You Oughta Know Me By Now

Artist: Tom VandenAvond
Album: "You Oughta Know Me By Now"
Record Label: Hillgrass Bluebilly Records
AMAZON iTUNES

Author: James G. Carlson
Original Link: http://www.examiner.com/indie-music-in-philadelphia/tom-vandenavond-releases-fifth-full-length-album-you-oughta-know-me-by-now-review

It is no secret that country music has really gone downhill in recent years, both in the mainstream and underground alike. In fact, many of the late, great progenitors of the movement – Hank Williams, Johnny Cash, Woodie Guthrie, Waylon Jennings, and Merle Haggard, to name a few – would undoubtedly roll over in their graves if only for a moment they were subjected to what passes as country music these days. Like a piece of depreciated real estate, no one wants to live anywhere within close proximity to modern country music anymore, save for a few brave souls scattered about the globe who have dedicated themselves to rescuing the genre.

One of those brave souls is singer/songwriter Tom VandenAvond, whose latest release on Hillgrass Bluebilly Records "You Oughta Know Me By Now" proves just how far he's willing to go to do his part for country and other roots-related forms of music. This soft-spoken, cool-mannered, scruffy-faced Texan is all trucker caps and flannel shirts, and his songs sound the way he looks…with the help of Larry & His Flask as a backing band this time around.

Tom's songs are as real and down-to-earth as the patrons that populate the dive bars he frequents. Indeed they are as potent as the shots of liquor he throws back, as bittersweet as the beer chasers that follow, and as muddy as the cups of coffee that no doubt serve as so many early morning remedies. His sound doesn’t just possess the spirit of VandenAvond himself but that of Texas as well. All such comparisons aside, it is quite simply a sound that is rustic and romantic, gritty and honest and raw, with a bit of alt-country twang and folky balladry. And between his smoky, mellow vocals and a little crooning, the stripped-down notes and chords of VandenAvond’s acoustic guitar and the combined instrumentation of the backing band, great songs such as “Rustbelt,” “The Landlady,” and “Dear Dirty Dublin.” Also worth a mention are the album’s opening track “Knights Ferry,” the title track “You Oughta Know Me By Now,” an upbeat Spanish number titled “Vacilando” (which literally translates into hesitating), and the closing track “Even the Olives are Bleedin’.”

In a way Tom VandenAvond’s songs are of the sort one might hear playing on a barroom jukebox at two o’ clock in the morning, last call having been announced, as the last few tendrils of cigarette smoke drift up into the dimly set light fixtures, a tired couple shuffles through the last few drunken steps of a slow dance out on the floor, and the remaining whiskey is sipped from tumblers and beer drained from bottles. They are also the sorts of songs one might hear on the drive home after leaving the bar at two-thirty in the morning, emanating from the old, battered speakers of an equally old and battered Chevy, while the early morning scenery goes by in a blur outside, and the country road goes on like a winding ribbon of asphalt to the horizon. ‘Course, he also writes and plays the occasional foot-tappin’, hand-clappin’ number, with the all energy and excitement of just starting out for the night, the winding down portion of it all a seemingly distant eventuality…more like bonfire shindigs with good pals, beautiful women, fiery gulps of Mason jar moonshine, and deep pulls on roll-your-own cigarettes than the former scenario.

"You Oughta Know Me By Now" is Tom VandenAvond's fifth full-length album to date, after a self-titled release, "A Gambler's Prayer," "A Broken Home Companion," and “The Right Time.” Truth of the matter is, the self-titled album, for which VandenAvond had The Weary Boys as a backing band, was his courageous first step out into the scene, and it remains a fan favorite to this day. "You Oughta Know Me By Now," however, for which he had Larry & His Flask as a backing band, may just be Tom VandenAvond at his very best. Then again, he is also at his best on the two songs he contributed to Hillgrass Bluebilly’s two-disc tribute to Hank Williams and Leadbelly, “Hiram & Huddie.” And his accomplishments as a singer/songwriter don’t stop there, as he made an appearance in M.A. Littler’s film “The Folk Singer,” along with John Konrad Wert (Possessed by Paul James), Scott H. Biram, Ghostwriter, and Reverend Deadeye.

At present it is my understanding that a tour is being planned for Tom VandenAvond and singer/songwriter Soda. I for one will be checking the locations and dates in hopes that he will hit the East Coast and pass through Philadelphia in doing so.

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"the Folksinger" is NOW available in the U.S.A.

http://muddyroots.myshopify.com/collections/frontpage/products/the-folk-singer-dvd-cd-set

Click the link above to purchase your very own copy of "the Folksinger" DVD/CD combo set.

featuring:

Possessed by Paul James

Uncle Tom VandenAvond

Scott H. Biram

Reverend Deadeye

Cade Callahan

Ghostwriter

Steve Dean

and many many more~!

An exclusive interview with Possessed by Paul James

One Man Band Series #12 feat: an interview with Possessed by Paul James

Original Link: http://www.nodepression.com/profiles/blogs/oneman-band-series-12?xg_source=activity
Author: James G. Carlson

January 2011

Almost every artist involved in the one-man band movement does things his own way, making his endeavor wholly individualized. He selects the type of instrumentation he is going to use, develops a sound often by combining more than one musical style with his own, and then slaps some sort of moniker on it. Both the sound and the setup with which he creates his sound range from simple to intricate. And though there are a handful of directions from which to choose, he more often than not either adopts a purist approach or a more experimental approach to crafting his songs.

One singer/songwriter whose sound is both unique and pure is John Konrad Wert, or Possessed by Paul James. An exceptional vocalist and multi-instrumentalist, John Konrad Wert assembles the components of his sound into a seamless whole with acoustic guitar, fiddle, banjo, an old suitcase and tambourine for stomp percussion, and an incredibly powerful singing voice. Just as much a bluesman as he is a folk artist, Wert’s songs possess both traditional and modern qualities in abundance. In addition to that, he is one of those rare singer/songwriters who is equally in his element busking on a crowded city sidewalk or on a subway platform as he is at a local hole-in-the-wall punk venue or large folk festival.

