Randy Rogers Band

Randy Rogers Band

Shane Smith & The Saint

Thu, January 18, 2018

Doors: 6:30 pm / Show: 8:00 pm

Crystal Ballroom

Portland, OR

General Admission: $20 | $5 increase day of show

This event is all ages

Tickets are $20 | $5 increase day of show

To RSVP to the official Facebook event, click here.

Tickets are also available at the Crystal Ballroom Box Office or by calling 855-227-8499.

Randy Rogers Band
Randy Rogers Band
Authenticity isn’t something that can be manufactured in a studio. It’s not a craft that can be learned or artfully practiced. It comes from living life. It’s the byproduct of blood, sweat and tears and as the foundation for music, it elevates mere entertainment to compelling art. Every note, every word on the Randy Rogers Band’s new album Nothing Shines Like Neon rings with authenticity that makes each song linger with the listener long after the music fades.
“You’ve just got to be true to yourself and you can’t fool anybody,” Rogers states matter of factly of the band’s philosophy. “As a whole, our body of work is pretty consistent to our live show and the band that plays on the record is the band that you go see.”
The same line up has been performing together since 2002 and the music has evolved as they’ve soaked up life experience. “As men we’ve all matured and lived a lot of life together,” Rogers says. “We’ve had a few breakups happen to us. We’ve had babies. We’ve had life changes. We’ve been on the road 200 shows a year. I’ve been in this band 15 years so a lot has changed. I still listen to Merle Haggard every night. I mean that hasn’t changed, but a lot has changed for us musically and privately. We all are in a good spot and we all are just as good friends as when we started.”
Camaraderie and creativity have made Rogers and bandmates Geoffrey Hill (guitar), Johnny “Chops” Richardson (bass guitar), Brady Black (fiddle), Les Lawless (drums) and Todd Stewart (utility player) one of the top bands on the competitive Texas music scene. Nothing Shines Like Neon continues the momentum established by the band’s four previous albums—Randy Rogers Band, Burning the Day, Trouble and Homemade Tamales, each of which went to No. 1 on iTunes. Earlier in 2015, Rogers joined friend Wade Bowen to record the critically acclaimed album Hold My Beer Vol. 1.
Produced by Nashville legend Buddy Cannon (Willie/Merle) at Cedar Creek in Austin, RRB’s news album Nothing Shines Like Neon showcases the band’s taut musicianship as well as Rogers’ earnest vocals and insightful songwriting on such instant classics as the groove laden “Rain and the Radio,” the heartbreak anthem “Neon Blues” and the playful “Actin’ Crazy,” a duet with Jamey Johnson. “Jamey and I wrote that song together,” Rogers notes. “I met a movie star a few days before Jamey and I were going to write. I was in LA playing at the House of Blues and he came out to the show. I was thinking about him …and thinking about being a struggling actor living in LA and having to put up with all the bullshit that LA is. I just wrote that song about him.”
The album opens with the fiddle driven shuffle “San Antone”. “That is a Keith Gattis song. He wrote by himself. Being from Texas and living so close to San Antonio, I don’t think that song is going to hurt me at all,” Rogers laughs. “It’s one of those songs when I heard it I was like, ‘Oh hell! Why didn’t I write this song?’”
“Takin’ It As It Comes” features Lone Star legend Jerry Jeff Walker. “I’ve been a big fan of Jerry Jeff’s all my life,” Rogers says. “He came in the studio with us, got in there with the band, jumped around and played guitar and sang. We had a great time.”
“Rain and the Radio” is Rogers’ homage to Ronnie Milsap. “I wrote that with Sean McConnell. He and I have written a lot of songs through the years. I’ve always been a huge Ronnie Milsap fan and to me that song has a little Milsap feel to it, kind of a bluesy country thing, which we haven’t done before. Any artist that I look up to always tries to create something different and pushes the envelope a little bit. I think we do with that song in particular. It’s very country. It’s just very different. As a band, we’re trying to broaden our horizons and I don’t think that’s a bad thing. If we were all just stuck doing the same old thing, we would all be bored. We probably wouldn’t still be here. It’s just a matter of spreading your wings a little bit.”
