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"Extras" Bonus Songs on DVD
Party at Guy Clark's House
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
Here is a stencil painting I made of Lux Interior the day after he passed. RIP!
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.
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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