Jesse Dayton’s story reads like a who’s who of American music. Want to talk about being “born into it”? Imagine a 15-year-old kid born and raised on the Texas/Louisiana border, playing his Telecaster guitar in all-black zydeco bands in Lake Charles, Louisiana; honky-tonk country bands with members left over from the Starday Records’ George Jones days around his hometown of Beaumont, Texas. Dayton was underage and sneaking into night clubs to play shows ’til 3am with east Texas blues legend Little Mack Minor (cousin of Lightning Hopkins and Mance Liscomb), until eventually he was spotted by Gulf Coast hit producer Huey P. Meaux. Mr. Meaux approached Dayton and asked him to record with zydeco star Rockin Dopsey at Houston’s hit factory, Sugarhill Studios. And the story just keeps getting better.
As he enters early adulthood, Dayton begins packing clubs and theaters on the Texas scene with his trio in Houston, Dallas, and Austin. He records his first solo record titled “Raisin’ Cain” for Justice Records with featured guest luminaries, Doug Sahm, Flaco Jiminez and Johnny Gimble that hits Number 1 on the Americana Radio Charts. Jesse tours around the world opening for punk legends Social Distortion, The Supersuckers and X. Jesse is then asked to help arrange and play guitar on The Supersuckers biggest selling record, “Must’ve Been High.” While in Nashville doing press, Waylon Jennings spots him on Nashville TV show ‘Crook & Chase’ and calls Jesse out of the blue at his hotel to play lead guitar on his record, “Right for The Time.” Dayton blows off his flight back to Austin, heads to Woodland Studios where Waylon has sent a car for him, and knocks on the door. Johnny Cash answers it and says, “we’ve been waiting for you.” This leads to Dayton recording guitars on records and film with Cash, Ray Price, Willie Nelson, Johnny Bush and Glen Campbell.
While Dayton is ignored by mainstream country radio, his cult following in the US and Europe continues to grow. A whole new crowd of Americana listening room folks, young college alternative rock fans & disenfranchised aging punk rockers embrace him. He embarks on headlining tours without any tour support from a label.
Just when you thought the story couldn’t get any cooler, horror director/rockstar, Rob Zombie hears Dayton’s record at a party, hunts him down, and calls him to write and record a soundtrack for his film ‘The Devils Rejects’ which lands him in Rolling Stone magazine. Then they co-write songs for Rob’s follow up franchise film, ‘Halloween 2’ (which Dayton appears in playing the part of character ‘Captain Clegg’). Then Dayton writes and records songs for a third Rob Zombie film (this one animated) titled, ’The Haunted World of El Super Beasto.’ After years of pounding the pavement day-in and day-out, Jesse buys a house in Austin, and heads back on tour in his 40-foot redneck RV with his band of hillbilly punks.
Dayton has had over 50 songs licensed to film and television and even ended up writing and directing a horror film shot in New Orleans called ‘Zombex’ starring Malcolm McDowell, Sid Haig, Lew Temple from Walking Dead and John Doe from the band X. The film was sold to a distributor and got a theatrical release. After stockpiling songs during his film work, he heads into the studio to record “The Revealer” (back where it all started at Sugarhill Studios in Houston), and the first single “Daddy Was A Badass” becomes a hit on SiriusXM’s Outlaw Country channel. As this is happening, Dayton gets a call from the aforementioned, John Doe and is asked to fill in for guitarist Billy Zoom on 40-city U.S. tour with the original line-up of iconic punk band X while Zoom was taking time away from the band to undergo cancer treatment.
Jesse Dayton has been on tour non-stop for four years all over the US and Europe. His new record “The Outsider” was literally recorded while on tour in Atlanta, Denver, Nashville and Austin and mixed by Grammy Award winning engineer/producer Vance Powell (who has worked with the likes of Sturgill Simpson, Chris Stapleton, Jason Isbell and Jack White). About “The Outsider” Dayton says, “It’s a lot like ‘The Revealer’, but even more stripped down with some sweet acoustic guitar songs and some raw electric guitar work”. All the influences are there; the George Jones-inspired singing on “Changin’ My Ways,” the Outlaw country twang of Waylon and Jerry Reed on “Belly of the Beast,” the angst and energy of The Clash and X on hillbilly protest song “ Charlottesville,” and the deep east Texas blues and Cajun rockabilly of “May Have To Do It” and “Hurtin Behind The Pine Curtain.” While there are many different sides to him musically, this all rolls into one big hybrid that Jesse Dayton has been honing for over 20 years.
