Search Results for "Tim Barry"

New Video: Tim Barry – “Fussin’ Over Fate” from new album, “The Roads To Richmond”

In honor of his latest album, The Roads To Richmond, the great Tim Barry has unveiled a brand new music video. It’s for the track “Fussin’ Over Fate,” and you can check it out below. You don’t have to be from Barry’s hometown of Richmond to identify with the encroachment of cranes and concrete on a lot of our own beloved home towns.

The Roads To Richmond came out last Friday (October 11th) on Chunksaah Records, If you haven’t read our extensive interview with Barry from last week yet, do so here!

DS Exclusive: Tim Barry gets raw and real – even for Tim Barry – on the transitional new album, “The Roads To Richmond”

It is not, by any stretch, an overstatement to refer to Tim Barry as one of the premier storytelling songwriters in the punk rock scene for as long as most of us have been associated with it; he was certainly trending in that direction during his Avail days, but it’s become an irrefutable fact in his work since going solo a decade-and-a-half ago. With the exception of maybe “Prosser’s Gabriel” from his 2010 album 28th and Stonewall (or, I guess, “T. Beene” from it’s follow-up, 40 Miler), Barry writes almost exclusively in the first person. Sometimes, this finds him telling the gut-wrenching components of someone else’s story in explicit, vivid detail; see “South Hill” or “Solid Gone” or “Dog Bumped” most notably. While the subject matter is clearly not his story in each of those songs, he’s got a way of pulling the listener in and making you feel every last strain and emotion and decision made by each of the respective narrators.

Sometimes, though, and especially when relationships are involved, the lines between author and subject get blurry to say the least. Sure there are songs like “Lela Days” or “Older And Poorer” that are pretty on-the-nose when it comes to being obviously self-referential. But on classic Barry fan-favorites like “Exit Wounds” and “Avoiding Catatonic Surrender” and “Walk 500 Miles” and “This November,” he long-ago proved that he can write a broken-hearted love song like nobody aside from maybe Ben Nichols. Because the themes present in those songs are so, unfortunately, universal and because of Barry’s adeptness as a songwriter, you’re never quite sure if he’s retelling traumatic events from his own biography or simply relating the cautionary tales of his friends and peers. Case in point: years ago when Tim and I spoke during a prior album-cycle promotional run, he relayed the story of his father contacting him after the release of Rivanna Junction, asking if he was doing alright.

Today marks the release of Tim Barry’s latest album, The Roads To Richmond. It’s his seventh studio full-length, and it is, in many ways, an album that delves into what’s been a very transitional time in the proud Richmond, Virginia native’s life. Not only did Barry quit working a “real job” and make the decision to live solely on music for the time being, but more importantly (and profoundly) Barry and his wife split up in the years since we last heard new music from him. He found himself living, at various times, in his van, in an apartment on the “bad side of town,” and most recently, in the very first house he’s ever purchased. And so the weight of separation and moving on and all of the confusion and emotions that those things entail, particularly when still trying to embrace the role of SuperDad to his pair of young daughters (Lela, 7, and Coralee, almost 5) were destined to bleed into the material that wound up on The Roads To Richmond. In fact, when we caught up over the phone to discuss The Roads To Richmond, it prompted me to jokingly – well, half-jokingly anyway – paraphrase that Rivanna Junction quote from his dad. As it turns out, I’m not alone. “Brent Baldwin down at The Kitchen mastering plant down in Carrboro, North Carolina, was doing the work on it, putting the finishing touches on the recording,” Barry explains. “He’s a professional, and I trust him and I trust his opinion and his work, and basically he said what you were paraphrasing my dad as saying. Like, “whoa, man, I hope everything’s okay!” (As homework, I challenge you to listen to the funeral dirge that is “Box Wine And Xanax” and not feel like you got repeatedly punched squarely in your midsection.)

The tone is present right from the first somber piano notes of album-opener “Big Ships.” When Barry’s voice eventually joins the instrumentation, it does so in a more tender way than we’re really accustomed to. It’s a song that was written in a place that’s been important to a small legion of East Coast punk rock fans over the last several decades: Asbury Park’s Little Eden. “I was sitting in Kate Hiltz’s kitchen at Little Eden in Asbury Park. I don’t know what I was doing there, but I was there for a couple of days, and no one was around, I had the whole house to myself,” Barry tells me.  “And I was writing that song, it just popped out of nowhere like songs do, and when it came around to the chorus, I looked up and on her wall it said “Big Ships Turn Slow.” I ripped those lines right off of her kitchen wall, and that completed the chorus and the song kept on trucking.” 

