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| Ten Thousand Motels |
Here the lines kind of blur. It seems to me that Rockabilly is actually rock n roll in a very pure form.
"Outlaw Counrty" (Jennings, Willie, Cash etc are kind of extentions in time of "Rockabilly"). I picked up a Carl Perkins CD yesterday. It was OK, but on three tracks it was fantastic.....really "IT" stuff. |
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| Throwaway |
The Stones are rockabilly fans! see 20FR Hampton '81; they can play it well. I'm listening to some Ricky Nelson right now-pure R'n'R. |
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| glencar |
Get to the top/I'm too tired to rock. |
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| Ten Thousand Motels |
Carl Perkins Lyrics - Boppin' The Blues
Well, all my friends are boppin' the blues; it must be goin' round
All my friends are boppin' the blues; it must be goin' round
I love you, baby, but I must be rhythm bound
Well, the doctor told me, Carl you need no pills.
Yes, the doctor told me, boy, you don't need no pills.
Just a handful of nickels, the juke box will cure your ills.
Well, all my friends are boppin' the blues; it must be goin' round
All them cats are boppin' the blues; it must be goin' round
I love you, baby, but I must be rhythm bound
Well, the old cat bug bit me, man, I don't feel no pain
Yeah, that jitterbug caught me, man, I don't feel no pain.
I still love you baby, but I'll never be the same.
I said, all my friends are boppin' the blues; it must be goin' round
All my friends are boppin' the blues; it must be goin' round
I love you, baby, but I must be rhythm bound
Well, all my friends are boppin' the blues; it must be goin' round
All them cats are boppin' the blues; it must be goin' round
I love you, baby, but I must be rhythm bound
Well, grand-pa Don got rhythm and he threw his crutches down.
Oh the old boy Don got rhythm and blues and he threw that crutches down
Grand-ma, he ain't triflin', well the old boy's rhythm bound.
Well, all them cats are boppin' the blues; it must be goin' round
All my friends are boppin' the blues; it must be goin' round
I love you, baby, but I must be rhythm bound.
A rock bop, rhythm and blues.
A rock bop, rhythm and blues.
A rock rock, rhythm and blues.
A rock rock, rhythm and blues.
Rhythm and blues, it must be goin' round |
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| Saint Sway |
"CARL PERKINS' CADILLAC" ~ Drive-By-Truckers
Life ain't nothing but a blending up of all the ups and downs
Dammit Elvis, don't you know
You made your Mama so proud
Before you ever made that record, before there ever was a Sun
Before you ever lost that Cadillac that Carl Perkins won
Mr. Phillips found old Johnny Cash and he was high
High before he ever took those pills and he's still too proud to die
Mr. Phillips never said anything behind nobody's back
Like "Dammit Elvis, don't he know, he ain't no Johnny Cash"
If Mr. Phillips was the only man that Jerry Lee still would call sir
Then I guess Mr. Phillips did all of Y'all about as good as you deserve
He did just what he said he was gonna do and the money came in sacks
New contracts and Carl Perkins' Cadillac
I got friends in Nashville, or at least they're folks I know
Nashville is where you go to see if what they said is so
Carl drove his brand new Cadillac to Nashville and he went downtown
This time they promised him a Grammy
He turned his Cadillac around
Mr. Phillips never blew enough hot air to need a little gold plated paperweight
He promised him a Cadillac and put the wind in Carl's face
He did just what he said he was gonna do and the money came in sacks
New contracts and Carl Perkins' Cadillac
Dammit Elvis, I swear son I think it's time you came around
Making money you can't spend ain't what being dead's about
You gave me all but one good reason not to do all the things you did
Now Cadillacs are fiberglass, if you were me you'd call it quits
by Mike Cooley / Drive-By Truckers |
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| Casey_WGDJ |
I'm a pretty obsessive Waylon fan. Met him in 1994, he dedicated the show to me on stage. It was pretty amazing.
