BANDS

Line Up

David Allan Coe

Born September 6th, 1939 in Akron, Ohio, USA. From the age of nine, Coe was in and out of reform schools, correction centers and prisons. According to his publicity handout, he spent time on Death Row after killing a fellow inmate who demanded oral sex. When Rolling Stone magazine questioned this, Coe responded with a song, ‘I’d Like To Kick The Shit Out Of You’. Whatever the truth of the matter, Coe was paroled in 1967 and took his songs about prison life to Shelby Singleton who released two albums on his SSS label. Coe wrote Tanya Tucker’s 1974 US country number 1, ‘Would You Lay With Me (In A Field Of Stone)?’. He took to calling himself Davey Coe – the Mysterious Rhinestone Cowboy, performing in a mask, and driving a hearse. He satirized the themes of country music with hilarious additions to Steve Goodman’s ‘You Never Even Called Me By My Name’, but has often used the clichés himself. His defiant stance and love of motorbikes, multiple tattoos and ultra-long hair made him a natural ‘Nashville outlaw’, which he wrote about in the self-glorifying ‘Longhaired Redneck’ and ‘Willie, Waylon And Me’.

In 1978 Johnny Paycheck had a US country number 1 with Coe’s ‘Take This Job And Shove It’, which inspired a film of the same title in 1981, and Coe’s own successes included the witty ‘Divers Do It Deeper’ (1978), ‘Jack Daniels If You Please’ (1979), ‘Now I Lay Me Down To Cheat’ (1982), ‘The Ride’ (1983), which conjures up a meeting between Coe and Hank Williams, and ‘Mona Lisa’s Lost Her Smile’ (1984), which reached number 2 on the US country charts, his highest position as a performer. Recordings with other performers include ‘Don’t Cry Darlin” and ‘This Bottle (In My Hand)’ with George Jones, ‘I’ve Already Cheated On You’ with Willie Nelson, and ‘Get A Little Dirt On Your Hands’ with Bill Anderson.

Coe’s 1978 album Human Emotions was about his divorce – one side being ‘Happy Side’ and the other ‘Su-I-side’. The controversial cover of Texas Moon shows the bare backsides of his band and crew, and he has also released two mail-order albums of explicit songs, Nothing Sacred and Underground.

Coe appears incapable of separating the good from the ridiculous and his albums are erratic. At his best, he is a sensitive, intelligent writer. Similarly, his stage performances with his Tennessee Hat Band differ wildly in length and quality: sometimes it is non-stop music, sometimes it features conjuring tricks. Coe’s main trick, however, is to remain successful, as country music fans grow exasperated with his over-the-top publicity. He may still be an outlaw but as Waylon Jennings remarks in ‘Living Legends’, that only means double-parking on Music Row.

Lee Rocker

Lee Rocker made his mark singing, playing, standing on, spinning and rocking his giant upright bass in the legendary music group The Stray Cats. Grammy-nominated, The Stray Cats have sold nearly 10 million albums and garnered an astounding 23 gold and platinum certified records worldwide. Founded by Rocker, Brian Setzer, and Slim Jim Phantom, The Stray Cats remain a radio staple, were music video pioneers at the infancy of MTV, and repeatedly brought rockabilly music to the top of the charts.

2011 kicked off with Lee joining the cast of the Broadway’s hit musical “Million Dollar Quartet.” Rocker stepped in to guest star for 12 performances in January. “Million Dollar Quartet” is inspired by the legendary recording session that took place Tuesday December 4, 1956 in the Sun Record Studios in Memphis, Tennessee. The session was an impromptu jam session among Elvis Presley, Jerry Lee Lewis, Carl Perkins, Johnny Cash and additional musicians. Rocker played the role of Carl Perkins’ brother and bass player Jay Perkins. “The story is especially close to my heart,” says Rocker, who was a close friend and musical collaborator of Carl Perkins up until his passing.

2011 also saw the release of “The Cover Sessions” EP. The Cover Sessions is a side project that Rocker has been worked on for 18 months, this record includes banjo’s, harmonica’s, dobro, mandolin, washboards and all types of folk american instruments. Lee put his americana twist on classic 1970’s radio hits such as the Lennon/Mc Cartney song “Come together”, Elton John’s, “Honkey Cat” and the Allman Brothers song “Ramblin Man”.