Barry tends to play his cards close to his vest when discussing the actual subject matter of some of his more ambiguous material, preferring instead to allow the listener to connect to songs on their own personal level. Still, he offered a bit of a hint behind what went into “Big Ships,” which turned out to be the pivotal moment in putting the writing for The Roads To Richmond to bed. “It’s like this,” he explains. “If you’re taking on a massive life change, you can use the phrase “big ships turn slow,” like, if (I’m asking you for) advice, I can say “I’m quitting my job and I’m gong to be self-employed and I want everything to go right.” And you could say “Tim…big ships turn slow.

Peppered throughout the album are tracks that are unambiguously autobiographical., perhaps none moreso than “April’s Fool,” a song that in some ways sounds like a follow-up to Rivanna Junction‘s “Exit Wounds,” except with the added weight of a marriage and children involved. “(That song is) autobiographical to a T. And you know, to be clear, that song was written while I was going through possibly one of the biggest transitions of my life. It was written in one go. It was “play and record” on my iPhone while I was living in my van. There’s really very little editing on that song, and I don’t think, for me, that music gets any more real than that.

While Barry is obviously no stranger to the broken-hearted love song, “April’s Fool” is a track that evokes enough visceral emotion that Barry was initially remiss to include on the album. “My instinct is to not share that kind of song and share that kind of music because it is sad. My job isn’t to depress people. I don’t even have a job!” As time elapsed, however, Barry started to understand that there was real value both to himself and to his listeners in telling such a personal story. “The subject of the song is divorce, it’s separation, it’s the end of a relationship. It’s the difficult possibility of going on alone when you’re not used to that. That’s what the song’s about. It’s just a moment. And when I was going through that at that point, I didn’t have any peers who were. I had a lot of questions, and there wasn’t really anyone to reach out to…But, as I breach the release of this new record, I realize that I have multiple friends that are going through that exact situation. I have many peers who are dealing with that dynamic in their life right now. I think it’s purposeful now to put that sort of intimacy onto a record so that other people know that other people have been through it. 

I suppose this is as good a point as any to explain, emphatically, that The Roads To Richmond is a sad, depressing album; it’s not! There are very real and very weighty feelings on the album. Over the last half-dozen years, a couple of Barry’s musical peers, Dave Hause and Brian Fallon, wrote their own powerful post-divorce albums (Devour and Get Hurt in that order if you’re keeping score) that rank among the best collections of work in either of their respective lengthy careers, both with bands and as solo artists. Part of the reason those albums have resonated with so many people for so long is that, sure, they’re raw, visceral looks at the pain and isolation that separation leave behind, but they also offer a little bit of redemption; a little bit of positive glow that in spite of all the pain, the future may turn out alright. For that reason, there are a lot of people for whom The Roads To Richmond will be their Devour (or their Blood On The Tracks…or their Rumours…or their Tunnel Of Love).

If I’m going to highlight some of the more raw, heavy emotional tracks on The Roads To Richmond, it’s only fair to highlight some of the tracks that provide a little levity and balance. “Bent Creek” is in uptempo, front-porch singalong about being at piece with the freedom that laying your burdens down and moving on can provide. It’s a cathartic song, and Barry’s voice sings like that of a man with a weight that’s been freed from his shoulders. “Fussin’ Over Fate” is a similar feeling track, a boot-stomping jam about not lamenting the fact that your old hometown has changed from the place you used to remember. “East Texas Red” is a reworking of a Woody Guthrie classic that was popularized by Guthrie’s son Arlo, a country and western murder ballad of a cruel old railroad yard boss who gets his comeuppance at the hands of two weary railroad travelers. “Coralee” is a tender, sweet acoustic ballad of Barry’s own, an ode to his youngest daughter.

