Lucero (performing their s/t debut)

Elm Street Music & Tattoo Fest presents

Lucero (performing their s/t debut)

John Moreland, Old Heavy Hands

Fri, May 17, 2019

Doors: 7:00 pm / Show: 8:00 pm

Club Dada

Dallas, TX

$25.00

Tickets at the Door

This event is all ages

Lucero
Lucero
You could say we were one of the lucky ones, starting this band in April of ’98 without a clue as to what we were doing. We were getting tired of the steady punk rock and metal diet and we wanted to try our hand at country songs, or do our best Tom Waits/Pogues impersonation.

The trick there was that we couldn’t really play our instruments! I had never played guitar before and Ben Nichols (lead singer, guitar) had only played bass in other bands. Finding Roy Berry (drummer) and John C. Stubblefield (bassist) solidified the line up and being hidden away in Memphis allowed us to woodshed, experiment with different sounds and create one that was ours alone.

Eventually we got out of town, and playing 250 shows year not only made us tight as a band but as a family as well. We are still one of the few bands out there with the original line up from almost the beginning, and it shows.

Picking up Rick Steff on keys allowed us to expand the sound and grow musically. Being able to play whatever we could think up in our heads and having the music we loved and grew up on motivate and inspire us to try new things and take chances. We realized that if you added some horns to Ben’s lyrics that it took it to the next step, from sad bastard country rock to soul and R&B and we realized we were a Memphis band and came by it honest. We have always brought Memphis with us wherever we went and this just proved it.

We came out screaming on 1372 Overton Park. Big sound, bigger horns – like a kid with a new toy we put them on everything and loved it! This record was a marked departure from the previous sound and announcement of way things we’re gonna be now!

This brings us to the new record. All A Man Should Do contains some of the most resonant lyrics Ben Nichols has ever written, lyrics that read like chapters from his life on the duality of relationships, getting older, finding where you want to be in this world, and musically we are broadening our sound. Working with producer Ted Hutt for a third time at the famous Ardent Studios, we felt comfortable enough to take some chances with a palette of new tones that sound understated yet powerful, bringing life to the stories behind the lyrics without overshadowing them.

It’s also the first time we’ve ever put a cover song on a record, with a full band version of big star’s “I Fell in Love with a Girl”, and having Jody from Big Star sing back-up vocals makes it that more special and amazing. This is a Memphis record in the greatest sense and a perfect finish to the three-part love letter to a city that brought us up and made us what we are today.

“I was 15 years old in 1989. This record sounds like the record I wanted to make when I was 15. It just took 25 years of mistakes to get it done.” – Ben Nichols

“Having Big Star actually sing on your cover of a Big Star song that you’re recording at Ardent Studios – it doesn’t get much more exciting than that.” – Ben Nichols
John Moreland
John Moreland
The replay of John Moreland’s network television debut is…glorious and affirming and a sucker punch. He is announced by Stephen Colbert, lights dissolve, and the camera slowly focuses on the person midway across the unadorned stage, revealing him beneath muted blue lights.

He is a big man.

Seated, alone, cradling his acoustic guitar.

He looks like nobody who is famous.

Then he begins to sing, to caress the song “Break My Heart Sweetly,” and all that remains is to whisper, “Oh, my god.”

In Colbert’s studio everybody stood, like they were in church.

Big Bad Luv is the record John Moreland made after, after everything in his life changed. For the better.

He sings in one of those accents from flyover country that’s impossible to locate and implausible to mimic. (Texas, by way of Northern Kentucky, but mostly Tulsa, as it happens.) He sings directly from his heart, with none of the restraint and filters and caution the rest of us would apply for public protection. He sings with resolute courage.

He sings.

And writes. Writes with simple eloquence about love and faith and isolation; the human condition; what every song and poem and novel is about, at the core: Life.

“Break My Heart Sweetly” came from his second solo album, released in 2013 and titled In the Throes. High on Tulsa Heat, released through Thirty Tigers, landed him on Colbert’s stage (that’s the LP Colbert held up). Song placements on “Sons of Anarchy,” an emerging artist nomination from the Americana Music Association.

