Southern Culture on the Skids

Southern Culture on the Skids

The Weisstronauts, Hugh Pool, No lanes available until after 9:30pm

Tuesday, June 6th, 2017

Doors: 6:00 pm / Show: 8:00 pm


This event is 21 and over

Southern Culture on the Skids
Southern Culture on the Skids
Southern Culture On The Skids has been spreading the rock and roll gospel since since they formed in Chapel Hill, NC in 1983. Guitarist/singer Rick Miller, drummer Dave Hartman and bassist/singer/heartbreaker Mary Huff, play a greasy mix of surf, rockabilly, R&B and country-fried garage with a side of psych, all the while driving fans into ecstatic, sweat-drenched paroxysms of joy. It's a musical gumbo Miller calls, “Americana from the wrong side of the tracks.“ The band has been prolific and ubiquitous for over thirty years, touring everywhere from the North Carolina Prison System to Mt. Fuji, Japan and delivering what Rolling Stone calls “a hell raising rock and roll party.“

In 2014 the band was honored by the Southern Folk Life Collection at the University of North Carolina Chapel Hill with an exhibition featuring their music and cultural contributions. The flame-adorned La-Z-Boy from the cover of their Plastic Seat Sweat LP now resides at UNC-CH!

Southern Culture On The Skids' newest album, The Electric Pinecones, will be released on September 16, 2016. It's the band's fifth album on their own label, Kudzu Records. The album features 12 original SCOTS tunes - 11 brand new songs and a whole-lotta NOLA remake of the SCOTS classic, “Swamp Fox - The Original.“ All the tunes were produced and recorded at Rick's studio in NC, The Kudzu Ranch.

The Electric Pinecones is a bit of a departure for the band conceptually and sonically. The inspiration for the record was born in an alter-ego side project from the early years of the band. “The Pinecones was folk-a-hill-a-billy garage band we used to put together just for kicks,“ Miller relates. “We loved the sound of '60s west coast folk rock and psych bands. The Pinecones was our outlet for material that was not in the SCOTS vein. We even opened for ourselves occasionally. The Pinecones set list was the jumping off point for this latest collection of songs.“

The first single off the album, “Grey Skies,“ is a minor key mood piece with that folk-a-billy, psychedelic sound. Listen to how the acoustic 12-string riff slides into the band's hypnotic rhythms that propel Mary Huff's reflective vocal into the mind's eye of times past and love lost. “Check out the Mellotron on the chorus - that is a first for us,“ Miller says.

The lead off track, “Freak Flag,“ is more upbeat, but no less tweaked, with modulating guitars riding on pounding drums after the first verse. The song's message is a good one - it is okay to be different and always respect yourself. The band debuted the song to an auditorium full of rowdy students at Carrboro Elementary School. “I was nervous,“ Miller says “if the kids don't like something they let you know, but when they started singing along with the second chorus and waving their imaginary freak flags in the air, I knew it was a hit!“

“Dirt Road“ is Mary's three-minute ode to sances, thunderstorms and good lovin' long gone. The song is a backwoods southern gothic ghost story that opens with a big tom fill then twists and turns around a folky strum and a fuzz guitar. Mary's spooky-good vocal takes it down that dirt road way back into the piney woods.
The album also has some country rock songs that highlight the melodic side of SCOTS, with “Baby I Like You,“ “I Ain't Gonna Hang Around“ and “Given To Me“ featuring some of the best harmonies Rick and Mary have ever recorded.“Waiting On You“ is the longest song on the album, coming in at 4:22; it's a folk-garage-rocker with a sing-a-long chorus that segues into a surf raga breakdown before heading back to the big riff and out.

The album has traditional Southern Culture flavor too. Check out the remake of “Swamp Fox - The Original“. This take goes back to the beginnings of the song and is much closer to capturing the essence of the many all-nighters the band pulled in NOLA with friends and colleagues. The country funk of “Rice and Beans,“ is a good humored tale of a cash strapped southern courtship, and “Midnight Caller“ is Mary's slinky R'n'B flavored woman-to-woman warning about bad men looking for good times.

