With the unrivaled track record of eight consecutive gold singles (”Proud Mary,” “Bad Moon Rising,” “Green River,” “Down on the Corner,” “Who’ll Stop the Rain,” “Up Around the Bend,” “Lookin’ Out My Back Door,” and “Have You Ever Seen the Rain?”) and seven consecutive gold albums (Creedence Clearwater Revival, Bayou Country, Green River, Willy and the Poor Boys, Cosmo’s Factory, Pendulum, and Mardi Gras), it could be argued that any definition of rock and roll which fails to mention Creedence Clearwater Revival is, quite simply, incomplete. It could also be argued that John Fogerty was CCR. If we accept both of those arguments, then transitive logic suggests that John Fogerty is rock and roll. Personally, I am prepared to accept that.

I am in a little bit of a nostalgic mood today, and while I was listening to Bad Moon Rising, the CCR Best of collection, I remembered John had released a new record a few months back to rave reviews, so I heading on over to Amazon mp3 and bought it.

I’ve been a little let down by John’s previous post-CCR efforts, also by his steadfast intent on distancing himself from CCR and their sound. Revival, on the other hand, marks his first album since settling the long bitter feud with CCR and his third since reuniting with his former CCR label, Fantasy Records. Add all of that to seeing that there was a shout out to his own past, “Creedence Song,” on the album and my hopes were up. After a couple listens, I can emphatically say that Revival met and exceeded those expectations. I’m not gonna lie, I wanna hear John Fogerty doing that politically charged, stripped-down swamp rock he did with CCR. Fuck “Centerfield”, gimme “Bad Moon Rising”…and that is what Revival delivers in spades.

John Fogerty - Creedence Song
John Fogerty - Long Dark Night

John Fogerty’s Official Site, John Fogerty on myspace, Buy Revival

Joe Buck brought his one man band into Dave’s last week for a night of evil songs sung by an evil motherfucker from Tennessee. In return, the Bay Area hellbilly and Hank III fans made a respectable showing.

Opening the show was a local band I really wanted to catch after listening to their myspace offerings, Tailgunner Joe and the Earls of Slander. These guys approach a live show the way I would if I were in a band…take your recorded material, increase the intensity two-fold, and rock the fuck out. Guitars were louder, lyrics previously sung were yelled, and the rock stance was a little wider. The crowd seemed to genuinely like these kids and I hope they make an effort to play on the St. Pete side of the water a little more often.

Up next was Joe.

Now, I’m gonna be honest. I’m not really a fan of Joe’s recorded material. I just can’t get past the muddy production and the songs really aren’t that interesting to me. That said, what fails to captivate on cd flourishes in a live setting. Turns out, Joe writes the kind of music you need to be in the same room with. Joe, hunched over a guitar, red uplight casting eerie shadows, his hyperactive left leg smashing out a back-beat on an old bass drum while he recites lyrics of murder and satan through gritted teeth. I started wishing I had listened to his cds more so I could join the crowd in singing along.

Halfway through Joe’s set he was joined on stage by one Mr. Shean Doe from Throwrag for about 4 songs. I really enjoyed their set together, but as a testament to what Joe was doing, I really just wanted Shean to finish up so Joe could get back to his business. By the end of the night Joe had made a believer out of me. If he comes to your town you should give him a shot, regardless of what you think of his cds. He might make a believer out of you too. And don’t be fooled by the mohawk, evil faces, and evil lyrics, the man himself is as nice as they come.

Joe Buck - Took Up With The Devil
Joe Buck - Dig A Hole
Joe Buck - Devil Is On His Way

I gotta say, I got the best pictures I’ve ever gotten at a concert on this night. You can check them out here.

Buckle in the Bible Belt was re-released by Bloodshot Records way back in September. At the time, the record came out to what could be considered an avalanche of press for the whole Americana/alt.country scene, so I decided there was nothing for me to add and I never mentioned it. Recently the album has managed to find its way back into heavy rotation around my house and since the Ha Ha Tonka drums have quieted a bit in the 6 or so months since the albums release, I decided to drop a few lines to remind everyone how good of a cd these kids released…in as many run-on sentences as possible.

