NINEBULLETS.NET JULY 2010 PODCAST:


I’ll tell y’all what, when you do a monthly podcast you really begin to appreciate how short a month is. It’s like you just finished the last podcast when you realize you only have 5 days left before the next one is due. This is also the first podcast I ever made without the use of any beer or whiskey. Outside of there being no slurring by the end of it, I don’t really notice much of a difference. Lemme know if you do.

This month’s show features a pretty good balance between ninebullets regulars such as Biram, The Truckers, Austin Lucas and Mat D and relative newcomers you may not have heard of if you don’t read ninebullets such as Back Row Baptists, Reverend Deadeye and The Maldives. In between all of those we dropped some artists that have yet to be featured at all in 9b (though they will in the coming month’s) like Root Jack, The Sadies and Tin Horn Prayer. All in all, I think the whole set turned out really fantastic and I bet an hour from now you’ll agree with me.

If you enjoy this month’s please tell your Facebook and Twitter followers about it, I’ll greatly appreciate it.

~ Autopsy IV (twitter/facebook)

Track Listing:

  1. John Mellencamp – Rain On The Scarecrow [00.00.00]
  2. Drive-By Truckers – Sink Hole [00.03.16]
  3. Scott H. Biram – Blood, Sweat & Murder [00.06.37]
  4. Autopsy IV Commentary * [00.09.30]
  5. Dan Bern – Most American Men [00.11.18]
  6. Root Jack – 30 Days [00.15.45]
  7. Back Row Baptists – Wood and Steel [00.19.22]
  8. Mat D – Ford Marriage [00.22.07]
  9. Tin Horn Prayer – Fighting Sleep [00.25.31]
  10. Autopsy IV Commentary * [00.28.57]
  11. Reverend Deadeye – Her Heart Belongs To The Wind [00.30.46]
  12. Austin Lucas – Sleep Well (demo) [00.34.58]
  13. The Only Sons – Highway Patrolman [00.39.37]
  14. Cam Penner – Thirteen [00.44.42]
  15. Autopsy IV Commentary * [00.48.18]
  16. The Sadies – Another Year Again [00.49.31]
  17. The Maldives – Goodbye [00.52.45]
  18. Autopsy IV Commentary * [00.56.43]
  19. Hellsongs – Youth Gone Wild [00.57.42]

* All music heard in background during commentary, courtesy of Bill Benson.

Download this episode (right click and save)

REVEREND DEADEYE – TRIALS AND TRIBULATIONS


I’ve written about the good Rev. Deadeye a few times, but I talked more about his shows than his albums, so I’m here to say, “My what a difference a little production makes.” Deadeye’s earlier works were best described as a “frantic explosion of slide-guitar blues meets tent-revival preaching”, which is a polite way of calling them “muddy”, a result of them having been self-recorded with his travelling recording studio. On Trials and Tribulations he went into a studio in Europe and laid down an album in a day, and the blistering pace and frantic energy that must have been present in the studio that day comes through beautifully in the recordings.

The album is 10 tracks long and, make no doubt, has all the Deadeye signatures: revival preacher on a bender vocals, homemade guitar slide work, washtub kick-drum, and slide-finger cymbal bashing ever present throughout the album. Yet, it’s the album’s quietest moments that really shine a light on Deadeye’s abilities. With the clarity of production and tracks like “Coldest Heart” and (my favorite track) “Her Heart Belongs To The Wind”, you realize just how close Deadeye is to being mentioned in the same conversations as Scott H. Biram, all he needs is the same breaks. I’m gonna have to say the new Reverend Deadeye is Essential Listening, especially if you’re a fan of the aforementioned Scott H. Biram, or the One-Man Band scene in general, as he’s easily in the Top 10….press or not.

Reverend Deadeye – Her Heart Belongs To The Wind
Reverend Deadeye – Can’t Take It With You
Reverend Deadeye – Jesus On The Mainline

Reverend Deadeye on myspace, Buy Trials And Tribulations

THE ROCK REPORT: THE REVEREND DEADEYE @ THE DISTILLERY, BRADENTON, FL.


I finally crawled out of my post-SxSW fox hole a couple of Saturday’s ago to make the trip down to Bradenton for the First Annual Punk Blues Revival being put on by the fine folks from Poorhouse Productions. To be honest, I wasn’t sure I wanted to go as I gathered my shit to head out the door. I hadn’t been home from SxSW for a week yet and spending an entire Saturday night out at another show didn’t sound all that enticing from the comfort of my living room. As it turns out, though, the best way to get over a post show overdose funk is the same as getting over a hangover; hair of the dog.

