Palo Duro Records

The Americana Music Association released its list of the Top 100 Albums of 2008, and Palo Duro Records is  proud to have several artists in the lineup. Congratulations to these fantastic artists!

• Eleven Hundred Springs, “Country Jam”
• Darryl Lee Rush, “Live From The River Road Icehouse”
• Walt Wilkins and the Mystiqueros, “Diamonds In The Sun”- (This album is making its 2nd appearance in the Top 100 albums.  It was a top 100 album in 2007)

For the complete list, click here.

To purchase your copy today, click here.

To purchase your copy today, click here.

To purchase your copy today, click here.

Although Live From the River Road Icehouse, Darryl Lee Rush’s sophomore effort, has been out for almost a year, a new video for the song “Lot” premiered last week at Trinity Hall in Mockingbird Station.

“Lot” is one of two studio recordings that appeared on the live album, and it may be the best song Rush has written. An ode to a woman accepting her lot in life while barely making ends meet, the song is just another example of Rush’s lyrical skill.

Rush’s debut, Llano Avenue, came out in 2006 and it is still one of the best collections of traditional country music to come out of Dallas in a decade. The live album seemed to be a holding pattern while Rush worked things out with his label, so let’s hope the video release will get things jump started and we can expect a lot more like “Lot” in the near future.

Review by Darryl Smyers

To view the “Lot” video, go to www.darrylleerush.com.

We are excited to announce the musical lineup for the debut Chattahippie Music Festival, featuring the best talent in Americana, Rock, Blues, Jam, Country, Folk and Bluegrass from around the nation! With over thirty artists from ten states, this promises to be a great celebration of peace, love and music!

Northwest Georgia Bank presents the 2008 Chattahippie Music Festival featuring: Pure Prairie League, Chris Knight, The Derailers, Charlie Louvin, Walt Wilkins & The Mystiqueros, Two Tons of Steel, Elizabeth Cook, Dallas Wayne, The Gougers, Gary Nicholson, Jason Eady & The Wayward Apostles, Laura Cantrell, Buzz Cason & The Love Notes, Beggars’ Caravan, Lou Wamp, Roger Alan Wade, Dane Varese, Joe Moss, Trent Summar & The New Row Mob, Jimmy Davis, Michael Johnathon, Band of Heathens, Doug & Telisha Williams, Miles from Nowhere, Michael Hearne & South by Southwest, Tommy Alverson, Billy Block, Whitey Johnson, Penguin, Tressie Seegers, Darryl Lee Rush, and The New Binkley Brothers.

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If you’ve read any of my previous reviews, you know that I am just a bit
partial to live albums. My belief is that you get more of who an artist
really is when you hear them live and a live album is the closest thing to a
live music experience that you can get without being there. “Darryl Lee Rush
Live from the River Road Icehouse” from Darryl Lee Rush is the perfect
example of this. Darryl Lee Rush is not only a great songwriter but is one
hell of a performer. As the first artist ever signed to Shiner Records, the
pressure to deliver great Texas music is intense. But he does it. And he
does it with such enthusiasm and energy that just listening to the album
makes you want to call into work the next day because you are “not feeling
well” from the night before.

True to the unconventional nature of DLR, the lead track on this live album
is not live at all. “Lot” is a studio cut, usually reserved for the tail-end
of albums, that highlights DLR’s ability to communicate a snap shot of a
desperate life in thoroughly convincing fashion. When the live cuts start on
the album, I would suggest that you return the tray tables to their upright
and locked positions and extinguish all smoking materials. DLR pays homage
to his hometown right off the bat, with the tune, “Town Too Tough To Die,”
giving the story behind the song without missing one raucous beat. He
follows it up with the Matthew Ryan penned song, “Irrelevant,” which will
cause even the most casual listener to lose their minds at DLR’s talent for
song delivery. There are only two other songs on this album that come from
the pen of others — Steve Earle’s “Johnny Come Lately” and Sam Baker’s
“Truale.” The rest are pure unadulterated DLR. “Uncle Freddie Drove a
Tractor,” “White Trash Paradise” and “Smuggler’s Prayer” run the gamut of
themes and emotions and further remind us why we love live Texas music.
Speaking of Texas music, DLR gives us his ode to the genre that we all love
with the song, appropriately titled “Texas Music” that hits on themes that
all lovers of this music will be able to identify with.

