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daggerzine · 2 months

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(photo: Carla Mundy)

Victoria Liedtke and Jason Ringenberg- More Than Words Can Tell (Judee Bop Records)

No one can overlook the great Dolly Parton/Porter Wagoner duo from years ago. Victoria Liedtke thought it was time to give them their due, but with a spin of her own. She contacted Jason Ringenberg to see if he was interested, and he jumped at the chance. The album is produced by Victoria, co-produced by Elliot Vaughan, and mixed by both. She and Jason recorded the album at Vale Studios in Worcester, UK, in the summer of 2022 with an amazing UK-based band featuring: CJ Hillman on electric and slide guitar, John Parker on double bass, Lewis ‘Burner’ Pugh on acoustic guitar, and Tim Prottey-Jones on drums. Many other guests are on the album, also. The opening track is also the 1st single, “Life Rides The Train.” This Porter-penned track gets a lengthened (twice as long as the original with rockin’ guitar solos) revamp with alternating vocals from Jason and Victoria. Watch the video here: https://www.youtube.com/watch?v=dUj-j-_0XJM Next is the title track, “More Than Words Can Tell,” another Porter-penned song that speeds up a bit from the original with its harmonies and chorus. “We've seen happiness that could match heaven's beauty. And felt sadness like the flaming pits of hell. But each thing we share just makes our love grow stronger. And I love you more than words could ever tell.” Up next, “Sounds Of Nature,” is the first co-written (Parton/Wagoner) song on the album. It’s a bit slower than the original, but that’s what Victoria and Jason do, they make these songs their own. Gorgeous strings, acoustic guitars, and angelic choral vocals fill this gem. Track 4, “Carolina Moonshiner,” is a Dolly-penned toe-tapper. Jason begins, Victoria enters, and then they finally blend their voices together like the original. Again, extra amazing guitar work adds to their version. Here’s the video:

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Next, “The Fire That Keeps You Warm,” is another song written by Dolly. Steel guitars and piano emphasize this slowed-down version of this one. There is great interplay with the vocals again. “Let me walk in the sunshine of your smile. Let me hide in the shadows of your eyes. Let me lie in the safety of your arms. And let me be the fire that keeps you warm. I'll keep you warm.” Track 6 is the 2nd single off of the album. It’s also written by Dolly Parton. “Come To Me” adds musicians Sean O'Hagan and Bryan Scary, so you know there’s major orchestration here. It’s a softer, slower track that really takes the listener to another almost fairytale-like world. However; the video does not. See why here:

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Next up is “The Pain of Loving You.” This Wagoner/Parton track begins like Steely Dan’s “Do It Again” complete with whammy bar-laden guitar, but then Victoria’s singing brings it back to the country vibe. Great harmonies and incredible guitar work again on this one. Track 7, “The Last Thing On My Mind,” is the only non-Parton/Wagoner-penned track. Greenwich Village folkie Tom Paxton wrote it, but Dolly and Porter did make it a top ten hit. Beautiful strings highlight this one along with guitar picking and soaring harmonies. This version is a bit slower than the original. The next three tracks are all written by Dolly. “Beneath The Sweet Magnolia Tree” is another toe-tapper, but also slower than the original. Nice interplay between the vocals, organ, slide guitar, and fingerpickin’ banjo(?) make this another highlight of the album. Track 10 is “You.” It’s a beautiful piano-driven ballad with stunning slide guitar. More great harmonies in a song that must have been played at weddings or at least anniversary parties with its romantic lyrics. “The garden of Eden couldn't have been any sweeter than this paradise I share with you. Our love outshines the eastern star the brightest in the heavens. Surely heaven must have sent me you. You my love, it's you that makes me always feel like singing... You, you make me complete, and I love you.” The album closes with “Tomorrow Is Forever.” It’s a waltzing melody that truly blends Victoria’s and Jason’s voices. “No more crying, tears leave tracks, and mem'ries find their way back. Tomorrow's waiting, let's journey there together. Yesterday is gone, gone, but tomorrow is forever.” It’s filled with twanging guitar, plunking piano, and then soaring angelic choral backup singers. Many songs on this album are written solely by Dolly Parton. Since the project was put together by Victoria Liedtke, maybe that’s why she picked the Dolly songs she loved. One thing is certain, Victoria does an excellent job of making all of these songs her own. And what a terrific addition to invite Jason Ringenberg as “Porter.” I wonder if the two will perform any of these songs live. Here’s hoping they do. ERIC EGGLESON

(photo: Carla Mundy)

www.victoriaandjason.net

#Youtube #Bandcamp

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rockinnews · 1 year

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Jason Ringenberg, el gran orfebre del cowpunk

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music-crush · 5 years

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Jason Ringenberg

Happy birthday, Jason Ringenberg!

