Backroom In Tulsa
Backroom In Tulsa
"Backroom In Tulsa" is what you might hear being played at a drive-up chapel on your way to hell. Full of dark imagery and lost love, "Backroom in Tulsa" is a rollicking good time that you will regret the next day.
In a backroom in Tulsa
Dirty deeds get done
A backroom in Tulsa
Is where I have my fun
She left me with nothing
But a smile and a gun
A backroom in Tulsa
Is where it all begun
Don’t bother getting a doctor
What we need here is a priest
Cain’s cutting rugs
At the ballroom on Main Street
Abel’s in a boxcar heading east
Check that back alley prophet
Preaching on his soapbox
With some style
Writing down gospel
In lipstick on the tiles
The children speak in tongues
You know that the spirit takes them all
And there’s a backroom Tulsa
That will take you when you fall
Don’t bother getting a doctor
What we need here is a priest
Cain’s cutting rugs
At the ballroom on Main Street
Abel’s in a boxcar heading east
Seven years of bad luck, child
But honey, I can keep you from harm
Just take that broken piece of glass
And carve my name into your arm
One brother in the dirt
Another on the run
A backroom in Tulsa
Is where it all begun
Don’t bother getting a doctor
What we need here is a priest
Cain’s cutting rugs
At the ballroom on Main Street
Abel’s in a boxcar heading east
Written and Produced by Wesley Morgan
Recorded at Tiny Telephone, San Francisco CA
March 19-21, 2012
Wesley Morgan: Guitar and Vocals
Daniel Fabricant: Bass
Finn Kelly: Piano
David Phillips: Pedal Steel
Aaron Kierbel: Drums & Percussion
Recorded and Mixed by Oz Fritz at Tiny Telephone, San Francisco CA
Co-Produced by Adam Theis
Immediate download of 4-song EP in your choice of MP3 320, FLAC, Apple Lossless, or just about any other format you could possibly desire.
Also available at:
Comes in a 4 panel eco-pack with art and layout by LissaIvy Tiegel, Julia O. Test, and Deric Carner and includes a personal note from Wesley Morgan.
Also includes an Immediate download of 4-song EP in your choice of MP3 320, FLAC, Apple Lossless, or just about any other format you could possibly desire.
Also available at:
Video
Live In Studio
03/19/12
One Take, No Overdubs
Video
Opening For Chris Isaak
07/22/11 @ The Mountain Winery
Video
Live @ Amnesia
07/24/11
San Francisco, CA
Wesley Morgan performs a dark blend of broken down blues, junkyard americana, and gritty country with lyrics that dwell on the darker side of creation. He calls this style of music Swamp Noir.
Since starting out as a solo artist 2011, Wesley Morgan has performed with some amazing musicians. He has opened for Chris Isaak and Jack White favorites Pokey LaFarge and the South City Three. He has also performed with guitarist Joe Gore (Tom Waits, PJ Harvey) and drummer Dawn Richardson (4 Non Blondes, Tracy Chapman).
Wesley recently worked with Grammy award winning engineer Oz Fritz to record and mix two original songs. Oz Fritz is best known for recording Tom Wait's Mule Variations, Alice, and Blood Money. He has also worked with many other well known musicians including Bill Laswell, Bernie Worell, Buckethead, Brain, Stewart Copeland, and Trey Anastasio from Phish.
The sessions with Oz Fritz resulted in two classic Swamp Noir tunes, "Backroom In Tulsa" and "Flesh and Bone." These two songs along with self-produced "Fade" and "
Last Call" will be released on July 31st, 2012 on the EP Backroom In Tulsa.
Song Information
"Backroom In Tulsa" is what you might hear being played at a drive-up chapel on your way to hell. Full of dark imagery and lost love, "Backroom in Tulsa" is a rollicking good time that you'll regret the next day.
Next up is "Flesh and Bone", a 180 degrees from the roadhouse stylings of the previous track. Perfomed with delicate electric guitar, angelic pedal steel, and subdued accordian, this song tackles the not-so-simple issue of an imperfect person in a perfect relationship.
"Fade" is a slightly different adventure. Born from the live looping Wesley employs in his solo show, Fade is built up from a simple beat box loop that is reminisicent of the intro to "Closer" from Nine Inch Nails. Wesley then applies different sounds on top of this loop to create an electro-acoustic hybrid that borrows heavilyfrom Radiohead, Lou Reed, P.J. Harvey, and many others. The song's lyrics present two sides of the same story, a story that dwells in obsession and desire.
Finally, there is the instrumental "Last Call". Remember that scene from Mean Streets where Harvey Keitel is drunk and the camera follows him down onto the floor? Instead of Harvey Keitel, imagine a slide guitarist lying on his back intoxicated from alcohol and pain meds, playing at 3:30am for the three remaining people in the bar. "Last Call" is what that guitarist might be hearing and feeling as he trys to get through the last song of the night.