2012 kicks into high gear with the release of “Night Train to Memphis” a disc of classic rockabilly done like only Lee Rocker can. Here’s Lee’s thoughts about his newest recording in his own words

“Night Train to Memphis” is a record that i’ve wanted to make for a very long time, and like an album spinning on a turntable at 33 and a 3rd rpm’s, this is my 33rd year of playing music. “Night Train to Memphis” is the soundtrack of my life. These songs are tattoo’d on my soul. Rockabilly music grabbed this kid from New York, and shook me, spun me round and rattled my brains. I was never the same again.

So at 16 years old I got myself an upright bass fiddle and I started a band. We would practise in my Dad’s garage next to the Olds Delta 88. We would play until my fingers bled. I didn’t mind one bit. The music hasn’t released me yet and I know it never will. In the summer of 1980 the band moved to London and we called ourselves the “Stray Cats”. I got to say its been one a hell of a trip. Over the years I devored everything I could about Rockabilly and I’ve played or recorded with the musical architects and pioneers, including Carl Perkins, Scotty Moore, Wanda Jackson, Levon Helm, as well as George Harison, Ringo Starr and others. The Mount Rushmore of Rock and Roll. Hey dreams do come true.

The songs on “Night Train to Memphis” are classic’s from the early days of rock with the “Stray Cat, Lee Rocker” stamp on them. I recorded this disc in a similar way as they did back at Sun Studio, the birthplace of rockabilly, relying on spirit, energy and passion, not on studio tricks and gimmicks. “Night Train to Memphis” takes me right where I want to be, and where I’ve always been happiest. Get on board!

Zeke

“Ride With Zeke” has quickly become the mantra for the people who have accepted the invitation brought by on Heckler Magazine when they said, “Welcome the new monsters of rock.” And believe me, they are monsters. Ever since their very first gig at the Rock City in Seattle in 1993, people have had no choice but to pay attention. Their records will assault you, and their live show will batter you.

“Dirty Sanchez” is Zeke’s second Epitaph release, and it rocks like a motherfucker. From the very beginning quote that says (and foreshadows) “Hey, he’s acting weird, it must be drugs!” to the last roar of the Fleetwood Mac cover “Rhiannon”, you’ll be bludgeoned with tireless energy. It’s an album of 16 songs that clocks in at 21 minutes that was produced by Kurt Bloch (Fastbacks).

Before becoming a member of the Epitaph family, Zeke put out many singles on various little punk labels. Their first two releases were the “West Seattle Acid Party” on Wrecking Ball Records, and the “Holley 750″ 7” on IFA Records. Several singles later, and two full-length records on Scooch Pooch (“Super Sound Racing” & “Flat Tracker”), the infamous Fletcher from Pennywise threatened to quit PW if they didn’t get signed to the big E. And that’s exactly what happened (yeah right), and so “Kicked In The Teeth” is now in the history books.

Throughout the time that Zeke have been on Epitaph (since April ’98) they have toured relentlessly. They have literally been on 10 different tours, including tours with Jerry Cantrell (from Alice In Chains), ALL, Voodoo Glow Skulls, DOA, Supersuckers, and a few dates with Pearl Jam…they even toured Europe, Japan and Australia. But it’s the good ‘ol US of A that the band calls home, and Marky Felchtone said, “Austin, TX is my favorite place to tour…cuz it kicks ass!”

When you’re a punk band that is eternally touring, strange things are bound to happen that will have as much of an influence on the band as the music that got them started. Kiss, Black Flag, The Ramones & Black Sabbath would all get a run for the money when it comes to Zeke antics. When asked about some specifics, Marky Felchtone rattled off a brief list that went like this: “Drum sticks in eyes, broken bones, incidents involving cake, drugs and under-aged females, Black Metal homicides, etc…you name it”…I hope he was joking. But why does Zeke love touring so much? “All the thousands and thousands of dollars, chicks & booze…and it’s the best reason to avoid real responsibility.”

I asked Marky where he saw himself in 1 year, and in 5 years, he said “In one year, at the liquor store, outside with no money. In five years, at the right hand side of my Master.” Now that, my friends, is ROCK!

Deke Dickerson

Deke Dickerson grew up on a farm in Missouri, where he soaked up the area’s rich heritage of bluegrass and country music. At the same time, his father was turning him on to rhythm and blues and early rock and roll. “The first two concerts I ever saw were Bill Monroe and Willie Dixon,” remembers Deke, “and that just about says it all. Formative experiences? You bet!”