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#Jason Ringenberg #Jason & the Scorchers #Cowpunk #Happy Birthday #Music Crush

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deadbilly · 5 years

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#music #jason ringenberg #country music #americana

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musiconspotify · 5 years

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Jason Ringenberg

Stand Tall (2019) … still scorching …

#JasonRingenberg

#spotify #jason ringenberg #stand tall #music on spotify

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bluestownmusic · 3 years

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Jason Ringenberg - Rhinestoned

Jason Ringenberg – Rhinestoned Jason Ringenberg – Rhinestoned Format: CD Label: Courageous Chicken – Sonic RendezVous Release: 2021 Release datum: 19 maart, 2021 Jason Ringenberg heeft zijn plaats in de geschiedenisboeken al lang veilig gesteld door zijn baanbrekende werk met de cowpunk band Jason & The Scorchers. Gelukkig liet hij het daar niet bij. Hoewel hij soms wel eens overwoog om…

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#Jason Ringenberg

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sinceileftyoublog · 5 years

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Chuck Mead Interview: Hit It, Get It, and Quit It

BY JORDAN MAINZER

Context isn’t everything, but it can often shape the mood of a record. Such is the case with Close To Home, the new one from Nashville-based Americana artist Chuck Mead. Recorded in the legendary Sam Phillips Recording studio in Memphis and produced by Matt Ross-Spang, Close To Home is a record of true stories and legends, featuring with some Memphis stalwarts, exemplary of the loose expansiveness of the Home of the Blues as opposed to the concision of Music City, laden with Mead’s quintessential sense of humor and just enough sincerity to evade corniness.

On Close To Home, there are songs of devotion that tackle both moods: For instance, “My Baby’s Holding It Down”, Mead’s sweet tribute to his wife who looks after his home when he’s on tour, is a non-traditional juxtaposition with a song like “Daddy Worked The Pole”. That one’s about a man who got a job hanging telephone wire so his wife wouldn’t have to work the kind of pole that normally comes to mind--until she started stripping so he didn’t have to work. “Billy Doesn’t Know He’s Bad” and “There’s Love Where I Come From” occupy two sides of the same coin, the former an exasperated look at a sociopathic outlaw and the latter an ode to inclusiveness, both songs in it for the good guys. The distorted country rock of “Big Bear in the Sky” references Native American lore; the title track tackles the eerie prescience of songs on the radio. But as serious as Mead gets, he’s also having loads of fun, with the bayou grooves of “Shake”, barroom piano of “Tap Into Your Misery”, and reggae blues of “I’m Not The Man For The Job”. Perhaps the most ramshackle is the old-school hillbilly burner “Better Than I Was (When I Wasn’t So Good)”, which ends with a snippet of the recording of the song itself. “Did that sound drunk enough?” asks bassist Mark Andrew Miller with an appropriate drawl.

I spoke to Mead over the phone last week about Close To Home, and my main takeaway was that his personality was reminiscent of the album itself. Friendly, engaged, unafraid to tell me when I was wrong about the record, and possessing of a penchant for quotes, quotables, and non-sequitir, Mead was a delight to talk to. He’s coming to City Winery on Thursday for The Cosmic Honky-Tonk Revue, a co-headlining tour with Jim Lauderdale and Jason Ringenberg, all backed by his band, the Grassy Knoll Boys. Read the interview below, edited for length and clarity.

Since I Left You: What about Close to Home is unique to you as compared to your previous records?

Chuck Mead: The lion’s share of what I record is in Nashville, so going to Memphis to do it is a departure. To put yourself in a different place--and there were a couple of songs we had been playing for a little while that took on a different dimension just because of where we were and the studio we were in, the Sam Phillips Recording studio he built in 1962 when he left Sun [Records] and had enough money to do what he wanted to do. My buddy Matt Ross-Spang is a great producer and is the manager for the place now doing a lot of great work. Just tapping into the spirit of Sam Phillips, where anything can happen.