Wert’s sound can be described as soulful and primal, worldly and spiritual, raw and thoughtful and uncompromising. It is real life music, his compositions and their subject matter. And though he seems to somehow transcend himself and his humanity through song, he remains irrevocably human, and so too does his music. Music is something called forth from the innermost depths of the artist, after all, at which point it is communicated to his fingertips, his voice, his feet, and the other parts of his body that go into creating the song; a perfect mergence of an artist’s inner and outer self…a crossroads, if you will, where the physical and immaterial intersect. Few know this better than John Konrad Wert. And all one needs to do to come to that realization is attend one his live performances, as it is one of those experiences that stays with one for a long time to come.

“Feed the Family,” the third and most recent album by Possessed by Paul James, is a collection of twelve original and important songs released on the Texas-based Hillgrass Bluebilly Records. Wert’s earlier releases have appeared on Italy’s Shake Your Ass Records and Switzerland’s Voodoo Rhythm. He has also toured extensively, sharing the stage with many of today’s notable bands and singer/songwriters.

Recently I had both the opportunity and pleasure of interviewing John Konrad Wert for my One-Man Band Series. What follows is that interview in its entirety.

In the interest of giving the readers of this piece a better understanding of the artist I am interviewing, I would like to begin in an introductory fashion and ask you: Who is John Konrad Wert (aka Possessed by Paul James), not just as a singer/songwriter but as an individual, as a human being of this mad world in which we live?

Well, first off, I'm a daddy with two boys; and second I'm a schoolteacher. I've been working and involved with non-profits like Boys and Girls Clubs, gang prevention gigs, community development, case management, and now teaching since the late '90s. James, I guess I mention that to give reference to why we approach music. It's meant to be a social service, so to speak. It allows us as a family to subsidize the income a bit, exorcise life's frustrations and gather together with friends and strangers for some singing, drinkin' and pickin', ay. I find it even more of a release now as a father. When your children come about, such opportunities to pick are pretty limited, so when it does come it's always a good time.

Your youth was spent in a rather unusual way compared to that of much of the rest of the world's youth at that time, when you resided in Immokalee, Florida, with your family and their very spiritual ways. How has that experience shaped you as the artist you are today? And how is your way of life today in comparison to the one you knew in your youth?

Good question.

The thing here to remember is that our particular family, like many others, was a household built on faith, specifically within the Mennonite Church. The cultural dynamic is interesting when there are very few Mennonite congregations south of central Florida on the Gulf side. Now, our church community was in Immokalee, where I was born, but we soon moved to Lehigh Acres. My parents worked there in the Church nearly ten years prior to moving to Lehigh, but still attended prayer meetings, Sunday service, potlucks, caroling, etc.

It taught us community. It taught me very early how to sing, or at least follow along in music. It taught me about diversity and understanding at a real early age, and what it means to see poverty and hope, what it means to see people working with and for one another, and what it means to hear music in the Haitian churches nearby, or recognize the smell of orange blossoms along the citrus groves, and so on.

I think now as an adult and parent our approach is to take with us what was most beneficial as opposed to the dogma of the church. I'm not a person who believes in a religion, so I no longer identify with such a group. But with that said, I think there are some very true teachings regarding what it means to 'serve' one another, what it means to live simply (less is more), what it means to think globally and act locally.

In writing there's always the danger of coming off too preachy or standing on a soapbox. I think there's a trick to it, and sometimes we figure it out and other times not so much...ha.

Having listened to your songs absorbedly and again and again I am rather confident in referring to you as one of today's genuine living bluesmen. Of course, there are also bits of folk, country, and even punk in your sound, but the blues seems to be the dominating style overall. How did your sound come about? Experiences? Influences? Etc?

I tell ya what, I don't identify with the blues more or less than other genres, but I do favor writing about regret and lament. The double thumb bass picking style I do enjoy when fingerpicking. I think the punk and folk flavors cross paths with blues, but it's a different demographic. It's not.

Chicago or Delta black men and women, nor is it Prine, Biafra or Christopherson; rather, we throw those styles in a pot, add some Hank Chinaski and apostle Paul, and there ya go. Artist-wise and music-wise I'm most influenced by the other players I meet or share bills with at the shows. I think that's a fun thing about playing when ya really dig another artist and what they're about.

The actual performance or “sound” came from busking, honestly. We would go down S. Congress, or when on the road, and make a little cash and share conversation. When the first show came about it wasn't planned out; it just came about – the alternating of the instruments, using the suitcase to smack like off S. Congress, the growling or yelps and whatnot are just a feeling or fun way to add melodies. I also think the early touring overseas in Europe helped tremendously since it was much more of a cultural representation in the eyes of the Europeans. I better identified with and understood what we were trying to share when folks appreciated the roots and raw style that came about.

"Feed the Family," your latest album on Hillgrass Bluebilly Records, has only been available for a few months now. In that time I have come across a lot of favorable reactions from both fans and press alike. Now, most of the songs on the album have appeared on your previous recordings on Shake Your Ass Records and Voodoo Rhythm, save for one or two, though they sound decidedly more polished and produced than before. Did you re-record all of them for this album?

