Heartworn Highways Soundtrack

A Complete List of Songs Performed in Movie:

• Guy Clark - "L.A. Freeway"
• Larry Jon Wilson - "Ohoopee River Bottomland"
• David Allan Coe - "Keep on Trucking"
• Big Mack McGowan & Glenn Stagner "The Doctor's Blues"
• Guy Clark - "That Old Time Feeling"
• Townes Van Zandt - "Waitin' Around to Die"
• David Allan Coe - "Old Man Tell Me"
• Barefoot Jerry - "Two Mile Pike"
• Rodney Crowell - "Bluebird Wine"
• Steve Young - "Alabama Highway"
• Guy Clark - "Texas Cooking"
• Gamble Rogers - "Black Label Blues"
• Peggy Brooks - "Lets Go All the Way"
• The Charlie Daniels Band - "Texas"
• David Allan Coe - "Penitentiary Blues"
• David Allan Coe - "River"
• Steve Earle - "Elijah's Church" (partial)
• Ensemble - "Silent Night"

"Extras" Bonus Songs on DVD

• Guy Clark - "Desperadoes Waiting For a Train"
• Townes Van Zandt - "Pancho & Lefty"
• Richard Dobson - "Hard by the Highway"
• The Charlie Daniels Band - "Long Haired Country Boy"
• Guy Clark w/ Rodney Crowell - "Ballad of Laverne and Captain Flint"
• John Hiatt - "One For The One For Me"
• Steve Earle - "Darlin' Commit Me"
• David Allan Coe - "Thank You, Jesus"

Party at Guy Clark's House

• Steve Earle - "Mercenary Song"
• Rodney Crowell - "Young Girls Hungry Smile"
• Richard Dobson - "Forever, For Always, For Certain"
• Billy Callery - "Question"
• Steve Young - "I'm So Lonesome I Could Die"
• Steve Earle & Rodney Crowell - "Stay a Little Longer"
• Guy Clark - "Country Morning Music"

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Justin Townes Earle- Midnight At The Movies

On his sophomore album, Earle has a song called "They Killed John Henry" that starts out at the folk hero's funeral and moves the celebrated tale forward. It's a gutsy move for a songwriter, essentially offering up a sequel to a slice of classic American folk literature, but Steve Earle's son clearly has the talent to carry out such ambition effortlessly.

He's fully absorbed his genetic and cultural heritage and draws upon both with great skill and dimension. "Mama's Eyes" recognizes the curse and blessing of that heritage. He walks in the large footsteps of Willie Nelson and Bob Wills in "What I Mean to You" and "Poor Fool," a couple of Texas honky-tonk swing tunes.

The title song exhibits some of his dad's and John Prine's deftness for creating and empathizing with outsider characters, while an acousticized version of the Replacements' "Can't Hardly Wait" brings the indie rock facet of his rich set of influences to the forefront. He organically forges those into an utterly distinctive voice that takes what's come before and artfully moves it forward with the power of a certain steel-driving man.

-Randy Lewis

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Lux Interior- Stencil on Vinyl LP

Here is a stencil painting I made of Lux Interior the day after he passed. RIP!

Lux Interior & Poison Ivys- Favorites Volume 6

Below is a collection of some of Lux & Poison Ivy's favorite tunes... Enjoy!

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The Cramps- Songs The Lord Taught Us

Here is one of The Cramps finest! Have a Spooky Halloween with The Cramps and Happy Birthday Lux! We Miss You!

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Roky Erickson- I Think of Demons

Treading the same mentally fragile tightrope as former Pink Floyd guiding light Syd Barrett, Roky Erickson's savant-like genius shines through on "I Think Of Demons," a reissue of his 1980 album oringally on CBS. It's anyone's guess what demons were tormenting Erickson back then, but it sure inspired some bizarre, dark, and ultimately great music. Erickson deserves some sort of recognition in the fickle business of popular music, if not for songs like "I Walked With A Zombie" and "Don't Shake Me Lucifer," then surely for his time spent as a member of The 13th Floor Elevators. This record is best played while on LSD.

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The Solution- Communicate!

"Communicate!", the album from Euro-American soul band The Solution may just be the best release of 2004. A magical blend of soul, R & B and the slightest hint of Motor City rock and roll (via Sweden), it also marks another coming together of two prodigious talents in Hellacopters leader Nicke Royale and Michigan veteran Scott Morgan, neither of whom should need an introduction.

The pair first worked together in Nicke's Hellacopters, the Swedish band that he fronts as singer and guitarist. A dynamite single comprising two longtime Morgan staples, "Slow Down, Look Around" and "Sixteen With a Bullet", on SubPop was inspired and flowed from Scott's guest spots with the Swedes on a US tour. 'Copters fans will recognise the Royale/Morgan-penned "Hurtin' Time" on the gold record-earning "Hi-Visbility" album that followed, and the pair also worked together in the first Hydromatics line-up. A Europe-based project that celebrated the music of Sonic's Rendezvous Band, the hi-octane but well-hidden Detroit band that numbered Scott as a founding member, the Hydromatics found Nicke on drums, a role. The first Hydromatics album, "Parts Unknown", is a hard-to-find gem and the only one of two so far released that features Nicke, who had to return to the Hellacopters.

