By Vince Perna

Weigh Station puts out a solid effort with their new six-song album, Past the Tracks.  The first song drops with a bang, showing off a Southern rock sound with horns for an extra funk element.  A rock ballad follows, slowing things down and letting the love flow. From that point on, the rest of the album rocks, twisting between straight rock and a Chili Peppers-infused punk factor (if the Chili Peppers were born in the south).  The integral changes and foot-stomping choruses keep you moving throughout the album.  It translates well into the live show, and shows the promise of what might emerge from a full-length conceptual album.

The third song, “Can’t Take My Soul,” stands out, with memorable guitar riffs, a great rock-jam feel, and an awesome sax solo.  This song would get you moving in the clubs.  It is followed by “The Heat,” a carefully-crafted song with a message that showcases the bands’ great transitional work.  Weight Station shows off some great guitar and drum work, brings the jams, and ends the disc on a Van Halen-esque guitar solo.  Great work all around.

I listened to it many times and it kept growing on me. It would be a great addition to the CD shuffle.  See Weigh Station on December 16 at Loggerhead’s and on January 20 at the Pour House on James Island.

Visit http://www.myspace.com/weighstationmusic to learn more and buy the album.

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By Stratton Lawrence

Photo by Abigail Darlington

The Moody Blues and Thomas Wolfe were not the first to say it, but we’ve all experienced the notion of “you can never go home.”

In college, with my parents overseas, holidays and summers were a chance to let loose with like-minded folks. That meant traveling far and wide for as many Phish, Widespread Panic, and String Cheese Incident concerts that my hitch-hiking thumb and friends with cars would allow, budget be damned.

It’s been nearly ten years since those days, although I still appreciate and enjoy each of those bands’ music. When I saw that the String Cheese Incident would be reuniting, kicking off their first tour in five years in Asheville over Thanksgiving weekend, my old dancing shoes peaked their ears. I was headed up to the mountains for the holiday with my girlfriend’s family, and a Friday night escape to the Thomas Wolfe Auditorium seemed like a smart choice.

I called up my college roommate, who made the trip over from Statesville, N.C., and we headed to downtown Asheville for the show. First difference? I no longer subscribe to the hippie threads dress code. Clad in slacks and polar fleeces, we weren’t offered any of the psychedelic party favors that used to seem ubiquitous at these shows. We were, however, offered Jesus, twice.

Inside the show, we settled into the cozy theater. Long and narrow, the Thomas Wolfe is akin to the Township Auditorium in Columbia. There’s not a bad seat in the house. String Cheese kicked it off with an old favorite, Keller Williams’ “Best Feeling,” followed by the enchanting “Mouna Bowa.” The set went back to their acoustic roots for awhile before the only tune that prompted a bit of eye-rolling, “Let’s Go Outside.” I couldn’t help but imagine stoner dude #1 trying to inspire stoner dudes #2 and #3 to get off the couch for a minute and do something with their day by putting on this song, like play disc golf and smoke more weed. But that’s just me projecting…

At set break, it surprised me to run into friend after friend, including a handful of current or one-time Folly Beach residents. A huge attraction of these shows was always the reunion aspect, drawing friends from around a region to shake a leg and share in a mutual love for good music.

During the second set, a few tunes took me back to my glory days. “Black Clouds” came as an early treat, as did the instrumental “Lands End,” a beautiful tune with a mesmerizing riff that’s as ‘classic Cheese’ as they come. “On the Road” arrived as a classic closing song, followed by a treat in the encore with a brand new tune by lead singer Bill Nershi, “Far From Home.” Typically one to disdain audiences who clap during songs, this tune intentionally incorporated claps into the participation, without being obnoxious or contrived.

The band closed the night with an old bluegrass favorite, “How Mountain Girls Can Love.” I shed my skin, did a bit of a noodle dance, and then walked back into the streets of Asheville, feeling 19 years old again.

11/25/11 (Fri)  Thomas Wolfe Auditorium – Asheville, NC

Set 1: Best Feeling, Mouna Bowa, Sometimes A River, Colorado Bluebird Sky, Let’s Go Outside, Just One Story

Set 2: Rosie, Black Clouds, Shantytown, Solution, Lands End, Big Carolina Jam, This Must Be The Place (Naive Melody), Glory Chords, On The Road, E: Far From Home, How Mountain Girls Can Love

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After touring around the country, James Justin & Company came back home to a loving crowd at the Pourhouse on James Island, Friday, October 14th.

