Monthly Archives: March 2015

Thrift Store Gold – Dorsey Burnette

Hey RUST fans we’ve found another lost treasure in the thrift store bins, the 1976 release Dorsey from Dorsey Burnette. There’s a good amount of information on this artist online but due to his being on numerous labels (mostly now defunct) over his 20+ year career, he’s an artist that has a small digital footprint. There are some cd’s available and ebay has many of his 45’s and albums for reasonable prices, including this one and we’ve posted a couple of our favorite tracks for you to listen to. Here at RUST Magazine it’s important for us to document today’s artists as well as yesterday’s and Dorsey Burnette’s music is unique, powerful and should be preseved and remembered. They don’t make them like him any more.

Before The Rising Sun features a psychedelic, dark dominating guitar riff and If Nashville Lets You Down is a song that rings as true today as it did 40 years ago. Showing a unique writing style and a tough, gritty timing in his notes, Dorsey Burnette’s music sounds intriguing and different to today’s ears. Definitely country, but with sounds from a person whose travels have changed them into wiser people with more perspective, there’s a uniqueness of spirit making this music. Dorsey Burnette was on about 10 different labels over his career (he died in 1979) and with numerous charting songs he had seen the good and the bad of his world, and this album exposes him as an artist tired and discouraged from the years and the miles traveled. Yet underneath there is a rebellious strong artist. He made his music his way, and many years later, it’s still as vibrant, thought-provoking and distinctive as it was the day they pressed the vinyl.

Dorsey Burnette had something to say. It was worth saying then, and it’s worth hearing now.

This article is posted with the hopes that people will take advantage of one of the greatest musical treasures of our modern world – the resale store. There is a hundred years of music there, and for the cost of a single download you can get a “real” album that also has it’s own individual story.

Moccasin Creek signed to BackRoad Records and on Tour now


Hey RUST readers we want to tell you about country-crossover band, Moccasin Creek who have just signed with Average Joes Entertainment Imprint, BackRoad Records. They also just released their new single Low Life and their Hillbilly Rockstar Tour will see them on stages in the southeast and midwest through the end of June. We’ll have more info on them coming soon but you can check out the new single right here, right now at

New EP from the John Pippus Band


We’ve been big fans of this Vancouver bluesman and his friends for years now and they’ve just released The Hindenburg Affair a name-your-price EP. Since we last visited with John about his album Howl At The Moon, bassist Peggy Wilson and guitarist Beaver “T” Thomas have joined John and son Jacob Pippus, and this three-song EP showcases more great blues and good times. John Pippus has always been a crowd-pleaser and we play his music at our live RUST events and at parties frequently. So if you’re looking for some classic blues with a fresh vibe, check out The Hindenburg Affair!

FREE New Music from Dot Dash


Here at RUST Magazine we’ve been following Dot Dash for several years now. They’ve been called DC’s Best Band and they just keep getting better and better. Right now you can get a FREE download of the track Rainclouds off their new album Earthquakes & Tidal Waves. The album was recorded at Fidelitorium in North Carolina and produced by Mitch Easter and it’s available from The Beautiful Music. Dot Dash delivers a classic sound with a fresh approach and fantastic songwriting. They’ve been honing their skills and their sound and have consistently put out great alt-punk music with keen attention to song construction and an individual band sound. Check it out!

Just Buy It – John Coltrane “So Many Things: The European Tour 1961”


There are few artists – in any style – who have achieved the status of John Coltrane. He embodies the term legendary, among legends. For both those who already know of him, and those yet to discover him, this 4-CD box set is an absolute must-buy. Beyond the beauty and genius of the performances, and the intimate presence of the music, there is a historical relevance to the release of these recordings. And this importance within the lineage of music development is also ingrained in our cultural content and identity.

This is a man who shaped part of us. His music has a permanent place in our social awareness. He was at the right time and the right place to achieve artistic excellence that changed the world. As an artist, perhaps one could not have accomplished more. But time passes. These recordings are over 50 years old right now and the most important thing about the release of these recordings – right now – may not be the music, but the history.

So Many Things: The European Tour 1961 is a collection of recordings of The John Coltrane Quintet featuring Eric Dolphy and it’s a sequel to Miles Davis and John Coltrane “All Of You: The Last Tour 1960” that showcase different venues, moods and moments. At a certain point, things old have a fascination simply because of their age. Whatever the quality, whatever the significance these things had when they were originally made, the distance in time now makes them interesting purely as windows into that other world.

