19th Hole Music Series presents... screening of DNC documentary 'Scarred but Smarter (life n times of drivin n cryin)' followed by a Drivin' N' Cryin' concert
Scarred but Smarter (life n times of drivin n cryin)
Shelly Colvin
Drivn' N' Cryin'
May 2, 2013 at 7:00 PM
Doors open 6:00 PM
Drivin’ N’ Cryin’ is an Atlanta institution that has seen every peak and valley the music industry can offer in the years since they began in 1985. Southern Rock is their calling card, and they deliver it with a vengeance each and every time they take the stage. This very special show because it will be preceded by a screening of their brand new band documentary. Join us for the film and you will be treated to a live show by the band immediately afterwards! A perfect opportunity to celebrate the past, present and future of a part of our state’s sonic heritage. Doors open @ 6pm - Film promptly from 7pm-9pm, then a short set by songwriter Shelly Colvin, followed by Drivin' N Cryin' @ 10pm
- 18+ Show -
Ticket Prices
General Admission
Event Schedule
Scarred but Smarter (life n times of drivin n cryin)
7:00 PM
Shelly Colvin
9:15 PM
Drivn' N' Cryin'
10:00 PM
Truth N Consequences. Life N Times. Drivin N Cryin. The story behind legendary Southern alternative rock band, drivin n cryin, as documented through the eyes of director Eric Von Haessler.

Director Eric Von Haessler falls in love with legendary Southern alternative rock band, drivin n cryin during their 25th Anniversary Tour. He then wonders, "why did it take me 25 years to discover this band and their incredibly deep catalog of albums?" and "why is this not one of the biggest bands in the world?" ...and that led to even more questions... more >>>
Shelly Colvin | 9:15 PM
Some artists make a choice to pursue music, and some are just born into it. As the daughter of a music minister, talented singer-songwriter Shelly Colvin absolutely falls into the latter category.

Learning to sing harmonies and performing onstage with her parents before she even started kindergarten, music was a constant, integral element of her early life. This foundational framework translates to an impressive musical finesse that can be easily felt on her upcoming debut album Up the Hickory Down the Pine.

Mixing a relaxed, seventies country rock vibe with sweeping, breathy vocals that fall somewhere between Emmylou Harris, Linda Ronstadt and Hope Sandoval (Mazzy Star), Colvin creates an inviting sound that is both reminding and refreshing. Not content to use her early influences as simply a destination point, she showcases her creative momentum with the melodic shuffle of “Holding Steady,” the quiet heartbreak of “The Staying Kind” and the banjo-fueled pulse of “Pocket Change.”

CMT Edge: Growing up the daughter of a Baptist minister of music in Huntsville, Ala., you started singing and performing at a very young age. What are some of your earliest memories of your initial drawing to music?

Colvin: Music was so much a part of my family’s existence, I really had no choice. I was 5 years old, having to hold down a third-part harmony with my mom and dad, and I certainly found an early joy hearing the power of that blended sound come back through the speakers.

Your songs have a cool, distinctly 1970s California country vibe surrounding them. What artists are responsible for planting those hazy, sun-kissed seeds into your music?

I’ve got every Emmylou Harris and Byrds record you can get your hands on … Flying Burrito Brothers, Jackson Browne,J.D. Souther, Linda Ronstadt, Karla Bonoff and Neil Young. Those writers and artists helped shape my sense of melody and lyric, without question. I’ve had the privilege to work and perform onstage with Chris Hillman [Byrds, Flying Burrito Brothers], as well as Jackson Browne. I’ve also co-written songs with J.D. Souther. Those experiences with some of my heroes are my favorite musical memories to date. I’m hoping there will be an Emmylou memory to make at some point.

Up the Hickory Down the Pine feels like the sonic equivalent of a front porch full of friends. Were the songs written and recorded collaboratively or did you bring them to the band already fully realized?

They began as a collaboration between myself, Mando Saenz and Beau Stapleton. The three of us started a band called Browns Ferry two years ago, which ended quickly when Beau decided to move to Los Angeles and begin law school. I wanted Browns Ferry to feel like Crazy Horse, and we had a good collection of songs to start out that were written on one trip to my aunt’s Elk River house.

