Showing posts with label Old Mad Joy Previews. Show all posts
Showing posts with label Old Mad Joy Previews. Show all posts
Countdown To Joy: 10 to 1 With Myster Chromatic
Editor's Note: The following series of quotes from Claude Bernard were posted on TGN's facebook page for each of the last 10 days leading up to the official release of Old Mad Joy...
10. "Larry [Campbell] said we reminded him of 'Moby Grape', who he had seen live about 25 times...said they were one of his favorites. Baby Gramps said the same thing to us about 12 years prior."
09. "There was a ping-pong table in Bob Clearmountain's garage that we didn't discover until the second week of recording. Mark [Creaney], who's good at almost everything BUT ping-pong, got his ass brutally handed to him many times by me. Then, miraculously, he started getting better and we had to stop playing... well, 'cuz we had to go home, see?!!"
08. "Old Mad Joy was very nearly titled Woodstockings. Or Stinky Twink. Or Bloobs."
07. "Our relationship with Larry and Levon [Helm] and everyone else at the studio was almost destroyed before it began as we nearly ran over Levon's dog, Muddy, pulling up to the barn for the first time."
06. "One day, Larry was looking at his Macbook and started giggling because he had gotten separate emails from Elvis Costello and Phil Lesh saying that they had terrible situations come up and desperately needed him to wire them $3,000. Elvis' email concluded with a heartfelt 'yours faithfully, Declan'."
05. "Generally, you'd want to start drinking when you walked into the studio at 11 am to help loosen up for the recording process, but we all followed Jimmy's rule of 'Threesies'. No beer until 3 in the afternoon. He is, after all, a professional."
04. "Larry Campbell calls me 'Myster Chromatic'."
03. "There was this guy? John Sebastian I think was his name? I played that guy's pump organ on Two Sparrows. Not that anybody gives two sparrows about important things like that....SHEESH!"
02. "Kev briefly toyed with the notion of naming track #11: Eyes of a Child (It's what's for dinner). Larry thought it was too 'edgy', so we dropped the subtitle. No, actually that never happened."
01. "There was a store called Photosensualis that we passed everyday on the short drive over to the barn. I always wondered what was going on in there. Okay. Stop your grinnin' and drop your linen! Here it comes!"
No Depression Blog: Eve Of Deconstruction
Bundle of Joy © Chris Dulaney
Eve of Deconstruction Or EagleEye Weighs In On Ahab's Habit; Old Mad Joy Rising
By Kevin Russell
September 8, 2011
We are off on our first tour for Old Mad Joy this coming week. Which means we will be playing a lot of songs off of it. I don't think we have ever been more prepared for the release of any record. Still, the nerves are a little edgy. The thought is that most of our fans have not heard these songs much. They will want to hear the old faves still. Playing too many new ones carries the risk of alienating the audience. So, each night I am thinking of perhaps doing maybe 4 or 5 of them. The band wants to play all of them every night because they are new. We haven't had new songs in so long. It's like getting new panties. Ya just wanna run around in'em and look at'em and show'em off. But, your old panties were so loved by so many, they want to see those old tighty whities still.
"Come on, go put'em on and let us see those old, dusty undies!" they shout.
"But, I got these cool new ones, they have purple trim and orange laces dude, and look at the seams, awesome support down there, eh?" you retort.
"Nah, those ain't as good as those old ones!" They yell back, insisting that you put the old ones on yer reluctant ass. We want to avoid that situation.
Keith came by this morning with gobs of vinyl and posters to sign for these bundles we are selling on the web site. I discovered that we have a dark album cover that is not very conducive to writing on with a marker. We were thinking it was a silver marker terrain. But, I found some good spots for the black ink though. It didn't take too long. But, we had to unwrap all the records. Keith piled the spent coverings on top of my Halo Risk game still in progress from last night. My six year old was kicking my ass though so all the better that it was corrupted by this ridiculousness. Haha. Keith, bless his heart, was on a mission to go around to everyone's houses to get their autographs on the stuff before lunch. I bid him good luck and he was on his way. He left all the rubber bands and sharpies though. I reckon he'll make do, being the productive, resourceful chap he is.
Just as he was leaving Thenotoriousmark [Creaney] and Eagle Eye Williamson arrived with the van to get my stuff on their way out west. Eagle Eye is opening most of these shows for us. He is a unique one man band operation that you have to see and hear. He has some great songs. I love his voice most though. We're all looking forward to having him along for the ride out in Cali. I must say though that he has more gear than I thought he would. He carries an amp, kick drum, hi hat and a couple of guitars. To say the Gourds' van is packed tighter and heavier than ever is an understatement. I mean that rig is F A T!
Stubb: "Aw, come on, Mr. Starbuck, you're just plain gloomy. Moby Dick may be big, but he ain't THAT big."
Aye, but he is THAT big Mr. Stubb, whoever you are.
Alas we were able to squeeze it all in like some massive metallic kolache filled with gas, oil and rock n roll band. I gave them some tacos and coffee and they were off like a prom dress, headed for El Paso.
"Flooded road out of town, call and the telephone lines are down, call and the lines are down!"
Oh, if only the roads were flooded all the way to El Paso. Dream on rain dreamers of the dusty southern plains. Not even Hurricanes will visit you, now that everybody knows yer on fire.