Here, these two worlds intersect, the likenesses and differences are exposed anew, in a separate aspect to the music itself. That’s what makes this recording so special. The music is simply the best, and having such an extended collection truly makes this an essential set in any listener’s library. Recently, it was discovered that Paul McCartney was unknown to many Kanye West fans, and sadly much of the legacy of John Coltrane’s music is now relegated to television ads. So having these materials out there will help to preserve his music and to keep it fresh and relevant, now and for the future.

Recorded in Paris, Copenhagen, Helsinki and Stockholm, and newly remastered for optimum sound quality, this release features photographs, concert memorabilia and press clippings, and comes complete with an extensive booklet essay by award-winning British saxophonist and writer Simon Spillett. This is one of those releases that goes beyond the typical star-rating system. It’s so good, and the world has waited so long to have access to it that it’s just essential. The music is timeless. It always has been. It always will be. Just buy it.

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The Orange Peels talk about Begin The Begone


What is so excellent about The Orange Peels new album Begin The Begone is the superior songwriting. It really is a fantastic album, featuring brilliantly performed, diverse and intricate compositions candy-coated in a likable pop-rock wrapper. But these are no empty calories! There is a vast depth to the music here that had us listening to this album for weeks before we could even begin to find words for it. There’s just so much there – it’s really quite amazing.

This depth of creative vision is what sets The Orange Peels apart. Their songs go through real development and change. The ideas are unique and it’s supremely evident that the performers believe in what they’re doing and they’re fully invested in making the best music they can. There’s a braveness at work as well with a willingness to deviate from the predictable and to take the listener through new and unexpected paths.

Begin The Begone is the first album we’ve heard from the foursome of Allen Clapp, Jill Pries, John Moremen and Gabriel Coan, who have been making music both together and apart since their 1997 debut Square. Recent happenings in the band’s life have included a car accident as well as a rocky relocation, and these events seem to have given them fresh perspective and avenues of expression. Whatever the lifestyle circumstances, the music they have made here is a brilliant balance between classic Beatle-esque songwriting and individual conceptual exploration. It’s modern music free from category other than it’s excellence.

There is a strength in narrative at work here that truly moves the listener. A story is told. Like the parables of ancient times, there is infinite meaning and possibilities behind the lines on the page. Really, Begin The Begone is such a dense, thorough collection of ideas it takes quite a while to identify and appreciate all the things that are going on in the music. A song that might seem to be of a particular style changes again and again when you listen to it. Catchy pop moments subtly transition to complex narratives in songs like 9 and what seem like simple keyboard patterns turn into complex tapestries of sounds and ideas in songs like Tidepool.

The Orange Peels are making some excellent and timeless music, right now. Begin The Begone is a superb collection of ideas and expressions and it gets our most enthusiastic endorsement. This band is making fantastic musical statements that will remain relevant because of the merits of their skills, and this is both rare and admirable. Because this band is new to us, we were curious to hear what they thought about this moment and we reached out to Allen Clapp from the band to answer a few questions:

RUST: This is the first album we’ve heard from you – how would you say this album relates to your other works? What about this time in your life is different from those other creative periods?

AC: I think there are a few things usually happening on an album by The Orange Peels—including this one—and those include a sort of emotional empathy between the words, music, and production; a sense of melodic adventure, and a kind of melancholic optimism. Even though those elements are carried by different songs over the course of different albums, they’re definitely always present in some form. Also, our records usually occur pretty slowly—over the course of about 4 years.

Where things are different on Begin the Begone, they’re different because we did this record very quickly. Instead of the recording and writing being sprawled over a few years, most of these songs literally just flowed out within a four-day period last winter, and then we spent the next few months writing lyrics, finishing arrangements and mixing.

I think a major reason it happened like this was that half the band was in a near-fatal accident in late 2013 that we were lucky to walk away from. We were hit from a standstill by a drunk driver going 60 mph, and we literally walked away with no lasting injuries, which is amazing.

I think when something like that happens to you, all your filters are down for a while. It took several months for me to begin to feel kind of normal after that—everything was just out there on the surface, and it was strange. So making those songs in that frame of mind probably has something to do with how the record came together.

RUST: You have a living and recording compound – do you feel that having unlimited, or at least not “on the clock” time to work on your music has allowed you to take your music further than you would have had you been on a fixed budget or schedule?

