Original tunes mainly come from Miss Leslie. Jake Jenkins, who wrote most of the material for Rebel Records’ Karl Shiflett and the Big Country Show when he toured with them, also wrote most of the songs on the “Honky Tonk Revival” CD.
Lincoln’s true biography is in his live show. The passion in his sweat drenched, electrifyingly mesmerizing one-man-band show draws you in to feel every scar and drop of blood in his painfully intimate lyrics. It takes something beautifully “off” to get on stage with just hands and feet for a band, driven by a howling voice, and morbidly preach a music that harkens back to the old blues masters, Son House and Fred McDowell, infused with the edge and angst of Tom Waits and Nick Cave.
|Deluxe Edition Includes: Exclusive Slipcased Artwork by Gonzo0247; DJ Screw & Fat Pat 7″ Vinyl; Fold-out posterMake it more deluxe by having it signed on
Sunday, 12/01 @ 1:00pm
Somebody’s Darling is an alt-country 5 piece band hailing from Dallas TX consisting of lead singer Amber Farris, guitarist David Ponder, drummer Nate Wedan, keyboardist Michael Talley and bassist Wade Cofer. Just returning from SXSW 2013 as an official showcase band and 35 Denton Festival, they have managed to play over 450 regional and national shows since their start in 2007. Headlining and supporting artists like Lucero, Deer Tick, Band of Heathens, Chris Knight, Joe Ely, Jonathan Tyler and The Northern Lights, among many others, Somebody’s Darling has fostered a unique style described as a, “proudly messy blend of rock and country with a roiling rhythm that rips out of the speakers like a wild night on the town (Preston Jones, dfw.com).”
Matthew Paige and Zack Murphy ARE the Blackfoot Gypsies. They are the amplifier for your heart and soul, your love and hate, your on and off, your push and pull. With caution being checked at the door, there is no room for thinking… only feeling. Breaking the lines between hipsters, punks, posers, dads, normies, cowboys, rockers, and burnouts; everyone gets stripped to the core on the floor. And no one leaves the same as they came before.
Scouting the future of the American music that has been progressing since the dawn of time. There’s no stunting the Blackfoot and there’s no stopping the Gypsies.
The torch has been lit and will be carried with pride, speaking up for a generation unlike any other. It’s all happening here, and it’s all happening now.
THURSDAY, 11/14 @ 5:30pm
THINGS MIKE DOUGHTY WOULD LIKE YOU TO KNOW ABOUT HIS UPCOMING ALBUM OF REIMAGINED SOUL COUGHING SONGS:
1. The parts about Soul Coughing in my memoir, The Book of Drugs, were a big fat ball of darkness. After a long, arduous book tour, reading these parts to audiences, I sat down with an acoustic guitar and picked through them. I found myself wanting to figure out what I meant, who I was, where I was when I wrote the songs. I wanted to separate the songs — not the recordings, but the songs — from the darkness.
2. These songs are as I meant them to be, when I wrote them, in the ’90s: some are club bangers, some are pop songs; in general, they’re bigger, heavier, cleaner, funkier, more streamlined than the originals.
3. There are videos of me performing two acoustic versions currently up at pledgemusic.com/
4. People can still pledge, if they want to see the videos — there are many more coming, before the album comes out. Some of them will be Soul Coughing songs that aren’t on the album. There are also mini-documentaries of every day in the studio, from the first demos to the final mixes.
5. I was doubtful of crowdfunding, but the fans jumped in fast, and the entire album was 100% funded in less than 16 hours. Really an explosive success.
6. My favorite songs on the album are the ones that, when I wrote them, I envisioned as club bangers — I’ve finally gotten to make them into what I heard in my head. I spent a lot of time in the ’90s in dance clubs — house, hip hop, and techno music in New York in the early ’90s, big beat and drum and bass in London in the mid-’90s. I wrote melodies on the dance floor, singing snippets of lyrics to myself, then went home and wrote them down as the drugs were wearing off.
