Greetings and Salutations!
2016 marks THIRTEEN YEARS OF MIDNIGHT CALLING EZINE!
I took a hiatus for a while, but we’re up and running again. My apologies to the bands and readers.
I have stretched ropes from steeple to steeple; garlands from window to window; golden chains from star to star, and I dance. – Arthur Rimbaud
Music before all else, and for that choose the irregular, which is vaguer and melts better into the air. – Paul Verlaine
Dance, dance the macabre dance/keep in step with things unseen
dance to music never heard/by mortal men except in dreams. - Enoch E. Bundy
Take at look at some of the bad videos filmed by yours truly at:
It’s all about the music! Screw the ‘scene’.
Following up their excellent debut album Boot Hill Hymnal, Heathen Apostles draw their musical six guns, and stalk once more through haunted graveyards, dangerous streets, and debauchery-filled saloons. Fire to the Fuse continues the epic Western Gothic journey, and demonstrates that Heathen Apostles are musical desperadoes to be reckoned with.
Fools Gold is a rousing, tumultuous frontier anthem. Rollicking guitar and galloping percussion accompany Mather’s exquisite vocals. The fiddle adds a magnificent touch.
Drowned in Trouble features very evocative fiddle and powerful guitar. There are a lot of elements here that are blended together seamlessly and add up to very hard hitting song. The rhythmic percussion and lonesome picking makes me want to take a train to Johnston Country, Montana to see if anyone needs another hired gun. The layered vocals are eerily effective.
Yveline changes the pace a bit. Rolling like a rock n’ roll freight train through the dangerous darkness of the musical plains, the song rides on fierce percussion, lethal guitar, and razor sharp fiddle. Mather’s vocals are as smooth as deadly as Bat Masterson’s six gun clearing his holster.
Fist City opens like a dirge, slow and dark. Bleak banjo and grim fiddle stalk along with ominous percussion. Mather’s vocals are like the snick of the hammers being drawn back on a 10 gauge stage gun. “If you don’t want to go to fist city, you better detour around my town”. The finale is fast and furious. Great song!
Evil Spirits combines Rio Grande grit with Celtic fire. Hard acoustic guitar and rampaging fiddle hit the trail at breakneck speed, as percussion rapid fires like an 1873 Winchester. Mather’s vocals are forceful, and the backing male vocals are superb.
Looks are Deceiving is a delightful old-time hoedown with an edge like a straight-razor pulled from a shotgun boot. The fiddle and banjo rambunctiously ride with fast percussion and some fine picking. Vocals are smooth and even a little Bluesy.
Fire to the Fuse is low and baneful, a perfect tapestry of direful sound. Percussion beats a doom-laden tattoo, evoking boot heels stalking down an empty main street. Guitars and discordant fiddle weave a sinister cacophony around Mather’s exquisite vocals. This song demonstrates her versatility quite well.
Death’s Head continues the dangerous journey into a neo-western heart of darkness. Dark and malignant guitars team with cutting fiddle in an unholy union as Mather invokes the terrifying entities that preside over a pitiless destiny. Screams of terror accentuate the driving percussion, as doomy bass lays down a positively Stygian undercurrent. About 2:30 there is a superb and some fine rock guitar.
Bang Bang is perhaps my favorite song on the album. Infectious percussion and guitar vie with edgy fiddle, as Mather’s sultry vocals tell a tell of loss that somehow resonates with an odd feeling of optimism. There is a touch of vaudeville here, and guitar has a brief gypsy flourish. The song is evocative of an old saloon ballad, as the fiddle deftly weaves a haunting melody.
Measure of Time is a bit more contemporary, with mournful vocals and plaintive guitar. The fiddle is mournful, with emphatic, well-timed percussion. Backing harmonies are fabulous, balanced with a powerful guitar solo at about 3:35. This is a very moving and rueful song.
Without a Trace makes me want to get up and dance. The high, lonesome fiddle is perfect, with martial percussion and rollicking guitar. Vocals are dark, but they strike true. This song has a little bit of Celtic, a little bit of down-home, and a whole lot of sheer energy.