Well, actually we only re-recorded four tracks – "Old Man Souls," "When it Breaks/Vodka and a Fight," "Take Off Your Mask," and lastly "Color of My Bloody Nose." The other eight have never been recorded on an album we've released. I like the fact that those previous four songs were able to share a different feel and intent. For example, the fingerpicking in "Old Man Souls" felt real strong and fitting to the tone and meter of the song. "When it Breaks" feels like the finished version of "Vodka and a Fight." See, that song was originally recorded while I was drunk after fighting with Jen. Though I like the way it originally sounded, I wanted to put more structure into it and add our catch phrase, so to speak, with "What you gonna do when it breaks, I'm gonna keep on coming." Haa haa. A friend of mine said he was listening to that track while makin’ out with his lady and they kept laughing because it sounds like we're talkin’ about a condom...ha ha. Lastly, "Color of My Blood Nose" is my favorite love ballad. When it was first sung in '06 it came out real raw and even primal, not melodic or inline with it's real meaning. Granted, folks dug that version, but I wanted to add it again since the recording was so nice and it brought a slight edge to the somewhat contemporary overall feel.

See, the themes I enjoy the most when writing are recognizing the flaws and failures in all of us but adding lines of acceptance and strength. We can sing about our shortcomings, but we can't hide from them when they're declared. In answer to your question about the remaining tracks recorded for this album, yes they're from sessions in Austin, Elgin, San Francisco, and one from the film “The Folk Singer” by M.A. Littler’s Slowboat Films.

Now, I know you don't exactly consider yourself a one-man band, though you have been included in that scene, as well as others, for some time by fans, press, music enthusiasts, labels, etc. With your methods of making your music – strumming your guitar, picking your banjo, playing your fiddle, stomping on a block of wood, and singing – most would say that those things constitute a one-man band. As a matter of curiosity, why did you choose to go it alone, rather than take on fellow musicians for your musical endeavor?

The intent was to simply play music. In Austin we started pickin’ at Pizza Shops and busking around. Then we found some real opportunity pickin’ with friends, and writing, but sadly that went south. We didn't want to stop pickin’, so we threw a show together in 2005 – 2006, and this is what came out. Didn't really intend for a solo act; it just worked it's way into being as the response for the songs slowly grew. But if I had my choice, I'd much rather pick with friends. Some of the coolest things about music are the conversations you have with other musicians. And I don't mean phonetics; I'm referring to playing and reading off one another's playing. When you stick pickers in the same room who enjoy it as much as you do, I tell ya what, it's simply amazing, man. It's orchestral and fun and creative, and you can share those travels and experiences with folks. The kicker here in Boerne, Texas is I haven't found too many cats to play with, and the closest ones who do either live in Austin or New Braunfels. No worries, I think in time it'll work it's way out.

In your lyrics there's a recurring theme of everyday life, sometimes in general, sometimes presumably quite personal. The album's title track "Feed the Family" is pretty much self-explanatory, while songs like "Color of My Bloody Nose" need to be interpreted by the listener to an extent. What goes into your songwriting process as far as the subject matter and the feeling the accompanying music creates?

Good question, brother.

So here's my opinion, I think a song should first be colorful, pose either a question or a solution, grab the attention of listeners by the imagery or wording, oftentimes recognizing our universal connection with what is ugly – and by ugly I mean our failures, our challenges, our heartache, and our battered achievements. I think if ya can lock onto that you've got a nice formula for a meaningful song. Also, the interpretation is the best part. We tend to say 50/50 when playing a show 'cause it really is just that. Without the listening audience, what have ya got? Ya got nothin'! See, without the freedom to interpret anything, why would anyone want to listen? And if they do listen regardless what are they really hearing?

I have my ideas and intent, but it takes on another level or presence when someone else tweaks it to meet their need or interest.

Since you've become a husband and father your touring schedule has decreased considerably, with you rarely venturing outside of Texas for shows, no doubt so you can stay close to your family. Is that how you plan to keep it indefinitely? Or can we hope to see in our hometowns sometime in the future?

I have no bloopin’, bleepin’ idea. Ha haa. This new adventure in life, having children, is crazy man! We've talked about being a family on the road, living overseas, etc. But right now, this very time frame, we need to be close to our surrounding family for support and community. It's a wonderful thing to have a cousin nearby, an uncle, a Grandma, etc. Know what I mean? Strange enough, we could make a good living on the road, but look at what's being given up. See? So I think music is always going to be played and written, but regarding how often we pop up in a city...no clue.

Now, if it's just pop out and about, sure enough I'd be first runnin' to Canada for a tour, then down to Florida (my home state) and up to Pennsylvania, etc, etc. I miss that, of course, but once again the tradeoff is missing those early stages with your kids, figuring out the financial aspect, leaving yer partner alone, always on the road. Ya know?

I don't think folks always realize that touring takes a lot of sacrifices in your personal life. For us the intent has always been that music should better our lives, and sometimes it's really rocked us. I mean when yer out there pickin’ in the venues and crowds we find ourselves…well, it's not always the best situation, ya know?

At around the same time you released "Feed the Family" you also made available a Possessed by Paul James songbook…which is very cool, by the way. How did that idea come about? And has it proved a much sought after item for your fans so far?

Well, it came about as a result of receiving e-mails from folks here in the states and overseas regarding the written songs. I think it's a nice way to share personal ideas, as we added a little bio of each song on a neighboring page. No chords were added since I think it's always better to challenge your ear more and more. Also I don't really know what key the songs are in as we jump that capo all around when picking. And yes, the response has been very nice. We only had 100 - 150 made to mainly sell them at the shows. See, our merch sales are a funny thing, as we only play about thirty shows a year, so we do a lot of our sales via the website and online. Our intent is to try and put out a songbook every time we put out a record, kind of a nice added thing to throw around.

A while back you were the subject of M.A. Littler's documentary "The Folk Singer." Having seen it several times, it seemed like it was a rather difficult time for you – emotionally and spiritually speaking, that is -- with the upcoming arrival of your baby and a host of intense thoughts and feelings surrounding it, with your wife at home with child, with the possibility of putting the singer/songwriter life behind you for a more conventional occupation, and with several other things weighing heavy on your head and heart. Will you please talk a little about that experience and what it entailed, as well as the inner struggle that was taking place within you at the time, and what it was like to work with M.A. Littler?

