BEGIN:VCALENDAR VERSION:2.0 PRODID:-//360exp//Calendar//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:360exp REFRESH-INTERVAL;VALUE=DURATION:PT1H X-PUBLISHED-TTL:PT1H X-WR-TIMEZONE:America/New_York BEGIN:VEVENT UID:4f916199-1114-4700-b090-dbc19a7d1856@360exp.net SEQUENCE:29842995 DTSTAMP:20260928T162145Z LAST-MODIFIED:20260928T071530Z DTSTART:20261007T000000Z DTEND:20261007T030000Z SUMMARY:Robert Lester Folsom w/ Liz Cooper LOCATION:Eulogy DESCRIPTION:Eulogy Presents: Robert Lester Folsom w/ Liz Cooper\n\nTues\, O ctober 6th\, 2026\n\nEulogy - 10 Buxton Ave. Asheville\, NC 28801\n\nDoors 7PM || Show 8PM\n\n**Robert Lester Folsom**\n\nSunshine Only Sometimes: A rchives Vol. 2\, 1972–1975 continues Anthology Recordings’ excavation \, and exploration\, of southern singer\, songwriter\, and psychedelic ser viceman Robert Lester Folsom’s bountiful archives. Recorded across Georg ia in various bedrooms\, a barn\, and a motel room with a reel-to-reel and a revolving cast of whip smart studio musicians in the first half of a da zed and confused decade\, Sunshine Only Sometimes furthers Folsom’s plac e in the canon of long lost but eventually found independently spirited\, high-flying American folk rock.\n\n
When Anthology’s reissue of Music and Dreams\, the sole contemporaneous album released in 1976 by Folsom\, s urfaced in 2010\, little else was known of Folsom’s nearly five-decade d eep archive of unreleased demos and fully formed studio recordings. Born a nd raised in Adel\, Georgia—both then\, and now\, a sleepy hamlet with a population of less than 5\,000—Folsom was fortunate to be minded after extremely supportive parents. Exhibiting a precocious affinity for music\, things went widescreen when he observed the same ferry from ‘cross the Mersey as many others of his generation\, carrying the four musical moptop s to their paradigm shifting appearance on The Ed Sullivan Show. Soon ther eafter\, Folsom began religiously absorbing every morsel of musical output The Fab Four offered\, as well as that of their contemporaries. Yet\, it wasn’t long before observation transformed into a motivation to create. Even a children’s record player bought by his parents as a gift to him w as traded off to a neighborhood
friend for a stringless\, disheveled gui tar (which Folsom’s father shined to prime and function for him in short order). As time went on\, Folsom’s innate drive and field of vision bro adened\; he began enlisting neighborhood friends\, classmates\, and family members to fulfill his small-scale musical dreams\, which would increase in weight with the passage of days.\n\n
Over the next several years\, wh ile employing ingenious\, home brewed over-dubbing techniques with his “ love at first sight\,” a Sears 3440 two-track reel-to-reel tape recorder \, Folsom served as the de facto producer/arranger for any and all scrappy garage band or aspiring singer songwriter in the radius of Adel. Abetted by his mobile recording unit\, across a number of unusual locations\, and assisted by guitarist and collaborator Hans VanBrackle\, this period produ ced the bounty of Folsom’s self-penned compositions which make up Ode to a Rainy Day and Sunshine Only Sometimes. And eventually\, this period of woodshedding led to the formation of his rural-tinged\, progressive\, sout hern rock outfit Abacus. Though carrying Folsom’s own singular sound and vision\, Music and Dreams\, in equal measure\, chartered the seas of smoo th West Coast AOR before the yachts to come\, while tracing the distinctly Californian sound of Laurel Canyon singer-songwriter soft rock Americana \, which tussled on the waters before the large vessels overtook the big b lue.\n\nFolsom’s earlier compositions found on Sunshine Only Sometimes r eflect a darker-hued mixture of mellow folk\, downer vibes\, and rural ton es\, revealing his talent for melody and hook was intact far before Music and Dreams\, with a keen sense of introspection making the dark and light equally resonant. Sunshine Only Sometimes offers up another sterling set o f tonally-shifting\, sub-underground\, alternate timeline classic rock. Th e C&W-influenced\, sprightly-pop of George Harrison—whose Dark Horse Rec ords is one of a handful of record companies Folsom and VanBrackle submitt ed demos to—is invoked in the uber-melodic “Ease My Mind.” “Julie ” brings to mind Nixon-era ragged ‘n’ ramshackled country-blues from the Glimmer Twins’ pen\, and the semi-acoustic\, heavily-flanged\, out- of-time psych-pop of “Lonely Lovers” sits somewhere between a forward- looking glimpse at Music and Dreams and a demo from a would-be Cosmic Amer ican Music king.\n\n
Unlike similar iconoclasts with crystal vision who held forth with the oppressive thumb of a musical dictator\, Folsom was ev er in service of song\, standing equally aside his collaborators\, which u niformly engendered affinity and respect lasting to this day. While a tick higher than the second-tier\, the mountaintop was always narrowly out his grasp. Though\, with the right set of opportunities\, bolstered by talent and drive\, Folsom\, if not as a stand-alone\, star-quality artist\, coul d have led the career of any number of songwriters behind the curtain who rode the magical musical continuum across the decades with faceless succes s. Perhaps it was Robert and company’s playing “weird spacey stuff and ballads\,” as guitarist VanBrackle describes\, in small town Georgia sk ating rinks\, bowling alleys\, and school dances expecting Top 40 dance-re ady hits which held them down. Perhaps it was simply location. Though\, th e music of Sunshine Only Sometimes is composed of an intrinsic ability to hear the music truly playing\, as opposed to the space in air heard by the lay-ear\, which places Folsom’s music in a timeless space primed for pe rennial (re)discovery.\n\nBoletos: https://dice.fm/event/l8xv8b-robert-les ter-folsom-w-liz-cooper-6th-oct-eulogy-asheville-tickets URL;VALUE=URI:https://360exp.net/events/4f916199-1114-4700-b090-dbc19a7d185 6 STATUS:CONFIRMED END:VEVENT END:VCALENDAR