Tag: Johnny Cash

Rising Los Angeles-based coldwave/darkwave/dark synth-riot act Violent Vickie — Vickie (vocals, production) and E (guitar, production) — have released material through a handful of labels including  Crunch PodEmerald & Doreen RecordingsRiot Grrl Berlin and LoveCraft Bar, which the act has supported with tours with Atari Teenage Riot‘s Hanin EliasThe Vanishing‘s Jessie Evans, Trans XThem Are Us Too, Aimon & The Missing Persons and others. The duo have also played sets across the US and European festival circuits with stops at Insted FestSolidarity FestShoutback Fest and Gay Prides and Ladyfests. 

Their single “The Wolf” was featured in a National Organization for Women film. Violent Vickie’s Vickie was also interviewed for the documentary GRRL as part of the museum exhibit Alien She. Adding to the band’s growing profile, their album Monster Alley was voted best album by KALX. And if you’ve been frequenting this site, you may recall that their latest album Division, which featured the dark yet dance floor friendly “Circle Square” was released last September.

Since the release of Division, the band has been busy writing and recording material, including their latest single, a Mazzy Star-like take on Johnny Cash‘s “Ring of Fire” centered around a sparse arrangement of strummed guitar and Vickie’s plaintive vocals fed through gentle amounts of reverb. Sonically, the track is a marked departure from the chilly, dark and aggressive coldwave and New Wave-inspired tracks they’re known for, while retaining the longing of the original.

New Video: Robert Finley Releases a Swampy Boogie Blues

Robert Finley is a 67 year-old Winnsboro, LA-born, Bernice, LA-based singer/songwriter, who was one of eight children in a family of sharecroppers. As a child, a young Finley was unable to regular attend school and often worked with his family in the cotton fields. When he was a teenager, he briefly attended a segregated school; but he dropped out in the 10th grade to help the family out financially.

As an adult, Finley has lived a full, complicated and often messy life: he’s an army veteran and a skilled carpenter, who has survived house fires, a bad auto accident and a divorce. Sadly, the Winnsboro-born, Bernice-based singer/songwriter lost his sight in his 60s as a result of glaucoma,.and although he was forced to retire from being a carpenter, Finley realized that he had an opportunity to pursue a lifelong dream — becoming a musician and singer. Finley believes that his sight was improved by the power of prayer — and that his faith has also helped him focus on launching a music career in his 60s. According to Finley “losing my sight, gave me the perspective to see my true identity.”

Finley’s rise has been rapid: As the story goes, Dan Auerbach immediately saw Finley’s potential, quickly proclaiming that the Louisiana-born and-based artist is “the greatest living soul singer.” As Auerbach recalls in press notes, “He walked in like he was straight out of the swamp.” He adds, “He had leather pants, snakeskin boots, a big Country & Western belt buckle, a leather cowboy hat and a three-quarter-length leather duster. The final touch was the folding cane the legally blind Finley wore on his hip, in a holster. Basically, he was dressed for national television.” 

Auerbach went on to produce Finley’s 2017 breakthrough sophomore album Goin’ Platinum, an album released to widespread critical acclaim from the likes of the Associated Press, who praised Finley’s ability to lend “instant credibility to any song” and The Observer, who wrote “Finley’s versatile voice ranges from prime Motown holler to heartbroken falsetto croon.” The Louisiana-born and-based singer/songwriter went on to support the album with international touring across 10 countries — with his live show drawing praise from a number of publications, including The New York Times and several others. Finley was also profiled on PBS NewsHour, which led him to becoming a contestant on the 2019 season of America’s Got Talent, eventually reaching the semi-finals. 

Finley’s third album Sharecropper’s Son was released last week through Easy Eye Sound. The album continues the Louisiana-born and-based singer/songwriter’s successful collaboration with Auerbach and features songwriting and cowrites from Finley, Auerbach, Bobby Wood and Pat McLaughlin. And much like other Easy Eye Sound releases, the album features an All-Star backing band that includes Auerbach (guitar);Kenny Brown (guitar), a member of R.L Burnside‘s backing band; studio legends Russ Pahl (pedal steel) and Louisiana-born, Nashville-based Billy Sanford (guitar); Bobby Wood (keys and as previously mentioned songwriting); Gene Chrisman (drums), who’s a Memphis and Nashville music legend; as well as contributions The Dap Kings‘ Nick Movshon (bass), Eric Deaton (guitar); Dave Roe (bass), who was member of Johnny Cash‘s backing band; Sam Bacco (percussion) and a full horn section. 