Sure enough. Well, not to disappoint, but “The Folk Singer” was a fictional depiction of examples from being on the road. And by the road that too was a staged part of the filmmaker's process. I'll back up.

The entire experience was wonderful. I mean...come on, it's pretty cool when a small German film group, Slowboat Films, wants ya to be a part of a project like that. I'm small potaters, so anything in the realm of what they were doing I thought was freakin’ great and still do think they're great. But we did enhance and attempt to properly stage certain scenes and dialogues among the characters involved, and I think that went well considering none of us are actors and we've never been a part of something like this before.

Case in point, there is a rather large section within the film where I've lost it emotionally. We specifically wanted to capture that somehow on film since there have been plenty of times where you're gonna lose yer shit in life because of all the heavier shit backing up on yer shoulders. We ended up shooting that segment in a small, middle of nowhere Louisiana motel, I think. We told Mark I'd have to be pretty wasted and in-tune with the emotion to do what we wanted to do, so we started drinking. Mark started referencing some of the very real questions coming up, at which point I started to dive into the feeling of it, and we did all right. I remember after that shot, though – we, the crew, me and Mark, were all pretty taken aback by what transpired, but there was definitely a feeling of, "Yeah, we got somethin’." That was our intent, and they worked it out so well.

What's next for Possessed by Paul James, both musically and whatever else may be in the works?

See, since we like writing there's always more to write. I think it would be fun to figure out how to get another record out by February or March. I like this past album, but it still feels like we're shaping something together, as if the finished product still hasn't come about.

I hope to pick a little more out of state again, and I'd love to head back overseas. We sadly had to cancel this past summer's run to the UK and Central Europe as Kai (our second boy) was coming. We hope to have “Feed the Family” pressed via LP by an interested label this upcoming year. So we shall see. There are projects in the wings, but of course they need to fit into this puzzle of an elementary school teacher and father.

Lastly, if there's anything I failed to cover, or if there's anything you would like to discuss or express, please feel free to do so now. The floor is all yours, Mr. Wert.

Ok, hmmmmmm. So how ‘bout this: I think, though I'm a hypocrite and an ass from time to time, that we need to figure out where the industry of music is going. I think we as an audience need to really push for the artists we appreciate. I say that because everything is changing in a real weird way lately. Has it changed for the worse? No, not necessarily. But there feels like an air in which music will lose the purpose of serving others. And by that I mean not only entertaining but also challenging and motivating others.

If you look at it like music is a way an artist expresses himself or herself, the way he or she better understands love, or relationships, or religion, or battles with society or celebrates it, etc, then ya would hope that when we listen we pick up on the intent or it's very process. Not only are we there on a Friday night to get fucked-up and hoot n’ holler, but it's also an amazing opportunity to do something so socially and historically important during a time when we're glued to the ideas of separation and individualization.

Music cannot be the idea about "me, me, me, us, them, better than, worse than." If it really is 50/50, then we all need to do better and recognize that these Friday and Saturday nights are times when we share both wine and stories. Where we share our burdens and our celebrations. Where we share our failures and our attempts to succeed.

While saying this I realize I'm a failure in many ways, but that's ok. I'll try and make the better choices in life next time. I'll come on Friday night and try to clean my head free of shame and guilt. I'll toast another brother in the same boat and we'll look 'em in the eye and say, "Yup, yer a dickhead, but that's ok. You won’t always be a dickhead."

That's what it's about. Nothing more or less. It needs to be about lifting one another up and encouraging one another when we fail over and over again. I think when we leave that outlook behind we really cheat music. And I don't want to do that anymore. Music needs to embody what is most helpful at the time. It needs to make us better as people, as pickers, as families, as listeners. And when we take advantage of it and forget what it's all about…well, then we need to recognize that and try again, damn it.

Cheers James, and thanks again for both the interest and the time.All the best.

Sincerely,Konrad

I Get Blamed For Everything I Do is "Saving Country Music".com

Original Link: http://www.savingcountrymusic.com/album-review-ten-foot-polecats-i-get-blamed
Album Review: "I Get Blamed For Everything I Do"
Artist: Ten Foot Polecats

January 4, 2011

The Ten Foot Polecats on Hillbilly Bluegrass Records are more straight blues than I would normally cover around here. Usually a band needs at least a little something contrified for me to get behind them–a small piece of fried chicken hanging from their beard, or a gravy stain down the front of their shirt–something. But because they are participants in this year’s Muddy Roots Festival, and were there last year, and honestly, because they are just so damn good, I am making an exception.

With I Get Blamed For Everything I Do, the Ten Foot Polecats aren’t reinventing the wheel, they’re just helping it find its groove. This is high-octane punk-inspired driving blues music. If you’re a tragic audiofile like me, that like a drunk whose spent years and years in the bar building up a huge tolerance, the normal stuff they peddle on the radio has no effect. The Polecats are the wickedly pure stuff in the bottle with X’s on the front that your uncle keeps out in the woodshed that is able to bust through. Even to the most reserved music listener, when The Polecats start to screeching, your legs start twitching worse than a dog that’s got to piss like a Russian racehorse. This is raw, infectious, booty shaking, head banging shit that makes you boogie like a meth head on the business end of a stun gun.

The key to The Polecats magic is the groove and tension. They find the perfect tempo and rhythm that nestles right into the human heartbeat and drive it home. Without getting too music nerdy on you, music is made up of chords, and the way music works is by building “tension” and “resolution” with chord structures. All music does this, but what makes the Polecats unique is they know how to create unbelievable amounts of tension, to where the song feels like it’s about to bust it’s buttons, and when the resolution finally does come, the payoff is orgasmic. The only other groups I’ve ever heard use tension so well are jazzy fusion bands like Phish, or someone like Frank Zappa.

