Caught in the Carousel

Jason & the Scorchers

By Alex Green

Jason and the Scorchers

In his poem "Halcyon Days" Walt Whitman wrote of the twilight years, a time when life is waning and all the "turbulent passions calm" and "gorgeous, vapory, silent hues cover the evening sky." The poem asserts, in fact, that those are the happiest days of all. No one could blame Jason and the Scorchers for following Whitman into blissful American retirement; after all, the band is not only in their fourth decade together, but the raging rock and roll miles they've left in their wake are enough to make anyone want to sit on a porchswing, drink a glass of wine and whisper about the sunset.

But let's face it, bands like Jason and the Scorchers die with their boots on. So it's no surprise that their dotage is in fact, no dotage at all. Formed in 1981, the Nashville band announced their arrival with the now-legendary Reckless Country Soul, an explosive and raw E.P. that revealed an equal love of Hank Williams and the Clash. Another E.P. (Fervor) followed and from there a string of critically-lauded efforts (Lost and Found, Still Standing) were released that firmly established the band as the leaders of the cowpunk movement.

Personnel problems, label problems and health issues all took their toll on Jason and the Scorchers and for the past decade the band has been mostly missing in action. But a few recent tours in both the United States and Europe found singer Jason Ringenberg and original guitarist Warner E. Hodges observing a growing interest in the band by an all new fanbase. The two men recruited a few new guns (including former Georgia Satellite Dan Baird) and the band headed to the studio to see what would happen.

What happened can only be described as a pure blast of energy, a spirited surge of rock and roll that sonically captures the burning enthusiasm of a band that's rediscovered themselves. Sounding reenergized, thoroughly reignited and more vital than ever, Jason and the Scorchers are playing with a renewed sense of frenzy and passion. That being said, the band's new long player Halcyon Times easily ranks with their best work. On the opener "Moonshine Guy/Releasing Celtic Prisoners" Ringenberg sings of a "life that plays like a country song you never heard on the radio." A searing speedbag of a number that seems unabashedly autobiographical, Ringenberg tells of a guy who "blew up his TV because it wouldn't play his favorite song" and "likes the Stones/Hates The Doors." This is indeed Ringenberg singing about himself, and although he's reclaiming his old territory with admitted bluster ("Opinionated night and day/Says what he likes/And he likes what he says") his main conceit is that he's the same guy he always was: "Last time around/Same as before" he declares, echoing one of the band's classic numbers.

Jason and the Scorchers

In other words, if you want Jason and the Scorchers, you're about to get them.

And get them, you do. "Nowhere Fast" and the call-and-response muscle of "We've Got It Goin' On" are both vintage Scorchers cowpunk, played loud, fast and hard. Meanwhile, "Mother Of Greed" jangles away; "Twang Town Blues" is a cynical ballad about the music business and the harmonica-fueled "When Did It Get So Easy (To Lie To Me)" is spot on acoustic stomp.

About to embark on a tour supporting Halcyon Times, Ringenberg and Hodges sat down with CITC, answered a few questions and threw down their Consummate Top Tens.

CITC: Where did the motivation for Halcyon Times come from?

Warner E. Hodges: In my head, we were never done with JATS. We had just kinda quit doing the band for now. When we did the European tour of 2008 with Al and Pontus I saw a way for our band to move forward. The band was a viable thing again. The musicianship of the original band had been met, and then some. Both guys were fans of Perry and Jeff and they understood the roles of drums and bass in JATS. They understood the bands' place, historically speaking. We had the beginnings of a great Country Rock band again in the new millennium. Once we had the writers on board and Danny Baird as our utility infielder, the rest was just letting Jason do his thing. Brad Jones and myself along with Danny Baird just wanted to set the environment to "LET IT RIP". Jason and the rest of the band did just that.

CITC: This band seems positively revived. How did you find your swing?

WH: Once again, I think Pontus and Al's contribution, as well as Dan's, helped set Jason and I up to do "OUR" thing. We had gathered our best bet of what the band should be in recording the record. I think we got a great team together. We added Danny as our utility infielder. As he said, "I'm gonna be in the parking lot anyway, so you guys should just let me in to play." The outside writers also had a hell of a bunch to do with it. Ginger, Tommy Womack, Dan, Arty Hill, and Richard Fagan really showed up in spades. Every song was written from a "Is this good enough to be a JATS song" standpoint. Everyone involved were truly out to make a GREAT JATS record. It was a driving force for all of us. It also helps that we had a three day window of "Lighting In A Bottle" in the studio. Very creative time for us all.

Jason and the Scorchers

CITC: What's it like having Dan Baird aboard? I think he's the best DH in the business...

WH: Well, I second that. I am fortunate that I am in Dan Baird And Homemade Sin with Dan, Mauro Magellan and Keith Christopher. You will find no bigger Danny Baird fan than me. Hell, I think Love Songs For The Hearing Impaired is one of the three greatest rock and roll records of all time. Dan is amazing. He has forgotten more about rock and roll than most people will EVER learn. Not a day goes by that I don't learn something from him. The same thing can be said about Keith and Mauro. Man, they are incredible. Danny brought a stability and vitality to the JATS record. He helped set the table for Jason and I. He always knows what is "right" to be played. It was like having Mike Campbell from Petty's band. Everything was exactly right from Dan, at exactly the right minute. It's kinda what he does.

CITC: Jason, you say that Warner is playing better than ever--how would you compare him to 25 years ago?

Jason Ringenberg: Without question Warner is playing at the top of his game. He has kept all the best traits of young Warner, but has honed his natural talents to their peak. It is an amazing thing to see.

CITC: And Warner, how would you do the same to Jason?

