Tuesday, July 28, 2009

Southern Writers- Backwoods Malitia and The Birth of a Vernacular


"We fight, get beat, rise, and fight again" is the famous motto of General Nathanael Greene, who sent Cornwallis packing north to Virgina unable to capture and destroy the Southern Army of backwoods militia.

The American Revolutionary War turned in our favor at the Battle of Cowpens on January 17, 1781. American Brigadier General Daniel Morgan lead some 700 militia against Banastre Tarleton's legion of 1,100 dragoons, 17th Lancers, regulars and loyalists. Only Tarleton and about 260 British troops escaped. We suffered only 73 casualties (12 dead and 61 wounded). Our backwoods militia men shot the goddamned hell out of the British. We were just that much tougher and superior rifleman.

Just as a reference and to get a feel for the particular kind of men our militia were comprised of, here are a few of the names off the Anson County North Carolina Militia roster: Shadrick Bagget, Joseph Isgate, Humphry Delyard, Tubal Cain Hicks, William Slaughter... They were all Scotsmen and Irishmen. That's who inhabited the mountains of North Carolina. That's where our vernacular came from.

The sound of our speech at that time, revolted in a remote and far off land, must have been pretty strong sounding. Imagine the time, distance, and inhospitable enviorment, mangling the language and the folks who spoke it. The effect is like distilling. It makes for a certain efficiency and allows for particular perversions and peculiar twists. The vernacular from this region is the strongest sounding and therefore the most influential despite its small population of speakers. Because of it's strong sound, even when one colloquial phrase crept into an outsiders mouth and traveled around, it had boo coo influence on the words either side of it.

Sometimes people think Southerners speak slower because we're Lazy or think slowly. Not so. We speak slower because our love of words is so great that we can't stand to part with them. We care deeply about things and fit a word for it's purpose like a tool for a job or a garment for an occasion. We coin a phrase and linger on it, admire it, swear at it, and make love to it before we're willing to let it go.

We as Southerners will take the appropriate phrase or word from where ever we find it and own it without contention. The appropriate use of a word or phrase indicates ownership. It has to be delivered with complete conviction and casualness to be appropriate. You have to own it to use it. It's a matter of taste. If you've got bad taste don't even try it. It has to taste good in your mouth and you have to be able to handle it, like eating softshell crab or pickled okra, like holding a straw of sweet grass in your mouth or a chaw of tobacco. It takes dexterity to spit a line without making it sour or bitter.

I'm not trying to give a goddamned history lesson here. I'm drawing you a little stick figure hangman on a cocktail napkin as we have a couple of Jack and Cokes and watch the cargo ships come and go in and out of Charleston Harbor while we listen to Otis Redding sing Sittin' On A Dock of The Bay on my little transistor radio.

Here's what i'm getting at; All you have to do is go to Oxford Mississippi and you're there. Home of the greatest writers the world knows. I mean c'mon, William Faulkner and Mark Twain. How 'bout Tennessee Williams or Margret Mitchell. Or Harper Lee, James Dickey or Flannery O'Connor. Hell, how about Truman Capote, Tom Wolfe or Cormac McCarthy. The list goes on.

Don't get me wrong. I'm completely moved by Brendan Behan, i don't know his plays well but The Hostage was great and his published letters are fuckin' incredible. I know more of the stories about him than i do his work. Of course Walter Scott is just the damned creme too, Ivanhoe, my God!

So yeah, "we fight, get beat, rise, and fight again." It's the lack of bitterness that makes us who we are. Oh well, to hell with it, i don't give a goddamned about it.

Sunday, July 26, 2009

These Days


It's only been a little bit ago but it seems like a long while. I was living up above Chateau Marmont in the hollywood hills. Getting around Los Angeles as best I could. I lucked out and found one of the finest Ozark hillbilly guitar pickers masqueradeing as a punk rock bass player in the Circle Jerks. Yeah, Zander's a full on trip. He lives up to any myths or rumors you might of heard. I grew up around ornery old flat pickers and never wanted a damned thing to do with it. I was like "fuck a bunch of bluegrass." When I was cutting my teeth, first chance I got I ran off down to Atlanta from Carolina and got on some rap tracks. 'Bout as far away from "Good Ol' Rocky Top" as I could get, which suited me just fine. The scene in Atlanta was thick with Goody Mob and a young OutKast. Killer R&B.

