Showing posts with label Supersuckers. Show all posts
Showing posts with label Supersuckers. Show all posts

Apr 13, 2018

Exclusive Song Premiere: Charlie Overbey w/Eleanor Whitmore "Trouble Likes Me Best"

Photo by Chris Phelps
Here's a great new song from Charlie Overbey, a Californian with a southern soul. It's an anthemic mid-tempo country tune about …well, getting in trouble. What's more country than that? Joining Charlie with some great backing vocals is Eleanor Whitmore. I don't want to call it an outlaw song, but it certainly dabbles in the habits and misfortunes of that brand of country. Definitely a great Friday tune and a solid introduction to his forthcoming album, Broken Arrow. Give it a listen!

From Charlie:
"Trouble Likes Me Best" was written about a combo of truths from a trip to the county jail in Nashville to witnessing a couple of stoned young ladies driving onto the highway off-ramp in Los Angeles, CA.

David Allan Coe once said to me while touring together, “I shoulda written that fuckin’ song~!“

But my favorite is that my father used to say, “That’s the best song you ever wrote, son. Who wrote that?”

More information after the song player!

"Written as a kind of last will and testament, Overbey inhabits his friend's psyche to celebrate his life with thrilling glee" -   LA TIMES

“Country folk rock that packs a gritty emotional punch." - Cowboys & Indians

"This well-traveled troubadour gets our attention with a gruff vocal style whose undertone says, ‘I’ve lived it, I’ve been there.’” - Music Connection

“Overbey has the songcraft to turn his anecdotes and observations into engaging songs that are by turns melodically hooky and lyrically genuine.” - Music Connection

“L.A. rock veteran Charlie Overbey is creating quite a buzz with his brand of California alt-country.” -

“Charlie spent years evolving as a musician, from Sunset Strip band Big Bang Babies to cowpunks Custom Made Scare to Deadbolt and Charlie & the Valentine Killers. Now he’s emerged—not entirely unscathed—as a pretty serious songwriter.” - Little Brother Music

“A staple of  the Los Angeles music scene.” - Echo Park Rising

“Overbey has been writing songs for years that hit listeners with raw emotion.” - The Coachella Valley Independent

“Captivating. Overbey’s songwriting takes you on a musical journey filled with emotion and vivid imagery. He lands himself right next to some great singer/songwriters like Tom Petty, Jackson Browne & Bruce Springsteen.” - Music Junkie Press

“Uptempo twang. California to the core.” - Monterey County Weekly

“Wearing Willie Nelson’s braids, holding his guitar low and approaching his songs with some Springsteen muscle. … an energetic ballet of layered guitars with plenty of heartbreak, setbacks, tattoos & whiskey.” - Rock NYC 

“A hard-rocking classic-country sound, soulful lyrics and a bit of twang on the side - Rock NYC



Charlie Overbey may be a lifelong Californian, but his songs are steeped in the timeless traditions of the American South. After years of touring the world supporting acts ranging from David Allan Coe and Blackberry Smoke to Social Distortion and Motorhead, Overbey slowly amassed a collection of introspective original songs that transcend the endless rock & roll party, taking a stark, undeniably honest look at some of life’s most gritty moments. The result is Charlie Overbey’s new LP, Broken Arrow.

A triumphant collection of road-hardened alt-country tunes born of Overbey’s upbringing in what he calls “the school and church of Johnny Cash,” Broken Arrow  features guest appearances from The Mastersons (who also play in Steve Earle's band The Dukes), Miranda Lee Richards (who sings on duet single “Slip Away”) and Eddie Spaghetti of the Supersuckers, and was produced by Ted Hutt who recently won a Grammy for his work with Old Crow Medicine Show, and has helmed multiple albums by Lucero, The Gaslight Anthem, Dropkick Murphys and many more.

“I’ve never worked with anybody like Ted,” Overbey says, reflecting on the sessions. “This is the first time I’ve ever let go and trusted somebody else as a partner in my songs. He really pulled some stuff out of me that I had not planned on delivering. Honestly, these songs can be hard for me to sing—they come from a deep, real and sometimes dark place.”

Self-aware and introspective without relying on played-out tropes of love and loss, Overbey’s songwriting is genuine, fearless and visceral. Authentic, reverb-drenched ‘70s-channeling album opener “Slip Away” gets right at the heart of life’s darkness, chronicling the heart-wrenching suicide of a young girl. Accompanied by wailing pedal steel and the haunting harmonies of Miranda Lee Richards, the song sets a tone of somber acceptance in the face of mortality.