Wearing smiles on their faces and dressed up to a tee, they rolled up their sleeves and delivered a memorable show for all. James Justin & Co.’s albums are solid from top to bottom, and the show followed suit. The first few songs were a hello to Charleston friends, before we were reminded of the good ole days, and then taken on wonderful trips of songs old and new. Fine reworkings of old classics like “In the Garden” were a welcome surprise, and reliable songs fans have come to love held a steady groove.

James Justin Burke is the lead singer & guitarist, and the band consists of Bailey Horsley on banjo, Dave Vaughn on mandolin, & Tom Propst on upright bass. That night Jim Donnelly, who engineered both albums, was on drums, and Howard Dlugasch, who played on both albums, was on keyboards. There was also an amazing solo by Zach Hood on trumpet during “The Rescue,” a slow ballad that draws listeners in and holds tight. It is easy to see how even a newcomer could fall in love with the rhythms and incredible songwriting. The guys from Dangermuffin joined the band on stage near the end to add an extra rock factor to the show. What the first half promised, the second half delivered, as the “werewolf” onstage made us feel “Helpless”. Choice covers and songs everyone wanted to hear ended the show, which everyone agreed could have lasted all night.

I caught up with Burke to talk about the tour and find out what’s happening: The band played 36 shows in 46 days, everywhere from New York City to Colorado and New Mexico. The reception on the road was awesome, even so far away. He was amazed at how many people had already heard of the band and were looking forward to the shows. Even the less attended shows were great because of the opportunity to create new fans, and he was encouraged as the crowd usually all walked out cheering with a JJ&Co t-shirt on. One of the highlights was playing Floydfest to a crowd of over 3,000 people, where they hung out with the band Yarn, and make quick friends, “we always like to help each other out whenever we can”. The most impressive band they had a chance to meet on the road were The Infamous Stringdusters, who are the “best new jamgrass band, with amazing experimental jams.”

Burke told me some interesting stories from the road, like the story of their new mascot, the Deer Bear which they found in New Mexico and became an important figure to the band. “Both animals are strong and confident, so combined, you can’t go wrong. It summarizes the band perfectly.” He talked about the bands’ addiction to disc golf, playing everywhere they could, and amazed at how many courses there are coast to coast. Then there was the time they were traveling the long flat roads of west Texas, where you can’t travel at more than 30 mph because of the constant threat of wildlife crossing the road.

As their eyes weakened near 4 am, they could not make out what was up ahead in the road. As they got closer they identified a mountain lion feeding on a deer, blocking the entire highway, which after some time of coaxing, finally lifted the entire deer in its saber-tooth-like jaws, and took off into the night. Needless to say, the adreneline rush carried them throughout the night.

Justin has moved back to his family’s farm in VA for an escape. “After having so much human interaction, touring and promoting a new album, I enjoy the peacefulness and quiet on the farm. I have also gained a new respect for hard work and good ethics.” He still considers Folly Beach his home and plans a return in January to start working on album #3, which was inspired by his trip across the country. When asked if he had anything to say to Folly Beach, he responded “Thank You… for the inspiration of my new life. See you soon!”

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Graham Whorley loves Folly Beach. He’s a pioneer and a trailblazer of the music scene here on the island. When they write the book about music on Folly, there will be a whole chapter on him — talking to him is an education on where we are and why we are here.

The Graham Whorley Band includes Carl Anderson on drums and Will Ames on bass. The group has included several lineups along the way, with Herb Shirey spending ten years on bass until he retired.

This month will bring the release of Permission to Think, Whorley’s sixth album since moving to Charleston.

“It’s the best stuff I have ever done,” says the songwriter, who composed all of the music and lyrics and plays all the instruments. As he describes the sounds on the album, Whorley beams with pride and joy. He spent two years crafting the album with engineer Roger Reynolds, who recently followed Graham down from his childhood home in Virginia. As the success of the album grows, Whorley is planning an East Coast tour with the full band.

