Scott H. Biram w/ The Hooten Hollers

Description

Scott H. Biram, a proud Texan raised on the outskirts of Austin, is a

maverick in the tradition of Doug Sahm, Roky Erickson (13th Floor

Elevators) and Gibby Haines (Butthole Surfers). Shortly after

releasing his third record (2003’s Lo-Fi Mojo), the 28-year-old’s life

was nearly cut short after a near-fatal head-on collision with a big

rig semi. He was still bedridden when he made his Rehabilitation

Blues EP, the predecessor to his 2005 debut for Bloodshot Records,

The Dirty Old One Man Band.

Flash forward to 2022. After almost thirty years of tirelessly writing,

recording and touring the front and backroads of America as a solo

bluesman, collecting a wide array of critical accolades, Biram found

himself suddenly stopped cold by the pandemic. Once again,

unwilling to allow outsized forces slow him down, he took

advantage of the shutdown to write, record and produce nine new

songs and two traditional covers for his new album, The One & Only

Scott H. Biram, his 13th overall and 9th for Bloodshot Records.

“I’m constantly trying to go back to the junky, lo-fi sounds of my

early records,” says Biram. “But it’s harder to do now. The more you

learn about production, the harder it is to convey that genuine

unproduced feeling. I have to compromise between overproduced

and lo-fi, so it sounds pro, but still keeps that grittiness.”

“I tend to be all over the place. My brain’s restless. If something

interests me, I’ll write a song about it. I have a kinda rootsy, blue

collar approach with blues, country and folk, but I always throw in

 

some of my heavier influences from metal and hard rock. I consider

myself a singer and guitarist, above everything else.”

The music on The One and Only Scott H. Biram has the down home,

in-your-face feel that Biram is noted for. “No Man’s Land” opens

with a blues turnaround played on a twanging electric guitar,

backed by a stomping bass and drum backbeat. Biram growls out a

lyric, describing the hazards of growing up poor in a small Texas

town, breathing the fumes from oil wells and brush fires. “I was

remembering a bumper sticker I saw as a kid that said, ‘Oil Field

Trash and Proud of It!’”

“My music has a lot of aggression to it. I express myself without

holding back. If you mixed Muddy Waters, Bill Monroe, Jerry Reed,

and Black Flag, you'd have a good idea of my sound. It's punk, blues,

country, metal, bluegrass and dirty.”

“Inside a Bar” captures the feel of an empty saloon on a slow

Monday night. It’s a straight-forward country blues, with an

understated vocal, intensified by an impressive solo, that mimics the

tones of a pedal steel guitar. “I was going for the sound of loneliness

and alcoholism colliding.”

Other notable tracks include “Sinner’s Dinner,” a rootsy rock tune

that gives us Biram’s take on the riot of January 6; “Dig a Hole/Big

Liar,” a Chicago blues track with a shredding electric guitar solo that

zooms from speaker to speaker; a down and dirty southern gospel

style take on Leadbelly’s “Easy Rider,” with a funky rhythm and

background whoops and hollers that suggest the reactions of a

packed Baptist tent revival, and an acoustic take on “Death Has No

Mercy,” the blues standard made popular by the Rev. Gary Davis. ;

The most unexpected sound is “InterTransmissions,” a short jarring

burst of noise, feedback and sound effects. “I loved the Butthole

 

Surfers and a lot of psychedelic music when I was comin’ up,” Biram

says. “I wanted to lean into that and add some color to the album. I

don’t think I’ll ever actually do it on stage, unless I’m just pushing a

button on a sampler. Excessive loops and samples are not really my

go-to style.”

The songs on the album deal with mortality, romance, religion,

drinking and memories of the past, but it’s difficult to identify an

overarching theme. “I studied art in college, so I think of my albums

as collages. I grew up playing in punk, metal, blues, country and

bluegrass bands, so I throw in a bunch of stuff to see what resonates.

I’ll follow a heavy blues tune with a tender love song, just the way

life is, no one theme. I’m not tryna write a rock opera. Most of the

time, I’m just getting’ shit off my chest.”

Biram’s albums and EPs are a separate entity from the sound he gets

on stage. “I have a wall of speakers behind me, a big subwoofer, old

beat up hollow-body guitars, harmonicas, and an amplified stomp

board to provide a heavy back beat. I sing in several different kinds

of voices and my solid sound really fills the room. I don’t use loops

but, in the studio, I sometimes overdub bass, guitar, drums,

tambourine and percussion. Other times, I dumb it down and just do

what I do on stage.”

Biram grew up in San Marcos, Texas. “My dad played sax a little bit

around the house. My uncles played guitar together in a band. There

were always guitars and pianos around. I messed around with ‘em,

but didn’t get serious about playing and songwriting until high

school. I sang and wrote lyrics in a punk-metal band. We played in

local bars for free beer, and any attention we could get from the

local chicks. That was cool enough for us back then.

“My dad turned me on to Doc Watson and Leadbelly early on. I

inherited my great-grandfather’s banjo when I was 19, and I started

doing solo acoustic shows on the side. All that while I was still

rockin’ out in the punk band. Those acoustic shows morphed into a

bluegrass band, but I still did solo stuff on the side, stomping my foot

on the floor and developing a more aggressive guitar approach.

Sometime around 2000, I realized I could consolidate the folk roots

with my heavier stuff and offer something that was truly my own.

The Scott H. Biram One Man Band was born.”

“I never liked being called a singer/songwriter,” says Biram, “but

those are some of my best qualities. I don’t want people to think I’m

a 'fool on a stool,’ which is what I imagine comes into people’s heads

when they hear ‘singer/songwriter.’ I try to steer clear of that, when

I can.”

With The One & Only Scott H. Biram, the singer once again proves

himself to be an unstoppable force, refusing to bow in the face of

outside challenges and demonstrating a unique ability to live up to

the traditions of rough-hewn, individualistic Texas-born music. He

looks forward to returning to tour the highways and byways of

America throughout 2024.

Support by The Hooten Hollers

$20/$25

8pm doors

9pm show

21+ 

Date & Time

Wed, Nov 13, 2024 8:00 PM - 11:00 PM

Venue Details

John Henrys

881 Willamette Street
Eugene, Oregon 97401

JOHN HENRY'S