We’ve joined forced with the Moonrunners’ Music Fest crue to present their 5th annual weekender. Moonrunners’ was inspired by Muddy Roots so it was a natural move to absorb them back in to our official family. We’re happy to announce the full lineup.
Limited tickets on sale now HERE.
Moonrunners’ Merch & Muddy Roots Records can be found HERE.
It’s the great Muddy Roots “Homecoming!” We’re calling all y’all back to the fatherfield to celebrate our 8th year hosting independent festivals worldwide. This is the event that started it all for us and for many of you to be honest.
Early bird tickets sold out. Limited weekend passes available.
Tell your friend.
Eagle illustration by: Milton Chavez Tattoo
JAMES HAND * SPIDER STACY OF THE POGUES W/ LOST BAYOU RAMBLERS * THE MONSTERS * LEGENDARY SHACK SHAKERS * WILLIAM ELLIOTT WHITMORE * SLIM CESSNA’S AUTO CLUB * SCOTT H. BIRAM * ANTiSEEN * POSSESSED BY PAUL JAMES * THE GOOD LUCK THRIFT STORE OUTFIT * LARRY AND HIS FLASK * BOB WAYNE * THE PINE BOX BOYS * THE GODDAMN GALLOWS *
LIL’ POOCHIE & HEZEKIAH EARLY * THE TILLERS * URBAN PIONEERS * JOSEPH HUBER * JP HARRIS * ZANDER SCHLOSS * JAMES HUNNICUTT * WILLY TEA TAYLOR * THE CALAMITY CUBES! * BLACK EYED VERMILLION * REVEREND BEAT-MAN * JAYKE ORVIS * JOE BUCK YOURSELF * JAMES LEG * LEFT LANE CRUISER * THE HILLBILLY CASINO * DYLAN WALSHE * DANA SIPOS * KING MUD * PINATA PROTEST * SHAWN JAMES & THE SHAPESHIFTERS * STUMP TAIL DOLLY * GALLOWS BOUND * RESTAVRANT * AMERICAN SPEEDWAY * GRAVELROAD * SODA GARDOCKI *
DALLAS MOORE * REVEREND RED * DUANE MARK * GLADE CITY ROUNDERS * RACHEL KATE * TAIL LIGHT REBELLION * BLACK IRISH TEXAS * VIVA LE VOX
Check out some videos of a few of the performing artists. You’ll get everything from old country,bluegrass,blues to punk rock and everything in between. All 100% independent!
In 1956, Sonny Burgess & the Pacers were just one of many rockin’ acts seeking to follow in the footsteps of Elvis Presley, Carl Perkins and Johnny Cash. Under the guidance of producer Sam Phillips, they brought a new sound rumbling forth from the tiny Sun Records studio in Memphis, Tennessee. The mixture of hillbilly and blues that became known as rockabilly would smash genre walls and change the sound of pop music around the world.
While many made the pilgrimage to Memphis, few succeeded in actually having a record released on the eye-popping and ear-opening Sun Records label. Arkansas native Sonny Burgess was one of the privileged few when his double-sided raucous rockabilly blast, “We Wanna Boogie”/”Red Headed Woman,” hit the record racks and jukeboxes in September 1956. A huge regional hit, it was a perfect snapshot of the band that many regarded as one the wildest and most dynamic acts to ever blaze a trail through the honky tonks and dive bars of West Tennessee, Arkansas and the surrounding states. Their four follow-up singles on Sun also provided ample confirmation of their rock’n’roll pioneer pedigree.
Sixty years later, Sonny Burgess and the Legendary Pacers are still rockin’ the house with their energetic rockabilly, rhythm and blues sound on Ain’t Got No Home, their new release on Muddy Roots Records. The big 12-inch record contains a dozen classic tunes drawn from their six decades of wild live shows and performances at rockabilly festivals around the world.
Considered one of the most R&B-influenced of the original crop of rockabilly cats, Burgess delivers his unique interpretations of 11 classic R&B, country and rock’n’roll tunes. Stand-outs include Larry Williams’ runaway rocker “Slow Down,” a tasty country-fried take on soul shaker “Mustang Sally,” a slice of boppin’ boogie with Louis Jordan’s “Caldonia,” and a rip-roaring rockabilly run-through of Merle Haggard’s “Okie from Muskogee.”
The album also features “Tiger Rose.” Written for Burgess by Bruce Springsteen, this rockabilly rampage features Springsteen on guitar along with E Street Band bassist Gary Tallent and famed session drummer Roy Husky, Jr. supplying the rhythm. “Tiger Rose” originally appeared on Sonny Burgess’ 1996 self-titled album for Rounder Records, and is now making its vinyl debut.