SILY: The title of the record is taken from the idea of songs that “hit close to home.” Were you playing with the idea that home is not as much a concrete place as it is a feeling?

CM: Yeah, I guess you could say that. You’re always close to home. Home is where the heart is...on the bus! Sorry, that’s a Frank Zappa quote. But it’s true, nonetheless. I think you hit on something. But that particular song [the title track] is about how some weird song on the radio explains exactly what you’re going through. How does that happen? Man. That thing you said last week that came true. It makes it seems like there’s some order in the universe when probably there’s not. It seems like it happens a lot. I don’t want to get too spacey or hippie-dippie about it.

SILY: You mentioned working with Matt. How did the record have a different instrumental vibe than your previous ones?

CM: We never had someone coming into play like during this one. Don Herron who used to be in BR549 played some fiddle. Critter Fuqua from Old Crow Medicine Show came in and played accordion. It was still very Nashville-centric, but because we were in Memphis, we got Rick Steff to play the keyboards. John Paul Keith came in and played guitar. It lent more of a local flavor to it. It led to a slightly different vibe, which is great. Doing the same thing every time would be pretty boring, don’t you think?

SILY: And the album within itself has a nice variation--speaking of which, how did you decide upon the sequencing?

CM: You know, I don’t know. I just went through different sequences the songs were in, and it just seemed to flow the best the way it came out. It’s not like we were trying to tell a long story or anything. The songs seem to go together even though there’s a lot of different kind of things on it, and I guess that’s just because it’s us.

SILY: I want to ask you about a few specific tracks. First up: Is “Big Bear in the Sky” literally about stargazing?

CM: Well, no, it’s about that particular constellation. Many different cultures have a legend that they put a bear up there in the constellation. This particular story is an Indian legend from up in Canada. Originally, the song was for the Bear Family label out of Germany. [Founder Richard Wieze] asked me to write a bear song for their 40th anniversary.

SILY: I like the juxtaposition in the track “My Baby’s Holding It Down” between “holding it down” and “holding me down.” What’s the difference to you?

CM: Well, she never holds me down. She’s holding it down because I’m not there. But she’s not holding me down at all--though she could probably kick my ass. People who travel a lot, the people at home have to take care of stuff. And when you’re home, you have to take over, because they’re holding it down the rest of the time. She’s also probably holding down her anger. [laughs] But not really. People suck it up and they get through life. That’s just kind of what that song’s about. She doesn’t need me around. I guess I’m kind of nice to have around sometimes.

SILY: It’s about your wife, presumably?

CM: Yeah. I wrote it with my friend Paul Cebar, who also travels a lot and has been married about as long as I have. But you can write only so intimate a song. It’s general. It’s a tribute to significant others who hold it down a lot.

SILY: In the song “Better Than I Was (When I Wasn’t So Good)”, at the end, when you say, “Did that sound drunk enough at the end?”--

CM: That was Mark Andrew Miller who said that. [laughs, then imitates] “Did that sound drunk enough?”

SILY: Was that the type of thing you simply left in because it was so funny?

CM: Well, yeah. When we got the rough mix of it back, and that was in there, we thought, “Well, that’s gotta stay.”

SILY: Let’s talk about “Billy Doesn’t Know He’s Bad”. In so much of traditional music, you have murder ballads where the murderer has a clear intention and a lot of agency, and here, it’s a song where you have a lot of empathy for this murderous outlaw who doesn’t know why he’s doing the things he’s doing.

CM: No, I don’t have a lot of empathy. It’s a comment on sociopathic people. They think everybody thinks exactly like them, but they don’t care. They don’t know they’re being bad. They don’t know they’re assholes. I’m not excusing anything. Billy was an asshole. He lit up his neighbor’s house for no reason! It was a comment on someone like Jesse James or Billy The Kid who were kind of glorified for the way they lived their lives. Jesse James robbed and killed people. He’s a sociopath. You try to be understanding of it. When I wrote that song--Logan Ledger and I wrote that song--it seemed like it needed something. Mark Miller said, “Hey man, I think I have a good bridge for that.” So he comes up with that middle part that takes it to a whole new level of people trying to understand the way they are, nature, and nurture. It really ties it all together. I was really happy to have that happen. It’s kind of different. Those songs aren’t usually about that. It’s usually about a guy who kills his girlfriend because she’s pregnant or something.

