Nashville singer-songwriter Kim Logan, a Berklee College of Music alumna, recently unveiled a unique musical project that’s capturing attention: the recording of her original song, “Peaches and Cream,” in a vintage 1947 coin-operated phonobooth at the iconic Third Man Records. This venture isn’t just a recording session; it’s a fascinating blend of musical history and modern artistry, showcasing Logan’s deep respect for music’s past and her innovative approach to contemporary sound.
Fans familiar with Kim Logan might recall her insightful blog post on fashion trends and their musical muses. With “Peaches and Cream,” she once again demonstrates her appreciation for music history, bridging the gap between classic recording techniques and today’s music scene. Adding another layer of cool to this project, Logan transformed the raw phonobooth recording into a full-fledged music video, released recently, further amplifying the song’s reach and impact.
Logan’s musical style effortlessly merges eras, and the “Peaches and Cream” music video visually embodies this fusion of old and new. To delve deeper into this exciting project, we had a conversation with Kim to uncover the story behind the video and explore her current musical journey.
The Genesis of “Peaches and Cream”
When asked about the song itself, “Peaches and Cream,” Logan reveals its personal origins. “This song is about a boy who still lives in New York and grew up with me in Florida,” she explains. Interestingly, the song was written years ago, when Logan was just 19, and the subject of the song remains unaware of his muse status. She chose this particular song for the phonobooth recording due to its traditional blues structure, which fit perfectly within the time constraints of the vintage machine. “I used it because it’s a really standard, traditional blues form, and could fit within the time confines of the recording.”
Recording in a 1947 Phonobooth: A Creative Spark
The decision to record in a phonobooth was a stroke of creative inspiration, born from Logan’s proximity to Jack White’s Third Man Records universe. “One of the cool little perks of being so close to Jack’s rock and roll candy factory universe was heading down to Third Man headquarters and recording one of my original songs in his 1947 coin-operated phonobooth,” she shares.
The phonobooth itself is a refurbished 1947 Voice-O-Graph machine. This vintage equipment imposed unique limitations and opportunities. It could only record for approximately two and a half minutes, necessitating a concise song choice. The machine cut a 6″ clear, fragile phonograph disc – a tangible artifact of the recording session. The audio available is a digital transfer of this disc, captured using the Third Man Records Spinnerette turntable. The raw, authentic sound of this recording is available on the Third Man Records website, offering listeners a direct connection to this unique performance.
The Nerve-Wracking Magic of the Phonobooth Performance
Recording in the phonobooth was far from a typical studio experience. Logan describes it as “honestly REALLY nerve-wracking.” The pressure of capturing a perfect performance within a limited two and a half minutes was intense. “You get this chance to make everything perfect for 2 and a half minutes, and you realize that and your hands start to shake and you heart starts to pound.” The vintage machine added to the atmosphere, with instructions lighting up and a countdown adding to the tension. Despite the pressure, Logan found the experience magical, especially the moment she finished the song with just seconds to spare, as captured in a GoPro video of the session.
Collaboration with Vance Powell: A New Chapter
Adding another exciting dimension to Kim Logan’s career is her development deal with producer Vance Powell. This collaboration came about through GPS Management, a firm representing both producers and artists. “I met Vance through his management — which is now my management! They’re called GPS,” Logan explains. This connection is particularly significant given Powell’s long-standing work with Jack White and numerous projects at Third Man Records.
For Logan, who grew up admiring Jack White’s approach to music, working with Powell is a dream collaboration. “Vance has worked on a myriad of Jack White’s projects for almost a decade — all of his personal bands, and most of the other work that has come out of Third Man… Vance is the wizard behind all of his most recent sonic magic.” She sees Powell as the ideal producer to guide the next phases of her artistic and sonic evolution.
GoPro Perspective: Capturing the Booth Experience
The use of a GoPro to film the phonobooth session was a practical and creative choice. Due to the booth’s confined space, a GoPro was the perfect solution to capture the performance from within. Logan notes that other artists, including Neil Young and Brendan Benson, have also documented their phonobooth recordings with GoPros, making it a fitting way to capture her own unique experience.
Kim Logan’s “Peaches and Cream” project is a testament to her artistic vision and her ability to connect with music history while forging her own contemporary path. From the vintage phonobooth recording to the collaboration with Vance Powell, every element of this project underscores her dedication to authentic musical expression. Kim Logan, who initially left Berklee to pursue her music career in Nashville, is now completing her degree online, all while actively performing and promoting her self-titled debut album and crafting her next musical endeavors. You can discover her music on platforms like iTunes and Bandcamp and stay updated on her journey through her official website and social media channels. “Peaches And Cream Song” is more than just a track; it’s an invitation to experience the timeless appeal of music, reimagined for today.