Sharecropper’s Son may arguably be the most personal album of Finley’s growing catalog, drawing directly from his life and experience. “I was ready to tell my story, and Dan and his guys knew me so well by then that they knew it almost like I do, so they had my back all the way,” Finley says in press notes. “Working in the cotton fields wasn’t a pleasant place to be, but it was part of my life. I went from the cotton fields to Beverly Hills. We stayed in the neighborhood most of our childhood. It wasn’t really all that safe to be out by yourself. One of the things I love about music is that, when I was a boy growing up in the South, nobody wanted to hear what I had to say or what I thought about anything. But when I started putting it in songs, people listened.”

In the buildup to the album’s release, I wrote about two of the album’s released singles:

“Country Boy,” a swampy and funky bit of country soul featured a tight, strutting groove, bluesy guitar lines, shimmering organ and Finley’s soulful and creaky falsetto paired with autobiographic lyrics, which were improvised on the spot with the tape rolling. “When we play live, I always leave room in the show for lyrics I make up on the spot while the band hits a groove,” Finley explains. “I guess the younger generation calls it free-styling, but for me, it’s just speaking from my mind, straight from my soul.” While lyrically, the song touches upon classic blues fare — heartbreak, loneliness, being broke, being a stranger far away from home and the like, the song is fueled by Finley’s sincerity. He has lived through those experiences, and you can tell that from the vulnerable cracks in his weathered croon.
Album title track “Sharecropper’s Son,” a strutting blues holler featuring James Cotton-like blasts of harmonica, shimmering Rhodes, a chugging groove, a classic blues solo, and Finley’s creaky and soulful crooning and shouts. And much like its predecessor, the song is fueled by both the lived-in experiences of its writer and the novelistic details within the song: you can feel the hot sun on Finley’s and his siblings’ skin, the sore muscles of backbreaking and unending labor in the fields. But throughout the song, its narrator expresses pride in his family doing whatever they could do legally to survive and keep food on the table. 

“Make Me Feel Alright,” Sharecropper’s Son’s latest single is a swampy boogie that’s one part John Lee Hooker barroom blues, one part Mississippi Delta Blues centered around a twangy blues guitar line, a shuffling rhythm and Finley’s expressive crooning. While being the sort of song you want your bartender to play loudly on a Friday or Saturday night, as you try to spit some game to some pretty young thing, the song as Finley explains in press notes “is about not looking for love, but for companionship. Sometimes you want to find someone to have a good time, You meet someone, have a fun night and then go on your separate ways with your own problems at the end of the night but still experience love in the moment.”

Directed by frequent visual collaborator Tim Hardman, the recently released video follows Finley as he tries to get a woman to spend a little time with him. While on his property, the video reveals Finley as a fun old guy looking for a little bit of fun — because life is short after

New Video: Robert Finley Releases a Soulful and Bluesy Holler

67 year-old, Winnsboro, LA-born, Bernice, LA-based singer/songwriter Robert Finley was born into a family of sharecroppers, and was one of eight children. As a child, a young Finley was unable to regularly attend school and often worked with his family in the cotton fields. When he was a teenager, he attended a segregated school, but dropped out in the 10th grade to help financially support his family and himself. 

Finley is an army veteran and was a skilled carpenter, who has lived a full, complicated and often messy life: he’s survived house fires, a bad auto accident and a divorce. Sadly, Finley lost his sight in his 60s as a result of glaucoma, and although he was forced to retire, the Winnsboro-born, Bernice-based singer/songwriter realized that he had an opportunity to pursue his lifelong dream of becoming a musician. Finley believes that his sight was improved by the power of prayer and his faith has also helped him focus on launching a music career in his 60s. According to Finley “losing my sight, gave me the perspective to see my true identity.”

Robert Finley’s rise has been rapid: As the story goes, Dan Auerbach immediately saw Finley’s potential, quickly proclaiming that the Louisiana-born and-based artist is “the greatest living soul singer.” He walked in like he was straight out of the swamp.” Auerbach recalls in press notes, adding, “He had leather pants, snakeskin boots, a big Country & Western belt buckle, a leather cowboy hat and a three-quarter-length leather duster. The final touch was the folding cane the legally blind Finley wore on his hip, in a holster. Basically, he was dressed for national television.” 