SILY: Do you think the instrumentation of that song was an intentional contrast to how you’re viewing the character and subject matter?

CM: No, that was just kind of the way it came out. We went through it a bunch of times. I guess Rick added a Mellotron on that song to make it more dramatic, which helped out the bridge. In that sense, I guess you’re right. But it was one of those things that evolved in the studio. When we were originally working it out, it was just us four. That’s the thing that can happen in Memphis that doesn’t always happen here in Nashville, though that’s less true as time goes on. A lot of people own their own studios and cut their records so they can take as much time as they want. I don’t have that luxury. Usually, you just go into a studio and bang it out because everybody’s so damn good. In Memphis, you like to kick it around a little bit. That’s why we were able to chase that one around the room a little while.

SILY: What’s the inspiration behind the cover art of the record?

CM: I’ve been working with Jim Herrington for a long time. He’s my best friend. He’s done all of my solo records. He did the first couple of BR549 records, too. He’s photographed tons of great people over the years, and he and I have this consistency of getting something slightly noir that doesn’t look like your average album cover. Probably one of my favorite things someone said--there was a review of the record where the guy didn’t know anything about country or Americana but was drawn to the record because he thought it looked like Bryan Ferry. He liked the record, and he said, “It’s the most curious record you’ll hear all year.” For him, I guess. I don’t seem so curious. But it’s a tribute to the mysteriousness of Jim Herrington’s photo.

SILY: How are you adapting these new songs to the stage?

CM: Just goin’ out there and playin’ ‘em. [laughs] We’ve been playin’ ‘em over in Europe. Just bangin’ it out. We really did it pretty much live right there in the studio. More than a few songs, that was the vocal I was singing while we were cutting. Of course, we did overdubs where necessary, but there’s a certain liveness you want [in order] to capture the spirit of what’s going down. But when you start playing them after a while they do take on a certain dimension?

SILY: Extending a part or jamming.

CM: We don’t do too much of that. Sometimes, we’ll cut loose. We’re not a jam band to play a song for 30 minutes, although there’s nothing wrong with that. But I like to hit it, get it, and quit it.

SILY: Anything you’ve been listening to, watching, or reading lately that’s caught your attention?

CM: I’m reading a Lightning Hopkins biography right now. That guy recorded a lot of songs. [laughs] He’s one of my favorites though. I just finished this novel called Country Dark that was pretty damn good, about people up in Kentucky. Listening--I’ve mostly been listening to a lot of Jim Lauderdale and Jason Ringenberg. Gettin’ ready for the tour. We all have records out. Of course I like Margo Price’s record.

Album score: 7.1/10

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rolloroberson · 5 years

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Jason and the Scorchers alt-country pioneers and giants. Cowpoke Rock never cut as deep as Golden Ball and Chain- The Rolling Stones meets George Jones.

“Jason Ringenberg balanced himself on a rickety stool...and wished aloud what he wanted his band to sound like. 'Like a religious service,' he said wistfully, 'only a lot dirtier.'"-Jimmy Guterman.

Jason Ringenberg, Perry Baggs, Jeff Johnson, and Warner Hodges.

All rights and credit to original photographer.

#jason and the scorchers #jason ringenberg #perry baggs #jeff johnson #warner hodges #golden ball and chain

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sublimationleblog · 2 years

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"A Rock'n'Roll Journey" : le débrief