“The Ballad of Eddie Spaghetti”—featuring a guest appearance from its namesake—also addresses mortality, though from a different perspective, confronting Spaghetti’s recent struggles with cancer. While the refrain, “If I die at 47, if I die before my time / Will they drag me up to heaven or deliver me to Hell in my prime” might read as a last will & testament, the soaring vocals and upbeat tempo elevate it to an awe-inspiring, fist-pumping battle cry. As Overbey sees it, “You gotta step up and kick life’s ass sometimes.”

Born and raised in Los Angeles, Overbey was exposed to country music early and often. It wasn’t something he sought out on his own—his father owned a 1947 Gibson J-45 acoustic guitar, and almost every time it was played, out spilled a Johnny Cash song. Overbey recalls these times fondly and admits they shaped his musical growth, though it took years of punk-rock rebellion before he’d come to appreciate the genre’s influence on him. “When you’re raised, and it’s all around you,” he says, “it’s the last thing you want to be a part of.” 

Overbey’s first success in the music industry came when his cowpunk outfit Custom Made Scare landed a deal with Side One Dummy Records in 1998. But before the band’s debut album dropped, Overbey went on the run from the law for months, finally turning himself in and spending a year in prison. The very same week he was released, the band hit the road immediately, and toured heavily into the new millennium alongside seminal punk acts such as Suicidal Tendencies, Social Distortion, Agent Orange, Zeke and REO Speedealer.

A side project of Overbey’s called Charlie & The Valentine Killers also toured in the late 2000s with David Allan Coe and Lemmy's side outfit The Headcat. “It was still days of angst,” Overbey says, but the country-leaning project’s sound served as an important precursor to his current solo work backed by the Broken Arrows.

Looking ahead to the April 2018 release of Broken Arrow, Overbey is gearing up to hit the road with a vengeance for the first time in years. He and the band are already working on songs for a follow-up record that will draw from the same rich vein as Broken Arrow. Overbey isn’t one for idle hands—when he isn’t playing or writing, Charlie has become a well-known name in the fashion world with his one-of-a-kind, hand-shaped Lone Hawk Hats, for devotees in the Americana scene, including the camps of Blackberry Smoke, Miranda Lambert, Lucero, the Foo Fighters, Dwight Yoakam, Cage The Elephant, Kaleo, and Miley Cyrus. Lone Hawk Hats were even the focus point in a recent Stella McCartney campaign. It’s a craft Overbey taught himself by trial and error, ultimately carrying with it the same authenticity and attention to detail you’ll find in his songwriting. They are available at several high-end locations, including he and his lady's brick-and-mortar shop Honeywood Vintage / Lone Hawk Hats on ultra hip York Blvd in Highland Park, Los Angeles. 

As the album title suggests, an existential darkness permeates Broken Arrow. It is the work of a road-savvy rock & roll veteran who sees the world as it is, fully grasping the jagged pain of life. But this darkness isn’t a dead end—Overbey’s songs are shot through with enough hard-fought resilience, determination and optimism to remind listeners the only way out is forward, and that the wild ride of life is a mysterious and beautiful gift.

Mar 8, 2016

Don't Miss Moonrunners Music Fest 4!

By Robert Dean

In case you live under a rock, Moonrunners Festival 4 is happening again this summer. Being a former Moonrunner, it thrills me to my core to see the festival alive and well. Jahsh and Elle have managed to find a niche within Chicago and crank it way up. And to boot, the festival keeps getting better.

Like many of the Chicago festivals, Moonrunners fills a hole that many people hadn’t realized was missing: for three days at Reggie’s on the city’s south side, you’ll get an array of talents that are awe-inspiring and bewildering, just the same – all of which are very much Non – Chicago.
Who knew so many folks in the crown jewel of the Midwest liked good country music? Sure, buck-toothed fuck face Luke Bryan call sell out arenas anywhere in the country, but show me a packed room of ugly bastards swaying to Jeff Shepard, and I’ll ask what time you I need to eat something before we get smashed.

In the past, Moonrunners has had an interesting lineup shuffle. From country to bluegrass, street punk, rockabilly, blues – the lineup has had a lot of looks. This year, though, it feels like the show has a theme, a sense of identity. Bands don’t seem misplaced, nor ad hoc. Moonrunners 4 comes off as masterfully put together and offering a little something for everyone.

Consider in one weekend, July 1-3, you get to see Supersuckers, Dale Watson, Slim Cessna’s Auto Club, highlonesome, Pearls Mahone, etc., etc., etc. There’s a lot to like about this year’s lineup, and only good things can come from such a well-rounded list.

