The Daylight Hours- How To Make A Mess of Things

The Daylight Hours is Columbia, SC’s own David Adedokun. Adedokun has been slowly but surely working on How To Make A Mess Of Things for over two years, since the break-up of his former band, Courage Riley. It was worth the wait. Adedokun blends an array of influences into an Americana-indie-pop dream, all the while highlighting his beautiful songwriting and emotive voice.

However, the record is a bitter pill coated in candy. While the music and Adedokun’s voice are both upbeat and hopeful, How To Make A Mess of Things is a song cycle about lost love, rejection, regret, and every other emotion connected with love gone wrong. My favorite tracks are the middle 3 of the album. The infectious “Truth About Girls” has some great lines like “oh boy, you don’t know what you’re getting in to/ My boy, don’t say I didn’t try and warn you” and “don’t take the poison yet, cause once it’s in you it stays there (referring to a first kiss)” The classically themed “Dear John Reply” is sandwiched nicely by “Truth” and perhaps my favorite song on the record, “Only One Juliet”. “Juliet” is about the girl that seems to like (love) everyone. You know that you are not as special to her as she is to you, but you can’t help yourself. But in the end as with all Adedokun’s songs, the narrator lets her go.

Smart songwriting, subtle guitar rhythms, and tastefully applied drums, keyboards, electric guitar, and lap steel are the hallmarks of this record. Hopefully, How To Make A Mess will bring Adedokun the recognition he deserves and expand his touring schedule across the southeast. Check him out at http://www.myspace.com/thedaylighthoursmusic

Swing Set- How To Make A Living Selling Yourself Short

also posted on twangville.com- http://twangville.com/856/swing-set-how-to-make-a-living-selling-yourself-short/

Under Swing Set’s influences section on their webpage, Teenage Fanclub and George Jones are listed side by side. Just the kind of spirit that has driven the southern rock and roll movement of the last decade or so, a spirit that owes just as much to R.E.M. as Lynrd Skynrd.


Swing Set is the solo moniker for former Sodajerk front man Alex Brenner. Sodajerk toured the east coast for nearly decade, spreading their own brand of alt. country before packing it in after 2007’s swan song Sodajerk 2. Described as Johnny Cash meets the Replacements, Sodajerk’s sound owed a lot to the early periods of bands like the Old 97’s or Wilco. However, Brenner’s solo work is characterized by a renewed focus on his vocals and heartfelt lyrics. Where Sodajerk would stack on the electric guitars and turn their amps up to 10, Swing Set sets the mood with acoustic guitars, light drums, and some pedal steel embellishments.

Owing as much to Mark Kozelek (Sun Kil Moon, Red House Painters) as the Old 97’s, How To Make A Living Selling Yourself Short, Swing Set’s debut, is an Americana record with indie-rock influences. Recorded in Brenner’s Decatur, GA apartment, the album fits late nights or hung over mornings like a worn glove. Brenner’s voice has a little bit of twang and a lot of heartache in it, which makes for a record that seeps emotion at every turn. Also adding to the mix is background vocals by Emily Kate Boyd and Vanessa Olivarez, highlighted on “Nothing to Hold On To” (sounding eerily like Jenny Lewis).

The record is available through cdbaby.com or by download through Swing Set’s webpage: http://www.myspace.com/swingsetrocks

Setlist for 04.19.08

Subbed Red Bank Setlist (04.19.08)

AMERICAN GUN TONIGHT! 5 Points Pub!



Steve Earle "Somewhere Out There"
Black Rebel Motorcycle Club "Devil's Waitin'"
Alejandro Escovedo "Always a Friend
American Aquarium "Lover Too Late (live)"

Murry Hammond "I Believe, I Believe"
John Doe "I Dreamed I Saw St. Augustine"
Blueground Undergrass "Dublin Blues"
Matt Mays & El Torpedo "The Plan"

Jackie Greene "Honey I Been Thinking About You"
Jed & Kelley "Houston Sky"
Assembly of Dust "Whistle Clock"