When Beau moved, Mando and I were so deep in that energy that we just continued to write. The direction changed a bit, and I shifted my inspiration to creating more of a female Harvest [a Neil Young album], mixed with a little Jerry Garcia. I had been playing shows with guitar great, Gibb Droll, already. Around that time he was working on a record, Eaten by Dinosaurs, with Ken Coomer, which they had me come in and sing on. I was blown away by what the two of them had tapped into together, so I brought my new collection of songs to them. The three of us produced the record together, and that gave it its own uniqueness and made it sound more like a band.

Do you feel that the rootsy instrumentation on the album helps put the listener in a specific headspace for your lyrics?

I hope so. The goal was to put all the elements in balance with one another, so that nothing sticks out too much or is a distraction from what I’m saying. I think about creating music like creating a painting. Everything has to work together perfectly so that listener and observer can hopefully see and hear the picture clearly. And if they interpret it differently from my intention, that’s OK.

For an album of mostly laid-back, folksy numbers, “Pocket Change” definitely has some awesome swagger and attitude in it. What was the inspiration behind this song and who played that killer banjo?

I have to give Ken Coomer the credit there. The demo for “Pocket Change” was a double-time, barn burner-type song. When Ken heard it, he said, “What if we did this with a John Bonham vibe?” I’m always up for trying something unexpected, so I went for it. Ken crushed it on drums and made it work for the song. And with that new direction, I was really hearing that banjo part in order to anchor it with the rest of the record. I looked to Gibb, who had never played banjo before. I was able to borrow a guitjo from my buddy Chad Jeffers, and Gibb made it sound like Earl Scruggs on banjo! That may be sacrilege to some, but I didn’t have the budget to bring in another player. I had to make it work. Gibb delivered, as far as I’m concerned.

From your early local theater work to studying drama at the University of Alabama to your current gig as a stylist for Billy Reid clothing, you’ve maintained a creative thread throughout your life. Have these experiences affected your musical creativity, as well?

They absolutely help me stay creative. Staying inspired in the music business is hard, especially when you’re doing it on your own. I try to find as many creative outlets as I can, and Billy Reid is completely supportive in trying to allow creative opportunities for me as an artist and someone on their payroll. I owe him much for his and the company’s support. I just went to dress My Morning Jacket for the Love for Levon show in East Rutherford, N.J. You better believe it sent me home inspired and ready to create and be onstage myself. more >>>
Drivn' N' Cryin' | 10:00 PM
I Played Guitar on a Chain Gang

Or, things you might want to know about my fuckin’ rock band
by kevn kinney

“We are a band that’s like your record collection.”

–That’s a quote from me in one of the first articles ever written about drivin’ n’ cryin’ back in the ’80s.

THE ’80s

We released our first album Scarred But Smarter in 1986 on 688 Records. 688 was the center of the underground Atlanta rock scene in the 1980’s. Bands as diverse as Hüsker Dü, Rank and File, Lords of the New Church, The Residents and a week-long stint by Iggy Pop graced the hallowed walls of that now-defunct nightclub. If you drive down Spring Street today, there’s just a doc-in-a-box where the punk rock used to be.

I met Tim Nielsen just after I moved to Atlanta from Milwaukee. One night I was playing in a pickup band with Die Kreuzen, my good friends from back home. (Check out their Touch and Go records produced by Butch Vig.) They were staying on my floor, just passing through on tour. We played a lot of shows together a couple of years back when I was in a punk band called The Prosecutors, so we figured what the fuck? Let’s see what happens.

Tim was there that night. He played in the big 688 band The Nightporters and was a rock star in Atlanta. He pulled me aside after the show and asked me if I lived down here. I told him that I had just moved to town and was working at the sewage plant, retired from the music world for good at age 24.

Tim stopped by my apartment one afternoon a couple of weeks later and TOLD me he was gonna find me a band to be in. My music was on the folk side of Dylan at the time but I decided I was up to playing just for the fun of it. He got me practicing with a few guys but it wasn’t really happening, so eventually he decided we’d just start our own damn band.

Tim quit The Nightporters and stole their drummer and we played our first drivin’ n’ cryin’ show at 688 in October 1985. A little over a year later, I’m sitting in my living room with an album, a real, freakin’ 12-inch vinyl LP record called Scarred But Smarter.

I wanted to be in a band that would be unafraid of changing genres, mostly because I’m easily distracted and change subjects mid-sentence. “Needs help with self control,” read every report card after fifth grade….smartass…underground comic-readin’ journalistic wannabe…too lazy to write a complete story….I settled on the song format…it’s perfect…a short poem…with its own soundtrack.

