Reverend Horton Heat

Recently, the Reverend Horton Heat, aka Jim Heath, had something along the lines of what he calls an epiphany.

He's a little tired of being taken so seriously-well, maybe not seriously, exactly, but you get the idea-and lately he's noticed that some of his funnier, country-tinged songs were his biggest crowd pleasers. Besides, being entertaining is what this is all about, right?

So, ladies and gents, roll your smokes up in your sleeve and hold on to your cowboy hats, it's time to take a trip back to a time before slick, over-produced country became the norm-a time when outlaws wrote songs about being without a pot to piss in-or at least about psycho exboyfriends and deadbeat girlfriends that spend your paycheck faster than you can say Lone Star.

Welcome to Laughin' and Cryin' with the Reverend Horton Heat a record full of country-heavy tunes about bad habits, well-meaning but clueless husbands, ever-expanding beer-guts and, well, Texas. It wouldn't be a Reverend Horton Heat record without a song or-in this case, two-about the Lone Star State. And, while Laughin' and Cryin' marks a detour from the hard driving punkabilly of the Rev's last record, 2004's Revival, this time tending toward honk, there's still some shit-kickers ["Death Metal Guys"] to let you know that Heath and crew still mean business.

"I really wanted to capture the feelings of recordings of the late '50s, early '60s," Heath said of the songs on the new record.

Exhibit A: Beer Holder, a honky-tonker about a guy who finds the table by his chair a bit too far of a stretch-so he opts for a new "beer holder," his growing gut. While this guy finds his solution genius, his woman thinks otherwise.

"[The record is] kind of from a regular guy point of view," Heath said. "You know, I like to do stuff that's kind of tongue-in-cheek that makes fun of the good old boy thing as much as trying to glorify the country boy thing."

Heath originally conceived the new record as the product of an alter ego, Harley Hog, a sort of "laughing and crying" singer.

Wayne The Train Hancock

Wayne Hancock has been called "the master of hillbilly 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.

Hancock figures he started writing songs around the age of twelve, and he did a lot of travelling around Texas, playing juke joints and belting out his originals for anyone who'd listen. At 18, he won the "Wrangler Country Showdown" but couldn't claim the prize because he'd already enrolled in the Marines. After a six-year hitch with Uncle Sam, he moved to Austin, where he reacquainted himself with music and won a role in the 1994 theatrical production of Chippy. He performed alongside Terry Allen, Butch Hancock, Joe Ely and Robert Earl Keen and Rolling Stone proclaimed, "The nasal honky-tonk of newcomer Wayne Hancock practically steals the show."

In 1995 Wayne debuted with Thunderstorms and Neon Signs, a remarkable CD produced by steel guitar legend Lloyd Maines (Joe Ely, Wilco and Richard Buckner). The release was met with critical acclaim. Newsweek called it "the most promising debut of the season." Two-hundred-fifty dates throughout the country, including brilliant performances on Austin City Limits and NPR's Prairie Home Companion, led to well over 22,000 copies sold of his debut release on a tiny independent Texas label.

In 1997, Wayne signed with ARK 21, an eclectic and well-anchored label owned by former Police manager Miles Copeland. Miles and his staff were impressed with Wayne's genuine ability for writing and performing and have dubbed him "arguably the hardest-working man in show business" for his willingness to tour solidly and his insistence on efficiency and untainted live energy in the studio. That's What Daddy Wants, Hancock's sophomore release, was recorded in a startling three days. A brilliant example of his Texas swing and juke joint rockabilly, the album was even a staple on the space shuttle Columbia, the bugle call of its title track used to wake the astronauts. After That's What Daddy Wants generated even more critical success than the first release, ARK 21 decided to reissue Thunderstorms and Neon Signs on their label.

The past several years have been a time of personal evolution and growth in Wayne's life. He was self-managed since the beginning of 1998 and later that year he lost his father to cancer.He has still been gigging solidly throughout the country and has been doing his own driving, tour managing and taking care of business in exactly his own way.

Deke Dickerson

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

Jayke Orvis & The Broken Band

A founding member of The .357 String Band and current member of the Goddamn Gallows, Jayke Orvis is ahead of his time even though he plays timeless music. The songs on his solo effort "It's All Been Said" are articles of the heart, exposing Orvis as a fragile, troubled soul. His depictions of love are raw and blue, the pages of his life littered throughout this album.

$20.00 - $25.00

Off Sale

add to your calendar

Who’s Going

Upcoming Events
Outland Ballroom

Ticketfly

Reverend Horton Heat with Wayne The Train Hancock, Deke Dickerson, Jayke Orvis & The Broken Band

Sunday, August 18 · 7:00 PM at Outland Ballroom

Off Sale