No Depression Blog: A Cup Of Old Mad Joy
You Must Not Know or Larry meets The Gourds for a cup of Old Mad Joy
By Kevin Russell
September 2, 2011
Oh lordy it is almost time to pop this puppy out into the wild old wicked old world. We recorded this record in late March up in Woodstock NY with Larry Campbell. If you don't know him go look it up. Go ahead, we'll wait. I have some jerky and some big red we can gnaw on until you get back.
Wikipedia entry for Larry Campbell
Larry works out of Levon Helm's barn studio, a legendary structure where lives a legendary man in a legendary town. It's enough to make one feel like a tourist. But there was no time for that. We hit it quick the day we walked in there with Larry and engineer, Justin "crack the" Guip. Heh. We discussed doing "I Want It So Bad," first. We all felt that song was the closest to where it needed to be. But Larry immediately expressed his love of the song with the caveat that it needed a new chorus. "The verse is cool" he said, "But it needs a real chorus." He showed me an idea of what became that ascending chord thing (C,E7,F,F#,G,Am,F). But that took some time. So we recorded "You Must Not Know" first. It turned out to be apropos, as we had no idea, "what kind of shit was about to go down!"
We spent the next ten days or so in the most intense, entertaining, joyous, challenging, redefining recording experience of our long and odd career. If you know anything about us you know that, when it comes to our art, we are indifferent, stubborn, irreverent and self-reliant. No one can tell us what to do or when to do it or how to act or how to sound, what to play,etc. And we have gone about our business for upteen years just this way. We know what is best so please do not waste our time trying to tell us what we should be doing. Then suddenly, subtly there was this cool customer with the thick New York accent directing us effortlessly and happily. Here were men I had watched over the years tune out producers, managers, agents, fans, and yes each other in favor of carving their own path, singing their own song, marching to their own beat. LC immediately had our respect and in return he gave the same to us. He never once suggested or inferred that he had the upper hand, or he played with this guy or that. There was only humility, warmth and a contagious enthusiasm for making music and recording great performances.
I think one of the most surprising tools used in the session were the demo recordings of the songs made by Jimmy and myself in our respective sheds. (now that would have been a good name for the record, Respective Sheds. Oh well, maybe next time.) We often would listen to these demo's on LC's laptop as a reference point for the feel we wanted to achieve. Our demo's have traditionally been used as basic sketches for the end result, but rarely was it ever asked that anyone adhere to the sanctity of the demo recordings in the way that LC asked. So, in a way, it sort of validated the importance of that part of what we do when we are in solitary.
This might sound strange given my earlier rant on the staunch positions we take about our work. But, when it comes to inner band dynamics we are all politely passive-aggressive. Which is to say, a lot gets left unsaid and a lot is just accepted. Maybe not the most emotionally healthy blokes, but it has kept us together for "pert 'near" 20 years now weaving and coalescing this twisted, vibrant, joyful thing.
Old Mad Joy is a unique distillation of all that dust and detritus. It's a little like going through a box of records in the attic. Each song has its own classic tone to it. As fans we have always appreciated records like Exile, Sister Lovers, Armed Forces, Double Nickels, Let It Be and Let it Be, Blonde on Blonde. And like many, we are always striving for that bar set up so high by those records. I think this is why we do it. We truly love it. We fell in love with it way back when we were boys. A dream somehow becomes a trade and life happens through it all. One day we wake up and find ourselves standing where we wanted to be and between here and there is that old mad joy, I guess.
Wikipedia entry for Larry Campbell
Larry works out of Levon Helm's barn studio, a legendary structure where lives a legendary man in a legendary town. It's enough to make one feel like a tourist. But there was no time for that. We hit it quick the day we walked in there with Larry and engineer, Justin "crack the" Guip. Heh. We discussed doing "I Want It So Bad," first. We all felt that song was the closest to where it needed to be. But Larry immediately expressed his love of the song with the caveat that it needed a new chorus. "The verse is cool" he said, "But it needs a real chorus." He showed me an idea of what became that ascending chord thing (C,E7,F,F#,G,Am,F). But that took some time. So we recorded "You Must Not Know" first. It turned out to be apropos, as we had no idea, "what kind of shit was about to go down!"
We spent the next ten days or so in the most intense, entertaining, joyous, challenging, redefining recording experience of our long and odd career. If you know anything about us you know that, when it comes to our art, we are indifferent, stubborn, irreverent and self-reliant. No one can tell us what to do or when to do it or how to act or how to sound, what to play,etc. And we have gone about our business for upteen years just this way. We know what is best so please do not waste our time trying to tell us what we should be doing. Then suddenly, subtly there was this cool customer with the thick New York accent directing us effortlessly and happily. Here were men I had watched over the years tune out producers, managers, agents, fans, and yes each other in favor of carving their own path, singing their own song, marching to their own beat. LC immediately had our respect and in return he gave the same to us. He never once suggested or inferred that he had the upper hand, or he played with this guy or that. There was only humility, warmth and a contagious enthusiasm for making music and recording great performances.
I think one of the most surprising tools used in the session were the demo recordings of the songs made by Jimmy and myself in our respective sheds. (now that would have been a good name for the record, Respective Sheds. Oh well, maybe next time.) We often would listen to these demo's on LC's laptop as a reference point for the feel we wanted to achieve. Our demo's have traditionally been used as basic sketches for the end result, but rarely was it ever asked that anyone adhere to the sanctity of the demo recordings in the way that LC asked. So, in a way, it sort of validated the importance of that part of what we do when we are in solitary.
