Showing posts with label Charley Crockett. Show all posts
Showing posts with label Charley Crockett. Show all posts

Apr 18, 2019

Video Premiere / Nicholas Mudd / "Sit Right Here"

Photo by Shalon Goss

Today, we’re debuting the “Sit Right Here” video from Nicholas Mudd. The song is a driving barroom anthem with fiddle, steel, drinking, heartache, and hope. The video follows suit, making the best of a bad time. RIYL: Charley Crockett, Dwight Yoakam, Colter Wall, Margo Price, Paul Cauthen, Zephaniah Ohora

From Nick:
“We shot the video in my living room. I live in a house that was renovated in the 70s for the purpose of throwing swingers parties - The living room is actually a full bar like you’d find in a decent sized restaurant, with a rotisserie in the wall, a big stone hearth, and drop panel ceiling lights. And of course it’s got floor to ceiling dark wood paneling. So all I really had to do was get the cameras and lights and invite a bunch of friends over to party. Had a real good time.

The video was shot and edited by my friends Adri DeGirolami and Nick Ducassi. The musicians were Kenny Feinstein (pedal steel), Claire Oleson (fiddle), Jush Allen (drums), Michael Gomes (bass), and Steve Dannemiller (guitar).

The bartender was played by the uncommonly interesting Vejay Kesh, and “my buddy Eric” mentioned at the top of the song is played by my actual buddy Eric, who flew in from London to do the shoot. That good lookin’ redhead is my girlfriend Claire.”

More information about Nicholas and his self-titled album (out this past Friday!) below the video!

Nicholas Mudd // Nicholas Mudd (April 12)

When the road calls, you’ve gotta go. Neo-traditionalist Nicholas Mudd hopped on his Harley and hit the open highway, plotting a 10-day trip from Lexington, Kentucky to sunny Los Angeles; a 2011 pilgrimage west that would prove to be a pivotal turn in his musical journey. His upcoming self-titled album spins like a top between themes of heartache, romance, the thrill of the sea, and booze-soaked youthful sensations.

Criss-crossing state lines and camping out to save money, Mudd hatched a journey down to Memphis, then through to Texarkana and Denton just outside of Dallas, and then inched his way across New Mexico and Arizona before finally arriving in California. “Waiting on Me” is a free-spirited, twinkling dance-hall cut, in which the singer-songwriter yearns for his former life back East, all the while knowing he’ll never return to it. “Well, it’s been five years now / And I can’t help but wonder / If she would even know me, if I came back home,” he sings.

Opener “Come with Me Tonight” jingles and jangles in true neon-strewn, boot-scootin’ fashion, while “High Lonesome” breathes in the expansive scenery and woodlands rolling like thunder down and away from him. Over the span of these eight songs, produced and mastered by Eric Rennaker, Mudd runs the gamut as a country songsmith, contrasting heart-torn whimpers with canyon-sized caterwauling.

Growing up in Lexington, Kentucky, surrounded by horse country and lush farmland, Mudd found himself immersed in country, southern rock, and traditional folk music. It was evident from a young age that he had inherited his grandfather’s musical interests. Leonard Mudd, now 92, always had a collection of guitars, mandolins, fiddles, dulcimers, and banjos sprinkled around his home, and still manages to make music from time to time. 

Mudd’s exploration of music continued into high school when he formed The Blue Barrel Band, a cheeky nod to the fact they lacked an actual drum kit. “There was this giant blue plastic barrel in dad’s garage,” he recalls, “And we used it as a bass drum for our really bad folksy rock ‘n roll.”

Later, he took to Pittsburgh’s Carnegie Mellon University where he earned a degree in theatre, alongside another folksy music endeavor with some classmates. After graduating, he spent a few months back home before his cross-country trip to Los Angeles, where he took up an unpaid internship with a prominent casting director. The role soon led to a full assistant’s position, allowing him just enough of a financial foothold to get by in the City of Angels. 

Music took an unexpected back seat for several years as he began his film career. Ultimately, two key events in 2015 spurred him to return to the musical fray: His first weekend trip to Bandit Town USA and his discovery of the Grand Ole Echo (a celebrated weekly summer country show in Echo Park). Surrounded and inspired by these communities of like-minded musicians, artists, and urban outlaws, he picked up the old ax and got back to it.

In late 2017, Mudd stepped into Bedrock LA for his first proper studio recording session. A daunting task ahead of him, the Americana troubadour suited himself up for a record that faithfully adheres to the neo-traditionalist style of the late ‘80s and early ‘90s. But he’s got a fire in his belly for gale-force songwriting and catchy melodies. His voice is ripe with emotion, from the teary waterfall of “Lady of the Night” to the ethereal bliss with closer “Sailing Song,” an almost post-apocalyptic fever dream. “I’ve seen mountains on the sea / I’ve seen fire in the sky / I’ve outrun southern gales / I’ve cheated death,” he sings, in whimsical swoons, as if gliding away on tides ripping out to sea.

Mudd lands somewhere amidst contemporaries like Joshua Hedley, Margo Price and Colter Wall. He’s never tied to convention, even when he leans so unapologetically into sturdy classic country structures. His voice, as much as his penmanship, stimulates the senses with the most universal human emotions spanning pain, loneliness and abject fear. Furthermore, his album rekindles the kind of raw storytelling for which the genre has long been desperate, and 2019 might be the year the industry finally pays attention.

Jul 10, 2018

Top Albums of 2018: First Half Report

Trailer's top 25 so far. 

Usual disclaimers: The year-end list will be compiled from all FTM contributors' votes. Also, the second half looks really strong, so expect a lot of shake up to this list.

