Shine (Like An Empty Prison)
Red Sammy
Performed By
Red Sammy
Album UPC
884501077873
CD Baby Track ID
5786010
Label
Beechfields Record Label
Released
2009-01-01
BPM
84
Rated
0
ISRC
uss570800001
Year
2009
Spotify Plays
244
Writers
Writer
Adam Trice
Pub Co
Adam Trice
Composer
Adam Trice
ClearanceFacebook Sync License,Traditional Sync,YouTube Sync ServiceOne Stop
Rights Controlled
Master and Publishing Grant
Rights
One-Stop: Master + 100% Pub Grant
Original/Cover/Public Domain
original
Country
United States - Maryland
Description
Listeners will naturally relish Red Sammy’s signature rollercoaster lyrics, sounds and emotions, but the Baltimore-based group has added even more layers this time around.
Notes
In 2005, local Baltimore songwriter, Adam Trice, founded the graveyard country rock band, Red Sammy. The band name, a reference to Flannery O'Connor's story, "A Good Man is Hard to Find" (1955), is a perfect pairing for the band's dark and menacing style.
Red Sammy draws upon a variety of both literary and musical influences including Flannery O'Connor, Ernest Hemingway, Anton Chekhov, William Faulkner, William Carlos Williams, Gerald Stern, Alejandro Escovedo, Tom Waits, Neil Young, The Pixies, Iggy Pop and The Stooges, Johnny Cash.
Graveyard Country Rock Music is like a Jackson Pollack black pouring, or a Robert Motherwell elegy. It is imbued with Garcia Lorca’s duende: “black sounds are the mystery.” Gritty, stark storytelling, part southwest rock, part Cash and Escovedo. Sparse, but accessible, there’s a thread that runs through the music, from Hawthorne and Poe (fitting, since we’re from Baltimore), to Faulkner and Flannery O’Conner.
Red Sammy draws upon a variety of both literary and musical influences including Flannery O'Connor, Ernest Hemingway, Anton Chekhov, William Faulkner, William Carlos Williams, Gerald Stern, Alejandro Escovedo, Tom Waits, Neil Young, The Pixies, Iggy Pop and The Stooges, Johnny Cash.
Graveyard Country Rock Music is like a Jackson Pollack black pouring, or a Robert Motherwell elegy. It is imbued with Garcia Lorca’s duende: “black sounds are the mystery.” Gritty, stark storytelling, part southwest rock, part Cash and Escovedo. Sparse, but accessible, there’s a thread that runs through the music, from Hawthorne and Poe (fitting, since we’re from Baltimore), to Faulkner and Flannery O’Conner.
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