This might sound strange given my earlier rant on the staunch positions we take about our work. But, when it comes to inner band dynamics we are all politely passive-aggressive. Which is to say, a lot gets left unsaid and a lot is just accepted. Maybe not the most emotionally healthy blokes, but it has kept us together for "pert 'near" 20 years now weaving and coalescing this twisted, vibrant, joyful thing.
Old Mad Joy is a unique distillation of all that dust and detritus. It's a little like going through a box of records in the attic. Each song has its own classic tone to it. As fans we have always appreciated records like Exile, Sister Lovers, Armed Forces, Double Nickels, Let It Be and Let it Be, Blonde on Blonde. And like many, we are always striving for that bar set up so high by those records. I think this is why we do it. We truly love it. We fell in love with it way back when we were boys. A dream somehow becomes a trade and life happens through it all. One day we wake up and find ourselves standing where we wanted to be and between here and there is that old mad joy, I guess.
Levon Helm's Studio: A Tale From Keith Langford
© Joe Ryan
Davis McLarty Agency: Gourds new album out soon! Here is a tale from Keith Langford- about recording in Levon Helm's studio...
Keith Langford here from the Gourds in Austin, TX. I'm writing to tell about my recent experience recording at Levon Helm Studios in Woodstock, NY. AKA "the Barn."
The Gourds have been churning through the Americana music world since the early 90's with ten records under our belt. It's impossible to play in our genre and not have great appreciation for the Band and of course Levon Helm’s drumming and singing. We were extremely fortunate to have been able to record at Levon's studio, and to have his guitarist Larry Campbell as producer.
I grew up listening to the Band and Levon’s drumming. My father blasted that music throughout our maroon station wagon, where my sister and I giggled at Rick Danko's voice while rolling around in the back. My style has changed over the years, but it always kinda comes back to that Levon-like traditional zone: having a rhythm/beat with a purpose, listening for the song first, and dynamics that don't seem to end up on the overly loud side too often.
Levon and I both play a Gretch USA custom. For years I used my father’s 50's Gretch, but recently I bought a new one with an 18" kick. Levon uses the same kit but has a 20" and also a 22" option. When we recorded, I used both of his kicks and snare. Levon also has a pair of Ludwig toms (a gift from Ringo Starr) that Justin Guip (our brilliant engineer) suggested I set-up. It was a bit of a risk musically, employing those big fat-sounding toms within our musical scene, but they ended up working beautifully within the songs. These drums, coupled with coveted cymbals from my crazy Austin friend Travis [Garaffa], made for an interesting sounding kit.
The experience of recording in Woodstock and meeting one my drum heroes was beyond wonderful. I think Levon wanted to create a relaxed environment for studio creativity, taking the "phoniness" out of it as he's said. This is exactly what I experienced, and everyone in our band will remember that session for the rest of our lives.
Note: This piece was later published by Modern Drummer magazine. You can read that version by clicking here.
Gourds Are Among The Bumper Crop Of Local Releases This Fall
Editor's note: The following paragraphs were taken from a more complete preview of albums soon-to-be released by Austin bands. Click here to read the rest of that article.
That doesn't mean there isn't room for a little momentary antidote, too. Enter Austin institution the Gourds and their 10th studio album, "Old Mad Joy," out Sept. 13. Kevin "Shinyribs" Russell and company pulled out all the stops on this one. Not only did they record at former Band drummer Levon Helm's Woodstock, N.Y. studio, they enlisted Helm's (and Bob Dylan's) collaborator Larry Campbell to produce. "Old May Joy" is the band's first outing on Vanguard Records.
The result of all of that dressing up is a pretty good album, but one that's still unmistakably a Gourds record. It's rootsy, it's warm, it has rock — "Drop What I'm Doing" sounds like a Faces record — and country (and country rock) of several varieties, so much so that it's kind of surprising that their Dead-like following hasn't ballooned even more.
© 2011 Austin360.com. All rights reserved.
Playlist: The Packers, Gourds, McClymonts
Playlist: The Packers, Gourds, McClymonts
By Jerry Shriver
USA TODAY
Funky '65 R&B hit Hole in the Wall, featuring "Packy" Axton on sax, is this week's pick. Among intriguing track stars are Austin's Gourds and Australia's McClymonts.
PICK OF THE WEEK
Hole in the Wall, The Packers
Though long lost in obscurity, this funky soul instrumental was a top-five R&B hit in 1965. The honking sax you hear is from Charles "Packy" Axton, a lesser-known but well-connected member of Memphis' Stax Records family and subject of the new Late Late Party 1965-67. Also in the studio were members of The MGs (as in Booker T. & …). Packy's career flamed out because of alcohol abuse, but he left behind some sterling session work.
MORE: Spotlight on Streisand's 'What Matters Most'
THE PLAYLIST
10 intriguing tracks found during the week's listening.
Detroit Made, John Hiatt
Who says they don't make great witty car songs like they used to?
Sounds of Home, Blue Highway
Regret-tinged nostalgia pours out of this sentimental title track from the bluegrass group's first original set in a decade.
Wait for the Sun, Ollabelle
Part of the melody hints at Neil Young's murderous Down By the River, but writer and lead singer Fiona McBain makes it dreamier.
I Want It So Bad, The Gourds
It's impossible not to sing and clap along to this opening track from the Austin quintet's Old Mad Joy album, out next month.
