Gas Monkey Live Presents
Clutch – Book of Bad Decisions
Sevendust, Tyler Bryant & The Shakedown
Sun Sep 23
Doors: 6:30 pm / Show: 7:35 pm (event ends at 11:00 pm)
Gas Monkey Live!
$36.00 - $1,000.00
This event is all ages
LIMITED $20 (GA) Pre Sale 6/21 from 10AM-10PM (or until sold out) using code BOBD2018 All tickets on-sale 6/22 @ 10AM!
$36 Advance/ $38 Day of Show/ $65 Premier Red Room/ $300 Premier Tables/ $1000 Premier Cabanas
Special Offer: The price of your ticket when purchased in advance online includes a physical CD copy of Clutch's new album "Book of Bad Decisions.” You'll receive information on how to redeem the album after purchasing your ticket. Offer valid through 10/29/18. US residents only. Not valid on Resale tickets.
*NOTE: Cabana Purchases are WILL CALL ONLY - must provide ID and Credit Card upon pick up.https://www.gasmonkeybarngrill.com/event/1701605/
Recorded over three weeks at Sputnik Studios in Nashville, “Book of Bad Decisions” was produced by four-time Grammy winner Vance Powell (Seasick Steve, The White Stripes, Arctic Monkeys, etc.), a man who apparently knows that a one degree angle change in microphones makes a difference to how an instrument sounds. Interestingly, his name first came to the band's attention via country star Chris Stapleton.
“It started with my brother-in-law, who's a huge Chris Stapleton fan,” says drummer Jean-Paul Gaster. “He and I would listen to The Traveller quite a bit, and one thing that stood out was that it didn't sound like any other country record that I'd heard. Shortly after that I was on Spotify, and a song by The Dead Weather came up. It just blew me away and I could tell that whoever produced that record was doing things a different way. I looked it up and there was Vance Powell's name again, so something was telling us that this is a guy we should reach out to.”
“Even though Chris Stapleton does music that's not too much like our own, the sonics of the record are pretty great,” says frontman Neil Fallon. “He has a very different approach to recording; he comes from the school of live recording and engineering, and the songs, on tape, are not gonna sound that much different from what we do live.”
No stranger to the road, Powell spent three days on tour with the band in order to get a feel for what they do best, watching first from the front of house and then from the stage, checking out the live sound and how Clutch connect with their audience.
“I never go into a record having an idea of how it's gonna sound,” he says. “But after hearing them live, I had an idea of how they could sound. I'm a big live recording fan, so I like when bands play together and I didn't wanna get into that manufacturing a record concept. I wanted it to be real organic.”
Indeed, 'organic' is a word that comes up a lot when talking to Clutch about the new record, Powell taking great care to get guitar tones right and making sure that each song had its own identity.
“Vance is all about vintage guitar sounds,” says guitarist Tim Sult. “I probably had more amplifier options than on any other album we've done. It was like going back to a music store in 1960! This was the first time I've ever recorded with amps from the '50s and I ended up buying a couple of '50s amps while we were in Nashville.”
“I felt really good about the gear that I was bringing into the studio,” concurs bassist Dan Maines, “but Vance had this 1974 Ampeg and I'm so glad that he recommended that. As soon as we plugged it in, it sounded like Sabbath! We ended up using it alongside one of my amps, and I loved it so much that once we were done recording I scoured the ads for another one. What I really like is that each song has a different tone to it, and I think that's Vance Powell's style.”
With each band member contributing riffs to the album – including Jean-Paul who has added mandolin to his repertoire – there was no shortage of material, each song road-tested long before it reached the studio. Hell, with 15 songs, “Book of Bad Decisions” could easily pass as a double album! Always wary of repeating themselves and retreading old ground, there is even – for the first time on a Clutch album – a horn section that swings like James Brown's pants!
“The third night I was watching the band,” says Vance, “they did this song that at that time was called Talkbox, which is now In Walks Barbarella. While Neil was singing, I was thinking to myself, “wow, there's a horn line here!” And while he was singing, I was humming it to myself. I brought it up to them, tenuously, and they were like, “okay, let's do it!” This is as Parliament, Funkadelic as it gets, maybe even a James Brown vibe!”
One thing, however, that is entirely as expected, is that as arguably the greatest rock lyricist of modern times, Fallon, as always, has provided some interesting subject matter, everything from poets to presidents and recipes to rock 'n' roll. You may have to Google some of it, because Fallon is nothing if not a clever bugger, and likes to keep his audience on their toes.
“Most of the time I have no idea what he's talking about,” laughs Jean-Paul, “but the lyrics completely inform how I'm going to play that tune. Whether or not I understand exactly what Neil is singing about is not important. I listen to the way Neil sings those words and I think about what those words mean to me, and that, ultimately, informs how I'm gonna play drums on that song.”