Anybody can get up there and play Mustang Sally. These guys get it. Jim Chilson is one of the most unheralded blues guitarists out there today. When I saw The Polecats live at the Hillgrass Bluebilly launch party, I said about Jim & Co.:

The best flat out musician from the night, on a night filled with so many great ones, might be Jim Chilson . . .The seemingly effortless trance-inducing guitar rhythms with ridiculous fingerwork put the blues in this Bluebilly event, and was accompanied by balls out singing from Jay Scheffler and expert drumming. Who needs bass?

You could not fit a bass in this music; there’s not enough space and range in the mountain of noise that Jim squeezes out of his guitar. Singer Jay Scheffler and drummer Dave Darling do a great job of letting Jim do his thing and not getting in the way, but still adding their color and uniqueness to the band in irreplaceable ways. Dave’s drumming matches the same “Don’t just listen. Feel.” approach as Jim’s guitar playing, and Jay is there to remind you that all this noise is actually about something; blues is blood as they say, and this music came from the heartaches he sings about from the depths of his gut.

The songs “Big Road” and “Dryspell” are probably the best examples of The Polecat’s up-tempo, punk-infused, tension-building blues, but with a band like this the true measure of their talents is if they can slow it way down and still keep you enthralled. They prove they can shift gears with the best with the song “Couple More Miles.” It includes the title lyric of the album, which only seems fitting because it might be the best track on the project.

Again, don’t expect anything mindbogglingly groundbreaking here, beyond Jim Chilson’s fingerwork, but I Get Blamed For Everything I Do reminds you that you should feel music first, then listen, and then not be afraid to succumb to its magic.

Two guns up!

Original Link: http://www.bostonblues.com/features.php?key=storyBeck-Interview

Ten Shots with Brenn Beck of Left Lane Cruiser
By Georgetown FatsJanuary 2011

The term “deep blues” tends to give purists agita as it is a sub-genre full of musicians who push all who believe blues have to reflect the I, IV, VI Chicago sound. The majority of these “deep blues” artists trace their roots back to the blues sounds of the North Mississippi hill country sound with punk, hard rock or roots influences.

Hailing from Fort Wayne Indiana, Left Lane Cruiser is a two piece deep blues act blending high energy hark rock and punk with obvious North Mississippi hill country roots. Rather than stick to standard 12-bar blues conventions, Left Lane Cruiser’s sound has obvious blues roots while taking a sledgehammer to standard 12-bar blues. LLC is loud, brash, trashy and entirely refreshing.

Having been provided the opportunity to learn more about the band this blues movement which is being met with open arms from a younger, non-target demographic for contemporary blues I gladly took the opportunity to line up Ten Shots with Brenn Beck, percussion and blues harpist with Fort Wayne Indiana’s Left Lane Cruiser.

Georgetown Fats: Brenn, thank you very much for the interview but let’s get right down to the questions. As you may know, nothing is sacred with my Ten Shots columns and the questions run the spectrum of what ever comes to mind or is solicited from colleagues to make someone squirm. So let me start this: on the new disk I see you’ve been given both percussion and blues harp credit. In a live situation will you be performing both at the same time like Hezekiah Early, or is the harp work only for the studio?
Brenn: Yeah I will be going Hezekiah style and playin’ it live. We have done several songs in the past with harp, and I always play ‘em live. It is important to us that what you hear on the record is what you see in person. Plus, people eat that shit up when your playin’ multiple instruments on stage.

Georgetown Fats: How has your new addition and Joe's new addition to your respective families affected touring?
Brenn: It’s definitely gonna slow us down a little. We’ve been taking a hiatus since March, and probably wont hit the road again till this upcoming March when the new album drops. You gotta put family first. We love the road though, so while it will slow us down a bit for a while, we will be back at it soon. We're just gonna try and keep the tours shorter, and try and make some money doing it.

Georgetown Fats: Given how Alive Records has both T-Model Ford and The Black Keys on their roster, how has this helped provide exposure to Left Lane Cruiser?
Brenn: The whole experience of being part of Alive Records has been fuckin’ amazing. Joe and I both owned the (Black) Keys album The Big Come Up, long before we could have even dreamed of having our album on a shelf with it. Having their name so close to our’s has definitely helped us. On all the download sites we are recommended listening on their page, so we've sold quite a few albums from that. T-Model, though, is a whole other story. We've gotten the chance to know T real well over the last couple years, and that has meant more to us than selling any amount of albums. T-Model is one of the last remaining true bluesman from the hill country, and one hell of a guy on top of it. Sitting on my front porch listening to T-Model tell stories has got to be one of the best moments in my music career--not to mention sharing the stage him.

Georgetown Fats: Are there any tales from the road you care to share? Names can be changed to protect the guilty, but I am either looking for something that makes the lay-fan understand playing music professionally is actual “work,” or a humorous road tale? In a pinch, ratting out a roadie or Joe would be perfectly acceptable.
Brenn: Shit-.if you name it we probably seen it. We have drank moonshine with hillbillies from Tennessee to Serbia, played shows on the back of moving vehicles, ridden on homemade roller-coasters, narrowly escaped riots, and hell, we've even been deported. It’s a hell of a lotta fun, but it sure as shit is work. When we toured the US with Bob LOg III and Scott Biram, we did something like 38 shows in 40 days, and flew to France for a 3-day festival in the middle of it. For anybody that don't think it’s work I'd say: Get in your car, drive for 8 hours, drink about 15 shots of whiskey, do push ups till your drenched in sweat and your hands are raw, drink five more shots of whiskey, sleep for four hours in the backseat of your car in a Wal-Mart parking lot, wake up hungover and don’t take a shower, and then repeat this 40 days in a row. Call me when you get you get home and tell me how you feel.