You're right -- the lines between genres get blurred a bit when you talk Outlaw Country. It had that country feel but that rock 'n' roll attitude, yet it was done so much better than that country crap today which mostly sounds like bad '70s rock. Outlaw was like country with a real edge. |
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| Saint Sway |
I love outlaw country!
all I can say is thank God for Gram Parsons! |
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| Nellcote |
Country, It is the best.
Not Shania, or this sweet stuff that's being peddled as country for the masses.
Gimme Hank/Cash/Twitty/Lynn/Jennings, the real deal.
As well as the spinoffs of these folks, from Shooter to Hank III.
Gimme Billy Jo Shaver anytime.
Even Kinky Friedman & The Texas Jewboys.
Junior Brown rocks also.
The inflections of this are in so many rock classics, how can you not like it.
TV Alert, Dwight Yoakam live on IMUS, which is PMSNBC Monday 06/19...
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| Saint Sway |
quote:
Nellcote wrote:
Gimme Billy Jo Shaver anytime.
did you ever hear Eddy? |
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| Nellcote |
Only the hidden track on the cd which Corsicana is on, which is maybe 9 min long.
More of a lead player, right?
Everything I read his death haunts Billy daily.. |
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| Saint Sway |
yeah he died from a heroin od about 5 yrs ago. Really talented guitar player. Amazing slide. Type of player that anyone would be in awe of. So few knew of him. But he rocked.
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| SheRat |
quote:
Casey_WGDJ wrote:
I'm a pretty obsessive Waylon fan. Met him in 1994, he dedicated the show to me on stage. It was pretty amazing.
You're right -- the lines between genres get blurred a bit when you talk Outlaw Country. It had that country feel but that rock 'n' roll attitude, yet it was done so much better than that country crap today which mostly sounds like bad '70s rock. Outlaw was like country with a real edge.
How? WHY? Please tell this story. Waylon's my man. Besides keith, that is....
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| SheRat |
quote:
Saint Sway wrote:
I love outlaw country!
all I can say is thank God for Gram Parsons!
Why? Gram isn't outlaw country...not that we shouldn't thank god for him... |
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| SheRat |
quote:
Ten Thousand Motels wrote:
Here the lines kind of blur. It seems to me that Rockabilly is actually rock n roll in a very pure form.
"Outlaw Counrty" (Jennings, Willie, Cash etc are kind of extentions in time of "Rockabilly"). I picked up a Carl Perkins CD yesterday. It was OK, but on three tracks it was fantastic.....really "IT" stuff.
have you been on the Hank 3 board yet? |
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| Saint Sway |
quote:
SheRat wrote:
Why? Gram isn't outlaw country...not that we shouldn't thank god for him...
he's not? Burrito's sound like OC to me. If hes not, then nobody is. IMO. |
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| SheRat |
quote:
Saint Sway wrote:
he's not? Burrito's sound like OC to me. If hes not, then nobody is. IMO.
Burritos do NOT sound like Outlaw country to me. A bit too hippy. But whatever. To me, Waylon defines outlaw country and Gram and Waylon do not sound alike.
it's of little consequence, I love and have covered both. I just disagree. |
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| Saint Sway |
too hippy???
White Line Fever? Forty Days On The Road?? Hot Burito?
c'mon!
Waylon & Gram definately swam in the same waters. |
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| SheRat |
quote:
Saint Sway wrote:
too hippy???
White Line Fever? Forty Days On The Road?? Hot Burito?
c'mon!
Waylon & Gram definately swam in the same waters.
yah, too fucking hippy. it has to do with the sound of the guitars and the production value. Burritos sound clean, there's almost a GD tinkle tinkle going on there. My old guitar player was the same...I always wanted him to play dirtier but he was too busy lissening to the Burritos.
Anyways, whatever, dude. apparently we hear different things.
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| CraigP |
Has anyone out there heard of The Rock*A*Teens (90's rockabilly who got there name from a 1950's group)?
[Edited by CraigP] |
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| scratched |
quote:
Saint Sway wrote:
White Line Fever? Forty Days On The Road??