Sam Baker "Boxes"
Sara Lee Guthrie & Johnny Irion "Exploration"
Tommy Womack "25 Years Ago"
Kris Kristofferson "Shipwrecked In The Eighties"

Blue Dogs "Cosmic Cowboy (live)"
Fayssoux McLean "Save It- Save It"
Eliza Gilkyson "Ballad of Yvonne Johnson"
Peter Cooper "All The Way To Heaven (feat. Eric Taylor)"

Hayes Carll "Bad Liver And A Broken Heart"
Andy Friedman "Cheat With the Highway"
Swing Set "My Side of the City"
American Gun "Horses"

The Nitty Gritty Dirt Band "Tennessee Stud"
James McMurtry "Ruby and Carlos"
John Prine "Donald and Lydia"

Buddy & Julie Miller "Forever Has Come To An End"
Caleb Caudle "Memory of Somebody Else"
David ByBoth "Before the Longest While"
Loch Ness Johnny "She Used to Be My Girl"

Kathleen Edwards "Alicia Ross"
Jeff Johansson "Lover Don't Go"
The South "I'm With the Band"

Ralph Stanley "False Hearted Lover's Blues"
Neal Casal "St Cloud"

Best of 07 for No Depression

2007 Top 10.......(No Depression)

Well I know its early to review the best records of 2007 since its still got about a month and a half left, but No Depression was collecting votes, so I did on. Here it is (as a disclaimer: these are MY favorite records, not necessarily the 10 Best for everyone, that being said, comments, suggestions, and insults are appreciated)

1. Sam Baker- Pretty World
- this record is awesome, if anyone has not heard it, i heavily recommend you do. Baker has a rough voice, but he may just be the best songwriter out there today. He plays acoustic guitar and harmonica, Mike Daly (Whiskeytown) produces and plays on it, along with a host of other phenomenal artists. It is mainly acoustic based with flourished of electric guitar, pedal steel, violin, and other awesomeness. Lots of people think his first record Mercy was better, but I think you should buy both of them and decide from there. RIYL: Neil Young, Bob Dylan, roots singer-songwriters


2. Josh Roberts & the Hinges- My War Cry Is Amor
- easily the best self-released record of the year, Josh Roberts and Co.'s sophomore effort is one great rock n' roll record. More expansive and powerful than their excellent debut The Sugarbird Test, My War Cry Is Amor has excellent songs throughout, some of my favorites are the R&B tinged "If Its Not One Thine, Its My Lover", the poignant 'Hand of Man" (check out the banjo on this one), the harmonies on "B1 and B", and the atmosphere of songs like "The Hardest Part of Winter". The album has its share of slower songs the aforementioned "Hardest Part of Winter" and "Curly Bell", but the majority of songs are Crazy Horse-esque rockers displaying Roberts ridiculous guitar god skills. RIYL: Neil Young, Crazy Horse, My Morning Jacket, Rock N Roll
joshrobertsmusic.com or myspace.com/joshrobertsandthehingesrock
check out this article written by Aftermath USA DJ Kyle
www.dailygamecock.com/news/2007/10/16/TheMix/Local.Band.Creates.Epic-3033835.shtml


3. Jason Isbell- Sirens in the Ditch
Isbell's long delayed, but much appreciated solo album was released on the hills of his departure from southern rock heroes the Drive-By Truckers. I've already written a fairly extensive blog about this record (along with DBT's Dirt Underneath Tour). So it is suffice to say, this record is also quite good. Its got rockers, acoustic songs, and "Dress Blues". So hell yeah. RIYL: Drive-By Truckers, Son Volt, Ryan Adams

4. Mark Olson- Salvation Blues
This is probably the most hauntingly beautiful album of 2007. Greg Leisz (Bill Frisell, Dave Alvin,Wilco, Lucinda Williams, Peter Case, Joni Mitchell, Whiskeytown, to name a few) plays pedal steel throughout and it is gorgeous. I've the record described as dark, but not dark in the sense of no hope. I think its Olson's best record since leaving the Jayhawks (incidentally Gary Louris co-writes and does some guest harmonies here). The packing is also cool (book like form w/pictures).
RIYL: The Jayhawks, Gram Parsons, awesomeness