7. My prime collaborators were the hip-hop producer Good Goose — whom I met via my videographer Meg Skaff’s band, Hand Job Academy — and the upright bass player Catherine Popper, whom I’ve known for years. They’re both Jedis. My sonic obsession, when I was 22 and trying to start a band, were the huge beats and the omnipresent upright bass on the great hip-hop records of the time.
8. I’m really proud of the sampling work I did on the album — lots of disembodied voices and weird sounds. It’s always made me sad that I never got much credit for the samples I brought into Soul Coughing.
9. I don’t know that I’ll ever dig the Soul Coughing recordings, but I’ve found my way back to the songs.
FRIDAY, 11/15 @ 5:30pm
Houston, TX’s Young Mammals effortlessly craft noisy, jaggedly dark pop songs. The band, led by guitarist Cley Miller and Vocalist Carlos Sanchez and buoyed by the propulsive rhythm section of Jose Sanchez and Justin Terrell, was started as a bedroom project in 2005. Since their inception, they’ve developed a rabid local following, and they’re ready for more. Young Mammals’ latest 7″ is out via Odd Hours on November 5th, 2013, and they’re currently prepping for their debut full-length, slated for a 2014 release.
“This is one Houston band that – high gas prices or not – needs to get on the road, take it to the people, and show them how it’s done.” – Houston Free Press
SATURDAY, 11/16 @ 1:00pm
Henry Kaiser, legendary guitarist who has played on over 250 albums, and a scientific diver with the US ANTARCTIC PROGRAM, marked his tenth deployment beneath the twenty foot thick ice of the Ross Sea in 2012. Mr. Kaiser has more Antarctic under-the-ice footage in films and TV shows than any other underwater cameraman, and probably more dives under fast ice than any other professional videographer.
He was worked on 4 different feature films with Werner Herzog, including ENCOUNTERS AT THE END OF THE WORLD (the new soundtrack CD will be available at the concerts) and GRIZZLY MAN. Henry Kaiser and Damon Smith (Houston) have collaborated for two decades resulting in over ten albums and two Werner Herzog soundtracks.
SATURDAY, 11/16 @ 3:00pm
The Hates have been making punk rock in their own way for over 35 years, and despite lineup changes and changes in popular music, they’re still going strong. This year they’ve released their 20th recording, “Shank”, a 7-song EP with all of the fist-pumping, guitar-crunching, and chorus-shouting music you’ve known them for. This CD is the first recording of all-new Hates’ material in decades, including the confrontational title track, the blistering commentary on our government “Silent Treatment”, and Christian Kidd’s homage to the Space City, “Houston”, which has had everyone on their feet and singing along at recent shows. “Shank” proves that just because you’ve been around for a while doesn’t mean that you’ve gotten old.
SATURDAY, 11/16 @ 4:30pm
Shoulders traces its roots to the meeting of vocalist Michael Slattery and guitarist Todd Kassens at the University of Texas. They moved to Los Angeles in 1981, and then to New York City; the two were back in Austin by 1983. In 1987, they formed the first version of Shoulders and released three homemade cassettes over the next few years. They eventually added drummer Alan Gene Williams and bassist Chris Black by mid-1990. After Shoulders gave well-received performances at the New Music Seminar in New York and South by Southwest in Austin, the European label Musidisc signed the band; Trashman Shoes (1992) peaked at number two on the French rock charts. ~ John Bush, All Music Guide
Peter Case’s work sets the bar for authenticity, passion and imagination and spans a number of genres, including folk, blues, and rock. Raised in Buffalo, NY, Case came to the Bay area in 1973 and worked as a street musician and played in the seminal power pop group The Nerves, before moving to Los Angeles to form the Plimsouls, landing a deal with Geffen Records.
The Plimsouls achieved success with the single, “A Million Miles Away,” but broke up shortly after. Case’s 1986 solo Geffen record revealed deep roots in folk and blues, and earned him his first Grammy nomination for the song “Old Blue Car” as well as the Number 1 spot on the NY Time’s 1986 Best CDs list. Six CDs later, Case earned another nomination for Let Us Now Praise Sleepy John, a remarkable collection of songs that features Case’s voice and a single guitar. It’s clear that Case is a major talent on the Americana troubadour landscape.
