#Roadhouse Band

[donospl]

JAZZOWE ZAPOWIEDZI: True Tone Festival 2023

True Tone Festival to muzyczne wydarzenie dla każdego, kto otwarty jest na różne gatunki w muzyce. Po raz drugi w Gliwicach zaprezentowana zostanie muzyka i muzycy, którzy doskonale oddają wieloznaczność słowa true (prawdziwy). Żywy, autentyczny, oryginalny, niewykreowany i szczery wymiar muzycznego przekazu jest tutaj najważniejszy. Zaproszeni do udziału Artyści, poszukują inspiracji w muzyce…

[sunforgrace]

[oceanofhades]

The Doors

[hammill-goes-fogwalking]

IAN GILLAN & RICK WAKEMAN & STEVE HOWE PLAY A DOORS SONG TOGETHER AAHAHAGGAFAGSDAFFC

ENJOY ✨🏆

[simondmikaeldsen]

Live performances I watched & enjoyed in 23:

Zima stulecia, Błoto, Alameda, Ślina Trzaska, Zemler Aukso, Niechęć, Oddisee, Eabs x Jaubi, Immortal Onion, Zemler Roadhouse band, Więcek Aukso, Sneaky Jesus, EABS, Ślina, Latorre x Skolik x Krzemiński, Fanfare Ciocarlia, 100nka Gralak, Forest Swords, CEL, Kapela ze wsi Warszawa x Aukso, Yoni Mayraz, Dynasonic, Daniel Szwed.

[thatssomecore]

please… we need help 🥲

My band is doing a fundraiser! Its would be nice if we could have some money so give you food 😭. We are selling Texas Roadhouse Gift Cards, they make really good gifts if you need one. They work for any location, and you will receive them as soon as the fundraiser has ended. Thank you for supporting our Band Program.

Hehe funny drawing lol

Below is the link for the Texas Roadhouse Gift Card Fundraiser. https://txrhgiftcards.com/collections/txrh-5-100-no-brd?ref=610GraingerHighSchoolBand2024

[bandcampsnoop]

11/8/23.

I've been a fan of Sophomore Lounge for years. From Bill Direen to Huevos, Ryan Davis' label (originally in Louisville, now in Jeffersonville, Indiana) has been releasing diverse sounds for going on 20 years.

It seems appropriate that the label's breakout release would feature Davis (also in State Champion) himself under the name Ryan Davis & the Roadhouse Band. Pitchfork reviewed it on November 3rd and gave it an impressive 7.9. This LP brings to mind Wilco, The Jayhawks, Son Volt and The Silos. One of the fans who bought this wrote, "David Berman was right when he called Ryan our [Louisville's] best living lyricist."

Joan Shelley is a guest vocalist. Check out her split single with Myriam Gendron on No Quarter.

[dustedmagazine]

Ryan Davis & the Roadhouse Band — Sing Dancing on the Edge (Sophomore Lounge)

Ryan Davis is an intricate wordsmith, backed by a crack band of country-fried weirdos who pull a second shift as the Krautish puzzle palace oddities of Equipment Pointed Ankh. Here on his first album under his own name (he recorded in the previous decade as the much beloved State Champion), Davis dives deep into rustic psychedelia, spinning out home-cooked surrealities to rickety Casio beats and stretching mournful twanging absurdist poetry to epic length. Lately named to Pitchfork’s 37 best rock albums, Sing Dancing is really a country album, though in the skewed, knotty way of David Berman.

In the live setting, Davis seems to be betting hard on his shorter, more conventionally shaped material, the yelping, gulping, yodeling, burnt romantic “Learn 2 Re-Luv” and the graceful reprise “Bluebirds Revisited,” and indeed both are startling, thought provoking pieces of work. But if you want to get right to the heart of what makes this album amazing, head for the ten-minute epic head-trip “Flashes of Orange.” Like the other cuts, it dredges the depths of emotional experience, the blackest, bleariest dead of night vision (“there’s a black space between the back of my head and the back of my face”). It’s so dark, indeed, that Davis hallucinates color in it, “knocks of red,” “flashes of orange.”  The cut seethes with emotive pedal steel, one of music’s most reliable indicators of angst, but it also rears up into something like rock triumph in the climactic chorus “I have these dreams we’re hitting the road again/But i always wake when the engine roars.”

