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Tag: Artimus Pyle

  • Review: The Drive-By Truckers at the House of Blues

    Review: The Drive-By Truckers at the House of Blues

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    In their repertoire, southern rockers the Drive-By Truckers have songs about all sorts of natural disasters: floods, tornadoes, sinkholes, thunderstorms, bachelor parties. Co-founding singer/guitarist Patterson Hood has also covered heat lightning in the distance with his solo work. Mostly, they portend danger and/or death to the people living inside those tunes.

    So, it made for a bit of a perilous meteorological parallel when the band’s Houston stop on their Southern Rock Opera Revisited 2024 Tour came with especially shitty weather.

    “Is that Tropical Storm warning still in effect? Fuck your Tropical Storm!” founder singer/guitarist Patterson Hood mock-raged against the dying footlights. “But thank you for coming out in this tonight. It’s been crazy to think it’s been 23 years since we put this damn thing out!”

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    Drive-By Truckers founding singer/guitarist Patterson Hood

    Photo by Violeta Alvarez

    For this tour, the Truckers had promised to play all (well…most of) their 2001 concept record magnum opus Southern Rock Opera in full in the first set, followed by a second helping of “hits,” deep cuts, and covers.

    But, as befitting a band that never writes out a set list before a show (though has mostly hewed to a firm one this tour), the Truckers changed their mind. They instead barnstormed through a single-set of 25 songs and interludes all at once.

    Hood and co-founding singer/guitarist Mike Cooley gave the Houston Press the dirty, dirty lowdown on the album, tour, and new box set in a rare dual interview a couple of weeks back.

    Of the Southern Rock Opera tracks last night, standouts from Cooley included a lolling “72 (This Highway’s Mean),” frenetic “Guitar Man Upstairs” and fan-favorite/candidate for one of their most-played tunes “Women Without Whiskey.”

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    Drive-By Trucker founding singer/guitarist Mike Cooley

    Photo by Violeta Alvarez

    His deadpan, almost flat-toned vocalizing, as usual, perfectly fits his lyrics and imperfect characters. He even brought out (briefly) an acoustic guitar custom-made with one of the late Wes Freed’s (the go-to artist for DBT covers and booklets) signature evil-looking long-necked black birds surrounding the hole. With an actual red light shining where its eye was.

    Of course, Trucker superfans (known as “Heathens”) know those avian wonders are known as “Cooley Birds” in tribute to Mr. Mike (aka to said Heathens, “The Stroker Ace”).

    Hood’s more raspy, throaty tones brought the fire and brimstone. His better contributions included a raw, impassioned “The Southern Thing.” Which, as he explained, the band has mostly stayed away from playing for two decades due to it being misconstrued by redneck racists and yahoos as a call to arms. Just as uber patriots cottoned (also incorrectly) to Bruce Springsteen’s “Born in the U.S.A.”

    The lyrics are right there, people.

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    Drummer Brad Morgan

    Photo by Violeta Alvarez

    And “Let There Be Rock”—one of the most joyous rock and roll songs about rock and roll put to record—was clearly an audience favorite as Hood recounted various bands he’d seen in his youth from Blue Öyster Cult and Molly Hatchet to AC/DC and (not on the studio version) fellow Georgians R.E.M. “about 20 times.”

    The SRO songs also weighed heavily toward the end with Cooley and Hood tag-teaming the troika of urgent “Shut Up and Get on the Plane,” hopeful-turned-tragic “Greenville to Baton Rouge” and the eerie, doom-laden “Angels and Fuselage.”

    Hood mentioned that when he wrote it, he tried to put himself on that Lynyrd Skynyrd plane as it slowly descended into certain, quiet, and painful death.

    As surviving Lynyrd Skynyrd drummer Artimus Pyle told the Houston Press in 2020: “It was dead silence; everybody was holding their breath. When we first went into the trees, it was just a brushing sound, the soft parts of the tops. But when we started lowering more, that’s when it sounded like a thousand baseball bats beating the fuselage. It was horrendous.”

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    Guitarist/Keyboardist Jay Gonzalez

    Photo by Violeta Alvarez

    Cooley took the lion’s share of the non-SRO material. Though several of his songs, based in historical fact or imagery, fit right into both the theme of the album and contemporary issues.