Although Nicke is back behind the traps, The Solution is altogether a different prospect to previous collaborations, taking a sharp detour into soul music. Morgan's considerable pipes were a big part of his '60s teen prodigy Michigan band The Rationals, a bunch of soulful beat music fans who took on board psych and more rocking influences as they entered the '70s. Morgan fronts The Solution on vocals and occasional guitar, with a Nicke-assembled big band line-up (including a horn section and female back-up vocalists) that's unlike anything most fans of their contemporary work have seen. This band is very a sum of its parts, however, with superb ensemble playing, all-round.e seen. This band is very a sum of its parts, however, with superb ensemble playing, all-round.

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The Nerves- One Way Ticket

Got a hormonally explosive, just post-adolescent relative on your gift list who still thinks Fall Out Boy is power pop? Well, set him straight with a combo history lesson/girl obsession classic. For aficionados of first-era power pop (roughly 1977-82), the 4-song 7″ The Nerves EP this Cali combo released in 1977 is not just a bristling batch of perfect, punk-prodded pop, but a viable argument stopper for where the genre began. Plus, all three members went on to create more influential pop gold (in collector desirability if not actual sales). Singer/bassist Peter Case had the most success with the ‘80s band, the Plimsouls; drummer Paul Collins formed the Beat, releasing a few super slabs (and are back with a new record on Get Hip); and singer/guitarist Jack Lee’s career petered out the quickest with some personal problems that are barely hidden in his sparkly gems. Lee wrote “Hanging On The Telephone” (later a hit for Blondie), featuring the closing, repeated plea of “Hang up and run to me,” that is one of the most purely heart-wrenching codas of that era. That EP is all here, Rickenbackers ringing and scruff harmonies yearning clearer than ever. While those songs and some of the other demos and live tracks on this 20-track compilation have appeared over the years in various quasi-legit versions, usually on small European labels (you wouldn’t believe what a star Case is in Orleans, France), this is the first official release of all the Nerves and immediately post-Nerves related material, with liner notes from Case no less—in other words, the holy moley grail for power pop fans. Had they the cash to make that first EP an album—adding in the sugar rush of “Walking Out On Love” and “Letter To G,” or the mood-piece pound, “Are You Famous”—the Nerves might’ve supplanted the Knack and saved power pop from its cheeky legacy. Standard motifs of skinny ties and “The” band names have reduced the era to a fad; and the genre phrase is flung around so much today it’s become an enervated catch-all for anything vaguely upbeat with vintage guitars played by earnest 20-somethings. Well forget that and grab this One Way Ticket to a time when a band could rankle fellow too-tough punk scensters by simply covering the Beatles. – Eric Davidson / CMJ

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New Riders of the Purple Sage- Adventures of Panama Red

The Adventures of Panama Red is a 1973 country rock album by the New Riders of the Purple Sage. It is widely regarded as one of the group's best efforts, and reached number 55 on the Billboard charts.

The album includes two songs written by Peter Rowan — "Panama Red", which became a radio hit, and "Lonesome L.A. Cowboy". Another song, "Kick in the Head", was written by Robert Hunter. Donna Jean Godchaux and Buffy Sainte-Marie contribute background vocals on several tracks.

1. "Panama Red" (Peter Rowan) – 2:47
2. "It's Alright With Me" (Dave Torbert) – 2:43
3. "Lonesome L.A. Cowboy" (Rowan) – 4:05
4. "Important Exportin Man" (Hovey, Torbert) – 2:26
5. "One Too Many Stories" (John Dawson) – 2:54
6. "Kick in the Head" (Robert Hunter) – 2:30
7. "You Should Have Seen Me Runnin" (Dawson) – 3:01
8. "Teardrops in My Eyes" (Red Allen, Tommy Sutton) – 2:15
9. "L.A. Lady" (Seals, Goodman, Jennings) – 2:13
10. "Thank the Day" (Torbert) – 2:23
11. "Cement, Clay and Glass" (Spencer Dryden, David Nelson) – 2:34

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Frank Black- Honeycomb

Those having witnessed Frank Black exorcising his demons through screams and wails onstage with the Pixies will stop for a double-take when they hear this, an album the frontman recorded live in Nashville just days before the band launched its 2004 reunion tour. He sounds like George Jones with a hangover. Stripping away the ear-splitting feedback and lyrics about spaceships, Black teams up with a group of dust-caked local musicians, whose collective resumes include stints at Stax Records, Muscle Shoals and American Studios, for a set of songs that are beautiful and warm--even when on "Another Velvet Nightmare," he mournfully sings, "Today I felt my heart slide in my belly/ So I puked it up with liquor." --Aidin Vaziri

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The Boat That Rocked

This film is going to be released in the US on Nov 15th make sure you see it! Its one of the best Rock N' Roll films I've seen since Almost Famous! ;)

Ryan Bingham- Roadhouse Son

If you're drifting through the desert and you stop at a honky tonk where they serve Lone Star beer in mason jars, Ryan Bingham and the Dead Horses is exactly the band you want to see rattling every fixture in the room. The rambling "Roadhouse Sun," Bingham's follow-up to 2007's "Mescalito," rifles through the dirtier pages of the American songbook -- outlaw country, roadhouse blues, wind-whipped folk -- while blowing it wide open.