Dan Stuart is a songwriter, author and habitual expat currently residing in Mexico City. He was a founding member of Green on Red and Danny & Dusty in the 80’s before leaving the music business in 1995 for a decade and a half. His comeback solo record in 2012 has the same title as his 2014 false memoir: The Deliverance of Marlowe Billings, both available through Cadiz Music, London. That was followed by Marlowe’s Revenge recorded with Mexico City’s Twin Tones and released in 2016 through Cadiz Music in UK & Europe and on Fluff & Gravy Records in the Americas. The last of the trilogy, The Unfortunate Demise of Marlowe Billings, will be out in July of 2018 along with a novel of the same name.
If you want to find the hardest rocking family band in the truest sense of the word, look no further than New Jersey’s RocknRoll Hi-Fives.
Comprised of parents Joe and Gloree Centeno and their progeny Eilee, aged fifteen, and Evren, aged thirteen, the RocknRoll Hi-Fives are the newest family rockers to break onto the scene. And while hardly a brand new act, the Hi-Fives released their third EP titled “the Beat the Sound the Dragon’s Roar” on Little Dickman Records in late 2016 and have a full LP “Re-Introducing the RocknRoll Hi- Fives” coming out April 2018.
Joe spent much of the mid-to-late 90s touring the country in one of the most forward thinking guitar-based indie rock bands this writer has ever seen. Plug Spark Sanjay was a whirlwind of distortion, volume, passion and action, and many people placed their bets on their being the next great New Jersey rock band to break on to the national scene. However, as it tends to with all of us, Joe’s growing family had to take the front seat of his life while Plug Spark Sanjay became an afterthought. As Joe and Gloree welcomed their first child into the world daughter Eilee – they became full-time parents and Joe became a very part time rock and roller.
However, the gregarious Joe wouldn’t let something like having to worry about raising a family get in his way of rocking. In fact, whereas many rockers see having children as a reason to give up on their rock and roll dreams, Joe saw just the opposite. In his family Joe saw just the pieces he needed to start his own band.
The band’s grin-inducing moniker dates to before they were even a proper band. When Eilee was only a few years old Joe asked his daughter what they should name their band, should they ever start one. Eilee answered fast and sure, “The Rock-n-Roll Hi-Fives, dad.” From there it was performing very loosely at school assemblies, local parks and just about wherever the father/daughter duo might be able to set their gear up.
As the kids grew older, the band expanded as Evren began taking drum lessons and Gloree took to learning the bass, thus fully forming the RocknRoll Hi-Fives. The RocknRoll HiFives are honing in on their sound which is fast, snotty, fun, loud and filled with positive energy.
With Eilee singing lead vocals and creating sounds from her Theremin, Evren manning the drums, Gloree holding it down on bass and Joe shredding on lead guitar and backing vocals, the RocknRoll HiFives are more than gimmick. They’re a great band with great songs and a wild live show.
The RocknRoll HiFives are influenced by a mixed bag of rock n roll, indie rock, noise, punk and super heroes. Music from the Beatles, Superchunk, Guided by Voices as well as the Ramones, Blondie, Joan Jett and Slade with the awesomeness of Evel Knievel and Spiderman.
The RocknRoll HiFives enjoy sharing their love for music and proving that you’re never too old (or too young) to rock out.
All signs point to The Wild Feathers becoming the next great American rock ‘n’ roll band. The Nashville-based group—Ricky Young [guitar, vocals], Taylor Burns [guitar, vocals], Joel King [bass, vocals] and Ben Dumas [drums]—spent more than two years on the road supporting their 2013 self-titled full-length album alongside everybody from Bob Dylan to Gary Clark Jr. The record hit #1 on Billboard’s Heatseekers Chart, and they received invites to appear on Jimmy Kimmel, Conan O Brien, Seth Meyers, Craig Ferguson, ABC’s Nashville, and more. Unanimous critical praise arrived courtesy of Rolling Stone, New York Times, Huffington Post, USA Today, and countless others. Along the way, evolution stayed on their minds as they started writing songs for what will become their 2016 sophomore effort, Lonely Is A Lifetime [Warner Bros. Records].
Lonely Is a Lifetime reflects a richer confluence of influences, while maintaining their signature soul and spirit and a nod to all that time on the road together. They’ve grown as men and musicians, and they’re
ready to claim their spot in the canon of American rock music.
