Month: May, 2009

And I called you back, to a place beside me.
And I called you back, to a place beside me.
Love found us easily, and if that’s all we have you will find we need nothing more.
And I called you back, to a place beside me.
And I called you back, to a place beside me.
And every time we kiss, we find ourselves in love again.
And the older that we get, we know that nothing else for us is possible.
And I called you back, to a place beside me.
And I called you back, to a place beside me.
And I was quiet, well I heard your voice in everything.
And I called you back, to the place beside me.
And I called you back, to a place beside me.
And I called you back, to a place beside me

-bonnie prince billy ‘i called you back’ last song @ grey eagle

to watermark or not to watermark

So here’s the deal: I have gone through so many stages of watermarking and brand-naming my photos that it’s gotten to the point that it makes more work than it’s worth. I take pictures to feed people slices of life.

ok that was cheesy.

but seriously, folks.  for me, it’s all about the decisive moment, the fact that my friends and loved ones and fellow artists and musicians let me share in their joy by documenting them.

and what a joy it is! why, last night, i had the pleasure of shooting Bonnie Prince Billy, two weeks ago, legendary psych-collective Ghost, recently: Bishop Allen, Arizona, Toubab Krewe, Gomez, heypenny, Ben Taylor, Gary Jules, the list goes on and on.

point is: I love it. i love recording and documenting such incredible musicians, and look forward to every live event i shoot. I hope people are flattered when I choose to come out and make their portraits, especially in Asheville, where there are way too many things happening on any given night.

so who fucking cares if i watermark any fucking photos anymore.

should i?

The Vendor Client relationship – in real world situations

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thanks dave allen

a web-comic called ‘lydia’

found this in my googling of my own name, thought it was pretty funny..

inspired by:

check out agreeable comics for more!


Humble Thumb, the fragmented version of The Brothels from Knoxville and Asheville, recently opened for Buffalo at Fred’s Speakeasy. The small crowd—surprisingly quiet for a Saturday night—finally hit its enthusiastic stride when Buffalo took the stage with a young but mature approach to old-time roots, country, and bluegrass.


Buffalo at Fred's Spreakeasy, photo by lydiasee

It was evident that Humble Thumb, performing as a tight group, was missing some integral elements. Although the band exhibited a fine array of musicianship, it seemed as if it was waiting for something to happen (for instance, another band member to beef up the sound) at several moments throughout the evening. Multi-instrumentalists James Butler and Jeff Micchelli effectively traded off on guitar, banjo and vocals. Micchelli also performed on trumpet and saw, and Butler played fiddle as well. “Bad” Bill Cooley offered accompaniment on drums, and Brian Smith joined for a few songs on guitar. Although Humble Thumb has the necessary ingredients to create rowdy bluegrass (as evidenced by a rousing Hackensaw Boys cover of “Keep it Simple”) with a little bit of a punk undertone (a cover of the Dead Milkmen‘s “Punk Rock Girl”), the band struggled to find consistency within its songs. A short instrumental, “Tears of a Jackal,” was one of the more intriguing songs of the set, illustrating that Humble Thumb may have something to offer beyond the technical difficulties.

Buffalo has been creating ripples regionally, recently playing at Shakori Hills music festival in Silk Hope, N.C., and their influences—from the Stones to Conway Twitty—are as varied as their style: Succinct but exceptionally arranged tunes capable of evoking a wide array of responses. The musicians—Grant Waters on vocals and banjo, Kyle Mendenhall on upright bass and Brantly Tyson on vocals and guitar—craft coherent songs that fit together in a well-orchestrated and enjoyable journey of a set. It’s as if Buffalo was encouraging each listener to hop in the car and embark on a road trip with the band.

“Where the Buffalo Roam” is a catchy ramblin’ walking tune, echoing Johnny Cash in his heavy-boozing days. Other tunes, like “Chasing Arkansas”—regarding being left behind the morning after—are catchy and sweet (but still gritty and raw) songs for lovers.

One of the real gems of the set was the opening tune, “Alimony Rag,” which contains a cascade of one-liners: “A shotgun wedding and a Pontiac, I’m leaving this scene and I ain’t coming back.” The song goes over like a call to the fight or flight mechanism, promising that “there ain’t no raisin’ like raisin’ hell.”

The players who comprise Buffalo are musically wise beyond their years, and their instincts are right on the money for the recent rekindled interest in alt-country, just as bands like Blitzen Trapper and Neko Case begin to gain national recognition.

At press time, the Buffalo line-up has changed, and future shows may present a selection of different and interchanging members. It would behoove a smart listener to keep an ear on the subsequent incarnations of Buffalo.

Learn more about Humble Thumb at and Buffalo at Lydia See is a freelance writer based in Asheville. More of her music reviews and live photography can be found at

Are YOU coming to my BIRTHDAY PARTY??!!

Retire to Asheville, where “The Spirit of the 60’s is alive and well”

Scan to 4:30 to see Shane from Now You See Them!

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more about “Easy Does It – CBS News Video“, posted with vodpod