J’avais presque oublié l’existence de cette #SublimationVintage de janvier 2014… Du moins jusqu’à ce que je m’entende l’annoncer en clôture de Décadence et Inélégances, le show #SublimationCollector de décembre 2013 republié une semaine plus tôt. Je l'ai réécoutée et elle me sembla toujours aussi divertissante, même encore davantage avec le recul et les années écoulées… L'interview d'Axel du Bus se termina ce soir-là en beuverie généralisée à L'Os A Moelle, comme on peut aisément le comprendre à l'écoute du podcast... Amusé, je me décidai à prendre des nouvelles d’Ivan Retroff, le chanteur et harmoniciste de Nervous Shakes, que l'on entend zieverer dans l'émission. Ce qui suit est un extrait d'une conversation entre un pseudo-journaliste et un vrai rocker, ou serait-ce l’inverse ? - On me dit parfois que la programmation de Sublimation est trop pointue (?!), mais ce podcast A Rock'n'Roll Journey auquel tu as participé jadis est sans doute le plus accessible et orienté classic-rock de toute la série #SublimationVintage. Les Beatles, Elvis et David Bowie y reviennent comme des personnages récurrents dans les conversations, que ce soit avec Axel du Bus ou avec vous. - Bowie can s**ck my Italian cock. C’était un faussaire anglais, doué, mais détesté par les vrais rockers. - Ce n’était pas l’avis de Bruno, votre bassiste... - Jérôme... Bruno n’est pas un rocker. - Merci de l'info ! - I speak the truth. - Tout le monde ne peut pas être Gene Vincent. - Oui, il n’y en a eu qu’un, intouchable, du début à la fin, c’était lui, Gene Vincent. - Son dernier album avant sa mort, The Day The World Turned Blue (1971), il tient bien la route ; je l’ai découvert récemment. - Exact, et il y a aussi quatre chansons enregistrées sans backing-band, sorties sur le label Rollin’ Rock par Ron Weiser pour un album-tribute magnifique, "Forever Gene Vincent". - Je ne pense pas les avoir déjà entendues… Je vais écouter directement ce que ça donne sur Deezer…

(La première chanson joue…) Dis donc, ça commence fort, Bring It Home, c’est une reprise de Sam Cooke, non ?

- Les auteurs des chansons sont Sam Cooke, puis lui-même (Gene Vincent), Little Richard et Buddy Knox. - Buddy Knox, j’adore son instrumental Rock-A-Billy Walk !

(Les chansons jouent, Ivan se ressert un verre.)

La reprise de Party Doll par Gene est ici vraiment réussie, très personnelle; meilleure, selon moi, que l’originale… Et tandis qu’on l’écoute, j’en cherche la pochette sur Discogs et je découvre que même la back-cover est à tomber ! Cet album me semble être un must en vinyl.

- Ron Weiser est un Tyrolien italien de Bolzano qui a émigré en Californie vers la fin des sixties, je crois... Il vivait dans le même quartier que Gene Vincent à L.A., il l’a rencontré, et hop ! Cela s’est fait tout simplement. - Tu sais qui joue avec lui sur ces enregistrements ? - Les crédits figurent sur le disque. Il y a Ray Campi, ainsi que les autres gars qui jouaient généralement sur les albums du label Rollin’ Rock. - Tant qu’on parle des intouchables, tu as un album préféré de Jerry Lee Lewis ? - Je ne suis pas un spécialiste du Killer, et sa discographie est immense... J’aime ses singles Sun, "Ramblin’ Rose", l’album "Southern Roots", et quasiment tout ce que j’ai entendu de lui dans ma vie jusqu’à présent… Et figure-toi que je l’ai vu en 87 à la Nouvelle-Orléans, au club Tipitina. Cela reste les dix meilleures minutes de rock’n’roll live de mon humble existence.

- Tu as entendu sa période country ? Tu accroches à la country Nashville Sound ? - Je SUIS country. - Quelle serait ton icône country ultime, à part Johnny Cash ? - Je n’ai pas d’icône ; mais j’aime beaucoup Hank Williams Sr., Patsy Cline, les Everly Brothers, Gram Parsons, Emmylou Harris, Charlie Rich, Jeffrey Lee Pierce du Gun Club et Jason Ringenberg, chanteur de Jason & The Scorchers. Entre autres… Et en country-soul, Bobbie Gentry et Mose Allison… Quoiqu’elle est plus jazz, mais tellement irrésistible.

Merci Ivan pour ces quelques punchlines et bonnes recommandations qui complètent utilement le podcast. Passe le bonjour à Bruno !