At 24, I wrote:

Nobody said it would be fair

They warned you before you went out there

There’s always a chance to get restarted

To a new world, new life

Scarred but smarter

At that time, I had restarted myself. I come from an industrial land of things that used to be: Milwaukee, Wisconsin, class of 79…a town, back then, that encouraged you to leave high school, get a job in a factory, get injured and then get workers compensation while picking up a side job at a liquor store or record shop where you got paid under the table.

The band released its first album for Island, Whisper Tames The Lion, produced by Anton Fier, in early 1988. The album peaked at No. 130 on the Billboard 200. College radio success (and some commercial) accumulated with airplay of the songs “Can’t Promise You The World” (for which the band filmed its first video) and “Powerhouse”.

1989 marked the release of some of the band’s most memorable songs on the Mystery Road album, such as “Honeysuckle Blue” and “Straight To Hell.”

THE ’90s

In 1991 the more hard-rocking Fly Me Courageous ended up being the band’s most commercially successful album, with the album being certified gold. The next few years the band toured with artists such as Neil Young and Soul Asylum. In 1993, DNC released another album produced by Geoff Workman, entitled Smoke, which peaked at No. 95 on the Billboard’s Top 200 album chart. This album was another all-out rocker, marked with guitar assaults, but it failed to catch on with the public as had its predecessor.

Lotsa touring, lotsa recording, lotsa people, lotsa stress, lotsa change, lotsa lotsa.

In 1994, the band decided to move away from the heavy guitar sounds of the previous two records and brought in keyboardist Joey Huffman to replace Buren Fowler. That same year the band left Island Records and found a new home at Geffen Records. The band’s first and only Geffen album, 1995's Wrapped In Sky, featured newly added keyboard sounds and a return to the band’s original sound. 1997 brought along a self-titled album, followed two years later by a live album, The Essential Live Drivin’ ‘N’ Cryin’.

THE ’00s

2009’s (Whatever Happened To The) Great American Bubble Factory (the first recording of new material in 12 years!) was the perfect crescendo to a long twenty-plus year career of drivin’ n’ cryin’. I think we found the true essence of what we started to build back in 1985. It’s the truth as we see it set to a soundtrack fueled by music we love, everyone from The Ramones, The Clash, The Seeds, Iggy, Dylan, Patti Smith Group, R.E.M., Thin Lizzy, The Rolling Stones. You get the point.

The song title for (Whatever Happened to the) Great American Bubble Factory hit me one afternoon when I was at the dollar store getting some bubbles for the neighborhood kids. As I was standing in line, I looked down at the “made in” label and noticed that those bubbles were made in China…..China!! That’s a long way for a bottle of freakin’ soap to travel. Come on, maybe we can’t make TVs or refrigerators or cars here anymore, but bubbles?

In my world, the first step to a renewed America and our deliverance from an unspeakable disrespect of the American workforce would be the opening of THE GREAT AMERICAN BUBBLE FACTORY. They would come from miles around to see the Willie Wonka of the New Deal….There’s hope again!!! If you can make it here, why don’t you make it here…

We started demos for this record back in 2001 on September 10th. The next day the world was upside down and traitors were everywhere, underneath every coffee cup. Joe McCarthy was back and I just didn’t feel like I was ready to tell the story of the blue-collared optimist…

She said, ‘Son, you’re dreamin’

Well, ma, if I’m dreamin’

Just don’t you wake me

That record weaves in and out of the “Midwestern Blues” to the Flannery O’Connor South of “This Town” to the industrial grind of “Detroit City” to the optimistic anthem (and Dictators cover!!) “I Stand Tall” to the genuine pining for home in “I See Georgia.”

I wanted you settled in, riled up, loaded for bear and somewhere out there on the road in search of the great American dream…..

The ’10s

Cut to 2011/12: the Georgia General Assembly commended Drivin’ N’ Cryin’ in a house resolution for the band’s achievements.

Sadler Vaden joins the band (replacing Mac Carter on lead guitar), we cut a deal with Redeye Distributors to keep our records out there in the public eye, we sign on with the William Morris Endeavor to book our shows, and a new record release concept comes to mind…!