Georgetown Fats: Though LLC is signed to Alive Records, there seems to be a strong working relationship with the guys at Hillgrass Bluebilly. Would you be able to extrapolate on this unique relationship between one band and two labels?
Brenn: We met Keith Mallette, owner of Hillgrass Bluebilly Entertainment, in Phoenix on our first tour we ever did. He treated us like every musician outta be treated when they are on the road. We had always looked up to the bands that HBE was working with, and really wanted to be a part of what they were doing. When Keith offered the chance to play a show we jumped on it, and he did not disappoint. The show he put together for us that night was one of the best shows we have ever played, and really gave us a lot of hope for the future of music. Keith is the kind of guy that would give you the shirt off his back, and has done more for us in the few years we've known him than most people will in a life time. Keith has single-handedly pushed underground blues music into the faces of thousands. And the guy does it all simply cause he loves music .I would take a bullet for that fucker. Anyway, we have always worked with HBE on shows across the country. We put two albums out with Alive Records when Keith called and said that HBE was becoming a record label. I had hoped he would want to do an album with us, and he did. He re-released our first independent album, Gettin' Down On It. He since has put out quite a few amazing albums that you would do yourselves a favor to buy. (available digitally worldwide, and hillgrassbluebilly.records@gmail.com)

Georgetown Fats: I am testing out a theory here; your input is appreciated. The type of person who puts Kid Rock songs, Godsmack songs, Nickelback songs, and a pop country song all in a row on a bar room juke box is the same type of person who believes there is a “homosexual agenda,” President Obama is not American, all Republicans are racists, and that Keith Olbermann and Glenn Beck speak the truth. What do you think?
Brenn: Yeah, I know a few of those folks. I have to say though, if you’re at a bar that has those songs on the jukebox, you might wanna find a new bar, brother.

Georgetown Fats: Touche. Sometimes I miss the obvious and perhaps I should relocate or strongly consider a juke joint of my own. While I admit this is a recycled question, it has always elicited great responses: What term on Left Lane Cruiser’s rider will have to be met in order for your two to know you’ve “made it?”
Brenn: Shit, if we could get a hotel room, and more than $400, I'd be happy.

(added by Keith M. /not a part of this interview - That last comment by Brenn was about the best thing I ever read)

Georgetown Fats: Bourbon, Scotch or Irish whiskey?
Brenn: If your buyin’, we'll take all three. Me and Joe are both Jim Beam fans, but we’ve been known to drink our fair share of Jameson’s too.

Georgetown Fats: So with the strategically early release of the teaser/single titled “Lost my Mind” from the forthcoming “Junkyard Speedball” full length, what message are you trying to pass along to your existing LLC fans, and what message do you want to extend to those who have yet to be hipped to your material?
Brenn: Well, “Lost My Mind” just tells some tales of touring Europe, drinking grappa in Italy, bribing the border patrol in Serbia, and getting deported in London. Most of our songs are just stories about shit that has happened to us. We do have a tendency to write a lot of songs about food though. I guess we really just want people to come out to the shows, get drunk, and stomp their feet. The blues is somethin’ that has evolved past a slow 12- bar. We try and bring a rowdier, more get-down kind of party to the table.

Georgetown Fats: If you were not right now part of LLC working to push the envelope of blues, where would you be?
Brenn: Probably working a nine-to-five and actually making some money. Fortunately for me, LLC is something that Joe and I have always had fun doing, so we aint going’ anywhere, and I will never have to seriously give this question any thought.

Georgetown Fats: So how about some current or updated info on the new LLC release? When can your fans get ahold of it?
Brenn: Junkyard Speed Ball is due out March 1. This album is a little different for us. We still have a lot of dirty rockin’ shit on it, but we added quite a few mellower tunes. Joe is playing a few standard tuning songs on this one, and we laid down a shit ton of overdubs on this one. I think the most exciting part for us though, is John Wesley Meyers from the Black Diamond Heavies came into the studio and laid down keys on four tracks. Joe and I are both really excited about this album. It has a little something for everybody.

The Boston Blues Society is in the process of securing an early release version of Junkyard Speedball for review. Please make sure to stay tuned for the forthcoming review or for additional information on Left Lane Cruiser.
www.facebook.com/pages/Left-Lane-Cruiser/16313548150

An exclusive interview with a man who is Possessed by Paul James

Original Link: http://www.bostonblues.com/features.php?key=storyJames-Interview
Artist: Possessed by Paul James / Konrad Wert

Possessed by Paul James Interview
By Elliott MorehardtJanuary 2011

“Possessed By Paul James” is the stage name of multi-instrumentalist Konrad Wert. He was raised a Mennonite with Amish roots in the swamps of Immokalee, Florida and presently resides with his wife and sons in the Hill Country of Texas. Wert’s performances are so energetic that he could easily be mistaken for a small crowd.

For those of you not familiar with the recent deep-roots, folk/blues movement aka “hillgrass and bluebilly,” you ought to hop on this train, at least for awhile, and grab a big taste! One of the more creative forces among these young, passionate musicians is the one-man-band known as Possessed By Paul James. Coming from the bible thumping Florida swamplands, now in the somewhat less pious Austin, Texas, this accomplished artist is highly respected among his peers, and now it’s time for the rest of us to see what this is all about. It is a true pleasure to interview the man and review his latest, timely recording Feed The Family.

Elliott Morehardt: Growing up, was there any other desire besides playing music, like being a preacher? I’m sure you’ve been told that you would have been good at it.
Konrad Wert: Oh sure. The only time we felt music was a viable source for income was really when it started taking on steam back in 2006. Prior to then it was and still is just a fun way to express your thoughts and ideas. I don’t think I could do music full time as it too would become a little drab. My trade is carpentry, teaching, non-profit work etc. and music is the release of all of those. If music became a full time gig I think it would lose some of its appreciation. I’m an elementary school teacher ya see and I think it’s a great gig. We need more men in early education! Regarding preaching, as my dad was a pastor for some time, yes I did consider it. It was even recommended by some old Profs to explore the seminary. But religion is religion and I’d much rather share my joys and burdens on a Friday and Saturday night over some drinks than in a church come Sunday morning ... ha ha.