An alt-country band with punk roots, Vandoliers formed in 2015, bringing together a group of Dallas-Fort Worth musicians led by frontman Joshua Fleming.
Fiercely proud of their homeland, Vandoliers put their own spin on the Texas country tradition with 2016’s Ameri-Kinda, a debut album that mixed honky-tonk twang with hard-edged, rock & roll stomp. The band’s follow-up release, The Native, arrives less than one year, doubling down on Vandoliers’ modern approach to traditional influences. Rounded out by bassist Mark Moncrieff, drummer Guyton Sanders, fiddler Travis Curry, electric guitarist Dustin Fleming, and multi-instrumentalist Cory Graves, the group fills The Native’s 10 songs with barreling guitar solos, train beats, anthemic melodies, mariachi horns, and the autobiographical details of Fleming’s own travels.
“I grew up in Texas,” the singer says, “and I wanted to write about why I loved it. I wanted to use myself as a character for my own songs. The Native goes through all our favorite styles of Texas music, and tells my story along the way.”
A tribute to the band’s Texas homeland, The Native takes its listener through a swirl of East Dallas dive bars, Pantego pool halls, small towns, big cities, and the rolling ribbon of bluebonnet-covered highway that stretches throughout the state. Along the way, Fleming sings about getting drunk, getting arrested, and getting it on. Behind him, the band kicks up a storm of Western swing, electric blues, roadhouse rock & roll, Tejano, cowboy country, and twangy punk, saluting everyone from fellow Texans Bob Wills to ZZ Top in the process. There are songs about leaving town. Songs about coming home. Songs about the short-lived romances that spark, burn, and fade in roadside bars, and songs about the lasting relationships that await back at home. It’s a full cycle — a detailed exploration of what it means to truly belong somewhere.
“I was born September 1st in a little town outside Fort Worth,” goes the first line of the album’s kickoff track, “Bluebonnet Highway.” If The Native unfolds like a coming-of-age movie, then “Bluebonnet Highway” is the opening scene: a fast-moving montage of clips from Fleming’s home, filled with neighborhood girls, traffic lights and the state flowers that bloom every spring. From there, Fleming and company hit the highway with “Rolling Out,” a fiddle-fueled, horn-filled salute to the road, and wax nostalgic with the epic, driving “Endless Summer.” By the album’s end, they’re back in Dallas-Ft. Worth, spilling all the details of their journey to a friend in “Welcome Home.”
For Fleming, the real journey started years ago, when his sister took him to a Bad Religion concert. That night left a permanent impression on the young teen, who left the show inspired to make his own music. Years later, he earned his first audience as the frontman of the Phuss, a rowdy punk band that toured nationally. Business was good, but Fleming’s personal life was heading south, with songs like “I Don’t Feel Good” hinting at a troubled mind. After bottoming out, he resurfaced by meeting his future wife, falling in love, swapping his electric guitar for an acoustic, and writing a batch of songs that his country-loving partner might enjoy. Vandoliers were born, with many of those new songs filling the tracklist on the band’s Ameri-Kinda debut.
Recorded in the same studio where Willie Nelson made Red Headed Stranger, The Native was tracked to tape by producer John Pedigo. The album was finished in four days, capturing the spark and spunk of a live band whose tour dates have included shows with the Jayhawks, Old 97’s and Reverend Horton Heat. Released on the heels of Ameri-Kinda, The Native isn’t just a story about where Vandoliers have been. It’s a sign of where they’re going. It’s twang and tattoos, grit and guitars, honky-tonk and horns, Tejano and Telecasters. It’s Vandoliers.
Immediately after the in-store performance, Mucky Duck ticket-holders for the 9:30 performance will be allowed to have a meet & greet with Sarah Peacock on Hank Williams Sr.’s bus.
If you think Wonder Woman is a badass, then you’ll definitely want to meet Sarah Peacock. 1.2 million miles, 2,800 shows, and fourteen years of nonstop crushing it while flying solo is one heck of a road trip. Sarah Peacock bridges gaps between Country, Blues, Americana, and Rock-N-Roll. Her music is raw, truth telling, and fiercely unique. Essentially, at all times, Peacock is victoriously defeating the forces of evil with glorious Amazonian strength and valor.
Held hostage by a record label at 21, the troubadour life came with a rude awakening for the young Georgia native. Peacock made her home in a ‘92 Volvo with her dog and a guitar, and for nearly seven years earned a living in the corner shadows of American dive bars.