They didn't write either and Hot Burrito #1 and #2 are about as 'outlaw' as parking on the wrong side of the street. |
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| Ten Thousand Motels |
Son of country legend carving his own path
Mon, Jun 12, 2006
Shooter Jennings shifts from twangy ballads to fist-raising anthems
By MARK KENNEDY
The Associated Press
NEW YORK — Shooter Jennings doesn't wear his heart on his sleeve — it's somewhere much more permanent than that.
On the singer-songwriter's left forearm, underneath a sprawling tattoo of a gun, are inked the initials CBCS, for "Country Boy Can Survive." It's credo he can turn to if he ever loses faith.
Shooter Jennings,son of Waylon Jennings and Jessi Colter, recently released his second album. "Electric Rodeo." (AP)
These days, the 26-year-old son of country icon Waylon Jennings and singer Jessi Colter may be checking his forearm with more regularity as he promotes his second album, "Electric Rodeo."
Despite his rich heritage, Shooter and his band — sounding equal parts Lynyrd Skynyrd, Guns N' Roses and Johnny Cash — are finding it difficult getting onto the nation's airwaves.
"As a rock band, you at least have a shot on the radio. As a country contemporary act, you can have one, too," he says wearily. "But where are they going to play us? Pop radio? We couldn't go pop with a mouth full of firecrackers."
On "Electric Radio," Jennings effortlessly shifts from twangy ballad to fist-raising anthems. There's no real name for what he does — just that it isn't new country or alt-rock.
"God, just please don't ever call it nu-country," Jennings says, laughing.
Even the quickest glimpse of Jennings shows that his personal style reflects the genre-shifting of his music: long hair, T-shirts, scruffy bead, tinted aviator glasses, tattoos and not a hint of attitude.
"My favorite bands are Hank Williams Jr. and Led Zeppelin. When it's rock, it's '70s rock and when it's country, it's '70s country," he says. "For me, it's the grit and dirt of music that I love so much."
As to those people who think country music is tiresome — whiny songs about pickup trucks, lonesome dogs and cowboy hats — Jennings understands. He loved rock early and only began to really appreciate country after his father's death at 64 in 2002.
"A lot of people that I've met who don't like country music just haven't been introduced to the old country," he says. "And then when they do, they're obsessed with it. It's almost a different genre than the country that's out now."
After his epiphany, Jennings — born Waylon Albright Jennings — dissolved his L.A.-based band Stargunn and tackled a new challenge: trying to fuse the lyrical strength of country with the bombast of rock.
"It took me a little while to get sorrow under the belt enough to understand country music's lyrics and strengths. I mean, I knew about it — it was around so much of my life — but you actually have to have a woman cheat on you to understand some of these songs," he says. "I mean, you have to drink yourself under the table to understand Merle Haggard songs. But once you do, then it kind of snaps and gets ahold of you."
Jennings and his band, the .357s — Leroy Powell on guitar, Bryan Keeling on drums and Ted Kamp on bass — released "Put The 'O' Back In Country" last year, selling more than 200,000 copies and spawning a hit single "4th of July." He also began dating the actress Drea de Matteo ("The Sopranos").
The new album, out last month, has grown slowly as Jennings tours, with the video for the single "Gone to Carolina" chosen for high rotation on Country Music Television. His label plans to pitch it to MTV and VH1, too.
"With this record we probably took both extremes of country and rock — and cut out all the middle," he says. "Even if this record doesn't sell, we know that we made a record that was true to our inspirations and our influences."
Susan Levy, vice president of artist development for Jennings' label, Universal South Records, isn't too worried. Even if Jennings finds country radio tough to crack, she says, he can build an audience in rock clubs.
"He's making the music he wants to make," says Levy. "He's listening to his own creative soul and if radio happens to line up with that at times in his life than I think that's going to be a good thing. But it's not his goal."
Jennings knows that critics may dismiss the son of Waylon Jennings as a mere oddity or, more maliciously, as someone trying to capitalize on the icon whose hits include "I'm a Ramblin' Man" and "Mamas Don't Let Your Babies Grow up to Be Cowboys."
