Horton’s Holiday Hayride with REVEREND HORTON HEAT & JUNIOR BROWN with special guests The Blasters & Big Sandy
The Blasters, Big Sandy
22 Rock City Road
Woodstock, NY, 12498
Reverend Horton Heat
Loaded guns, 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 Ameri-
can music. He’s a time-travelling space-cowboy on a endless inter-
stellar musical tour, and we are all the richer & “psychobillier” for getting to tag along.
Seeing REVEREND HORTON HEAT live is a transformative ex-
perience. 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. And then there are the “Heatettes”. Those foxy rockabilly chicks dressed in poodle-skirts and cowboy boots slamming 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.
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 globe 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 love whip. See y’all later.” - Carty Talkington Writer/Director
Rev your engines and catch the sermon on the road as it’s preached by everybody’s favorite Reverend.
Don’t forget to keep an eye out for the 11th studio album from REVEREND HORTON HEAT, boldly titled Rev, due out January 21st.
Born in 1952 in Cottonwood, Arizona, Junior Brown showed an affinity for music at an early age. Discovering a guitar in his grandparent's attic at age seven, he spent the next several years woodshedding with records and the radio. Junior was also able to tap into music he couldn't hear at home which older, college aged kids were listening to. This was possible as a result of his father's employment at a nearby campus in 1958. Armed with this broad spectrum of source material, he had developed some formidable chops by the end of his teen years.
Brown's passion for Country and Western music had intensified by the late 1960's. With many prominent figures as his inspiration, he spent his nights further sharpening his musical skills in small clubs across the southwest. "I played more nights in honkytonks during the 70's and 80's than most musicians will see in a lifetimeI did so many years of that, night after night, four sets a night, 15 minute breaks; I mean after that, you gotta get good or get out." Brown still prefers to refer to his favorite music as "Country and Western" as it was called when he began his career. More recently, however, with the exception of Classical, Modern Jazz and Rap, he has shown himself to be equally adept at virtually all styles of American music, leading many to dub him America's most versatile musician. A listen to his catalog of recordings reveals a virtuosity in Country, Western Swing, Hawaiian, Rock and Roll, (Hard Rock, Surf, etc.), Blues, Trad. Jazz, (Swing), Pop, Bluegrass, and even Mariachi.
Junior knew he could play and sing almost anything, but he had yet to explore his potential as a songwriter. "I realized no one was going to walk into a club and discover meso I started hanging out with some songwriters who I'd played some gigs with, and they showed me how to support myself by writing and publishing." With his songwriting coming together by the mid 80's, Brown upgraded his gear in a way that no artist had ever done. Struggling through each show with the back and forth switch between the six string guitar and its steel counterpart, he had a dream one night about the two instruments mysteriously melting into one. The result was Brown's unique invention, the "Guit-Steel", a double-necked guitar combining standard guitar with steel guitar, allowing him to switch instruments quickly in mid-song while singing. There are other Guit-Steel players now, but Junior was the first, and for many years the one and only. For this and other reasons, he is truly an American original.
In the early 90's Brown and his band (including wife, Tanya Rae) relocated to the fertile Austin, Texas music scene and landed a weekly gig at the Continental Club. His unique and entertaining combination of singing, songwriting, instrumental skills and producing led to a seven record deal with Curb Records that began with "Twelve Shades of Brown" in 1993. He later released two albums on the Telarc label.
Formed 1979 in Downey, CA, United States.
Phil Alvin (vocals, harmonica, guitar), John Bazz (bass), Bill Bateman (drums, 1979-93, 2008-present), Dave Alvin (guitar, 1979-86), Lee Allen (saxophone, 1981-94), Gene Taylor (keyboards, 1981-85), Steve Berlin (saxophone, 1981-84), Michael Mann [aka Hollywood Fats] (guitar, 1986), Billy Zoom (guitar, 1986), Greg "Smokey" Hormel (guitar, 1987-93), James Intveld (guitar, 1993-95), Dave Carroll (drums, 1993-94), Jerry Angel (drums, 1996-2008), Keith Wyatt (guitar, 1996-present).
The Blasters' self-described "American Music" was a blend of blues music, rockabilly, early rock and roll, punk rock, mountain music, and rhythm and blues. They still have a devoted fan base and have received largely positive critical reviews, but have earned only limited mainstream success. Critic Mark Deming wrote of them, "the Blasters displayed a wide-ranging musical diversity [and] were a supremely tight and tasteful band with enough fire, smarts, and passion for two or three groups."