Anyways, I'd been out west for a minute and was beginning to get nostalgic if not homesick for sweet tea and fish & grits. I discovered people out there were digging the way I talked though. Especially girls. So being homesick and finding new approval and appreciation for a vernacular I couldn't seem to shake, I found myself pickin' & singing songs that Ol' Mountain John would be proud of. Right there in the middle of LA Zander and I got busy getting our twang on. He's hillbilly as a split rail fence too. One night he gathered a motley crew of players and we went to he buddy Stefan's loft studio in down town LA to lay down some tracks. Stefan's a Jersy imagrant with a thick accent of his own. 'Bout the third thing he'll say to a girl is "I like ya shews..." On drums he got this Russian, Alexander Gudenoff- On guitar rone, Juan Hernandez, from a working mariachi band with a white straw cowboy hat and mustache, hencho Mexico. The russian had a couple girls in tow and Juan brought his pittbull. One of the girls was wearing a gold lame top and brown bellbottom slacks. The other had on a sheer gray jump suit with green panties and orange ankle boots.

We all met in the alley outside Stefan's building, introduced our selves, grabbed up our instruments and piled in the freight elevator. The ride up was interesting. Juan's bulldog walked across the elevator and buried his head in the girl with the jump suit's ass and she just squatted and used his head like a stool. The other girl looked and smiled, Juan was expressionless and said nothing to his dog.


The russian played a kit Stefan had already miced up. As we were unpacking guitars and tuning up he started playing a slow soulful waltz. I figured it was some Slavic type of thing, then I heard him humming the melody to "So Lonesome I Could Cry". Zander walked across the room pickin' out the melody, I grabbed a chord and Juan fell in with his guitar rone cinched up under his chin. Right off the bat it was a fierce jug band jangle. Kick- high hat- snare- the russian had bad ass swing and Juan was tight and specific and primitive. We played a couple tunes and then went over the arrangement for "The Bleeding Song". We played it down one time and that's the recording. The Russian did overdub the spoons while the girl in the gold lame top was running her fingers through his hair. Then we did "Six Weeks In A Motel".
Those recordings are Lo-Fi as hell and not even mixed. Just what was on the board to do the session. They're pretty cool though 'cause they sound like what they are. I mean that was quite a scene that night with those characters and that bulldog up in Stefan's loft, down town LA, mannequins hangin' on the wall, Christmas lights draped about the place and those damned girls... Hell, Gary Katz gets a kick out of "The Bleeding Song".

Anyways, I take a couple of mixes with me and send them off to some folks. Not more than a day or so later I get a phone call from a guy I'd met at a craps table in Vegas. He says "Boo Ray, We love that music! What're you doing tomorrow? I'm sending you a plane ticket and'll pick up in Nashville." He's got a publishing company and they manage a successful singer. So I get to Nashville and these guys show me the town. We go down on Broadway and they throw me up on stage at Tootsies with some of their friends and down the block again at Legends. We're having a ball and end up the night at this joint called "Looser's". We walk in and don't get half way across the floor when this big corn fed motherfucker on the mic says "motherfuckin' Boo Ray! Get your ass over here boy!" It's my long time friend Jared. He throws me a guitar and busts into "Ooo That Smell" and plays song after song and won't let me off the stage. We finally take a break. Now Jared's pretty smooth and likes to hear girls sing, so he turns the mic over to this redhead girl and she gets up there singin' and just brings the place to it's knees. I mean she sounded so fucking good, we're all laughing about it and beside ourselves. She's got this beautiful Louisiana accent and plays and sings her ass off. I'm struck right there in my boots.

Then, in walks Two Foot Fred from Big & Rich flanked by two vixens. The scene was so thick I had to pinch myself to make sure it was real. The red headed girl sings a few more to our delight and then I jump up and join her on Angel From Montgomery. We're instant friends. Jared takes us all deep into the night and we all sing and carry on 'till 4am.