“I think I probably second guess myself into doing that,” says Neil of his lyrical style. “I would rather not be able to answer all the questions, just to keep it interesting for myself. Sometimes a rhyme sounds awesome and I don't know what it means, but I'll go with it anyway. It's become more difficult to write lyrics now that I have Wikipedia at my fingertips, because you can go down rabbit hole after rabbit hole and not get anything done! Not too long ago you'd have to spend months in a public library trying to find out the things you can find in a couple of keystrokes.”
Elsewhere, however, you'll find a more straightforward approach to lyrics, A Good Fire relating the memory of hearing Black Sabbath for the first time – something that everyone can relate to – while Sonic Counselor pays homage to Clutch fans. Indeed, it's fair to say that Clutch fans – collectively known as Gearheads – are a breed like no other.
“I've always loved rock songs that just celebrated rock 'n' roll,” grins Fallon, “but that song was a bit more about the people who come to our shows, that make it as exciting for us as hopefully it is for them. My favorite shows that I've seen bands do is like going to church, especially when everybody's in sync with each other and you walk out with your jaw on the floor. I feel incredibly grateful that people have walked out of our shows and felt the same way. It's a tip of the hat to them.”
“We're exceptionally lucky to have the fans we have,” Jean-Paul agrees. “They're diehard, and because of that, we take this that much more seriously. We do not take this for granted. We know that those folks could be anywhere else, and they've chosen to spend the evening at a Clutch show, so we're gonna do the best we can to provide them with the best musical experience we can. I think that translates to the records, because at the end of the day, all you have is your records. When this whole thing wraps up, those are gonna be the things that go down in history.”
Neil Fallon – vocals & guitar
Jean-Paul Gaster – drums
Dan Maines – bass
Tim Sult – guitar
In 1994, Sevendust first forged a familial tie amongst each other that translated into one of the most diehard audiences in the game. To this day, the connection between fans and the GRAMMY® Award-nominated, gold-certified hard rock outfit only grows stronger. For their twelfth full-length and first release for Rise Records, All I See Is War, the quintet—Lajon Witherspoon [lead vocals], Clint Lowery [lead guitar, backing vocals], John Connolly [rhythm guitar, backing vocals], Vince Hornsby [bass], and Morgan Rose [drums]—did the best thing they could possibly do to combat all of the division in the streets and on social media.
As Connolly puts it, they simply “made a Sevendust record.”
“We’re as polarized as we’ve ever been,” he continues. “Discussion is not happening. Everyone is so quick to snap online. We’re not listening. We’re just talking. In these songs, we don’t sugarcoat what’s going on. For as dark as the subject matter may be, it’s about hope. We know we can be in a better spot, because we’ve seen so many different individuals come together around music.”
“We take pride in the connection we have,” adds Lowery. “We’ve always been a people’s band. We’re typical guys who just happen to make a career on stage. With this relationship to the fans, we realize how much we need each other, so we push ourselves to deliver. We don’t stop. We keep moving.”
That’s exactly what these five musicians do every time they get in the studio or on stage. A trifecta of now-classic gold albums—Sevendust , Home , and Animosity — ignited their journey. Known as an equally intense and unforgettable live force, they’ve consistently packed houses around the world and decimated stages everywhere from Rock on the Range and Woodstock to OZZfest and Shiprocked! 2015’s Kill The Flaw represented a high watermark. Bowing at #13 on the Billboard Top 200, it scored their highest debut on the respective chart since 2010 and marked their fifth consecutive Top 10 on the Top Rock Albums Chart and third straight Top 3 on the Hard Rock Albums Chart. Most impressively, the lead single “Thank You” garnered a nomination in the category of “Best Metal Performance” at the 2016 GRAMMY® Awards, a career first.
At the top of 2017, the boys discussed what would become their next offering. Instead of diving right in, they took advantage of an eight-month writing process, which proved to be a breath of fresh air.
“Without a doubt, it might’ve been the longest writing process we’ve had for any project other than the first one,” affirms Connolly. “We didn’t need to hop in the studio and punch out a record in a month. We wanted to bring our A-game.”
After sessions in their native Atlanta and at Lowery’s spot in St. Louis, the group headed down to Orlando in order to record at Studio Barbarosa with Michael “Elvis” Baskette [Alter Bridge, Trivium, Slash]. Over the years, they maintained a friendship with the producer amplified by the praises of longtime comrades Alter Bridge and Connolly whose Projected utilized his mixing talents on their debut.
However, this would be Sevendust’s first time working with him.