Trampin', Patti Smith
Ever the poetic iconoclast, Smith closes her new late-period compilation Outside Society with a spiritual popularized by Marion Anderson.
Tennessee Blues, Bobby Charles
Homesickness for the South oozes from the late swamp pop king on this track from his classic, newly reissued self-titled album from 1972.
Lonely Woman, Dee Dee Bridgewater
The jazz priestess honors pianist/composer Horace Silver on this track from her new Midnight Sun compilation.
One RoomCountry Shack, Ana Popovic
Emerging blues guitarist and Belgrade native Popovic covers hero Buddy Guy on this slow scorcher from her new Unconditional.
Little Sadie, Norman Blake
As a murder ballad it's pretty slight, but it's the best of unreleased tracks from the new deluxe 10th-anniversary edition of the O Brother, Where Art Thou? soundtrack.
Hearts on Fire, The McClymonts
After conquering their native Australia, this three-sister country act set its sights on the USA with today's release of the Wrapped Up Good album.
PICK OF THE WEEK
Hole in the Wall, The Packers
Though long lost in obscurity, this funky soul instrumental was a top-five R&B hit in 1965. The honking sax you hear is from Charles "Packy" Axton, a lesser-known but well-connected member of Memphis' Stax Records family and subject of the new Late Late Party 1965-67. Also in the studio were members of The MGs (as in Booker T. & …). Packy's career flamed out because of alcohol abuse, but he left behind some sterling session work.
MORE: Spotlight on Streisand's 'What Matters Most'
THE PLAYLIST
10 intriguing tracks found during the week's listening.
Detroit Made, John Hiatt
Who says they don't make great witty car songs like they used to?
Sounds of Home, Blue Highway
Regret-tinged nostalgia pours out of this sentimental title track from the bluegrass group's first original set in a decade.
Wait for the Sun, Ollabelle
Part of the melody hints at Neil Young's murderous Down By the River, but writer and lead singer Fiona McBain makes it dreamier.
I Want It So Bad, The Gourds
It's impossible not to sing and clap along to this opening track from the Austin quintet's Old Mad Joy album, out next month.
Trampin', Patti Smith
Ever the poetic iconoclast, Smith closes her new late-period compilation Outside Society with a spiritual popularized by Marion Anderson.
Tennessee Blues, Bobby Charles
Homesickness for the South oozes from the late swamp pop king on this track from his classic, newly reissued self-titled album from 1972.
Lonely Woman, Dee Dee Bridgewater
The jazz priestess honors pianist/composer Horace Silver on this track from her new Midnight Sun compilation.
One RoomCountry Shack, Ana Popovic
Emerging blues guitarist and Belgrade native Popovic covers hero Buddy Guy on this slow scorcher from her new Unconditional.
Little Sadie, Norman Blake
As a murder ballad it's pretty slight, but it's the best of unreleased tracks from the new deluxe 10th-anniversary edition of the O Brother, Where Art Thou? soundtrack.
Hearts on Fire, The McClymonts
After conquering their native Australia, this three-sister country act set its sights on the USA with today's release of the Wrapped Up Good album.
© 2011 USA TODAY, a division of Gannett Co. Inc.
New Video: Drop What I'm Doing
Another new tune from the soon-to-be released album! Most of this was shot by long-time Gourds photographer Joe Ryan during his visit to "The Barn" while The Gourds were making Old Mad Joy.
Note: The band didn't know they were filming a video at the time & neither did Joe.
Larry Campbell Produces Gourds In Levon Helm's Barn
Larry Campbell Produces Gourds In Levon Helm's Barn
August 10, 2011
The drive from Austin to Woodstock is over 1,800 miles, but musically they are much closer together. The Gourds traversed that distance to record their new album ‘Old Mad Joy’ (September 13 / Vanguard Records) at Levon Helm Studios with producer Larry Campbell, marking their major label debut, their first album with an outside producer, and first to be recorded outside of their home state of Texas.
Campbell, a former Bob Dylan band member and current Levon Helm Band guitarist/producer and musical director of the Midnight Ramble with credits ranging from Roseanne Cash to Paul Simon, pushed the band hard. Drummer Keith Langford says, “Larry challenged us at every turn, trying songs and parts in different ways, really getting us out of our comfort zone and bringing the best out of us individually. He deconstructed what we’d done.”
“This record represents to me a brilliant artistic achievement that only scratches the surface of the raw talent in this band,” states Campbell.
Singer/guitarist Kevin Russell adds, “Larry just got so excited, and it was infectious. For a guy like him to act like that toward us is flattering and inspiring. He became Coach Campbell, rearranging the songs and challenging us to play things we didn’t think we could play. He was like a preacher up on his pulpit. He’d just be waving wildly with his eyes squinted closed, and he was literally conducting us. It was a magical time.”
Of the resulting album ‘Old Mad Joy,’ out September 13 on Vanguard Records, Langford says, “I really hear the sound of the barn in it.” In fact, Langford played Helm’s drums as well as a set of toms that were a gift to Levon from Ringo Starr.
The band lived together within biking distance of Levon Helm’s barn, cooking up massive quantities of beans and home made hot sauce each day, an experience that brought the band closer together. Once, the Texans even had to team up to shovel a batch of March snow.
The New York Times has called the Gourds “one of the best performing bands in America” while NPR.org has said, “Their clever (when intelligible) wordplay and responsive string play has inspired legions of ardent fans.”