    They included the Border (“Ramon Casiano”), the still-simmering Civil War (“Surrender Under Protest”) and one tune he’s said previously was inspired by a ‘70s visit of Jimmy Carter to his hometown that also brought out the Ku Klux Klan (“Made Up English Oceans”).

    Those first two were uptempo, high-energy jaunts. But for me, 2014’s English Oceans album (and its tracks) is the sole studio effort in the entire discography of the Drive-By Truckers whose appeal just…escapes me.

    This tour does see a debut with “Mystery Song,” an old jam that’s included on the Southern Rock Opera deluxe box set, but whose lyrics in 2024 are always evolving. So much that Hood taped this latest version to his microphone stand to read off of.

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    Bassist Matt Patton

    Photo by Violeta Alvarez

    As for the rhythm section, the Always Grimacing veteran drummer Brad “The EZB” Morgan and the Always Smiling bassist Matt “Bobby Matt” Patton were the literal tires that ground the show in a solid foundation. And while Jay Gonzalez added organ and keyboard flourishes, he was the Band’s Secret Weapon as the third axeman in the very Southern Rockish “Three Guitar Army,” taking many of the more stinging solos.

    Just past the two-hour mark, the Truckers turned the mood of “Angels and Fuselage” totally around with a surefire feel-good song. One that was a hit for a Southern Rock band that Hood said “people kind of forget.”

    And with that, the evening’s proceedings closed with a tune from 1974 that he said they often played in the early days, Wet Willie’s “Keep on Smilin’.” Leaving Heathens and non-Heathens alike doing just that. As they strode out into the still rainy and misty downtown Houston night.

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    Jay Gonzalez, Patterson Hood, and Mike Cooley on the DBT front line

    Photo by Violeta Alvarez

    Unexpected Houston Press Nod
    While introducing “Life in the Factory,” Hood reminisced about the band’s early years playing Houston. Usually “Upstairs at Rudyard’s to very few people.” But he said they got their first positive local press notices in the ‘90s from none other than the Houston Press’s own John Lomax, who died last year. “He was a great writer and he was royalty, but he didn’t act like it. I miss him,” Hood told the audience.

    He also recalled how Lomax had taken him to eat “the best tacos he ever had,” but for the life of him could not recall the name of Mexican restaurant. “I’ve been thinking about it all day but can’t remember,” he noted. “It was a taco place across from a pizza place!”

    Houston is gonna…Houston
    What drives local audiences to pay good money to attend concerts—and then proceed to jabber and gab to friends during the show—is one of the city’s most enduring and frustrating music mysteries. Several portions of Southern Rock Opera include spoken word interludes, and Hood sometimes introduces songs with recollections and memories. But people wouldn’t shut the hell up, and Hood called it out several times.

    While introducing the real-life historical people mentioned in “The Three Great Alabama Icons,” Hood suddenly stopped at the mic. “If you’re gonna talk, then I’ll just play guitar. Or go to the next song.”

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    New DBT fan Angel Garza

    Phobo by Bob Ruggiero

    Behind the Music
    Hood said that the story behind the song “Road Cases” stems from his often-dead end searches for guitars in mid-‘90s Atlanta music stores. Though he was always able to find many used road cases with “ARS” stenciled on them. Marking them as former property of members of the Atlanta Rhythm Section.

    “These guys were huge, sold millions of records and sold-out stadiums,” Hood offered. “But fame is fleeting. And when it goes, and you’ve gotta sell things. First to go are the road cases. Then the instruments in them.”

    New Fan Corner
    Finally, standing next to me (and sporting a very hip Velvet Underground T-shirt) was 27-year-old Angel Garza. He’d driven in from New Caney to attend his first Drive-By Truckers show.

    When asked what brought him there, he said he’d seen Southern Rock Opera included on a list of “100 Albums You Should Listen to Before You Die” (his favorite song: “Guitar Man Upstairs”). Loving it, he then explored some of their other records, including 2016’s American Band. Bonus points to him for IDing songs by X-Ray Spex and the New York Dolls during the Truckers’ pre-show playlist tape.

    “I feel like this will be a good experience!” he said before the show started. “They’re like Americana. I like the way their music has roots and their lyrics.” Judging by how Garza reacted to the show, we could indeed have a Future Heathen on our hands.