5. Levon Helm- Dirt Farmer
Levon Helm is the man. He put up with Robbie Robertson in The Band, singing lead vocals on favorites such as "The Night They Drove Ole Dixie Down". Though his fortunes fell quite a bit recently (bankruptcy and throat cancer), he's come back strong with the monthly Midnight Rambles at his farm up in Woodstock and now an album that is the best album by any member of The Band since Northern Lights-Southern Cross. Produced by Larry Campbell, Dirt Farmer is a mix of Helm's favorites from his childhood, some new tunes, and other well chosen covers (Steve Earle's "The Mountain" is ridiculously good). Helm's daughter contributes some great fiddle work, but the glories of this record are Helm's voice and drumming. Sometimes you don't realize how much you miss something until you hear it again.

6. Caleb Caudle- Red Bank Road
Caleb Caudle is based out of Winston Salem, NC and is currently touring with a band under the name Caleb Caudle and the Bayonets. That band has already surpassed the rustic acoustic nature of this debut, but the songwriting and production on his record is excellent (particular props to multi-instumentalist Megan McCormick). All originals written by Caleb or his brother Kyle (member of the Bayonets, plays bass), the songs permeate through the room and recall Jay Farrar's more acoustic work or a less ostentatious Whiskeytown.


7. Sunshone Still-Ten Cent American Novels
God what do I say about this record? A folk rock opera about Kit Carson, Sunshone Still's (aka Chris Smith) follow up to the excellent Dead Letters is both more ambitious and more everything than its predecessor. The list of artists who contribute and play on the record is long and extensive, but Smith is certainly at the center of the chaos. Think the heavy production of Sufjan Stevens with the vocals nuances and guitar playing of Nick Drake. You will really have to just listen for yourself.
SunshoneStill.com or myspace.com/sunshonestill
favorite song "Chapter 1- Winning of Wa'anei Bay"




8. Jesse Malin- Glitter in the Gutter
Ryan Adams protege puts together another fine album of rockers, ballads, and everything else. Bruce Springsteen pops in for a duet on "Broken Radio" and Jakob Dylan on "Black Haired Girl", but Malin is the the star throughout. Check out the bare piano rendition of the Westerberg classic "Bastards of Young".
RIYL: Ryan Adams, The Replacements, Bruce Springsteen

9. Wilco- Sky Blue Sky
Tweedy and Co. don't disappoint here (actually I think a lot of people were disappointed, but at this point the only way Wilco could actually defy expectations would be to make a record that actually sounded like their last record). This will probably never be my favorite Wilco record, but its still pretty good. Laid back in a way that Wilco hasn't seen since the A.M. days, Sky Blue Sky is a smooth record that never truly rocks out, despite guitarist Nels Clines ebullient solos throughout. Post critics have either panned it or heralded it as a masterpiece for the same reasons (sounds like 70's pop circa Jackson Brown). I don't have much to say about the record except a) I like it, b) compared to Ryan Adams similar slick effort Easy Tiger, I think Sky Blue Sky is better, and c) its Wilco and all reviews point to these songs being great in concert.

10. Grace Potter & the Nocturnals- This Is Somewhere
This Burlington, VT based band has been picking up a lot of press since the indie release of Nothing But the Water back in 2005 and rightfully so. This Is Somewhere is far slicker than NBTW's rugged bluesy, R&B sound, but it doesn't suffer for it. This is what Rock and Roll in 2007 should sound like. From the uproarious singe "Ah Mary" to the gospel tinged closer "Big White Gate", GP and the Nocturnals run through pop, rock, soul, R&B, country, and back without missing a beat. The Rolling Stones, The Band, Lucinda Williams are all present in this sound. Lead guitarist Scott Tournet is crisp and clean throughout and doesn't overplay, Potter herself is quit a dynamo. A great lyricist for someone so young, her B3 organ is a cornerstone of the Nocturnals sound that distinguishes them from other bands of similar sound, but its her voice that Lucinda Williams meets Janis Joplin powerhouse of a voice that will win her new fans. Check these guys out live, especially if you think this record is too slick, they are awesome.
Favorite songs include "Apologies" (piano ballad), "Stop the Bus", "Aint No Time", "Big White Gate", and "You May See Me".