I get back to LA a couple of days later and sit down that evening at a table looking out a 70' wide wall of glass over all of Los Angeles. Santa Monica and the ocean to the west and all the way down sunset boulevard to my left, downtown LA and Dodger Stadium miles away. I'm reeling about this trip to Nashville and just want to sing with this girl again. I watch the sun go down and the lights begin to flicker as as my heart drowns out there over LA. The stars in the sky are like a reflection of the lights swimming in the city of Los Angeles.


That night I wrote "These Days" and put it down on a little four track. I sent an mp3 of it off to the red headed girl. She sent it back the next day with her vocal on it and I spent another night drowning over LA while I listened to her sing that song over and over again all night long. That's the acoustic record's been up on the web page. We recut that song with "Q" a cool producer in Atlanta and it's on my new album which which will be released in October '09.


The red head is Jodi James and we've become good friends and still make music together. She's a great singer and song writer. Her song "I don't live Here Any More" just get's all the way to me. "Josephine" 's killer too... And then "Crazy Sometimes"...stops me dead in my tracks. She just sounds great. I always keep an ear out for Jodi James.

Saturday, July 25, 2009

Truckstop R&B


Thought y'all might get a kick out of this track. I just cut this song "Constantina" with Noah Shane at his studio in Hollywood. Noah played trap set drums and put that big truck stop R&B beat on it. Paul Ill came by and put that unforgivable dirty damned bass line down. Zander Schloss crawled out of the sleeper of his tractor trailer and played that filthy bouzouki part on his way across the parking lot headed for the two dollar showers. Right when we needed some one to distract the cashier girl at the pumps so we could get away clean with a tank full of discount diesel, Jordan Shapiro showed up with his steel and stole that broads damned mind. Hell, I'm just tellin' the story, it wasn't my fault.

Constantina

Baby I know you got your secrets
Honey I got my secrets too
The letter I sent did you receive it
I wrote it all down in black & blue

You wear you cloths like a knife in a sheath
You hide yo eyes you look at me like a thief
You sound like Baton Rouge & girl I feel you
There's no one lookin' baby I'm gonna steal you

Honey I'll take you to the airport
But I won't watch you fly away
Girl I know your heart is war torn
Constantina cross your heart now let us pray
Our Blessed Lady of Assumption
Is there nothing you can do
Why so many fallen angels
Where lies the burden of the proof

You wear your cloths like a knife in a sheath
So cruel and slow you cut me vicious and deep
You dig Los Angeles Nights & girl I feel you
Right in the broad day light I'm gonna steal you

I could just walk away and leave you
I won't look back I'm gone and on my way
'Cause girl I want you but I don't need you
To be you fool that's too high a price to pay

You wear your cloths like a knife in a sheath
You hide your eyes you look at me like a thief
You sound like Baton Rouge & girl I feel you
There's no one lookin' baby I'm gonna steel you

Boo Ray-Noah Shane

Friday, July 24, 2009

*Backslidin' Baptist Truck Stop*



It's a long and twisted tale, but there's a story behind this poster and every word,
name and image on it. 


For the sake of starting off on a good foot, let me clear a couple of facts. I walked in to the kitchen the other evening and my good friend Robbie Toulson was pulling this huge damn roasting pan out of the oven. You know that camping cook wear with the speckled ceramic coating. It was on of those, but bigger than any I'd ever seen. So, Robbie pulls this thing out of the oven and it fills the kitchen with an interesting aroma. Not putrid, but not the freshest thing you ever smelled either. You know how corn beef & cabbage can stink. It was kind of like that. This roasting pan's no less than 30" long, a foot wide and a foot deep. He pulls the lid off and it's a crust on top, all the way to the top, to the brim. I said "What you got a possum under that crust." We all laughed, 'cause the thing was so big it might of been true. Turns out it's layers of rice, roast beef, and a two inch biscuit crust. So, there's really not any possum in a possum pie. You can call it creative licence or just damn silly, but that's where our Possum Pie came from and you can get some on Monday night at Little Kings Shuffle Club.


