We are all sinners, we know this, and if you’re ready to celebrate your inevitable journey to the darkness, then buckle up, shut up, and just listen to this EP. With their music, emotions, and words, The Bones of J.R. Jones have captured my soul – with all of the pain and sadness and anger and love that it contains, with the darkness and the light, the love and hate – so damn deftly that at times, to be honest, it scares me. They switch between coming at you with hellfire and damnation preaching their version of the truth to suddenly, almost magically, bringing it down and back where they reach right into your chest and rip your heart out, leaving you wondering what the fuck just happened and where did these bullshit emotions come from.

There is a malevolent force at work here, but it is one that is strangely familiar, lurking just underneath the surface throughout almost all of their songs on The Wildness EP. This intrigues me, frightens me somewhat, but mostly enchants me and draws me in with my love for the strangely macabre and obscure. The 2nd track, La La Liar channels Denver’s angry and pious David Eugene Edwards with a tangible gothic revival vibe to it that feels like it’s been hanging around your consciousness for years, something akin to putting on an old, run down pair of your most comfortable shoes. This is also where the real darkness starts to seep in and, at this point, they’re just getting started.

The EP continues on to meander through myriad different genres of music and each song has a deftness to it that defies categorization. At times easy going, then pissed off and coming at you with a raised fist, then back to making you feel like you’re rambling down a dusty and worn road leading to a salvation that only your heart knows of, that can only be found by reaching the end of your journey, road-weary and beaten down, but ultimately content, familiar like an old, old friend with whom the conversation can pick up after years between installments. That is what this EP represents to me – a timeless conversation that is comfortable, yet bears a mild mark of melancholy for its inevitable end. This EP leaves me wanting more, and I know I’ll get it, and I’m anxious for it. This is the People’s Music – brutal, honest, dirty, sometimes mean, but lovely all at the same time. This music can make you sweat, or it might be that it just helps you realize that your sins are what are making you sweat, but sometimes you have to let go and trust that the artist knows what he is doing. The Bones of J.R. Bones deserve your trust, and your time, and ultimately, your love and appreciation.

The Bones of J.R. Jones – La La Liar
The Bones of J.R. Jones – Free

The Bones of J.R. Jones’ Official Site, The Bones of J.R. Jones on Facebook, The Bones of J.R. Jones on Spotify, Buy The Wildness EP

Sorry I missed posting last week’s playlist. I’m also sorry for the erratic posting schedule last week. I was in the grips of a pretty deep depression and was unable to muster the strength to do anything. That said, I am feeling a little better this week so let’s get this Monday started right by putting your ears on the archive of the show.

Below is the playlist for May 18, 2013 [Artist - Song (Album)]

01. Cootie Stark And Neal ‘Big Daddy’ Pattman – Prison Blues (10 Days Out)
02. American Aquarium – Cape Fear River (Burn.Flicker.Die)
03. Drive-By Truckers – Never Gonna Change (The Dirty South)
04. I Can Lick Any Sonofabitch in the House – Mayberry (Mayberry)
05. Otis Gibbs – Big Whiskers (Harder Than A Hammered Hell)
06. Ben Prestage – One Crow Murder (One Crow Murder)
07. The Urbane Cowboys – Here We Go Again (Only Truth Tonight)
08. The Great Unknowns – Homefront (Homefront)
09. Lee Bains III & The Glory Fires – Righteous, Ragged Songs (There Is A Bomb In Gilead)
10. Sallie Ford & The Sound Outside – Bad Boys (Untamed Beast)
11. Grayson Capps – A Love Song For Bobby Long (If You Knew My Mind)
12. JJ Grey & Mofro – The Ballad of Larry Webb (This River)
13. Alela Diane – About Farewell (About Farewell)
14. John Moreland – Nobody Gives a Damn About Songs Anymore (In The Throes)
15. JKutchma & The Five Fifths – Used To Believe (Pastorals)
16. Micah Schnabel – American Static (When The Stage Lights Go Dim)
17. Jake Bugg – Someone Told Me (Jake Bugg)
18. The Henry Girls And The Fox Hunt – Dig A Little Deeper (Mountains To The Ocean)
19. The David Mayfield Parade – Love Will Only Break Your Heart (Good Man Down)
20. Brothers Of The Last Watch – Frank T. James (unreleased)
21. Arliss Nancy – Failure (Simple Machines)
22. Frank Turner – The Road (Last Minutes & Lost Evenings)
23. The Builders and the Butchers – Dirt in the Ground (Western Medicine)
24. Todd May – Mercy (Mercy)
25. Slim Cessna’s Auto Club – Port Authority Band (The Bloudy Tenant & The Truth)
26. Last Good Tooth – What’s What I Do (Not Without Work and Rest)
27. Jason Isbell – Songs She Sang In The Shower (Southeastern)
28. Lucero – Texas & Tennessee (Texas & Tennessee EP)
29. Macklemore & Ryan Lewis – Neon Cathedral (The Heist)