Looking Forward
also in 2007
Hannah Miller is going to release her full length debut, Miller is a great singer songwriter from the Columbia area, who has expanded her sound on Into The Black (i think thats the title)
myspace.com/hannahmiller

Ryan Adams Box Set 20:20
-should be awesome and include tons of unreleased albums and songs

2008
AMERICAN GUN- The Means and the Machine
this albums is looking like the best of 2008 to these eyes (and ears)
-sheer awesomeness
americangun.net or myspace.com/americangun

Drive-By Truckers- Brighter Than Creations Dark
19 Songs, 7 from Cooley, 3 from Tucker, and 9 from Hood, i might wet myself

American Aquarium- Untitled
I've heard the unmastered, unmixed stuff from this album and its sounds superb, look out for it on Yep Roc next year.

Isbell, Truckers......

Jason Isbell Record/ Dirt Underneath Tour Reviews


Ok. I was wrong. Forgive me. It was a gut reaction to what, at the time, seemed like a catastrophic shake up in the lineup of a band that was very dear to me. Jason Isbell has left the Drive-By Truckers (as anyone who has listened to the show in the last couple of months had heard me rant and philosophize about, along with Brad Rice's departure from Son Volt….to tour with f**king Keith Urban of all people). Anyway like I was saying, initially I was upset considering the loss of Isbell's excellent songwriting and considerable guitar chops. I mean this was guy that penned "Outfit", "Decoration Day", "The Day John Henry Died", "Danko and Manuel", "Never Gonna Change", "Goddamn Lonely Love", "Easy On Yourself", and "Daylight". These were stand out songs on excellent albums. He brought a soaring pop sensibility to the more rustic leanings of Hood and Cooley, playing precise and clean lead lines, often on slide. Anyway enough on why I was wrong. There was, as it turns out, a considerable upside to all this.


First off Isbell's solo album, Sirens In the Ditch. SITD finally saw release on July 10th on New West records (also DBT's label). Considerably more diverse musically than Isbell's DBT output, SITD features Isbell playing among other things vastly more acoustic guitar and keyboards (piano, wurlitzer, B-3) than he ever did with DBT. Songs like "Down In the Hole", "In A Razor Town", and "The Magician" are great acoustic songs that see Isbell playing not only acoustic guitar, but dobro and banjo as well. "Hurricanes and Hand Grenades" features an even greater stylistic leap, as Isbell mines the musical history of his home town of Muscle Shoals, AL (where he recorded the album). An instant classic, the song stands up tall to the considerable Muscle Shoals catalog. This is what Patterson was referring to in "Ronnie and Neil", when he says "that sweet soul music…that Muscle Shoals sound".
The emotional core of the album is the back to back "Chicago Promenade" and "Dress Blues". The latter of which is a great protest song and has been performed at numerous Isbell solo shows as well as by DBT. Anyone familiar with the ragged solo electric versions that Isbell was doing at his solo shows may take some time to adjust to the slick arrangement the song has been given here (I know it took me awhile). Isbell has given the song a beautiful arrangement with weeping pedal steel, acoustic guitar, and excellent background vocals by both former wife Shonna Tucker and Angela Hacker. The song is incredibly powerful and its lyrics both lament the war and speak to the emotional damage it causes, all the while elegantly depicting the south throughout the lyrics. "Chicago Promenade" begins with Isbell alone with the piano before expanding out to include the full band, the song was written about the recent loss of Isbell's grandfather and seems to be one of the most personal songs on the record.
However, all that being said about new musical territory and all that, there are several songs on here that wouldn't be out of place amongst Isbell's more rock material with the Truckers, including the opener "Brand New Kind of Actress", as well as "Try", Grown", "Shotgun Wedding", and the closer "The Devil Is My Running Mate". Every member of DBT excepting Mike Cooley makes an appearance here including Patterson Hood (co-produced, guitars, piano), former wife Shonna Tucker (backing vox, bass), John Neff (pedal steel), Brad Morgan (drums), Spooner Oldham (B-3), and even DBT producer David Barbe stops by to add keys to "Shotgun Wedding".
I can't recall an acoustic Isbell song on a DBT record; even the slower "Goddamn Lonely Love" and "Decoration Day" were exclusively electric. So, the acoustic songs are both a surprise and the best songs here. The electric songs sound a little weaker with the DBT 3 guitar attack and perhaps purposefully so, as at the time this was recorded it was supposed to be a solo side project. Anyway, the record is excellent and everyone should make plans to catch Isbell's solo tour in a town near you.--- I plan on catching one of the dates he's doing with Centro-Matic in North Carolina.