Auerbach went on to produce Finley’s 2017 breakthrough sophomore album Goin’ Platinum, an album released to widespread critical acclaim from the likes of the Associated Press, who praised Finley’s ability to lend “instant credibility to any song” and The Observer, who wrote “Finley’s versatile voice ranges from prime Motown holler to heartbroken falsetto croon.” The Louisiana-born and-based singer/songwriter went on to support the album with tours of 10 countries — with his live show drawing praise from a number of publications, including The New York Times and several others. Finley was also profiled on PBS NewsHour, which led him to becoming a contestant on the 2019 season of America’s Got Talent, eventually reaching the semi-finals. 

Finley’s third album Sharecropper’s Son is slated for a May 21, 2021 release through Easy Eye Sound. The album, continues the Louisiana-born and-based singer/songwriter’s successful collaboration with Auerbach and features songwriting from Finley, Auerbach, Bobby Wood and Pat McLaughlin and an an All-Star backing band that includes Auerbach (guitar); Kenny Brown (guitar), a member of R.L Burnside‘s backing band; studio legends Russ Pahl (pedal steel) and Louisiana-born, Nashville-based Billy Sanford (guitar); Bobby Wood (keys and as previously mentioned songwriting); Gene Chrisman (drums), who’s a Memphis and Nashville music legend; as well as contributions The Dap Kings‘ Nick Movshon (bass), Eric Deaton (guitar); Dave Roe (bass), who was member of Johnny Cash‘s backing band; Sam Bacco (percussion) and a full horn section. 

Sharecropper’s Son may arguably be the most personal album of Finley’s growing catalog, drawing directly from his life and experience. “I was ready to tell my story, and Dan and his guys knew me so well by then that they knew it almost like I do, so they had my back all the way,” Finley says in press notes. “Working in the cotton fields wasn’t a pleasant place to be, but it was part of my life. I went from the cotton fields to Beverly Hills. We stayed in the neighborhood most of our childhood. It wasn’t really all that safe to be out by yourself. One of the things I love about music is that, when I was a boy growing up in the South, nobody wanted to hear what I had to say or what I thought about anything. But when I started putting it in songs, people listened.”

Sharecropper’s Son’s latest single is album title track “Sharecropper’s Son,” a strutting, blues holler featuring James Cotton-like blasts of harmonica, shimmering Rhodes, a chugging groove, a classic blues solo, and Finley’s creaky and soulful crooning and shouts. And much like its predecessor, the song is fueled by both the lived-in experiences of its writer and the novelistic details within the song: you can feel the hot sun on Finley’s and his siblings’ skin, the sore muscles of backbreaking and unending labor in the fields. But throughout the song, its narrator expresses pride in his family doing whatever they could do legally to survive and keep food on the table.

Directed by Tim Hardman, the recently released video continues Hardman’s collaboration with Finley and Auerbach and was shot in Finley’s hometown of Bernice, LA — and it’s an intimate tour of small-town life: the cotton and corn fields where a young Finley and his family toiled, the local movie theater, the barber shop and what not. And while has lived a tough life, his joy and pride have never been taken from him.

New Video: Robert Finley’s Strutting and Soulful “Country Boy”

67 year-old, Winnsboro, LA-born, Bernice, LA-based singer/songwriter Robert Finley was born into a family of sharecroppers, and was one of eight children. As a child, a young Finley was unable to regularly attend school and often worked with his family in the cotton fields. When he was a teenager, he attended a segregated school, but dropped out in the 10th grade to help financially support his family and himself.

Finley is an army veteran and was a skilled carpenter, who has lived a full, complicated and often messy life: he’s survived house fires, a bad auto accident and a divorce. Sadly, Finley lost his sight in his 60s as a result of glaucoma, and although he was forced to retire, the Winnsboro-born, Bernice-based singer/songwriter realized that he had an opportunity to pursue his lifelong dream of becoming a musician. Finley believes that his sight was improved by the power of prayer and his faith has also helped him focus on launching a music career in his 60s. According to Finley “losing my sight, gave me the perspective to see my true identity.”