And then there’s “Oh My Darling.” It’s a rollicking, Pete Seeger-esque finger-picked number that is placed perfectly on the album, as it helps lift the spirits from the weight of “April’s Fool.” “Oh My Darling” is a track that sounds like Barry singing to his daughter, but the reality is infinitely sweeter; it was penned by Barry’s oldest daughter Lela Jane, then five, as an ode to her little sister, the aforementioned Coralee. “Lela free-styled the lyrics!” Barry explains. “She told me to get a piece of paper and write it down as she sang. She’s fast at writing lyrics and melodies.” Barry gave Lela co-writing credit on the song, and Lela even sings some of the response parts on the call-and-response section of the last chorus. 

You can check out an abridged version of my chat with Barry below; much of our chat was edited and condensed for content purposes. We talked quite a bit about The Roads To Richmond, naturally, and we also talked about Barry’s recent run of shows with Avail, the seminal band’s first gigs in more than a dozen years. You can also buy your own copy of The Roads To Richmond at Tim’s Bandcamp page or at his official store here or at his longtime label home, Chunksaah Records here.

Tim Barry announces new solo album, tour

Avail’s Tim Barry has announced a new solo album, which will be released on October 11th on Chunksaah Records. Titled The Road to Richmond, it will be his first album since 2017.

Tim will also be playing some live shows (and hopefully more than these) in support of the album, with the following dates:

Aug 29 – Muddy Roots Festival – Cookeville, TN
Nov 02 – The Fest – Gainesville, FL
Nov 15 – The Camel / Record Release Show –  Richmond, VA
Nov 16 – The Camel / Record Release Show – Richmond, VA

Tim Barry releases “Little Eden” music video

Tim Barry has released a new music video for “Little Eden”, taken from his latest album High On 95.

You can check it out below.

High On 95 came out in September through Chunksaah Records. We recently sat down with Tim for an interview about the LP, among other things.

Album Review: Tim Barry – “High On 95”

Tim Barry seems to age like a fine wine. The new record, High On 95, brings a softer more laid back Tim Barry; the same thought out lyrics we’re used to, but with a softer delivery. There’s a good balance of folk with just a tinge of punk angst.

When comparing this to past albums you can hear the maturity come through in the songwriting and delivery. It is a good testament to Barry’s growth as a solo artist. The track “O&DP” gives us the catchy punk driven sound we love Tim Barry for. The lyrics “I do a lot of walkin’ and thinkin’, it never really makes much sense. If you’re wantin’ to talk you’ll have to wait till I’m done thinkin'” just sort of resonate. With an underlying punk attitude but delivered in a more mature refined manner it’s a place where punk meets sophistication. Likewise, the same could be said of “Riverside”, whose fairly aggressive lyrics are delivered in a soothing calm way that sounds perfect coming from Tim Barry.

All in all, in this writers opinion this is a great listen. Top to bottom it’s a well written album, every song tells a story. The music behind each story slides along like butter on a warm skillet. High On 95 delivers a softer but more complete and mature Tim Barry. It’s a perfect album for a warm fall day; do yourself a favor and give it a listen.

High on 95 was released September 8th via Chunksaah Records. Get yours here.

4/5 Stars

Tim Barry releases music video for new song “Running Never Tamed Me”

Tim Barry has released a music video for the song “Running Never Tamed Me”, you can watch it below. The song is from the recently released album “High on 95” which came out on Chunksaah Records.

The video contains shots of Tim with his family along side various types on transport and he claims the song caused his two daughters to break down crying the first time they heard it.

Tim just kicked off his US tour and you can find the full list of upcoming dates below the video.

DS Exclusive: Tim Barry talks “High On 95,” performing with the Richmond Symphony, and detaching from social media