That’s the song where Davis and his mates open up the throttle musically, but if I had to pick a favorite for lyrics, it would be “Junk Drawer Heart.” Here’s him catching the female protagonist in a life drawn sketch: “Her daddy was a hypnotist/Her mother was a metronome/Her mortal coil is not so much a curse/As it is a stepping stone.” The junk drawer becomes a capacious metaphor for memory and identity, with bits of treasure mixed in with useless junk. “She knows there’s something of use deep down/In a rare coin corner of her junk drawer heart,” sings Ryan nailing the mixed bag that human beings are in a couplet.

The band is excellent and even more so live where Davis trades in ricky-tick drum machines for a full kit, and the songs so rich with musical and lyrical ideas that it takes a while to bring them into focus. Spend the time, though, and this album is a universe, harsh and shadowy but shot through with beauty.

Jennifer Kelly

[sinceileftyoublog]

Shannon Lay Interview: The Volume Meets the Medium

BY JORDAN MAINZER

Upon listening to “Angeles”, the Elliott Smith interpretation that opens Shannon Lay’s first covers album Covers Vol. 1 (Sub Pop), you’re struck by something familiar, yet different: her voice. Whether singing original songs, Karen Dalton on 2019′s August, or Syd Barrett on 2021′s Geist, Lay’s voice has always taken on an expressive whisper. You know--kind of like Elliott Smith. But on “Angeles”, she goes full force, unobscured by the haze of her past material. It’s the first song on the first album released since Lay’s taken voice lessons, taking advantage of a living situation and time in her career when she can sing out loud without bothering a roommate, with the confidence and good habits she’s developed over years of writing and performing.

Covers Vol. 1 is, in many ways, different than your traditional covers album. The artists included on it feel like an extension of Lay’s world, from the gentle caress of Nick Drake or Arthur Russell to the Bay Area scuzz of Ty Segall and OCS. (Lay’s spent a lot of time in Ty Segall’s Freedom Band.) Artists like Sibylle Baier and Jackson C. Frank are newfound loves, whereas Smith, Drake, Segall, and OCS are longtime influences. For an artist who wears her influences loudly and proudly while having still developed a unique artistic voice, a covers album is almost the perfect embodiment of Shannon Lay.

When I spoke again with Lay over the phone a couple months ago as she was about to embark on an opening tour for Whitney, she talked about why she likes not just recording covers, but playing them for an audience. “It’s such a great unifier, especially for an audience that doesn’t know you,” she said. “‘You like this? I like this, too!’” Lay plays Friday at the South Pasadena Masonic Lodge, Saturday at the Sebastiani Theater in Sonoma, and in July at the Permanent Records Roadhouse in L.A. Whether it’s a celebration of the release of Covers Vol. 1, Geist, her whole discography, or music in general, you can be sure to hear her as the messenger of some songs she didn’t necessarily write, embedded in the folk tradition.

Read our conversation below, edited for length and clarity.

Since I Left You: Both times we’ve spoken, you’ve talked about how much you like doing covers. You’ve included covers on your otherwise-original albums. What made you want to do a full covers album?

Shannon Lay: I think I had just amassed enough. I had so many under my belt that I loved playing live over the years, and it felt good to release something indicative of how I’ve been playing live lately, which is solo with this nylon string guitar, stripped-down, campfire style. It seemed appropriate.

SILY: Are there a couple tying threads among the range of artists you cover on here?

SL: I really wanted to be transparent about my influences, considering the fact that people who like my music would probably love these other artists, too. It felt like a nice way to let people in to the way I make music and open them up to the things I like, too. If you like me, you’ll definitely like Nick Drake and Elliott Smith.

SILY: It’s certainly a mix of eras. I was excited to see a couple modern day Bay Area luminaries in Ty Segall and OCS. How did those bands influence you as much as, say, Nick Drake and Sybille Baier?

SL: To have real-world experience with people I revere so much has been amazing. Ty and [OCS’] John [Dwyer] have been so supportive ever since I started playing music. It’s been super cool having them as a source of inspiration and support. I love them as people, but I absolutely love their music, so I had to pay tribute to those two guys. They’ve been so impactful on my life, musically and personally.