"I would be happy to be a footnote in my dad's bio. I don't care about trying to be famous or prove that I didn't need him," says Jennings. "Even if they say I'm riding his coattails, I'm confident enough in my own music that I don't worry about that."
Jennings even stepped into his dad's cowboy boots when he played Waylon in the 2005 Johnny Cash biopic "Walk the Line." Nervous from the start, he just hoped he wouldn't ruin any scenes.
"I don't think I'll be doing any more acting," he says, shaking his head.
As for his mother, the 62-year-old Colter — best known for her 1975 hit "I'm Not Lisa" — is basking in renewed attention with the release of "Out of the Ashes," her first album in 20 years.
"There's definitely musical influences from both sides," says Jennings, who hopes to record with his mom soon. "My dad was obsessed with music and my mom is obsessed with music. It's really awesome to have that in your life."
Jennings says his parents were always excited about taking new directions in music. He would play his dad songs by Tool and Led Zeppelin, and just recently he got a phone call from his mom — from an Audioslave concert in Arizona.
Even so, there are limits. For instance, Colter was a little squeamish about the song "Little White Lines" on her son's new album.
"She said, 'You sure you want to put that cocaine song on there?' I'm like, 'Mom, come on!' She's a mom just like anybody else's mom."
[Edited by Ten Thousand Motels] |
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| Ten Thousand Motels |
Music - June 15, 2006
Three Sides of Hank
Country heir Hank Williams III is back to send you Straight to Hell.
by Austin Powell
Salt Lake City Weekly
By the end of his three-hour set, Hank Williams III looks like he’s been to hell and back. He dons a ripped up black shirt that reveals his numerous tattoos and protruding veins. His eyes glare demonically into the crowd as he belts out a dark and chilling growl. His hair swings freely as he head-bangs violently.
Beside him, band background screamer Gary Lindsey punches himself in the face with the microphone, causing blood to spurt uncontrollably onto the crowd.
The audience, what’s left of it at least, appears as though they made the hellacious journey as well. The mosh pit is crawling with broken and bruised bodies—for a moment they pause to raise fists triumphantly into the air.
This isn’t Nashville. Hell, this isn’t even country music. This is turned-on, tuned-down and droned-out Dead Kennedys-style punk rock that bleeds sludge metal, exactly the way Hank III wants it to be played.
Of course, the night never begins this way. This is merely one-third of the unholy trinity that is a Hank III show—the part that’s only allowed out after midnight.
Hank III actually begins each night with an old-timey country & western set backed by his Damn Band. His cowboy hat, smashed in and fraying at the edges, hides his long hair and reveals his chiseled facial structure. He plucks his acoustic guitar and delivers a high-pitched yodel.
The grandson of the godfather of country, Hank Williams, Hank III may have completely ignored his legacy if it had not been for a judge’s decree that playing punk rock wasn’t a real job.
“It was a one-night stand where the girl waited three years to tell me I had a kid,” Hank III says as he puts out another cigarette butt. “They dragged it out as long as possible and served me the court papers onstage saying I owed $52,000 in back pay. Country music was something I thought I would just grow old with before then.”
Instead, Hank III sold his soul to devil, Curb Records, who then attempted to censor his lyrics, music and style. “They [Curb] were trying to push me out the gates like, here’s Hank Jr.’s son. I hated it,” he says. After years of launching a vicious “Fuck Curb Records” campaign, Hank III finally won some creative control.
The result was Straight to Hell, a two-disc, self-produced collection of raw cow-punk about whiskey, weed and women, released earlier this year. On the album, his third for the label, he tips his glass to his country heroes, from David Allen Coe to George Jones and Waylon Jennings, while spitting boldly in the face of Trashville’s corporate conglomerates, claiming to “Put the dick in Dixie and the cunt back in Country.”
No matter what style of music he’s playing, Hank III never bites his tongue or backs down from a bar fight. He has no problem calling Kid Rock “a cocky, arrogant motherfucker” and proudly proclaims that Hell is “the first record to have a Parental Advisory control sticker on it for [Curb] in 25 years.” He adds later, “I was born and raised in the Bible Belt; they take everything a little bit too serious.”
