Tag: Bloodshot Records

Live Footage: Ruby Boots Performs “I Am A Woman”

Bex Chilcott is a Perth, Australia-born, Nashville, TN-based singer/songwriter and guitarist, who has led  the sort of life that could easily have inspired a dozen or or more country and western albums.  At 14, Chilcott left a dysfunctional and conflicted home and eventually worked her way up the desolate Western Australian coast, before she ended up in Broome, a ramshackle and culturally diverse, tiny dot on the map, where reportedly it didn’t pay to ask people too many questions about their pasts — or why they ended up there. While in Broome, Chilcott worked for weeks at a time on a pearling trawler, where she worked with incredibly hardened men, doing backbreaking, exhausting labor and alcohol was forbidden.  Naturally, the time on the seas, the backbreaking work and the men she worked with was profound and in her free time, the young Chilcott spent hours contemplating life and teaching herself guitar and songwriting — and then later, to eventually sing her own material. 

Returning from a self-imposed exile from civilization, Chilcott learned that people actually wanted to listen to her originals — and that was when she began to perform as Ruby Boots. 

Chilcott’s first two Ruby Boots EP received attention for bold, unafraid and unabashedly honest music that told tales of tough and unlucky souls, who see both their lives and affairs of the heart as deathly serious matters. And as a result, Chilcott has shared stages with the internationally acclaimed artists like Father John Misty, Shakey Graves, Justin Townes Earle, Shovels & Rope, Nikki Lane, Reverend Horton Heat, Tony Joe White, Kris Kristofferson and others. Adding to a growing profile, Chilcott released her full-length debut Solitude, an effort that was released back in 2015 and featured guest spots from The Waifs’ Vicki Thorn, along with some of Australia’s top alt-country talents, including Dewey Lane, Jordie Lane, Bill Chambers, The Sleepy Jackson‘s and Eskimo Joe‘s Lee Jones, who has been one of Chilcott’s frequent collaborators.

Chilcott’s long-awaited sophomore, full-length effort Don’t Talk About It was officially released through Chicago, IL-based label Bloodshot Records today, and the Beau Bedford-produced album features the acclaimed country and Southern rock band The Texas Gentlemen as her backing band. Lyrically and thematically, the album charts this drifter’s restless odyssey, tattered and beaten up passport in hand, capturing the life of someone who’s been tossed ashore by the breakers and currents of life, but hasn’t lost hope or her will; but with the recognition that life will break your heart more ways to count, and when you think you can’t go on much further, life pushes you forward anyway.

Don’t Talk About It’s latest single is the sparse, bare-knuckle, a capella “I Am A Woman,” and the single, which will further cement Chilcott’s growing reputation for crafting personal and unabashedly raw and honest songs, full of the ache and regret of a messy life featuring shitty decisions influenced by shittier situations, dysfunctional and furious relationships with irresponsible, dangerous lovers and good, decent ones. And throughout, there’s the quietly defiant and self-contained resiliency and pride that from my experience I’ve only seen in women.  Interestingly, in some way the song makes a subtle nod at Tammy Wynette’s “Stand By Your Man” spiritually and thematically — but clearly from a very modern sensibility. As Chilcott explains in press notes, “‘I Am a Woman’ was conjured up amid recent events where men have spoken about, and treated women’s bodies, the way no man, or woman, should. This kind of treatment toward another human being makes every nerve in my body scream. These kinds of incidents are so ingrained in our culture and are swept under the carpet at every turn—it needs to change. As tempting as it was to just write an angry tirade I wanted to respond with integrity, so I sat with my feelings and this song emerged as a celebration of women and womanhood, of our strength and our vulnerability, all we encompass and our inner beauty, countering ignorance and vulgarity with honesty and pride and without being exclusionary to any man or woman. My hope is that we come together on this long drawn out journey. The song is the backbone to the album for me.”

The live version features Chilcott with three of her Nashville songwriter friends contributing backing vocals — Philip Creamer, Nicole Atkins and Kashena Sampson and was shot in the lounge room/living room of Chilcott’s best friend Nikki Lane.

New Video: The Comic Visuals for Old 97’s “Good with God”

Comprised of primary songwriter Rhett Miller (vocals, guitar), Murry Hammond (bass), Ken Bethea (guitar) and Philip Peeples (drums), the members of renowned alt-country quartet Old 97s can trace their origins back to their formation in Dallas, TX back in 1993. Initially, a very popular band in Dallas’ scene, the band quickly caught the attention Bloodshot Records, who released Wreck Your Life, which later caught the attention of the folks at Elektra Records, who signed the band in the hopes that the then-Dallas-based quartet, along with bands like Uncle Tupelo, Drive-by-Truckers, Whiskeytown, The Jayhawks, Bottle Rockets and others, which were at the forefront of the alt-country sound would be the next big thing after grunge’s decline. However, unfortunately for both Elektra and the members of Old 97s, despite receiving a fair amount of critical applause, the band and its sound didn’t quite catch on commercially in the way that the label expected, and they were subsequently dropped from the label.

And although being dropped from a major label, can have a devastating impact on a band and their career, the band has managed to build a cult-favorite status and in the iTunes and blogosphere era, building up a devoted and supportive fanbase will provide you with an attainable and sustainable level of professional success. The band’s latest effort Graveyard Whistling reportedly deals with both life and mortality — but with the band’s distinctive and ironic sense of humor and heartfelt tenderness.

Graveyard Whistling’s latest single “Good with God” is a collaboration with renowned labelmate Caitlin Rose, and its a swaggering track that sonically owes a debt to Sun Records and renegade-era country and rockabilly; while thematically, the song’s narrator talks about being a wild badass, who has made a certain level of peace with his life, as he’s fucked things up and “made his bed and will lie in it,” and while he’s made peace with God, he isn’t sure if God has accepted it. So one level the song expresses the acceptance of a full and messy life, but an uncertainty of what happens once we’re no longer here.

Directed by Lee Kirk and produced by Michael Kristoff, the recently released video for “Good with God” features Jenna Fischer as an MTV-like VJ doing a prototypical 120 Minutes-styled interview; however, the band’s drummer is missing and Fred Armisen, who just happens to be at the studio is recruited to play the role of the band’s drummer. And although the show’s director tells Armisen’s character to just sit there and look like he was in the band, he can’t help himself from interrupting and eventually taking over the interview, much to everyone’s exasperation. As an interviewer myself, it’s painful and hilarious. Of course, it’s followed by a blistering studio performance of the song with Armisen actually playing drums.