WH: Jason has done a bunch of solo work the last 10 years. He has released 3 or 4 solo records???? I don't know, could be more. He has released two Farmer Jason records. He has played 200 shows or so a year through all of that. He has learned what he has to offer, singing and playing-wise, and has gotten really good at delivering his best, in a rapid-fire setting. It made recording great because almost all of the lead vocals are live, and we had a hard time keeping pace musically with Jason. We entered the studio and worked fast and furious. Also, his legacy as a writer is amazing. Jason helped hone all the songs. It was inspiring to watch the record come together. I always knew we had another good one in us. It was just lining up the stars and making it happen. Jason got on board in a very big way, and now look at what we have, Halcyon Times!!!!

CITC: "Mona Lee" speaks specifically about 1993--can you expand on the meaning of the song?

JR: The meaning of "Mona Lee" seems to be different for every listener, but I feel like the central concept is that the past cannot be worshipped. You have to move forward, always forward.

Jason and the Scorchers

CITC: Lyrically "Mother Of Greed" starts like a Pogues number ("Northern Wales in 1910/Coal ships come sailing in") and ends like the Scorchers on an American interstate. What were you listening to during the recording of this album?

JR: I don't think the "Mother of Greed" lyrics were influenced by any music I was listening to. It is more a good old fashioned indictment against greed and materialism, and the effects of it on others.

CITC: Sonically Halcyon Times isn't about wearily still standing after all these years--it's about being reinvigorated both artistically and emotionally. Where did that shot of revival come from?

WH: I have been fortunate to have learned from Danny Baird and now Brad Jones. I have been playing more the last four years than I have for years. I took almost six years away and battled my mental demons. I have managed, by the grace of God, to come back musically in a way that is invigorating. I am always on the search for that "15 year old dude that wants to jam" now. That is the single greatest thing that has happened to my playing. I tried to bring that to the new record. I didn't want to look back. I wanted to stare forward into the future of JATS. The other guys totally got that and we all knew (Band, Writers, Producers) that the only future we had was looking at tomorrow, not staring back at yesterday. That's where I'm always looking now. We tried to bring a zest and vitality to the record because of this. I have also realized how much of my life is wrapped up in Jason And The Scorchers. I understand its place in my life better, and hopefully I understand my place in Jason And The Scorchers better. Brad Jones also made a HUGE impact on the record. He did a great job of creative ideas and engineering prowess with the record. He is an amazing talent.

Jason and the Scorchers

CITC: Are you guys still the best live act on the planet?

JR: Like Keith Richards said, I don't think there is any specific BEST LIVE BAND ON THE PLANET. It changes on a nightly basis. Having said that, I do think there were nights in our history when we were in fact that. And Good Lord Willing, it will happen again for us this year at peak nights.

CITC: Have you resisted YouTubing old Scorchers clips? And if not, what do you think about what you see? My favorite is Jason helping people across a bridge in 1986 and not missing a note.

JR: I rarely watch anything that involves me unless I have to for professional reasons. I get enough of me as it is.

WH: I got to say that I don't really go back to that. I have seen a YouTube with Jason and Burton Hood doing "White Lies." I think that would be my favorite clip right now. Realistically, I don't look at YouTube much. Mostly older clips of guitar guys. Danny Gatton, Jeff Beck, Jimmy Page, Albert Lee...

Jason and the Scorchers

CITC: Your music's always had a dose of punk and country--do you still listen to the same records you always did?

JR: I still listen to music, and a lot of it. At my age, it is almost a religious experience to be alone in a car on an open road with a box full of CDs to listen to. I mostly hit the classics, but do listen to new stuff if it is exceptional. I can't stomach "good" music anymore. It has to be brilliant or a classic. Also, it would surprise many people to know that I don't just listen to country or punk rock. On any given day I might listen to anything from Alice Cooper to Dean Martin.

Jason Ringenberg and Warner E. Hodges' Consummate Top Ten Jason And The Scorchers Moments:

Jason (In no particular order):

The Nashville Cats Records show in '85 when I climbed the 100-foot tall billboard and hung the American flag. I have to say I don't think I have ever been more terrified, or more excited.
1983 at the Palomino Club in LA when I hopped on top a table populated by LA's most important record company executives and stormed down it kicking over all their drinks.
The London Marquee Club show in '84 when Bill Wyman had trouble getting in the room. They should have kicked out Elvis Costello instead...
Recording Halcyon Times in 2009. It stands as the most exciting and intense recording experience of my career.
Our Fervor release show at Exit/In, 1983.
Singing "Still Tied" during the Lost and Found sessions. I felt completely connected to the Southern ghosts of the post Civil War South. It was quite a spooky experience, pun intended.
Writing "Mona Lee" with Ginger from the Wildhearts
Opening for Status Quo in the UK at our first tour there in '84 in front of 80,000 Quo fans who take ritual delight in throwing trash at opening bands. While getting bombarded by this avalanche of vile garbage, we eagerly egged them on, insulting them and throwing stuff back. It was us four against 80,000 people and we won. We ended up getting an encore...
Hearing Perry make fun of Michael Stipe clearing his throat when Michael sang on Hot Nights in Georgia.
That buzz that I get when there's a packed house ready to rock. When that buzz is no longer there it will be time to quit.

Warner:

Recording Reckless Country Soul
Getting the elusive "BIG" record deal way back
Getting out of said "BIG" record deal
The five-piece band at Perryfest years after we had played together
Pontus and Al working out on the 2008 European tour
Our first European tour
The Wildhearts opening up for us at The Mean Fiddler in London early to mid 90's
Deciding to do a new record
Writing the new record
Recording the new record

Once again, not very good at looking backwards. I KNOW there is WAY more.

I'm looking forward to this year's shows.

Halcyon Times is out now.

Internet
www.jasonandthescorchers.com
www.myspace.com/jasonandthescorchers