#spotify #sublimation #interview #podcast #david bowie #gene vincent #rock #the beatles

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songsofprotestpeacerevolution · 3 years

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Jason Ringenberg - The Freedom Rides Weren't Free

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americanahighways · 3 years

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REVIEW: Jason Ringenberg Honors The Past And Looks To The Future With “Rhinestoned"

REVIEW: Jason Ringenberg Honors The Past And Looks To The Future With “Rhinestoned" @jasonringenberg @missjillpr #americanamusic #newmusic2021 #buymusic

In one sense you could say that Jason Ringenberg has always honored the past. The legendary rocker and former frontman for the seminal Americana band Jason and The Scorchers has always peppered his albums and live shows with a host of charged-up cover songs that were done in the spirit of honoring both the original songs and the artists. His original songs have always followed much the same…

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daggerzine · 3 years

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40 Years With Jason Ringenberg by Eric Eggleson

I first heard Jason back when he was with The Scorchers on MTV. 120 Minutes was playing their “better than the Stones’” version of “19th Nervous Breakdown.” I was blown away! I bought the Still Standing cassette (yeah, it was a long time ago) and found the rest of the album was just as good. “Shotgun Blues,” “Take Me To Your Promised Land,” and a slower favorite, “Good Things Come To Those Who Wait.” Luckily, I got to see them live at Milwaukee’s Summerfest. Hearing those songs performed live was definitely one of the best concerts I have ever seen. Jason is now touring his new album, Rhinestoned, and I finally got the chance to see him again. This time it was at Kiki’s House of Righteous Music. Again, I was blown away by his musical talent, songwriting history, and audience connection. (I found out he grew up about 90 miles west of me in Sheffield, Illinois.) Be sure to check out “Before Love and War,” “I Rode with Crazy Horse,” “The Freedom Rides Weren’t Free,“ and his rockin’ version of “Christ the Lord Is Risen Today” off of the new album. Jason agreed to answer some questions despite his busy tour schedule.

When did you begin your musical career?

I did my first paid gig at my college dorm room lunchtime cafeteria in the spring of 1978. I was paid 30.00 for it.

What musical training do you have? I am self-taught.

When did you feel that you “made it” in the field?

I don’t think I ever “made it.”

Who influenced you the most in your musical career?

Bob Dylan and my mom, Betty Ringenberg.

Favorite tour?

Opening for Bob Dylan in 1989.

Did you play “Absolutely Sweet Marie” when you toured with him?

We did do ASM a few times on the tour.

I know Bob Dylan is a favorite of yours, how do you feel about his Christian albums?

I like or at least find interesting every bit of Dylan music.

What do you feel are your greatest accomplishments?

The two biggest awards received were the AMA Lifetime Achievement Award for Performance in 2008 and an Emmy Award for my Farmer Jason videos in 2009.

What are your favorite songs to perform live? Why?

“God Bless the Ramones” and “The Tractor Goes Chug Chug Chug.” Those two always work.

What’s your favorite cover of another band?

I love singing “Trail of Tears” by Guadalcanal Diary.

Favorite venue to perform at?

Eddie’s Attic in Georgia.

Who would you like to work with if you could?

Harlan Howard.

When writing a song, what comes first, lyrics or melody?

Every song is a unique experience. It is different every time.

What instrument do you usually begin writing songs with?

Always guitar.

If you could switch to any other type of music, what would it be? Why?

I think I could have been a reasonably good folk singer and would have enjoyed that.

How did Farmer Jason come about? How often do you perform as him?

Farmer Jason started as a gift to my young daughters and blossomed into something way bigger than I expected. At its peak, I was doing 150 shows a year as Farmer Jason.

How has Covid-19 affected you?

It has affected everything that all we recording artists go through, especially on the touring front. It has in fact knocked the table out from under us touring musicians and it will take a long time to recover.

Has it affected your songwriting?

Not much to any real degree.

Have you lost anyone close to you from it? I would rather not go into that, but yes.

When I saw you perform at Kiki’s, you did a great job giving the audience background on the song you were about to sing. Can you share one song? I would rather save that for live shows or my Barnstorming with Jason Ringenberg program. https://www.youtube.com/watch?v=4DLk4IyVj9g

Any new bands you like or would recommend?

There are so many great younger artists out there. To name a few in no particular order: The Secret Sisters, Charlie Crockett, Jason Isbell, The Turnpike Troubadours, Margo Price. Pokey LaFarge, Hugh DeNeal.

Any suggestions for new bands breaking into the business?

Get good luggage.

Top Ten desert island discs?