Twenty years ago, Graham found himself stuck in a small town in Virginia, knowing his talent and music deserved a better venue. On a bitterly cold and snowy day, he decided to follow his sister down to Charleston. She’d told stories of the great climate and cool culture. He discovered Folly Beach and fell in love, now considering the area his home.

Later, his sister lost a battle to ALS, which sparked his interest in raising money to fight the disease. A “Band Together” concert was recently held, raising $10,000 for the newly formed SC chapter of the ALS society. Whorley calls it a huge success and says it’ll be an annual event, citing the host of musician friends who donated their talents to the cause.

Graham is a family man, with a wife and two kids, and he does his best to separate music and family. “Music can consume and overwhelm you, and my family is too important for that,” he explains. Whorley encourages his kids to get involved in music, teaching them how to play and inviting them up on stage.

“I believe music is a great tool to help teach you to overcome life’s struggles,” says Whorley, whose children have spent their entire lives on the beach. “Folly is a great place to raise kids. There are plenty of things for the kids and the family to do.”

Sitting and talking to Graham is like hearing the timeline of Folly music. He tells of how Folly Beach was less traveled when he arrived. Hugo had just happened and the beach had a completely different look. There were a few hot spots to play music, but not nearly as many as there are today. A tight knit group of musicians existed, and they would cross Center Street to sit in with each other during breaks in their own shows. It was a very organic environment, which dictated the sound of the music, interesting and laid back.

Whorley began his Folly career by running the open jam night at Robinson Crusoe’s, and playing the Pelican on Monday nights, launching the Graham Whorley Band. “I remember, the crowd was so large, the fire marshal would shut down the Pelican nearly every time we played there,” he recalls. He remembers watching Everett Bigbee play, and his favorite band was Dunzip with Jesse Prichard and Hawke.

Whorley identifies with Jesse in the way the pair have survived for so long on Folly. “Folly has taken a slow gradual climb, which means it has deep, strong roots,” he says. “When I moved here, we were struggling to make a scene — now Folly bands are going national.”

He remembers the Sand Dollar always having great blues and rock music,
telling about a show where the “Sauce Boss” would perform while cooking Gumbo on stage, later serving it up to the crowd along with some tasty blues jams. The Chill & Grill gets credit for contributing to building the scene, and now Loggerhead’s is a great music venue, so “The future is bright.” “Whether you are born here or came here, this is a community with an interest in art and music and diversity, and it wants to keep growing in good ways,” says Whorley.

Whorley’s side projects include Stone Silicon, Gypsy Jazz with Will Austin, and a solo loop show. Stone Silicon is a ‘super-band’ consisting of Whorley, Louis D, Carl Anderson, and Jaime Crisp. It is a fun time when they all get together, which is rare considering they all have to juggle the schedule of their own bands to get a gig together. When it happens, it’s a special occasion, so clear the schedule and bring your boogie shoes.

You can see Graham Whorley on October 14th at the Brick House Kitchen, October 22 at Follypalooza, and October 26th at the locals party at the Blu. Make sure to get a copy of the new album Permission to Think.

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Classically trained, and having toured all over the country, Eric Penrod has successfully built up a steady following here on Folly Beach. He heads the Eric Penrod Trio, a funk/jazz fusion band which includes Jake Holwegner on bass and alternates between Quentin Ravenel and Stratton Moore on drums.

Penrod writes all the music and lyrics for the band, although live shows include large amounts of improvisation.

“I draw much of my writing from everyday life, starting with an event or occurrence, and allowing that to manifest itself into song,” he explains.

Growing the trio is his current goal, and on the side he is collaborating with Ross Bon, a vocalist new to town that may soon be a household name. He also plays with the 17 South Party Band. “I never thought I would enjoy it, but we have a lot of fun,” he laughs about that gig.

Penrod grew up in Ohio, and remembers his parents always being supportive of his musical ambitions. He started playing guitar at age 10, after listening to Eddie Van Halen’s shredding guitar solos. He took music lessons growing up, and eventually studied at the University of New Orleans under Ellis Marsalis, where he mastered the classical and jazz styles. Since then, his homes have included New York and Chicago. He’s a founding member of the band Skinny, which toured all over the country.