Before You Go is in a slower vein with a rather macabre look at a “love that’s run astray”. Smooth and languid, the song has traces of a calypso feel. Romantic, meandering strings vie with suave guitar to accompany velvet vocals that incorporate some great harmonies. “Before you go and wish me dead, dear, choose the plot where I will lay”.
The traditional Lily of the West is the perfect song to close the album. Spirited, boisterous, yet cynical and dark, there is some fine picking here and truly infectious rhythms. The Heathen Apostles turn this classic into a boot hill ballad in their finest tradition.
What more can one say about Fire to the Fuse? The music truly speaks for itself. The production is fantastic. The Heathen Apostles seamlessly weave their aural artistry into a well-crafted album filled poignancy as well as well as corral fisticuffs. The Heathen Apostles are clearly the finest musical guns under the Big Sky. I feel as though if I were to walk through the doors of the Oriental, I’d see them leaning on the bar, steely eyed. with a guitar as close at hand as a Peacemaker. For all comers, Fire to the Fuse will be most pleasing the ear. Give it a listen. You’re a Daisy if you do. And keep one eye on those dusty plains. The Heathen Apostles will be back.
This event review is long overdue, but I think it is still pretty relevant. My girlfriend Crystal and I were in Stephenson’s BBQ one afternoon, and we happened to see a handwritten notice for a Hank Williams Tribute Night at the Stewart Theater in Dunn, NC on Friday, August 9th, 2013. She is a Harnett County native, and I always enjoy visiting the area. It reminds me a great deal of how Davie County, NC where I grew up, used to be We both grew up listening to classic country, so this sounded like a good event. We found a bit more information on the Malpass Brother’s website, so we decided to drive down to Dunn and attend. The theater is right beside Sherrie’s Bakery, one of our long-time, down-home favorites in the area. We were very glad we did. This was the finest music event I had attended in the five years since I moved back to North Carolina. We had never seen the Malpass Brothers perform, and it was marvelous.
She adds: Everybody going into the concert (except for us) was dressed in their everyday clothes common to the Harnett County retired set–the men wore pressed jeans and short-sleeve button down shirts, some plain, some flashy (like Herbert Norris’ bold striped multicolored number); the women wore their floral-print blouses and pullovers, and their pull-on pants. Everyone looked neat and clean. The smattering of younger folks were wearing the standard shorts and t-shirt uniform, but even they looked like they had bathed recently. No one was wearing Patagonia, or REI gear. No hippie garb, no retro rockabilly stuff, not even many cowboy boots to be seen. This was a strictly sneaker and orthopedic shoe crowd (usual small-town footwear for people of a certain age). The big fellow seated behind us was an exception; he was dressed in a gut-straining t-shirt and baggy jeans, with a gimme cap that read “Bynum” (his employer, I guess).
This guy turned out to be a trove of local country music knowledge…he mentioned Jim Thornthon, a name I haven’t heard in 25 years. (The last time I heard it was from William Shires, my boss at the News Bureau at ECU in Greenville…he waxed nostalgic about Jim Thorton.) Jim Thornton was from Broadslab, a township near the Meadow community of Johnston County. (My mother is from Broadslab.) Thornton had a minor rockabilly hit in 1957, “I Want Everything My Baby’s Got”—he also had a local Saturday night TV show on Raleigh’s WRAL Channel 5…he was reputed to be drunk on the show and regularly ate out of what looked like a can of Yellow Rose dog food (one of the sponsors), but was actually a can of corned beef hash (something that most locals grew up eating, myself included). Below is a comment from the You Tube post of Jim Thornton’s single: “I remember when Jim had a late Saturday night tv show from WRAL channel 5 from raleigh, nc. jim was always about 2 sheets in the wind.”
