The JR Band’s new single, “Predilection,” creates a musical haven for listeners.

The Americana instrumental transports fans to an idyllic sonic space that lies somewhere between fantasy and reality.

“The idea for the title ‘Predilection’ comes from a conversation in Carlos Castenda’s writings, The Teachings of Don Juan: A Yaqui Way of Knowledge,” said Randy Juhl, who’s from Bay City, Michigan, and serves as the band’s vocalist, guitarist, and violinist.

“It’s how Don Juan describes a warrior’s ‘place of predilection’ as a physical spot that grounds you, restores you, and reconnects you with your purpose. That concept has always struck me as being profound, and with this song, I realized that my own place of predilection isn’t necessarily physical but rather musical.”

Juhl and bandmate John Patrick soar on “Predilection,” which features a tranquil blend of acoustic guitar, organ, mandolin, violin, double bass, and banjo.

“For me, that space is a kind of inner landscape where I wanted the instrumental to reflect that sense of lifting off into a place that’s familiar yet expansive,” Juhl said. “A few early listeners told me it felt like a journey, and that meant a lot because that’s exactly how I experience it.”

I recently spoke with Juhl about the band’s new single and the creative process behind it.

Q: What have you been working on lately?

A: Fall is usually a slower stretch for The JR Band. John pulls double duty as the band teacher at Akron-Fairgrove Schools, which means football season, marching band commitments, and on top of that, helping run his family’s 800-acre farm during harvest.

For me, this fall has been spent mostly in the studio. [I’ve been] bringing in musicians to record parts, then diving deep into editing, mixing, and mastering “Predilection.” That process carried me through most of September and October. I started a new project in October, which will be a remix of an existing song with a variation of chord structures. It will also involve introducing missing vocal harmonies and adding new instrumentation.

Even with these schedules, we still managed to play a few shows, including two nights at the DoubleTree hotel in Bay City, the Uptown Bay City Water Fountain Music Series, and Mi Element Grains & Grounds in Midland.

It’s worth noting that The JR Band has evolved into two projects over the last year or so. The JR Band duo and The JR Band, featuring friends Bob Rostollan and Kelly Sible, are also known as The JR Band. As a group, we have played at festivals, weddings, coffeehouses, and bars/eateries. As a duo, John and I typically play smaller settings where a full band would be unreasonable.

Q:  How does “Predilection” take sonic inspiration from the Hammond B3 organ?

A: The Hammond B3 plays a big role in creating that atmosphere. I’ve always loved its sound, thanks to groups like The Band, The Allman Brothers Band, and Santana. I could hear in my mind how a subtle B3 texture could add warmth and depth without overpowering the piece. I performed the part on a Roland piano and brought it to life through MIDI and B3 voicing in the digital audio workstation. The result gave the track the warm, floating quality I was hoping for.

Q: How did “Predilection” come together in the studio?

A: “Predilection” began as a solo guitar piece I’d been tinkering with for about a year. It was inspired by players like Leo Kottke and by those haunting fingerstyle melodies you sometimes stumble across online. Over time, I experimented with different shapes and directions for it and then eventually pared it down to [its current] form. It’s a simple AB structure with a bridge and an outro. The guitar-picking melody is the glue that holds it all together.

I wanted it to stay engaging without wearing out the listener with repetitive patterns. I kept it short and focused to let the interest come from how the layers and textures gradually evolve. I recorded a demo with just my guitar, organ, and fiddle and sent it to John [Patrick], Bob [Rostollan], and Kelly [Sible], along with a loose production cutsheet. It was mainly chords and notes about where each instrument would enter, take the lead, or fall back. Other than that, they had full freedom to follow whatever inspired them musically.

One specific request I made was for Bob to switch to bow on the double bass during the bridge. I wanted that dynamic shift to embellish the bridge vibe, and the bowed bass gave it exactly that.

Overall, the track was thought out in broad strokes. The arrangement had structure, but there was plenty of room for each musician to interpret, explore, and bring their own emotion into the piece.

Finally, the recording process [included] coordinating schedules with John, Bob, and Kelly. Once everyone was in the studio, we focused on the setup, made everyone feel comfortable, and ran multiple takes if needed. We built a comp list of tracks to select the best performances from. All told, the recording and scheduling process typically took a week or two, with the actual recording usually completed in just one or two days. After recording, the work of editing, mixing, and mastering took place over a few weeks.

Q: “Lil Fro” pays homage to a 1984 Pontiac Fiero that was purchased in 1985 and restored nearly 40 years later. How did that car and its restoration inspire this song?

A: I bought the Fiero in Norfolk, Virginia, while being stationed there in the Navy. My wife had just taken a job at the Navy Exchange and needed transportation. At the time, we thought a two-seater would be perfect for her commute between Virginia Beach and Norfolk. The Fiero was new, unique, and undeniably cool, so it felt like the right choice.

We drove it steadily from 1985 through 1994. When I left the service in ’93 and moved back home, the car came with us, and it eventually became the car my oldest daughter learned to drive. I spent time on country roads and in empty parking lots teaching her how to work a clutch and shift gears.