“We were touring over 250 days a year,” Penrod recalls. When the band split up, the guitarist remembered how cool Charleston was when he played here, so he made the move, two years ago. “It reminded me of New Orleans,” he says.

Soon after, Penrod discovered Folly Beach and knew it was right for him.

“I love the vibe on Folly Beach,” he says. “There are also so many killer musicians out here that could survive in any big city. It’s interesting that so many great musicians are in such a small area.”

Penrod’s influences are jazz and bossa nova and old blues, including Muddy Waters. He also loves Stevie Ray Vaughn, Pat Metheny, and The Black Keys. His favorite local artists are Lee Barbour, “incredible guitarist” and Elise Testone, “awesome voice.” He recently shot a video for “Be Alright”, which is a great song and features beautiful Folly Beach scenery. You can view it at www.ericpenrodmusic.com.

You can catch Eric at the Folly Beach Brew Pub on October 21, and Blu on October 23, and see the Eric Penrod Trio October 28 at Loggerheads.

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James Justin Burke photo credit Melissa Burke

Sit for a spell at the Lost Dog Café, and chances are, you’ll hear James Justin & Company through the stereo. Justin and his wife, Melissa, lived next door to the Lost Dog for four years, before moving away this summer to work on Melissa’s family dairy farm along the Chesapeake Bay in Virginia.

With the release of 2011 Dark Country, our humble Folly band made a splash on the national scene. Relix Magazine’s just released October issue states, “If the future of the indie-jam festival scene sounds more like its past with every ticket that The Avett Brothers and Mumford & Sons sell, then James Justin & Co. may very well be next season’s breakout band. Dark Country may introduce JJ& Co to a national audience who is hungry for the next great Southern rock band.”

Not bad for a group of guys who cut their teeth at Surf Bar and the Drop-In Deli! In between long tractor rides and pre-dawn mornings milking cows, Justin took the time to answer a few questions for the Folly Current about his songwriting, farm life, and missing Folly Beach.

What do you miss most about living on Folly?

The list is infinite, but when whittled down to one, it’s easy. The beach. I miss surfing. Just being in the water was always the escape. I went from swimming with the dolphins, to walking with the cows.

What’s the first thing you do when you get back?

The first thing will probably be a physical reaction. A happy sigh. Everytime coming home from leaving Folly I would always sigh like, “Ahhhh, I’m home.” Then I will, of course, get in the water and do some body surfing. Go to Sunset Cay, Surf Bar, Drop In and try to hangout with friends. That’s what we all did best. No one hangs out better than Folly.

Tell me about an average day of life on the farm.

I wake up at 4:30 am. That sounds early, mainly because it is. But it’s amazing. The only sound is the earth spinning. It’s after the night owls go to bed, and before the early birds wake up. Then it’s time to bring in the herd. And John Wayne was right, “There’s nothing like bringing in a herd.” We milk over 100 cows, twice a day. You get to them as if they are welcome in the house. And every cow’s pattern is unique. In between milking, we have all of the crop to tend too, such as hay, corn and beans. It’s about a 15-hour day of labor. Life on the farm never stops. It has taught me what hard work truly means.

Any surprises for Charleston since your last visit? Give us a hint.

JJ & Co. always tries to make a Charleston show special. We have some new songs to perform, and of course be ready for surprise appearances from other local musicians!

A lot of your songs were inspired by living in the Lowcountry. What have you been writing lately, songwise?

We will be back on Folly this winter to record our third record. The road has inspired me very much. Being able to see so much of the country in such a short span is like a rush of blood to the head. I have taken that source of energy and put it on paper. But Dark Country is still climbing the mountain, so there are no plans for a release in the near future.

Want to Go? James Justin & Co National Tour Kickoff Party, w/ The Royal Tinfoil. October 14 at the Charleston Pour House. 9 p.m. 1977 Maybank Highway.

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By Eric Penrod

It has been said by many that professional musicians are a bit like thieves. We come into a venue, play music that we would otherwise play for free at home and walk out at the end of the night with money in our hand. Having been a professional musician now for fourteen years, I am very aware of the feeling and sensation that I am getting away with something and people aren’t aware of it yet. So I run out of venues at the end of the night, hoping the cops don’t follow me home.