Part 2 of Why This Isn't A Catastrophe

I went up to Asheville last Friday (07/13/07) to catch DBT do a Dirt Underneath Tour date (w/ half rock show). It ended up being more like a ¾ rock show, but was still rather excellent. They opened up with "Tornadoes" a great song, which got about half the audience singing along almost louder than Hood's vocal. Hood was dressed initially in a nice suit jacket and seemed in good spirits (he shed the jacket for the rock show). In fact the whole band seemed to be enjoying themselves more than previous shows with Isbell, Cooley actually smiled and performed more guitar histrionics than I had ever seen out of him before. This was the first time I had seen the band, where they have not been passing a handle of whiskey around (there were buckets of beer laid out for them). Cooley, however, did chain smoke through the entire show (minus his vocals) in the no smoking venue.

Isbell leaving ended up meaning two things for the band. One, more Cooley vocals, which was huge positive, especially during the acoustic portion of the show as Cooley hit two early high points with "Space City" (making the hair on the back of my neck stand up) and the hilarious/sad/poignant "Panties in Her Purse". The other major effect was that there was a lot more space in the songs allowing for a clearer distinction between Cooley and Hood's guitars as well as Neff's pedal steel and Shonna's bass and backing vocals. I don't know if it was the venue (Asheville's Orange Peel), but this show was vastly superior to DBT's last show with Isbell, which I attended (Charleston's Music Farm…acoustically resembling a tin can). The whole band sounded great and for the first time John Neff's pedal steel was clearly audible throughout (probably partly due its prominence during the acoustic set). Shonna was also filling in for lots of Isbell's background vocals and did excellent job.

This show was easily the best of the three DBT shows I've been to, without even trying really.

PS. Hood was awesome as usual, funny, engaging, and on top of it vocally. His highlights were "Sinkhole", "Dead, Drunk, and Naked", "Angels and Fuselage", and especially "Bulldozers and Dirt".

2-12-07-- Gillian Welch & David Rawlings at The Orange Peel

Show Review 02-12-07-- Gillian Welch & David Rawlings at The Orange Peel in Asheville, NC

This Monday evening show was sold out with people driving from as far away as Charlottesville, VA to attend. There was no opening act, so Katy and myself found a nice spot on the wood floor of the Orange Peel to plop down and were soon chatting with various locals and the two guys from VA. If you have never seen a show at The Orange Peel, I highly recommend it as a concert venue. Its nice and big, with old wood flowers and cool art all over the walls. The bathrooms are nice and clean and the bar is nice and long. However, the centerpiece of the place is a humongous metal fan (which used to be much bigger they have shortened it since I was last there), that is turned on once the band begins playing).

Gillian and David wandered out on stage at about 9:30pm and were greeted with an energetic response by the eager crowd. They looked like they were dressed to attend a dinner party, Welch wearing a red dress that hung on her elegant, thin frame and Rawlings dressed in a suit jacket with a dressy button up shirt underneath. Rawlings was carrying his trade mark 1935 Epiphone Olympic arch top guitar and a box of tools (capos, picks, and such) that he set on a table set up between himself and Mrs. Welch.