Because, in all seriousness, it is an awesome album. Blending rock and roll with Midwest specificity and religion and country…but as I said, there is no shortage of reviews out there to read, so I’m gonna leave mine at: great rock and roll record in the vein of Two Cow Garage. If it has somehow managed to slip past your radar, you should add it to your “gonna buy” list. Albeit 1/2 a year to late, I’m gonna add it to my Essential Listening list now.

Ha Ha Tonka - St. Nick on the Fourth in a Fervor
Ha Ha Tonka - Caney Mountain
Ha Ha Tonka - Hangman

Switzerland’s The Come n’ Go have just released their third album for Voodoo Records, Something’s Got To Give. After failing to truly achieve the sound they wanted in a Switzerland studio, they decided the answer was to record and mix Something’s Got To Give in a Memphis living room. If their goal was to capture a blues based rock-n-roll sound full of sweat, grit and energy, then I deem it a success. If you like garage brand 60’s style bluesy rock, then this is an album you should check out.

The Come n’ Go - The Time You Spend, The Life You Have
The Come n’ Go - Fazzoletti
The Come n’ Go - Hey Mama

The Come n’ Go on myspace, Buy Something’s Got To Give

While the message board itself may have gone a.w.o.l. the compilation we were in the middle of making at the time of its demise will live on. For an unknowingly final compilation we did a fine job if I do say so myself. Joe Pug, fresh off his appearance on songs:illinois yesterday, makes an appearance for a second month in a row while Stucky and I both contributed tracks from Slim Cessna’s Auto Club. Mcallan1 submitted a track by Hayes Carll I liked so much I ordered his cd today. Considering Miles of Music’s slow shipping department expect a piece on Hayes’ album, Trouble in Mind, sometime in the fall. As an aside I gotta say, I miss the board and it’s regulars. Hopefully we’ll get it back in the near future and until then I bid y’all a farewell.

Below is a mere track listing for ninebullets.net readers while after the cut is the entire track listing with which member submitted it and why for the message board readers. If the track listing appeals to you feel free to download it here.

Track Listing:

1. Joseph Plunket & The Weight - Seven Stories
2. Olin & The Moon - Pickin Up The World
3. The Who - 5:15
4. Slim Cessna’a Auto Club - This Land Is Our Land Redux
5. Thin Lizzy - Got To Give It Up
6. Chuck Prophet - I’ve Been A Long Time Leaving
7. Blanche - Jack On Fire
8. Fireside - Layer
9. Hayes Carll - Easy Come Easy Go
10. Cory Morrow - Straight To Hell
11. Big Bill Broonzy - How Do You Want It Done?
12. Black Mountain - Angels
13. Possessed by Paul James - Ferris Wheel
14. Two Cow Garage - Wait
15. My Morning Jacket - War Begun
16. Joe Pug - Hymn #101
17. Dave Alvin - On My Way Downtown
18. Catfish Haven - Crazy For Leaving
19. Red Clay River - Rattlesnake Mountain
20. Olin and The Moon - Call Me Up
21. Slim Cessna’s Auto Club - Pine Box
22. Bryn Loosley - The Wrecker
23. Earl Lee Grace - Every Girl In The World
24. Radiohead - Nobody Does It Better
25. Chris Bell - I Am The Cosmos
26. Chatham County Line - Let It Rock
27. Michael Haaga - Serious
28. Clem Snide - Weird

(more…)

Normally, I’ll walk into a show and know one person there if I am lucky. Walking into the Orpheum, I was amazed to see groups of people I knew, he bulk of whom, like myself, had come to finally catch a glimpse of the Appalachian Apocalypse from New York that is O’death.

Over the past year I have read many an O’Death review raving about the ferocity of their live show. As result, I think I had romanticized the possibilities to the point where I was expecting sparks to shoot out of their asses and the devil to be playing fiddle. Neither case played out, instead the band opened up a little on the reserved side after a particularly miserable Miami crowd the night before. However, but by the end of their set shirts were missing and requests were being played. One thing is for sure, after seeing the passion these kids put into their music, any questions I had about the authenticity of a group of 20-something New Yorkers playing Appalachian folk songs were put to rest.