The folks in that crowd KNEW the music that the Malprass Brothers and guests played; they didn’t just read about it in a bunch of articles written by blowhard artsy-fartsy music critics, and they sure didn’t hear about it in college… and a lot of them were probably current attendees of the “Benson Dance”…a regular Saturday-night event at the American Legion hall on Hwy 301 in Benson. This is where my daddy and his crowd went weekly to dance to local (very local) country pickers and a deejay until his death. The music at the Benson dance was classic country (Porter Wagoner–a huge local favorite, Hank, Cash, Charlie Rich, Charley Pride, etc.–what my daddy listened to in the 1950s – 1970s).
I dare say that some of the younger folks in the crowd also probably frequented The Junction in Benson, which grew out of a “closed door” country venue in someone’s field in the early 90s. This “private” club (you had to know someone to get in), was pure country grit. But it was the home of some good classic country and hardcore Southern rock, and toward the end of the night everyone from the barely legal to the age 70 + set two-stepped and waltzed together. It was also a good place to get your head busted open if you didn’t behave yourself.
I’m pretty sure most of the audience at the Hank Tribute Show was also familiar with the local AM radio station WCKB, Dunn. Its trasmitter tower located not far from the Stewart Theater. WCKB is now a Christian station, but in the 1970s it was the place for classic country, current country hits (I first heard Ronnie Milsap on that station), bluegrass, and the morning swap-shop call in show that my mama and I used to listen to when I was home during the summer.
As for the show itself, the Malpass Brothers were as unpretentious as they get. They delivered what that crowd came to hear…country in its cleanest, tightest, and most unself-conscious. No one on that stage or in that audience felt any need to to apologize for or denigrate what they liked by exaggerating it or mocking it. That band and their guests just plain brought it. And that crowd understood. They knew the gospel songs…they had heard them before…if not in church, then from their parents or grandparents. They knew the Marty Robbins songs, the Lefty Frizzell songs, and of course, the Hank songs. And they loved it when the elderly couple came up to sing (the wife left an impression on me…she was frail, and her voice was eerie…kind of keening, and reminiscent of Loretta Lynn when Loretta sounds a little rough in some of her more unpolished efforts. Harold Norris was a revelation…that old man was gittin’ it, and you could tell he was happy as hell to be on that stage. He had that rockabilly thing down a lot better than a bunch of these bored poseurs that try to do it with an ironic edge. He was the real thing, dressed in khaki pants and a colorblocked short sleeved button-down shirt.
I especially enjoyed, along with the rest of the crowd, watching Clyde Mattocks on the pedal steel. He was smooth, confident, and had a serious ladies’-man vibe going–at his age! (And I don’t think I was alone in that opinion.) His steel guitar was a centerpiece for that show. Curtis Wright (I think he may have been with Pure Prarie League, too–they were one of my favorites) added some rock to the mix…his performance showed more 1980s country rock stylings, as opposed to the straight-up 1950s country sound of the Malpass Brothers. Curtis Wright rocked “Kaw-Liga”–his yodeling was good stuff and got a big crowd response.
The audience also appreciated the stage banter, all the way from the offhand comments about who was the women’s favorite in the band (according to the emcee, the drummer), to Taylor Malpass’ nickname, to what I thought of as the “barbershop jokes”, to the list of local sponsors read off twice at the end of the show. At the end of the show, you could tell that this was a comfortable crowd, familiar with each other and the band. The whole night was like old home week for the audience…they knew the old Stewart Theatre from their youth, they knew the music, they knew each other, and a lot of them knew the band themselves.
This was real Country: the music, the people, and the venue. There were no “roots” snobs (they would have died before being seen with this crowd), no self-proclaimed music “scholars”, and no Country hipster sycophants. Unlike a lot of venues in the Triangle, no one snobbed off anyone because of how they sounded, dressed, or who wasn’t “pre-approved” on the band’s social media. Which is all pretty stupid, anyway. We didn’t know anyone there, and we were dressed very differently from the rest of the audience. But no one paid uas any mind, and everyone was nice. We chatted a bit with some of the people around his. If anyone here had acted the way they acted during our visit to Saxapawhaws a couple of years previously, they would probably have gotten their ass beaten in short order. After the show, the Malpass Brothers talked to everyone who approached them. Some of these songs brought tears to your eyes, or gave you goosebumps because it was as if you stepped back in 1956. But it was natural, and not contrived. There was no “irony”. Some of the performers were elderly, which you never see at the Country Hipster shows, and they brought a lifetime of musical skills to the stage. It was all strictly about the music. This is how an event is supposed to be.
