Scud Mountain Boys reform 14 years later
Monday, October 17, 2011
– The Scud Mountain Boys, who disbanded in 1997, will play several east coast shows in January and February 2012.
Stephen Desaulniers, Joe Pernice, Tom Shea and Bruce Tull, who comprised the band throughout most of its short recording and touring career from 1991-97, will play together for the first time in 14 years.
Friday, Jan. 13, 2012 - Bowery Ballroom, New York, NY
Saturday Jan. 14 - Brighton Music Hall, Boston, MA
Sunday, Jan. 15 - Pearl Street Clubroom, Northampton, MA
Saturday, Feb. 18, 2012 - Johnny Brenda's, Philadelphia, PA
Sunday, Feb. 19, 2012- The Black Cat, Washington, DC
James Walbourne, who plays in The Pernice Brothers with Joe Pernice, and also plays with The Pretenders, Edwyn Collins and Peter Bruntnell, will open the shows in January.
In August, after being out-of-contact for many years, Pernice, Desaulniers and Shea had an almost-impromptu reunion in Cambridge, Mass., after which they announced the full Scud Mountain Boys line-up would do these shows. Ashmont Records will re-release "The Early Year "in January 2012. "There are plans afoot for other re-releases and recordings, but nothing solid to report at this writing," the Scuds' publicist said Monday.
The Scud Mountain Boys began as the Scuds in western Massachusetts in 1991. Back then the group played loud rock 'n' roll in local clubs. But after those shows ended, the band would retreat to Bruce's kitchen to unwind. There, late at night, they would break out their old country favorites, playing the songs they thought too quiet and too slow for live performances.
The band found that these were the songs they really lived to play, so they decided to make a change. Adding "mountain boys" to their name, the re-christened Scud Mountain Boys played their first show in 1993. In keeping with their simplified approach, the Scud Mountain Boys preferred to record in the same kitchen that spawned their new direction. They had tried recording in a small studio but found it alienating. A 4-track recorder captured the sounds for 12 original songs and 3 covers of songs originally performed by such diverse sources as Jimmy Webb (Wichita Lineman), Olivia Newton-John (Please, Mister Please), and Cher (Gypsies, Tramps and Thieves). Originally sold as the Pine Box cassette, the tracks were later released on vinyl by the indie-rock label Chunk Records in 1995.
Later in 1995 the Scud Mountain Boys recorded another set of tracks which became "Dance the Night Away" on Chunk. Including more 4-track kitchen recordings, as well as others made a 24-track studio, the CD-only release featured drums on a few songs, another Jimmy Webb cover (Where's the Playground Susie).
The band signed with Seattle's Sub Pop Records and recorded "Massachusetts," a14-song album with a number of more upbeat songs with drums and electric guitar. Released in 1996, the CD received much praise. Sub Pop released the first 2 CDs as "The Early Year," a double CD, in 1997. The group disbanded shortly after that release, and has not performed since.
Tickets for these shows go on sale Oct. 21.