SILY: On your past couple records, your singing style seems more whispered and subdued, layered and affected. On here, especially on the Elliott Smith and Jackson C. Frank covers, you’re not obscuring your voice at all, which I found especially interesting on the Elliott Smith track, because that’s his singing style. Can you talk about how you adapted your vocal performance for these covers?

SL: I’ve been learning a lot about my voice. I’ve always loved to sing, but I think I grew up singing in these environments where I was living with someone, or roommates, and I didn’t want to bother anyone. I was always quite shy with my singing. Recently, I’ve had the ability to have my own space and explore what it’s like to go full-voice. Also, the way I’ve been tuning my guitar, which I got from Sybille Baier, is tuned down to C-standard. My voice fits so cozily in that zone. I started taking vocal lessons last year. It just blew the doors open, and I was able to find a much more powerful place to sing from. This record is the first place I’ve recorded that progress. Feeling it, and hearing how it hits the tape, particularly on the “Angeles” cover, was so delicious. I get why people love it: It’s this stunning compression that happens when you get that volume that meets that medium.

It’s been so cool. A lot of times, when you play an instrument or sing, you feel like you max out what you’re able to learn about it. I don’t think that’s true for anything. I feel like you can always learn more about what you love doing. With singing, it’s been really cool to expand the possibilities of it. I also want to sing for the rest of my life, so [it’s about] finding healthy habits and a new love for it. It’s stunning. I love it!

SILY: It’ll be cool to hear how you take this new approach into your original songs.

SL: Totally, especially if you see me live lately. It’s the new ingredient in the mix, which has been really fun in a simplified setting. It really maximizes the potential of how dynamic the vocals can be. It’s a really cool instrument, and it’s built into all of us.

SILY: Can you pinpoint your exact relationships to all of these songs, like when you first heard them or fell in love with them? Are there any that are newer to you?

SL: Sybille Baier is pretty new. I only discovered her in the last 4-5 years. Jackson C. Frank was also a pretty new love. The two of them have a lot in common. There’s a beautiful poetic melancholy to the way they make music, and two people I’d love to create a platform to lift them up on. They’re lesser known within this list of people.

The Jackson C. Frank song, I had never heard a cover done by a woman. I wanted to sing it from a female perspective. I thought it was interesting the way it took shape and became a little bit more wistful. I intentionally cut a verse that talked about giving up and not trying anymore. [laughs] I don’t agree with that. There’s something about heartbreak that propels you forward. It’s not about giving up, it’s about overcoming that moment. I liked bringing a more hopeful perspective to a very sad song.

SILY: The last time we talked, you said you always have a Sybille Baier track in your back pocket to cover at any moment. Why’d you choose this specific song?

SL: I wanted to pick songs that hadn’t been covered very much. [“I Lost Something In The Hills”] has some of my favorite lines I’ve ever heard in music. The whole arc of it feels like a coming-of-age story. Understanding yourself in an accepting light and that you’re kind of a weirdo, and these “strong and strange moods,” as she says. I can highly relate.

SILY: It’s a microcosm for the whole record, a curation of songs as a sort of mixtape, but you just happen to be the one singing.

SL: Yes! I love that.

SILY: “I’m Set Free” is a fun one because everyone says Lou Reed’s voice is deadpan, but your cover sort of reveals the song’s melody.

SL: [laughs] Totally. It’s a trip, man. I love transforming that song. The original has a washy thing about it, and I wanted to bring it down to Earth. The lyrics are so beautiful, and the message is, “I’m leaving the story behind,” having a clear perspective of a situation and it being up to you how to feel about things.

SILY: The Ty Segall cover is from Sleeper, his first “folk” record, but OCS have never gone through that folk phase to the extent Ty has. They’ve always maintained a certain level of noise, and "I Am Slow” specifically has a lot of weird instrumentation. How did you find adopting it to a folk song?

SL: That one was funny. With all the covers I’ve done, it falls into place so naturally, and that one just spilled out one day. I had to check with John on the lyrics because I wasn’t exactly sure what he was saying. [laughs] I got to play a few songs with OCS when they released their last record, which is one of the most stunning pieces of music, and I got to sing that song with Brigid Dawson. Every time I listen to OCS and play that song, I feel like I’m paying tribute to San Francisco. It just boils down the vibe of the [city], like a love note to the Bay Area.

SILY: What’s the story behind the cover art of this record?