Elliott Morehardt: Your songs range from the very dark “When It Breaks” to the very hopeful “We Welcome You Home.” Did you have this dark vision as a child?
Konrad Wert: Ha haa well that’s a good question. The nature of bible study and a conservative faith brings up some very twisted images for some kids and I was one of those kids. Keep in mind when you’re flooded with stories of men being sent to fiery furnaces, lion’s dens, the drowning of millions by flood waters, famine, water being turned to blood, crucifixion, the “eating” of the “flesh”, demon possession, lepers AND add that to the martyrdom of Mennonites (burned at the stake, boiled alive, beheaded etc.) ... man that would fuck up any kid!! ha ha haaa. And well, those were the consistent teachings and imagery we learned every week. I think that would be my first guess on where some of these themes pop up.

Elliott Morehardt: Do you remember the first song you wrote?
Konrad Wert: Yes actually, it had something to do with teen love and Jesus ... ha ha ... I don’t know how the two are connected.

Elliott Morehardt: Wow, maybe you need to dig that up. So what were your earliest and/or fondest musical influences?
Konrad Wert: No lie, but I gotta say it’s Dotty Mae. My mama singing and playing piano and guitar. Though church was a stressful time, it did expose my sister and me to music. We learned how to sing melodies and harmonies there. We were made to take the string instruments in 4th and 5th grade public school. I didn’t want to as I was already a fat, glasses-wearing preacher’s kid, the violin only made things worse.

Elliott: I’ve read that punk had an influence for you. Was that a big change from what you were used to hearing?
Konrad: Yes man!! When I read “Please Kill Me” and began exploring Bukowski, I was sold on that ship, man. The stories of MC5 and the Stooges, the roots of urban blues and ‘complaint’ rock, I loved it. I took a break from non-profit work and started at this vegan/veggie coffee joint in South Austin and was exposed to soooooo much. Yes, without a doubt, the punk approach from affordable music, tapes, LP’s and ‘black’ was a beautiful awakening.

Elliott: That’s a great book! It’s a broad subject, and too many in my generation dis it. So, you went to school abroad, how was that experience and did it affect your music much?
Konrad: I took a lot of time off, dropped out, in college. First it was to explore Africa, then down to Mexico and Central America and finally just bumbling along the States before finally finishing my degree. I think the more practical you can make your education the better. Why take out all those damn loans if ya don’t know the answers to why and what you’re learning. Specifically in Ghana, the most powerful lesson was to learn the phrase “I am because YOU are...” I think that’s a beautiful approach to living.

Elliott: Your songs are highly personal, sometimes eerily so, yet I guess you’re also quite a private person. Is the name “Possessed by Paul James” one way to keep your public and private life somewhat separate?
Konrad: Most definitely and also to recognize there’s nothing we accomplish or create that doesn’t have the influence from another person. My experiences are my own yes, but my outlook, strengths and weaknesses are of course greatly influenced by those around me. Paul (my late Grandfather) and James (my Pop) have as much to do with these weird ass songs as I do. So I’d rather express their influence within the name, it feels best.

Elliott: Your new CD Feed the Family has a live raw sound, yet has very clean production. Frankly, I’m blown away by the quality. Was it a long or difficult process?
Konrad: Anything is a long process now with two boys at home. But all in all it worked out quite well with a weekend trip here and there to Austin. I recorded with some good friends and talented musicians in Denton TX, and a strong collection of the works actually came about by a fan wanting to record some sessions. We never have much means for these endeavors but this one came together and the finished product turned out surprisingly clean.

Elliott: The title song “Feed Your Family” is really powerful and sounds like it was written for the fiddle. Do you have a preference writing for fiddle, guitar, or banjo?
Konrad: Guitar for sure. The fiddle is so much fun to play but as I get older it’s getting trickier to balance the rhythm of the stomp with the syncopation of the fiddle. The trick writing to the fiddle is the double stops when bowing. It gives it a full tone and ya can sing on top of it. That’s an area where I need to write more, granted we’ll have two to three additional new fiddle tracks on the 2011 album, but right now we’re writing for the guitar and banjo.

Elliott: That’s great; you’re already onto the next project. Now that you have a new addition to the family is it tough being on the road?
Konrad: I suppose that’s what the title track is about. Ha, what road? Road? Touring? Yeah, that’s off the table for a bit except here in Texas. I like my kids and seeing them this early in childhood (2 year old and 2 month old) is an important time. Hell yes, I miss picking but honestly we never did this full time anyway. It’s always been a stretch here and there, no longer than 2 or 3 weeks. I like the road, but too much late nights and crap food can get ya down. On the other hand, when touring overseas everything is new, ya take the train, swim in the Auire in Bern, eat Italian food in Milano, etc. I could easily stay in Europe and pick year round, I’d be happy cat, yes indeed!

Elliott: After the title track, you slow it down with “When It Breaks,” a really powerful and disturbing song. The balance throughout the CD really keeps the listener tuned in, almost transfixed. As a prolific writer, did you have to edit songs out?
Konrad: Much obliged. Yes there are always too many songs, but not enough of the songs ‘grab’ me the way they need to in order to convey the emotion or ‘catch’. There’s a sure way to know if the song is true, so to speak. In the process of writing I’ll find a tune on that particular instrument and start flowing words in the mix. When the lines begin to come and the wording sticks, if I get ‘growly’ or sometimes teary-eyed I know it’s gonna be a good song. And most importantly, if I can remember how I picked it the day before and it sticks, well then we’re good … ha ha.

Elliott: The 1st track “Four Men from the Row” is both somber and energetic with its complex rounds. Is that based on a particular story or just a fact of life living in Texas?
Konrad: Actually we give reference to this in the new song book we just put out. I used to work in a transitional house for VA offenders. So these guys would bunk in the house and find work as they transitioned out of prison. Criminal justice and the ‘prison complex’ were big interests of mine back in the day and I had a few friends that worked with life term and death row inmates. I think it’s important to write about social issues and concerns as well as the broken heart. The key is to somehow address such points without sounding too preachy, sometimes it works and other times not so much, but I think we did all right with a few of these tracks.