© www.glidemagazine.com
Campbell, a former Bob Dylan band member and current Levon Helm Band guitarist/producer and musical director of the Midnight Ramble with credits ranging from Roseanne Cash to Paul Simon, pushed the band hard. Drummer Keith Langford says, “Larry challenged us at every turn, trying songs and parts in different ways, really getting us out of our comfort zone and bringing the best out of us individually. He deconstructed what we’d done.”
“This record represents to me a brilliant artistic achievement that only scratches the surface of the raw talent in this band,” states Campbell.
Singer/guitarist Kevin Russell adds, “Larry just got so excited, and it was infectious. For a guy like him to act like that toward us is flattering and inspiring. He became Coach Campbell, rearranging the songs and challenging us to play things we didn’t think we could play. He was like a preacher up on his pulpit. He’d just be waving wildly with his eyes squinted closed, and he was literally conducting us. It was a magical time.”
Of the resulting album ‘Old Mad Joy,’ out September 13 on Vanguard Records, Langford says, “I really hear the sound of the barn in it.” In fact, Langford played Helm’s drums as well as a set of toms that were a gift to Levon from Ringo Starr.
The band lived together within biking distance of Levon Helm’s barn, cooking up massive quantities of beans and home made hot sauce each day, an experience that brought the band closer together. Once, the Texans even had to team up to shovel a batch of March snow.
The New York Times has called the Gourds “one of the best performing bands in America” while NPR.org has said, “Their clever (when intelligible) wordplay and responsive string play has inspired legions of ardent fans.”
© www.glidemagazine.com
Houston Press: Gourds Unleash Old Mad Joy On Unsuspecting Public
Gourds Unleash Old Mad Joy On Unsuspecting Public
As an album title, Old Mad Joy sounds like redundancy when placed in the context of Austin roots rock gonzos The Gourds. As anyone who has ever been in earshot of the band or its records, if the Gourds could bottle the music and sell it at the drug store, the corporations who manufacture the endless supply of happy pills would all go out of business. It would probably put a serious dent in Viagra sales too.
With the album, produced by Bob Dylan/Levon Helm sideman Larry Campbell at Helm's legendary studio in Woodstock, New York, set to drop September 13 on the Vanguard label, the band is gearing up for heavy touring during the second half of the year after having what bassist Jimmy Smith describes as a relatively easy spring schedule that allowed for quite a bit of family time.
The Gourds, "Melchert"
The Gourds play a free show tonight at Miller Outdoor Theatre with Austin blues rocker Doyle Bramhall. Smith, who recently became a father again - three boys - emailed us his answers to our toughest questions.
Rocks Off: Our first impression was how good/warm this album sounds. What are your thoughts on this one vs. others sonics-wise?
Jimmy Smith: The Helm facility is a 3-story barn with high ceilings and the spread-out wood surfaces which mellow the harsh frequencies. Also, the mics and a lot of the outboard gear are high-end vintage products which also help with the harsh digital tones. Along with two seasoned pros. Perfect storm.
RO: You guys all seem to have found some different voices this time. Is this producer-driven or is it something that just evolved naturally during the work?
JS: Larry really wanted a vocal-driven record. We all had a "go" at the backing vocals; the lead vocals were a mixed bag of over-dubs for accuracy and scratch vocals (original take vocals) for a live feel.
RO: Did you guys already have the song list finalized before you went up or was that still being worked out during the sessions?
JS: I had demo'd my material on my reel- to-reel tape deck and shot that out to Larry and the band. Then we worked the rest up in our funky rehearsal spot for three months. Once we got to the studio, Larry just unlocked the gates and let some of the uninvited hooks, riffs, and arrangements in.
RO: What did Campbell bring to the project that you guys feel like you hadn't had at any of your recording sessions before?
JS: We needed a dungeon master. It was almost like being a sideman on someone else's session at times. Stress and responsibilities were a little more evenly distributed.
RO: Pick two songs on the album that far exceeded your original expectations/vision going into the sessions? What is it that distinguishes them?
JS: "Melchert" and "Marginalized." Studio mojo, man, a good kicking in the pants, and a good pantry in the kitchen.
RO: What was your biggest thrill during the Woodstock trip?
JS: Seeing Levon's grinning face while we were cutting.
RO: You've all matured, got families and car payments and house payments now. How do you manage/juggle being in a band that travels hard and tending the home fires?
JS: Good spousing.
RO: If the Gourds are a democracy, who are the Republicans, who are the Democrats, and who are the Libertarians, who are al-Qaeda?
JS: Are those pizza toppings?
Follow Rocks Off on Facebook and on Twitter at @HPRocksOff.
© Houston Press
Vanguard Press Release: Old Mad Joy
The Gourds Release ‘Old Mad Joy’ September 13th
One of roots music’s most fervent leaders, Texas greats, The Gourds will be releasing their Vanguard Records debut, Old Mad Joy, on September 13th. Produced by Larry Campbell at the historic Levon Helm Studios, a.k.a. ‘The Barn’, Old Mad Joy embraces the eccentric character and sonic range of the band while pushing their sound to the next level.
From the beginning notes of the first track, "I Want It So Bad," it is clear that something new is emerging. Larry Campbell (Levon Helm’s producer and musical director of Helm’s Midnight Rambles’) held the key to making it all work. "'Coach' Campbell' found the strengths in our weaknesses and the vulnerabilities in our strengths and challenged our pre-determined aesthetic sensibilities," states front man Kevin Russell, "his qualification and compassion instilled in us a desire to achieve more than we thought we could as a combo and as individuals."