JoCo Country, hell yeah.
“Misery and Gin” is the new Merle Haggard tribute EP be released on July 22 by the fabulous Heathen Apostles! The Heathen Apostles are Mather Louth (Radio Noir), Chopper Franklin (The Cramps, Nick Curran & the Lowlifes) Thomas Lorioux (The Kings of Nuthin’) on bass, Stevyn Grey (Christian Death, 45 Grave) on drums, and Luis Mascaro on violin.
“I’m Gonna Break Every Heart I Can” is a new take on Merle’s classic song of romantic retribution, which begins with a burst of Bluesy cacophony that levels off into a boisterous honky-tonk rhythm. The fiddle has a fine Charlie Daniel’s style edge to it, while the fast-paced percussion and galloping guitar give a fine saloon blues backing. Mather’s vocals are energetic and alluring, reminiscent of a young Reba, and like Jeanne C. Riley, Mather socks it to ‘em and closes on a seductive, yet dangerous note.
“Misery and Gin” is a bit slower, with a full, lush sound that brings to mind the superbly produced Country songs of the ’60s and ’70s. Orchestral fiddle, tight guitar, and steady percussion provide the perfect backing for Mather’s reflective vocals. The instrumental interludes are particularly evocative of the age of classic Country. “Misery and Gin“ is a fine interpretation!
“I‘m Gonna Break Every Heart I can“ (Amighty Watching Remix”) is a modern twist on this Merle haggard standard, with a bit of punk and electro. From the highlight buzzsaw guitar to the electro backings to Mather’s bewitching vocals, which evoke a bit of of Debbie Harry and Terri Nunn, this is a rousing song.
The Heathen Apostles is one of the best bands out there today, with their imminently successful Southern Gothic meets The Old West sounds and imagery. You can almost hear the wind blowing tumbleweeds on Boot Hill. Most people who have tried this end up sounding like they are trying to giving the listener a music lesson. But not The Heathen Apostles. They sound genuine and spontaneous, inspired by the past, but firmly here in the present. They understand completely that it isn’t what the listener knows about music that is important, but how the music makes the listener feel. The Heathen Apostles put their own soul into the tracks here, but also keep true to the original spirit of the music. “Misery and Gin” is a worthy tribute to Merle Haggard. I think he would approve.
If you like great music with an Old West flair, you can’t go wrong with The Heathen Apostles. (NOTE: I have it on impeccable authority that Chopper is working on some soundtrack material! Stay tuned….)
Check out the brand new video for Misery and Gin!
And don’t forget:
Identities is the third release from Red Sun Revival, following the excellent Running From the Dawn and Embers (EP). Red Sun Revival consists of Rob Leydon, Panos Theodoropoulous, Christina Emery and Matt Helm. Live drums are provided by Simon Rippin, with Sam Morrison on keyboards for ‘The Condemned Part I’ Without further fanfare, I’ll get to the music:
Premonition has a piano intro and then launches into a magnificent bass line, energetic percussion, and Rob’s trademark powerful vocals. There is an anthem like quality to the song that rises with each chorus. Angelic backing vocals add to the intensity. Guitar, percussion, bass weave layers of sound around the main vocals, and supporting arrangements fill in the tapestry.
Echoes begins with a classic sort of Gothic choral flourish. An utterly fantastic baseline and steady percussion are coupled with keyboards and Rob’s trademark dark vocals. The pace quickens, followed with female backing vocals. Layered choral vocals drift from the depths of the song, the percussion ceases, and then the song fades. Imagine equal parts 69 Eyes and Mission UK, with vigorous post-punk percussion and a slight touch of ethereal.