I was approached to write a few lines on “what musicians should expect out of clubs and venues here on Folly Beach,î but I thought it was important to speak first about how musicians should act, before any expectations are made on a club or venue. Us musicians are privileged people who get paid to do what we love. We do deserve to get paid fairly and deserve some perks, but just as in any job, we must be professional.

Having said that, I have been on Folly Beach now for almost two years and I am still amazed by how many talented musicians there are in one small area. It is a pleasure to work as a musician with all of the supportive bar owners and music seekers here on the beach. I think that all us musicians want or expect out of a venue is, if we treat the venue and the listeners with professionalism and respect, we want it in return.

We must promote our shows, but it is nice when a bar owner understands that some nights are great and some nights are just dead out here. It’s not always our fault and we still deserve to get paid for the work we did. If a deal is made on money and a tab, we expect the venue to hold to that deal. But, us musicians must not be too greedy and remember, we would probably be at home on our couch singing songs if it were not for this amazing life opportunity to entertain. Thank you Folly Beach for listening to us.

THE VENUE OWNER’S PERSPECTIVE

By Ed Iames, Loggerhead’s Beach Grill

When I was asked to write this article, it was suggested that I considered using the angle of “Music Venue Nightmares.” I could we tell some stories of bands/musicians that made life miserable? Well, maybe a few. Certainly there are some crazy things that happen over the course of time in this business, but the positives outweigh the negatives, so it seemed silly to spend time or effort in that arena.

I have learned a lot about life in Folly Beach since relocating here one year and a half ago, but the music scene certainly took me by surprise. Prior to moving to Folly Beach, I never realized what a great music scene existed here. Like any other place, there are countless hopefuls that have spent years dedicated to perfecting their musical talents. But unlike most places, Charleston is loaded with musicians whose talent matches their passion. Original music walks hand in hand with culture. Just as reggae is the sound of Jamaica, Calypso is the sound Trinidad and Tobago, and Dixieland Jazz helps to define culture in New Orleans, music helps to make Charleston unique. Charleston is blessed to have so many original artists that are on their way to bigger and better things. I am proud that Loggerhead’s has played a part in the overall exposure of these talents, and we are committed to bringing the best talent in weekly.

Owning a venue has also had a personal impact. Prior to my time at Loggerhead’s, I did not have a CD newer than the ’80s. My iPod also had a selection of equally antiquated choices. On any given day, my CD player now plays music from local artists that I have really begun to enjoy. Who said you can’t teach an old dog a new trick? Having a music venue has given us the opportunity to understand and better immerse ourselves in the local culture. We have had the privilege of meeting so many talented artists, and the followers that have been lured by their talent. We have recently installed a house PA system and now have the ability to open our doors to traveling bands as they make their way through Charleston. We are excited about the opportunity to enhance the local music scene by infusing some new sounds from around the country and beyond. Later this month, we will be hosting a band from the UK.

Having a successful music venue takes time and effort from many. My wife, Yvonne, knows firsthand, as she spends hours every day listening to music, scheduling and negotiating. It is also nice to have friends, advocates and mentors that are willing to share insights and preferences. Richard Brendel is a guy that knows the local scene and has been a good friend and advisor since we opened Loggerhead’s. Thanks Richard! Most importantly, having regular support from the communityís music enthusiasts makes or breaks the venue, and we greatly appreciate the locals that support us so well. As long as they keep coming, we will continue to bring the best music that the area has to offer.

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Eddy Boston

Eddy Boston
Genre: Folk, Pop

Eddy moved to Folly Beach in 2010 and fell in love with the island, especially the music scene. He’s even written a song about Folly, called “Relax, Slow Down, It’s Folly,” which is available at his website eddyboston.com.
eddy@eddyboston.com/339-927-4395

Bud Bryan
Genre: Country/Western, Rockabilly

Bud has lived on Folly close to 20 years, performing with JT Hawk (guitar), Pat Gould (keyboard), and David Thompson (bass), and sometimes John Wilder (guitar). They host an annual ‘Elvis Remembered’ show on the Folly Pier each August. bbacharleston@juno.com

Nathan Calhoun

Nathan Calhoun
Genre: Rock, Pop, Folk

Folly stalwart Nathan Calhoun is a favorite both as a solo singer-songwriter and leading his sax-driven, funky band, Calhoun’s Calling. nathancalhoun.com