SL: I do love a pun, so I wanted me under covers on the cover of the covers record. [laughs] It was a really fun shoot. My partner Kai MacKnight shot it on 16mm and grabbed stills, so it had this stunning texture about it. I was actually laying underneath a picnic table, and he was on top of the picnic table to get the shot. I love how it came out. It’s ethereal and ambiguous.

SILY: The title of this album has “Vol. 1″ in it. Do you have other covers set to record and release?

SL: I don’t, but I wanted to establish this never-ending journey. I really appreciate music and sharing music. I love bringing my perspective to songs. I want Vol. 2 to be all duets. I’m going to amass a bunch of duets for that one and see where it goes from there, and eventually release a sick-ass box set. [laughs]

SILY: Are you working on any original material?

SL: I’ve been sporadically writing ever since I released Geist. I want to figure out what that wants to be. I’ve also been writing with other people. I have a few things on the stove simmering, and I want to see what they turn into. I feel it on the horizon.

SILY: Anything else next for you?

SL: Just enjoying the ride. I’ve been doing ceramics!

SILY: Anything you’ve been listening to, watching, or reading you’ve dug?

SL: I just finished Poker Face, which I absolutely loved. It gives me X-Files vibes, which is such a nice thing to have in modern television.

I’ve just been listening to Elliott Smith for like the last year. I can’t stop. [laughs] And Pavement. A modern artist I’d like to hype is Allegra Krieger. She’s fantastic, an East Coast gal who makes the most incredible folk music you’ve ever heard. Her last album Precious Thing has been on repeat. It brought me to tears the first time I’ve heard it.

SILY: Did you see a Pavement reunion show?

SL: I did. It was in-credible. They gave the people what they wanted.

[aturnoftheearth]

WAIT i HAVE done 3 aus it was fool for love, not dead yet, and twenty long years. something about lord huron huh

[showmeyourflyers]

[tuuneoftheday]

Ryan Davis & the Roadhouse Band - Free From the Guillotine

[savage-kult-of-gorthaur]

JIM THE BLUES SHAMAN -- ON A SHAMAN'S BLUES TRIP.

PIC INFO: Spotlight on late, great vocalist/singer-songwriter/American poet Jim Morrison of THE DOORS, performing live at tbe Pacific Coliseum in Vancouver, Canada on June 6, 1970. 📸: Stuart Clugston.

"Ear fingering Jim Morrison of THE DOORS caresses a Coliseum microphone while performing for 9,000 people Saturday night. The blues-rock concert came to an end at 11:45 P.M. Morrison, on stage for two hours, failed to satisfy the curious who knew the "old" Morrison. The Doors were an hour late for the concert."

-- THE RICHMOND REVIEW, June 10, 1970

Source: http://mildequator.com/performancehistory/concertinfo/1970/700606.html.

[unlicensed-queer]

I'll be your Shield and your Salve

Summary: When a rowdy crowd shows up to the Roadhouse Dalton's annoyed, when one grabs his girls ass he's a little more than annoyed

Pairing: Elwood Dalton x Reader (imagined as female but could be gn, mentions reader wearing a skirt)

Warnings: Non-consensual groping, non-graphic violence, panic attacks, over all descriptions of sexual harassment, reader feeling dirty afterwards.

Words: 1,223

Notes: hooo this was supposed to be a lot more campy and a lot less angsty. Special thanks to @charliehoennam for helping me with a writing slump and to @aaronhotchnersswifee for the idea! This is my first time posting a fic, I hope everyone enjoys it ❤️

You were standing at the bar, pouring drinks, charming customers and cleaning glasses. The band, a group of middle aged men, two of which were probably named Darryl, played energetically, filling the bar with lively music. A man with a bushy gray beard played the washboard, thumping and scraping the beat. Everything was perfect. Dalton sat at the end of the bar, looking perfectly relaxed and tapping his foot with the music. He caught your eye and tapped the bar with his knuckles for a refill.

"What's a pretty girl like you doing in a dive like this?" He asked, with a twinkle in his blue eyes. His voice was low and smooth, like melted chocolate in those Lindor commercials.