Robert Finley’s rise has been rapid: As the story goes, Dan Auerbach immediately saw Finley’s potential, quickly proclaiming that the Louisiana-born and-based artist is “the greatest living soul singer.” He walked in like he was straight out of the swamp.” Auerbach recalls in press notes, adding, “He had leather pants, snakeskin boots, a big Country & Western belt buckle, a leather cowboy hat and a three-quarter-length leather duster. The final touch was the folding cane the legally blind Finley wore on his hip, in a holster. Basically, he was dressed for national television.” 

Auerbach went on to produce Finley’s 2017 breakthrough sophomore album Goin’ Platinum, an album released to widespread critical acclaim from the likes of the Associated Press, who praised Finley’s ability to lend “instant credibility to any song” and The Observer, who wrote “Finley’s versatile voice ranges from prime Motown holler to heartbroken falsetto croon.” The Louisiana-born and-based singer/songwriter went on to support the album with tours of 10 countries — with his live show drawing praise from a number of publications, including The New York Times and several others. Finley was also profiled on PBS NewsHour, which led him to becoming a contestant on the 2019 season of America’s Got Talent, eventually reaching the semi-finals.

Finley’s third album Sharecropper’s Son is slated for a May 21, 2021 release through Easy Eye Sound. The album, continues the Louisiana-born and-based singer/songwriter’s successful collaboration with Auerbach and features songwriting from Finley, Auerbach, Bobby Wood and Pat McLaughlin and an an All-Star backing band that includes Auerbach (guitar); Kenny Brown (guitar), a member of R.L Burnside’s backing band; studio legends Russ Pahl (pedal steel) and Louisiana-born, Nashville-based Billy Sanford (guitar); Bobby Wood (keys and as previously mentioned songwriting); Gene Chrisman (drums), who’s a Memphis and Nashville music legend; as well as contributions The Dap Kings’ Nick Movshon (bass), Eric Deaton (guitar); Dave Roe (bass), who was member of Johnny Cash’s backing band; Sam Bacco (percussion) and a full horn section.

Sharecropper’s Son may arguably be the most personal album of Finley’s growing catalog, drawing directly from his life and experience. “I was ready to tell my story, and Dan and his guys knew me so well by then that they knew it almost like I do, so they had my back all the way,” Finley says in press notes. “Working in the cotton fields wasn’t a pleasant place to be, but it was part of my life. I went from the cotton fields to Beverly Hills. We stayed in the neighborhood most of our childhood. It wasn’t really all that safe to be out by yourself. One of the things I love about music is that, when I was a boy growing up in the South, nobody wanted to hear what I had to say or what I thought about anything. But when I started putting it in songs, people listened.”

The album’s latest single “Country Boy” is a swampy and funky bit of country soul, centered around a tight, strutting groove, bluesy guitar licks, shimmering organ and Finley’s soulful and creaky falsetto. The song’s autobiographical lyrics were improvised on the spot with the tape rolling and the band setting up the song’s sultry groove. “When we play live, I always leave room in the show for lyrics I make up on the spot while the band hits a groove,” Finley explains. “I guess the younger generation calls it free-styling, but for me, it’s just speaking from my mind, straight from my soul.” While the lyrics hit upon classic blues fare such as heartbreak, loneliness, being broke, being a stranger far away from home and so on, the song is informed by lived-in personal experience: Finely has been that poor, country boy, moving far from home and busting his ass to make a better life for himself — to be broke, lonely and desperate, and longing for his beloved home. For me, the end result is a song that aims to be timeless in its sound, feel and themes and manages to hit every single mark with a heartfelt sincerity.

Directed by Tim Hardman, the recently released video for “Country Boy” was filmed in Finely’s birthplace of WInnsboro, where his family worked and lived as sharecroppers in the Jim Crow era South. While featuring an incredibly dapper and badass Finley strutting and dancing to the song and playing in a small, divey blues joint, the visual is also a gorgeously shot slice of daily life in America’s small towns.

New Video: Acclaimed Swedish Folk Duo First Aid Kit Tackle a Beloved Willie Nelson Classic

Acclaimed Stockholm-based sibling folk duo First Aid Kit — Klara and Johanna Söderberg   can trace the origins of their career to growing up in a rather creative household — their father was a member of the Swedish pop rock act Lolita Pop and their mother taught cinematography. As children the Söderberg Sisters loved performing, often giving concerts using a jump rope as a pretend microphone. Klara wrote her fist song when she was six. 

