Reverend Horton Heat

Loaded .38s, space heaters, and big skies. Welcome to the lethal littered landscape of Jim Heath’s imagination. True to his high evangelical calling, Jim is a Revelator, both revealing & reinterpreting the country-blues-rock roots of American music. He’s a time-travelling space-cowboy on a endless interstellar
musical tour, and we are all the richer & “psychobillier” for getting to tag along.

Seeing Reverend Horton Heat live is a transformative experience. Flames come off the guitars. Heat singes your skin. There’s nothing like the primal tribal rock & roll transfiguration of a Reverend Horton Heat show. Jim becomes a slicked-back 1950’s rock & roll shaman channeling Screamin’ Jay Hawkins through Buddy Holly, while Jimbo incinerates the Stand-Up Bass like Jerry Lee Lewis on steroids. And then there are the “Heatettes”. Those foxy rockabilly chicks dressed in poodle-skirts and cowboy boots dreamily dancing the night away. It’s like being magically transported into a Teen Exploitation picture from the 1950’s that’s currently taking place in the future.

Listening to the Reverend Horton Heat is tantamount to injecting pure musical nitrous into the hot-rod engine of your heart. The Reverend’s commandants are simple. Rock hard, drive fast, and live true. And no band on this, or any other, planet rocks harder, drives faster, or lives truer than the Reverend Horton Heat. These “itinerant preachers” actually practice what they
preach. They live their lives by the Gospel of Rock & Roll.

From the High-Octane Spaghetti-Western Wall of Sound in “Big Sky” – to the dark driving frenetic paranoia of “400 Bucks” - to the brain-melting Western Psychedelic Garage purity of “Psychobilly Freakout” – The Rev’s music is the perfect soundtrack to the Drive-In Movie of your life.

Jim Heath & Jimbo Wallace have chewed up more road than the Google Maps drivers. For twenty-five Psychobilly years, they have blazed an indelible, unforgettable, and meteoric trail across the American musical landscape with their unique blend of musical virtuosity, legendary showmanship, and mythic imagery.

Okay it’s time for me to put this loaded gun down, jump in my Five-Oh Ford, and nurture my pig on the outskirts of Houston. I’ll be bringing my lovewhip. See y’all later.

C. M. Talkington
Writer/Director

Love & A .45

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.

What do you get when you meld "fast/loud rules" with the Tex-Mex accordion? Piñata Protest and their invigorating and pointed "punk rock-y-roll." The band "forcefully take the raw essence of conjunto into warp-speed tempos and punky aggression," raves the San Antonio Current, which rates them as "one of the most original forces on the local music scene." And now with their national debut album on Saustex Records, Plethora, Piñata Protest take their infectious and bracing South Texas slamdance to the rest of America and the planet at large.

The band bristles with a sound that has been dubbed "amphetamine norteño," "ranchero punk" and "puro pedo [no bullshit] punk rock" while also targeting the adversities and emptiness of modern life with dead-eyed aim. As the San Antonio Current observes, "Piñata Protest's Álvaro Del Norte is doing for the accordion what the Dropkick Murphys do for the bagpipes, playing what's often considered an embarrassing grandpa-music relic with youthful angst and energy, expanding the punk-rock template beyond London and NYC."

Special Guest Appearence by 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

$20.00 - $160.00

Tickets Available at the Door

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Antone's - NEW LOCATION

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Reverend Horton Heat with Wayne "The Train" Hancock, PINATA PROTEST, Special Guest Appearence by Deke Dickerson

Saturday, August 10 · Doors 8:00 PM / Show 9:00 PM at Antone's - NEW LOCATION

Tickets Available at the Door