Eventually, the car started acting up, and I couldn’t get it past second gear. My daughter had moved out by then, and rather than fixing it, I drove it into my backyard garage with the intention of dealing with it later. Then life happened, and “later” turned into nearly 40 years.

Years down the road, I finally asked myself why I was still holding onto it at all. The honest choice was to tow it away or try to bring it back. Once I decided to restore it, I got obsessed in a good way. From 2018 to now—I literally just ordered another part—the project had become its own journey. Each step was a mix of challenge, nostalgia, and satisfaction.

Driving it again after all that time felt like reconnecting with a younger version of myself, one who was just starting out, building a family, and figuring out life. The restoration wasn’t just mechanical; it was personal.

Q: “Lil Fro” also celebrates the importance of nostalgia and reconnecting with an old passion. How does it encourage listeners to seek out something they once loved?

A: I hope “Lil Fro” reminds people to pause before tossing something aside, whether it’s an object, a hobby, or even a part of themselves. There’s a certain satisfaction in preserving something that once mattered to you and realizing it still has a place in your life.

For car folks, the song hits that nerve. Restoration is never just about bolts and paint. It’s about stories and memories and keeping a piece of your history alive. “Lil Fro” ended up becoming a kind of anthem for that mindset. It celebrates the idea that bringing something back to life—no matter how long it’s been—connects you to who you were and who you’ve become. It still has old stickers in the back window from my alma mater, UW Parkside [in Kenosha, Wisconsin]; grad school at Old Dominion University in [Norfolk,] Virginia; and the Navy.

Q: How did the songwriting for “Lil Fro” evolve over time?

A: “Lil Fro” started with lyrics I wrote back in 2022. It was around the time we had started working on our first songs for streaming platforms. I’ve always admired John’s songwriting abilities, maybe even been a little envious [of them], and for a long time, I didn’t feel confident enough to write my own songs. I knew I could force something out if I had to, but I didn’t think of myself as a songwriter yet.

One day, I just sat down and wrote out all the steps and memories from restoring the Fiero. It was almost like journaling. I scribbled it on paper, later typed it into a computer file, and told myself that maybe someday I’d turn it into a song. Then, in classic fashion, I lost the paper, and the file disappeared somewhere across two computer upgrades.

In the summer of 2024, I stumbled across the file on the older computer and decided the time had finally come. By then, my perspective on songwriting had changed, because I had already written and produced two tracks since first jotting down those lyrics. Rereading them with fresh eyes, I reshaped the story into a verse-chorus-bridge format and added, removed, and tightened lines so the narrative felt light, honest, and even a little humorous.

All of the narrative came straight from real moments. The salesman offered me a VCR or a weekend trip to Las Vegas if I had purchased it. The lyric, “My girlfriend hates it,” came from watching her try—and fail—to gracefully get in and out of the car. The “poor man’s Vette” reference reflects what everyone called the Fiero, and the “catch on fire” lyric is a nod to the recalls the car was famous for.

Musically, I took inspiration from Darrell Scott [and Tim O’Brien’s] vibe on “Long Time Gone.” I built the structure around that feel, tweaked it for a week or so, and voila, “Lil Fro,” my affectionate name for the car, was born.

Q: You collaborated with several guest musicians on “Lil Fro” and “Predilection.” How did they help elevate those tracks sonically?

A: On “Lil Fro,” Jon Potrykus (pedal steel) was originally in the studio to record a pedal steel track for another song we released in November 2024 called “October.” As is typical, I sent Jon a demo and cutsheet ahead of time so he could prepare. At the end of the session, I handed him a chord sheet for “Lil Fro” and asked if he’d be willing to ad-lib a track before leaving. He was happy to do it, and in true professional fashion, he ripped through three or four takes like he’d been playing the song for years. The result added exactly the “popping” pedal steel vibe the track needed, giving it that extra lift and character.

On “Predilection,” John Patrick (mandolin), Bob Rostollan (double bass), and Kelly Sible (banjo) each approached their parts with good intention and creativity. Their individual contributions brought out the unique sounds of their instruments, layering textures that complemented the composition. It also created a distinctive listening experience.

Q: What live shows do you have coming up?

A: From November to December, we are playing at the Raven Café in Port Huron, an interesting café with an Edgar Allen Poe theme, and Mi Element Grains & Grounds in Midland.

We’re just starting to map out our bookings for 2026, but one thing that’s already locked in is our ongoing monthly engagement at Mi Element Grains & Grounds. We play every third Thursday of the month from 5:30 pm to 7:30 pm, and it’s always a fun night. 

Q: What plans do you have for new material in 2026?

A: Looking ahead, 2026 will be more music production for us. We’re focused on creating an EP tentatively called The JR Band Essentials, which will feature our current singles, one remix, and two or three new original tracks. This approach will let us showcase our recent work while introducing fresh material and giving listeners a rich listening experience.