One thing that works decidedly in the favor of the artists, the wonton feel of the old school SXSW – there’s a lot of talent to be discovered and enjoyed. Not everyone may know That Ol’ Coondog, but chances are they’ll leave a fan. That’s one of the endearing aspects of Moonrunners; it’s a hangout with epic drinking sessions that isn’t to be missed.

If you’ve got an itch to make plans for the summer, I suggest skipping up to Chicago and getting your foot stomp on to some good music that soothes the soul. Tell em’ we sent ya.


Full lineup:
Split Lip Rayfield, Supersuckers, Scott H. Biram, Dale Watson and his Lone Stars, Slim Cessna’s Auto Club, Wayne ‘The Train’ Hancock, Joseph Huber, Black Eyed Vermillion, Urban Pioneers, Old Salt Union, Rachel Brooke, Those Poor Bastards, Izzy and the Catostophics, Hellbound Glory, Gallows Bound, Filthy Still, Joseph Huber, Call Me Bronco, Ford Theater Reunion, The Peculiar Pretzelmen, Escape from the Zoo, Carrie Nation and the Speakeasy, WT Newton, Kiel Grove, JB Beverley, Pearls Mahone, Last False Hope, Rickett Pass, Joshua Morningstar, The Tosspints, Highlonesome, CW Ayon, That Ol’ Coondog, Th’ Piss Poor Players, Mason ‘Damn’ Tinsley, Brittany Avery, Still Alive, Death and Memphis, Last Daze, The Kountry Kittens, Hunter Grigg, Stump Tail Dolly, Gary Moore II, Tony French, Curio, Blackgrass Gospel, Black Actress, Murphy’s Lawyer, Clem McGillicutty and the Burnouts, Traveling Broke and Out of Gas, Tail Light Rebillion, Rock Bottom String Band, Spike McGuire, Lonewolf OMB, Noah Tyson, The Exilirs, Melomaniac, The Ridgelands, Matthew ‘Mule’ McKinley, Stufy Summers

Apr 16, 2012

Sounds Painful

by Kelcy Salisbury

After a few poorly written meanderings on the relative merits of various recently released albums, I felt like it was a good time to take a step back and provide a poorly written, rambling review of a couple of albums that were formative in my musical journey.  So without further ado here is the first of however many of these Trailer will let me write.

In the early to mid 1990's alternative music was exploding worldwide.  Of course the Seattle scene was huge with bands like Nirvana, Pearl Jam, Soundgarden and Alice In Chains making music that seismically altered the landscape of rock radio.  Austin, TX, long a hotbed for the "weird" was also playing a major role in the alternative rock scene, along with such locations as San Francisco and New York.  Along about 1994 someone (I'm not sure who and am a bit too lazy to do the research to find out) had the brilliant idea to combine some of the brightest lights of the alternative rock scene with a handful of Willie Nelson tunes for a project that would become Twisted Willie.  This album was a seminal point in my discovery of music.  I discovered The Presidents Of The United States and the Supersuckers through this album, along with rediscovering just how cool Willie's music was and heard what I believe to be the beginning of the third act of Johnny Cash's career.  It's not a perfect album, every song doesn't work, but the overall product is well worth hearing (or rediscovering if you haven't heard it in a while.)

The album opens with Johnny Cash (backed by Alice in Chains in one of their last recordings before Layne Stayley's death) covering Time of the Preacher.  The song gives a glance at what Cash would later create with Rick Rubin. Another highlight is Jerry Cantrell's haunting solo performance of I've Seen All Of This World I Care To See. Supersuckers' cover of Bloody Mary Morning is another great entry on the album.  This song seems to have been written for a more punk styled interpretation, and that's exactly what it gets.

Jello Biafra covers Still Is Still Moving To Me, and knocks it out of the park.

My personal favorite on the album is The Presidents Of The United States hyper, desperate sounding cover of Devil In A Sleeping Bag.  To this day I often find myself playing this cut on repeat.

Jesse Dayton absolutely kills Sad Songs And Waltzes, before Waylon adds his inimitable stylings  to I Never Cared For You.

The album closes with a haunting version of Angel Flying Too Close To The Ground by Kelly Deal.

While there are some tracks that don't hold up to the overall standard, particularly X on Home Motel, overall it's an older album well worth a listen that has held up well over the nearly 20 years since it's release and is well worth the purchase price on iTunes.  So give it a listen whether you're a fan of old school alt-rock or Willie Nelson.  If nothing else it proves what an incredibly strong song writer Willie Nelson is, a fact that occasionally gets lost in Beer For My Horses type dreck.

Purchase Twisted Willie here or here.


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