Bold = Request

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Episode 123: aired 05.18.2013

Like a lot of you, I’m guessing, I go to a lot of shows. There are many benefits to this, one of which is asking your favorite musicians who they’re listening to these days. Over the course of the past year or so, I noticed their lists almost always had two names in common: Townes Van Zandt and John Moreland.

That’s a hell of a thing for an up-and-coming musician to share a “must listen to” list with the late, great Townes Van Zandt (with whom I am already familiar), so I did what any good lover of music would do: I checked him out. Not only was I happy I did, but I also grew to understand why they were usually mentioned together: They’re both musician’s musicians.

How did you get started playing music?

My family is somewhat musical. My dad plays the guitar. I started playing when I was 10 years old when we moved to Tulsa from Boone County, Kentucky. I didn’t have any friends yet, and I was bored all the time, so I asked my dad to show me a couple of chords. I just kind of kept going from there. Then, you know, a couple of years later, I realized you could just, like, make up songs, so I’ve been writing songs ever since then.

How old were you then?

I was about 12.

So you’ve been doing that since you were 12?

Yeah, and throughout high school, I was in a bunch of hardcore bands.

Oh, who were your influences?

Um, well, back then, I really liked Converge and Pg. 99, and Minor Threat was my favorite band. Also, just a lot of DIY hardcore. At some point, that wasn’t really doin’ it for me anymore, and I kinda just started going back to music my dad had always listened to when I was growing up, like Neil Young and Creedence Clearwater Revival and stuff like that.

I’ve noticed that a lot of people making the kind of music you make have hardcore, post-hardcore, and/or metal backgrounds.

Yeah, it’s funny. I also like 90s country. I grew up on a lot of that. I’m also a huge George Strait fan. I actually listened to him for hours last night.

It’s easy to do with him. I also love 90s Garth Brooks, and Alan Jackson’s “Chattahoochee” is probably one of my all-time favorite songs.

Yeah, that is a good one.

You mentioned Neil Young. I love him too. He’s right up there for me. CCR is my all-time favorite band, though. People are usually surprised to learn that about me.

Yeah, I think they might be mine too.

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What were some of the first songs you learned?

Mostly stuff that was on the radio, like Green Day and Weezer. I would ask my dad to show me how to play them, and he’s pretty good at just picking stuff out real quick, and so he would teach me them.

How do you feel about Green Day and Weezer now? Like, were they just songs that you learned because they happened to be on the radio, or did you like them back then?

I still listen to the stuff from back then. Like, I still listen to Dookie, and I still listen to The Blue Album.

Personally, I only really like the Green Day from that era.

Yeah, I do too. Like, I don’t give a shit about any Green Day past, like, 1998.

That’s fair. I think Weezer holds up better.

A little bit. They’ve had some questionable stuff.

(laughs) Yeah… The Golden 90s. (laughs)

(laughs)

How do you feel about Pearl Jam and Nirvana? A lot of people view them as “guilty pleasures,” but I don’t.

I love them.

So do I! Thank you. I feel validated. 

When I was 10 years old, my cousin, who is older than me, bought me a copy of Nevermind, and I really love In Utero too, which I got later.

I think Nirvana did some important things, audio-engineering-wise, like on “Smells Like Teen Spirit.” I dug that they brought that dirty, grindy sound to mainstream radio.

Yeah, but I think that had more to do with Butch Vig.

Oh, definitely. As for Pearl Jam, Eddie Vedder is touring again. I hope to get to see him solo. I’ve seen Pearl Jam in the 90s.

Yeah, he came to Tulsa not too long ago. I didn’t get to go, but I had some friends who went, and they said it was really great.

I don’t doubt it. So, I’ve noticed your older albums have a bigger rock sound. Your later ones are more stripped down. How did that progression come about?