A couple months ago I was writing in the morning and my wife was listening to a record. She said I should record that song and I said ‘well, I did.’ It was the last song on the last record ! It dawned on me then that most people that listen to records don’t usually listen past five or six songs, so I’m going to make a record with only five or six songs on it. In fact, I’m going to do four… Or five… Or maybe the rest of them this way!!!! This solves a lot of problems for drivin n cryin. I love the fact that we have never shied away from the fact we are influenced by so many different sounds. But sometimes combining them on one record can be somewhat disconcerting to a particular group of fans. I love that. I love the psychedelic element of challenging the listener. I mean it’s all based on a library of music from our past… THE KINKS and THE WHO meet the RAMONES and THE COUNT FIVE at a little bar owned by BOB DYLAN and JOHNNY CASH… But the opportunity to focus on a specific genre or subject is exciting to me…. Also an opportunity to record with all the people we have been looking forward to working with is almost limitless… We would love to work all over the country with our friends and the five song format means we only need a few days of their time… I think people will be excited when they own a few and can contrast the different sounds and producers… We released number one, Songs From The Laundromat, on June 12, 2012. Paul Ebersold produced number two: Songs About Cars, Space And The Ramones (released Oct 1, 2012) – a tip of the hat to The Ramones, Stooges, MC5. So we toured all over for those 2 EPs and then headed in the studio again to work on number 3… Songs From The Psychedelic Time Clock.

Now jump to 2013: Songs From The Psychedelic Time Clock is released April 16, 2013. The band hits the road (again!) in support of all 3 EP releases, starting the tour in Atlanta with 2 sold-out nights at the legendary Star Community Bar (2 NIGHTS! NO HITS!) and capping it with a very cool show at Atlanta’s Music Midtown Festival, sharing the stage with Journey and Phoenix. Work begins on a super secret TV project for Fox’s FX Network to air January – April 2014. (more on this at a later date!) On days off between tour dates, the band convenes in Nashville TN and Memphis TN with producer Paul Ebersold to work on EP4 Songs For The Turntable.

2014 ushers in great new things including new lead guitarist Aaron Lee Tasjan. Tasjan was honored by ASCAP at the Kennedy Center in 2013 as one of America’s great songwriters of the next generation. A much sought after guitarist, he has played lead guitar with The NY Dolls, Alberta Cross, Everest, Todd Snider, collaborated with Sean Lennon in the band Operation Juliet and had his songs recorded by Jack White and Pat Green.

Season 5 of F/X Network’s hit TV show ‘Archer’ features 12 songs produced by Kevn Kinney (8 of which are Kinney-penned songs, including a complete re-working of DNC hit ‘Straight To Hell’).

‘Songs For The Turntable’ is released to great reviews and acclaim. Once again uber-producer Paul Ebersold assumed the helm, working with the band both in Nashville and Memphis, TN. Work begins on compiling the tracks and bonus material for a vinyl box set release.


“I don’t have the patience anymore for a two year recording project, a big build up as if you’re JD SALINGER, a tour and then reality again… I don’t like hype… I just want to offer up my art for the fans or soon-to-be-fans. A five or six song recording every three months like a magazine subscription… I want it now!!! And I want it NEW!” -Kevn Kinney

Did you know…

Drivin’ N’ Cryin’s Whisper Tames the Lion was the lowest debut in the Billboard Top 200 albums chart the same week that Dark Side of the Moon fell off that chart for the first time since its release.

Did you know…

Minneapolis 60s garage band band The Trashmen (“Surfin’ Bird”) had Tim’s Uncle Gary as a member. They used to practice in his grandmother’s basement.

Did you know…

Drivin’ N’ Cryin’ is the only band to share a stage with Lynyrd Skynyrd, Sonic Youth AND Neil Young in the same twelve-month period.

Did you know…

The Violent Femmes’ Brian Ritchie was Kevn’s high school locker partner. They would go to his house after school and Kevn would watch Brian play guitar before they both watched 8mm porn films.

Did you know…

Peter Buck produced Kevn’s first solo folk record MacDougal Blues, which is coming up on its twenty-fourth anniversary. Peter also road-managed and played on the MacDougal tour (which featured our great, late friend Nikki Sudden) on his break from R.E.M.’s Green tour!!…

Did you know…

did you know….did you know….did you know….did you know….did you know….did you know….did you know….did you know….did you know….did you know….did you know….did you know….did you know….did you know….did you know….did you know…. by kevn kinney more >>>