I'll finish this yarn here directly. Gotta go pick up some posters from the printer.
'preciate ya,
Boo Ray


Man, we had a good time. The Possum Pie got damn devoured. Fester sang "She bent over to pick up her Bible & I saw her thong." Nate Hale brought his great sounding kit and hosted some bangin' jams. Paul Lee & Scotty brought their rigs and played their ass's off all night long. Tonks sounded like million bucks. Adam Payne sang killer. D Marler & Laney killed it. Ty brought the "Hostile Pentecostal Revue". Todd White sounded great. Carlton Owens showed up and stomped a damn hole in the floor. Everybody played. Everybody had a real good time.

Musicians in Attendance  10/4:
Nate Hale
Paul Lee
Scotty
Carlton Owens
W. Tonks
Adam Payne
Ty Manning
Todd White
Sean (drummer)
Biker Lee
Adam Poulin
Anna Innecken
Big "E"
Fester Hagood
Laney Strickland
D. Marler
Boo Ray


The approximate Line up next week is:
Mike Dekel
Daniel Hutchens
Abby Owens
Charlie Garrett
Adam Payne
Ty Manning
Fester Hagood

And yes... They'll be Possum Pie next week too.



---------------
The Backslisin' Baptist Truck Stop at Little Kings Shuffle club was another damn good Monday night. October in Georgia starts to cool off a little bit and get comfortable. 


Right at 10pm De El and Robbie and I loaded up a couple of guitars and a Possum Pie and headed down to the club.  They were just finishing up the trivia night when we got there. I think the last question was something about a Thinn Lizzy song.


We loaded in and some regulars gathered on the side walk; salutations, a smoke, hauling some equipment and setting up the sound. Charlie Garrett brought a drum kit and we set that up alright for a couple guitar players. Scotty Nicholson brought his key rig and his guitar rig. Paul Lee set up his bass rig and did the rest of the PA set up, since he's just damn good at it and we don't mess with him. 


Man, I sure was glad when Mike Dekle walked in the door carrying his guitar case. Mike's a monster song writer. He wrote "Scarlet Fever" for Kenny Rogers,  Don't Love Make a Diamond Shine (Tracy Byrd), Someone Must Feel Like a Fool Tonight (Kenny Rogers), and Size Matters (Joe Nichols).


We get all set up and try one. Hell, sometimes the first one after a long one can be rough as a cobb, and it was. We're just missin' every other damn change and just not even close to it. I ain't mentioning any names but God all mighty, ain't you all ever heard Jail House Rock by Elvis. 


Mike's standing there and I'm thinking "he must think he just stepped off at the damn late night detention hall. If you ask him, Mike will tell you that "Boo used to rent a place from me" and I did, but I've written with him at Warner Chapel in Nashville too. Hell, I'll get a song cut by somebody before too long and he'll be proud I wrote with him. 


Mike grabs up his guitar and commences to singin'. He sounds great right off the bat and tells us some cool stories about the songs, plays 4 or 5 and say so long. We're off and running. I make sure and play a George Jones song as Mike's walking out the door and it sound just fine. About that time Daniel Hutchens and his wife arrive. 


Charlie Garrett  jumps up with his outfit and kicks in to a killer sounding guitar jam. Charlie's cool. He got some Neil Young and some Petty in him. 
I go over talk with Daniel for a minute and he get's up when Charlie's done. Daniel and William Tonks on electric kick some cool songs, and played a couple staple Bloodkin songs that sounded great too. Daniel calls up Carlton Owens and Paul Lee and they get on a good blues stomp for and ride out for a minute. 


Not a bad way to spend a Monday night. Man, every body who showed up,  played and sounded mean as hell. Ty Manning got to a real cool place on the guitar with a funk jam. Hell, he's funny with all his gospel parodies and can make the party happen, but he can tear it up on guitar too. 


About the time everybody's Jack & Cokes started getting hungry, Robbie's Possum Pie was there waiting like a sacrificial varmint.  


Fester Hagood had an early call time the next morning and almost eased off without singin' for us, but he jumped on the mic and sang a brand new song, knocked our socks off. We all played 'till about 2am or so. We'll be back next week with some more cool characters and Robbie said he's making something or other for us to eat.


I appreciate you all,
Boo Ray