Scott H. Biram: ‘Til I Hit That Open Road

“In England, last year we were over there, and my friend John from the Black Diamond Heavies – well, you can’t have no pocket knife in England, and we were partyin’, and he was yelling at these old geezers about something or they were yelling at him. They saw he had a pocket knife in his pocket, and they told one of the bobbies outside, and they took him to jail. And we said, ‘Is there anything we can do?’ And they said, ‘No’, and I said, ‘Well… okay!’ And we went back in and started dancing again, and my friend was in jail.

The next morning, he came swaggering up. He said [adopts rough, John Wesley Myers voice], ‘Man, that’s the nicest jail I ever spent the night in. But they took my coon dick bone!'”1

This is the story behind the centerpiece song of Scott H. Biram’s new album Bad Ingredients. Aside from memorializing John Wesley Myers’ confiscated good luck charm, the boogie woogie rockin’ “I Want My Mojo Back” also pays tribute back down the line to Lightnin’ Hopkins and the whole mojo hand tradition.

 

 

Though known as a punk-blues songster, Biram tends to draw on a variety of forms, from blues to bluegrass to country to metal and other points between. And while that remains true for Bad Ingredients – his almost out-of-place cover of Bill Monroe’s tender “Memories of You, Sweetheart” being the most obvious example – this is probably Biram’s bluesiest album to date. From the fiery, highly idiomatic “Dontcha Lie to Me, Baby” to the stellar “Born in Jail” with its slow hip-drag groove to the slinky Lightnin’ Hopkins cover “Have You Ever Loved a Woman?” and on, this album is made for a sweaty juke joint. Though, as ever, it is indelibly stamped with Biram’s ornery, furious brand of passion.

And it’s just damn good. This is one of those rare albums where I can’t pick one favorite track because so many of them are excellent (aside from ones mentioned, “Just Another River” and “Victory Song” also vie strongly for attention). If you’re already a Biram admirer, this album, which drops tomorrow, is a given. If you’re uncertain, watch that video posted above, get the song download below and be convinced.

 

 

As ever, Scott H. Biram is touring, and you should not miss the opportunity to see him live.

Oct 14 2011 Riley’s Tavern – Hunter, TX
Oct 27 2011 Sam’s Burger Joint – San Antonio, TX
Oct 28 2011 Triple Crown – San Marcos, TX
Oct 29 2011 Scoot Inn – Austin, TX
Nov 5 2011 VZD’s – Oklahoma City, OK
Nov 7 2011 Bender’s Tavern – Denver, CO
Nov 8 2011 Belly Up Aspen – Aspen, CO
Nov 10 2011 Urban Lounge – Salt Lake City, UT
Nov 10 2011 Heavy Metal Shop (FREE INSTORE) – Salt Lake City, UT
Nov 11 2011 Trap Bar at Grand Targhee Resort – Alta, WY
Nov 12 2011 The Palace – Missoula, MT
Nov 15 2011 Media Club – Vancouver, BC CANADA
Nov 16 2011 Tractor Tavern – Seattle, WA
Nov 17 2011 Dante’s – Portland, OR
Nov 18 2011 Humboldt Brews – Arcata, CA
Nov 19 2011 Bottom of the Hill – San Francisco, CA
Nov 20 2011 The Satellite Club – Los Angeles, CA
Nov 22 2011 Casbah – San Diego, CA
Nov 23 2011 Rhythm Room – Phoenix, AZ
Nov 26 2011 The Mohawk – Austin, TX

Scott H. Biram Official Website

 


 

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Tour Alert: Colour Revolt / Empires

Empires, of Chicago (and yes, still the Scrappy Little Band of My Heart) are teaming up with Colour Revolt, of Oxford, Mississippi and visiting some cities  this fall. I can’t get to their Brooklyn show – law school is once again interfering with my rock and roll lifestyle – but I encourage all y’all to go and check them out.

As enticement, I give you some video. First up, there’s Empires, with Spit The Dark, from Howl, the first song they wrote as a band:

http://vimeo.com/7093690

 

And then Colour Revolt, with Eight Years, from their new record The Cradle. It’s the story of eight years playing together – the highs, the lows, the sublime, and the totally, grossly ridiculous:

Colour Revolt "8 Years"

The Felice Brothers / Nicole Atkins and the Black Sea / Diamond Doves, Webster Hall, 9/29/11

It’s been almost approximately a year since I last saw the Diamond Doves (formerly the Dearland in Elvis Perkins and Dearland, now doing their own thing) and in that time they’ve changed: they’ve become tighter and more focused, and their drums are bigger and louder and roll like mighty waves.  They were good before, but they’re better now. I’m also pleased to report that they are still making the hipsters dance. Here they are in action:

 

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Next up was Nicole Atkins and the Black Sea. I (once again) had never heard them before and had no idea what to expect. Ladies and gentlemen: this band rocks. Nicole Atkins has an amazing voice – powerful, flexible, commanding, and sultry at the same time – and she and the band bring some serious jams. If you haven’t experienced them yet, you should get on that right away.

 

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And then there were The Felice Brothers, who are on tour right now. The crowd was a little bit flat at first – some of them perhaps hearing songs from Celebration, Florida live for the first time – but they perked right up and made the floor vibrate with their joy when the band launched into familiar favorites like Run, Chicken, Run, White Limosine and, of course, Frankie’s Gun.

The one I was waiting for, though, was River Jordan. It’s one of my favorites, mainly for the steady, thudding, mournful drums; the line about Fuck the House of Blues; and also the point near the end where either the band cuts Ian Felice loose or he breaks free, but either way he’s soaring.

This time it came at the end of the main set, and it was spellbinding, all the way down to the last two minutes or so when various band members stopped playing and walked back into the wings, until it was just the drums ringing out under the lights.

They came back, of course, and the mood changed. They did a cover of Springsteen’s Darkness on the Edge of Town that made that song expand and thrum with new energy, followed by a raucous rendition of Helen Fry, and then the show really was over. These are some of the pictures I took during the festivities:

 

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And here is one more of the Diamond Doves (& friend), in their capacity as the Felices’ horn section:

 

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