THE SUNDOGS
''CUT & RUN''
JULY 14 2015
22:14
1 Up To The Sky (Lee & Will Haraway) 03:38
2 Octaves Apart (Jon Harris) 05:20
3 Get Right (Lee & Will Haraway) 03:53
4 Ragged & Frayed (Lee & Will Haraway) 05:36
5 I May Not Make It Into Heaven (Jon Harris) 03:45
Lee Haraway
Will Haraway
Jon Harris
Kevin Leaby
Benji Shanks
Kevin Thomas
Additional Players:
Greg Baba
Martin Kearns
Vic Stafford
Mimi Thomas
ABOUT THE EP
By Official Website
The Cut & Run EP features all new original tunes written by Lee, Will and Jon, with support from all your favorite Sundogs, including world-traveling rock star Benji Shanks, who also produced three of the tracks with Vic Stafford. KT and Jon grabbed the controls on “..Heaven.” We recorded it at Southern Tracks, the same studios where the Black Crowes (Southern Harmony), Bruce Springsteen (Magic) and Pearl Jam (Backspacer–Jeff Ament was robbed there!) recorded some of their best works.
Here’s what a couple of nice folks have said about it:
“Cut & Run is a five song EP that gives listeners more of what the band does best…Part of what makes the Sundogs’ music so enjoyable is how they work as one. By sharing time on lead, embracing backing vocals and switching instruments the band creates a cohesive sound built around jangly guitars, honest lyrics and great melodies . Cut & Run may only be 5 songs but it shows what the band is capable of. The songs offer up solid lyrics that will get listeners singing along as well as catchy melodies that are impossible not to enjoy.” — Chris Martin, Atlanta Examiner
“The Sundogs take another step forward with ‘Cut & Run’,with lyrics that cut right to the heart of life, honest stories and the positive outlook of the beauty of the comeback, theunderdog and coming out ahead. And the full integration of Jon Harris’ songwriting with the Haraway brothers evokes The Band, Wilco or Tom Petty– and I’d swear that ‘Ragged & Frayed’ is an Exile on Main Street outtake.” – Harry McNeil
**********
BIOGRAPHY
by cdbaby
The Sundogs stand together, a four piece band from Atlanta, GA that demonstrates what happens when Americana wrecks into Rock and Roll. What happens is songs driven by true words and backed by boot stomping and fist pumping tunes. Welcome to No Depression Rock and Roll. Check that. Welcome back to Southern Rock and Roll.
Southern brothers Will, on bass, and Lee Haraway, on guitar and pedal steel, whittle songs from stories and blood along with lead guitar Matt Ulmer; each takes turn giving voice to the tales that break your heart and piss you off or knock you up to a better spot. Veteran studio drummer Andrew Hanmer, now known by folks all over the South as an 8 day a week on stage musician, kickstarts the band into high gear. Pull your hat down a little farther, your boots up a little tighter and watch out for your women. The Sundogs.
This is music to tearass down backroads with your best girl, grinding the gears, trying to figure out if she’s still yours. Last night still pounds in your head as you shake it off, or you try to shake her off. These songs are a drinking buddy or a soundtrack to a DUI. Imagine Chris and Rich Robinson joining Faces in 1975. Make it now.
“People are scared to be Southern Rock these days. It’s become a bad word, a caricature of rebel flags, trucker hats, and big beards. That’s Southern Rock from ’72,” sneers Will Haraway. “Having a southern drawl doesn’t mean Lynyrd Skynyrd redone. Add a little more of the rock and roll slickness and not as much rootsy cornpolk. Shit doesn’t have to be Freebird.”
Instrument of Change, the second full length from the band, was recorded with Eli Akins (Badly Drawn Boy, Outformation) at Exocet Studios (Edwin McCain, Aquarium Rescue Unit) in Chamblee, Georgia, just up the road from Atlanta. According to The Sundogs, the album is just as much his as theirs. Honest to God, the album sounds just like the band does when doing what they do on stage.
Hell, a song is just a story amplified, and The Sundogs know how to spin a good song: George, the pot dealing surfer that lives with his mom…Elvis, living in Colorado, having adventures while sporting a handlebar… Getting kinky with your lady…Fathers and Sons, selling liquor and guns…Wild Rides…Modern Day Miracles.
