DOORS @ 7:30 / SHOWS @ 8PM, UNLESS POSTED OTHERWISE
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Fri16Sep2022
Marcellus Hall and the Hostages / Chris Maxwell
7:30 Doors 8:00 Show$12.00 suggested donation
As a singer-songwriter Marcellus Hall has recorded with bands Railroad Jerk and White Hassle and has toured the US, Europe, and Japan. He continues to make music under his own name. The First Line was recorded with accompanying musicians and released on Glacial Pace Recordings in 2011. Afterglow was recorded and released with The Hostages (Damon Smith, Mike Shapiro, and Troy Fannin) via Bandcamp in 2013. Hall is at work on an, as yet untitled, album of new material. If it’s awesome, awe-inspiring, hip-shaking, intellectual, harmonica-tinged, heart-wrenching, tales of love and redemption you want, then look no further. Marcellus Hall’s new sound echoes his previous stints in Railroad Jerk and White Hassle, but takes it to another level. A level where all other bands blush in embarrassment. Questions?
Chris Maxwell made his name playing perhaps the furthest thing from wistful Americana — in the ’90s, he made catchy, jagged junkyard rock with the legendary New York band Skeleton Key. Before that, he was the principal songwriter and clever guitarist of Little Rock, Arkansas’ first band to be signed to a major label, the Gunbunnies, whose Southern Gothic jangle the L.A. Times characterized “…as if the Beatles met Faulkner on E Street.” These days, Maxwell works out of his new Goat House Studio in Woodstock, where he composes and records music for hit TV shows like Bob’s Burgers and Inside Amy Schumer, as well as having produced and written music for other artists (They Might Be Giants, Iggy Pop, Yoko Ono, the Jon Spencer Blues Explosion) as part of the celebrated production team The Elegant Too.
“Chris Maxwell musically channels the heart of Americana-pop — Big Star, Freedy Johnston, Wilco and the like — in crafting a song-cycle as personal as home movies with X-rays included. A beautifully poised grown-up album in an age that still coughs one up from time to time.” — Jonathan Lethem