When Klara was 12, a friend introduced there to Bright Eyes and it led her to Johnny Cash, Bob Dylan, Leonard Cohen, The Carter Family, The Louvin Brothers, Townes Van Zandt, Gram Parsons and Emmylou Harris. That same year, she received a guitar as a Christmas present and quickly learned to play it.

Johanna Söderberg grew up listening to a wide range of music including Britney Spears and German techno; however, watching O Brother, Where Art Thou and listening to the film’s soundtrack changed her life: both the film and the soundtrack inspired her to sing “Down in the River to Pray” with her sister. Fascinated and impressed by how they sounded together, they started to get more serious, eventually busking in the Stockholm metro and in front of liquor stores. 

As the story goes, Klara came up with the band name when she was 13. She was looking through a dictionary and found the term “first aid kit,” and thought it best descried what she wanted her music to be. As they were getting more serious about being a band, the Söderberg Sisters began writing their own original material inspired by Devendra Banhart, CocoRosie and others. 

In 2008, they began to receive attention across the blogosphere for their cover of Fleet Foxes’ “Tiger Mountain Peasant Song.” And since 2008, the Söderberg Sisters have managed to receive international acclaim — they’ve been nominated for two Brit Awards for Best International Group while releasing four critically applauded albums, four EPs which include 2018’s Ruins and Tender Offerings EP, as well as a number of singles and covers. 

Recorded close to a decade ago and unreleased until recently, the acclaimed Swedish duo recorded a straightforward yet gorgeous cover of Willie Nelson’s beloved 
“On The Road Again.” And while marking the first bit of material from the duo since the release of the aforementioned Ruins and Tender Offerings, their latest single adds to a growing list of covers. But more important, proceeds from the single will be donated to Crew Nation, a charitable fund created by Live Nation to help those working backstage, who have lost work this year as a result of pandemic-related lockdowns and quarantines. Of course, interestingly enough, because of the lockdowns and quarantines, Nelson’s classic feels more relevant and hits much deeper and differently than ever before. I’m longing for live shows, travel and adventures; of the new friends I’d meet; of the new food I’d have; the new things I’d see and know.

As we speak, I think of being with some newfound friends in Montreal and how we passed along a bottle of beer while we were walking from dinner to a showcase; of an older woman crowd surfing during Corridor’s set at Le National; of chatting with a group of incredibly Midwestern women in between sets at The Wood Brothers and Nicki Bluhm at The Vic Theatre; of randomly running into a new festival friend in an airport bar and cheering to our safe travels home; and of so many more things I can’t do and miss so much. The video adds to that dull and constant ache I feel lately — but while capturing the Söderberg Sisters (who are absolutely adorable, by the way), their backing band and crew goofing off on the road, playing in front of enraptured fans and more. 

“We’re excited to release our version of ‘On The Road Again’ by Willie Nelson. We recorded this cover a couple of years ago and recently found it while digging through the archives,” the Söderberg Sisters explain in a statement. “The song is a country classic, it feels like we’ve known it forever. Because of the situation with COVID, sadly, the theme of the song has never felt more relevant than it does today. 

We made a video for the song using cellphone footage from our tours throughout the years. Going through all those videos made us emotional. It made us realize how much we appreciate being able to roam freely around the world. How much we love the feeling of playing live for people, in the flesh. How much we miss our incredible band and crew. 

All the proceeds from the streaming of the song will go to Crew Nation. So much of the magic happens behind the stage. It’s easily taken for granted, but without our touring and venue crew live music wouldn’t be possible. It’s important that we help them out right now. 

Oh, how we wish we could get back on the road again! Hopefully we’ll see you down the road sometime soon.”

New Audio: Chris Robinson-led Green Leaf Rustlers Release a Gorgeous Rolling Stones Cover

Marin County, California-based act Green Leaf Rustlers, comprised of Chris Robinson (a.k.a, the most soulful white guy on the face of the earth), Barry Sless, Greg Loiacono, Pete Sears, and John Moro have developed a reputation for being one of the area’s live music scene staples, for their re-imagining of classic, cosmic country and country rock — in particular the work of artists like Gram Parsons, Waylon Jennings, The Byrds and others. “Green Leaf Rustlers are a Marin County hippie hayride,” the band’s Chris Robinson says in press notes. “Rockin’ and rollin’ through our favorite classic cosmic country covers and keeping the good people dancing the night away under star-filled western skies.”