Ask them and they’ll tell you that the perfect Sundogs’ show is a modern day Last Waltz, complete with Atlanta musicians and one of those ugly, grandiose chandeliers on a sold out stage.
“I’d love to hear the audience yelling back lyrics,” grins Matt Ulmer. “Maybe see a naked woman or two in the crowd.”
Guests on the album came real natural. Everyone who came in contact with the album contributed. That’s the way it works around here. Many Atlanta guests and even a couple of guys from New Orleans’ Dirty Dozen (Efrem Towns and Roger Lewis) add notes rounding out a sound that sweats blood. Old friend Benji Shanks adds some slide. Some stories sound better with backup singers. Enter new friends Nikki and Nina. Welcome back to Southern Rock.
The Sundogs birthed itself in Memphis, grew up in Mississippi, then found itself in Georgia. The name is an old Mississippi term that Achilles Haraway used when describing the sunrays that come through the clouds on a smoky day. That’s when you see them best.
“Southern Rock needs to get back an attitude instead of leaving it to assholes like the fucking Strokes who get 50% credit just because they're from NYC. Well we're from Atlanta, GA goddamnit, the capital of the new South and the absolute capital of Southern Rock.”
The release date for Instrument of Change is March 1st of 2007.
**********
BIOGRAPHY/AMG
by Jason Ankeny
San Francisco-based swamp rockers the Sundogs were led by violinist Tom Rigney, an alumnus of Queen Ida's Bon Temps Zydeco Band and Back in the Saddle. After mounting a solo career with 1989's Rigo, he formed the Sundogs with singer/rubboardist Joe Paquin, guitarist T.J. Politzer, bassist John Aughney and drummer Jimmy Hobson; introducing their fusion of rock, zydeco and blues on 1992's Howlin', the group resurfaced two years later with To the Bone. 1997's Heavy Petting earned "Cajun Record of the Year" honors from Cajun Times, and was followed a year later by Dancing Room Only; a seasonal EP, Bon Temps Noel: A Swamp Beat Christmas, appeared in 1999.
WEBSITE
TO THE TOP
''CUT & RUN''
JULY 14 2015
22:14
1 Up To The Sky (Lee & Will Haraway) 03:38
2 Octaves Apart (Jon Harris) 05:20
3 Get Right (Lee & Will Haraway) 03:53
4 Ragged & Frayed (Lee & Will Haraway) 05:36
5 I May Not Make It Into Heaven (Jon Harris) 03:45
Lee Haraway
Will Haraway
Jon Harris
Kevin Leaby
Benji Shanks
Kevin Thomas
Additional Players:
Greg Baba
Martin Kearns
Vic Stafford
Mimi Thomas
ABOUT THE EP
By Official Website
The Cut & Run EP features all new original tunes written by Lee, Will and Jon, with support from all your favorite Sundogs, including world-traveling rock star Benji Shanks, who also produced three of the tracks with Vic Stafford. KT and Jon grabbed the controls on “..Heaven.” We recorded it at Southern Tracks, the same studios where the Black Crowes (Southern Harmony), Bruce Springsteen (Magic) and Pearl Jam (Backspacer–Jeff Ament was robbed there!) recorded some of their best works.
Here’s what a couple of nice folks have said about it:
“Cut & Run is a five song EP that gives listeners more of what the band does best…Part of what makes the Sundogs’ music so enjoyable is how they work as one. By sharing time on lead, embracing backing vocals and switching instruments the band creates a cohesive sound built around jangly guitars, honest lyrics and great melodies . Cut & Run may only be 5 songs but it shows what the band is capable of. The songs offer up solid lyrics that will get listeners singing along as well as catchy melodies that are impossible not to enjoy.” — Chris Martin, Atlanta Examiner
“The Sundogs take another step forward with ‘Cut & Run’,with lyrics that cut right to the heart of life, honest stories and the positive outlook of the beauty of the comeback, theunderdog and coming out ahead. And the full integration of Jon Harris’ songwriting with the Haraway brothers evokes The Band, Wilco or Tom Petty– and I’d swear that ‘Ragged & Frayed’ is an Exile on Main Street outtake.” – Harry McNeil
**********
BIOGRAPHY
by cdbaby
The Sundogs stand together, a four piece band from Atlanta, GA that demonstrates what happens when Americana wrecks into Rock and Roll. What happens is songs driven by true words and backed by boot stomping and fist pumping tunes. Welcome to No Depression Rock and Roll. Check that. Welcome back to Southern Rock and Roll.