“Look Out Yonder” is a poignant tune Rogers recorded in honor of his mentor, the late Kent Finlay. “Kent gave me my start in the music business. Up until the day that he died, we talked about songs and about music,” Rogers says. “We actually named the record, Nothing Shines Like Neon after a lyric in one of his songs as a tribute to him. Alison Krauss and Dan Tyminski are singing on ‘Look Out Yonder’, which was written by Earl Bud Lee, who is most famous for writing ‘Friends In Low Places’. He and I have been friends for 10 years and he has always wanted me to cut that song. I’ve never had a record where it fit and just thinking about losing Kent and Kent going to heaven and joining his mom, ‘Look out yonder coming down the road’ it just fit. I haven’t performed that song yet live, but I know I’m going to have a hard time getting through it. The day we started our record, I got a call that Kent passed away so this record is definitely dedicated to Kent. That song makes me think about all of us musicians and how we are crazy as hell and lead the most unorthodox lives. Most of us return back to our roots, so hopefully this is an album that glorifies Kent’s life and is also a nod to the traditional sounds that we all grew up loving.”
A native of Cleburne, Texas, Rogers grew up addicted to traditional country music. “I wanted to be George Strait when I was in the sixth grade,” he says with a smile. “And I grew up listening to Willie Nelson and Merle Haggard, I’ve listened to them more than anybody else, my whole life. I always liked songs. I always wanted to find out who wrote the songs and what the songs were about. I always liked the art and the craft of being a songwriter. My dad’s Beatles records got played a lot and Michael Martin Murphy is another one I listened to a lot as a kid. My dad was a huge fan.”
Like many artists, Rogers got his start performing in church and then expanded to local venues. “I could write a song when I was pretty little, 11, 12 or 13,” he says. “It’s like a kid who could do calculus or something. It was just something that clicked in my brain for me. I went and finished college and got a degree in public relations and then started a band.”
Since then the Randy Rogers Band has steadily built a following that has spilled beyond their native Texas. For the past 10 years they’ve recorded for Universal Music Group, but on Nothing Shines Like Neon, Rogers again takes the reins, releasing the album on his own Tommy Jackson Records, named after a song he wrote for their very first album. “It’s a very obscure Randy Rogers Band song and to this day there is always this one drunk kid at a show that says, ‘Play “Tommy Jackson!” Play “Tommy Jackson!”’ It’s kind of a running joke within our band. It’s like, ‘How in the hell did this kid in Iowa City, Iowa remember that stupid song “Tommy Jackson?”’ It’s about a guy who is on the run from the cops, wanted for murder. It’s a story song and we just felt like it was a unique way to name a record label.”
Nothing Shines Like Neon is a stellar collection in an already impressive body of recorded material that owes a lot to the band’s potent live show. “You come to a show, you know what you’re going to get,” Rogers says. “We’ve worked hard at making ourselves better on stage and we care about our live show. It’s a way to come out and unwind, and we’ve stuck to writing songs that are about real life, about breakups or divorces, falling in love or babies being born, and in the case of this record even death, the ups and downs of life. People can relate. That’s what country music is supposed to be. Our band has been around for a long time because there’s no bullshit to us. We’re not in it to be rich and famous. We’re in it to make a living, provide for our families and do something that we all love. You can’t fool people and we haven’t ever tried. I think that’s the key.”
Shane Smith & The Saint
Play just the first 10 seconds of “The Mountain,” which opens Geronimo, the latest and most ambitious release from Shane Smith & The Saints. Robust a cappella, four-part harmonies set the stage for a saga of family tragedy, a young son’s revenge and a blaze burning eternally in a Pennsylvania mine. The vivid lyrics, powerful vocals and thumping four-beat drums throughout this song are reason enough for lovers of creative roots music to celebrate.

