifies “being in a continual conversation regarding people, God, and the fears we carry around—and how music interplays with everything emotionally and spiritually."  Mike Greenblatt of Goldmine describes it  “…one can loose one’s self in his thought provoking lyrics while grooving to his instant old friend voice…”

Vaughan will be releasing his new solo record "Desires Shape" in April 2020, Stoll’s fourth studio album.  It uses the minimalism in its approach, stripping away the band and inviting the listener to be in the room. The intricate guitar, poignant lyrics, and traveled voice deliver what many fans of great songwriters are looking for.  

Vaughan will be doing a solo tour along with opening for The Allman Betts Band, promoting "Desires Shape."



Band Members