It’s become redundant — and probably a sign of downright journalistic laziness — to refer to singer-songwriters like Tim Barry as being of the “heart on their sleeve” variety; the scene is not just full of them bit is outright defined by their presence. With the release of High On 95 last month, Barry has now amassed six studio full length albums (seven, if we’re including the Laurel Street Demos, which coincidentally now means that the Richmond, Virginia native has released more studio albums as a solo artist than he did in his past life as one of the scene’s most posthumously beloved bands) that truthfully don’t find him wearing his heart on his sleeve. Hell, just the idea of Tim Barry even sporting sleeves on his trademark, road-battered Conrail Twitty t-shirt in general seems almost laughable. Sure, as with his other albums, High on 95 contains it’s share of up-tempo, foot-stomping, front porch rockers, a few that take the piss out of himself and his surroundings, and of course a few introspective tales of frustration and catharsis. But if you’ve truly immersed yourself in Barry’s solo catalog, you’re no doubt aware that each album contains at least one track that your heart out of your chest and uses it to punch you directly in the midsection. As Rivanna Junction had “Exit Wounds,” Manchester had “South Hill”, 28th & Stonewall had “Walk 500 Miles,” 40 Miler had “Driver Pull,” and Lost & Rootless had “Solid Gone.”

Continuing on in that theme, High on 95 has it’s own such moment 9/10ths of the way in, on a track called “Running Never Tamed Me.” The weight of the song can perhaps best be told in an anecdote from Barry himself. Not one to normally listen to his own music, Barry was minivan-bound, sorting through mixes in the High On 95 recording process while taking his girls — Lela Jane, now 5, and Coralee, who’s soon-to-be three — to school. Generally a time reserved for singing children’s songs or fighting in the way only siblings can, one day in particular found the van eerily silent. “I realized,” says Barry, “that both of my kids were peering out their respective windows just fucking bawling while the song Running Never Tamed Mewas on, and I just thought “What have I done?!” Now, if you’ve not availed yourself of the album, and the song, yet, you should know in advance that it finds Barry channeling some of the most genuine and heart-wrenching feelings of regret and desperation he’s put on record to date. His daughters, it seemed, had noticed. “I had to pull over and hug them both and ask them what it was about this that made them feel this way. And we had to talk about it, and Lela, my oldest daughter, was hysterical about it. Coralee started loudly crying too. So we just sat on the grass for a second, and they just said that I sounded sad, and they don’t like hearing me sound sad.

While “Running Never Tamed Me” is not necessarily written with present-day Barry as the narrator and central character, the parallels are obvious. Pour through Barry’s catalog and you lose count of the times that a sort of directionless running and wanderlust factor highly among the recurring themes, no matter the album. Much of that is driven by a similarly recurring sense of seemingly not always knowing where he fits in to the world, in either a micro or a macro sense. Hell, his last album was called Lost & Rootless for a reason.

Yet perhaps more than ever before, what High On 95 also contains is a tone of what may be hope but what is probably more accurately described as contentment. Running, it seems, may not have tamed Barry, but maybe age and the wisdom that comes with it have at least helped rewire him. And no, that’s not just due to the obvious fact that he’s raising two daughters now. “I just don’t love being that far from home anymore,” says Barry. “I like to go camping, I like to get cabins in the woods, and I like that kind of stuff, but I don’t like riding on the back of a freight train with a backpack and never knowing where I’m going anymore. I don’t like being in Europe and not being able to check in at home and knowing that I have to take three flights to get back there. I don’t know what happened, I think it just comes with age.”

It’s not that Barry doesn’t have the same stressors or the same reasons to run now as he did in his younger years. Far from it, in fact. “There’s an element of stress constantly on my shoulders, like you have, like everyone has,” he explains, noting the weight in his situation as an individual trying to provide for a family as an independent, working musician. “Because money isn’t easy to come by in my position – or enough of it to sustain a family with the parameters of health insurance and all the other bills and all the other stuff that all of us have.” So what used to be a life of running — drifting, really — is now more of a life that contains periodic, temporary breaks, ways to step back and process life and hit the proverbial reset button on his brain — just not the literal button on his cell phone. Technology has obviously woven its way into the most minute details of most of our lives, but it brings with it a particular set of challenges when you rely on it to put food on the table. “Technology is such a blessing but it’s really not healthy if used constantly. Especially for someone like me who’s trying to provide for a family by doing music which makes me a businessperson or my own boss, which is kind of incredible but it’s also just weird and it’s nothing that I intended on doing.  – it becomes an obsession to check your fucking email! Check your email, check your socials! It’s this false urgency that induces this incredible stress that’s really completely irrelevant!” He adds, rather poignantly, something that most of us raising children in 2017 have struggled with: “Before you know it, your kids aren’t going to give a flying shit about you again, so am I going to miss this beautiful moment of my two-year-old sitting on my lap eating her butter pasta because I’m lurking on Instagram?! Really?!

