11 Songs, 41 Minutes

EDITORS’ NOTES

Scott H. Biram isn't for the faint of heart. He's an aggressive one-man band whose primary goals are taking your head off and shocking the pants off you. While there’s a sense of contrition looming over this album, it’s more like a counterpoint to the man’s pursuit of excess. The acoustic “Never Comin’ Home” is an outlaw’s idea of almost settling down. “Only Whiskey” immediately cranks back up to a manic, rockin’ speed, as if the previous revelation had been merely a moment of weakness. Recorded at Biram’s home studio and at Cacophony Studios in Austin, Texas—the first time Biram has used an outside studio in several releases—Nothin’ but Blood ping-pongs from gloriously dirty lo-fi to mildly upgraded fidelity for a surprisingly diverse set. “Alcohol Blues” and “Church Point Girls” go for the throat with reckless abandon and raw, distorted boogie. “Nam Weed” nails down outlaw country like it's 1973. “I’m Troubled” settles into a recording with acoustic guitar and harmonica; it's clear and efficient and could be a back-porch jam if we didn’t know better.

EDITORS’ NOTES

Scott H. Biram isn't for the faint of heart. He's an aggressive one-man band whose primary goals are taking your head off and shocking the pants off you. While there’s a sense of contrition looming over this album, it’s more like a counterpoint to the man’s pursuit of excess. The acoustic “Never Comin’ Home” is an outlaw’s idea of almost settling down. “Only Whiskey” immediately cranks back up to a manic, rockin’ speed, as if the previous revelation had been merely a moment of weakness. Recorded at Biram’s home studio and at Cacophony Studios in Austin, Texas—the first time Biram has used an outside studio in several releases—Nothin’ but Blood ping-pongs from gloriously dirty lo-fi to mildly upgraded fidelity for a surprisingly diverse set. “Alcohol Blues” and “Church Point Girls” go for the throat with reckless abandon and raw, distorted boogie. “Nam Weed” nails down outlaw country like it's 1973. “I’m Troubled” settles into a recording with acoustic guitar and harmonica; it's clear and efficient and could be a back-porch jam if we didn’t know better.

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About Scott H. Biram

Scott H. Biram offers up a unique blend of "real" country, old-school acoustic blues, and punk, with influences ranging from Minor Threat and Slayer to Bill Monroe and Mississippi Fred McDowell. Biram is a one-man band, playing all his songs on a 1959 Gibson hollow body guitar and an amplified "stomp board," yet each song is unique, and Biram dishes out a rare sense of self-confidence and independence rivaled by the originators of outlaw country music themselves.

Describing his music as "the bastard child of punk, blues, country, hillbilly, bluegrass, chain gang, metal, and classic rock," Biram was born in Lockhart, Texas and grew up in Prairie Lea (a small town of less than 250 residents) and San Marcos (a city of 50,000 not far from Austin). While in high school, Biram joined a local punk rock band called the Thangs, and played shows with them after moving on to college (Biram earned a degree in fine arts from Southwest Texas State University). As he developed a taste for roots music (in particular Lightnin' Hopkins and Doc Watson), he played with a pair of bluegrass bands during his college days, Scott Biram & the Salt Peter Boys and Bluegrass Drive-By.

In the late '90s, Biram adopted his aggressive one-man band performing style and released his first album, This Is Kingsbury?, in 2000 on his own KnuckleSandwich Records label. Another self-released album, Preachin' and Hollerin', appeared in 2002. In 2003, Biram was nearly killed when his truck was involved in a head-on collision with a semi on a Texas highway. While confined to his bed, Biram recorded an EP, Rehabilitation Blues, and less than two months after the accident, Biram played a legendary show at Austin's Continental Club, performing on-stage in a wheelchair with IVs still dangling from his arms. The Continental show defined Biram's relentless and rebellious image, and he hit the road hard, playing up to 200 dates a year and releasing records at a steady pace. Biram's 2004 album The Dirty Old One Man Band attracted the attention of "insurgent country" label Bloodshot Records, which released a revised edition of the disc in 2005. Since then, Biram has divided his time between his punishing road schedule and recording new music for Bloodshot, turning out four albums (Graveyard Shift, Something's Gone/Lost Forever, Bad Ingredients, Nothin' But Blood, and The Bad Testament) and a pair of singles between 2006 and 2017. ~ Megan Frye

HOMETOWN
Lockhart, TX
GENRE
Rock
BORN
April 4, 1974

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