From their home base in Austin through performances across the country (17 states) and abroad (Ireland), these five gentlemen have not just stuck stubbornly to their musical and lyrical convictions. They’ve defied audience expectations by delivering incendiary shows, each one ignited by the band’s ability to unleash, feed from and feed back the energy of the crowd — in spite of the fact that they don’t fit easily into any musical category.

With Geronimo, they’ve dared themselves to exceed their own expectations.

Each song begins with Smith creating its “bones,” in the form of chords and lyrics. He then joins fiddler Bennett Brown, lead guitarist Tim Allen, bassist Chase Satterwhite and drummer Zach Stover to bring those bones to life. Aside from a bit of cello, some horns and a few keyboard parts, the band lays down each note on Geronimo. Their ability to bring songs to life has even earned them opportunities to record instrumental tracks for other artists.

Smith’s ability to draw images from everyday life into poetry goes back to his earliest days in Terrell, Texas, an hour east of Dallas.

“There was an old Catholic church right next to our house,” he recalls. “To this day, I remember those church bells ringing. In fact, I use that reference in a song from Geronimo called ‘Suzannah,’ which is about a guy who’s fighting a war and is thinking of his hometown — and he also remembers being raised with a church bell ringing on the hour every day.”

Before he ever thought of himself as a songwriter, Smith was concerned mainly with tennis. He played for the formidable program at Tyler Junior College before transferring to St. Edwards University in Austin, Texas. Smith soon began getting into music as well, playing solo gigs in local bars. And he began writing, inspired by looking at life as it played out around him.

“I’d be in a restaurant and overhear someone saying something, and I’ll have to excuse myself, walk outside and write a note to myself about it,” he says. “These days, I make little iPhone recordings. The other day I made one about this homeless guy I saw by the side of the road out in the middle of nowhere. He was dirty and worn out but he was picking these gorgeous flowers. I constantly see moments and images and statements, put them in the bank and have them there to reflect on and make into honest lyrics down the road.”

Even when he writes a love song, Smith almost can’t help but turn the mundane into something transcendent. On Geronimo, he does this with “All I See Is You”: “The storm’s running through the Midwest like a bandit on the loose. / All the clouds are black as night and all I see is you. / The rain’s pouring through the window panes and the cracks of this roof. / Tea’s boiling from the spout of the pot, but all I see is you.”

Recorded and self-produced while on the road throughout Austin, Dallas and Nashville, Geronimo weaves these images into story lines, each enhancing the other, together coming alive. “I love trying to tell stories through songs,” Smith observes. “There’s something that fascinates me about echoing old tales in songs to carry them on for years and years, like old folk songs.”

And so we travel with a newly freed slave in the nineteenth century, hearing the music and feeling the exuberance of dancing in Congo Square on “New Orleans.” We feel the rueful reflection from a sinner who “spent time on the wrong side of the church door” on “Right Side of the Ground.” We stand shoulder to shoulder with the Alamo’s doomed heroes as their final seconds near on “Crockett’s Prayer.” And the title track serves a dual purpose, taking us to a heroic time and place while making a broader statement about this project.

“On one end, it is an attempt to pay tribute to the life of Geronimo, the Apache warrior,” says Smith. “I’ve always been fascinated by Geronimo and the principles he stood for. This also presented the perfect opportunity to relate the term ‘Geronimo’ with our intensions of this album and the ‘jumping from a cliff’ idea that it symbolizes. If we are going to attempt a career in music, this album is our commitment to give it everything we’ve got.”

“Our goal with this album was never to put out a bunch of catchy singles and be all over the radio,” explains Smith. “It was to set us apart, with meaningful lyrics, huge harmonies and the sound of a hard-working band that has played some crappy gigs and come out stronger for it. We always had the options to either make a ‘safe’ record or put something out that sounds like us and no one else.”

“We took that second option and named it Geronimo.”
Venue Information:
Crystal Ballroom
1332 W Burnside St
Portland, OR, 97209
http://www.crystalballroompdx.com/
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