Old Crow Medicine Show musician shares why it's so hard to play the harmonica

Old Crow Medicine Show became a household name in large part thanks to their 2004 megahit “Wagon Wheel” – an undeniably catchy arrangement by band co-founder Katch Secor of a mumbled outtake recorded by legendary Bob Dylan. Perhaps one of modern folk’s most indelible examples of a historical folk song distilled by time, the origins of the chorus stretch through several iterations traced back to the 1940s.

From their discovery busking in 2000 to their induction into the Grand Ole Opry in ‘13, and to the present, the now-septet’s catalog of music includes 13 albums, including the Grammy-winning "Remedy" album and their latest release, “Jubilee.” I recently spoke to long-time member and multi-instrumentalist, Cory Younts, about his musical inspiration, his work in and outside of the band, and about how to play high notes on a harmonica – among other topics.

Q: You grew up in a musical household in Tennessee?

A: I grew up here in Nashville, born and raised. My father was a musician. His mother was a musician. I was around it quite a bit. I was playing drums at a very early age, taking lessons when I was about seven or eight. My father played drums for Mel Tillis in the '70s.

Q: Have you always known that you wanted to be a professional musician?

A: That's pretty much all I wanted to do. It's in my blood. I was around it a lot. It looked cool. It looked fun. A tour bus has been something that I always wanted to be on. It's pretty much all I've pursued.

Q: Was there any point where you didn’t want to do country or bluegrass? Or is that what really hit you when it came to music?

A: When I first met the Old Crow guys, when they first moved to Nashville, I loved what they were doing. It's not really bluegrass. It's more old-time music, with banjo – really fiddle-driven. And I really wanted to do that. I was playing in other bands when I first started out. It wasn't particularly my favorite music.

I was out touring and getting my feet wet, but it wasn't really the music I wanted to do. It was a job. Riding in a van and whatever, and doing all that, playing night after night. After a while, it gets pretty discouraging. And you're not getting paid that much. I actually did get out of the scene for a bit when I was in my early 20s.

Then it came back around again when I was touring with Justin Townes Earle. That was a rejuvenation. I can play this (expletive). I really enjoy playing this music. We did 200-something shows a year. We worked really hard, just the two of us. I always just thought, “Traveling is hard. Now, if I could just stay in it long enough and get somewhere on a bus.”

Q: Was there a specific time when you knew that music was going to be a real career for you? It seems like the bus is the answer.

A: It pretty much is. When I joined Old Crow officially, I was 29 and thought I did it. Don't mess up. I've been here ever since. I left to play with Jack White for a year.

Q: I don't want to compare projects, but were there any lessons you learned from him or Justin Townes Earle that you brought to Old Crow?

A: Justin and I loved Old Crow. We would pay attention to the way they entertain and try to do that too – just be real funny and intriguing. And going to the Opry, Justin and I would really try and pay attention. We learned that it's not just playing. We were okay, but we weren’t virtuosos or anything.

At some point you have to realize it's not about just playing your instrument and singing songs. You’ve got to have some humor – some entertainment involved. There're a lot of people out there that say, especially in the bluegrass world, you’ve got to go to Berklee and practice religiously and be a virtuoso. I call it Berklee-grass.

Virtuosic playing is awesome. But do you have a soul, or is this just a math equation? You have to entertain your audience. You have to talk – to make them feel that you're like them. You're not some unattainable, unapproachable, supreme being. We learned a lot of that from Old Crow, Justin and I.

Then Jack, he doesn't talk to his audience much. It was quite an eye-opener being in that organization for a year. Fats Kaplin, the steel guitar and fiddle player, and I – we'd been playing acoustic music our whole lives. We weren't used to the rock world. I'm playing a mandolin behind the loudest guitar in demand. It was like, “Can anybody hear me out there?”

But it was a great gig. Third Man is a great organization. They're really well-mannered. Jack was a great boss. There's no ego and no BS – no toxins. If you're ever at Third Man, and he gives you a tour, he'll use words like "we" rather than "I have this" and "look at this guitar I have." It unifies everybody.

Everybody had to wear suits during the show. A lot of the crew got into the industry so they didn't have to wear a damn suit to work every day. At first, they hated it. Of course, Jack bought everybody suits. During load in and out, everybody put their Carhartts and their belts and tools back on, of course. I learned from Jack to pay attention to your crew and be there for them as much as they're there for you.

Q: You were there when Old Crow was inaugurated into the Grand Ole Opry.

A: I came back to Old Crow in '13, and I was there when Marty Stuart showed up in Cleveland. And he got us to join. It was quite a moment. We really worked to get it. The Opry gives it away a little much nowadays. They're trying to link to anything that's new and to keep people coming. It's the Grand Ole Opry, and it's awesome, but it has changed a lot. Anyway, the night that we were inducted was a very special night. Ketch gave a wonderful speech.

Q: I enjoyed listening to “Jubilee.” My girlfriend and I's favorite track is "S--- Kicked In." Are you playing harmonica on those tracks?

A: No, I'm playing piano on that one. If there’s an odd melody line, that's Ketch. I did play some harmonica on "Wolfman of the Ozarks," I believe. We alternate a lot.

Q: I’m impressed by anybody who can play the harmonica. I can't figure out how to just make one note.

A: If it makes you feel better, I can't really go past the middle register. You have to really pucker up. Once you get past the middle of the harmonica and go up, you have to blow upwards – up your own nose. That's the only thing that's ever been taught to me, and I still can't really do it. That, I will give you, is difficult.

Q: Do you have a favorite tune on the album to play live?

A: Probably “S--- Kicked In.” We haven't been playing it much just because of how many times it says “s---”. All it takes is one little kid on the front row and we won’t play it. But it's a hell of a funny story, and I'm always pushing for us to play it.

The piano was a little bit out of tune when we did it. We couldn't get our tuner to come over. I remember Ross-Spang was like, “S---, I think it sounds great. It's really honky-tonky.” We had a big time cutting that. Having your own studio, you're not so much on the clock. It's been quite a blessing having that place.

Q: It can also be a curse, too, because you don't have the time that makes you think “I’ve got to get this part."

A: That time is when the HVAC shuts off.

Old Crow Medicine Show with Del McCoury Band

When: 8 p.m., Friday, July 12.

Where: Andrew J. Brady Music Center, 25 Race St., Downtown.Tickets: $40 and up.

This article originally appeared on Cincinnati Enquirer: Old Crow Medicine Show's Cory Younts on why harmonicas are so tricky