WOOHOO! After 7 months of silence I am back in the saddle and ready to celebrate with a tidal wave of brand new music so let’s do this.
TRACK LISTING:[Artist – Song (Album)]
01. Tim Barry – ‘222’ (Manchester)
02. Daniel Romano – I’m Gonna Teach You (If I’ve Only One Time Askin’)
03. Daniel Romano – Old Fires Die (If I’ve Only One Time Askin’)
04. Willie Nelson and Merle Haggard – Django And Jimmie (Django And Jimmie)
05. Heathen Sons – Fourth of July (Through the Eyes of the Lion)
06. Benchmarks – American Night (American Night)
07. Two Cow Garage – Let The Boys Be Girls
08. Have Gun Will Travel – True Believers (Science From An Easy Chair)
09. David Mayfield – Rain On My Parade (Strangers)
10. Scott H. Biram – Sinkin’ Down (Something’s Wrong/Lost Forever)
11. Whitey Morgan & The 78’s – That’s How I Got To Memphis (Sonic Ranch)
12. Chris Stapleton – Was It 26 (Traveler)
13. The Steeldrivers – Brother John (The Muscle Shoals Recordings)
14. Eilen Jewell – Needle & Thread (Sundown Over Ghost Town)
15. Closing song
Hey, folks! I’m gonna make this short and sweet. I’ve got two things for ya:
First off, as many of you have heard by now (I hope), Nine Bullets is sponsoring a Spring Showcase in a couple weeks. It’s on May 30th, to be exact, at Al’s Bar here in my new hometown of Lexington, KY. The lineup is gonna be incredible. I’ve chosen acts who I think represent some of the best in the region (with a few touring acts sprinkled in), and that I hope you will love as much as I do. Some you’ve heard of, some maybe you haven’t – all of them are great.
There will be five acts on the main stage along with five (mostly) acoustic acts in the adjacent Beer Garden, all for just eight bucks:
For a taste of what’s in store for you, here’s a video of Tyler Childers (on the bill again this year) performing his yet unreleased song, “Feathered Indians,” at last year’s event, and here’s what Autopsy IV said about one of his live EPs. Childers actually inspired and encouraged me to make this an annual event, so, hey, thanks, buddy!
That’s about all I have for you on that front. I didn’t wanna bombard you with tons of links to the artists, because I’m pretty sure most of you have heard of them already, and, if you haven’t, I’m pretty sure you know how to use the internet to find out more about them for yourselves.
As for the second thing, well, if you haven’t guessed it from the title, this is going to be my last post at Nine Bullets as a Contributor. Maybe I will guest post every now and then, but I will no longer be part of the staff. Nine Bullets has been very good to me over the past three years, and I couldn’t have asked for a better experience. (Thanks, you guys.) For those of you who follow Dear Ben Nichols, you may recall that I had to hand over the reigns, because I’ve got a lot going on and will for the foreseeable future. Well, that’s the case even more so now. Doc Feldman of Shaker Steps (and a mighty fine musician in his own right) and I are teaming up for some really exciting music-related ventures that we’re working hard on to make happen. If you want to keep up with us, then keep an eye on the Shaker Steps Facebook Page for updates and announcements.
Anyway, I hope to see you at the Spring Showcase! We can drink all the whiskey drinks!
Get tons of info on the acts, venue, tickets, area hotels, and all that good stuff at the official event invitation. Don’t have Facebook? No problem. Take a look-see and watch more videos on Tadoo.com, or check out Al’s Bar for info and to buy tickets.
UPDATE: WE HAD TO UPDATE SOME TIMES TO HELP THE BANDS ACCOMMODATE OTHER OPPORTUNITIES COMING THEIR WAY. THIS SHOULD BE THE FINAL BAND ORDER FOR BOTH DAYS.
As anyone who got within earshot of me can attest, by the end of SxSW last year I had had it. Austin had defeated me. I was tired of being drunk, tired of walking and just plain tired. In a word, I was done.
Well. Flash forward almost a year and I’m preparing to go do back an do the battle of attrition once again and we’re bringing the party back! This year not only is the ninebullets.net party actually located downtown, it’s also gonna be two days and featuring plenty on ninebullets.net regulars. You’ll find all the info for both days below as wall as a sampler of the artists appearing at the shows. If you’re planning on attending please make sure to RSVP on the Facebook event pages (Friday, Saturday) and feel free to add to the invite lists for both days.