"Oh you know," you sighed dramatically, putting on a forlorn face as you opened another beer for him, "got dragged down here by my dumbass boyfriend, can you believe he decided to be a bouncer in Hicksville, Florida?" You teased. Dalton laughed sarcastically

"You always wanted to live on the beach, princess" He laughed, giving you that dopey grin that made your belly flip. As he turned back to watch the bar a roaring came from the parking lot. Loud voices and boots crunching on gravel drifted in through the windows. Dalton bristled, on alert.

Three men in tattered vests and leathers swaggered into the bar, shouting at customers and each other and reeking of booze. A tall man with dirty white hair and yellowed teeth slumped on the bar, leering at you

"Heyyy cupcake, pour me a drink will you? Needa..wet my whistle." His eyes drifted over your shirt, his gaze felt slimy, dirty. You gritted your teeth, trying to push off the shivering feeling of disgust. You poured him a beer, sliding it towards him with a forced smile.

The guys were unpleasant but so far they hadn't actually done anything wrong. They just sat at a table in the middle yelling and drinking. You were walking over with a tray of drinks they had ordered and setting them on the table when you felt one of them grab your thigh and squeeze. You froze, your blood ran hot and cold at the same time. Just as you turned to slap the guy in the face you felt a tall shadow over you.

"Alright buddy time to leave" Dalton's voice was scarily calm and friendly sounding. His smile didn't melt the frost in his eyes as he looked down at the man who had groped you. You hadn't seen him this mad since the biker gang had burned down the bookstore.

The men all ooo'ed mockingly, swaying as they got up. The same man who had looked you up and down earlier got up in Dalton's face, yellow teeth bared in a derisive grin.

"What's the big deal? Just having a night out with my boys" he slurred. The man was foul, reeking of booze, sweat and stale tobacco. Dalton made no reaction except wrinkling his nose slightly

"We don't allow harassment here" Daltons smile was looking more and more like a dog's bared fangs. The man snorted, looking around at his friends in disbelief.

"You gon' let yer waltz 'round in that leather skirt.." he paused looking at you in a way that made you want to throw up, "N' get mad when I wanna feel what she's got on show?"

Dalton's fist swung into his jaw with a sound crack. Angry shouts and protests rose from his gang, some starting towards Dalton. You scrambled back against the bar as Dalton set to work. The anger didn't affect him the way you thought it would. He wasn't erratic or emotional, he was coldly efficient, knocking each of them to the floor quickly and cleanly. Less than 5 minutes and each of the men were dumbstruck and the security was dragging them out by their shirt collars. Your heart hammered as you watched, still feeling the place on your leg where the man had groped you, it felt grimy and wrong.

You worked the cleanup shift in a daze. Dalton and you drove home in silence, Dalton's knuckles were white and red on the steering wheel. When you were home you got in the shower, scrubbing your body with a rag and holding back the rising panic in your chest. You were so absorbed in the action you didn't notice Dalton come into the bathroom and step into the shower behind you. He didn't speak, he just pulled you to his chest as you dropped the rag and began to cry. He rocked side to side lightly, holding you tightly.

"I'm so sorry" he whispered, pressing a kiss to the top of your head. You didn't know how long you were in the shower, crying into his chest as he whispered comfort to you. At some point he began moving, lathering up a rag and gently running it over your body. The contrast between the pillow soft lathered rag and your frantic rough scrubbing was night and day. Dalton carefully rubbed the rag over your entire body then helped you step under the water. He kissed each part of your body as the bubbles washed down the drain. It wasn't sexual, there was no heat in his touches or his lips, only love and reassurance. Every caress and kiss seemed to say, 'I love you, you aren't dirty, it wasn't your fault'. The tears flowed down your face like poison sucked from a wound and you hugged Dalton when he stood again, he kissed you and turned off the water. As you stood in the shower he wrapped a towel around his waist before taking a soft towel and drying you off. The insecure part of you squirmed at letting him do everything for you, anxious about being a burden, but the larger part let Dalton guide you through the exhausted haze.

When you were dry Dalton pulled one of his t-shirts over your head and picked you up, holding you to his chest like one might carry a sleepy child inside from the car. You closed your eyes and rested your head on his shoulder, half asleep. You felt him walking around, hearing things clinking and the click of the electric kettle. At first you tried to track his steps to see where he was without opening your eyes but eventually you let his soft humming lull you to calmness.