Well, on the first couple records, I was kind of just writing for the band that I had at the time. When we first started, we wanted the band to be doing stuff that’s more like what I’m doing now. What I’ve realized now, though, is that we were really good at this very specific sound. You know, huge guitar and rock kind of thing. It sort of just came easily, so we kept doing it for a couple of years, and then it just, like, wasn’t really satisfying anymore.

I needed to branch out, and that led to Earthbound Blues, which was definitely, intentionally way different from my first two records. I was just burnt out on doing the exact same thing for a few years. It was time to do something else.

What were your influences on the earlier albums, and what were your influences on the last two?

They were very different. On the first two albums, it was a lot of John Mellencamp, who I love, along with Willie Nile, and kind of, like, 90s punk rock that I grew up on too, like Social Distortion. The last couple records were more like The Band, and I really love Randy Newman, and, of course, CCR.

You’re the first person I’ve interviewed who’s mentioned CCR, but you’re definitely not the first one to mention The Band. I grew up listening to them and classic rock, so I understand the appeal. How does a band like The Band become an influence to someone like you, who had a punk rock background?

To me, they’re basically everything I like rolled into one. Every little niche of American music is all in one band, and it’s from a time when R & B, country, folk, gospel, blues, and rock ‘n’ roll didn’t seem so far apart as they do now, I don’t think. That’s what I’m personally going for now, I think.

So, who are you listening to lately? Because everybody I know is listening to you.

(laughs)Well, thank you. Um, I listened to the past two Lucero albums while I was driving my grandma to Texas the other day, 1372 Overton Park and Women and Work, a lot of David Bazan, and there’s this new band from Oklahoma City called Prettyboy that I’ve been listening to. They’re totally, like, 80s dream pop, but it’s really, really great song writing. I feel like there’s a kind of art to pop song writing, and they’re really good at it.

What’s next for you?

My new record, In the Throes, will be out June 11th. I’m on a regional and west coast tour right now and then the east coast later in the year.

Moreland is touring now through the Midwest and West until June.

John Moreland – Nobody Gives A Damn About Songs Anymore

Photos: Carra Martin Photography

Bryn Perrott, a Morgantown, WV-based artist who works at Wild Zero Studios, created the artwork for the new Lucero EP, Texas and Tennessee. I caught up with her via email to see if she might answer a few questions, and she graciously obliged.

What is the story behind the artwork for the new Lucero EP cover you designed?

The album art for Lucero’s most recent EP is based on older tattoo flash. I’ve been a fan of Lucero for over 10 years now, and I was asked to do the cover through my wood carvings. I made a woodcut for Nikki Lugo (who works at Tattoo Paradise in D.C.), and she received that woodcut in the mail the same day another tattooer, Grant Cobb (who works at Spotlight Tattoo in L.A.), was guesting at Tattoo Paradise. He then purchased one, which he hung in his tattoo station. Jimmy Perlman, Lucero’s tour manager, saw the carving while the band was touring a little over a year ago. Jimmy, also a tattooer, often contacts tattoo shops, and visits them while they are in the different cities during tour. There’s a huge tattoo relationship with the band. Very connected. Jimmy got a woodcut and spoke about designing shirts at some point in the future, sort of welcoming me into the Lucero family. I thought it was fitting to use tattoo references for their merch. I made several drawings and a carving.

How did you get into wood carving?

I got into carving about 15 years ago. Its the same process as making a relief print, which I also did prior to just focusing on the blocks. I was also a printmaking major in college. I started working in a tattoo shop about five years ago, and it’s had a heavy influence on the images I choose, and how I build a composition.

Tell us about one of your favorite Lucero memories.

Do you have any Lucero tattoos?

I have two Lucero tattoos: I have the star with the “L.” (Unfortunately, not one done by a member of the band.) I also have “Nobody’s Darling” tattooed on my wrist.

You can see most of Perrott’s creations for sale at shows or on Lucero’s web site.

Lucero – Texas & Tennessee

I’ve said it before, and I’ll say it again: Steff is easily one of the nicest men alive anywhere, much less in music, and genuinely one of the most skilled and talented. 

https://www.youtube.com/watch?v=23RMdRMZa9A

What made you want to make an EP? How did it start?

Well, it started with just doodlin’ around on the piano and making these little boogies in down time and in the studio where we did Jeff Nichols’ independent film Mud, and Amy Lavere’s Stranger Me album. Roy [Berry of Lucero and Overjoid] and I had just done over a hundred pieces of music for a soundtrack for an independent TV mini-series called Head Shop, which is about a tobacco/ smoking shop that gets in trouble for selling bath salts. I don’t know if it’ll get placed. I haven’t heard yet.

