For a refresher, feel free to visit Part One of my chat with Randy Rogers…
In a live setting, Rogers and his four band mates, who have been recently nominated for an ACM Award, hardly resemble the Carter Family, but that’s not what Rogers is referring to when he speaks of traditional country music. In much of the corporately-controlled landscape of modern country music, sippy-cups have taken the place of whiskey bottles and vague proclamations of Hallmark-card faith have usurped the recklessness of tying one on and letting the lead fly. It’s in this pastel-colored age of soft, beach rock flavored, country music where Rogers’ traditionalist stance is most blazingly obvious.
“I’m smart enough to know that I’m not an innovator or a trendsetter,” Rogers admits. “I’m not the reason that things are going to ever get back to the good old days.”
While fiddle-driven, country-rock with historically galvanized storylines has made the Randy Rogers Band one of the top draws on the Texas country circuit as well as the rest of the lower forty-eight, Rogers as a songwriter has continued to grow, thanks to his increased willingness to bring other writers into the mix.
As in the case with certain writers such as Sean McConnell, and especially, the legendary Dean Dillon, Rogers isn’t hoping to gain a song out of the writing sessions as much as he is soaking up knowledge and the perspective of someone else that sees similar subjects, but in different ways.
“It’s broadened my songwriting horizon, because I really learn from every person I write with,” says Rogers as he discusses the specific artists who helped him create the tunes for his band’s latest album, Burning the Day.
Even a writer the caliber of Rogers, who seemingly dispenses quality material with every turn of his tour calendar, has to admit to sometimes having to scramble a tad, in order to give the illusion of preparedness.
“I usually will go into a writing session with twenty ideas and if I don’t have twenty ideas, I make some up right before I go in, just so I have something to bring to the table and keep form looking like a complete loser.”
Given that thousands stuff themselves into any Texas venue that Rogers and his crew perform in, it’s safe to assume that many wouldn’t agree that Rogers ever comes out looking too much like an underachiever. Successfully navigating the increasingly pop-driven world of country music – whether it from Texas or Nashville, for that matter – has made more than a few acts attempt an identity alteration, but such is not likely for Rogers.
“I’m glad that we sound like the same Randy Rogers Band that used to play at Adair’s, when we would have to drive away in our own ’88 Suburban. I just feel like I’m a part of a bigger thing, which is Country music.”
Kelly Dearmore is a freelance writer, mean pot of chili maker and opinionated music lover. To read more about what Kelly is listening to, visit him here on The Squawker weekly or daily on his personal music blog, The Gobblers Knob
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For years, especially since the release of 2004’s Rollercoaster, the Randy Rogers Band has been converting many a disciple with their zeal-intensive, Texas country music. The prime traits of sin-ravaged Saturday nights and redemption-filled Sunday mornings have many more similarities than your typical pastor might care to admit. Randy Rogers, a preacher’s son himself, has no problems spotting the similarities.
“A good thing about the Good Lord is that he forgives you. That’s how I was raised, at least,” begins Rogers, as he enjoys a rare day off from the road. “I think my parents are proud. I mean, standing up on stage isn’t really that much different than preaching every night. I don’t think me playing in a honky-tonk band has disappointed them.”
Family isn’t the only institution that Rogers aims to carefully respect. Rogers, who, in live performances, often uses breaks between songs to proclaim the glory of traditional country music, even while his band shows off a reasonable amount of polish to go along with a revved-up sonic, makes no bones about his desire to be a part of a tradition.
Clearly, it’s the theme of heartbreak and the drastic finality such a feeling has on one’s life that captivates Rogers when he aims to honor the tradition in his own way. The strongest songs in Rogers’ already sterling catalog spring up from the well where the tears have run dry.
“If you go back and look at most traditional country music, many of those songs aren’t about happy things,” explains Rogers. “They are about losing a girl and her being gone forever and drinking too much, in order to get over it. I’ve always liked that style, so I’ve always tried to write simple country songs. I think that if you’re going to play in a country band, there should be plenty of country themes. I’m just trying to not break something that doesn’t need to be messed with.”
