Advertise on podcast: Dealing The Mobile Sound

For Chris Spies, making music has always meant figuring it out as he goes. From his first gig on the back of a trailer at a high school keg party to twenty years on the road with the Honey Island Swamp Band, Spies has built a career around improvisation, experimentation, and the search for new sounds. He looks back on playing in Mobile bands and the local clubs that gave musicians room to take chances. He shares tricks learned from years of touring—including the fake fingernails that saved his fingers—and stories from the Honey Island Swamp Band’s infamous tour bus, the Death Star. Spies also talks about circuit bending, co-writing “Sugar for Sugar,” and Chaosmosis, his new album. He also explains why Mobile audiences are his “weighted bat”–if he can make a song work here, he knows it’ll work anywhere. Plus, Chris shares the story behind Wynterfest, which honors his late brother, Wynter Baynes, and a lesson he learned along the way: don’t wait to meet your heroes. Listen now to Dealing the Mobile Sound.

Mobile has always had great music, but few bands are bigger in the city’s musical history than Wet Willie. In this episode, Eric Erdman sits down with one of the band’s founding members to hear how an unexpected phone call helped launch a remarkable career. What was supposed to be a two-week gig in Panama City brought together five musicians who barely knew one another—including a young blues guitarist who showed up to rehearsal with no amp, no guitar case, and a piece of rope for a guitar strap. This new, young band went from playing covers to suddenly needing original songs of their own, writing for the powerhouse lead singer and finding the sound that would become Wet Willie. Before long, they moved to Macon, Georgia, became the second band signed to Capricorn Records, and took their place in Southern rock history But this is also a story about coming home. After a long and successful career, Rick returned to Mobile and started Studio H2O, creating a place where local musicians can make records without leaving town. With the help of Catt Sirten, he also reconnected with Mobile’s live music scene and discovered a new generation of artists carrying the tradition forward. As Rick puts it, Mobile musicians are always coming up with music that is “just astoundingly great.”

In this episode, Eric sits down with Jenna McClelland, a singer-songwriter who grew up with music in her family—her dad was a songwriter and session guitar player. Jenna’s childhood dream was to be a pop star, but she didn’t fully pursue performing until after college, where she earned a BFA in acting. What started as a brother-sister duo eventually became years on the road, a hard-earned education in Nashville, and finding the band that finally made everything click. Jenna talks about losing her father, working restaurant jobs just to make rent in Nashville, and eventually touring as a backing vocalist with Elvie Shane. She also shares how the Gulf Coast gave her a place to build a loyal following, why chemistry with the right musicians can completely change a record, and why sometimes “Happy Birthday” can be the hardest song to play. Then babies came along, and the dream shifted. Music was still there, but it had to make room for a growing family—and a different idea of what the dream could look like.   Jenna plays "Can't Shake It" live around the poker table.

For some musicians, becoming part of Mobile’s music scene means getting your name on the marquee. Doug “Papa Veet” Previto got his face on a Mardi Gras float. In this episode of Dealing the Mobile Sound, Papa Veet looks back on a lifetime of playing music and the bar that became a home base for generations of Mobile musicians. Papa Veet started playing guitar at a young age, inspired by family jam sessions and his older brother. At 13, he played at Keesler Air Force Base and learned an early lesson about the music business when charges for a ride, an amplifier and a microphone whittled down his promised pay. Years later, Veet’s became the spot musicians went after their own gigs, and where young players were invited up to play with the pros. Eric says many Mobile musicians got their “on-the-job training” there. Papa Veet tells about learning the Nashville Number System from a matchbook, playing with Kenny Berry and Justin Tubb, and the night members of Poison showed up at Veet’s and played with members of UgliStick. There’s also the story behind what may be Mobile’s only bar with a costume closet — born from Papa Veet dressing like a baby and Edith Bunker–eventually launching the annual ElvisPalooza. And then there’s Mardi Gras, when Papa Veet stood on the street, watching a giant version of himself roll past. “It was kind of flattering to watch my head go by.”

Matt McCoy is one of the most recognizable voices on Mobile radio, but he never chose this life. "Radio chose me." When a failed calculus class derailed his plans for medical school, a kid from Beaver, Pennsylvania, found an entirely unexpected path into radio. After stops in Tuscaloosa and Memphis, a demo tape handed to legendary WABB owner Bernie Dittman at a broadcasters' convention changed everything. Within hours, Matt was headed to Mobile–where he’s supposed to be In this episode of Dealing the Mobile Sound, Matt reflects on a decades-long career, including stepping up as an accidental on-air personality at 92 ZEW and growing into his current role as the station’s program director. That meant learning some new skills. Tune in for behind-the-scenes stories on the evolution of Eric’s "D.I.P." anthem, bombing on a comedy stage, and the moments Mobile comes together to take care of its own. There's even a special appearance by Sean Connery.