    Set List
    Days of Graduation
    Ronnie and Neil
    72 (This Highway’s Mean)
    Dead, Drunk, and Naked
    Guitar Man Upstairs
    Birmingham
    Ramon Casiano
    The Three Great Alabama Icons
    The Southern Thing
    Surrender Under Protest
    Wallace
    Made Up English Oceans
    Plastic Flowers on the Highway
    Primer Coat
    Mystery Song
    Zip City
    Let There Be Rock
    Every Single Storied Flameout
    Road Cases
    Women Without Whiskey
    Life in the Factory
    Shut Up and Get on the Plane
    Greenville to Baton Rouge
    Angels and Fuselage
    Keep On Smilin’

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    Bob Ruggiero

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  • Lynyrd Skynyrd Drummer Artimus Pyle- Honoring The Legacy, 45 Years After The Plane Crash

    Lynyrd Skynyrd Drummer Artimus Pyle- Honoring The Legacy, 45 Years After The Plane Crash

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    More than four decades after he survived the crash that took the lives of three of his fellow Lynyrd Skynyrd bandmates, including lead singer, Ronnie Van Zant, Artimus Pyle still feels the loss.

    “It’s been 45 years since the plane crash,” he says, “but it seems like yesterday. And I think about it every day.”

    His memories become a little more vivid, the pain a bit sharper every October, as the anniversary of the crash approaches.

    On October 20, 1977, members of Lynyrd Skynyrd boarded their private plane in Greenville, South (after performing at the Greenville Memorial Auditorium) and headed for Baton Rouge, Louisiana.

    Their next show was scheduled for Louisiana State University. They would never make it.

    As they neared the latter part of the flight, the Convair CV-240 ran out of fuel. When the pilot and co-pilot realized they couldn’t make it to a nearby airport to refuel, they began looking at options for an emergency landing. As those on board began preparing for what that might mean, Pyle, who had served in the Marines as an Aviation Electronics Technician and had some pilot experience, moved into action.

    “I went into survival mode,” he recalls. “I was going back and forth from the cockpit to the cabin, talking to the pilots, telling everybody to put out their cigarettes, turn off any lights, and conserve any power we had. I didn’t have time to think, oh my God, we’re having a plane crash, but I knew it was serious.”

    Pyle’s story of what happened before, during, and after the crash is depicted in a film called “Street Survivors: The True Story of the Lynyrd Skynyrd Plane Crash.” Released in 2020 during the pandemic, the movie, now available on Amazon Prime Video, shows his minute-by-minute account of the crash and the reactions of the people around him.

    “In the movie, it shows some of the band freaking out because a couple of guys got really mad at our pilot and co-pilot for making the terrible mistakes that got us into this position. So, there was some anger, but for the most part everybody was calm, cool, and collected. Still, we were fretting. I mean everybody was going, ‘Oh shit, we’re going down.”

    Pyle remembers everything, including his last interaction with Van Zant.

    “Ronnie went to the back of the plane, and I remember thinking to myself, that’s a good idea. You’re going to the back of the plane where it’s probably a little safer. But then, he came back forward. He stopped at my seat, did the old hippie handshake, then gave me a beautiful smile. Ronnie had a great smile.”

    Pyle chokes up and pauses, then through tears, continues. “And then he went forward. He had a pillow in his hand. And that’s the last time I saw Ronnie.”

    The plane never made it to the field or highway, as the pilots had hoped. Pyle describes the aircraft quickly coming down out of the clouds, suddenly a hundred feet over treetops, in a swampy, heavily wooded area of Mississippi.

    “We landed in Mississippi pine trees, three feet thick. It tore the plane completely apart in the 10 to 12 seconds it took to go from 200 miles to a dead stop.”

    Much later, after Pyle was eventually transported to the hospital, Pyle would discover Van Zant didn’t make it. The doctor told him Van Zant’s body was intact, but he had died from a single blow to the head. Pyle believes he was probably struck by the heavy Sony Trinitron or beta machine they had on board that was loose and flying through the plane along with everything else – upon impact.

    Guitarist Steve Gaines, and Gaines sister and back-up vocalist, Cassie Gaines were also killed, along with assistant road manager, Dean Kilpatrick. Pilot Walter McCreary and Co-pilot William Gray rounded out the six fatalities. Of the 26 people on board, miraculously, 20 survived, although many suffered severe injuries.