Drummer David Rogers-Berry lived up to his advance billing; screaming, howling, beating trash cans with chains, hyping the crowd, and just generally beating his floor toms so hard you could almost see them wince in agony. Adding to the drum-abusive energy was fiddle player Bob Pycior stomping and dancing about while trying his damndest to saw his instrument in half. Much like Berry, he plays with such an intensity that you get the impression he is punishing his instrument more than playing it. Balancing out these two was Gabe Darling’s banjo and ukulele and Greg Jamie’s guitar and sometimes woeful, always captivating vocals, which help give the band it’s dark sound. By the end of the show the band had loosened up and began interacting with the crowd, and by the end of their 30 minutes the crowd managed to goad them into playing one more song before packing up. I left as O’Death packed up figuring I had seen the best this particular night had to offer, and having finally caught the band live, I’ve come away knowing two things:

1. Believe the hype.
2. Thirty minutes just wasn’t enough time.

Come back to Florida, O’Death. Fuck Miami.

O’Death - Down to Rest
O’Death - Only Daughter
O’Death - Nathaniel

I managed to actually remember my camera and actually managed to get some pretty good pictures. You can see them here if you’re interested.

O’death’s Official Site, O’Death on Myspace, Buy Head Home

The news that Public Enemy will perform “It takes a Nation of Millions To Hold Us Back” at this year’s Pitchfork Fest didn’t elicit much of a response in me at first, but the more I thought about it the odder it seemed to me…that album? now? At Pitchfork Fest?

In the late 80’s the hip-hop scene was as unified and political as it ever would be, and leading the charge was Public Enemy. Chuck’s signature baritone and raw, in your face delivery joined with militant theatrics made Public Enemy one of the most controversial and important hip-hop acts ever, with “Nation” posing as their crown jewel. It was uncompromising, abrasive, poetic, and desperately urgent all at the same time, and it’s still an Intro to Outro classic, but is a festival full of privileged suburban white kids deserving of such a performance? Call me a hater, but I don’t think so. I just don’t think a crowd full of kids with $5,000 worth of tattoos on each arms, $80 haircuts and $150 dollar shoes and sunglasses to match can really identify with the influences of an album that came out before most of them were wiping their own asses.

All of this is especially crappy when you consider that Public Enemy released one of their best albums in the past decade last year in How You Sell Soul to a Soulless People Who Sold Their Soul???. How You Sell Soul is infinitely more topical to the times, and this very crowd would be a perfect place for this album raging against the corruption of rap into a vehicle for selling lifestyles to be performed from first track right through to the end. I mean, wouldn’t a bunch of hipsters wallowing in a scene where image is everything benefit more from hearing Chuck preach against the glamorization of the gangster life and consumerism in general?

I think so.

But maybe I’m just an old, out of touch asshole…I mean, my bike has gears and brakes and I generally prefer Bass over Pabst.

But props to Pitchfork for putting it together, I guess. Hell, if it goes over well they’ll be golden, and if it doesn’t they can write a 1000 word snarkfest about how outta touch PE is these days when compared to the emo rap stylings of Atmosphere…

Public Enemy - Sex, Drugs & Violence
Public Enemy - Amerikan Gangster
Public Enemy - Can You Hear Me Now

Public Enemy’s Official Site, Public Enemy on myspace, Buy How You Sell Soul to a Soulless People

There has been no shortage of press for the new Black Keys album, Attack and Release, but I wanted to bang out a few words on it anyway. I’ve been a fan of The Black Keys since Thickfreakness dropped and, outside of the 2006’s Magic Potion, I’ve never been disappointed in anything the duo has ever done. Over time, I have even found much love for Magic Potion. Basically, everything Dan Auerbach has worked as a producer on has found it’s way into the ninebullets.net essential listening list. All that said, I really wanted to drop some praise on this album.

Attack and Release started out to be a Black Keys, Danger Mouse, and Ike Turner collaboration. However, when Ike took the deep sleep, the Keys found themselves with a wealth of material and no outlet for it. So, they decided to take the ideas they had been playing with into the studio with Danger Mouse and see what they could come out with. Those sessions resulted in the the most sonically mature album the Keys have ever released.