Sarah Cole and the Hawkes
Genre: Blues, Rock

The evolution of Dunzip, the Hawkes have been playing on Folly Beach for nearly two decades. Their weekly Monday gig at the Drop In draws a faithful crowd, especially since the recent addition of young guitar phenom Sarah Cole.sarahcoleandthehawkes.com

Dangermuffin
Genre: Jam, Rock

It’s hard to believe the breakout success of this hometown trio, who now spend far more time touring across the country than at home on Folly Beach though. When they’re here though, it’s the same rowdy time when they gather at Surf Bar for their legendary Sunday night jams. dangermuffinmusic.com

Gaslight Street
Genre: Soul, Rock

Led by songwriter Campbell Brown, this quintet tours across the Southeast, earning fans through their ear-pleasing blend of classic soul and Allman Brothers style keyboard/guitar interplay.
gaslightstreet.com

Howard Dlugasch

Genre: Folk, Rock

With a style that harkens back to the classic singer-songwriters of the ‘70s, Dlugasch entertains both on his own and with his band, Bringers of the Dawn.
www.myspace.com/bringersofthedawn

Folly Dogs

Folly Dogs
Genre: Classic Hits

The Folly Dogs duo specializes in the best music from the ‘70s to the present, with high energy, fun, dance, and listening favorites.
FollyDogsMusic.com/864-6642

Sweet T and Chuckwagon
Genre: Folk, Groove

Duo Teresa Parrish and Charlie Stonecrypher blend classic country flavor with funky basslines and banjo.327-8642

Stratton Lawrence
Genre: Rock, Country, Folk

Stratton is the best musician in the world, and best of all, he’s humble about it.
poridgemusic@gmail.com

Eric Penrod

Genre: Rock, Jazz, Blues

Since relocating to Folly Beach, Eric Penrod has earned a reputation as one of the most capable guitarists and performers in town. He’s equally comfortable entertaining an audience on his own or with his impressive trio.
www.myspace.com/ericpenrod

Reckoning

Genre: Grateful Dead covers

This revolving cast of local musicians digs deep into the Dead’s catalog, creating unique shows and segues that bring new life to old favorites.
www.thedeadreckoning.com

Yellowknife
Genre: Explosive Pop Rock

The sound this duo gets out of drums and keys always earns double takes, but it’s the cover-your-ears-kids stage banter of drummer Stratton Moore that keeps the faithful checking the band’s unpredictable Facebook feed.
251-4813

This list will be online and updated at www.follycurrent.com, so feel free to send us your info to be included there.

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Beneath the hopeful and soothing sounds of local songwriter Nathan Calhoun’s music lies an ardent pursuit forged by adversity.

Diagnosed three times with melanoma between 2008 to 2011, Nathan’s recurring bouts with cancer ushered in a solo musical career and, on the heels of an unexpected recovery, this month the devout musician released a triumphant debut E.P., Carolina Breeze.

“There are a couple of dramatic songs, but most of the album is pretty up-beat,” says Nathan, who began recording while recovering from a second diagnosis, at home in Louisville, Kentucky.  The album was completed in  February.

Turning to music to alleviate fear and anxiety during treatments, Nathan couldn’t resist breathing life into a hopeful work of art while faced with calamity.

“It was so freeing,” says Nathan, referring to his call towards songwriting.  “I wasn’t rushed, but I wanted to complete it as soon as I could — I wasn’t sure I’d be alive to finish it.”

Positive Vibes

First-time listeners would never guess that Carolina Breeze was conceived under bleak circumstances.  Mirroring Folly Beach’s cheer-filled streets, the aptly-named album leads listeners through heartfelt lyrics and vibrant melodies.

“I wrote a song about the pace of Charleston and Folly Beach, and the locals, too” says Nathan, about the lighthearted title song, “Carolina Breeze.”

“It’s a great CD to break into the original scene,” adds Nathan’s girlfriend and band manager, Elizabeth Adams, whose diligent efforts behind the scenes steadily land him gigs.