(AIV Note: This was supposed to be posted yesterday but my dumb ass forgot to upload the podcast to the server. Der, I iz full of forgets….anyhow, enjoy.)
Well, it might be a new year and I might have a radio show now but nothing really changes when it comes to the podcast. It starts nice enough and you might even be able to hear some improvement gleaned from doing a weekly radio show but it quickly devolves into a ½ drunk foul mouthed typical podcast. Don’t let that deter you though. While my speech and self-censoring abilities may erode over the hour the music fucking slays and that’s what you’re here for, right?
Well folks, that’s it. Another month in the can and I hope y’all like it. If you do, could you please, please, please post something about it on twitter, facebook and whatever cutting edge social network I am oblivious to? Every mention of this will expose these artists to someone who’s never heard of them and that’s what we’re looking for.
Michael Claytor & His Friends – Hairpins [00.00.00]
Autopsy IV Commentary [00.05.04]
The Only Sons – Temptation [00.06.24]
Kasey Anderson – The Wrong Light [00.09.55]
Danzig – The Revengeful [00.14.07]
Autopsy IV Commentary [00.18.02]
Social Distortion – Machine Gun Blues [00.20.07]
Lucero – Sing Me No Hymns [00.23.45]
Autopsy V Commentary [00.27.37]
The Decemberists – Down By The Water [00.30.00]
Frank Turner – I Still Believe [00.33.37]
Two Cow Garage – My Great Gatsby [00.37.20]
Autopsy IV Commentary [00.40.25]
I Can Lick Any Sonofabitch In The House – Bad Days Ahead [00.42.10]
Tim Barry – (memento mori) [00.46.22]
Slim Cessna’s Auto Club – This Land Is Our Land (Redux) [00.49.25]
Autopsy IV is on his annual pilgrimage to strap a board to the bottom of his feet and slide down mountains. While he is away 9B will feature a collection of guest posts. Today’s post comes from our good buddy Shawn Kellogg who reviews a show I hope to make it out to one year…the annual Slim Cessna’s Auto Club New Years Eve show.
To those of you that are lucky enough to live and be apart of the wonderful Denver music scene, you know that when you see what appears to be the Rocky Horror Picture Show of Americana walking down East Colfax, you know that its that time of year once again, for Slim Cessna Auto Club to invade the new year’s eve holiday. This year, we were blessed when it was announced that Drag the River would be playing support, which totally blew my mind about this show. I have seen Drag to many times to count, but have never seen the much talked about live show that Slim Cessna’s Auto Club is known to put on.
The show itself drew the packed crowd at the Bluebird theatre that Slim Cessna always draws for these shows, despite the eight inches of snow that we received that day. Upon arrival, we ran into Jon Snodgrass from Drag who broke the news to use that J.J. Nobody and Steve Bauer (bass and drums respectively) just could not make it from the springs due to the weather, so Jon and Chad Price held down the fort. This was disappointing since Jon told us that Drag has been practicing a bunch of new songs and were stoked to play them. After that bummer of a surprise, that was much more of a pleasant surprise. The first support band, A. Tom Collins was a new name to me and to everybody I talked to around the stage. They were an eclectic mix of piano and songwriting with a dash of horns. It was quite a refreshing sound and definitely surprised myself with how much I really got into them, and their live show is definitely worth catching. I later found out from some of the Suburban Home crew that the lead singer is the former lead singer of the sorely missed Machine Gun Blues that were gathering steam in the Denver scene before their demise.
After A. Tom Collins, Jon and Chad from Drag the River came out as a duo to the unfortunate weather circumstances and played a wonderfully well rounded set, about an hour long. It was quite obvious that much of the Slim crowd was totally new to Drag and it was a good introduction to them. Along with some of the staples of a DTR live show, including “Medicine” and “Mr. Crews”, many of the songs from “Demons” made an appearance, and eventually turned into a crowd request with the Slim crowd obviously enjoying their first, and hopefully not their last dose of Drag the River.
After Drag played their set, Slim Cessna came out for the tenth anniversary of their New Year’s shows at the Bluebird theatre. And they held their version of Alt-Country church that their live shows our famous for. Both Manly and Slim Cessna himself spent a good portion of the set in the audience, who was hanging on every word the two of them had to say. After about 90 minutes, the Slim Cessna revival continued for about another half hour with a long encore that had the sold out crowds of the Bluebird near combustion. Despite the snow that everybody, including the bands, had to deal with, A. Tom Collins, Drag The River and Slim Cessna Auto Club helped everybody ring in the New Year a day early, and its never to early to start drinking for the New Year. And on a real quick note, I just want to thank Autopsy IV for the opportunity to write this article, and thanks for reading.