The tables turned in 2011 when an anonymous fan helped her buy out her recording contract. Since then she has released six albums, winning multiple awards for her songwriting. “Hurricane” won Best Song in the American Songwriting Awards, and “Beautiful” was a winner with International Unsigned Only. “The Cool Kids,” and “Are We There Yet” have nominated her for Best Female Artist and Best Song in a number of songwriting competitions. Peacock was also named Listening Room Network’s Artist of the Year.
But the dark side takes another swing in 2015. And, big Nashville promises are especially good at grave digging. From RCA Studio A “project golden child” to street orphan practically overnight, Peacock was ghosted by her entire team and producer without explanation. Spirits crushed, she hit the road. Solo. Again. That was the catalyst that launched her next album, “Dream On,” and landed Sarah her first tour bus. But less than 4 months later, she was watching it burn to the ground at a California truck stop. Sarah’s fans quickly came to the rescue with a fundraiser, which is what kept her on the road. That special connection between Sarah and her fans is what put her in Hank Williams Jr.’s former tour bus, one year after the devastating loss. “You have to be unstoppable, even when you don’t believe you are.” That’s the Modus Operandi for the now half Tennessean, half Texan road warrior.
When she’s off the road, Peacock is active in the anti-bullying and animal rescue communities. She helped start a rock school for kids and recently formed her own 501(c)3, The Band Waggin,’ benefiting animal health and rescue programs.
In 2017, she signed with In Tune Entertainment and American Roots Records. Peacock is sponsored by Taylor Guitars, Fender, 1964 Audio, Strymon, and Mississippi Cold Drip Coffee. Her upcoming EP, “Hot Sheet Motel,” is a collection of 5 songs that reveal the secrets of one woman’s journey through the shadows.
Wreckless Eric is Eric Goulden. He was given the name to hide behind. After a while he realized he was stuck with it. Onstage he hides behind nothing, he tells the truth with big open chords, lilting enchantment, squalls of feedback, dissonance, bizarre stories and backchat.
Eric began his recording life on Stiff Records in 1977 with his enduring hit Whole Wide World when he was little more than an ex-teenage art student. Eventually he sidestepped the mechanics of stardom to become Britain’s biggest underground household name, much loved and often underestimated.
He shuns the dictates of nostalgia and doesn’t do comebacks for the simple reason that he never went away. His 2015 album ‘amERICa’ reminded those who’ve kept the faith and new generations of fans what he’s all about.
“Many artists of Wreckless Eric’s era and tradition have imitators, but few of yesteryear’s outliers can catch up with their descendants, let alone best them. amERICa is that rare record.” Pitchfork
He won’t recreate 1978 for you, he’ll blow your mind instead.
Forty two years of touring and recording have left Eric in good shape and his brand new album Construction Time & Demolition does exactly what the title suggests.
He’s coming to town.
Construction Time & Demolition – the new Wreckless Eric / Eric Goulden album – out 30th March 2018
Forming in Austin, Texas in the summer of 2015, Lola Tried began as a project started by local singer/songwriter Lauren Burton. After meeting Ray Garza (Lead Guitar, Keys) in August 2015, she decided to form a full band project, adding Ray Flynt on drums and Greg Spencer on bass. Taking influence from the likes of Swearin’ and Lemuria, Lola Tried blends melodic vocals with the grittiness of modern indie rock. After spending the summer in the studio, Lola Tried released “Popsicle Queen” in February 2017.
Big Bill was formed in 2011 by brothers Eric and Cody Braden, along with their old high school buddy David Fitzhugh. They developed a particular sound, at once aggressive and sardonic, straightforward yet kinda nonsensical, based on a worship of bands such as The Monks and Big Boys, and a tendency to go for long walks in the sun and let their brains melt. Various lineup changes (due to illness and life) later, Big Bill continue to sharpen their edge in the wonderful world of Austin underground music, performing many times at Hotel Vegas, Cheer Up Charlie’s, Beerland, Barracuda, The Mohawk, Sahara Lounge, Swan Dive, The Sidewinder, etc. Longtime drummer Alan Lauer is a powerhouse drummer with elegant precision and a clock-like mind. Alex Riegelman plays bass like a pit stop crew changes a tire: fast, efficient, and with flair. They continue to write and record, and are looking to release their debut LP sometime in 2017.
The Bayou Saints, led by the incomparable vocalist, Arséne DeLay, combines rock, jazz, and country to create a unique genre-defying New Orleans sound.