Chris Knight

Chris Knight

Chris Knight doesn’t like to say much. Won’t chat about his worldview or engage in conversations on his creative approach. For 15 years, 7 acclaimed albums and a hard-nosed career that’s been hailed as “where Cormac McCarthy meets Copperhead Road”, Knight has always let his music do most of the talking. And on record – as well everywhere across America, from roadhouse taverns to major-city concert halls – his songs have had plenty to say. But with his new album Little Victories, Chris Knight has taken the discussion to a whole new level.

His first album of new material in 4 years, Little Victories is a record of blunt honesty, elegiac truths and the raw rural poetry of an artist who’s come into his own and intends to stay. And for a performer who’s been compared over the years to Cash, Prine, Earle and Nebraska-era Springsteen, Knight now stands alone as a singer/songwriter that has carved his own idiosyncratic sound and sensibility out of the dirt road American dream. Little Victories not only sounds like a Chris Knight album, but the best Chris Knight album yet.

“I don’t ever get in a big rush about things,” Knight says. “I can tour pretty good on what I got. I took my time, like I always do. Write a song every now and then. I don’t like to talk about politics, but I do write what I’m thinking about.” And if many of the songs on Little Victories seem to take a hard-eyed look at the current socio-economic climate, Knight – the former strip-mine inspector who still lives in the backcountry coal town of Slaughters, Kentucky (population 200) where he was raised – is upfront about their origins. “About 2 years ago, we had a big ice storm here in Slaughters that just devastated the whole area,” he says. “We were out of power for close to a month, cooking in the fireplace and living by candlelight to survive. Things slowed down to nothing. When we were finally able to head into town, we saw lines of cars for miles outside the gas station. There were hundreds of people outside the hardware store who had nothing even before the storm hit. They weren’t prepared for the situation or for each other. I watched their behavior and reactions, and that’s when I started writing a bunch of songs I knew would be a part of this record.”

Little Victories also marks a reunion with producer Ray Kennedy, who’d engineered and mastered Knight’s seminal Enough Rope and two Trailer Tapes albums and is well known for his work with Steve Earle, Emmylou Harris, John Mellencamp and Lucinda Williams. “Chris wanted to make this record with his road band,” explains Kennedy. “And as we were tracking in the studio, the sounds I was sending back through the headphones were pretty tough and edgy. It made everybody crank their amps up higher and dig a little deeper. The sound of any record is about attitude and how it goes down, and much of this record went down like a rock record. Other than a few overdubs, it’s pretty much recorded 100% live.” This organic approach gives the album an acoustic/electric texture that is both urgently gritty and fiercely expressive, with Knight’s twang-rich vocals to match. “Chris digs deepest of all on this record,” Kennedy says. “It’s the content of his voice as well as the character of the songs. And when you listen to this record a few times, you realize there’s a really unique social commentary woven in. I think he’s one of our greatest songwriters, period.”

The album’s 11 songs purely rank among Knight’s finest. There’s busted luck in “Lowdown Ramblin’ Blues”, hardcore tenacity in “Nothing On Me” and badtempered love in “You Lie When You Call My Name” (co-written with two-time Grammy winner Lee Ann Womack). Buddy Miller provides guest vocals on the ominous commentary of “In The Mean Time” and the ornery regret of “Missing You”. “Jack Loved Jesse” is a raging tale of criminal destiny co-written and featuring blistering electric guitar and vocals by former Georgia Satellite and frequent Knight producer Dan Baird. “You Can’t Trust No One” emerges as an unsettling paean to small-town American cynicism and anger, and “The Lonesome Way” is a gut-punch of slide-guitar, violin (courtesy Tammy Rogers of The Steeldrivers, who appears throughout the album) and bullheaded regret. The humble acoustic remorse of “Out Of This Hole” is Knight at his most plaintive, and the crushed dreams of “Hard Edges” carry a banjo-tinged melancholy. And if the title track not only finds Knight at his most cheerily optimistic (for Chris, at least), it also features vocals from his lifelong musical hero John Prine. “When I was 16, I got a John Prine songbook and learned about 40 of his songs,” Knight explains. “Used to play them for the kids in study hall at school every day. About 20 years later, I finally got to meet him when I opened a few shows for him. He asked me to come out and sing “Paradise” as part of his encore, and I got to play the blonde Martin guitar that was on the cover of his first album. I sent him “Little Victories” and he liked the song enough to be on it.” Chris treasures the moment when the two first listened to the playback of their distinctive twangs rasping joyfully together on the chorus. “‘Prine turned to me and said, ‘We sound pretty good together. Just like Phil and Don Everly.’”