“The energy was great,” smiles Witherspoon. “At one point, I did seven songs in four days. He really challenged me as a vocalist. We all just gelled. We’ve always talked about doing something for years and years. It was a long time coming. From the first moment we walked into his house, you could feel it. There hadn’t been another band who lived there before. We capitalized on the meeting of the minds. It was a brotherhood.”
“We haven’t had a producer since Cold Day Memory,” Clint goes on. “Elvis was so hands-on. He made us try new transitions and step up our game. Sonically, he opened up a lot of doors that I don’t think we would’ve gone through if he hadn’t been there. We preserved the essence of what we are, but we took chances. Lyrically, we captured what we’ve gone through, all of the rough times, and the changes.”
They introduce All See Is War with the opener and first single “Dirty.” Pummeling drums and driving distortion underscore a soulful proclamation from Witherspoon as he croons, “I’m no stranger to this thing called war.” The guitars crescendo into an expansive refrain that immediately imprints itself before a hummable solo.
“I freestyled that first line,” recalls Witherspoon. “It’s something I haven’t done since ‘Angel’s Son.’ I think it set the tone for the whole thing. It was pretty magic.”
“Someone wants to see you fail, and it really aggravates this person that you’re persevering and surviving anyway,” explains Lowery. “The lyric ‘I’m gonna die whole’ means not being extinguished, getting through, and pissing off your enemies.”
The neck-snapping guttural groove of “Andromeda” gives way to another unshakable chant.
“The subject matter is a bit different,” states Connolly. “Porcupine Tree’s Fear of a Blank Planet is arguably one of my favorite records. The idea is similar to ‘Andromeda.’ These pharmaceutical companies have made it so everyone is hooked on something. You don’t even know why you’re on these medications. All of last year’s horrific suicides were linked to a pill. Think about the opioid crisis. It asks, ‘Can we just stop?’”
Slyly nodding to Lowery’s love for Stranger Things, “Not Original” thrives on airy, cinematic guitars that unfurl into one of Witherspoon’s bluesiest and boldest performances.
“We wanted to get into some new territory,” elaborates Lowery. “It’s about being in a dry spell and not able to find creativity. You don’t want to repeat yourself. I thought I’d go for this new wave thing, because I was watching a lot of Stranger Things.”
Nailing the “old school vibe,” “Risen” drops a hard-hitting and hypnotic hook that’s primed to set festivals ablaze. “You’re down and out looking for hope,” explains Connolly. “You ask the question, ‘Are you going to kick me while I’m still down, or are you going to help me stand up and get through this?’”
In the end, that’s what the music of Sevendust does. It empowers listeners, lifts them up, and lets them know they’re part of the family.
“This band means family to me,” Witherspoon leaves off. “I wake up and can’t believe this is what I do for a living. I still feel like that 20-year-old kid who signed a record deal a zillion years ago. Sevendust is also home. Even though we’ve been doing this forever, it feels like the beginning.
“This what we are,” concludes Connolly. “It’s just another new version of Sevendust.” – Rick Florino, February 2018
Starting with a guest spot on AC/DC’s ‘Rock or Bust’ World Tour in 2016, the quartet – Caleb Crosby on drums, Noah Denney on bass and backing vocals, Graham Whitford on guitar and Texas-born Tyler himself on vocals and guitar, a musician immersed in blues music from an early age – have continued to share events and stages with some of rock’s most legendary names, including Guns N’ Roses, Tom Petty & the Heartbreakers, Aerosmith, Deep Purple and ZZ Top.
At the same time as projecting their music into stadiums, Tyler Bryant & The Shakedown – The Shakedown to friends and fans – have continued to build their name and reputation as a headline act, and indeed it was backstage after a sold-out, bill-topping show in London (June 2017) that the band signed their new deal with Snakefarm Records – the most immediate and exciting result being an 11-track, self-titled studio album set to be the label’s inaugural release, with November 3rd locked in as the day of the launch…
“So many great things have happened over the past few months,” exclaims Caleb, “and it's all just so surreal. I remember seeing that Guns N’ Roses were playing two stadium shows in London on June 16th and 17th earlier this year, which are birthdays for Noah and myself, back to back, and I said wouldn’t it be amazing if we appeared on both of those shows… and we did!”
Rewinding back to 2008, Tyler moved to Nashville by himself at the ripe age of 17 to write songs and form a band. It was here he met Caleb, and together they put together what would become The Shakedown…
“The instant we started playing, I knew there was something special,” reflects Caleb. “We played our first show a week later and haven’t stopped since!”
The next addition to the ranks was Graham Whitford, a young guitarist from Boston, Massachusetts. Introduced to Tyler as the guy who could put him out of a job, it was clear from the start that Whitford was a force to be reckoned with. As soon as Tyler heard him play, he asked him to uproot and move to Nashville to join the band.