The foundation of Old Mad Joy is its five basic elements - Claude Bernard’s accordion and keyboards bring on the caustic boogie and blown-out bellows. Kevin Russell’s original brand of gospel spirituals contrast with Jimmy Smith’s dark-and-twisted imagery, Max Johnston’s multiple-instrumental cache including banjo, rub-board, mandolin and fiddle, and Keith Langford’s drumming puts the whole train into motion.
Based in Austin, TX and formed in 1994, The Gourds have released ten studio records and multiple live recordings and soundtracks. In 2006, they performed in an episode of the NBC show Friday Night Lights and have been featured on PBS’ Austin City Limits. The Gourds high-energy live shows and endless touring have earned them the reputation as a ‘must see’ artist. The band will be kicking off the release of Old Mad Joy with a show in Los Angeles at The Echo on September 13th (additional dates below with more to be confirmed in Philadelphia, Seattle, Denver, and Washington, DC). Old Mad Joy is The Gourds 11th studio release and Vanguard Records debut.
Click here to listen to "I Want It So Bad."
09/13/2011 Los Angeles, CA - The Echo
09/16/2011 San Francisco, CA - Slim's
09/17/2011 Santa Barbara, CA - Lobero Theatre Sing Like Hell Series
09/22/2011 Beaumont, TX - Courvilles
09/23/2011 Austin, TX - Threadgill's
09/24/2011 Dallas, TX - Kessler Theater
09/29/2011 Burlington, VT - Higher Ground
10/01/2011 New York, NY - Sullivan Hall
10/07/2011 Carrboro, NC - Cat's Cradle
10/08/2011 Greer, SC - Albino Skunkfest
10/29/2011 Hall Sitka, AK - Harrigan Centennial
12/10/2011 Austin, TX - The Paramount Theatre
www.thegourds.com
Contact:
Lucy Sabini – lsabini@vanguardrecords.com – 310.829.9355 x137
Jena Vuylsteke – jena@vanguardrecords.com – 310.829.9355 x158
A Pressing Matter: One Question with K. Russell
TheGourdsNews: We've been getting lots of emails from fans asking about the new album....can you give us a quick update?
Kevin Russell: The record has been delivered to the Sony Manufacturing Plant and Vanguard World HQ. There will be vinyl pressed for this one as well.
Houston Press: Gourds Drummer Lives The Dream At Levon Helm's Studio
Gourds Drummer Lives The Dream At Levon Helm's Studio
By William Michael Smith
April 12, 2011
April 12, 2011
Hanging out with the Band's legendary drummer Levon Helm would be a dream for almost any other timekeeper. The Gourds have just returned to Austin from two weeks of recording at Helm's studio in Woodstock, N.Y, where drummer Keith Langford got to live the dream.
The untitled album, the follow-up to last year's Haymaker!, is now being mixed and wlll be released in mid-September. Lonesome, Onry and Mean caught up with Langford as he waited outside his son's school.
Lonesome Onry and Mean: What was it like hanging out with Levon Helm?
Keith Langford: He was just a super-cool host. He wasn't around all that much, but he did come in. Like a good host, he wants you to be happy and comfortable.
LOM: Describe your first meeting.
KL: It's been such a dream to meet him, he's really my drummer hero, so all the time we were planning this trip I kept thinking what will I say to him if I get to meet him. But we were in the studio and he just came in - he'd been to New York City for a cancer check-up that day - and he walked over and shook hands and said, "You need a drink" in that voice of his. I'll never forget that. Pretty cool.
And he'd gotten this great report that day. If he'd gotten a bad report, it would've changed the vibe of the whole project. But he'd gotten a good report and the place was just kinda buzzing with this great vibe because of it. We couldn't have begun on a higher note.
LOM: I assume you didn't take your drum kit up.
KL: No, that was another huge thrill, I got to play his drums. And Ringo Starr had given him some toms, so we set those up and I got to do the sessions with this combo of Levon's and Ringo's drums. Imagine.
LOM: What was it like working with [longtime Bob Dylan sideman] Larry Campbell as a producer?
KL: That guy worked our asses off. I'm serious, by the end of the day we were just exhausted. He had so many ideas, and let's face it, we're a pretty lazy bunch of guys. But Larry was with us all the time and it was a magical experience working with a guy that smart and motivated. He really did right by us.
He wanted to step aside and let everybody do what they wanted to do. But he truly loves to play, so every once in a while he'd say, 'hey, I'm just gonna do this little acoustic thing right here,' stuff like that. And he's such a killer steel player, we wanted him to do some steel parts. Overall, he's just this very loose, highly musical guy.
LOM: Rumor has it that you are doing way more singing on this album than
on any other Gourds record.
KL: Another dream come true. I aspire to sing but I'm the worst singer in the band, so it was just amazing when I'd hear Larry call out, 'Keith get down here, we need you to do this part.' And I'd be like 'Holy shit, I can't believe he's calling my name.'
There are going to be lots of harmonies on this one. You know, we started out with lots of harmonies but as we got older and lazier we kinda drifted away from that. Larry pulled us back to that, and I think with good result. Of course, now we have to work out butts off to get ready to do all this stuff live.
LOM: Any songs from the new one that are already standing out for you?