Enough sales to compel Moreland to give up his DIY label operation, and sign with 4AD. “It grew to the point where I couldn’t really handle everything myself,” he says. “Even with a manager and a small team, I came to the conclusion that I’d like to play music and not worry about the other stuff.”
Enough success to buy a measure of peace, and not more pain. “I expected to just play in the corner of the bar and have people not really pay attention, make $100, go home and go to work the next morning, doing something I didn’t like,” Moreland says. “So, yeah, I didn’t really expect to be here. But, then, on the other hand, I did. I feel like I’m good enough to be here. And I’ve always been confident, even when I probably shouldn’t have been. I knew I was an outsider. I didn’t have a lot of faith in the music industry to let me in. But I guess they have. To some extent. That’s what I hoped for, but I wasn’t sure that would be how it worked.”

“In churches learning how to hate yourself/Ain’t grace a wretched old thing” he sings, the song called “Ain’t We Gold.” Big Bad Luv is unmistakably a rock ‘n’ roll record. If, that is, one understands the term to include Ray Wylie Hubbard, John Hiatt, and Lucero. Or The Band, maybe. Insistent songs, coming from a voice as elegant as unfinished barn wood, songs which insist upon their words being heard.
His fourth solo album, not discounting two records with the Black Gold Band and a third with the Dust Bowl Souls. Nor discounting early excursions into hardcore which were not youthful indiscretions but crucial training in the emotional honesty of confessional songwriting. A rock album, to be performed by a rock band. A partial break with the solitude of solo touring.

“Two or three years ago,” Moreland says, “it would have been impossible to picture touring with a band. Now that’s changed. I think I’ll still do some solo or stripped down shows, but I have the option to bring a band with me if I want. Ultimately it’s just what the songs felt like they should be.”

Big Bad Luv was recorded down in Little Rock, mostly with a crew of Tulsa friends: John Calvin Abney on piano and guitar, back from Tulsa Heat; Aaron Boehler on bass; Paddy Ryan on drums; Jared Tyler on dobro. And then Lucero’s Rick Steff on piano, which ended up being the catalyst for completion.

“I always start off writing whatever comes naturally,” Moreland says. “Once I’ve got seven or eight of those, then I’ll take stock and look at what I’ve got, figure out what belongs on a record together, and what might not. Then I’ll figure out what kind of songs I need.”

Three sessions over ten months, sandwiched between touring dates and life. The final sequence roughly approximating the order in which songs were written. “I chose the sequence for what I thought worked best musically,” he says, untroubled.

“Quick bursts of recording,” Moreland goes on. Gives off a quick laugh. “It’s not like we’re sitting there over-thinking the performances, I’m definitely a fan of just hit record and play it. But then there’s long stretches where I’m not in the studio, when I’m listening to what I did, asking how do I turn this into a record?”

The key turned out to be Rick Steff’s promise to record next week, even though Moreland didn’t have songs, not a one. “I went home and wrote five songs in four days and finished up,” Moreland says. Another deep, wry laugh.

Big Bad Luv is, at least by comparison…maybe…a happier record? “I don’t think I’m writing songs that are that much different,” Moreland says. “It’s always been a positive thing at heart, even if a song isn’t sunshine and rainbows. At the very least my songs have been a way to exorcise negative feelings so that I can move on. And hopefully they provide that same experience to listeners. So that’s what I’m still doing. I think it’s a positive thing. I think this record, there’s definitely a change in attitude, but it’s the same point of view.”

Oh, yeah. And Tchad Blake mixed it. “He’s also the only person I’ve ever worked with on a record whose name I can drop.”

“Slow down easy, I’ve been hauling a heavy soul,” he sings, this song titled “Slow Down Easy.” Carrying it for all of us, but no longer alone.
Old Heavy Hands
Old Heavy Hands
We all tattoo for a living.
We also play music.
Venue Information:
Club Dada
2720 Elm St.
Dallas, TX, 75226
http://dadadallas.com/