Hank III’s transformation from crazed country rebel to hellbilly deluxe onstage only involves a beat-up trucker hat and an electric guitar, but the result is ear shattering. The Damn Band busts straight out of purgatory with a surge of power-chord riffs that would make the Reverend Horton Heat testify.
While his nightly changes in style—from country to hard rockabilly to metal—may seem drastic, the flow is almost lucid. With the current staleness surrounding pop-country music, extremes have become necessary to reclaim the credibility of the genre Hank Williams helped create.
But Hank III seems up to the challenge. He recently recorded an unreleased Charles Manson song with Stanton LaVey, the grandson of Anton LaVey, author of The Satanic Bible. Moreover, he’s started an Eyehategod tribute band called Attention Deficit Domination, in which he plays every instrument.
He’s also getting ready to set the world ablaze with a new side-project called Arson Anthem which features former Pantera and Superjoint Ritual vocalist Phillip Anselmo, whom he states is “stronger and more pissed off than ever,” and Eyehategod henchman Mike Williams. The group recently recorded eight tracks that total a mere 11 minutes. Like taking an electric screwdriver to the head, the songs are spurts of grindcore intermixed with sludged-out breakdowns atop grunted vocals.
At the end of the night though, when the bar finally closes, it all comes down to survival.
“The fact is I work this road and break even to be able to live for about a month and a half and then have to do it all over again,” Hank III laments with another drag of his cigarette. “Twelve years worth of touring in these boots, the duct tape and the holes, like a fucking rat, being the dancing outlaw … they know I’m still there stickin’ it to ’em.”
[Edited by Ten Thousand Motels] |
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| Bloozehound |
quote:
Saint Sway wrote:
yeah he died from a heroin od about 5 yrs ago. Really talented guitar player. Amazing slide. Type of player that anyone would be in awe of. So few knew of him. But he rocked.
Eddy plays on "Unshaven: Shaver live @ smiths bar" album and demonstrates what a true force of countryfried, rockin nature he was, fantastic album too
defintitely worth checkin out |
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| lotsajizz |
Charlie Feathers
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| Ten Thousand Motels |
Some cool rockabilly web sites
http://www.planetrockabilly.com/
http://www.rockabillyhall.com/
http://www.rockabillygirls.com/
http://www.vivalasvegas.net/ |
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| Mahatma Kane Jeeves |
Claudine=rockabilly music |
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| Saint Sway |
quote:
Bloozehound wrote:
Eddy plays on "Unshaven: Shaver live @ smiths bar" album and demonstrates what a true force of countryfried, rockin nature he was, fantastic album too
defintitely worth checkin out
this is strange. In the wee hours of Tuesday night I was having drinks w/some mutual friends of Eddy. Discussing his death and his amazing guitar skills.... never thought the next day I'd be talking about him or his dad up on this site of all places. Weird. |
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| Ten Thousand Motels |
Texas rocker back from the brink
Thursday, June 15, 2006
BY KEVIN RANSOM
News Special Writer/mlive.com
To savvy followers of Texas rock, country-punk and alternative roots-rock, Alejandro Escovedo has been a beloved figure for more than 25 years. So it came as a shock when reports circulated in late 2003 that he was near death due to complications from hepatitis C.
He'd been diagnosed the year before, and between the hep C and a premature aging disease brought on by Interferon treatments, he was so weakened that he had two near-death experiences in one year.
He reports that his experiences were just as they are typically described - the long tunnel, the white light, and so on. "Obviously, those experiences weighed on me, and shaped the way I saw the world, and the way I saw myself,'' said Escovedo, whose current tour, in support of his new release "The Boxing Mirror,'' comes to The Ark on Saturday.
"One thing it did for me was eliminate my fear of death. And as a result, it made me more aware of my attachments to things that weren't good for me, and of the person I thought I was, due to playing music for so long,'' said Escovedo, who became a heavy drinker after the 1991 suicide of his estranged wife.