Look for Part II of my chat with Randy, in a couple of days…
Kelly Dearmore is a freelance writer, mean pot of chili maker and opinionated music lover. To read more about what Kelly is listening to, visit him here on The Squawker weekly or daily on his personal music blog, The Gobblers Knob
OK, I know. I’ve been focusing this column’s attention towards the country end of the Texas music spectrum recently. Thankfully, that’s because there is a lot of quality stuff out there, even if it took me a while to rediscover some of the great, more well-known names, or to discover (with the help of some friends) the newer acts that are bringing life into a style that I thought was dying.
For a change of pace, I want to add a touch of Latin flavor into this column. There are a couple of acts, while completely different in sonic style, represent a significant slice of the Texas music scene that all too often, flies under the radar for many of us.
I have heard people talk about Dallas’ Mad Mexicans before, but haven’t dug too deep to hear their greatness for myself. After attending the Dallas Observer Music Awards last month, where I was able to witness the gracious acceptance speech of the band as they won the award for best Latin act, I knew I wanted to dig deeper, finally. I was intrigued by the aggressively catchy clip of their music that was played over the P.A. as the group made their way to the stage. Sounds weird, but hey, when I have to dig my way through tons of music every week (not that I’m complaining, mind you), it sometimes takes little, serendipitous turns such as that, to get me to wake up and get rolling.
Forming in 2002, these residents of South Dallas now have a couple of releases under their belt, including a well-received, self-title EP from 2008 and a full-length record from 2005, The Revolution Has Begun. Actually, the revolution is, indeed, well under way. This group has now won the prize for Best Latin Act from the Observer three times, thanks in large part to their ability to blend styles from punk, metal, hip-hop as well as Latin.
If these Mad Mexicans are really mad, just let them be. I would hate to see what happiness might do to their distinctive sound.
Kelly Dearmore is a freelance writer, mean pot of chili maker and opinionated music lover. To read more about what Kelly is listening to, visit him here on The Squawker weekly or daily on his personal music blog, The Gobblers Knob
Man, oh man. There are certain afternoons where I am convinced that I couldnt be experiencing what I am at experiencing at that given moment in any other state. Sure, that’s a bit shallow, perhaps. There are many unique locales that boast myriad opportunities, unique to their perspective areas that we, as Texans, may not be privy to on a regular basis. Regardless, last Sunday afternoon (and many other previous Sunday afternoons, for that matter) was one such moment where I felt especially Texan.
For eight spring and summers running, I have made a point to attend at least a few Shiner Sundays at the Plano, TX location of Love & War in Texas. For a couple of dozen Sunday afternoons each year, the best and biggest names on the Texas Country scene share the stage with the most promising newcomers, while all of it is broadcast live on KHYI 95.3, The Range. Personal highlights from the past, for me, have been due to solid, and perhaps rare parings of talent. In 2004, Jesse Dayton and Dale Watson carried out a marathon set, with Dayton and his band playing for literally hours beyond the two hour broadcast portion of the show. Last year, Darryl Lee Rush and Jason Boland packed the Hill Country-style patio to its absolute capacity and turned the time into their own mini-Red Dirt festival.
As I prepare to head on over for this weeks boffo bill, featuring Charlie Robison and John David Kent as the opener, I cant help but wonder how tough it will be for today’s acts to top the show from last week, featuring a prodigal Texan, Zane Williams, fresh off of his return from writing hits in Nashville and one of the finest writers to ever come out of the heralded tradition on the Brazos, Hal Ketchum.
Looking more grizzled than suave with his glorious mane tamed by father time, Ketchum professionally worked through his catalog of solid, radio hits from the 1990′s. Truthfully, I had forgotten how many great tunes the man has in his considerable portfolio. Few need reminding that the simple-life classic “Small Town Saturday Night” is his, but I’ll be darned if “Sure Love”, “Hearts Are Gonna Roll” and “Stay Forever” werent every bit as enjoyable to hear again. Ketchum brought the reverent crowd to their feet, and to tears (literally, in many cases that I personally witnessed) with an acapella rendtion of “Yesterday’s Gone”, a song that he wrote in honor of and about his Grandfather. Simply beautiful.