1. Dallas Moore - Mr. Honky Tonk

2. Ashley McBryde - Girl Going Nowhere
3. Blackberry Smoke - Find a Light
4. Caitlyn Smith - Starfire
5. John Prine - Tree of Forgiveness
6. Brent Cobb - Providence Canyon
7. Neko Case - Hell On
8. Fantastic Negrito - Please Don't Be Dead
9. Kacey Musgraves - Golden Hour
10. Joshua Hedley - Mr. Jukebox
11. Brandi Carlile - By the Way, I Forgive You
12. Buffalo Gospel - At the Last Bell
13. Caleb Caudle - Crushed Coins
14. Pusha T - Daytona
15. Old Crow Medicine Show - Volunteer
16. Sarah Shook & The Disarmers - Years
17. Leon III - s/t
18. First Aid Kid - Ruins
19. Courtney Patton - What It's Like to Fly Alone
20. Buffalo Tom - Quiet and Peace
21. American Aquarium - Things Change
22. Charley Crockett - Lonesome as a Shadow
23. Brothers Osborne - Port Saint Joe
24. Courtney Marie Andrews - May Your Kindness Remain
25. Ghost - Prequelle

And here are Robert Dean's five favorites:

Since we’re ½ through 2018 (weird) – here are the records I’m jamming the hardest and think are this year’s best so far: 

Joshua Hedley – Mr. Jukebox
My #1 with a bullet. It would take a miracle to unseat this record. 

Sleep – The Sciences 

Vein – Errorzone 

Charley Crockett – Lonesome As A Shadow 

At The Gates – To Drink From The Night Itself 

Honorable mention cuz it’s new to me: 

Queensway – Swift Minds of The Darkside 

May 24, 2018

No Sleep Roundup: Tyler Childers, At the Gates, Lucero, Charley Crockett

by Robert Dean

As life guru, Marc Maron would say it, what the fuck is up, what the fucksters, what the fuckingingtons? 

Over here in unemployed, freelancing writer-land, I’m grinding away, trying to listen to a lot of music, and trying to skim through the trash to give you the hotness that you didn’t know that you needed in your life. 

Without further pomp and circumstance, let’s pull the dog cone off and get licking ourselves. 

Tyler Childers w/Sturgill Simpson at The Ryman
A round of applause for our boy Tyler Childers for his recent debut at The Grand Ol’ Opry, playing with John Prine, opening for Margo Price's sold out run at The Ryman, and overall killing it. We’re beyond proud of him.

Joe Cardomone, the brains behind The Icarus Line has gone solo and is doing some rad, synthy dream-like stuff that feels like it’s a cross between Depeche Mode on the happy pills and what Marilyn Manson thinks he’s been doing for the last decade. 

Holy War is an odd collection of songs that are straight IDGAF about what’s trending, popular or normal. Caromone is on his psychic plane with these tracks, and that’s good news if you’re looking to get weird in the dark over some candle wax and a bottle of Rose. Check it out, but don’t get all huffy with us if you end up wearing a gimp mask, though. That’s your freaky fault. 

CW Stoneking is touring the states again. This time around he’s going solo and not with the full band, it’s likely because last time America dropped the ball and didn’t give this dude the reception he deserved. 

I was lucky enough to see him play at Stubb’s here in Austin to maybe 100 people and let me tell you, that was an excellent night. If you’ve got any common sense, you’ll head over to whatever town is closest and grab a ticket. The fact that CW Stoneking isn’t a household name in blues circles is a damn shame. 

At The Gates released a new record, To Drink From The Night Itself and boy, does it slam. Typically, when a band tries to come back after a classic album, they stumble. It’s a momentous task to follow up something as perfect as Slaughter of The Soul, so when At War With Reality dropped it was just…ok. 

On To Drink From The Night Itself, the band found it’s anger; it’s artistry again. There’s no magical reinvention of the band’s style and sound, this is meat and potatoes At The Gates, but it’s a collection of tracks that rip the hinges off the Camaro. 100% worth the listen. 

Fat dudes with beards who like to wear flannel are stoked as fuck: Clutch has a new record looming, which is cool. The world needs more tunes about blacking out on the road and writing a rock and roll song about it. 

From the groundswell of insiders, I keep hearing this new Lucero record is their best one ever. That’s a TALL order considering there’s a mighty fine batch of songs in the back catalog, specifically one named Tennessee. I’ve yet to hear it for myself, but multiple sources near the Memphis Monsters relay the same story. 

This isn’t new information, but can we all agree that the new Perfect Circle cover is probably the worst record cover of all time? I mean, come on. You rockstar folk ain't on the struggle; you're millionaires. Spring for someone to at least try. 

Brandan Schieppati of recently reformed Bleeding Through fame talks mad spicy on the new metal and hardcore bands of today, especially Bring Me The Horizon: here.

Lastly, go buy Charley Crockett everything. His recent record, Lonesome As A Shadow is a sleeper album of the year. Seriously. It’s a mixture of Louisiana and Texas that works without coming off contrived. There’s a unique blend of busker timing, but also captures the feeling of what it’s like to sing for your supper. The record features a potent mixture of old school 50’s RnB, blues, and classic country. Don’t sleep on this one. He’s on like, every music platform, ever is touring eternally. Grab Charley Crockett’s record, you’ll thank us. We promise.

Wait. Serious question: 

I loved the first Leon Bridges record. I don’t like the new one at all. Where are you with Good Thing? Tweet me and let me know what you think. I need to know what I’m missing.

That’s all from me, 

Keep it greasy. 


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