Still, it was through particularly well-timed call on his cell phone that Barry was presented with an offer to participate in one of the more unique experiences of his professional career: his recent performance with the Richmond Symphony Orchestra at the legendary Carpenter Theater, right in his own hometown. Because the story is so perfectly “Tim Barry,” it’s better off if he just tells it: “I was in the dressing room in Garwood, New Jersey, with Brian Fallon, getting ready to play a show during a series that he was holding where he was playing small club shows for a week. So we’re sitting in the dressing room and I get a phone call from the Executive Director of the Symphony, and he invites me to play with the full symphony backing me, and I almost kind of choked and laughed at how absurd it was. I think I got off the phone and Brian inquired who it was, and he said “what are you going to do?”. And I said “I’m not going to do it – fuck that, that’s crazy! I’m not talented enough!” And he was like – to paraphrase –  he said “if you go on stage tonight and talk about challenging yourself and scaring yourself and doing things out of the ordinary, then I’m going to call you on it!” So, I consented to doing a show with the Richmond Symphony that night, right after that.”

Even though Barry hammers away at an acoustic guitar night in and night out on the road, he is punk rock ethos personified, creating some interesting issues when translating things for the different environment. If we can peel back the curtain a little bit, a lot of the time that you hear Barry (or any rock musician, really) engage in stage banter or play a few seemingly random between-song chords, there’s usually a reason for that: radio silence. “Growing up in punk, the worst thing you can ever do at a house show or a small club show or a squat or whatever is have radio silence. So instinctively, the second you finish, the guitar player hits feedback or the singer starts babbling or the drummer hits the cymbals. There’s nothing worse than a song ending and everybody going “Chirp. Chirp. Chirp.” I instinctively finish songs and hit an open note and then take a sip of water, and then hit an open note and maybe say some stuff, and then hit an open note!

Take a song like “Church of Level Track,” for example. The song has long been a staple — and a crowd favorite — in a typical Tim Barry live set. “(The song) starts “I was drunk as hell with a friend way back…” and to get the key, so I don’t just start signing in the wrong key, I hit a C chord, which is the first chord of the song (and let it ring) and then whenever the fuck I feel like it, I’d say “I was drunk as hell…” Barry explains. But in an arena like the symphony, which is predicated on military-like precision and all things being properly, meticulously graphed and charted, there’s no room for a random chord to help you find a pitch. He continues: “In her sheet music, the song starts with me singing on the first note, that C chord. So she’s standing in front of a million players and she hears me (*briiiing*) which is just me playing the key, and she starts to count there, and the whole fucking song is completely off. And they’re all just like “what the fuck???We had to meet in the middle, we had to make compromises. I was like “Chia-Hsuan, look, I can’t sing this fucking song without hitting that chord!

When all was said and done, Barry worked with the director and the conductor of the Richmond Symphony to pull together a small batch of songs that kicked off a showcase that found the RSO backing a handful of Richmond-based musicians in a variety of genres. While the other artists may have found the event to be noteworthy for good reason, you’d be hard-pressed to find one that it left such a personal mark on. “For years, I worked for this symphony unloading their trucks and setting stuff up, and I worked for the Richmond Ballet driving their trucks and unloading them setting stuff up and for IATSE Union 87 doing the same sort of thing,” says Barry. And while it might be easy to get wrapped up in the whirlwind of the performance, Barry was able to find a way to step back and absorb all that was going on.

I did the song “Exit Wounds” and when I play it live at club shows, I end it before this big musical break, because that would be boring and redundant for me to play on an acoustic guitar,” he explains. “So I think that was one of my favorite parts of the symphony show when we included that. I just stepped off to stage right as far as I could and let Chia-Hsuan Lin who’s the conductor just fucking handle it. She was like “I’m going to be paying attention to your timing” and I said “no, I’m just going to play as quietly as I can. I want you to blow this fucking place out. Get loud!” And she did! I could see that she gave me a little smirk in the middle of it.” If there’s a moment that more perfectly encompasses the entirety of the Tim Barry Experience, of standing back and absorbing the gravity of an overwhelming situation that came from a period of self-doubt and personal challenge to a moment of triumph and appreciating all that you have when you have it, it simply hasn’t been written yet.