Case’s 2010 CD, Wig emphasized the rock and blues side of Case’s repertoire, while 2007′s Let Us Now Praise Sleepy John demonstrates what Case can do with just his voice and a guitar. With or without a backing band, Case delivers his songs with both intense passion and introspective nuance.
David A. Ensminger, Houston, Texas, teaches English and humanities at Lee College. He has written for the Journal of Popular Music Studies, M/C Journal, Houston Press, and Maximum Rock’n'Roll.
Featherface is a psych pop band from Houston, Texas, formed in late 2009.
The band has released two EP’s, both written, recorded, and produced entirely by the band. Featherface is working to promote their first full-length album, “Actual Magic”, which was released on September 1st, 2012.
The band has been relentlessly playing shows and festivals all over the South since it began, as well as sharing bills with national touring acts such as Colour Revolt, Gringo Star, Free Energy, Elf Power, Jeremy Messersmith, Colourmusic, Ringo Deathstarr, The Coathangers, Hospital Ships, The Elected, and Dax Riggs.
Now living in Nashville, Emily Earle continues her musical journey every day. In addition to her national television appearances, she has also performed on stage in Las Vegas with CeeLo Green and The Muppets, toured with her uncle (legendary American singer/songwriter) Steve Earle, and has had her work featured on AmericanSongSpace.com.
Tom graduated from the Baldwin-Wallace Conservatory of Music just south of Cleveland, OH with a degree in drums/percussion. While in school, he gained attention from local newspapers and radio stations with his self-released, “Uplift EP”. Upon graduation in 2011, he relocated to Nashville, TN to record with producer, Warren Whitten at the world-renown Tracking Room Studio on Music Row, as well as The Brown Owl Studio. This EP sparked Tom’s strong beginnings as a Nashville artist.
As of April 1, 2013, a new record was released, showcasing Tom’s unique style and ability to tiptoe across genre norms. It was recorded with producer, Gus Berry at Berrytown Studios in Nashville. Tom is quickly gaining attention throughout Nashville as he performs locally with many up and coming artists.
f a touring musician.
Produced by Wilco’s Jeff Tweedy and Patrick Sansone at the Loft in Chicago, Wassaic Way findsGuthrie and Irion pushing further beyond the folky sound they established on 2005′s Exploration, their first studio LP. After Irion’s solo album Ex Tempore in 2007, the live album Folksong in 2009 and the children’s collection Go Waggaloo in 2009, the pair began expanding their sonic horizons on 2011′s Bright Examples, an album that drew praise from American Songwriter magazine for its “lush, dreamy sound.”
In the short time since her graduation from Boston’s renowned Berklee College of Music, singer-songwriter Liz Longley has assembled an impressive resume. While best known for her stop-you-in-your-tracks voice, Liz has steadily developed a reputation as an accomplished songwriter, crafting intimately personal portraits through her music.
In the past two years, Liz has taken home top prizes at some of the most prestigious songwriting competitions in the country, including the BMI John Lennon Songwriting Scholarship Competition, the International Acoustic Music Awards and the Rocky Mountain Folk Fest Songwriting Competition. New England named her the 2011 Female Performer of the Year, the Washington Post declared that Liz is “destined for a larger audience” and Dig Boston called her “a rising acoustic sensation.” Even John Mayer is a fan, calling her music “gorgeous, simply gorgeous.”
Brennen Leigh and Noel McKay craft story songs with equal measures heart (“Before the World Was Made”) and humor (“Breaking Up And Making Up Again”). Evidence: Before the World Was Made. The Austin-based songwriters’ debut collaboration spotlights the celebrated troubadours in peak form (“Before We Come to Our Senses”). “These are modern day country duets à la George Jones and Melba Montgomery,” producer Gurf Morlix says, “but with very sophisticated songwriting.”
Before the World Was Made began taking shape three years ago right as Leigh’s solo high watermark The Box stirred waves far and wide. (Lee Ann Womack, Sunny Sweeney and the Carper Family have covered her defiantly traditional country songs.) By that point, Leigh was well rooted in Austin, where she moved after growing up playing in a family band in Minnesota. “I was attracted to the scene in Austin,” she says. “It’s a great place to learn and get better at what I do.”