Bottom line: Darryl Lee Rush gives us a pure Texas music album that is at
times rowdy, at other times serious and reflective. It makes us want to
consume copious amounts of Shiner beer and should be added to the collection
of any true Texas music fan.

by El Presidente

http://www.lonestarmusicmag.com/

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Darryl Lee Rush hails from Markham, a small farming town in South Central Texas. His roots are proudly referenced in his second recording effort entitled Live From The River Road Icehouse. As one might assume, this is a live album that was recorded at the River Road Icehouse, in New Braunfels, Texas. However, in addition to the live performances, there are two studio recordings that bookend the project, which are absolutely worth listening to as well.

Rush has an energetic, engaging performing style that is rather evident on this album. His simple, but interesting, songs and his amusing storytelling ability that is reminiscent of a southern Garrison Keillor or a fast talking Forrest Gump, as can be heard on “Town Too Tough To Die”, makes this recording a worthwhile album to add to your music collection.
The album opens with “Lot” one of the two studio recordings. It describes the bleak lot, or situation, of an impoverished woman. It’s good, but the other studio track, “Shotgun Annie”, is even better—possibly the best cut on the album. With its driving guitar riff and the inclusion of a sampling of Buffalo Springfield’s “For What It’s Worth”, “Shotgun Annie” explores the devastating effects that accompany the growth of a nation. He sings, “You know there’s blood on our hands and there’s dirt upon our faces/Forgive us all our sins and grand divine salvation/For the blood we spill as we build this brand new nation.”

The only songs on this album that were not penned by Rush are “Irrelevant”, “Truale” and Steve Earle’s “Johnny Come Lately.” Something about the performance of “Irrelevant” reminds me of Adam Duritz of Counting Crows. The cover of Earle’s “Johnny Come Lately” possesses the rowdy energy of the original, which works rather well for the over all sound of the album. “Truale”, which can be found on his first album, prompts the crowd to join in.

A notable aspect of this recording is Rush’s odd humor, which is evident in “Uncle Freddie’s Tractor” and “White Trash Paradise.” “Uncle Freddie’s Tractor” seems to be a crowd favorite. He introduces it by asking “You wanna hear Uncle Freddie?” and the modest crowd answers with enthusiastic cheers, as if they are quite aware of what is to come. If they haven’t heard the song before, they sure play along well. The song, complete with an impressive harmonica intro (the harmonica is a prominent part of Rush’s band), is simply about watching his Uncle Freddie’s tractor going back and forth. While the lyrics have no redeeming value, it’s sung with simple infectious charm. “White Trash Paradise” is a razor sharp composition that playfully pokes fun at the life of a stereotypical redneck.

Although Darryl Lee Rush may not have the most polished voice, he possesses the necessary sincerity and charisma to turn his music into a rather enjoyable listening experience that will surely garner a loyal and passionate fan following. It is quite evident from the energy that exudes from this live recording that going to one of his shows would be well worth your money. If you are hoping for an album with profound revelations or groundbreaking lyrical content, this album is not for you. Furthermore, if you want an album that will neatly fit onto mainstream country radio, I advise that you don’t pick this one up. However, if you’re simply interested in some good roadhouse style music, sung by a talented artist who is supported by an incredible band, then this is most definitely the album for you.

Darryl Lee Rush was the first artist signed to the recently launched Shiner Records, based in Texas. Live From the River Road Icehouse is the first release to spring from that relationship. This album is an entertaining assortment of gritty, sharp edged, Texas-style country music. We’re talking about guitar jangling, harmonica honking, beer swilling roadhouse music with an IQ.

I won’t say that Darryl Lee is the best singer out there. I won’t say that he’s the best songwriter or the best guitarist. I will say that he’s damned good at all of the above and when all elements are taken together he not only holds his own, but rises above most of his competition. From track 1 right through to track 11, he keeps your attention and keeps you entertained without wavering. After listening to this disc a few times, it’s little wonder that it’s currently sitting at #36 on the Americana Music Charts. I don’t think I’d be going out on a limb to suggest that it will steadily work its way up from there.

This album starts out with a low-key number, “Lot”, followed by “Town To Tough To Die”. Both songs demonstrate Rush’s acute songwriting acumen. In fact, all but three of the songs on this album were written by Rush. The exceptions are “Irrelevant”, “Johnny Come Lately” and “Truale”. Even these are delivered in signature Darryl Lee style, so that if you didn’t already know better or, at least, read the liner notes, you won’t notice the difference from his own songs. That speaks highly of the artist, considering these other songs were penned by Mathew Ryan, Steve Earle and Sam Baker, respectively. Not bad company to stand on par with, I’d say.