More news for Scud Mountain Boys
CD reviews for Scud Mountain Boys
The Early Year
The Scud Mountain Boys rose out of late night gatherings in guitarist/vocalist Bruce Tull's kitchen, playing quiet, acoustic, country-flavored tunes more than the regular rock bands they were used to playing in. The Scuds became a full-time project and, almost immediately, released two records in one year. This is a double-CD reissue of these first two releases: "Pine Box" and "Dance The Night Away" (both released in 1995 on Chunk Records). The former was recorded with just one microphone. »»»
On the Scuds' latest, they reveal where there true musical direction lies. Although definitely having some country influences, the sound is similar to that of Better than Ezra or R.E.M. in their mellower moments. They also display their country influences, evoking memories of Gram Parsons, the Jayhawks et al on tracks prominently featuring traditional country instruments such as the mandolin, lap steel, and pedal steel guitar ("Big Hole" and "Van Drunk"). The tempo is rather slow and laid-back throughout. »»»
Editorial: Walking the talk
When names like Hank Williams, Johnny Cash, Waylon and the Hag are invoked, you're talking hard core country. These are the touchstones of country , the guys who made country music what it was and still is (or maybe can be). When these folks would sing about being down-and-out and the rough-and-tumble, they knew of what they were singing about. Fast forward a few years to the country singers of today. »»»
Concert Review: Great songs, not glitz, highlight Lynn tribute
An eclectic group of Americana artists gathered together for a relatively low-key tribute to Loretta Lynn on the eve of the glitzy Grammy Awards. In contrast to the expensive dresses and song sets displayed at Staples Center for the awards show TV broadcast, these performers were backed by a skillful traditional country music house band.... »»»
Concert Review: McBride soldiers on
Martina McBride said of "Reckless," her first country album in five years, that she wanted to get back to the old school, sorting through hundreds of songs from Music City's best songwriters and employing its best producers. As it turns out, it wasn't a very long trip. The Kansas native broke onto the scene with her 1992... »»»
Country News Digest
Elsewhere in the news
Currently at the CST blogs
For nearly a decade and a half, The Devil Makes Three has concocted an amazing blend of bluegrass, folk, country, blues, rockabilly and whatever happens to bubble to the surface, and applied it liberally to their songwriting ethic.... »»»
Mercy Rose Isbell recently celebrated her first birthday and, ironically, the album she helped inspire has just been released. Synchronicity is a beautiful thing. Mercy Rose is, of course, the daughter of singer/songwriters Jason Isbell and Amanda Shires, two of the most gifted Americana artists working today...
Something old is new again. The Earls of Leicester, fresh from their first release in late 2014 and the IBMA Entertainer of the Year Award for 2015, followed that remarkable success with "Rattle and Roar."... »»»
In the Ground
The family band is a longstanding conceit of bluegrass and mountain music, including the Carters, the Osbornes, the McReynolds, the Whites, The Stanleys and even the progenitors of bluegrass Bill and Charlie Monroe. The trope continues to the present with The Gibson Brothers carrying on this tradition admirably. »»»
Brett Young had a hit out of the box with "Sleep Without You," as ear candy of a song. His soulful vocals carry the percolating song that seemed designed with airplay in mind. If Young were a band, this is the type of song that Rascal Flatts might cover. In fact, the airplay bent could be said of most of the dozen songs on the Californian's major label debut after five indie releases. »»»
Faster and Farther
Over five previous recordings, Darin and Brooke Aldridge have shown themselves as mainstream bluegrass's most capable duo. When exploring traditional themes, blending stunning harmony arrangements and extending praise through gospel numbers, the Aldridges have demonstrated that their mature, professional approach to their craft is second-to-none. »»»
Sing It Now: Songs of Faith & Hope
So, you say you don't have enough Reba McEntire spiritual music in your collection, eh? With "Sing It Now: Songs of Faith & Hope," you can fill that catalogue hole right quick. At two discs full, this ambitious set will scratch that itch, assuming you have such an itch in need of scratching. »»»
The Soul & The Heal
Back in the '80s, Gurf Morlix turned his itinerant singer/songwriter/session ninja role into a 15-year gig with Lucinda Williams, playing guitar in her band and producing her third and fourth albums. After breaking with Williams over the endless production of "Car Wheels on a Gravel Road," Morlix became an in-demand producer, manning the board for Robert Earl Keen, Mary Gautiher, Ray Wylie Hubbard and Ian McLagan. »»»
Stitch of the World
Tift Merritt's gets off to a rip-roaring start by opening "Stitch of the World" with a song called "Dusty Old Man." If you can imagine it, the song sounds like Emmylou Harris fronting John Mellencamp's "Uh-huh" band from 1983. The album gets a little softer after this, although it's no less passionate throughout. Merritt may sing like a gentle soul, but she's the dedicated, persistent sort. »»»