Elliott: The 2nd track has some of my favorite lines... “No young man shoes gonna fill those old mans souls”…“dressed in black and on the attack across the USA.” What’s the back story?
Konrad: Johnny Cash, brother. This song is all about the big JC and I don’t mean Jesus … ha ha. I was greatly influenced by Cash growing up. We couldn’t listen to much secular music at home but we did hear a lot of folk and gospel. From the Mandrell Sisters to the Carter family and of course Cash, such music was a very strong influence. When he died it took me back a bit, so I wrote a song keeping him in mind. And it’s true in my opinion, there are no young man shoes that can fill such old men’s souls. It just not there anymore. Our folk writers of today don’t have that grit or power. They’re all very good and accomplished of course, but where the hell is the singing and passion? Just my opinion, but this new breathy way of singing blows!! I like my writers and such with power, the kind of power that says “He can write a song that will make you weep, but he can also kick yer ass down the stairs with the intent of the words and physical presence.” That is what we’re talking about.

Elliott: “Oh The Rhythm” from The Folk Singer soundtrack has a big juxtaposition of sensual beauty and destruction with some political overtones. Are you ever tempted to get more political?
Konrad: Oh hell yes, but as we said before that is a very slippery slope in terms of writing. Not because of popularity but because a well written political song in my opinion gets snuck into the mix. I’d rather trick someone to think about a certain issue as opposed to shove it down their throat.

Elliott: Are there any plans to make The Folk Singer available on DVD in this country?
Konrad: Well, we sell it at shows here in Texas. I think the German Film Group is working on State-side distribution as well.

Elliott: “Older in My Body” and “Take off Your Mask” are haunting with shape singing and gospel undertones. Were those techniques learned in your youth?
Konrad: The structure of hymn singing is a consequence of being Mennonite and I sincerely enjoy taking those structures and adding in the twisted themes of such writing. I think its fun to add a touch of ‘ugly’ to what’s always been perceived as beautiful. A little ugly goes a long way, I say.

Elliott: The last track “Color of My Bloody Nose” sounds like one hell of a love affair you might have had. Songs like that make me want to write a tune or two or three. I’ve got some great stories if you run out.
Konrad: Ha haaaa, right on. I like to think that “Color of My Bloody Nose” is one of the best songs I’ve written. I love the imagery, the tragedy, the phrasing “The trash man took your soul ...” I love the way it makes people at shows sing along etc. It’s good to write and even better to sing what’s been written with attending friends. It’s magic when we all gather and realize it’s a 50/50 process and that we’re all contributing to the process. Music is a great release to the burdens of life, we’re very lucky to have explored this path.

For more information on check out http://www.ppjrecords.com/ and for a review of the ground-breaking release Feed The Family by Possessed by Paul James be sure to read the Boston Blues Society January newsletter.
www.ppjrecords.com

Boston Blues Society wants to "Feed the Family"...

Original Link:http://www.bostonblues.com/features.php?key=cdPossessedFamily
Author: By Elliott Morehardt

Artist: Possessed By Paul James
Album: "Feed the Family"
Record Label: Hillgrass Bluebilly Records
January 2011

I’m no musician, but I know great music when I hear it. I also know soul when I hear it, and I got an earful of both from the new Possessed by Paul James (PPJ) CD Feed the Family (soon to come out in vinyl!)

My first real taste of PPJ was on the recent Hiram and Huddie cover compilation from Hillgrass Bluebilly Records, and among the songs that are all gems, PPJ’s sticks in your head just a bit more. Possessed by Paul James is one of many young artists putting renewed energy into a flabby folk scene, with their deep respect for and fresh interpretation of traditional folk/blues.
Feed the Family is Possessed by Paul James’ newest and most mature work to date. You can feel the years, the tears, and the fears come to full fruition within a wide array of musical intricacies, driven by this young artist’s powerful vision. Feed the Family may just be a landmark work for both him and the burgeoning deep-roots movement, which is deserving of more notice in the public eye.

The first track, “Four Men from the Road,” cranks it up with high-energy, complex rhythms as it lulls you into a hard, somber tale of a man’s last walk in prison. Whether going to meet his maker or going back home, it all feels eerily similar in this beautifully crafted song.
Killer lyrics in “Old Man Souls” (an ode to Johnny Cash) like “dressed in black and on the attack across the USA,” and “no young man’s shoes gonna fill those old man’s souls.” They come off as totally spontaneous with a re-energized inspiration from folklore, which is typically tired and dusty, but not this time.

There’s some real dark stuff here also, namely two must-hear songs, “When It Breaks” and “Color of My Bloody Nose” (the folk version of the F.U. song). Both of these songs have strong imagery, not just from the lyrics, but from those magical moments when the musician seamlessly translates his deepest feelings through his instrument and vocals. While “Breaks” pulls you into its dark state, the last track, “Color of My Bloody Nose,” could leave you gasping a bit, and that just makes this humbled writer want to re-load the CD for another listen.
It’s not all darkness, though, folks ... both the title track, “Feed the Family” and “We Welcome You Home” are heart-warming and full of hope, still edgy, and as spirited as any song from the master Woody Guthrie. Nor is the record all esoteric. There’s a song with commercial potential in “Shoulda’ Known Better.” It’s what all country music should aspire to be, but then, pipe dreams can be eternal.

True to his name, the artist may be a bit possessed by his demons and angels, so be prepared. Feed the Family is pure infectious wonder to the discerning folk/blues aficionado, and it only gets better with every listen. Pick up Possessed by Paul James’ new CD now or you can always hear about it later in the annals of American folk music history!