I saw quite a few bands at the P.B.R., but it was Reverend Deadeye who provided the most compelling story of the night. The Rev. followed a less than compelling act whose name I can’t remember and who only managed to capture the crowd’s attention when they played the obligatory Johnny Cash cover, and pretty much left the stage starring at backs of people engaged in converstion. As people mulled about, ordering drinks, smoking cigarettes and trying to get laid, a lone man started dragging gear up onto the stage. A bass drum, a couple suitcases, some cymbals, and so on were carried up onto the stage with little fanfare and less notice. It was when he carried the washtub on stage that I think people first took any notice at all.

There were a few of us mulling about the stage who’d seen Deadeye before, running the typical PR lines to the other people slowly taking notice, “You seen this guy before? No? You just wait…he’s fucking amazing.” “How many people are there? Just him. Yeah. He’s a one-man band.” You know the drill, and as Deadeye began meticulously setting up his stage you could feel the attention slowly shifting from basketball games, future sex efforts and fish stories to the stage, as a thread of curiosity started pulling one eye at a time toward the stage.

The Reverend Deadeye’s stage rig serves as its own silent carnival barker, with the theater of watching it being set up acting as its voice. From the various handwritten signs on old cardboard, to the day of the dead skeleton sitting on the bass drum, to the washtub kickdrum and the collection of well-placed lamps, it all serves the purpose of gaining your attention and making you ask questions. At The Distillery these pieces of the sideshow worked their magic like a charm. As the rig started to take shape in its final form, folks, whether they realized it or not, were slowly closing in on the stage waiting to see this travelling one-man band from parts unclaimed and his curious collection of knick-knacks and instruments.

Now, all of these visual curiosities would do nothing once the music started if Rev. couldn’t hold the attention they’d netted, but Deadeye has no issues with that. After sitting down behind his rig and tuning up, the Reverend, sans soundcheck, promptly launched into some blistering slide guitar while is feet meticulously worked a kick drum, washtub kick drum, crash cymbal and high-hat, instantly capturing what remained of the crowd watching the basketball games at the back of the bar. Over the next hour Deadeye ripped through new songs, old songs and a cover song, though I don’t think the (mostly rockabilly) crowd knew the difference. That said, the crowd knew they were having a good time, barely moving through the entire set, save for the 5 or 6 couples swing dancing behind the initial stage crush.

I don’t know if Rev. sold any merchandise that night, but I do venture a guess that he won a full house next time he rolls through Bradenton.

The Reverend Deadeye – Bible Thump

Here are some live videos for you:

Reverend Deadeye – Fuck The Devil

Reverend Deadeye – Jesus Knocking

DEEP BLUES FRIDAY:

Last Friday I announced the line-up of bands for this years Deep Blues Festival. Earlier this week I bought my plane tickets for Minneapolis. I tell you that so you don’t think I am just pimping the festival for some nefarious reason. I buy a ticket just like everyone else. That said, I really do believe in DBF, in what Chis is doing and in the bands playing it so I will take every opportunity to pimp it.

Hence Deep Blues Fridays.

On select Fridays between now and the festival I will feature bands playing it, live sets from festivals past and things of that ilk. I hope y’all like it…and if you’re anywhere near Minneapolis, join us in July, it’s gonna be a blast.

This is a sampler the festival recently put out featuring performances from last years show. Chris told me I was free to post it here so here you go. Individual tracks are below from listening, complete sampler can be downloaded here.

  1. Juke Joint Duo – Stay Here In Your Arms
  2. The Moaners – I Think I Love You
  3. Jawbone – And Wine
  4. Left Lane Cruiser – That Ass
  5. Robert Cage and Hezekiah Early – Things I Used To Do
  6. T-Model Ford – Cut You Loose
  7. Black-Eyed Snakes – Good Woman Blues
  8. Those Poor Bastards – They Don’t Make Folks Like They Used To
  9. A Night In The Box – Death Letter
  10. Reverend Deadeye – Clean Train
  11. Charlie Parr – 1922
  12. Boogaloosa Prayer – She’s Gone
  13. Hillstomp – Lay Down Satan
  14. Pat MacDonald – Reset Me Lord
  15. Dex Romweber Duo – Blues That Defy My Soul
  16. Black Diamond Heavies – Bidin’ My Time
  17. Bob Log III – Six Stringer Kicker
  18. Pure Country Gold – Club 21
  19. American Relay – Bonedry
  20. Tarbox Ramblers – What Month Was Jesus Born
  21. Possessed By Paul James – Hear The Call

THE REVEREND DEADEYE WANTS TO BLESS YOUR SINNIN' ASS SOUL

This post is too late in coming. I wanted to write this the day I got back from Minneapolis…better late than never, I’ll write it now.