Ain’t Got No Home was recorded at the Raney Recording Studios in Drasco, Arkansas. Owned by Zyndall Raney, the son of famed hillbilly harmonica player Wayne Raney (“Blues Stay Away from Me” and “Why Don’t You Haul Off and Love Me”), the studio has long been a favorite for Arkansas musicians with its roots reaching all the way back to the Sun Records era of the late 1950s.
Sonny Burgess and the Legendary Pacers’ Ain’t Got No Home is available directly from Muddy Roots Records and fine independent record retailers around the world.
Itunes release date 11/15/2016.
Vinyl with download card in stock now HERE
Nine historic Nashville properties in eminent danger of being lost forever comprise the “Nashville Nine,” a list released annually by Historic Nashville Inc. Among the 2016 line-up is the Starday-King Sound Studios, a nondescript mid-century modern office complex far from the tourist attractions, towering condos and hip neighborhoods of the “new” Nashville. Once home to one of the largest independent record labels in the world, Starday Records played a vital role in the history of Music City, and the attached studio space was the birthplace of records that ran the gamut from high lonesome bluegrass to hardcore honky tonk and sanctified gospel to funky soul classics.
The studio deserves restoration and revitalization as an important Nashville historical musical landmark and as a monument to the independent music spirit that transformed Nashville into Music City USA. We at Muddy Roots support the effort to save and restore the Starday-King Studio to its former glory. To that end we have created an online petition to raise awareness of the historic importance of the property and influence the current owner to either make repairs or sell the property to someone that would.
Starday Records was founded in 1953 as a stone country record label, sharply focused on the music of Texas. Beaumont, Texas-based talent manager and club-owner Jack Starns and Dallas-based jukebox operator and country music talent scout Harold “Pappy” Daily initially founded the company. They soon added a third partner, Don Pierce, a California-based record executive and business partner of Daily. Shortly after Starday scored its first hit, “Y’all Come” by Arlie Duff, Starnes sold his shares to Daily and Pierce over personal differences.
Starday seemed poised to become a significant player in the country music field, especially with Daily’s discovery of a young honky tonk singer named George Jones leading the pack, but other forces were at work. With the success of Elvis Presley’s first records on Sun, a wave of young, Texas hepcats hitched a ride on the rockabilly train. Daily lacked any feeling or understanding for rock’n’roll other than the general impression that it was crazy. As a result, Starday produced some of the wildest and craziest rockabilly ever recorded. While records by Sonny Fisher, Rudy Grayzell, Glenn Barber, Sleepy LaBeef and many others failed to hit nationally for Starday, many fans now view it as one of the greatest rockabilly labels, second only to Sun Records.
In January 1957, Daily and Pierce struck a deal with Mercury Records to produce country and rockabilly recordings as “Mercury-Starday.” Pierce relocated Starday’s offices from L.A. to Nashville. The company purchased a one-story stone office building at 3557 Dickerson Pike, about eight miles northeast of the developing Music Row area. Pierce chose the location based on cheaper real estate prices and the desire to make Starday truly independent in both attitude and location from other Nashville-based labels.
The deal with Mercury lasted slightly over 18 months with neither side happy with the results. Shortly after the agreement with Mercury expired, Daily and Pierce also ended their partnership. Daily left with Starday’s biggest artist, George Jones, along with a new discovery, former deejay J.P. Richardson, soon to be known as the “Big Bopper.”
Pierce retained most of the important masters and retained use of the Starday name. He made two very important decisions. The first was to double down the concept of Starday as an exclusively country label. As country music became slicker and more pop-oriented in the wake of the rock’n’roll explosion, Pierce recognized there was a market for traditional-sounding country music along with niche genres like bluegrass, gospel, hillbilly comedy and guitar instrumentals. There were also many well-known “name” country artists who appeared to be on the downside of their career arc and were being dropped by the major labels. Pierce aggressively sought out such artists — Red Sovine, Moon Mullican, Cowboy Copas, Johnny Bond and many others.
Pierce’s second decision was to build a state of the art studio to reduce recording costs for Starday releases and provide additional income through contract work for other labels. A large, two story cement block addition was constructed onto the back of Starday’s Dickerson Pike offices. The studio portion was designed by recording engineer Glen Snoddy who subsequently designed and managed Woodland Studios in East Nashville. Country musician and singer Tommy Hill ran the day-to-day operation of the new studio throughout most of the ‘60s.