Attack and Release still has the signature big beats, fat riffs and heavily distorted guitars sound Keys fans are used to, and in the rocking songs you’ll know the album wasn’t (like all the others) recorded in Patrick’s basement. Still, it’s in the album’s more gentle moments that Danger Mouse and a recording studio’s presence are truly felt. I was telling my brother the other day that the new album is just a lot sexier than their previous material. That probably has something to do with the material originally being geared towards Turner. I, for one, hope the Black Keys continue to explore this side of themselves, as it’s made for one of the best albums to date this year, not to mention also having made the ninebullets Essential Listening list.

Now comes the real question…where does it rank amongst their other releases? I’m gonna have to listen to the entire catalog straight through one day before I can say for sure, but for now I can say it’s in the top 3 for sure…possibly the top 2.

The Black Keys Official Site, The Black Keys on myspace, Buy Attack and Release

After posting my “Black Betty” throwdown a few weeks ago, I got to thinking that a fun reoccurring piece could be posting the history of songs…as best as I can…along with a collection of artists doing their own spin on them. The next obvious song had to be “Moonshiner”.

The first version of the song I’d ever heard was Uncle Tupelo’s, which is a cover of Dylan’s Bootleg Series recording of the track. The exact origin of “Moonshiner” is disputed, but it’s widely believed the song originated as the Irish folk song “The Moonshiner”. In his book American Ballads and Folk Songs, Alan Lomax claims the song is a member of the “Waggoner’s Lad” family and kin to “Old Smokey” and “Rye Whiskey”, among others. Whether it originated in Ireland or not, it is still one of the most popular pub songs there, resulting in grand bar-room chorus sing-a-longs. It has been performed as recorded by many artists and is known under other titles, among them “Moonshiner Blues” and “The Bottle Song”. The Clancy Brother’s version turns it into an upbeat party song, while the Dylan version (the alt.country version) slows it down and turns the song into an unrepentant lament.

Personally, I prefer the slower version of “Moonshiner”. Maybe it’s because that’s how I cam to know the song, I dunno, but, to me the slow version is just beautifully perfect, while the harmonica in American Gun’s version practically pours the drink for you. Below I’ve collected different versions of the song and have tried to group them to show what I feel is the evolution of the song.

Enjoy.

The Clancy Brothers & Tommy Makem - The Moonshiner
Molly Maguire - The Moonshiner
The Clancy Brothers & Dubliners - The Moonshiner

Joe Ely & The Chieftains - The Moonshiner
Daw Henson - The Moonshiner
Roscoe Holcomb - The Moonshiner
Dave Bromberg - The Moonshiner

Bob Dylan - The Moonshiner
Uncle Tupelo - The Moonshiner
American Gun - The Moonshiner
Rumbleseat - The Moonshiner
Brass Uncle Band - The Moonshiner
Oliver Buck - The Moonshiner
Cat Power - The Moonshiner

I’m not sure what I was expecting from Justin’s Bloodshot debut, The Good Life, but it wasn’t much. I don’t know why, either. I had never heard anything from his debut EP, Yuma, but when it came down to it I was only giving The Good Life a courtesy listen. Regardless of what I was expecting, what I got was one of the best albums so far this year.

Son of Steve Earle…Townes Van Zandt…blah blah…the names and shadows have been well documented on other blogs, so I’m just gonna talk about the music.

From the more Hank at the Opry hobo song and title track “The Good Life” to the standout Civil War story song “Lone Pine Hill”, Earle shows a songwriting command and reverence of the past far beyond his mere 25 years. The album isn’t a mere case of mimicry, though. Justin manages to play off the influences of country greats and still sound fresh.

While this might be the worst case of blasphemy in the history of Americana music bloggery, it’s the truth: In my opinion, The Good Life is better than anything his daddy has ever put together. Allow me to preface that, though. I’ve never really been fanatical about Steve Earle. I like some of his songs well enough, but I’ve never liked enough of them enough to bother very much. On the other hand, another effort like this from Justin and I’ll be nearing the fanatical stage.

The Good Life; it’s essential listening and bound for many a year end top 10 list.