Here we are at the end of another year. All things considered, it was a pretty good one. On a personal level, I came into 2010 facing some pretty freaky & scary health issues and I’m leaving more or less in tact and healthy. Both my Seminoles and my Buccaneers had positive seasons while it looks like my Lightning are gonna be in the playoff conversation all season. Musically, it was a pretty solid year too and that’s what we’re really here to talk about now ain’t it.
In preparation for this show I literally (yes, I am properly using the word) collected 70+ songs I wanted to play and set to making a podcast. I say that so you know that this isn’t a “best songs of the year” show so much as a “some of my favorite songs of the year” that fit the flow of this particular show. That said, there are some seriously good songs assembled in here.
And, 2011 is already shaping up to be pretty fucking phenomenal. Hopefully, this won’t be the final ninebullets.net podcast but there’s more about that in the show, so for now, let’s just listen to the music:
Lissie – Bad Romance (Lady Ga Ga cover) [00.00.00]
Autopsy IV Commentary [00.05.36]
Jon Snodgrass – Old Sad Songs [00.06.46]
Gill Landry – Careless Love [00.09.04]
Shannon McNally – Bohemian Wedding Song [00.13.02]
Autopsy IV Commentary [00.18.32]
American Graveyard – Common Ones [00.19.24]
Tim Barry – Thing of the Past [00.23.02]
Truckstop Darlin’ – Bluegrass State [00.26.48]
Mat. D. – Ford Marriage [00.31.56]
Autopsy IV Commentary [00.35.12]
Doc Dailey & Magnolia Devil – Prove Me Wrong [00.37.04]
Two Cow Garage – Jackson, Don’t You Worry [00.38.48]
Joseph Huber – Can’t You See A Floods Coming [00.42.34]
Joe Pug – Not So Sure [00.46.32]
Otis Gibbs – Kansas City [00.51.02]
Autopsy IV Commentary [00.54.36]
Frank Turner – I Still Believe [00.56.54]
As always, if you’re enjoying the sounds you’re hearing please mention this show to your friends and relatives.
I’ve been sitting on this cd for a while now. When I first got it I was all over it. I loved it and couldn’t wait to let all my friends, real and internet, hear it, too. Then, as the feedback started trickling in, I realized I was the only one who liked it. Normally, this wouldn’t bother me too much, but it was almost unanimous that everyone else hated it…some, fervently. With my confidence in the album shaken, I put it to the side and decided to come back to it in a few weeks and see if my love of it tempered any. Is the album overly melodramatic at times? Sure. Do some of the songs stretch on longer than they needed to? You betchya. Is the noir-Americana bit a bit overplayed at times? I can not tell a lie, yes, it is. Is that enough to turn me off the album? Not even close.
Mark Growden started out as a jazz saxophonist but is adept with a myriad of instruments, which he brings to the table on “Saint Judas”, including banjo and the quickly becoming Americana music regular, the accordion. Musically (and for the most part lyrically), the album stays within the well-worn confines of the gothic Americana-noir genre, playing up themes of spirituality, gods, devils, heavens and hells, all with the appropriate amount of foreboding and tension. What I really like about this album is all the different instruments you hear in it and the overall feel of the album. When I’m listening to it I feel like I should be in a black & white scene in a smoky bar wearing a fedora and a trenchcoat, while a femme fatale hires me to find the husband she knows is dead. It also doesn’t hurt that he does a fantastic cover of Leonard Cohen’s “I’m Your Man.” Check it out:
Last week Kasey wrote a piece about Tom Russell and I wanted to put this up the very next day. It failed to happen because I am exceptionally lazy and terribly behind. I wanted to put those posts back to back because I think there are a lot of parallels between their careers. Both have been around, seemingly, forever and despite that longevity neither have ever managed to really break into the mainstreams conscience. Hell, it could be argued that they’ve barely even cracked the conscience of the folks that follow this genre(s) of music.