KL: Oh, yeah. There's one of Jimmy's [bassist Jimmy Smith] I love called "For Your Benefit" that sounds like the James Gang. And Kevin [Russell] has a great new one called "Sparrows" that turned out so grand and big, a long, cool musical journey really.
LOM: What was your overall impression of the trip and the project?
KL: We played good, we all got along pretty well, so I'd just say it was fun and we had a real good time. We'll end up going up there to do one of Levon's Midnight Ramble shows eventually.
LOM: So did you stay at Levon's place or a motel?
KL: We got hooked up with Bob Clearmountain, who's a pretty significant record producer himself, and he has a rental house about five miles from studio. So we stayed there and cooked and grilled, we'd ride mountain bikes to the studio.
It was very conducive to being creative and to recharging our batteries each night, because we'd be mentally exhausted by the time we got to the house. It was a great place to drink beer and chill out.
The Gourds return to Houston June 23 at Dosey Doe in The Woodlands and July 22 at Miller Outdoor Theatre with Doyle Bramhall Sr.
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The Music Never Stopped: Gourds Producer Squeezes In A Play Date
Editor's Note: During a weekend break from recording the new album, producer Larry Campbell left The Gourds in Woodstock and headed down to NYC to play with some friends at Radio City Music Hall...this is the set list from that show.
Further
Radio City Music Hall
New York, NY
3-27-11
Set I
01. Samson & Delilah (trad.)
02. Chest Fever (Robbie Robertson) *
03. Tennessee Jed (Jerry Garcia/Robert Hunger) * +
04. Friend of the Devil (Jerry Garcia/John Dawson/Robert Hunter) * +
05. Ship of Fools (Jerry Garcia/Robert Hunter) + >
06. It Must Have Been the Roses (Robert Hunter) * + > Ship of Fools +
07. Cassidy (Bob Weir/John Perry Barlow)
08. Ripple (Jerry Garcia/Robert Hunter) * + &
Set II
09. Throwing Stones (Bob Weir/John Perry Barlow)
10. Sunrise (Donna Godchaux) ^
11. St. Stephen (Jerry Garcia/Phil Lesh/Robert Hunter)
12. What's Become of the Baby (Jerry Garcia/Robert Hunter) ^ >
13. The Eleven (Robert Hunter/Phil Lesh) >
14. Uncle John's Band (Jerry Garcia/Robert Hunter) >
15. Unbroken Chain (Phil Lesh/Robert M. Peterson)
16. The Wheel (Robert Hunter/Jerry Garcia/Bill Kreutzman)
17. Morning Dew (Bonnie Dobson)
18. Sugar Magnolia (Bob Weir/Robert Hunter)
E:
19. Days Between (Jerry Garcia/Robert Hunter)
20. Jam &
21. Fever (Eddie Cooley/John Davenport) * + ^ &
22. Attics of My Life (Jerry Garcia/Robert Hunter) * + ^ &
Note: Further was joined by guests Larry Campbell (*), Elvis Costello (+), Diana Krall (&), and Theresa Williams (^)
© Dylan Carney
Special thanks to happycat!, sgibson818, Dylan Carney, and deadheadland for the field reports. If anyone has audio/video/photos from this show, please email TheGourdsNews.
Preview 3-09-11 Austin, TX
L to R: Don LaSala, Jimmy Smith, Claude Bernard,
and Swampy Pat in the basement
Editor's note: The following paragraph was taken from a more complete preview of The Austin Chronicle Music Anthology book release party. Click here to read the rest of that article.
With the assistance of a smartphone, the Gourds routed their 2008 [sic] East Coast tour to visit the Big Pink, Bob Dylan's New York hideout for The Basement Tapes and the inspiration behind the Band's Music From Big Pink. Later this month, the locals take up residence at Levon Helm's barn studio in Woodstock, N.Y., to record a debut for Vanguard Records, produced by longtime Dylan sideman Larry Campbell. "It does seem like a calling, to be up there in the vicinity of all this good music we have in common," says co-leader Jimmy Smith. "This is probably the most attention we're ever going to get."
By the time they get to Woodstock: big Gourds news!
By the time they get to Woodstock: big Gourds news!
By Michael Corcoran
Thursday, February 10, 2011
12:47 PM
The Gourds have signed to Vanguard Records and will record their album for the label up at Levon Helm’s barn studio in Woodstock, New York, with Larry Campbell producing. The sessions are slated to start in late March.
Since the Gourds have been compared to the Band about as often as Christian Slater was to a young Jack Nicholson after “Heathers” came out, the connection to Helm and his guitarist/ producer Campbell makes perfect sense.
“Bill Bentley got the ball rolling,” Gourds singer Kevin Russell said of the former Austinite and Warner Bros veteran who’s currently working as an A&R guy for Vanguard. Bentley became aware of the Gourds several years ago when they played a Doug Sahm tribute at the Hole In the Wall and has been a fan ever since.
Campbell, on the other hand, had never heard of the Gourds when approached by Bentley. “We met Larry at Bass Concert Hall when he was in town with Levon Helm,” said Russell, “and he said that when he asked around about us, everyone he talked to said we were the band he had to work with.” Former Bob Dylan sideman Campbell produced the past two Helm albums.
“It promises to be the highlight of our year, or of our career even,” Russell posted on the band’s news blog about the upcoming studio project.
In other Gourds news, co-leader Jimmy Smith and wife Jen are expecting their third child in May, bringing the number of Gourds babies to 12.