Southern brothers Will, on bass, and Lee Haraway, on guitar and pedal steel, whittle songs from stories and blood along with lead guitar Matt Ulmer; each takes turn giving voice to the tales that break your heart and piss you off or knock you up to a better spot. Veteran studio drummer Andrew Hanmer, now known by folks all over the South as an 8 day a week on stage musician, kickstarts the band into high gear. Pull your hat down a little farther, your boots up a little tighter and watch out for your women. The Sundogs.
This is music to tearass down backroads with your best girl, grinding the gears, trying to figure out if she’s still yours. Last night still pounds in your head as you shake it off, or you try to shake her off. These songs are a drinking buddy or a soundtrack to a DUI. Imagine Chris and Rich Robinson joining Faces in 1975. Make it now.
“People are scared to be Southern Rock these days. It’s become a bad word, a caricature of rebel flags, trucker hats, and big beards. That’s Southern Rock from ’72,” sneers Will Haraway. “Having a southern drawl doesn’t mean Lynyrd Skynyrd redone. Add a little more of the rock and roll slickness and not as much rootsy cornpolk. Shit doesn’t have to be Freebird.”
Instrument of Change, the second full length from the band, was recorded with Eli Akins (Badly Drawn Boy, Outformation) at Exocet Studios (Edwin McCain, Aquarium Rescue Unit) in Chamblee, Georgia, just up the road from Atlanta. According to The Sundogs, the album is just as much his as theirs. Honest to God, the album sounds just like the band does when doing what they do on stage.
Hell, a song is just a story amplified, and The Sundogs know how to spin a good song: George, the pot dealing surfer that lives with his mom…Elvis, living in Colorado, having adventures while sporting a handlebar… Getting kinky with your lady…Fathers and Sons, selling liquor and guns…Wild Rides…Modern Day Miracles.
Ask them and they’ll tell you that the perfect Sundogs’ show is a modern day Last Waltz, complete with Atlanta musicians and one of those ugly, grandiose chandeliers on a sold out stage.
“I’d love to hear the audience yelling back lyrics,” grins Matt Ulmer. “Maybe see a naked woman or two in the crowd.”
Guests on the album came real natural. Everyone who came in contact with the album contributed. That’s the way it works around here. Many Atlanta guests and even a couple of guys from New Orleans’ Dirty Dozen (Efrem Towns and Roger Lewis) add notes rounding out a sound that sweats blood. Old friend Benji Shanks adds some slide. Some stories sound better with backup singers. Enter new friends Nikki and Nina. Welcome back to Southern Rock.
The Sundogs birthed itself in Memphis, grew up in Mississippi, then found itself in Georgia. The name is an old Mississippi term that Achilles Haraway used when describing the sunrays that come through the clouds on a smoky day. That’s when you see them best.
“Southern Rock needs to get back an attitude instead of leaving it to assholes like the fucking Strokes who get 50% credit just because they're from NYC. Well we're from Atlanta, GA goddamnit, the capital of the new South and the absolute capital of Southern Rock.”
The release date for Instrument of Change is March 1st of 2007.
**********
BIOGRAPHY/AMG
by Jason Ankeny
San Francisco-based swamp rockers the Sundogs were led by violinist Tom Rigney, an alumnus of Queen Ida's Bon Temps Zydeco Band and Back in the Saddle. After mounting a solo career with 1989's Rigo, he formed the Sundogs with singer/rubboardist Joe Paquin, guitarist T.J. Politzer, bassist John Aughney and drummer Jimmy Hobson; introducing their fusion of rock, zydeco and blues on 1992's Howlin', the group resurfaced two years later with To the Bone. 1997's Heavy Petting earned "Cajun Record of the Year" honors from Cajun Times, and was followed a year later by Dancing Room Only; a seasonal EP, Bon Temps Noel: A Swamp Beat Christmas, appeared in 1999.
WEBSITE
TO THE TOP
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