It really was an amazingly Texan afternoon. For most Sunday’s, Love & War in Texas is all about the love.
Kelly Dearmore is a freelance writer, mean pot of chili maker and opinionated music lover. To read more about what Kelly is listening to, visit him here on The Squawker weekly or daily on his personal music blog, The Gobblers Knob
American Graveyard, from Austin, really nailed their sound with their name. A slightly terrifying blend of styles leads to an irresistible new record, the fourteen song Hallelujahland.
At first blush, goth and country don’t seem to go together. Same can be said for folk and metal. In fact, all of those seemingly divergent elements can actually roll together quite nicely, indeed. The sound that accompanies each of the aforementioned genres is only a small part of the equation when discussing the hybrid of such styles. Sure, the instrumentation provides the gritty layer on which the rest of the elements lay on top of, but that isn’t to say those elements are anything less than vital to this mix.
With the arrangements ranging from straight-up country-rock, to front-porch-bluegrass-string band, the lyrics that are rife with religious imagery and questioning give each tune a depth and a gravity that immediately informs the listener that this record isn’t your average sunny side of life slice, high-lonesome pickin’ and grinnin’. For fans of Milwaukee’s .357 String Band, Brooklyn’s O’ Death or Montana’s Graham Lindsey, you now have a dark and dirty Gothgrass (just made that up – swear) band to call your own, dear Texan.
The four-piece group, led by Chris Watkins, rocks a stand-up bass, banjo and the other standard issue roots tools, to a supremely satisfying effect. Perhaps the most fully realized tune on the disc, “Ease Your Mind”, mixes in some slide guitar and moves on to shred with some electricity, beefing up their already robust sound.
As is the case with the greats of Gothgrass (sorry, can’t help myself), experiencing them live is always preferable, even to their excellent recorded product. Can’t make it to an American Graveyard show anytime soon? Check out some of the videos on this new site I discovered, called youtube (I think).
Kelly Dearmore is a freelance writer, mean pot of chili maker and opinionated music lover. To read more about what Kelly is listening to, visit him here on The Squawker weekly or daily on his personal music blog, The Gobblers Knob
The Up & Coming Duo, Rosehill, Can Be Found On "The Drop".
I’m not fooling anyone who regularly hits up this fine, Best of Texas blog: I love me some Texas Country. Also, unsurprising to those who have been paying attention, I have been suffering from an existential musical crisis of sorts. For those requiring a slight recap, allow me to update you.
Earlier this summer,I found myself feeling continually and sadly uninspired, when it came to my outlook on the current landscape of Texas-bred country. Many of the big names were underwhelming and certain, highly-touted newcomers weren’t picking up the slack. Soon after tat feeling, I posted my thoughts, and made a point to say that by that point, I was beginning to see signs of life from a couple of choice veterans. Well, the newbies have truly begun to show themselves in full-force.
My reawakening to the stellar, young talent our state is nurturing is due partly to my own research and also to my recent two-week stint as a judge for the Shiner Rising Star contest, where I have been treated to incendiary sets from bands that I was completely unfamiliar with. It was another, valuable resource, however, that I credit with really getting my hater-butt in high gear.
The fine and friendly folks at Galleywinter.com have seriously stepped up their game recently with the addition of a new site feature called, “The Drop.” Want to hear some slammin’ tracks from some of the best talent that you might not have ever heard of? Want to hear the latest offering from some established studs and even a few legends? Perhaps you want to find all this music, but don’t have tons of time to dig around the blogosphere? The Drop on Galleywinter.com is what you need to bookmark, then.
Brad, Tank and the crew there have created a feature thats as sweet to look at as it is sweet to listen to. Click on over there now and here tracks from insanely good newcomers such as: 11 Bones, Turnpike Troubadours, Uncle Lucius and Six Market Boulevard. Also, check out the new songs from virtuosos like Kevin Welch, Brandon Rhyder and Randy Rogers Band.
Thanks, Galleywinter. It feels good to finally break free of my Texas country funk.