Jacob Brock grew up surrounded by music. His mom and dad met while his dad was playing in a local band, making him what he proudly calls a "band baby." From watching band rehearsals in the living room to listening to his dad's burned CD setlists filled with Stone Temple Pilots, Eve 6, and other '90s rock staples, music was always part of his life. In this episode of Dealing the Mobile Sound, host Eric Erdman talks with Jacob about teaching himself guitar, starting his first band as a homeschooled teenager, and playing five songs at a Montgomery coffee shop—four of them Stevie Ray Vaughan covers—for an audience of three friends. "I've been chasing that feeling ever since," he says. Jacob shares the ups and downs of finding his own sound, the influence of his Southern gospel-singing great-grandfather, growing up on Lonesome Dove and classic Westerns, and why those stories still shape the lyrics he writes today. He also opens up about the vocal polyp that left him unable to speak for a month, forcing him to tear down and rebuild his approach to music. That unexpected pause led him back to songwriting, working with FAME Studios, and a renewed love of playing guitar. The conversation also explores serving in Afghanistan—an experience Jacob describes as "the most fun I never want to have again and is crucial to who I am today.” And building Saddle Down Studio with his dad and how all roads eventually lead back home. Jacob plays his songs “Lasso” and “Slow Leak.” Come see Jacob’s debut at Callaghan’s on Aug. 1 with Special guest B.B.Palmer. Get tickets here or at MobileBayRadio.com.

Before she became one of Mobile's busiest singer-songwriters, Kat Deal was a kid from Troy who begged her parents for guitar lessons, but had to wait until hunting season ended. She picked up the instrument at seven years old and never looked back. In this episode of Dealing the Mobile Sound, host Eric Erdman sits down with Kat to talk about growing up on George Jones, Patsy Cline, Tammy Wynette, and Alabama before discovering The Beatles, "like experiencing fire as a caveman." She shares how a full scholarship brought her to the University of South Alabama, and why a Google search for "live music near me" changed her life. Along the way, she tells how local music legend Les Hall helped keep her working—and fed. Kat also opens up about the songwriting process–writing dozens of bad songs to find the good ones. And how a rough gig in New Orleans became one of her favorite stories. She also explains why success doesn't look like fame or fortune. "I pay my bills playing music. If you would have told me that as a kid, that's making it to me."

Before they were selling out arenas and winning awards, the Red Clay Strays were just a group of South Alabama musicians trying to get anyone to pay attention. In this episode of Dealing The Mobile Sound, host Eric Erdman sits down with Red Clay Strays bassist Andrew Bishop and his father, Jack Bishop, for a conversation about the band's early days, the friendships that started it all, and the unique sound that helped them get past "level one." Andrew shares how a simple invitation to "come jam" in Citronelle changed the course of his life, how the band developed its high-energy style playing noisy bars on the Gulf Coast, and why their first show as the Red Clay Strays felt like the moment they became a real rock-and-roll band. “We owe so much to Mobile for showing up.”  Jack offers a father's perspective, recalling the first time he realized Andrew had a musical gift, and the moment he knew the Strays had something different. He explains why having a sound all your own is the key to longevity and says, “Take all your favorite songs and all your favorite artists and put them in the blender. Pour out a cup, and that's the Red Clay Strays.” The conversation also explores growing up around music, Andrew's surprising dream of becoming a police officer like his father, and the joy of watching your children carry forward a love of music.

In this episode of Dealing the Mobile Sound, host Eric Erdman sits down with Hosea London–one of Mobile's most respected musicians and cultural leaders. Hosea shares how a band director's decision in elementary school steered him from trombone to trumpet–a choice that shaped the rest of his life. From playing at church teas and fundraisers to studying music in college, Hosea built a foundation as a classically trained trumpet player before discovering a love for jazz while working in Memphis.   Along the way, Hosea taught music at Mississippi Valley State University, worked in music therapy for the State of Alabama, and learned to play everything from trumpet and French horn to keyboards. He reflects on performing with legends like Joe Lewis and E.B. Coleman, mentoring young musicians through his Jazz Studio, and why he still embraces the challenge of classical music.   The conversation also explores the heart of Mobile's musical heritage through the Excelsior Band. Hosea explains why Excelsior is more than a band—it's a living tradition built on listening, instinct, and generations of musicians learning songs by playing them together rather than rehearsing them.