So, anyway, this afforded us the opportunity to record a huge amount of music, which we’d be making anyway. So, we were in and out of that studio a bunch, which is a block from where Roy and I live, since we live only a couple blocks from each other, and there was just some down time in there, and I said, “I would like to lay down this boogie before I forget it,” so I played it, and they [fellow Lucero members] were like, “We should do something with that.” I had thought about doing a single at some point, like the old piano player EPs they did in the 40s, 50s, and 60s, ya know. I mentioned it to the band, and they all wanted to play on it, and I certainly wanted them all to play on it.

That’s pretty awesome.

Yeah. The one tune is an instrumental, and the other one… Well, we play “It May Be Too Late” off of the most recent Lucero record, Women & Work, live, and often, and that song requires a capo on the neck of the guitar, and when you do that, you have to re-tune, so it leaves a long dead time on stage, so over the course of just playin’ little melodies trying to bide my time to play the intro to bring up the band, this was just born out of that. He’s [Ben Nichols] always been incredibly supportive of… anything. Anything that any of us wanna do. I never would’ve thought of doing anything like this without that band of brothers being there and going, “Yes, you should!”

http://www.youtube.com/watch?v=2z8pK6lfJjU

Sure, like encouragement.

Oh, more than encouragement.  Total support. Total, “What do you need?” So, it was done almost accidentally in a couple of days. The horns came in [Jim] Spake and Scott [Thompson], and Scott came up with what I think is a brilliant horn arrangement. It was just so good. So, anyway, we just crashed it out, and, ya know, I don’t have any, ya know, lofty goals or anything. It was just something fun to do, that I always wanted to do. It was lovely that somebody wanted to pay to press it out, ‘cause I wouldn’t have been able to do that, necessarily, myself.

Well, I’m glad you did. What roles did Roy Berry, Daniel Lynn, Kevin Houston, and you play in producing it?

Well, I wrote it, all by myself, and I, Roy, and Daniel produced it. Kevin Houston mastered it. Ya know, I find a lot of times, when people are doin’ stuff for themselves, and they don’t have a lot of experience doing things for themselves, that they can lose objectivity very quickly, and I’ve never been one to listen back, over and over, to my parts. I pretty much always tried to play the best, most serviceable part to fit the song structure, and then walk away. I don’t really listen to it over and over again.

So Daniel, who had engineered all the Head Shop stuff and assisted on the Mud soundtrack, along with Roy, just spent hours and hours mixing, and doing all this stuff. I wouldn’t even know how. I can’t really scrutinize myself. It’d be like looking in a theater mirror all the time and seeing every blemish. I just can’t do it.

I would think that would be difficult.

And Roy is the single-most inspiring instrumentalist I have ever worked with in my life. He is absolutely brilliant at a wide amount of things in which I have no skills. The mixing and the meticulousness from Roy—the knowing what to do—and the engineer who knew how to bring about those ideas, was totally them. On that level, they produced it, very much so. These days, though, most musicians produce their own parts. Like, I did mine, Ben did his, and so on.

For the techies out there, tell us about your equipment.

I play a Yamaha, and I play a Nord Electro. With Lucero, it’s very important that I maintain the integrity of the palette, which is the different aural colors that you choose from as a musician. In this case, classic instruments. Like, I would never have a Moog synthesizer or an electric piano, except for “Who You Waiting On?” It’s the only song that has an electric piano on it that I’ve ever played with the band, because it was trying to be a specific kind of thing. From that standpoint, I’m just an old-school pianist and organist kind of a guy.

https://www.youtube.com/watch?v=igVCd3T_OwM

What was it like to have the band backing you? Ya know, playing behind you, vs. the other way around?

It was the most honoring thing I could have eve asked for. The fact that Ben likes to do it live sometimes still makes me… Well, it chokes me up, and not because the tune is that way, but just because, you know, Ben as a songwriter and Lucero as a band, is what I’ve been waiting to do my whole life. You don’t ever get to play with people like that. So, from my perspective as a sound guy and a supportive guy’s role, I’ve got the best gig in the world, as far as I’m concerned. It just makes me feel incredibly honored and humbled, do you know what I mean?

Absolutely.

They’ve always been incredible to me. That’s family to me. I’ll probably do another little something at some point, just because it was so fun.

