With their dynamic, determined and descriptive new album Peach Blossom Youth, East Tennessee’s renowned outfit, Mic Harrison and the High Score, take a further leap forward into the Americana environs that have nurtured their music from the very beginning. With noted producer, Eric Roscoe Ambel behind the boards ( an artists whose resume includes work with Nils Lofgren, Steve Earle, Joan Jett, Mojo Nixon, Freedy Johnston et. al.), the band found the opportunity to once again mine the distinctive sound they've established from the very beginning.

“When Mic Harrison speaks people listen,” Eric Ambel declares. “I really wanted to get his raw conversational truth on the record. When the High Score is hitting on all cylinders, they stand tall behind Mic’s truth. They musically dare you to question him. Make no mistake, there’s a new power in these new tracks, and that power coming from Mic’s voice and his uncompromising band.”

“There are definitely a lot of very personal songs on this record,” Harrison went on to say. “At the same time, this is the first album we’ve done that we purposely ran the gamut from some pretty dark subject matter to some otherwise lighthearted material. I hope it’s an emotional ride. No way it would have turned out as good as it did without the production of Eric ‘Roscoe’ Ambel and the playing of The High Score.”

Harrison added that the new LP is “sonically, the best record we’ve ever made.” That’s evident in each of the album’s entries, from the forward thrust of the autobiographical opening track “Straight Back,” the steadfast drive and determination shared in “Keep Drivin’,” the intensive energy conveyed through “Call the Dogs,” and the relentless rock and clever character description detailed on “Outlaw Paw Paw,” to the inspired heartfelt ballad “Old Man,” the candid and confessional “A Wino’s Wishes,” and the rollicking twosome “Dallas Sutton” and “Gotta Go.” 

A concept album of sorts, the songs are as personal as they are provocative. “‘Scrap Iron Man’ is loosely based on a character from my home town,” Harrison says. “Every community has somebody like this, an individual that kind of does his or her own thing, which is why people love to talk about them.” 

The personal perspective is also obvious on songs such as “Picnic At Shiloh,” a song that recalls his family’s visits to the famous Civil War battlefield, and “Lose You Over This,” which speaks about a person who was close to Harrison and who tried to commit suicide.”

It’s little wonder that the critics have shared their praises since the very beginning. Twangville once noted, “There is something extremely satisfying listening to some straight-forward, guitar-driven rock and roll. The best of it holds no pretense, just an energy that is genuine and invigorating. Mic Harrison and the High Score make that kind of music.”

Then there was this comment from Radio Free Americana, which described an early album as “yet another in a consistently fine string of albums that expertly blends roots rock with elements of bluegrass.”

Goldmine once described one of Harrison’s early efforts as “Easily one of the must-have albums of the year,” while Americana UK proclaimed Mic had created “An album to be savored.” Performing Songwriter offered its own opinion when describing Mic’s music as a blend of blue-collar values, the history of the heartland, and an ample dose of alcohol-soaked reflection.”

Then again, Harrison’s homegrown roots and commitment to cause have always been an integral part of his efforts. “Growing up in West Tennessee in the late 80’s, early 90’s, we didn’t know what Americana music was,” Mic recalls. “To us it was just American rock — CCR and John Mellencamp, just to name a couple examples. We were fortunate enough to live within driving distance of The Exit-In in Nashville, and that’s where I found a lot of my musical inspiration, particularly after seeing bands like Jason and The Scorchers, Webb Wilder, Government Cheese and so many more.”

Although he started writing songs while still in high school, Harrison was truly able to formulate his interest and intent once he moved to Knoxville, Tennessee in the 1990s. It was there that he joined the V-Roys, pioneers in early Americana realms. Among its own dutiful distinctions was the fact that for a time they served as the backing band for Steve Earle. Harrison later served a stint with power pop provocateurs Superdrag before embarking on a solo career courtesy of Pallbearer’s Shoes. His tenure with The High Score has been ongoing since the beginning of the new millennium and their combined input and interaction grows stronger with each new effort.

Peach Blossom Youth offers yet another outstanding example.

Guitarist Kevin Abernathy first met Harrison in the late ’90s, but they were formally introduced through their mutual friend, journalist Wayne Bledsoe, in 2007. “After that, I was asked to fill in for Robbie Trosper on several out-of-town shows,” Abernathy said. “I became the auxiliary guitar player, and eventually they asked me to join up.”

Abernathy himself is used to playing several roles himself, and one has to wonder how he manages to find the time and the inspiration to continually shift his stance. “The simple answer is, I like to stay busy,” he said. “I wanna play and write as much as possible. I’m lucky to have these opportunities. And I’m lucky to have a wife and friends and band members who support me.”

Both Abernathy and Harrison have shared plenty of positive thoughts about the East Tennessee music scene in general. “I think the local scene is unique to Knoxville, and it covers the waterfront as far as diversity,” Abernathy said. “I’m encouraged and inspired by all my musician friends as well as the younger artists. I’m happy to be a part of it. Rock on, K-town!”

Harrison concurs. “You have crossroads of musical influence here in Knoxville that I don't think you have anywhere else in the country. A lot of good music comes out of this area — past, present and hopefully in the future.”