At one point, Malcolm got pretty close. Even managing to sign a recording contract with Geffen Records before finding shelter in drugs and booze. He spent years building a reputation as being unhinged, unpredictable and all around undesirable on the Nashville scene so Malcolm retreated back to his North Carolina roots where he ultimately sobered up and got back to music. A couple of DIY albums later Malcolm found himself back in the critics graces with 2008’s release, Gamblin’ House. While Gamblin’ House was widely fawned upon by critics it went generally unnoticed by the Americana music purchasing community. Now, in 2009, much like Tom Russell, Malcolm has quite possibly released the best album of his career with For The Mission Baby.
Now, there are two comparisons I hate in music writing. I hate when bands get compared to The Replacements and I hate when singes get compared to Tom Waits. Why? Well, it basically comes down to a case of familiarity meets pretentiousness. The Replacements more so than Waits, but I think they’re sexy names to drop cause fringe music fans know the names but not really the music. Thus I view both as the high fructose corn syrup version of critical credibility. Is that fair? Probably not, but I venture to guess that 99% of all people 25 and under couldn’t pick a Replacements song out of a Beyonce’ lineup. Have I used said comparisons in my own writing? You bet your ass I have and I’m about to do it again…
Whenever I try to describe Malcolm’s voice to others I describe it as “the homeless southern more tone rich cousin of Tom Waits“. There is a lyric in the Drive-By Truckers song, Outfit, that goes, “a southern man tells better jokes“. There is a subtlety to that line that can be found in a rich southern drawl and that’s the subtlety I’m referring to.
Now, Kasey said, “Until further notice, this is the best record of the year” when he opened his piece about Tom’s record so let me officially declare this article, further notice.
To say Tim Easton has spent the better part of the last decade “toiling” in relative obscurity would be stretching it – he records for New West, seems perennially omnipresent at SXSW and the Americana Music Conference, and counts Steve Earle and Lucinda Williams among his friends and fans – but Easton’s is not a name you hear mentioned in the same breath as Adams, Tweedy, Farrar and the like.
The cause? I suppose one could tab the general crapshoot nature of the music industry as partly to blame but the fact is, Easton had yet to make that career-defining record that anyone could point to when recommending Tim Easton to the uninitiated listener. Adams has Heartbreaker and Strangers Almanac to his credit, Tweedy’s got Yankee Hotel Foxtrot, and so on. Tim Easton has written a lot of great tunes, and made a couple of very good records, but there’s not one prevailing work that anyone could or would point to as “must-have Tim Easton.”
Easton’s new record, Porcupine, may change that discussion. If it is not “The” Tim Easton record, it’s certainly the closest he’s come yet to a streamlined, cohesive “artistic statement,” whatever that’s supposed to mean.
Put more simply, Porcupine is Easton’s best record, top-to-bottom. Easton vacillates deftly between a raspy, Dylanesque weeze and a slightly more tender, drawling vocal approach that vaguely reflects the Joshua Tree desert where Easton spends a good deal of time, his razor-sharp ruminations floating over jagged, jangly guitars and carefully revamped blues and folk licks.
If there is a defining theme to the records, it is found in a line from the chugging “Broke My Heart,” as Easton declares, “there’s only two things left in this world / love and the lack thereof.” Easton’s characters spend the majority of Porcupine in search of love, trudging their way through the lack thereof. It’s a broad landscape, but Easton has supplied a nice little soundtrack for the ride.
Man, since I posted the latest podcast my life went into fast forward. I bought a new bike in the form of a fully rigid, single-speed 29er. It’s a Motobocane and the price was right, so I can goof off without being too fiscally invested in the setup. And if I decide I hate it, I can throw slicks on it and call it a commuter. Then the wife and I bought a new car and on top of all that our puppy had surgery, so we had to babysit him all weekend. What does all of this mean to you? Well, nothing except that through all of that, the one thing that didn’t happen is finding time to commit to ninebullets. Hopefully we’ll get through the week, but there may be a little quiet time. Okay, enough about my life; let me tell y’all about a record.
This has been a pretty busy beginning of 2009 for Alela Diane. Back in March she released her fourth album, To Be Still, on Rough Trade Records (9b post here). Now, a mere month later, she’s on the verge of releasing a collaboration with Eddie Bezalel under the moniker of Headless Heroes. The album is a collection of covers of more obscure songs chosen in hopes of promoting further investigation into the original source.
For me if Alela Diane’s involved that pretty much makes it a must listen. She has one of the best voices in Americana music right now. The album comes out May 19, here are some samples: