Reverend Horton Heat, Wayne "The Train" Hancock
111 East 6th Street
Newport, KY, 41071
Doors 7:00 PM / Show 8:00 PM
This event is all ages
Watch & Listen
Reverend Horton Heat
Undeniably, The Reverend Horton Heat, aka Jim Heath, is the biggest, baddest, grittiest, greasiest, greatest rocker that ever piled his hair up and pounded the drinks down. Without question, for all of his outlandish antics, blistering stage performances and legendary musical prowess, the one thing The Rev always gets asked about is the story behind his unusual and rather clerical moniker. "Well, there used to be this guy who ran this place in Deep Ellum, Texas who used to call me Horton- my last name is Heath," says The Rev. "Anyway, this guy hired me and right before the show he goes, 'Your stage name should be Reverend Horton Heat! Your music is like gospel' and I thought it was pretty ridiculous. So I'm up there playing and after the first few songs, people are saying, 'Yeah, Reverend!' What's really funny is that this guy gave up the bar business, and actually became a preacher! Now he comes to our shows and says, 'Jim, you really should drop this whole Reverend thing.'"
It's been an almost 20-year journey for Heath, whose country-flavored punkabilly and onstage antics have brought him and his band a strikingly diverse fan base and a devoted cult following, not to mention the respect of fellow musicians worldwide. Revival, the band's first release for Yep Roc Records, is a return to Heath's roots - musical and geographical.
The album was recorded at Last Beat Studio in the Deep Ellum area of Dallas, just a block from where The Rev played his first gig and next door to where the group currently rehearses. Along with eating a lot of world-class Mexican food and BBQ, the band recorded the album's 15 tracks with a minimum of overdubs, bells and whistles. With tour manager/engineer Dave Allen at the board, they wanted an album they could duplicate live.
"I got this lick called the 'hurricane,' and I call back on the hurricane on this album for the sake of keeping things really rockin," he says. (The "hurricane" is a trademark lick where The Rev plays lead and rhythm guitar simultaneously to give the trio its full live sound.) He's also got a top-secret lick he'll introduce on this disc. It's so top secret that he won't even divulge the name, but listen up for it! Lyrically, the album's themes run "from death to silliness," says The Rev, who lost his mother earlier this year. "I'd been going through so much stuff, losing my mom so quickly, new baby, touring, getting back and having to work," he says of making the album. Revival finds the Rev dealing with these issues and more: The track "Someone in Heaven" is written for his mother, while "Indigo Friends" deals with a friend's heroin addiction. But the album's themes aren't only dark and/or serious: "Calling in Twisted" is about calling in sick to work and "using the fake cough," "Rumble Strip" is a truck drivin song and "If it Ain't got Rhythm", "that's a really fun one to play," says the Rev "it is classic RHH. And "Party Mad" is pretty self-explanatory.
Reunited with legendary producer/engineer Ed Stasium, who mixed the album, Revival is a 40-plus minute slab of rockabilly, blues, R&B that shows an artist - and a band - in their prime. It's true that the Reverend Horton Heat have been called a great many things over the course of their storied career: Perpetual Carriers Of The Rockabilly Flame, Genre-Shattering Shit-Starters, Filthy Drunks, and The Most Electrifying Live Act In America (150 shows every year can't be wrong) among them.
"I think it's cool we've lasted this long," says The Rev. "People still come out to see us play after all these years and all the shows and tours. It's amazing. I mean, I get to sing songs about cars I love, drinking and chasing girls. Beats the hell out of the alternative."
Wayne "The Train" Hancock
Wayne has been called "The King of Juke Joint swing," a "Roots Renaissance Man," a "Country Singer's Country Singer" and "Hank Williams meets Gershwin." But the phrase most frequently echoed throughout his career is "Wayne Hancock is the real deal." Joe Ely said it, Hank Williams III said it, Bobby Koefer from the Texas Playboys said it, as have countless music fans and writers when referring to Hancock's authentic and original blend of honky tonk, western swing, blues and big band that he calls "juke joint swing!"
Authenticity and sincerity have been the cornerstones of Hancock's writing and music since the start of his career. His refusal to compromise his vision and sell out his music has earned him a fiercely loyal underground following.
Hancock's vision, as he puts it, is "to bring people together and make them feel good about music. It's a spiritual thing and without spirituality, you've got nothin'. There ain't much on the radio that strikes me as being original or from the heart, most of it's from the pocketbook and it shows."
Wayne is proud of his rural roots and culture and has thoroughly absorbed the spirit of country music's forefathers such as Ernest Tubb, Hank Williams and Jimmie Rodgers. Never a mere imitator, the cutting-edge style that emerges is every bit his own. He breathes youth and driving energy into traditional country forms and adds a dash of big band horns, boogie woogie piano, scorching rockabilly beats, heavenly Hawaiian steel licks and some wigged-out hillbilly jazz guitar.
A native of Columbia, Missouri, Deke Dickerson was born June 3, 1968. Growing up on a farm gave him an interesting slant on life and certainly contributed to his love of all things retro. By age 13 Deke's musical abilities began to show themselves. Playing in bands around his home town allowed the budding prodigy to nurture his growing talent. At 17 he and some friends from high school formed their own band, the Untamed Youth, a garage band that favored surf guitar licks. During the course of time the Untamed Youth was together they operated as a national touring act and released four indie recordings while gaining a strong reputation in the Midwest. But, Dickerson wanted more and moved to the West Coast in 1991. He soon became entrenched in the L.A. roots and rockabilly scene and eventually hooked up with the equally talented Dave Stuckey, another Midwesterner who had transplanted his talent to the West Coast. Together they formed one of the premier hillbilly duos to come out of Los Angeles and released two projects, the second being the highly acclaimed CD, Hollywood Barndance.
While with Stuckey, Dickerson's expertise as a guitarist began to evolve into the definitive Dickerson style. Part rockabilly, part surf and rock 'n' roll with a strong dash of the Roy Nichols jazzy style of country guitar, Dickerson put his mark on his brand of guitar playing. Sadly, he needed to move on yet again inspite of the success of Dave & Deke and the overwhelming emotional connection their audiences seemed to feel for the twosome. Parting ways was difficult and their last performance on a hot summer's evening in 1996 at Jacks Sugar Shack, located at the corner of Hollywood & Vine in Hollywood, proved to be a hearbreaking experience for the SRO crowd. Yet, Dave & Deke never sounded better. While tears were shed, both looked towards a future as solo artists.
Under the watchful eye of manager Allen Larman, the same man who guided the career of Big Sandy & His Fly-Rite Boys to success, Deke Dickerson spent the next year seeking out a band to join him on stage and in the studio. He had a vision built upon the sounds he loved from days gone by and found his dream band in a unit that he christened the Ecco-fonics. Armed with his 'trademark custom double-neck Mosrite guitar,' Deke and the Ecco-fonics began to meld together and played all around Los Angeles, Orange County and the West Coast. They were featured at such roots music spectaculars as the Irvine, California annual Fourth of July Hootenanny and the Viva Las Vegas rockabilly spectacle in Las Vegas, Nevada.
An accomplished engineer and studio producer, in 1998 Dickerson went into the studio in order to produce a solo project by the Fly-Rite Boys sans Big Sandy. Another critical success, Dickerson was ready to take the Ecco-fonics into the studio and record his first solo effort. The result of those sessions in 1998 was the Fall release of Number One Hit Record on HighTone's HMG label. More Million Sellers followed a year later; Rhythm, Rhyme, & Truth in fall 2000. ~ Jana Pendragon, All Music Guide
Written by Jana Pendragon
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