From the time of its official opening in May 1960, the Starday studio was booked solid with in-house recordings and sessions for other labels. Pierce’s decision to emphasize traditional country music proved wise. With the help of Charlie Dick, (the husband of Opry star Patsy Cline) Starday built an extensive radio promotion department that serviced country music radio stations across the country. Starday releases became ubiquitous on even the smallest country radio stations and revitalized the careers of many of the label’s older artists.
Pierce placed a greater emphasis on the production and sale of country LPs than his major label competitors. Throughout the 1960s, Starday released scores of LPs with garish and kitschy covers that became favorites of country music record collectors. Starday was extremely successful with LP sales by utilizing a unique “rack jobber” network. Starday sales reps spread across the South, installing small record racks in country stores, five-and-dimes, truck stops and supermarkets. Starday releases were sold on a commission basis with a regularly replenished stock. Pierce also launched a unique mail order distribution outlet, The Country Music Record Club of America, in 1963, and built a warehouse onto the back of the Starday studio to facilitate the operation.
The Starday Sound Studio became a major resource for the many small, independent labels that sprang up in Nashville during the 1960s. In addition to a steady diet of country sessions, the studio hosted pop, rock’n’roll, soul, and black gospel sessions. The studio became a favorite of WLAC radio DJ and independent record producer, Hoss Allen who cut several soul and gospel records in the studio, including some of the earliest session work by a young, hotshot ex-GI guitarist named Jimi Hendrix.
In 1968, Pierce sold Starday to the Nashville-based LIN Broadcasting Corporation which also purchased the renowned Cincinnati-based R&B and country label, King Records. As Starday-King Records, the label became the largest independent record label in the world, and King’s biggest star, James Brown, began cutting records at the Starday studio. Brown loved the studio and continued to record there for several years after leaving King to sign with Polygram Records in 1971. Brown cut such classic hits as “Get Up (I Feel Like Being A) Sex Machine,” “Super Bad” and “Hot Pants” at Starday and reportedly, the exterior of the building was painted brown in his honor.
In 1971, Starday-King was sold to a partnership that included the famed rock’n’roll songwriting team Jerry Leiber and Mike Stoller. The new owners’ primary interest was in the Starday-King publishing catalog, and the label and studio were allowed to flounder.
In 1976, the Starday-King label, its extensive catalog of master recordings and the studio were sold to Moe Lytle’s Gusto Records, a label that Lytle co-founded with Starday’s former studio head, Tommy Hill after Hill’s departure from Starday in 1968. Under Gusto’s ownership, the Starday label was revived and Hill once again took over management of the studio, returning it to full working order. Hill continued to operate the Starday studio until shortly before his death in 2002.
Since Hill’s death, the Starday-King Sound Studios has sat abandoned and neglected for a decade and a half, a sad but hopefully not final end to a great musical legacy.
1) We’re asking you to join the Historic Nashville, Inc. group. They work to preserve historical landmarks in Middle Tennessee. Without them we would have no Ryman, Union Station and many other iconic buildings. For just $30 a person or $45 a coupl you can be a member and take “behind the scenes” tours of old buildings in town. I’ve personally been on a tour at the War Memorial, TN State Prison and a few early colonial homes. JOIN HERE!
2) The building may or may not survive. Nashville and the entire music community would lose a massive landmark. If you have any old pics, videos, recordings or memories related please post them in The Starday-King Studios Legacy FB group so it can be documented and celebrated.
3) There is an in-depth book on the subject we highly suggest you pick up. It is also downloadable. We referenced it for this blog and even had the author, Nate Gibson proof it for us and give us some historical pointers. More about him and his book HERE.
5) Primary author of this blog is Randy Fox. Secondary is Jason Galaz.
Thank you for your support!
We have a team of many photographers that document all our events annually. We’ll post links to them as they turn in their work. These folks truly capture the “feels” of that the Muddy Roots Music Festival is like.
Tickets to the 2017 Muddy Roots Music Festival are already on sale HERE!
You can really get a good idea of what happens in our field and on our stage by this video right here.
Here are just a few photos and a link to their site for more.
We’re kicking off our first Muddy Roots Brasil festival and have already got the attention of Rolling Stone down there. Pretty bad ass if you ask me. We definitely had to stop and tell you about it. You can check it out HERE.
It’s pretty great that there is a blossoming scene down there and we get to head down like rock n roll roots missionaries to help organize it. We love our South American Muddy Roots familia.
This all came about with the help of our good friend and Muddy Roots Records artist Mary Lee & The B-Side Brothers. You can find her music all over the interwebs like Itunes, Spotify, etc.