Today, we present the exclusive premiere of Seth Walker's live acoustic version of "Turn This Thing Around." You can check out the video—which also features Myles Weeks on standup bass—below.
The original version of "Turn This Thing Around" can be found on Walker's upcoming album, Gotta Get Back, which will be available September 2 via Royal Potato Family. The album is available for preorder via pledgemusic.com.
“Sometimes you have to remind yourself why you started something in the first place,” Walker says. On Gotta Get Back, Walker does precisely that, excavating the roots of his love affair with music and reuniting with the family that helped spark the fire.
And speaking of family, Walker’s uncle is John Mark Hampton, owner of Moriah GuitarWorks, a boutique guitar shop in Greensboro, North Carolina. Hampton handcrafted a guitar for Seth to play on Gotta Get Back.
"As a kid underfoot, I vividly remember seeing my uncle's hands play the guitar," Walker says. "It was mere magic just to see his worn fingers at one with the strings. John Mark Hampton was born to make things out of wood. He started a guitar company in the Eighties called Zion, and he, along with his partners, made a mark in the solid-body world. However, his passion was always in the craft of building acoustic instruments.
"One of the first guitars I ever strummed was a blonde one John carved out of thin air and pure joy. He later took a break from the luthier business and began building and remodeling homes, but his passion for making guitars always called his name. He danced with the notion of getting back to what he was always destined to do for many years, and after much dreaming and deliberation, he took that leap of faith to start Moriah GuitarWorks. I was fortunate to be a fly on the wall for some of the wing-spreading proceedings, and I marveled at his courage and faith of the unknown. I always dreamed of a guitar built by John, a guitar carved from blood.
"When the time was right, we started to plot one out. We looked at different woods, sizes, neck measurements, colors, in-lays and feels—a process I'd never been a part of. We decided on raintree wood from Costa Rica, Adirondack spruce, old ebony, curly maple and mahogany. John was then off to the races. Our goal was to have it finished by the opening recording date of my new album. He put his soul, sweat and mojo into this guitar and delivered it to me just days before the sessions.
"When I pulled it from the case, I knew something special was happening to both of us. It was as if I had known the guitar for lifetimes. This is not always the case when playing a new guitar, even one crafted by an expert. I took "Moriah" to the sessions in Nashville at Southern Ground Studios, and she became an integral part of the record. It has soul, clarity, definition and a balanced yet funky sound that suits me to a T. This beautiful guitar is featured on much of the album and truly shaped the flavor and textures of these recordings. It played me.
"I am so thankful to have shared this process with my uncle and now we can share her with you through the music. Carved from blood. Family style."