The waltzing and rollicking "Dylan's Hard Rain" reconsiders Bob Dylan's 1962 plaintive song as "fair warning" for a world where the "religious folk made it to Congress." The beautifully deconstructed "Change Is," clocking in at more than seven minutes, is like a track off of Wilco's "Yankee Hotel Foxtrot," if it had been doused in gasoline. "Hey Hey Hurrah" is begging to be used in the Coen Brothers' next Texas heist movie.

Occasionally, there's the odd phrase that feels a little contrived, and Bingham's sandpaper-soaked-in-whiskey voice sometimes broadcasts a hard-scrabble life as unsubtly as a blinking neon sign outside a peep show. But at 28, he has the stamina to hang on well into his old age, when his voice will sound as fittingly elemental as a lightning storm in the Texas Panhandle.

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Mayer Hawthorne- A Strange Arrangement

1) Prelude
2) A Strange Arrangement
3) Just Ain't Gonna Workout
4) Maybe So, Maybe No
5) Your Easy Lovin' Ain't Pleasin'
6) I Wish It Would Rain
7) Make Her Mine
8) One Track Mind
9) The Ills
10) Shiny And New
11) Let Me Know
12) Green Eyed Love
Secret Track- Love is Alright

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Spinnerette- S/T

1) Ghetto Love
2) All Babes Are Wolves
3) Cupid
4) Geeking
5) Baptized By Fire
6) A Spectral Suspension
7) Distorting A Code
8) Sex Bomb
9) Driving Song
10) Rebllious Palpatations
11) The Walking Dead
12) Impaler
13) A Prescription for Mankind

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Lucero- 1372 Overton Park

Back when Lucero played warehouses and released scrappy attic recordings on hand-packaged LPs, the Memphis band felt like an epiphany. Granted, Lucero wasn’t the first group to smash punk zeal into country-rock tradition, but it was the best at the time, and did so on wholly punk-rock terms. Ten years on, the group has released 1372 Overton Park, its major-label debut. Not only is it a sonic leap for Lucero, it’s another epiphany: Having long outgrown the warehouse, leader Ben Nichols and crew have embraced their legendary Memphis forebears by adding a robust horn section (courtesy of Memphis soul legend Jim Spake) and an epic sweep on par with Lucero’s closest cousin, Drive-By Truckers. Overton’s tracks cover Nichols’ typically gravely domain—anthemic barnburners like “Sounds Of The City” to twang-laden weepers like “Can’t Feel A Thing”—but there’s also stomping Southern boogie on “The Devil And Maggie Chascarillo,” a raucous homage to Los Bros Hernandez’s Love And Rockets comics, and a newfound brassy punch that recalls everything from Stax classics to The Replacements’ Pleased To Meet Me. With young contenders like The Gaslight Anthem hot on their heels, the members of Lucero have shown that they can still stretch, grow, and move forward—even while keeping a reverent eye on the rearview mirror.

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El Bronx- Mariachi Record

One wouldn't expect a band like the Bronx to dabble in trying their hand at Mariachi music. Firstly, they are a punk rock band.The last time I checked, crusty guitar and vocals that sound like the frontman decided to spend all of the money from their gig checks on Lucky Strikes and hard liquor weren't part of Mexico's distinguished cultural heritage. Secondly, they are all white. The closest ties anyone in The Bronx has to Mexico are the same ties that San Diego State fratboys have to it, a couple drunken nights in TJ. Taking this all into account, El Bronx has no right to be as good as it is.

The Bronx' Mariachi El Bronx alter-ego isn't some punk rock revisioning of the background music to your favorite taco joint. It is as close to authentic as a bunch of white boys from Los Angeles could possibly make it. El Bronx is awash in swinging Latin rhythms, brimming with lively horns, nimble flamenco guitar, vibrant strings, and traditional percussion. The Bronx even recruited Vincent Hidalgo, son of Los Lobos' famed David Hidalgo, to play the guitarron and to show off his accordion chops, which he does convincingly on "Clown Powder". While at times El Bronx reaches into spaghetti western territory, e.g. "Silver and Lead" and "Holy", it never crosses the line into parody.

While sung in entirely in English, El Bronx shows off a new side of vocalist Matt Caughtran. The raspy bark that has become the one of the identifiable features of The Bronx, has been toned down to a gentle croon that surprisingly compliments their new south of the border stylings. The abstract lyrics that one would expect from the Bronx are still found in places on El Bronx but have mostly been replaced by stories of romance, further fitting with the Mariachi vibe.

There is no way in hell anyone would expect a Mariachi album recorded by some LA punks to be good, let alone great. Flying far above novelty, El Bronx is one of the year's most welcome surprises. If only more bands would flex their creative muscle in the ways that the Bronx have here.

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