    Right after the crash, Pyle, whose injuries included broken ribs, helped pull one victim out of the wreckage, then went for help. He headed for a farmhouse he spotted in the distance.

    He would end up getting shot along the way.

    “I know the farmer was only protecting his family,” Pyle says. “He came out of the house, and I looked like Charles Manson all covered in blood, with my long hair and beard. So, when he shot me…”

    The farmer would later deny shooting Pyle. There was some discussion as to whether it might have been a ricochet shot.

    “I don’t care what it was,” says Pyle. “He yelled stop, I saw the gun. I was stumbling because I had injuries and thought I was dying. Then, something tore through my arm, and I yelled, ‘Plane Crash!’ with what I thought was my last breath.”

    The farmer then rushed to assist Pyle and get help back to the crash site.

    Pyle says the “Street Survivors” film accurately depicts the events of October 20th, although due to budget constraints producers weren’t able able to secure the exact type of plane that crashed. Pyle, along with his sons, and his Artimus Pyle Band (created in 2010 to honor Lynyrd Skynyrd), wrote the music for the soundtrack.

    He says after all of these years, he felt it was time to tell the story.

    “I wanted Lynyrd Skynyrd fans to know what we went through that fateful day and night. And that my friends, Ronnie and the others, met their deaths very bravely.”

    The 1977 crash changed the course of rock & roll history. Ronnie Van Zant, who wrote the band’s most famous songs – would write no more. The band itself, with three of its members gone, wouldn’t perform for the next 10 years, until Ronnie’s brother, Johnny, took on the role of lead singer.

    And yet, all of those original Skynyrd songs are just as loved today, as they were all those years ago.

    “It’s the power of Ronnie’s prolific writing,” notes Pyle. “People really identify with “Simple Man,” “Freebird,” “Sweet Home Alabama,” “Tuesday’s Gone,” “Gimme Three Steps.” It’s a phenomena for these songs to be this powerful 45 years after that plane crash.”

    Today, black granite walls mark the spot where the plane went down. The Lynyrd Skynyrd Monument has become one of the most heavily visited sites in Southwestern, Mississippi.

    It’s become a place for fans of the band, fans of Southern Rock, and singers, songwriters, and musicians who want to honor the legacy of Ronnie Van Zant and the band he created, to gather and pay tribute.

    “They were pioneers of the genre and did a lot of things not many bands before them had done,” says aspiring Nashville-based country singer Kayleigh Matthews who visited the memorial in September. “Growing up, all I knew of Southern Rock was Lynyrd Skynyrd, and I feel like visiting the site is kind of a rite of passage.”

    There’s something special, too, she says, about seeing music transcend generations.

    “That’s something I think about as a songwriter. You, as a person will not live forever, but your music and your work will. I think that’s proof of great music, when it surpasses the generation you’re writing it for, and lives beyond it.”

    Pyle, who at 74 is still drumming says there’s nothing better than playing Lynyrd Skynyrd music and is currently working on a tribute album. He and guitarist, Gary Rossington, both crash survivors, and Rock & Roll Hall of Fame members of Lynyrd Skynyrd (the band was inducted in 2006), will be playing on the record.

    It will feature some very big names adding their voice, and personal touches, to some of band’s greatest songs.

    “Dolly Parton will be singing “Freebird,” Pyle says with excitment, “and Sammy Hagar will be doing “Simple Man.”

    Other major artists will also be involved, but names have not yet been released since the record is still in production. The tribute album should be available sometime early next year.

    Pyle says he’ll spend the rest of his life honoring the legacy of Lynyrd Skynyrd. He says it’s interesting to note that Ronnie Van Zant knew he only had a short time on this earth, but was determined to make it count.

    “Ronnie told me years ago in Tokyo, Japan, he would never live to see 30, but he would go out with his boots on. And for a musician, that means being on the road. He was right about both. He went out with his boots on, with style and grace, and honor, and he was just 29 years old.

    And he left a wealth of amazing music to remind us he was here.

    Pyle will reflect on the anniversary of the crash and talk more about the tribute album on Fox & Friends, Wednesday, October 19th, between 8am EST and 8:30 EST.

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    Pam Windsor, Contributor

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