Although the band has seldom performed outside of Northern California, their debut album From Within Marin, which is slated for a March 6, 2020 release is a double LP live album, recorded by Grateful Dead archivist Betty Cantor Jackson at a handful of Green Leaf Rustler shows across Marin County last year. The album sees Robinson and company work there way through renditions of Gram Parsons’ “Big Mouth Blues,” Johnny Cash’s “Folsom Prison Blues,” JJ Cale’s “Ride Me High,” Arthur “Big Boy” Crudup’s “That’s Alright Mama” and the album’s second and latest single — a shimmering and twangier take on The Rolling Stones’ “No Expectations” that’s expands upon the lonely honky tonk vibe of the original in a loving fashion. 

New Video: Kings of Spade Release Semi-Autobiographical Visuals for “Strange Bird”

Comprised of founding members Kasi “KC” Nunes (vocals) Matt Kato (drums) and Jasio Savio (guitar) with Tim Corker (bass), Ken Lykes (keys) and DJ Packo, the Honolulu, HI-based sextet Kings Of Spade can trace their origins back to when Nunes,  a self-described “somber, closeted queer kid, who felt soul and blues music,” was bartending at Honolulu’s Anna Bananas and was pulled up on the stage to sing. “They started playing ‘Sweet Child O’Mine,” Nunes says in press notes.  “I started singing and was like ‘Hey, I sound pretty good.”

Interestingly, Jasio Savio frequently sat in with the bar’s house band. “He wasn’t old enough to drink,” Nunes recalls. “But he would start and rip these Johnny Cash tunes.” As the story goes, they were both impressed by each other. “You feel this energy when she sings,” Savio says. “My first thought was ‘Damn, she’s going to be famous.’” Nunes approached Savio and suggested they start a band. They recruited Matt Kato, a local punk rock drummer and played with a revolving door of bassists until they found Tim Corker. As a quartet that played power chord-based blues riff rock, they didn’t find their hometown to be very receptive to their sound — although Nunes took it upon herself to book club shows that featured the band alongside local DJs, artists and other bands. After amassing a decent local following, the band relocated to Southern California in 2006 to chase their dreams. But as Nunes and Kato quickly found out, the big city isn’t very welcoming; in fact, they were barely scraping by — and they were forced to sell their blood for cash. “Everyone at the clinic looked down-on-their-luck,” Nunes remembers. “I was hooked up to a plasma machine, reading the self-help books. This was the lowest point in my life.”

After three years of crushing let-downs and disappointment, Nunes, Savio and Kato quit their jobs and gave up their shared apartment in preparation for a lengthy tour that was just booked by their new manager; however, he disappeared once they figured out that there wasn’t an actual tour. They returned home to Hawaii, and ironically enough, upon their return, they finally began to have much better fortune. Several years later, the band played at SXSW, where former Headbanger’s Ball host and MTV VJ Riki Rachtman caught them — and after catching them, he booked them to play a show commemorating the 30th anniversary of his old metal club, The Cathouse, best known for giving rise to Guns N’ Roses. Around the same time, they met Sue Damon, the ex-wife of The Beach Boys‘ Mike Love. “She was a huge supporter of ours, bought us a new drum set. She was a total free spirit, who could party all of us under under the table. She ended up passing away. But all of us have her initials tattooed on us.”

The band’s self-titled Dave Cobb-produced full-length was recorded in Nashville over the course of two weeks.  “He produced a band I like, Rival Sons, which had this old-school sound with modern energy—like, analog-tape soul built into it,” Jesse says, admiringly. t Album single “Bottom’s Up,” was a swaggering and stomping bluesy ripper and party anthem inspired by their late friend and patron Sue Damon, and their own experiences partying ridiculously hard that sounds as though it were influenced by Highway to Hell-era AC/DC, Electric Blue Watermelon-era North Mississippi All Stars and The Black Keys — all while further cementing their reputation for boozy, power chord centered, riff-based rock. Released in time for National Coming Out Day, the album’s latest single “Strange Bird,” is a anthemic song centered around Led Zeppelin-like power chords and Nunes’ own experiences coming out, that proudly says “go out there and march to the beat of your own drum because life is short!” May this song be a call for arms for anyone, who’s struggling to find themselves in an unforgiving world. As Nunes says in press notes about the song, “‘Strange Bird’ is my big queer anthem – a song about being true to who your are no matter what it costs. It’s about self-love and growing into a person who is proud to be different. I always tell my coming out story before we play this song at a live show. It starts off so tragic I end up going back in the closet until way later in life. The beauty is coming around so far that I can tell the story on stage in front of a crowd of people cheering me on for it. After every show there is always people who share their own strange bird stories with me. That connection is everything. It’s why I play music and love being in a band.”