Once the first note was struck, they brought the whole building back to an era before electric instruments, before feedback, before pretension, and before your image mattered more than you songs. Two mics for the guitars, two mics for the vocals, they didn't need anything else. The harmonies were great throughout, and at times it was difficult to comprehend that their were two different vocalist because they were so intertwined. Its easy to see how Rawlings justifies his own group, The David Rawlings Machine, which has played numerous gigs in between the Gillian Welch shows (Gillian plays rhythm guitar). We got a taste of that when he took a lead vocal during the second set. However, this show featured Mrs. Welch's voice, and wonderful voice it is. Authentic is the word that come to mind most often, both in reference to the vocals and the music. Though it might be anachronistic, the pair easily sounds like they could be making this music in 1942 or earlier. The themes, the sounds, the music, the pair of musicians, all authentic.

Instrumentally, Welch played guitar, banjo, and occasionally wailed on harmonica, while Rawlings stuck with his old 1935 Epiphone guitar. Rawlings was a MAD MAN on guitar. Ringing sounds of that old acoustic guitar that not only matched the records, but sent the songs over the top. Though his facial expressions were often strange, he seemed to mimic the lead lines in his movement as he heaved and jerked all the while pressing the guitar forward towards the microphone to get the best sound. It was quite a dichotomy as he swayed, swung, and spun, Welch would hunch over and stoically concentrate on her rhythm playing. Despite having only two instrumentalists, Rawlings lead playing and Welch's rhythm gave the sound an almost full band feel. At one point Welch brought out a foot pedal to add a drum sound to the mix and Rawlings wryly joked that it was "our nod to techno". They were excellent throughout and ended the first set with a fiery version of "Red Clay Halo". The second set, which include solo vocals from both musicians, they encored and finished with two of my favorite songs "Black Star" (the Radiohead cover) and "I'll Fly Away" (from the O Brother Where Art Thou Soundtrack). Another song that particularly stood out to me was Gillian's solo rendition of "One Little Song", which I had never really paid attention to before. The performance and lyrics are really powerful (I'm going to post the lyrics below). Other favorites of mine that they played include "Look Out Miss Ohio", "Make Me A Pallet On Your Floor", "Wayside/Back In Time", "Time (the Revelator)", "Orphan Girl", "My First Lover", "Rock Of Ages", "Elvis Presley Blues", and "I Want to Sing that Rock and Roll".

There's gotta be a song let to sing
Cause everybody can't of thought of everything
One little song that ain't been sung
One little rag that ain't been wrung out completely yet
Gotta a little left

One little drop of fallin rain
One little chance to try again
One little bird that makes it every now and then
One little piece of endless sky
One little taste of cherry pie
One little week in paradise and I start thinkin'

There's gotta be a song left to sing
Cause everybody can't of thought of everything
One little note that ain't been used
One little word ain't been abused a thousand times
In a thousand rhythms

One little drop of fallin rain
One little chance to try again
One little bird that makes it every now and then
One little piece of endless sky
One little taste of cherry pie
One little week in paradise and I start thinkin'

Gotta be a song left to sign
Cause everybody can't of thought of everything
One little song that ain't been sung
One little rag that ain't been wrung out completely yet
Till there's nothing left
-Gillian Welch, Soul Journey

Show 2-10-07---Tim Easton, Paul Burch, and Matthew Ryan

Show 2-10-07---Tim Easton, Paul Burch, and Matthew Ryan

Tim Easton- Paul Burch- Matthew Ryan---- The Grey Eagle, Asheville, NC

I was really excited about this show, particularly with the addition of Paul Burch to the billing. I had seen Tim Easton play before at the Village Tavern in Mt. Pleasant, SC and he was particularly good. Performing solo acoustic, he is an engaging performer and his songs really translate well live.


Unfortunately for me, Tim Easton, who I had thought was the headliner, came on first and only played for about 30 minutes. He was still very engaging and I particularly enjoyed the new songs he played as well as such favorites as "Black Dog", "Poor, Poor LA", and "Dear Old Song and Dance". He even played one song on the piano and frequently accompanied himself on the harmonica. He was using one of Matthew Ryan's acoustic guitars and his equipment troubles may have been part of the reason for the brevity of the set. He is currently working on a new album, which according to his email is going to be headed in a more "rocking" direction. So, stay tuned for more information on that.

