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Alt-Country, with a twist of cynical fatalism, bereft of all earnestness
Genre:
Country: Traditional Country
Release Date:
2003
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Pay No Attention to the Man Behind the Hurtin'
The Lockhorns
© Copyright-The Lockhorns
Record Label: The Lockhorns
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1. Let's Make this First Kiss Our Last |
3:08 |
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2. Datin' the Great Satan |
4:44 |
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3. Three Sided Coin |
1:29 |
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4. They're Playing Our Dirge |
3:18 |
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5. The Autopsy |
4:27 |
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6. She Was Standin' By The Barn |
3:20 |
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7. Yesterday's Coffee It's Bittersweet (the aqua velva song) |
2:25 |
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8. The Stranger |
3:04 |
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9. Little Sister (the authority song) |
2:31 |
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10. ...yet |
0:25 |
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11. Waterloo |
3:53 |
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12. ...yet...again |
0:29 |
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13. What Is It Only Hurts a Little |
3:16 |
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14. The Christmas Song |
3:27 |
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Married...and to each other.
The Lockhorns are a husband and wife duo who have been writing, performing and now recording in the Baltimore area for the past 10 years. With an extensive repertoire of primarily original material they strum and sing darkly absurdist songs of fatalism, loss, regret, fatalism, drinking, bitterness, fatalism, animals, and fatalism.
Their wedding date has been variously recorded in their collective memories as having occurred on the 15th, 16th, or 17th of July (possibly June) of 1993. They began life as a musical duo either shortly before or after that day. Courtney "Mr. Lockhorn" McCullough had been writing some of the songs they still perform today already but these efforts were improved immeasurably by the unique talents of his betrothed Sabra "Mrs. Lockhorn" Aaron. With a funky fresh blend of electric and acoustic guitars and material that treads the broad landscape where punk meets country and pop The Lockhorns have played to appreciative audiences at venues catering to Roots Rock, Punk Rock and Art Rock.
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A unique, dark, humerous take on love and loss.
author: John Lewis--Baltimore Magazine
It's rare when a band creates and occupies a world all it's own. The Lockhorns are one of those groups. The Baltimore-based duo strums, bangs, and shapes a stark, unique sound that blends tear-in-your-beer rootsiness with a here's-spittin-in-your-eye conviction. The band's debut disc "Pay No Attentio To The Man Behind The Hurtin'" gets extra credit for that clever title and a radical reworking of Abba's "Waterloo"--as a country weeper no less.
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