Indeed, he documented his hard-drinking ways with 1990s-era album titles like "Bourbonitis Blues'' and "A Man Under the Influence.'' (Besides the hepatitis, he was diagnosed with advanced cirrhosis of the liver.)
"It all made me aware that I had to find something deeper inside me to carry myself through all those situations. And as a result, I now have a more intense appreciation for life,'' said Escovedo, who credits his recovery from his illnesses to a Tibetan doctor, his embrace of Buddhist spirituality, acupuncture, and giving up drinking.
As a songwriter, Escovedo has always shown a talent for digging into the more forlorn or poignant aspects of the human condition, as evidenced by the cathartic songs he wrote for his first two solo albums in the early 1990s, "Gravity'' and "Thirteen Years'' - some of which dealt with his feelings about his wife's death. And his solo albums and tours have often featured chamber-pop orchestrations, rendered by fusing guitars with cellos and violins.
But at the same time, the heart of an unrepentant punk has always beat inside Escovedo's chest: The music of his first band, the Nuns, was essentially a hybrid of the Stooges and the Velvet Underground.
"We were way more about Detroit and New York, we didn't care much about English punk,'' recalled Escovedo. He later went on to form Rank and File, a band credited with launching the 1980s cowpunk movement that in turn ignited the alt-country boomlet of the '90s. He followed up with stints in two-fisted rock ensembles like the True Believers and Buick McKane. (He's also part of Hispanic-rock's "royal family'' - his brothers Pete and Coke were in Santana, and his niece is percussionist Sheila E.)
Escovedo's best music, however, is when he locates the intersection between his raucous-punk side and his chamber-pop inclinations. That's why, to produce "The Boxing Mirror,'' he chose John Cale (formerly of the Velvets), who's been deconstructing and rethinking the use of strings for most of his career. "I've always loved the modern-classical approach to strings. I wasn't interested in the strings having that folky, lilting sound you often hear in the background. I wanted 'em to be just as up-front as the guitars.
"And just about everything I ever wanted to do in music was the result of the music I heard Cale play when I was a kid - whether it was with the Velvets, or on his solo records, or the records he produced for people like Patti Smith, the Stooges, Neco, Squeeze, all of it,'' said Escovedo.
With Cale's help, he got the effect he was looking for. "The Boxing Mirror'' is a multilayered record, as it does indeed find a common ground between densely orchestrated strings and blistering, brass-knuckled guitars. A couple of the tunes make no bones about his Stooges influence, while others are more muted arrangements, befitting Escovedo's sometimes somber explorations of mortality, loss and bereavement.
Sometimes Escovedo tours with his orchestra, a large ensemble that weds a rock band with a string quintet. For the Ark show, however, he's pared it down to a rock unit plus a cello and a violin.
Escovedo's brush with mortality hasn't affected his irreverent sense of humor. At some of his Texas dates, he does a "play-for-pay'' shtick where he'll take certain requests - if the price is right. At one such gig, he impishly held out for $50 before agreeing to play "Takin' Care of Business.'' "We only do that in Texas, though,'' he said, laughing.
But, now that we're in on the joke, one of us might have to approach the stage with a $20 bill and a request for the Stooges' "I Wanna Be Your Dog.'' "Oh, man,'' quipped Escovedo. "I'd play that one for free.''
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| Water Dragon |
http://www.thesmokinggun.com/archive/0404061_hank_williams_1.html
Eh? |
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| SheRat |
"We were way more about Detroit and New York, we didn't care much about English punk,'' recalled Escovedo. He later went on to form Rank and File, a band credited with launching the 1980s cowpunk movement that in turn ignited the alt-country boomlet of the '90s."
I'm the last one to diss alejandro, but I just think it's funny how many people are credited with "igniting" y'allternative. The Silos, Lone Justice, The Blasters, The Knitters, it's kind of crazy. Seems to me all those old punks had just gone back and really started listening to Exile, no?
(joking, partly...) |
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