Meanwhile, McKay fronted the regionally popular McKay Brothers (Cold Beer and Hot Tamales), a band legendary songwriter Guy Clark had been championing for years. “Noel and Brennen are great songwriters,” says Clark, whose new album My Favorite Picture of You contains the McKay co-write “El Coyote.” “And Brennen plays guitar like a motherfucker.”
Before the World Was Made proves his point. “Some of these are songs that Noel had from a long time ago that we reconstructed,” Leigh says, “and some we wrote together recently. Writing duets is just almost like writing from one point of view and splitting it and making it make sense. Like ‘Ball and Chain,’ is not like a fight song. Same with ‘Breaking Up and Making Up Again.’ They’re dysfunctional, but the characters are happy with their situation, so it’s almost from one point of view.”
The singular duo effortlessly balances wit (“Let’s Don’t Get Married”) and whimsy (“Let’s Go to Lubbock on Vacation”) throughout. “I’ve loaded up the Nomad and the tank is full of gas/We’ll ride along across the High Plains fast,” the latter goes. “We’ll find the sweetest spot on God’s creation, my pretty little turtle dove/Let’s go to Lubbock on vacation.” Punch line: “Then we’ll know we’re really in love.” The pair consistently doubles down with sharp snapshots charting equally unpredictable romantic byways (“Salty Kisses in the Sand,” “Great Big Oldsmobile”).
“We kind of set out to make out a record of songs that we were singing together, even if it wasn’t specifically duet songs,” McKay says. “We both have solo careers to think about, but we’ll probably revisit this over and over and it’s a nice thing we can keep doing.” “We got to where people were asking us about certain songs and lumping us together in their mind,” Leigh adds, “so we thought we should make something to pay homage to that. Of course, people like the funny ones the best.” Good reason: Only kindred spirits allow a song as wickedly waggish as “Be My Ball and Chain.” Priceless.
Everyday conversation suggests Leigh and McKay indeed share a single mindset. The pair simply compliment each other in every way. “Brennen’s really great at melodies,” McKay says. “She’s always kicking around a melody around the house and it’s great and she’ll attach it to a lyric idea that’s equally great. She writes characters in her songs like a novelist.” “Noel always has the line,” Leigh counters. “It’s like, How are we gonna wrap this up? How are we gonna bring it around so it makes sense? He always ties it up. He always knows. Noel’s a poet.” musicnewsnashville.com
The trio (lead vocalist and principal songwriter Zach Williams, mandolin player and singer Kanene Pipkin, and singer-guitarist Brian Elmquist) proudly describe their origins as “Brooklyn by way of south of the Mason-Dixon line,” each hailing from a different southern town. Originally formed by Williams as a solo act under the name Zach Williams and the Bellow, the group became an entity with undeniable promise and artistic merit once the three friends joined together in Brooklyn. The songs themselves are emotionally fulfilling glimpses of heartache and triumph rooted in the trials and tribulations endured by individuals and couples through every phase of union, separation, commitment, and soul-searching. They are inward-looking gemstones that carry a mesmerizing aura as their central magnetism is offered outward with a lavish sheen and certain comfort.
The Band of Heathens has been honored as Best New Band at the Austin Music Awards, and has been nominated in various categories at the Americana Music Awards over the past few years. The Wall Street Journal’s Jim Fusilli called theirs the best set at South By Southwest 2009. And the rest of the press has been equally effusive: The Dallas Morning News calls them “a must-see show.” Maverick magazine says they’re “magnificent.” For The Chicago Tribune, the band felt “refreshingly different,” and The New York Times called their show at Brooklyn’s Union Hall “hungry, unflagging and lean.”
Wild Child began when Kelsey Wilson and Alexander Beggins met a few days before a six-week tour and found that they were both in the midst of a breakup. This prompted them to write ten songs while on tour and then, once back home, continue to compose more. Heartbreak works wonders for the music industry.