AC: Absolutely. We made a couple of our albums in a really great commercial studio (The Terrarium in Minneapolis), and that was just the right thing to do for those albums (Square and Circling the Sun). Those records were rehearsed, arranged, and ready to go before we went into the studio.

Sometimes it’s nice to get together with a blank slate and just see what takes shape. That’s the kind of record Begin the Begone is. We just spent four days waking up every morning and trying out ideas and getting into sonic moods, and at the end of it, there were all these song ideas. So yeah, going into a situation like that with no clock running is crucial. We actually have a huge clock face with no hands on it, which sits outside the studio.

RUST: What was the vibe like during the recording period? Were ideas flowing fast and free or was it more of a slow and patient exploration process?

AC: Well, in that relatively short period of time we had both things happen. One of the tunes, “Embers,” just popped out of thin air. It was just literally there one moment where it hadn’t existed before. We worked on the chorus progression for maybe 5 minutes, and that was the most time consuming thing about it. Others were sprawling mood pieces like “New Moon” or “Fleeing the Scene” that ended up becoming shorter, connected pieces after lyrics were written. I think both of those were about 8 minutes long originally, so they were really shaped more during the overdub and mix sessions.

Funny thing about Embers though . . . the music and arrangement came so quickly and easily, but the lyrics and vocal melody took forever to come up with. It was one of the last songs we finished for the album. John Moremen has the best guitar line during the chorus, and I wanted to have the vocal say something important there while simultaneously staying out of the way of the guitar, so it turned into this call-and-response kind of vocal.

RUST: Tidepool is one of our favorite songs on the album, what can you tell us about it?

AC: Glad you like it! When I sit down at the piano, I tend to play these sort of spidery melodies that oscillate like that, and I never know what to do with them. Usually they turn into more straightforward arrangements, and the spidery playing goes into the background. This time, I just shared the idea with everyone, and Gabriel added this really nice electronic drum bed, and John added some cool sympathetic picking. It was also the first time I ever used an Eventide harmonizer. I’ve always wanted one, and so I started experimenting with running an electric guitar through it and just outputting the effected signal, and it just sounded really surreal. For some reason it reminded me of Anemones and starfish and urchins. So, halfway through the song after the first break, that’s what you’re hearing.

RUST: 9 is another favorite, is this song specific to the car accident? How did that event affect the direction of the music on the album?

AC: Definitely. 9 is the most specific to what happened to us—the accident, moving out of Silicon Valley, buying a house in the Santa Cruz Mountains, and finding a new life—it’s all there. It was the last song we fully wrote for the record, and the first one we recorded at the new mountain studio. As soon as we had that one down, it started feeling like we had a record almost done, because I think the album needed that piece to feel complete somehow.

RUST: Who are some of the people who have helped you make your music, but might not have gotten the recognition they deserve?

AC: All the people who have supported us over the years, whether they’re people who helped with recording or were boosters of our music, have been incredibly important. Early on, my friend Maz Kattuah really encouraged me to record my own stuff, and that was really important in the large scheme of things and is a big reason why we even have our own recording studio today. Dan Jewett and Larry Winther are high-school friends, and some of the first people I ever played music with. We played in our first band together and struggled through writing our first songs together. Brent Rademaker (from the Beachwood Sparks, and before that, Further) was a big supporter and friend early on, as were David Schelzel and Oed Ronne (both of The Ocean Blue). We ended up playing shows with those bands and struck up friendships at a time when the music industry was changing rapidly.

I could go on, because there are many others, and many who have already been credited officially . . . but I like that question and the opportunity to think about how these people really helped shape our music over the years.

RUST: Thanks so much for talking to us, last question. Is there a band out there doing great work right now (other than you) that you think people should know about?

AC: There are a handful of projects that my bandmates are involved in right now that are different than what we all do when we’re together as The Orange Peels, and I think they’re all great. Our drummer and co-producer Gabriel Coan is in a band called Carta, who released a beautiful and haunting album recently on Saint Marie Records called “The Faults Follow.” Our lead guitar player John Moremen has an instrumental side project called Flotation Device, who have a self-titled album and a new release coming out later this year on Mystery Lawn Music. Just last year, he and author-musician Paul Myers released a great pop album called “Inner Sunset,” also on Mystery Lawn. Former Orange Peels member Bob Vickers (not to be confused with Robert Vickers of the Go-Betweens who is also our publicist!) releases music under the name The Incredible Vickers Brothers. His first album, “Gallimaufry” is wonderful and orchestrated and eclectic, and he’s recording a follow-up as we speak.

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