High On 95 came out on September 8th through Chunksaah Records. Head over here to grab your copy of the album. While you’re at it, head here to see where you can catch Tim on his upcoming tour dates, including a handful with the likes of Roger Harvey and Off With Their Heads. Check out our full, wide-open and far-ranging interview below.

Tim Barry streams new album “High On 95”, announces US tour dates

Tim Barry has made his new album High On 95 available stream, and has announced US tour dates in support of the release. You can give the track a listen and check out the dates below.

High On 95 came out today, September 8th through Chunksaah Records. Head over here to grab your copy of the album.

New Video: Tim Barry – “High on 95” (w/camera work from his 4-year-old daughter, Lela Jane)

Tim Barry has unveiled the latest video from his forthcoming full-length album, and this one’s pretty damn special.

It’s for the title track to High On 95, and it was shot almost entirely by Barry’s four-and-a-half year-old daughter, Lela Jane, on an old VHS camcorder. If you’ve followed Barry’s career as a solo artist, you’ve no doubt gotten the chance to watch Lela and her little sister, Coralee, grow up in front of the camera lens via Instagram, so it’s a unique — and heart-warming — thing to see her on the other side of the camera pointing it at her old man.

Check out Lela’s video-making debut below. High on 95 is due out this coming Friday (September 8th) via Chunksaah Records. Some pre-order options are available here; others will be up on Barry’s website in a couple days! And happy early birthday, Lela Jane!

Tiger Army and Murder By Death announce upcoming tour

Los Angeles psychobilly punks Tiger Army has announced that they will be touring with Murder By Death along with Tim Barry starting in June.

Check out tour dates and locations for the upcoming tour below.

The band released their last album, ‘V •••–’, via Rise Records on May 20, 2016.

Against Me! add Tim Barry to upcoming North American tour

Former Avail frontman-turned-solo artist Tim Barry has been announced as a support act for Against Me!‘s North American tour with Texan punk band Fea. You can find more info on when and where they’ll be playing below below.

Barry’s latest album Lost & Rootless was released in 2014 through Chunksaah Records. Against Me! released a live album titled 23 Live Sex Acts last year on Total Treble Records, and according to a press release we recently received, details on their follow-up to Transgender Dysphoria Blues are coming soon.

Initial lineup for Fest 15 announced (Propagandhi, Less Than Jake, OWTH and more)

Well well well…one of the more anticipated news days of the spring is finally upon us, and it’s a damn good one!

The initial lineup for the 15th installment of annual Gainesville-based gathering of the punks known as Fest has been announced!

Today’s announcement revealed the likes of Propagandhi, Less Than Jake, Off With Their Heads, Tim Barry, Braid, The Flatliners, A Wilhelm Scream, Samiam, Small Brown Bike, PEARS, toyGuitar, AJJ, and a crapload more. Check out the full, up-to-the-minute lineup here, and stay tuned for more details, slated to be announced on May 13th.

Fest 15 takes place October 28-30 in, you guessed it, Gainesville, Florida.

Bouncing Souls announce lineup for Home For The Holidays 9

New Jersey legends The Bouncing Souls have announced the lineup for their 9th annual Home For The Holidays festival.

This year will feature bands like The World/Inferno Friendship Society, Tim Barry, The Loved Ones, and more.  You can get all the details here.

The Bouncing Souls last released “Comet” in 2012 via Rise Records & Chunksaah Records.

Tim Barry releases music video for “Solid Gone”

Former Avail frontman and current folk-rocker Tim Barry has just released a music video for the song “Solid Gone”. The track appears on his latest album, Lost & Rootless, which was released last November through Chunksaah Records.

Check out the video as well as his upcoming tour dates (including those with Two Cow Garage, Northcote and Allison Weiss) below.

Tim Barry (Avail) releases lyric video for “No News From North”

Former Avail frontman and current folk-rocker Tim Barry has just released a lyric video for the song “No News From North”. The track appears on his latest album, Lost & Rootless, which was released last November through Chunksaah Records.

Check out the video as well as his upcoming tour dates (including those with Northcote and Allison Weiss) below.