A long time familiar face on Folly Beach’s music scene, Nathan consistently delivers dynamic performances as the front-man of Calhoun’s Calling, a cover act rendering classic songs from various artists, including Dave Matthews Band, Jack Johnson and the Foo Fighters.

“We have a lot of fun” says Nathan.  “We play for the crowd.”

Conceived roughly two years ago by Nathan and saxophonist Andy Childs, the high-energy cover act has since accrued many charismatic band members, including lead guitarist Shane Greer, bassist John Birkenheuer, and drummers Kendal Brown, Darryl Williams and Jared Kerns, whose distinct contributions helped shape Carolina Breeze.

“It was perfect timing with this last album,” says Elizabeth, referring to constant encouragement from Nathan’s fellow musicians and friends.  “All these musicians happened to be present at the right time.”

“They’ve been a part of some of the best times in my life,” adds Nathan.

Although continuing involvement with the entertaining group, Nathan’s decision to embark on a solo career has refined the musician’s songwriting ability.

“I’m really looking to dig into the original scene,” says Nathan.  “I feel I have a little more voice now, and I feel stronger as a songwriter.”

The raw recordings and minimal effects of Carolina Breeze create a sincere and intimate listening experience.

“I wanted to keep it as organic as possible,” says Nathan, referring to the recording process.  “I’m so obsessed with keeping everything real and organic.”

Nathan’s ability to create an authentic album, however, stems from a humbling string of cancer diagnoses that sparked an honest and optimistic outlook. Upon moving to Charleston in 2007 from Louisville, Nathan was unexpectedly diagnosed with stage three melanoma, urgently requiring surgery at MUSC to remove a neck tumor and lymph nodes.

Four to five months after recovering, the cancer metastasized and Nathan was diagnosed for a second time with stage four melanoma — a rare, terminal disease with limited treatment options.  To halt the cancer’s rapid spread to vital organs, Nathan underwent surgery and experimental treatments at the National Institutes of Health (NIH), resulting in the removal of his lung.

“It’s so rare and it’s not like skin cancer,” says Nathan, who recalls his doctor admitting eight months of survival would be a gift.  “Many people think stage four melanoma is a skin cancer; but when they’re [doctors] telling you it’s in your lung, brain and liver, it doesn’t feel like skin cancer.”

Healthy for roughly 14 months, the battered musician was re-diagnosed in 2011 with stage four melanoma and, as a last resort, braved interleukin treatment — a process activating the immune system — at NIH.

Teetering between life and death while in and out of treatment centers brought the musician eye to eye with his volatile condition.  “I met other patients who seemed fine, then three weeks later they were dead,” says Nathan.

Nathan’s relentless exposure to mortality rendered every passing moment as a gift.  “I took a step back after I was first diagnosed,” says Nathan.  “I didn’t want to take anything for granted anymore, and that’s when I started making music.”

With a guitar in his hands during the early stages of treatment, Nathan clung to hope and found solace in his music.

“He always had a guitar in his hands,” says Elizabeth, who remained a consistent source of comfort amidst Nathan’s fluctuating circumstances.  “Music just started snowballing.”

After an impressive performance at a benefit in Louisville, the recuperating musician’s on-stage appearances steadily increased, ultimately leading Elizabeth and Nathan back to Charleston.

“I didn’t know I’d ever come back here,” says Nathan.  “It was very emotional coming back to Charleston,” adds Elizabeth.

Despite the musician’s turbulent experiences, themes of serenity and gratitude prevail in “Carolina Breeze.” Alongside Nathan’s near-fatal cancer diagnoses, the death of his grandfather, Roy McCarty, in 2004, as well as a timely and reviving relationship with his girlfriend, Elizabeth, inspired the uplifting album. From beginning to end, the six track E.P. is sewn together by hopeful and eager-minded sentiments.  On a feel good track titled “Fly Away,” Nathan sings:  “Give us a new day, let’s board this plane and fly away.”

Elements of folk, swing and jazz seep into Nathan’s style, creating a wholesome sound reminiscent of Steely Dan and Simon and Garfunkel, and gentle percussion fluttering alongside lush melodies often serve as a canvas for the musician’s earnest lyrics.

“Slow down and enjoy the things around you,” says Nathan.  “The album says that.”