After a sweeping intro, the bass continues its relentless assault in Four Walls. Keyboards and percussion are dynamic without being overpowering, with a very cool rock guitar solo at about 2:45. Backing arrangements are dark and sweeping. Vocals are gripping and poignant. I hear a bit of early Clan of Xymox here, and a hint of Garden of Delight.
The Reckoning is a brilliant musical epic, featuring orchestral arrangements with an inexorable, measured cadence. Vocals are a touch higher than usual, which lends strength to the sense of impending fate. There are wonderful bell effects, and strings are gorgeously layered underneath, which resonate profoundly at the end.
Fade in Time begins with a choral flourish, then launches into a rousing cavalcade of sound. The thundering bass accentuates the sheer crispness of the percussion and backing instrumentation. This song really reminds me of 69 Eyes, only a tighter and with a fuller sound. Vocals are a bit more strident than some of the other songs, which heightens the sense of a fervent requiem.
In Your Name rolls on, with pounding bass and cleaver-sharp keyboards. Electronic backing effects weave around the vocals and race in counterpoint to the bass. Keyboards rise between the verses like a wave of sound, then subside briefly as the vocals peal onwards. There is a strong orchestral effect, then at about 3:50 the guitar sweeps all before it.
Mistakes begins ominously, then rises with a juxtaposition of poignant vocals and sweeping electronics and guitar. Percussion is steady and strong. “Sometimes when I see your face in dreams, everything becomes just like a memory”. Rock guitar rises to anthem proportions at about 4:20. This is a fine song for driving down a darkened highway. Play it loud.
The Condemned part I clocks in at over seven minutes of pure musical doom, as irresistible as a storm at sea. The song opens with Heavy, pounding synth and percussion, as irresistible as a storm at sea in the distance. Keyboards and guitar come to the forefront, with some excellent, eerie backing effects. I am reminded of Love Like Blood. The bass becomes stronger, resonating with rising synth, and then a gripping guitar segment sweeps all before it, in the vein of Pink Floyd’s Delicate Sound of Thunder days. The song rises to a majestic, thralling peak, as percussion steps in, sharp and inexorable. Then Rob’s vocals emerge and assume center stage. Powerful, compelling, yet poignant at the same time, the vocals have Rob’s trademark sense of deep, turbulent emotions without seeming theatrical or contrived. As the great Lawrence Welk would say, “Wonderful! Wonderful!”
After a gripping intro, The Condemned part II continues the grand epic. The pace picks up, showcasing some fine guitar work that has some definite bite. Driving, hypnotic percussion rolls on, pursued by thundering bass. Vocals are strident, nearly Homeric, but not overreaching, as dark backing synth adds a hint of a chorale and keyboards add a fine, discernible edge.
The Awakening begins with clear, evocative keyboards, before the rush of sharp guitar and bass hits. Upbeat and fast paced, yet oddly reflective, this is the perfect song to end the album. While clearly bass driven, there is fine support from percussion. The backing atmospherics are marvelously bleak, but they fill the musical spaces perfectly. Shadows of Strange Boutique are interwoven in there somewhere, and very evocative strings. Vocals are fast, but with the usual sense of longing. The song contains a hint of despair, yet is also vibrant with rising hopefulness.
Identities is the best Goth/Postpunk inspired album of 2015. Very well crafted, both musically and lyrically, Identities displays a superb consistency across the entire album. There are no “weak” tracks here. Another reviewer said that this album puts Red Sun Revival on the map, but I think they were already well established on the map with their last two albums. One of the great things about Red Sun Revival is that they are not rehashing the same old ’80s or ’90s era Gothic sound like many other bands. Intensely original, they eschew the usual leaden, doomy, swirly morass that characterizes much “dark” music. (If I want to hear that sort of thing, I’ll just dig through my collection.) Red Sun Revival is firmly here in the 21st century, while clearly building upon their Gothic and Postpunk roots. We look forward to their fourth album!