“Uncle Freddie Drove A Tractor”, an apparent crowd favorite, sits in the number three spot and propels the disc forward with gusto. This song is a fine example of less being more. The lyrics are uncomplicated, but they create a strong sense of time and place, accompanied by good ol’ footstomping guitar and harmonica. It’s the type of song that makes you wish you’d been there when they were recording this album. It reeks of having a good time.

“White Trash Paradise” sees the artist exercising his good humor, without lapsing into the realm of cheesy, novelty song hell. “Smuggler’s Prayer” is more of a ballad and it further cements Rush’s place as a true storyteller. Hard driving, barroom music aside, it’s Darryl’s ability to weave a story that probably stands out the most. I didn’t have to be at the River Road Icehouse to feel like I’m in Texas each time I listen to this disc. The moods and settings that Rush conjures up transport the listener to South Texas, past and present. Most great songwriters seem to have this ability. That is to say, the ability to make you understand and believe in people and places you’ve never seen, with a familiarity that normally comes from direct experience.

Darryl Lee Rush has surrounded himself with some solid talent, obviously. “Lot” and “Shotgun Annie” were actually recorded in the studio, but the remaining nine live tracks sound every bit as tight. Of particular note are the handy electric guitar skills of Scott Oldner and the blues infused harmonica riffs of Don Gallia. Collectively, this band knows what works and they deliver the goods on every song.

I receive quite a few CDs for review consideration, so I have to be selective about which ones I choose. Of those, some I personally like more than others. Some make enough of an impression that they even find a home in my private music library. Live From the River Road Icehouse is one for the personal collection.

by Randy Baker

Review by Tom Geddie

A RAGGED QUALITY IN Darryl Lee Rush’s voice lends sincerity to the performances in Live From The River Road Icehouse, which includes nine songs recorded during a show in New Braunfels and two studio tracks. The Texas country-folk-rock CD deals with small-town memories and misadventures, and Rush’s crowdpleasing “White Trash Paradise” about a man whose American dream is less than ambitious. Surely meant to be funny, he sings it straight without a bit of sonic irony. In his two studio cuts, “Lot” and the excellent, anthem-like “Shotgun Annie,” Rush first tells the story of a woman struggling with her lot in life, then observes in the slow, seething rock closer that the blood on the people’s hands comes from building a nation that may not be living up to its Populist ideals. He also covers Steve Earle’s “Johnny Come Lately,” Sam Baker’s “Truale,” and Matthew Ryan’s “Irrelevant.” Rush adds acoustic guitar, backed by Scott Oldner (electric guitar and background vocals), Michael McShane (bass guitar, background vocals), Don Gallia (harmonica), and Andy Mayer (drums), joined by guest Tommy Detamore (lap steel). The CD’s mix obscures the performances just a little, which is not unusual for this kind of project. Nevertheless, Live From The River Road Icehouse is a good follow-up to his debut, 2005’s Llano Avenue. He won recording time for that one in a highly competitive Shiner Bock contest with KHYI 95.3 FM The Range in the Dallas area.

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It’s been a couple of years since the release of Llano Avenue, local roots rocker Darryl Lee Rush’s extraordinary debut, and various snafus have kept this sophomore effort off the shelves until now. Usually live releases just fill time between studio products, but Rush’s country charm, as well as his raucous band, are well suited to the lubricated ambience of this ramshackle roadhouse in New Braunfels.

Despite the title, there are two new studio tracks that bookend the live cuts. Both “Lot” and “Shotgun Annie” are prime examples of what makes Rush so likable. Over a simple and swampy backbeat, Rush spins his tales of common folks going through common difficulties. The woman in “Lot” is trying to understand her lot in life and coming up with hard answers.

The live cuts are, not surprisingly, more rambunctious and less sentimental. “Truale” and “Town Too Tough to Die” are a few of the cuts reprised from the debut, while Steve Earle’s “Johnny Come Lately” is a nice addition to the set list. All are performed with Rush’s uncommon mix of hayseed and insight. Rush’s impressive understanding of the ins and outs of the rural existence work just as well in front of a rowdy group of cowboys as they do in the confines of a recording studio.

Darryl Smyers 1/3/2008