Michael Ford Jr &        The Apache Relay

“Sugar Cane,” the song that kicks off 1988, the debut album by Michael Ford Jr. and The Apache Relay, is so fun and full of bright, melodic energy that it’s easy to see how the Belmont University students already have a leg up on most burgeoning bands -- even though they’ve been together less than a year. Produced by Doug Williams (Avett Brothers) the acoustic-based quartet has already garnered a booking agent (notable in today’s climate,) a string of dates, and impressive guest musicians Joe Kwon, Byron House and Jessica Lea Mayfield.
 
All of the band members bring divergent approaches and training to their roles. Fiddler Kellen Wenrich (19) began with the Suzuki method at age 5 before jazz and bluegrass studies. Brett Moore (20) started playing guitar because of his love of the Beatles before switching to mandolin, while Michael Harris (21) grew up watching his dad pick bluegrass. And, at the front of the band is Michael Ford Jr, influenced by modern rock and contemporary folk, and penned every song on the record. He was performing a solo show near campus and sought out the Apache relay boys to back him -- and the group was born.
 
The band tracked 1988 live, applying their musicianship to an eclectic and textured array of pop-influenced original songs. The joy of the opening track flows seamlessly into “Sun Child,” featuring Kellen on fiddle and guest Joe Kwon on cello -- driving a contemporary-folk groove right under the percussion. While on “Let’s Start Over,” embraces Apache Relay's bluegrass leanings with Ford’s  modern sensibilities – culminating with fleet interplay between the fiddle and mandolin.
 
“The instrumental outro to this song is a sort of different take on the traditional fiddle tune Sally Goodin,” says Brett.  “It originally started as a concept Kellen and I had when we were rehearsing. We thought that the chord structure would match up with some sort of traditional fiddle tune and give us a chance to let our roots show.”
 
“Sweet Louisianne” is the most important song to Ford, who relocated to school after Katrina hit his home state. But the song isn’t necessarily about that hurricane as much as it is about the enduring emotions. Explains Ford,  “I wrote it about the wake of fear caused by Hurricane Gustav when it entered the Gulf of Mexico in the Fall of 2008. Sweet Louisianne is my love letter of hope to all my friends and family in Louisiana.”
 
In many ways “Sisters, Brothers, Lovers,” is the cornerstone of the record as the first take greatly changed the production process. “We faced recording frustrations earlier in the day with not tracking the drums live,” shares Kellen. “We got back to the studio and the five of us just started to play in the tracking room and asked Doug to hit the red button.  After that take, Doug came in and said ‘boys I think that just might work.’ From that moment on, we recorded every take with Noah’s kick-drum just inches behind Michael singing.”
 

But it’s “Magnolia Street Heartbreaker” that seems to be the band’s favorite.
 
“This was actually the last song that was finished on 1988. During the writing process I knew I wanted it to feature a female vocal, namely Jessica Lea Mayfield as I was a fan and thought our voices would mesh well together,” says Ford. “But also I love that it closes the album as it shows the dynamic range of what we do together. Even though we are a band with a mandolin and fiddle, we are not tied down to any sound.”

1988