That’d be cool. Well, what is one of your most favorite songs to play of all time, and, I guess since we’re talking about them, what is one of your most favorite Lucero songs to play of all time?

Well, honestly, my most favorite songs I’ve ever gotten to play are, by far, Lucero songs.

Even when you were with Cat Power?

Certainly, if we are talking about the music that appeals to me, from my sensibilities and my background, which, while I’m a bit older—a bit older [laughs]—is still geographically the same set of influences as the rest of the fellows in Lucero. Cat Power was an amazing artist to work with—a very specific niche, and a lot of the work I did with her live, at least, was basically mimicking parts that she had played, in addition to the parts that I had played. In Lucero, I kinda come up with my own parts, ya know, in the songs, within the framework of what fits. With that said, no. There’s no songwriter whose music I’ve enjoyed playing on more.

I got to do this film, A Sideman’s Journey, with Klaus Voorman, the guy that drew The Beatles Revolver album cover and was the bass player on John Lennon records and George Harrison records, so that was a very exciting project to be on. It was, like, “dream come true” stuff, but the songs, still… to me… Ben is the best songwriter going. For what I want out of a rock ‘n’ roll song, for what I’m looking for, for it to reach me, he nails me every time. With that said, there’s lots of things I love playing. I love “I’ll Just Fall.” I think that’s just dreamy. And, gosh, “Last Night In Town” is incredibly fun to play. “Juniper,” off the new album, I adore playing.

Ben had said he loves playing that one too.

Yeah. I think that’s probably… Well, the bigger point is that, with most songwriters’ catalogs, there are tunes that you enjoy playing, and tunes that you don’t. I think that’s true across the board, but I’ve yet to find one with Ben that wasn’t a delight to play, and I’ve yet to find a song that the band did that they aren’t only uniquely capable of doing. Nothing tops it, to me, and I wouldn’t have been afforded to do this if it were not for Lucero and the records that I’ve done, and for people who have found whatever it is I do that they like, weren’t it for Lucero.

You had said Ben writes songs that reach you. What is it that you look for in a song that his songs fill?

Ya know, it’s not so much as something of a criteria. Sun Ra, who are great musicians, said, “If you could describe music with words, you wouldn’t need music.” I believe that’s very true, and I don’t ever go in going, “Gee, I hope there’s a modulation in this song. I sure hope there’s a double chorus and a bridge.” [laughs] It’s not like that. I think there are unique things that Ben brings compositionally to the table that I’m always prepared to be amazed by.

The same is true of everyone’s approach in Lucero. Ya know, you’ve got Brian [Venable], who is such a unique and unusual self-taught guitar player that does he things he doesn’t know he’s doing, and it’s perfect and primal, and the songs wouldn’t sound the same if they were without it. You’ve got Roy, who is incredible. You’ve got John [C. Stubblefield], who knows everything about Memphis Soul combined with his classical music background. The unique things they bring is what makes it that much fun.

Do you look for feeling, or is it all technical?

Oh, no, there has to be feeling! Technical, oh no. I don’t want … Oh, it’s totally emotive, and then you apply any technical skills you have to it. There’s one school of thought, and that’s that you should be incredibly knowledgeable of your craft in every way, but what I think is equally as important, is to look at every song with the wonder of a child, and to approach it from what your heart tells you what it should be, rather than out of a textbook. If there’s anything that I try to do, it’s to address it with that sense of simplicity before technique. With that said, yes, emotion, emotive, the feel of it, make ya tingle. On my EP, one is meant to be bouncy and make you smile, and one’s meant to make you a little bit melancholy, even though it’s done with notes instead of words.

Ya know, sometimes Ben’ll just have me sit and play little songs for him, and I love that.

https://www.youtube.com/watch?v=UHaXB2WySoA

I love you two on stage together. You seem to have such a great rapport.

Well, I love him, and that’s part of it. I love everybody on that stage. They’re kin to me, so it’s very easy for that to overflow on stage. We’re very lucky to get to do what we love for a moderate living. If you do what you love, you never really go to work.

It’s refreshing for me to hear an artist and a musician say that emotion matters, because as a writer about music, people sometimes want you to leave that out. They want you to write strictly objectively about something that’s mostly subjective, and that’s impossible.

Well, if you like the music.

True. That is a valid point.

If you don’t like the music… Well, there are critics out there who don’t like the music they write about, and that’s why they do it, and you get a totally different take.