You must have dozed off because soon Dalton was setting you on your bed and placing a cup of tea on the nightstand. He sat behind you and pulled you to his chest, resting his chin on your shoulder.

"Made you some tea and toast with peanut butter and bananas. There some milk to, in case the peanut butter gums up your mouth" he murmured, voice rumbling through his chest and into your back. Your heart could have burst with affection for him. Even though you would do all this for him in a heartbeat, it was still amazing the lengths he went to just to make you happy and safe. The scene at the bar felt more distant now, like a nightmare gone hazy with age. Right now you were safe and warm in Dalton arms, with food, tea, and all the love you could ever dream of.

[pigeon-pit]

~*PIGEON PIT FALL 2024 DATES*~

hey y’all! we’re really stoked to be hitting the road again this fall and play east coast shows for the first time in a long time. come hang out, we’ll be playing new songs, old songs, whatever songs we feel like and have some brand new merch for sale too. we got some really special shows on here! Will update bands and ticket links as time goes on but for the most part shows are pay at the door and all ages! <3

10/14 in Minneapolis, MN at The Artery w/ Erica Lyle & Mold Wine

10/15 in Chicago, IL at Pilsen Community Books w/ Sunday Cruise

10/16 in Indianapolis, IN at Longshot w/ Looter & Passerine

10/17 in Pittsburgh, PA at Mr Roboto Project w/ Frog Legs, No Jane, Cacklin Racket & Rayne Blakeman (https://dltsgdom.ticketleap.com/pigeon-pit-roboto/)

10/18 in Akron, PA at House of Jenk w/ Local News Legend, Joyful Forfeit & Erin Incoherent

10/20 in Brattleboro, VT at Buoyant Heart w/ Harm, Leaf Glitter & Kivimae

10/21 in Brooklyn, NY at Trans Pecos w/ Choked Up & precious human (https://www.venuepilot.co/events/114396/orders/new)

10/23 in Philadelphia, PA at Foto Club w/ Paper Bee & Ezra Cohen (https://dice.fm/partner/4333-collective/event/dk59l6-pigeon-pit-paper-bee-ezra-cohen-23rd-oct-foto-club-philadelphia-tickets )

10/24 in Richmond, VA at Crescent Club w/ Flora and the Fauna and Shotgun Princess

10/26 in Gainesville, FL at Roadhouse w/ Mechanical Canine, Heavy Lag, Shift Meal & the Alleged Band

10/27 in Gainesville, FL - FEST - at Vivid Music Hall w/ Chuck Ragan and the Camaraderie, Tim Barry, Brendan Kelly, Walter Mitty and his MAkeshift Orchestra & Apes of the State (https://www.seetickets.us/event/Vivid-Music-Hall-CHUCK-RAGAN-TIM-BARRY-BRENDAN-KELLY/610483) (18+)

10/28 in Atlanta, GA at Wallers Coffee w/ Dakota Floyd, Official Bard of Baldwin County & Ozello (https://pigeonpitwallers.bpt.me/)

10/29 in Pensacola FL at the 309 Project w/ the Taints & TBA

10/30 in New Orleans, LA at SASS w/ Twisted Teens & TACK (4011 St Claude)

11/1 in Little Rock, AR at River City Coffee w/ TBA

11/2 in Kansas City, MO at Howdy w/ Small Void & TBA

11/4 in Denver, CO at 7th Circle Music Collective w/ Fables of the Fall, Marissa. & Darling Driftwood

[umactuallyspn]

Three years ago today, the Supernatural finale, "Carry On," premiered... to mixed audience reactions. The show ended its fifteen season run with Sam and Dean both in Heaven, Dean having died after a vampire hunt and Sam of old age with his son, Dean Jr., at his bedside. Few fan favorites, including Castiel, were present--the only recurring characters present (besides Sam and Dean, of course) were the boys' father figure, Bobby Singer, and Jenny, a vampire who appeared in season 1's episode "Dead Man's Blood." However, showrunner Andrew Dabb revealed on social media several months later that the original plan for the finale had indeed included Sam and Dean's loved ones from over the years gathering at the Harvelles' Roadhouse and enjoying a live performance from the actual band Kansas. Misha Collins stated during a convention panel that he was supposed to be in the scene, but playing as Jimmy Novak instead of Castiel.

Something is wrong with this statement. Can you tell what it is?