So after 15 years, 8 albums and a still uncompromised reputation as one of the best singer/songwriters in America, what has Chris Knight learned from it all? “I’ve learned that I’m pretty lucky to do what I do and make a living at it,” he says. “I’m really proud of this record, and it’ll be fun to play these songs live. For people who like my music and maybe even for someone hearing me for the first time, I think they’ll find songs on here that mean something to them and they can hang on to. I don’t want to talk about it too much, but I think people are gonna be surprised.” And for Chris Knight, that’s victory enough.

“Thieving Birds are like a breath of fresh air for your ears and soul. These guys are destined for big things through honestly good tunes made by five great dudes.” –Bart Crow (Recording Artist/Songwriter)

“Thieving Birds are ready to roll out the rock n’ roll with this release… Great guys and a great record. Bottom Line.”-Justin Frazell (KFWR 95.9 The Ranch & The Red Dirt Road Radio Show)

Thieving Birds are a band from Fort Worth, Texas that was formed in September of 2010. These four friends combine Rock, Country, Roots and Blues to create a unique musical offering to their audience. The lyrics are thoughtful and strong being carried by the sultry and powerful voice of vocalist and guitarist Ace Crayton. The Rhythm section is filled out by the strong and solid drumming of Beau Brauer along with the precise Bass playing of Rody Molder. Lead Guitarist John Seidler weaves notes together to create a landscape of guitar work that will make you feel as if you’re moving across the terrain of their great state.

They released their debut, self-titled album on June 25th, 2011 and entertain and amuse audiences with their high- energy live sets. “All we want to do is play music together, to have that moment on stage when we’re all feeling the song, and to have the crowd share that moment with us… you can’t get that feeling anywhere else. That’s live music… that’s why we do it” says Crayton.

Carson McHone

Carson McHone and her homegrown curve-ball edge to songwriting.

Releasing an album or recording remains a milestone for any musician. Tonight at the White Horse, 10pm, Carson McHone oversees her first EP. I booked the young local for a U18 Threadgill’s series several summers back, and found myself utterly charmed by the teen songwriter citing onetime local Ana Egge as an inspiration.

Seriously, that’s what got my attention. I expected Joni Mitchell or Lucinda Williams or maybe Kathleen Edwards to be name-checked, but no, she said Ana Egge. That’s the kind of curve-ball edge found on Carson McHone’s self-titled EP, songs such as “Pale Blues” resonating with the confidence of a veteran. Call it a direct result of growing up in Austin’s music-saturated atmosphere.

“Ana Egge writes those deep, dark songs,” explains McHone. “I love that stuff. One song in particular, ‘Fairest of Them All,’ really stayed with me. The lyrics were just so haunting. I heard Slaid Cleaves cover it. He did a melodically darker version and I just had to sing it like that.

“There’s nothing like a sad song, but Ana Egge can kill that upbeat honky-tonk stuff too. A very diverse songwriter.

“Townes [Van Zandt] is probably my favorite when it comes to lyrics. He makes you work. It’s like a poetry exercise reading his verse. He writes in so many different rhyme patterns and meter.

“I’ve been listening to a lot of blues lately too – Mance Lipscomb, Lightnin Hopkins, R.L. Burnside, Howlin’ Wolf. It just moves you in a different way. The blues just want to get it out of you, whatever it is you’re feeling in the moment. It’s not necessarily about being calculated and precise, but honest.

“Honest is what I am when I write and play and sing, so listening to those players inspires me. It’s this circle that feeds itself, listening to something raw and honest and in turn getting satisfaction out of living and writing in that same way. Inspiring that same drive and feeling in others.”

The six songs on McHone’s EP were written over the last 18 months, a time of reckoning as she went off to Hendrix College in Arkansas. She gave it the old liberal arts college try for a year and a half before giving in to her muse. Returning to Austin brought with it the challenge to actually do what she’d only dreamed about: pursuing music.

“I needed to work out in the world, get a taste of something else, live on my own. I came home, started waiting tables downtown, spent about a year getting lost. Then, when it was time, I went looking for myself. I found myself again through song. In the end, the thing that brings you back to reality is what you grab onto with true passion and respect. That’s what writing songs and playing music was for me.

“The White Horse is great to play because the crowd is so diverse, and yet it’s so loyal. The folks that frequent that bar are from all different walks of life, young and old, and there’s still a sense of community. It’s cool to have a crowd that trusts you will deliver because they trust the bar that books you.

“And it’s really fun to recognize why these different people enjoy the music. Some come to dance, others to drink and get rowdy with you, others to listen closely to your lyrics, others to listen to your band members, because lots of times the folks in the audience are also musicians.

“We all end up learning from each other.” - Margret Mosher

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