Since he was 13 years old, Deke began leading bands. His first professional group was the Untamed Youth, a surf-garage band that released several albums and toured constantly in the late ’80s and early ’90s, breaking up right before the “Pulp Fiction” surf revival happened. His next big project was the Dave & Deke Combo, a rockabilly-hillbilly band he formed with partner Dave Stuckey that became huge among the legions of roots music fans in the U.S. and Europe. The Dave & Deke Combo released several highly-acclaimed singles and records before finally breaking up to allow both Dave and Deke to pursue their own musical visions.

That vision for Deke has concretized with his new group, Deke Dickerson and the Ecco-Fonics, formed in 1998 and signed to HighTone soon thereafter. Although Deke has often been tagged “rockabilly” or “hillbilly,” his musical focus runs the gamut from both of these styles to R&B, jump blues, honky-tonk country, hard-edged ’50s rock and roll, surf, garage rock and all points in between. His first album for HighTone, Number One Hit Record, was a highly-successful release, endearing the group to rockabillies, punk rockers, folkies and guitar geeks worldwide.

Deke and the Ecco-Fonics have been doing non-stop cross-country touring since that album’s release in October, 1998. This past summer, the group spent three months as the opening act for Mike Ness (of Social Distortion). This sojourn exposed them to thousands of new fans who embraced the boys like lost family members (and bought CDs like they were going out of style!).

Upon returning home from the Mike Ness tour, Deke and the boys hopped right into the studio to record their newest effort, More Million Sellers. Yes, the title is tongue-in-cheek, but the hitmaking potential of the group is not. Anybody who doubted the chart possibilities of acts like Chris Isaak, the Squirrel Nut Zippers or the Cherry Poppin’ Daddies would do well to lend a serious ear to the music of Deke Dickerson.

With an even more schizophrenic balance of musical genres, More Million Sellers finds Deke singing rockabilly numbers (“I’m a Wreck,” “Red-Headed Woman”), jump blues (“The Hatchet Man,” “Mean Son of a Gun”), flat-out rockers (“Nightmare of a Woman,” “Let the Good Times Roll”), country and honky-tonk (“Broken Down and Broken Hearted,” “So Long I’m Gone”), a ballad that would make Roy Orbison cry (“I Gave My Heart Before”), crazy guitar instrumentals (“The Rockin’ Gypsy” — a staple of their live set — and “Tropical Island Boogie Serenade”) and even a beatnik poetry rap set to a Link Wray-meets Bo Diddley backing (“My Name is Deke!”).

As was the case with the first album, Deke has brought several of his idols into the studio to round out his artistic vision. Introducing the album is “the world’s most famous little person,” Billy Barty, whose immediately recognizable voice comes from seeing him in countless movie and television roles from The Wizard of Oz to The Dukes of Hazzard. Rockabilly guitar legend Billy Zoom (of X fame) contributes flashy leads on “Nightmare of a Woman.” 82-year-old Hadda Brooks, “the queen of boogie,” joins Deke on a vocal duet entitled “You’re My Cadillac.” Hadda’s 60-year career includes playing boogie-woogie piano and acting alongside Humphrey Bogart. The closing theme of the album is sung by none other than Jerry Scoggins, the voice of the original Beverly Hillbillies theme song.

Returning from the last record are three musicians for whom Deke holds ultimate respect: sax maestro Joey D’Ambrosia from Bill Haley’s Comets (the man who played the solo on “Rock Around the Clock”), Carl Sonny Leyland (boogie-woogie piano player extraordinaire, who also sings a duet with Deke on “I Think You Gotta Pay For That”) and steel guitar wizard Jeremy Wakefield (moonlighting from Wayne Hancock’s band).

The Ecco-Fonics are:
Brent Harding
Acoustic Bass, backing Vocals
Johnny Noble2nd Lead Guitar, Acoustic Guitar, Maracas
Brian NevillDrums & Cymbals

Guana Batz

Legendary UK psychobilly icons the Guana Batz were formed in 1982 and are recognized as one of the first psychobilly bands. Fronted by the charismatic Pip Hancox, the Guana Batz are considered heavily influential to psychobilly as a genre and scene as they are most well known for frequent headlining appearances at the Klub Foot, an early club which birthed the Psychobilly genre. Although breaking up in 1990 and reforming in 1996, the band has numerous Top 10 hits on UK Indie Charts spanning from the early 80s through the early 2000s.

 

More bands being announced!

 

 

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