Paul Burch was next. I had heard about him multiple times, but never really checked him out before. He was cool, dressed all in denim, he switched back and forth between guitars and sang mostly upbeat 50's style songs. My favorite song may have been the opener "Montreal", but his set was uniformly pretty cool. He may have lacked the stage presence of Easton, but his songs were pleasing enough. He made a reference to Buddy Holly early in the set and that stuck with me throughout, as their styles sounded really similar. He also pseudo-covered a Bob Dylan's "I Want You", he either just stole the chorus for his own song or changed the verses depending on how you want to interpret it, but nonetheless it was pretty cool.

Matthew Ryan was next and carried with him two additional guitarists (one played bass a couple of times). His attempts to carry the spacey atmosphere songs over into a live environment were hit and miss, though I particularly enjoyed a song called "Providence" that had quite a few verses. He played mainly acoustic guitar, while his sidemen played electric, adding the texture to the songs. He had one cool stage moment, where referred to his harmonica holder as "Americana bling", that the rest of the audience either a) didn't get or b) didn't think it was as funny as I did.

The Grey Eagle is a great place to see a show. It's not much to look at from the outside, but inside they have a bar and grille (located at the opposite end of the stage area), as well as a fairly large stage space with chairs and even some couches set up for the audience. The ceiling rafters had Christmas lights hanging above the audience and the house music was pretty cool (Richard Buckner, Iron & Wine, more Richard Buckner, and did I say Richard Buckner?). The only downside was the temperature was a little on the chilly side.

American Gun-Otis Gibbs-The Bottle Rockets

I caught The Bottle Rockets- Otis Gibbs- American Gun show the other night.


Though they only played for about thirty minutes, American Gun surpassed my already pretty large expectations. For those of you who haven't heard of American Gun, they are a local band from Columbia, who one reviewer described as reminiscent of the Drive-By Truckers and Slobberbone. I had fell in love with their debut album Dark Southern Hearts a while back and was anxious to see the band in action.
Unfortunately Donald Merckle, acoustic guitarist and as lead guitarist Jeff Crews put it "the other guy that can sing" was missing due to recent back surgery. Nevertheless the show was awesome and full of energy as they whipped through some of my favorite songs from their debut, including "Heart Locket", "Picture", "The Fall", "Tears", as well as covers of "Ring Of Fire" and the traditional folk tune "Wayfaring Stranger" (though it was hardly a traditional take on the tune). Singer-guitarist Todd Mathis was excellent through out, but I was floored by lead guitarist Jeff Crews, who was blistering through out the whole set (they told the crowd late in the set that he usually played keyboards too, but due to Donald's absence was filling in on back-up vocals and had left the keyboard at home). Drummer Andrew Hoose seemed to have a smile on his face the whole show, he and bassist Kevin Kimbrell provided an impressively, aggressive bed rock for the frantic guitar attack of Mathis and Crews.
As a bonus (due to the rather dismal turnout for the Sunday night show), I got to meet and talk to most of the band with the exception of drummer Andrew Hoose. They were all excited about the work they are doing on the new album, but slightly reticent due to Merckle's condition and absence from the sessions. On a more upbeat notice, I also talked to the other opener Otis Gibbs.



Gibbs was certainly a character. He gave frequent anecdotes and stories between each song and was often funny and had success engaging with the rather small crowd. He played a cool solo acoustic show with really cool songs that were kind of....I wanna say Dylan meets Willie Nelson meets Billy Bragg....but that doesn't really get it at all. He's got some country sounding songs, some topical stuff, and some funny songs. He was kind enough to offer me a copy of his latest CD, One Day Out Whispers, to play on WUSC.

The Bottle Rockets came on next and despite being the headliners, they had the muddiest sound mix. Brian Henneman is certainly a terrific guitarist, but his vocals were not helped by the less than stellar mix. Unfortunately my girlfriend had a massive headache at this point, so after a couple songs of foot tapping we made an early departure. I would guess that the sound improved after a couple songs. Henneman will always be one of my heroes for his relationship with Uncle Tupelo and his lead guitar work on Wilco's first record A.M.