On this episode of Dealing the Mobile Sound, host Eric Erdman sits down with Mobile music venue legend Noell Broughton — the man behind Monsoons, The Brickyard, and some of the most unforgettable nights in Gulf Coast music history. Noell reflects on his first concert — the night his dad’s band opened for KISS. Also the wild BayFest years, and when artists like Herbie Hancock, Incubus, and The Outfield passed through downtown Mobile venues. The conversation traces Noell’s journey from opening 14 South in Fairhope at 23 years old to buying Monsoons in 1997 and helping build a music scene that often played until sunrise. He talks about the lawless chaos and freedom of downtown Mobile in those years, and why he’s always booked bands for one simple reason: “I want to hear the music, so I book the bands.” There are stories about Afroman, Ugli Stick, and the fire that destroyed Monsoons on April 16, 2004 — along with Eric performing his song “Old Friend,” written from the memories of Monsoons.

Eric joins singer-songwriter and Mobile music icon Grayson Capps. Grayson traces his path from studying theater at Tulane to fronting bands in New Orleans, landing a record deal at 21, and eventually making the leap to full-time musician after teaching John Travolta songs for the film *A Love Song for Bobby Long — all while landscaping or running a jackhammer during the day. Grayson talks about the Frog Pond Sunday Social he built with Cathe Steele, the post-Katrina energy that started Hangover Sundays at Callahan's, and why he values harmony over competition. Grayson also shares his philosophy on music: a live audience is "the biggest b******t meter in the entire world," and “the most beautiful things in life aren't marketable.” He explains what it means when a song creates that rare moment where "there's no you or me, there's a we." Grayson also performs one of the favorite songs he’s written, The Junkman.

On this episode of Dealing the Mobile Sound, host Eric Erdman sits down with singer-songwriter Ryan Balthrop, whose music blends island rhythms with ’70s acoustic and Gulf Coast Soul. Ryan tells about his first gig at the Sundowner in 1994, the early days of his band Slow Moses, and coming up in the early years of the Mobile music scene. He shares stories of chasing music to St. John in the Virgin Islands, the unexpected turns that kept him there, and how those years shaped his sound today.  He also opens up about songwriting–leaving open space for interpretation and making a song universal. A moment in Mexico sparks the story behind his new song “Sell Out,” and there’s a live performance of “Blow This Dust Away.”

On this episode of Dealing the Mobile Sound, host Eric Erdman sits down with singer-songwriter Johnny Hayes.  Johnny traces the moment he first “anted up” in music—from nervously asking to play a few songs during a bar break in Tuscaloosa to landing his first gig (it paid $50). Johnny shares stories from Nashville, writer’s rounds, and a moment when a song didn’t land the way he expected. He also plays “The Rain in Mobile” and reflects on his relationship with the community that has stayed with him through the highs and lows. In a city where the rain comes often, he says, you learn to appreciate the sunshine—and to trust that the hard seasons pass. That balance is what makes Mobile beautiful, and what inspired him to finally write a song about home.

On this episode of Dealing the Mobile Sound, host Eric Erdman sits down with singer, songwriter, and multi-instrumentalist Molly Thomas. Molly talks about gigging in high school in a jazz quartet—learning to improvise and get paid—then moving through orchestra work, folk bands, and rock and roll. She played in one of Mobile’s favorite bands, Slow Moses, before heading to Nashville in search of bigger opportunities. She reflects on how the Mobile music scene has evolved and how her new album, Tumble Home, came together—writing songs with Ken Rose on a porch overlooking Mobile Bay, recording at home, and building lush string arrangements by ear, one instrument at a time. Molly also shares stories of touring with her close friend Todd Snider, who passed away shortly after this conversation was recorded. She performs “Sorry,” and talks about following each song wherever it leads.

On this episode of Dealing the Mobile Sound, host Eric Erdman sits down with Phil Proctor and Stan Foster — a duo whose music is at the heart of Callaghan’s Irish Social Club. Phil was the first musician to ever play Callaghan’s, starting out solo before years with Dog River Boys, Deluxe Trio, and ultimately Phil and Foster. Stan moved to Mobile in 2005 from Birmingham, where he played in regional favorites Telluride and Rolling in the Hay. Introduced by local musician Ben Jernigan, the two teamed up and have anchored Wednesday nights at Callaghan’s for more than eleven years. Blending bluegrass roots with improvisation and jam-band freedom, Phil and Stan push toward original songs. Phil shares how they built a crowd that came expecting something new, and Stan talks about how being forced into bass solos made him a better musician–he once joined a band before he even owned a bass. In this episode, Phil and Foster debut their new song, “Lounging,” and reflect on how they’ve helped shape the Mobile sound — one Wednesday night at a time.