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MP3 Mark Coram & The Knox Villains - Garageicana

Garage Rock with some country mixed in to give it some twang.

12 MP3 Songs
ROCK: Americana, ROCK: Classic Rock

It was in his rural Corryton, Tenn., garage that singer-songwriter Mark Coram found his voice.
Now, on his new release, “Garageicana,” Coram shares that voice: complex, compelling and Southern.
Coram picked on his father’s guitars throughout his childhood but began taking lessons in earnest at age 17. He spent young adulthood honing his songwriting skills and his career as a graphic artist.
In 1993, with friends Wayne Corum on bass and Mike Flannagan on drums, Coram formed the Rattlehounds, a fun-loving garage band who played locally as a hobby and once opened for Scott Miller’s band the Viceroys, later renamed the “V-Roys.” The Rattlehounds jammed weekly in Coram’s country garage, the upper floor of which he outfitted with a home practice space and rudimentary recording studio.
Flannagan died suddenly in 2003. Later that year, a six-song CD, “The Rattlehounds,” featuring tracks completed before Flannagan’s death, was released in his memory.
A year or so later, having amassed a large body of work that spanned the rock, country, alt-country, blues and folk genres, Coram decided to choose the best for a debut album.
In 2005, Coram teamed up with members of The Tim Lee Band to become "Mark Coram & The Knox Villains". Recording in Knoxville at Independent Recorders with renowned producer Don Coffey, Jr. (formerly of Superdrag), who plays percussion on the album, and husband-wife musicians Tim Lee (formerly of the Windbreakers) and Susan Bauer Lee, who lent supporting guitar, bass, keyboard and vocals, they gave birth to “Garageicana,” which was released in the spring of 2006.
The album showcases Coram’s versatility as a songwriter. Hard-rocking guitar jams like “Electric Sin” and “She’s A Catastrophe” are juxtaposed with more reflective songs (“Flying South,” “A Dangerous Place for Love”). Coram takes on the current political climate in “Mysterious Ways,” puts a twist on an Appalachian-style ballad in “Anna Brown” and issues an invitation to those who have outdated ideas about the South (“Come On Down”).
All album cuts have in common Coram’s trademark wit, weaving clever wordplay with strong musical writing.

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