Kelly Dearmore is a freelance writer, mean pot of chili maker and opinionated music lover. To read more about what Kelly is listening to, visit him here on The Squawker weekly or daily on his personal music blog, The Gobblers Knob
On a recent Friday night in Oak Cliff, I arrived early to The Kessler Theater for the Phosphorescent show. I was familiar with two of the three bands on the bill. The headliner and local folk supergroup, The Dallas Family Band, were acts that I have been aware of and a fan of for a while now. Unsuspectingly, it was the evening’s second band, the one I really hadn’t heard anything from before, that actually made the deepest and most jarring impression on me. Don’t get me wrong; I loved the other sets, but wow, apowerful trio from Denton, TX seemed to sonically grab my throat while forcing me to listen. And I liked it.
Oddly, if not unexpectedly, much of the folk-loving room cleared out during Shiny Around The Edge’s mid-bill set. Their brand of eardrum-pummeling shoegaze is more accessible than say, My Bloody Valentine, but sadly, may folks weren’t much in the mood to access it on that night. Picture a group that applies the best, most climactic moments of slowcore and combines them with the inventiveness of shoegaze, and you might have an understanding of what I’m trying to explain, here.
To say that the male and female leads shared an immense chemistry on stage is as big of an understatement as it is understandable. Michael and Jennifer Seman are not only band mates, but each other’s spouse. Heavy, menacing percussion and guitars that simply shredded the stage perfectly accented the lyrics that refused to be sweet and were far from innocent. This wasn’t a set for fans o easy-breezy listening. Some might call this “noise”, but I call it “noise-rock”. Again, I really liked it.
Most of the set featured tracks from the trio’s upcoming Denton’s Dreaming LP. This release will mark their second album release and the first one on their own label, Paperstain Recordings. Their last album, Holy Roller, also featured much of the same dynamic, unrelenting noise rock that Denton’s Dreaming possesses, to excellent effect, I might add.
For those that weren’t prepared for the shredding of the Kessler that night. You missed out. Don’t be so scared, next time.
Kelly Dearmore is a freelance writer, mean pot of chili maker and opinionated music lover. To read more about what Kelly is listening to, visit him here on The Squawker weekly or daily on his personal music blog, The Gobblers Knob
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Saturday night was a chance for my wife and I to get out and have a little three year-old son-free evening of fine musical entertainment in the town that lies near DFW Airport. Known for a couple of wineries and a bigger than life mall, on this night, Grapevine was the musical capital of Tejas for this hombre. For those that haven’t yet learned, the Love & War in Texas Grapevine location has recently opened a beautifully spacious, expansive outdoor beer-garden that boasts a stage twice the size of the stage at the popular, Plano locale.
Sure, the main draw on the stage for the not-as-hot-as-I-thought-it-would-be night was Hayes Carll, the Southeastern Texan that has become a folk and roots rock favorite all over the country, but Big Gus & Swampadelic, the opening band, who went on around 815 pm, just before sunset, proved to be an absolute revelation. Their blend of rhythm and blues, western swing, rock and cajun zydeco represented what I think true Texas music is at it’s best: diverse, yet still cohesive. It seemed as though the 300-400 people that were there agreed with me.
Just like Doug Sahm’s Texas Tornados many years ago, Big Gus – who is a DJ at KHYI 95.3 in North Texas and also has some cajun blood running through his veins — has found a way to blend in the rich, culturally vital sounds of an area that borders our state, only to fully incorporate those traits into a spicy broth that bubbles into a wholly satisfying concoction that just comes out tasting right.
Thanks to having to relieve the babysitter, we were only able to catch about 40 minutes of Carll’s set. As usual, Carll’s band, consisting of new member and former Mando Saenz bassist, Bonnie Whitmore, was spot-on. Also spot-on, as per usual, was Carll’s biting and hilarious sense of humor from the stage. If Swampadelic follows in a trail blazed by Doug Sahm, it’s reasonable to see where Carll might follow in the literate path of previous song-smiths such as Townes Van Zandt and Ray Wylie Hubbard, thanks to his ability to turn a phrase in a subversively funny and provocative way. In between performances of tunes from each of his three albums such as “Little Rock”, “Beaumont” and “Drunken Poet’s Dream”, along with a couple of new tunes, Carll undermined his sleepy, soft-spoken persona with sarcastic remarks regarding the alarming number of babies at the show, as well as their close proximity to the stage.