Song for song, on The Electric Pinecones, Southern Culture On The Skids continues to blow minds and blur the lines between genres delivering a stellar album. From their 1985 debut Voodoo Beach Party, to their 1988 international smash, Dirt Track Date (featuring the hit single “Camel Walk“), and now to the SCOTS-ified tunes of The Electric Pinecones, 30 years, 200 songs and 1,000,000 road miles in, Southern Culture On The Skids just continues to get better with time.
The Weisstronauts
The Weisstronauts
The Boston-based Weisstronauts are a difficult- to-pigeonhole instrumental rock band. Featuring three lead guitarists, the band weaves sometimes bizarre, yet accessible (and occasionally humorous) melodies and harmonies over a rhythm section that can turn from surf to spy to country to psychedelia on a dime. With five critically-acclaimed full length albums and several EPs to their credit, The Weisstronauts' music has been played often on NPR, college and commercial radio, as well as in several independent films. The band is fronted by well-known independent rock producer Pete Weiss (Willard Grant Conspiracy, Chris Brokaw, Bell X1, Charlie Chesterman, Hayley Thompson-King, Two Dollar Pistols, etc.)

"Then thereʼs the Weisstronauts, who toss major surf rock influences into a blender with everything else theyʼve ever even sort of liked and pull out songs built on combinations that look insane on paper but absolutely kill once you hear them."
- Richard Bouchard
Boston Band Crush

"If thereʼs such a thing as a forward-thinking surf band, Bostonʼs Weisstronauts are it. Avoiding the purism that makes so many instrumental retro- fetishists seem redundant, The Weisstronauts combine vintage surf and Nashville chicken- pickinʼ with cartoon zaniness and spaghetti Western intrigue. They often recall NRBQʼs offbeat musical humor as much as Link Wrayʼs reverb- drenched Tarantino fodder."

- Jack Silverman - Nashville Scene
Hugh Pool
Hugh Pool
Hugh Pool is a journeyman whose guitar has taken him around the globe. From Indonesia to the Arctic circle, Hugh has ignited audiences with an original brand of jacked-up Delta Blues. WC Handy Award winning author Don Wilcock noted, “The thing that I love about Hugh is that I get all the honesty that makes for a great blues show and also this guy, kicking my ass, like a great rock show”. In February of 2015, Hugh was inducted as “Master Artist” into the New York Blues Hall of Fame.

Hugh has released a dozen CD’s under various names and has been lauded by The New York Times, Village Voice, The New York Press and Blues Review. He has appeared on TV shows including The Emeril Lagasse Show, ABC World News Now, ABC’s The City, The Mitch Albom show, ABC’s Love Monkey and Late Night With Conan O’Brien.

Hugh moved to New York City at 20 with $300 in his jeans and a 6 string guitar. Since then he has opened for and/or played with: Johnny Winter, John Mayall, Government Mule, Arlo Guthrie, Patti Smith, The Fabulous Thunderbirds, Ritchie Havens, Canned Heat, Joan Jett, Dave Edmonds, etc. He has been called out of the audience to jam by Leon Russell, Chris Whitley, John Campbell and Steady Rollin’ Bob Margolin. He has been punched on stage by Leslie West. He has been invited to party old school with Tony Joe White, Lonnie Mack, Rick Danko and Paul Gerimiah. In Chicago, Cleveland, New York, and Los Angeles, he’s had backstage conversations in the code of blues with legends Sunnyland Slim, Hubert Sumlin, Robert Jr. Lockwood, Les Paul, John Campbell and Pinetop Perkins. In Sweden, Norway and Belgium he’s played wheel chair dance parties, Truck Grand Prixes and many a major festival.

Hugh has sung, talked and played on jingles for Pepsi Cola, Dr. Pepper, Heineken, Pillsbury, Texaco, etc. He has written music for an award winning AIDS documentary, an off-Broadway play and a German movie along with the many usages of his music on Network and Cable TV.

In addition to his success as a musician, Hugh has also earned acclaim as a producer/engineer/mixer and session player at his Brooklyn-based studio, Excello Recording where he’s been fortunate to work with Taj Mahal, Hubert Sumlin, Michael Brecker, Debbie Harry, Olu Dara, Johnny Johnson, The National, Marah and hundreds of other artists.
Venue Information:
Brooklyn Bowl
61 Wythe Avenue
Brooklyn, NY, 11249

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