Yeah, and I don’t write about what I don’t like, because there are plenty of people out there already doing that—already providing that service.

Well, I think what makes Ben’s songs what they are, is that he does mean it. He’s not writing about something he’s not intimately familiar with. It’s really a big deal to be able to be poignant and tough. It’s a lyricist’s dream gig, and he’s fortunate that he’s amazing at it. And, if when you watch a session or a show go down, everyone in Lucero is pouring everything they have into it.

Would you ever go out on your own? Tour?

[laughs] No, I don’t think anyone would come to a two-song concert.

[laughs] Well, I meant if you had more music to play.

If I had enough stuff that I felt like, “Hey, come and listen for an hour, and we’ll have fun,” absolutely, I would do that. This EP just sprung out of a really creative time with an amazing family of musicians.

Rick Steff is on a long-overdue and much-needed break right now, but you can see him perform with Lucero again starting in June for their summer tour.

This interview originally published at The Vinyl District. You can purchase his music at Archer Records.

McDougall is no stranger to regular readers of Nine Bullets. He’s a unique musician who makes his living as a one man band out on the road. His old tour Explorer is dying and instead of asking for money for a funeral he’s seeking to raise money for a new ride. He’s got some really cool rewards,  a record just for this and giving away some of his artwork. Let’s help this dude out.

McDougall – A Few Towns More

The Jack River Kings are made up of some of the best roots-rock musicians Anchorage, Alaska has to offer in the way of Matthew Dean Herman, Aaron Benolkin, Martin Severin and Patrick McLaughlin. By the time I’d found lead singer Matthew Dean Herman’s debut solo album, Blackbird, he’d already morphed (or was in the process of) into the full band ensemble that is The Jack River Kings, and I’ve anticipated this follow up every single one of the 3 years it took to materialize.

First and foremost, this is a rock record. Sure, it has moments where you can see the Drive-By Truckers t-shirt underneath the bearskin jacket, or whatever animal it is they wear for warmth in Alaska, but this is all rock. If modern country is pop with a fiddle, then The Mansion and The Money is rock with a pedal steel and that’s a good thing. Alaska, according to my television, is not an easy place to live, and people spend good portions of their time there as active parts of the food chain. I could not reconcile that TV generated fact with someone who sounded like Bon Iver. Nope, that perceived fact needs fuzzed guitars, big drums and deep, well seasoned vocals for that shit to sit right.

Jack River Kings know this. And they deliver.

Jack River Kings – Lewiston Lights
Jack River Kings – Laundromat
Jack River Kings – Billy Jessop

Jack River Kings Official Site, Jack River Kings on Facebook, Buy The Mansion and The Money

George Jones and Slayer in the same show. Yes, I am proud of that fact. Put your ears on the archive of the show.

Below is the playlist for May 04, 2013 [Artist - Song (Album)]

01. Hellbound Glory – The Feud (Single)
02. Kossandra Rose (live in studio)
03. Jake Bugg – Seen It All (Jake Bugg)
04. The Decemberists – Rox In The Box (The King Is Dead)
05. Mother Merey and the Black Dirt – Front Porch (Down To The River)
06. Jason Isbell – Traveling Alone (Southeastern)
07. John Moreland – 3:59 AM (In The Throes)
08. Joey Kneiser – Bruised Ribs (The All-Night Bedroom Revival)
09. Northcote – Burn Right Past Them All (Northcote)
10. Drive-By Truckers – Women Without Whiskey (Southern Rock Opera)
11. American Aquarium – Burn.Flicker.Die. (Burn.Flicker.Die.)
12. Lucero – Texas & Tennessee (Texas & Tennessee EP)
13. Leroy Powell – Satan Put It On My Tab (Life & Death)
14. George Jones – Choices (Cold Hard Truth)
15. Pinebelt Pickers – Whiskey For Supper (Magnolia State Of Mine)
16. Devil Makes Three – Old No. 7 (Devil Makes Three)
17. The Builders And The Butchers – Raise Up Your Weary Hands (Salvation Is A Deep Dark Well)
18. Slim Cessna’s Auto Club – This Is How We Do Things In The Country (The Bloudy Tenant, Truth and Peace)
19. Leeroy Stagger – Goodnight Berlin (upcoming album)
20. Safe Haven – Eternal Farm (Sermon For No One)
21. Six Time Losers – Got This Feeling (upcoming album)
22. Grayson Capps – Ike (Rott and Roll)
23. McDougall – A Few Towns More (A Few Towns More)
24. Cam Penner – No Consequence (To Build A Fire)
25. O’Death – Down to Rest (Head Home)
26. Medford’s Black Record Collection – Small Town (The Flattville Murder Album)
27. Slayer – Dead Skin Mask (Seasons In The Abyss)

