As an independent musician, few have done it better over the years than Brown. I can’t think of anybody that really has. Brown’s released his authentic brand of mainstream rock through digital partners like CD Baby and through his own website. Every release that he’s put out himself hasn’t just made a profit, it’s made a big profit. That’s allowed him to live life that he’s gotten to over the years. That’s something that’s never been lost on him.
“It’s always awesome,” noted Brown talking about how passionate people are about his music. “We get a lot of messages from people. We just got back from Spokane and the number of people that would come up and talk to us about what our songs did for them… that’s just an awesome experience. At the end of the day, music is for one thing. It’s to transcend. It’s a universal language – whether it’s a note that makes you cry, or a lyric that makes you think. Knowing that somebody else is going through what you are – it helps people. To know something that I did can be a part of that is amazing. If I could make a record that affects someone 20% of what some records have affected me then I’d consider that a success,” he added.
The people that admire One Less Reason’s music are passionate, and Brown can appreciate that because that’s the way he is with the music he loves. One of Brown’s biggest inspirations in music is Matchbox Twenty and one of the albums that made him get into music was “Yourself or Someone Like You”. When the opportunity arose to buy the very studio that one of his favorite bands recorded what probably is his favorite album – he jumped all over it.
Now, Brown uses the studio as a base of operations for Tattooed Millionaire Records – a label that he runs with longtime friend John Falls. The label is releasing the new One Less Reason album, “The Memories Uninvited”, but Brown’s also getting some big help from a major player in the music business, Andy Gould. Gould got to listen to the album when a friend played it for him. Gould called him almost immediately after listening to the record and told Brown that he wanted to work with him.
“It’s the old adage of the girl you can’t have. The one that’s mean to you, that’s the one you want to chase. The one that’s nice to you, you don’t want anything to do with. I used to kiss people’s asses, label people and people like that, now I just don’t care. I want to make the music I want to make. If you like it, great. If you don’t, I don’t care. This is about putting out a quality product, not being cool. I don’t care if you don’t like what kind of jeans I have on.”
Read Part Three