All in all, a really great night at a great place with somegreat, quintessential Texas musical stylings.
Kelly Dearmore is a freelance writer, mean pot of chili maker and opinionated music lover. To read more about what Kelly is listening to, visit him here on The Squawker weekly or daily on his personal music blog, The Gobblers Knob
Hailing from Austin, the rabble rousing Mother Truckers are an absolute force. having just released their third studio record, the scorching Van Tour, the group, led by married couple Josh Zee and Teal Collins, are in the midst of a tour that will take them to various points out west. In fact, the group does call Austin home, but it seems that they have harvested as much love for their incendiary brand of rockabilly rowdiness outside of this great state, as they have, south of the Red River.
After meeting and beginning to play together in 2002, in San Francisco, Zee and Collins headed south to Austin and joined up with some folks that would help them lay down 2007′s countrified record, Broke, Not Broken. While, yes, that record turned a few heads and perked a few ears, it was 2008′s phenomenal Let’s All Go to Bed full length that properly showcased what the band was not only all about, but what they would continue to be all about. The mix of soulful country, punk frenzy and southern rock grease made perfect bedfellows for Collin’s otherworldly ability to simply belt out a tune and Zee’s knack for making the speakers jump.
After 2009 didn’t see much in the way of any releases from the group, they continued to do their share of touring throughout the state and into the western US. Perhaps it was all that travel that led to the inspiration for this latest album that continues their practice of mixing a bit of twang with their tails of dysfunctional love and living balls to the wall. Don’t believe me? Give “Break_Up Sex”, from the new album, a listen, then. The bawdy lyrics are only matched by the profane heat of the guitar and sheer moxie that is injected into the track.
Keep an eye out for the van of the Mother Truckers, if you don’t get out of its way, your liable to have a hell of a time.
Kelly Dearmore is a freelance writer, mean pot of chili maker and opinionated music lover. To read more about what Kelly is listening to, visit him here on The Squawker weekly or daily on his personal music blog, The Gobblers Knob
One of the truly great, meaningful contributions of Denton to the national music scene has been slowly making its way back onto that very scene over the past year or so. The mighty SLOBBERBONE!
OK, maybe the title of this post is a bit misleading. I am not going to give you an unabridged history into the origins of the band and what has led to this glorious point of revitalization, but I am going to make sure you all have what you need to grasp this band’s power and to also understand that we, in North Texas, aren’t alone in regarding this band as an absolute, shredding treasure.
For those of you who arent aware, the band was formed in 1994 by lead man Brent Best, along with Jess Barr, Brian Lane and Tony Harper. Over the course of 4 immaculately gritty and whiskey-soaked full-length albums, this foursome became well-regarded, even if not best-selling, in many parts of the country. Even Steven King, the blockbuster author, calls Slobberbone’s “Gimme Back My Dog”, from their 2000 album Everything You Thought Was Right Was Wrong Today, one of the three greatest rock songs of all-freaking-time.
After the release of their fine album Slippage, in 2002, and afteran appearance on the Late Late Show with Craig Kilborn, the guys decided to hang it up when Brian Lane, the amazonian bass player, decided it was time to move to Florida. After a few years playing with an altered line-up as a more pop-leaning band, The Drams, and many prayers from country-rock lovers all over, Slobberbone began playing shows again when Lane moved back to the North Texas region in 2009. With rumors of a new album in the works and Best putting the finishing touches on a solo album, I thought it was time to share a few links with you fine folks that will help you understand why it is that Slobberbone is so damn mighty.
- Here’s an excellent post that features some live mp3′s from a 2003 show in Atlanta, GA.
- Pop Matters really grooved on one of their first shows after reuniting.
- Going way back, The Dallas Observer knew there was something special about this group.
- Nine Bullets.Net provided a great way to get to know the band.
Kelly Dearmore is a freelance writer, mean pot of chili maker and opinionated music lover. To read more about what Kelly is listening to, visit him here on The Squawker weekly or daily on his personal music blog, The Gobblers Knob