All that was needed now was the right bassist: enter Noah Denney, who instantly added a whole new dimension to The Shakedown’s sound. As Tyler recalls, “his bass sound scared me and he brought an edge and an attitude to the band that we didn’t even know we needed.”
2013’s ‘Wild Child’ album announced the quartet’s arrival with a bang as they logged time on the road with the likes of Aerosmith, Jeff Beck & ZZ Top, while receiving the endorsement of Guitar World, Rolling Stone, Los Angeles Times, Nylon, Interview Magazine and Paste. Taking over TV, they lit up the stage at both Jimmy Kimmel LIVE! and AXS Live.
Following the release of ‘The Wayside’ EP (2015, produced by Grammy Award winner Vance Powell), the boys crisscrossed the country alongside Billy Gibbons & AC/DC on that celebrated 2016 run. April 2017 found them without a label and only a month out from joining Guns N’ Roses on a European tour…
"We had just decided to self-produce a record completely on our own,” says Tyler. “I'll never forget driving home that morning and getting a call from our manager saying, ‘You wanna go back to Europe with Guns N Roses?’ That was a great kick-start to the first day of tracking."
So they hunkered down and set about writing & recording their second full-length album, with John Fields (Soul Asylum, Paul Westerberg) coming on board to handle the mix. Blending a sense of history with a youthful, energetic heartbeat, this anticipated outing features a host of brand new tracks, some of which have become staples of the live set. It also stands as the start of a relationship with the newly-launched Snakefarm label.
Housed within the global infrastructure of Spinefarm Records (a UMG label), the Snakefarm brand will provide a targeted home for international artists, both established and new, from the increasingly buoyant roots rock world – music based on authenticity and emotion, under-pinned by core values and beliefs.
In this respect, Tyler Bryant & The Shakedown – who can lay claim to a fast-growing international presence, with major UK festivals such as Download, Ramblin’ Man and British Summer Time already under their belt, alongside headline shows plus guest appearances with Nashville neighbors The Cadillac Three – are a flagship representation; what’s more, in ‘Tyler Bryant & The Shakedown’ they’ve delivered a genuine genre-defying labour of love, a varied and infectious statement shot through with passion, pride and a welcome dash of glamour.
“This is the definitive Shakedown record as of now, and that’s why we decided it should be self-titled,” explains a fired-up Tyler. “It’s the definitive Shakedown record due to the fact there were no other cooks in the kitchen. We put so much energy into writing and recording each song. It’s not just a guitar album; it’s a song album, and I’m proud to hang my hat on this one.”
The first single / video, ‘Heartland’, introduces Tyler Bryant & The Shakedown with a one-two punch of gritty guitars and soulful vocals before slipping into a hypnotic bridge punctuated by airy clean guitars. Tyler sings, “There’s a slow beat in the heartland, going down in the quicksand, stack ’em up and watch the cards fall, if it happens to one, then it happens to all”.
“It's no secret that there's crazy stuff going on all over the world right now. There's madness all around and people are constantly picking sides. Every night when the Shakedown takes the stage, I'm amazed that music brings people together. Nobody is thinking about what side they're on when they’re singing at the top of their lungs next to a complete stranger. I thought maybe through music I could remind myself and our TBSD family that when one person falls, the rest of us do, too. I wanna get together with a bunch of folks and sing that sentiment because it's one I strongly believe in."
Elsewhere, ‘Backfire’ struts along on a stomping drum groove driven by thick distortion with lyrics “about pulling the short end of the straw and feeling vengeful”. Then there’s ‘Aftershock’. Hinging on hummable riffing, the track simmers at a steady swamp crawl before the Sabbathian refrain.
“That’s a tune about feeling the effects of a situation long after it's come and gone."
As Tyler Bryant & The Shakedown spend 2017 lighting up stages with the likes of Guns N’ Roses (again), The Who & Alice Cooper – as well as making their first appearance at Rock In Rio – this new album sees them fully realize their vision with a sound that resounds above the bleachers, plus a collective desire to keep the entertainment flag fully unfurled…
“I want people to put this on and literally escape,” Tyler leaves off. “I hope they feel free. That’s what rock ‘n’ roll makes me feel. You don’t have to think about your bills or any of the other things that have the power to bring you down when you’ve got your fist up in the air, your eyes closed and you’re lost in the music. Angus Young told me, ‘You’ve got to make the audience think you’re taking them on a journey, and they’ll go with you. If you believe it, they will too’. I believe it with this record.”
Gas Monkey Live!
10110 Technology Blvd
Dallas, TX, 75220