A Community Effort

While Carolina Breeze reflects the musician’s persistence and natural talent, Elizabeth and Nathan commend Folly Beach residents’ compassion and generosity in making the album possible.

“We couldn’t have done all this without the community,” says Elizabeth. “I see this record as a way to give back to the community and their support,” adds Nathan, who credits the annual Follypalooza festival as a major buffer for his treatment costs.

Now in it’s fourth year, Follypalooza launched in 2008 to round up community members and local bands.  D.J. Rich, Folly Beach city councilman and co-owner of Planet Follywood, cooperated with general manager Mike Lewis and chef Chris Ludy of Folly Beach’s former restaurant, The Conch, to organize the lively early-fall event.

Initially raising funds for a handful of residents struggling with cancer, including Nathan, the annual event’s reputation grew each year, alongside the number of residents receiving support, according to Rich.

Supporting Nathan throughout his diagnoses, Rich gained great respect for the musician’s never-give-up persona.

“He’s one of the most optimistic guys I know,” says Rich, about Nathan’s enthusiasm.  “To be diagnosed with cancer all those times and come out as happy as he did, it’s amazing. I never saw him down — he just wanted to play music and have fun.”

After celebrating Carolina Breeze during an album-release show July 7 at Loggerhead’s Beach Grill, Nathan’s has recommenced performing throughout the Charleston area.

“He’s really booked up crazily this summer,” says Elizabeth, who’s booked Nathan shows at the Windjammer on the Isle of Palms, Music Farm and the Brick in downtown Charleston, as well as the Pour House on James Island.

Currently, Nathan performs from 9 p.m. to 12 a.m. every Friday at the Crab Shack on James Island, as well as roughly every other month at Planet Follywood.

Nathan’s remarkable ability to bounce back and deliver passion-laced performances is a testament to his resilient character.

“I’ve always been impressed by Nathan’s talent and raw ability, says Elizabeth.  “But for him to come back like he did, and sing songs with such power with only one lung, it’s unbelievable.”

Finding refuge in music, Nathan’s hardships laid the groundwork for a sincere approach to songwriting and, filled with gratitude and ambition, the bright-eyed musician rests patiently on the brink of a promising musical career.

“It was my saving grace,” says Nathan, paying homage to music’s life saving powers.  “I’ll never be able to give back to music what music has given me.”

Nathan plays at Planet Follywood on Sunday, July 24, and at Locklear’s on the Folly Pier on Wednesday, July 27. To check out Nathan’s upcoming shows, view photos, or contact him, visit: www.nathancalhoun.com.

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Echoing the lighthearted and spirited scene of Folly Beach, the ragtime sounds of local musician Nathan Calhoun have finally found their way into an album. As the energetic front man for Calhoun’s Calling, a cover act seamlessly rendering classic songs from the Foo Fighters to Jack Johnson, Nathan has embarked on a solo career and is awaiting the release of his debut E.P, Carolina Breeze.

“It’s easy going and I really don’t have any expectations,” says Nathan of the aptly-named album.  “It’s definitely a stepping stone.”

Nathan’s turbulent string of near-fatal cancer diagnoses — recurring three times within a three-year span between 2008 to 2011 — as well as the death of his grandfather in 2004 and a rejuvenating friendship with his girlfriend and band manger, Elizabeth Adams, have culminated into an album brimming with optimism and gratitude.

Elements of swing, folk, and jazz are evident throughout the seven-track album, often featuring delicate acoustic melodies unfolding alongside the soothing sounds of a saxophone and the light pitter patter of drums.

Nathan will unveil Carolina Breeze beginning at 6 p.m. on Thursday, July 7 at Loggerhead’s Beach Grill during an album-release performance.  Accompanying Nathan on stage are fellow band members, Andy Childs, John Birkenheuer, Kendal Brown and Shane Greer, whose contributions spurred the album’s release.  Rootsy musician Eddy Boston will also perform as a special guest.

“We couldn’t imagine having it anywhere else,” says Elizabeth.  “The community’s been so unbelievable with their support.”

“Music is my way to give back to the community,” says Nathan.  “So I’m thinking of it as a big celebration rather than an album release.  It’s a big thank you.”

To check-out Nathan’s upcoming shows, view photos, or contact the down-to-earth musician, visit www.nathancalhoun.com

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