© Austin 360.com
The Gourds have signed to Vanguard Records and will record their album for the label up at Levon Helm’s barn studio in Woodstock, New York, with Larry Campbell producing. The sessions are slated to start in late March.
Since the Gourds have been compared to the Band about as often as Christian Slater was to a young Jack Nicholson after “Heathers” came out, the connection to Helm and his guitarist/ producer Campbell makes perfect sense.
“Bill Bentley got the ball rolling,” Gourds singer Kevin Russell said of the former Austinite and Warner Bros veteran who’s currently working as an A&R guy for Vanguard. Bentley became aware of the Gourds several years ago when they played a Doug Sahm tribute at the Hole In the Wall and has been a fan ever since.
Campbell, on the other hand, had never heard of the Gourds when approached by Bentley. “We met Larry at Bass Concert Hall when he was in town with Levon Helm,” said Russell, “and he said that when he asked around about us, everyone he talked to said we were the band he had to work with.” Former Bob Dylan sideman Campbell produced the past two Helm albums.
“It promises to be the highlight of our year, or of our career even,” Russell posted on the band’s news blog about the upcoming studio project.
In other Gourds news, co-leader Jimmy Smith and wife Jen are expecting their third child in May, bringing the number of Gourds babies to 12.
© Austin 360.com
Houston Press: Gourds Land Dylan Vet, Levon Helm's Studio For Next LP
Gourds Land Dylan Vet, Levon Helm's Studio For Next LP
By William Michael Smith
February 7, 2011
With their homespun, loosey-goosey style, The Gourds have often been compared to The Band and to Levon Helm over the course of the Austin roots band's 16-year career. Late Friday, the Gourds announced that Helm's guitarist Larry Campbell will produce their tenth studio album, which will be recorded at Helm's studio in Woodstock, N.Y.
Former Houstonian and longtime industry veteran Bill Bentley, currently Director of A&R for Vanguard Records, was the key connection in linking The Gourds with Campbell. The album will be the Gourds' first since Haymaker! was released in January 2009.
Started in New York City in 1950, Vanguard became noted for its early forays into folk music and blues, but has also released important jazz sides as well some classical music. Now based in Los Angeles, the label is now owned by the Welk Group.
According to Kevin Russell of The Gourds, the band has the songs written and is on a heavier rehearsal schedule than usual.
"The plan is to record a lot of the next one live, so we want to be prepared. Or at least as prepared as The Gourds can get," he laughs."
Vanguard has been very open and generous with us, and things just feel really right," says Russell. "We're all extremely excited about the next few months."
Campbell is probably best known for his seven years in Bob Dylan's band during the Never Ending Tour. He also was a major influence on Dylan's groundbreaking 2001 album "Love and Theft", and has been credited with taking Dylan into new musical areas like Western swing.
Campbell, who received a Lifetime Achievement Award from the Americana Music Association in 2009, produced Levon Helm's last two albums, Dirt Farmer and Electric Dirt, and serves as the bandleader for Helm's Midnight Rambles.
By William Michael Smith
February 7, 2011
With their homespun, loosey-goosey style, The Gourds have often been compared to The Band and to Levon Helm over the course of the Austin roots band's 16-year career. Late Friday, the Gourds announced that Helm's guitarist Larry Campbell will produce their tenth studio album, which will be recorded at Helm's studio in Woodstock, N.Y.
Former Houstonian and longtime industry veteran Bill Bentley, currently Director of A&R for Vanguard Records, was the key connection in linking The Gourds with Campbell. The album will be the Gourds' first since Haymaker! was released in January 2009.
Started in New York City in 1950, Vanguard became noted for its early forays into folk music and blues, but has also released important jazz sides as well some classical music. Now based in Los Angeles, the label is now owned by the Welk Group.
According to Kevin Russell of The Gourds, the band has the songs written and is on a heavier rehearsal schedule than usual.
"The plan is to record a lot of the next one live, so we want to be prepared. Or at least as prepared as The Gourds can get," he laughs."
Vanguard has been very open and generous with us, and things just feel really right," says Russell. "We're all extremely excited about the next few months."
Campbell is probably best known for his seven years in Bob Dylan's band during the Never Ending Tour. He also was a major influence on Dylan's groundbreaking 2001 album "Love and Theft", and has been credited with taking Dylan into new musical areas like Western swing.
Campbell, who received a Lifetime Achievement Award from the Americana Music Association in 2009, produced Levon Helm's last two albums, Dirt Farmer and Electric Dirt, and serves as the bandleader for Helm's Midnight Rambles.
© Houston Press
By The Time We Got To Woodstock: Haymaker Follow-Up Set To Go
Good, exciting news from The Gourds. Late last year, Gourds management approached the legendary Bill Bentley about the idea of matching us with Levon Helm producer/guitarist, Larry Campbell. He and Vanguard Records liked the idea. So Bill set the ball in motion to make this pairing happen. Keith, Jimmy and I met with Larry and sound engineer, Justin Guip, backstage of Bass Concert Hall when Levon Helm's band came through Austin. It was just a matter of logistical hop scotch from that point on to get us all to land in the same window. Lo and behold, here we are finally with time booked in late March for The Gourds to record at that highly esteemed studio in Woodstock, NY, with Mr. Campbell at the Helm. The Gourds are all very happy to have the opportunity to make our next record for Vanguard Records in this way. It promises to be the highlight of our year, or of our career even. Whoooohoooo!!!
Shinyribs Russell
February 4, 2011
7:10pm
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