Barbara Cue | Louisiana Truckstop

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Rock: Americana Rock: Jam-band Moods: Featuring Guitar
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Louisiana Truckstop

by Barbara Cue

The first album from the Athens, Ga, collective Barbara Cue, a side project for members of Widespread Panic, Bloodkin and other bands, literate Southern Rock with lots of guitars.
Genre: Rock: Americana
Release Date: 

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1. Find a Fool
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3:55 $0.99
2. Little Floater
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3:26 $0.99
3. The Wrong Lover
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6:18 $0.99
4. For One Thing
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3:07 $0.99
5. Pictures of You
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5:56 $0.99
6. Don't Take It Away
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5:00 $0.99
7. True Identity
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4:09 $0.99
8. Back to Town
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4:21 $0.99
9. Dig Deeper
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5:24 $0.99
10. Louisiana Truckstop
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6:15 $0.99
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ABOUT THIS ALBUM


Album Notes
So this is Barbara Cue’s first album, which really came
as a surprise. The band started as a diversion, a chance
for drummer/singer Todd Nance and I to get together
a NRBQ cover project for kicks, in between his
Widespread Panic tours. We had talked of this for
years, but not until 1997 did the opportune time arise.
So we convened at the Panic practice space, joined by
my suggestion of John Neff and Jon Mills, who I knew
we equally as interested in the Q. This practice space
was a back room, windowless, in a long skinny space
they were renting for office and equipment storagethey’d
been there for a couple of years-just a couple of
doors to the left of the Nowhere Bar. Road cases
everywhere, as Panic had a ton of stuff to take on the
road, and we pushed and stacked and carved out about
a 15x15 space, brought in our amps, and off we went.
The plan was to learn some NRBQ songs, for fun, with
no plans really to even play ‘em live. I forget the first
song learned, probably “I Want You Bad,” because I
knew it already. And the other plan was that everyone
had to learn and sing at least one song. I remember
Todd brought “Some Kind of Blues,” John brought
“That’s All Right,” and Mills brought “Little Floater,”
which ended up on the first album, and ultimately on
the European release of the “The Q People,” a tribute
album to NRBQ featuring Bonnie Raitt, Steve Earle,
Widespread Panic, Mike Mills and others. But that’s
another story. Anyway, after a couple of merry, Qladen
jam sessions, Neff suggested, kind of thinking
outside the box, “hey, why don’t we try playing some
other material…” And thus the tale grew in the telling.
Other covers were suggested, and I tossed in some
songs I had lying around. “Find a Fool,” “Dig Deeper,”
and “Pictures of You” among them. One night, we had
been rocking for a little while, and Crumpy Edwards,
long-time compadre of everyone and amazing bassist,
happened to be hanging around. Mills had to go to
another practice, and we weren’t ready to knock off, so
Crumpy was pressed into service, especially as I had
been wanting to play “Love and Happiness” with CDog
for many years. So, in keeping with the
“everybody has to sing at least one song” motto, we
1999
Man of
Steel
Music
forged ahead, and decided to do a show, and booked a
night at the High Hat. Much merriment ensued. I
noticed that when one or the other bassist wasn’t
playing, they were allowed much easier access to our
beer supply, so I suggested that we add the bassist on
the sideline as a rhythm guitarists. Some
protestations, but it worked out. So now it’s march,
and Panic are about to leave for Spring tour, and I
decided that since there may not be another chance to
have such a stalwart lineup play some of my originals,
we should record the stuff. I contacted Dave Barbe,
who had a nice mobile recording unit, and he came
over to the carpet cave and we recorded, live to eight
track, for a night or two. None of these recordings ever
saw the light of day, and I wonder where the tapes are.
Anyway, it lit the fire, and we decided it would be fun
to try out recording in a real studio, later on. So Chase
Park Transduction, Dave’s studio, became the place
for Cue recording. I forget when we first went in,
maybe Fall or Winter of that year, but I think “Pictures
of You,” “Dig Deeper,” “Find a Fool,”and “For One
Thing” were the first batch, maybe. Recording took
place over about a year, I remember where I was
working when I was arranging the manufacturing. We
mastered it with Rodney Mills, in Atlanta. He had
been the ears behind Lynyrd Skynyrd’s “Street
Survivors,” so we were naturally enchanted. He even
told us some Skynyrd stories. Anyway, various
memories. Longtime Panic lynchpin Gomer Jordan
was in the control room when Mills and I sang “Little
Floater,” standing at one microphone-I had heard The
Beatles recorded that way for their early albums, and
wanted to try it-you get a vocal blend before the waves
even hit the microphone, so it’s a better blend, though
impossible to mess with (balance, tone, punchins) so
once it’s down, it’s down. “Wrong Lover” grew out of a
jam on that main riff. Neff sang lead on “Back to
Town,” I think to date the only lead vocal he has ever
done. I think Crumpy had some harmony vocals on
“Wrong Lover,” so everyone’s voice is on there
somewhere. Todd sang lead on two, the second of
which had lyrics written by his great friend John
Donnelly, this was “Don’t Take it Away.” My high
school friend Greg McDevitt provided lyrics for “True
Identity,” the rock riff song. I had chosen the
manufacturer, and had some fun with that, including
the decision to have the disc be printed in gold ink, so our debut album "shipped gold."


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