Bold = Request

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Episode 121: aired 05.04.2013

I always get excited each time the songs for a podcast start to come together.  I can’t really explain the process but it often involves find a few new songs and a few older, less expected, songs that seem to go together and then go from there.  There is a lot more new music in this podcast in comparison to most of my other episodes.  I guess this happened because there has been a SHIT TON of great new music being released.  Go find some and make a purchase or two.  Everything else you need to know is contained within the episode, so go listen.  And as always, your listening means the world to me.

Track Listing

1.Talking about what matters
2.Deacon Lunchbox – Loweena, Urban Redneck Queen (Bubbapalooza Vol. 1)
3.John Moreland – Nobody Gives A Damn About Songs Anymore (In The Throes)
4.Brown Bird – The Messenger (Fits Of Reason)
5.Conor Oberst – I Don’t Want To Die In The Hospital (Conor Oberst)
6.Me talking about bad concerts
7.Cave Singers – Early Moon (Naomi)
8.Dorado – Ape Of Dorado (Anger Hunger Love And The Fear Of Death)
9.Descendents – Bikeage (Somery)
10.Tyler Keith And The Apostles – Kid Twist (Black Highway)
11.Me talking about my dad in a strip club
12.Redneck GReese Delux – Mama Was A Dancer At The Clermont Lounge (Bubbapalooza Vol.1)
13.The Henry Girls And The Fox Hunt – Dig A Little Deeper (Mountains To The Ocean)
14.Dubl Handi – Single Girls (Up Like The Clouds)
15.Mother Merey And The Black Dirt – Old Rope (Down To The River)
16.Doc Dailey & The Magnolia Devil – At Midnight (Catch The Presidents)
17.Me talking about guitar solos and songs
18.Johnny Cash w/Merle Haggard – I’m Leaving Now (American III: Solitary Man)
19.Fistfull Of Beard – Daddy’s (Until We Know Better)
20.Hollis Brown – Ride On The Train (Ride On The Train)
21.The Hold Steady – Sequestered In Memphis (Stay Positive)
22.Me talking about a band you’ll probably never hear anywhere else
23.The Diggers – She’s Breaking My Heart (While I’m Drinking Her Beer) (Bubbapalooza Vol.1)

Well it’s been a while since a taco recipe got posted but since Mike mentioned the sporadic taco recipes I decided it’s time for a new recipe. Being raised in Houston I have had the pleasure of tasting many types of tacos from gourmet (usually strange and not worth going back for more) to the roach coach variety and one of my favorites has always been the picadillo taco. Everyone makes theirs differently and this is my own personal take on a Mexican picadillo taco.

What is picadillo you may wonder? Well it’s a hash, in essence, a mince for our Eurotrash readers, and the ingredients vary by region. It is a staple and can be savory or a mix of savory and sweet. I prefer mine without the sweet and wrapped in tortillas de maize. It’s a little work to put together but you can trust me on this, it’s worth it! Be sure and read all the way through before cooking. And yeah, this one has a little bite but it’s not so spicy Autopsy couldn’t eat it.

1lb ground beef
2 tbsp oil
1 medium sized onion (I prefer yellow) chopped fine
1/4 cup poblano pepper, seeded and chopped fine
1/4 cup bell pepper (I prefer red), seeded and chopped fine
2 cloves of garlic peeled and crushed
1 tsp salt
1/2 tsp fresh ground coarse ground black pepper
2 tsp cumin
2 large tomatoes, peeled, cored, and dicded
2 medium potatoes, chopped coarse
1 cup beef stock

Lightly brown the hamburger meat in a large skillet with the oil
Once lightly browned toss in everything but the potatoes and for about ten minutes, until the onions are mostly clear
Add in the potatoes and beef stock and bring to a boil
Reduce to a simmer and cook for 20-30 minutes stirring every 5-10 until the potatoes are tender
Serve with corn tortillas garnished with some nice queso fresco and if you’re so inclined (me and AIV aren’t) fresh cilantro.

I’d personally pair this one with a nice dark Mexican or South American beer and some Gary P. Nun. We’ve got the music for you but you’ll have to buy your own beer…