This changes for me every day but here goes:

Bob Dylan Blood on the Tracks

Bob Dylan Bringing it All Back Home

Bob Dylan The Freewheelin’ Bob Dylan

Phil Ochs Greatest Hits

The Who Who’s Next

Gram Parsons Grievous Angel

Johnny Horton’s Greatest Hits

Jerry Lee Lewis Memphis Beat

Emmylou Harris Roses in the Snow

Any good Ramones anthology

Finish this sentence: I want to be remembered for…

I didn’t sluff off as I got older. My latest work is as good as my early stuff. I am very proud of that.

From Jason and The Scorchers to Farmer Jason to solo Jason Ringenberg, he’s got a lot of great music out there to make all ages happy. His show at Kiki’s was two one hour sets of covering his vast catalogue. It was great to hear a lot of the new album performed live, especially the history of how these songs came about. His second set was mostly requests, and thankfully someone picked “Good Things Come To Those Who Wait.” After 40 years in the music business, Jason is “still standing” and isn’t even close to being ready to stop.

https://jasonringenberg.com/

https://jasonringenberg.bandcamp.com/album/rhinestoned

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paulisded · 3 years

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The Ledge #463: Songs About The Ramones

As I state at the beginning of the show, the initial idea for this theme came from the plethora of recent songs that mention The Ramones in the title, both individually and as a group. Add to that a few faves from the past, along with some great suggestions from social media, and I had a fantastic playlist to air tonight. And since the band was also known to write songs about their lives, there's even a set of Ramones covers of songs of that sort.

After listening, please go purchase those tracks you enjoy! These great artists deserve to be compensated for their hard work, and every purchase surely helps not only pay their bills but fund their next set of wonderful songs. You can find this show at almost any podcast site, including iTunes and Stitcher...or

CLICK HERE TO DOWNLOAD THE SHOW!

1. The Fleshtones, Remember The Ramones

2. Ray Wylie Hubbard, Live And Die Rock 'N' Roll

3. The Coal Porters, The Day The Last Ramone Died

4. Jason Ringenberg, God Bless the Ramones

5. Leeroy Stagger, Joe Strummer and Joey Ramone

6. Black Valley Moon, Return of the Ghost of Johnny Ramone

7. Hayley and the Crushers, Don't Wanna Be Like Johnny Ramone

8. Amy Rigby, Dancing With Joey Ramone

9. Sleater-Kinney, I Wanna Be Your Joey Ramone

10. Spazzys, I Wanna Cut My Hair Like Marky Ramone

11. Gatuplan, Dee Dee Ramone

12. The 99ers, Kissing Johnny Ramone

13. The RATBOYS, Everybody Loves The Ramones

14. Pavid Vermin, I Don't Wanna Be a Ramone

15. LATTE+, Hey Hey It's Dee Dee's Birthday Today

16. Gyp Casino & The Honest Brats, T.C.P.

17. The Gimmes, Ramoneo & Juliet

18. Flanders 72, I Feel Better When I Listen To The Ramones

19. The ???? / The Bity, Ramones Loved Beatles

20. The ???? / The Bity, Johnny Ramone Was A Bad Boy

21. The ???? / The Bity, Dee Dee Wants A High

22. The ???? / The Bity, Richie Ramone

23. The ???? / The Bity, Mr. Joey Ramone (cover)

24. Lure Burke Stinson and Kramer, Chinese Rocks

25. Fuzztones, 53rd & 3rd

26. The Hangups, Danny Says

27. Drive-By Truckers, The KKK Took My Baby Away

28. CJ Ramone, Tommy's Gone

29. Drivin' N' Cryin', Johnny Rides Shotgun

30. Dead Strangers, R.A.M.O.N.E.S

31. Guitar Wolf, Kung Fu Ramone

32. Mental Boy, She Likes The Ramones

33. The Young Hasselhoffs, Not Ugly Enough To Be A Ramone

34. Senzabenza, The Curse Of The Ramones

35. A For Effort, Zoey Wants To Be A Ramone

36. Mr. T Experience, The End of the Ramones

37. The Slotcars, Joey Ramone

38. Hallingtons, Joey, Johnny, Dee Dee & Marky (On Her Arm)

39. The Wompydompies feat. Mike Patton, Ramone To The Bone

40. Joey Cape, The Ramones Are Dead

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