The Tillers "Hand On The Plow" Album Release
Woody Pines, Saro Lynch Thomason
111 East 6th Street
Newport, KY, 41071
Doors 8:00 PM / Show 9:00 PM
This event is 18 and over
Watch & Listen
It didn’t take long before their signature treatment of classic folk songs became the preferred versions of Cincinnati locals. Their audiences swelled, growing into an assortment of grey-haired mechanics, neo-hippies, farmers, punkers, professors, and random strays all stomping, clapping, singing, and belting outbursts of “John Henry!” “Darlin’ Corey!” Ever since, the band has come to each show with the same energy. They are magnetic showmen, mature musicians, and colorful storytellers.
The Tillers have since won over Cincinnati’s bar and festival scene, and launching tours with tireless momentum. They were awarded CityBeat Magazine’s Cincinnati Entertainment Award for best Folk and Americana act in 2009. Their relentless gigging has taken them throughout the east coast, the Midwest, and the Appalachian south. In the summer of 2009, veteran NBC news anchor Tom Brokaw featured the Tillers on a documentary about US Route 50. Brokaw showcased the group’s song “There is Road (Route 50)” as a testimony to the highway’s role as a connective tissue of the nation.
"Woody Pines brings that low-key street corner style of performance to his stage show, but with all the polish and seasoned professionalism of a tour-bus-and-green-room rock stardom."~Ali Marshall, Mtn Xpress
Now on his fourth album, Woody Pines is no stranger to fans of the new folk music coming from all corners of the USA. Alongside artists like Old Crow Medicine Show and Pokey LaFarge, Woody continues to dust off the old 45s and make the music new again. Integrating sounds from Leadbelly to Bob Dylan, from Woodie Guthrie to reservation Hall, Woody Pines belts out songs of fast cars, pretty women and hard luck with a distinctive vintage twang.
Woody's journey has taken him from street corners and smoky bars to folk festivals and the Grand Ole Opry, but he started with Bob Dylan. As a child, unable to read music, he made up new tunes for the Bob Dylan songbooks around his house. He immersed himself in music, and later hitchhiked with a friend to visit his heroes such as Pete Seeger, Ramblin' Jack Elliot and Utah Philips. By the age of nineteen, he claims to have played in forty-nine states.
Woody began the famed Eugene, Oregon, jug band the Kitchen Syncopators while at the Oregon Country Fair, busking for tips with Gill Landry. The Kitchen Syncopators began touring up and down the west coast, which is where they met famed Seattle street corner musician Baby Gramps. Baby Gramps recommended they try New Orleans, and gave them the name of an old flame who lived there. The Syncopators stayed for three years. They worked street corners tirelessly, putting in hours busking, treating music like a full- time job, but it paid off: three albums later, the Kitchen Syncopators had made a lasting name for themselves.
When the Syncopators broke up, Gill Landry joined up with Old Crow Medicine Show, where he is to this day. Woody went to Asheville, North Carolina, to learn fiddle music. Once again he hit the street corners with an open guitar case, but in not to long he was putting out solo albums. Rags to Riches and Lonesome Shack Blues were followed by Counting Alligators, for which Syncopator bandmates Gill Landry and Felix Hatfield collaborated. Backing musicians joined the band, and by the time Woody recorded the five-track teaser CD You Gotta Roll, he was playing over 240 dates a year, as far afield as the United Kingdom.
If you Google "Rabbit's Motel", you will find a snapshot posted by Woody Pines with the caption ""Rabbits Motel Used to be the best soul food in Asheville." Woody took the name for his fourth and latest album. In contrast to You Gotta Roll, Rabbits Motel brings in a bit more of a country feel, with some electric instruments you ouldn't see in a jug band. Some tracks bring in a full studio sound that leaves the street corner behind, but opens up rich new possibilities. Still thoroughly rounded in the blues and rags of before, this album adopts a touching lyricism and an independent streak that brings to mind Iron and Wine, among others.
We can only imagine what will be next for Woody Pines after this album, but without a doubt there will be more touring, more old songs made new, and more new songs that sound straight out of your granddad's 45s. Woody has established himself at the forefront of a generation of musicians who are reminding us what great music is, all over again.
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