Some people pursue music for pussy. Some do it for the money. Others do it cause they love it, and then there are those rare few that do it for a much more organic reason. They chase this music thing ’cause they have to. Even when they don’t necessarily want to, there is something inside of them that makes them do it. Even when it’s hurting the ones they love and themselves, asking them to stop is as ludicrous as asking you to stop breathing. It’s in them, it has to come out…they are but a vessel. I am of the opinion that the Reverend Deadeye falls into that category. It is that very drive that made him leave a city that never really embraced him and hit the road with no clear plan outside of playing another show. He set out on the road with a van, a beer can turned into a microphone, a handmade guitar, and a sermon of hellfire and damnation for your sinnin’ ass soul.

His latest release, Turn or Burn, is available for the painfully low price of ten dollars. You should buy two and mail one to your momma. It’s a frantic explosion of slide-guitar blues meets tent-revival preaching. It’s everything that’s right with the one man band explosion. Check it out.

The Reverend Deadeye – Fuck The Devil
The Reverend Deadeye – Bless My Soul

The Reverend Deadeye’s Official Site, The Reverend Deadeye on myspace, Buy Turn or Burn

If you can not tell, catching The Rev. two times while I was up in Minneapolis converted me into a gigantic fan of the man. So, it should do without saying that Turn or Burn is Essential Listening. After coming back from DBF, The Reverend and I exchanged a few emails in the form of an interview. Check it out and, seriously, buy his shit…:

9b: What happened in Denver?

Rev:
mostly I just got flimflammed, bamboozled, and horns waggled one too many times. I put everything I had into Denver music included money, blood, sweet, and now tears.

9b: How’s life on the road treating you?

Rev: Life on the road is damn lonely. There are plenty good folk that I run into, but a lot of the time the bar keeps are jaded and don’t care who you are. Once I start playing everything changes, but that’s usually pretty late in the night.

9b: What albums are getting heavy spin in the Reverend’s rolling church?

Rev: Charlie Parr doesn’t ever stop spinning even when it ain’t.

9b: I came to hear of you via your addition to the Deep Blues Festival lineup and have managed to mention you multiple times a week on the site since then. Have you seen an increase in your fan base thanks to the festival?

Rev: I would have to say definitely yes. All of my shows up in Minnesota were great, because people had heard of me and were excited to see me. It changes the dynamic of the show, because the punch is there right from the beginning, and people know what they’re getting themselves into.

9b: Looking at your schedule for the remainder of the year you look to be pretty damned busy. September has you slotted to finish a new album. Any insight as into that album?

Rev:
Well I’ve been doing a lot of different styles of recording so it might be a few different sounds or it might not. I guess it’s a little hard to figure what yer gonna get because I’m all over the map. All of my albums have been pretty different to this point.

9b: What does your suitcase recording studio consist of?

Rev: I’ve got an old RCA mono track reel to reel, a Tascam 4 track, and some sort of sound input device for my computer.

9b: How did you manage to get involved with The Folk Singer?

Rev: I’m not sure how that happened, I got an email one day from Mr. Littler tellin’ me I should drive to Austin to play a part in his film. So I did. The folksinger is the result.

9b: How was working with Scott Biram? He seems like he can be a little…shall we say…unpredictable.

Rev: In the film, I didn’t really work with Scott only Konrad and of course Eliza Jane. I love Scott, I wouldn’t really say he’s unpredictable its how people are going to react around him that I usually find unpredictable.

9b: Any chances your One Man show with no home is gonna find it’s way into Florida one day?

Rev:
yes, but not till I get someone to book my shows for me. I can barely keep up with booking the shows I got, and I haven’t had any luck booking that direction at all. You would think the South would love the Reverend, but they’re stone wallin’ me.