Directed by Vincent Ricafort, the recently released video draws from Nunes’ own experience as a young person,  feeling forced to hide who she really was, before finding the courage to defiantly and proudly be the person she needs to be, finding herself and making connections through music.  Additionally, the video suggests that music has always been a way for the strange and uncompromisingly individual to find comfort, as well. 

Comprised of founding members Kasi “KC” Nunes (vocals) Matt Kato (drums) and Jasio Savio (guitar) with Tim Corker (bass), Ken Lykes (keys) and DJ Packo, the Honolulu, HI-based sextet Kings Of Spade can trace their origins back to when Nunes,  a self-described “somber, closeted queer kid, who felt soul and blues music,” was bartending at Honolulu’s Anna Bananas and was pulled up on the stage to sing. “They started playing ‘Sweet Child O’Mine,” Nunes says in press notes.  “I started singing and was like ‘Hey, I sound pretty good.”
Interestingly, Jasio Savio frequently sat in with the bar’s house band. “He wasn’t old enough to drink,” Nunes recalls. “But he would start and rip these Johnny Cash tunes.” As the story goes, they were both impressed by each other. “You feel this energy when she sings,” Savio says. “My first thought was ‘Damn, she’s going to be famous.’” Nunes approached Savio and suggested they start a band. They recruited Matt Kato, a local punk rock drummer and played with a revolving door of bassists until they found Tim Corker. As a quartet that played power chord-based blues riff rock, they didn’t find their hometown to be very receptive to their sound — although Nunes took it upon herself to book club shows that featured the band alongside local DJs, artists and other bands. After amassing a decent local following, the band relocated to Southern California in 2006 to chase their dreams. But as Nunes and Kato quickly found out, the big city isn’t very welcoming; in fact, they were barely scarping by — and they were forced to sell their blood for cash. “Everyone at the clinic looked down-on-their-luck,” Nunes remembers. “I was hooked up to a plasma machine, reading the self-help books. This was the lowest point in my life.”
After three years of crushing let-downs and disappointment, Nunes, Savio and Kato quit their jobs and gave up their shared apartment in preparation for a lengthy tour that was just booked by their new manager; however, he disappeared once they figured out that there wasn’t an actual tour. They returned home to Hawaii, and ironically enough, upon their return, they finally began to have much better fortune. Several years later, the band played at SXSW, where former Headbanger’s Ball host and MTV VJ Riki Rachtman caught them — and after catching them, he booked them to play a show commemorating the 30th anniversary of his old metal club, The Cathouse, best known for giving rise to Guns N’ Roses. Around the same time, they met Sue Damon, the ex-wife of The Beach Boys‘ Mike Love. “She was a huge supporter of ours, bought us a new drum set. She was a total free spirit, who could party all of us under under the table. She ended up passing away. But all of us have her initials tattooed on us.”
The band’s self-titled Dave Cobb-produced full-length was recorded in Nashville over the course of two weeks.  “He produced a band I like, Rival Sons, which had this old-school sound with modern energy—like, analog-tape soul built into it,” Jesse says, admiringly. Now, as you may recall, I wrote about album single “Bottom’s Up,” a swaggering and stomping bluesy ripper and party anthem inspired by their late friend and patron
Sue Damon, and their own experiences partying ridiculously hard that sounds as though it were influenced by Highway to Hell-era AC/DC, Electric Blue Watermelon-era North Mississippi All Stars and The Black Keys — all while further cementing their reputation for boozy, power chord centered, riff-based rock. Released in time for National Coming Out Day, the album’s latest single “Strange Bird,” is a anthemic song centered around Led Zeppelin-like power chords and Nunes’ own experiences coming out, that proudly says “go out there and march to the beat of your own drum because life is short!” May this song be a call for arms for anyone, who’s struggling to find themselves in an unforgiving world.