by J. Rivera

“You don’t fit in anywhere.” says Kevin Kinney about his band, Drivin’ n’ Cryin’ and its considerable legacy. What started off as a two month project bloomed into a three year journey for Atlanta’s Regular Guys radio show host Eric Von Haessler turned documentary filmmaker as followed DNC around.

The short version of this film is why aren’t DNC more famous than they are? How much of this was self sabotage or that the masses never truly got hip to band that was hard to categorize?

Yes they had their big moment in the sun, Fly Me Courageous, but that blew over pretty quickly, and no one bought the next album, Smoke.

Some of the more revealing details of the film is that a band so identified with Atlanta, a band that has kudzu practically growing all over it, the origins come from Milwaukee, Kevin Kinney’s Home town.

Sick of shoveling snow and dreaming of Flipper, he headed south, but never made it to the coast.

We also find out that the record label tried to make Kinney go to a dentist, to fix his unique smile, and that he ended up having a strange connection to Jeffrey Dahmer.

“Drivin’ n’ Cryin’ got exactly what they had coming to them; fame and no fame, fortune and no fortune,” admits Kinney.

Mystery Road is their widely acknowledged masterpiece, that confounded categorization. It was country, but it was folk, but it had punk, and it had “Straight to Hell” on it, the song that closed a thousand bars. A pure bit of genius, most people didn’t know what to do with it.

“Kevin’s a folkie at heart who just happens to love The Ramones.” someone rightfully claims about him during the film. There’s interviews with Peter Buck of REM, Darius Rucker, Cracker’s David Lowery, and Collective Soul’s Ed Roland, all properly acknowledging the brilliance of Kinney’s songwriting. Kinney throughout talks about always doubting himself every step of the way and often feeling on the verge of a nervous break down.

Scarred but Smarter’ is named after the band’s 1986 debut LP and thankfully Haessler avoids any poor, poor me, sentiments from the bands repeated misfortunes. He’s put together a well paced collection of videos and interviews with current and former members as well as friend and acquaintances of the band.

This is an honest film about fame, commerce and art in America. Drivin’ N’ Cryin’ are famous enough to have a fan base that adores them and continues to support them as they slog across the endless miles of the American Highways. But not so famous that it’s easy or there’s tons of money, or that they’re a household name. So they have to work. And it’s o-k, because Drivin’ N’ Cryin’ are really good at what they do, and seem to get better with every passing year.

http://indiemusic.co/2013/05/29/scarred-but-smarter-the-life-and-times-of-drivin-n-cryin/

Every band has, or had an Arturo Vega.
Someone to champion the band through it’s early days
not quite a manager or a&r or producer
but kind of all of them as well
the inside friend
ambassador
peacemaker
soldier
artist
confidant
road warrior
i feel safe to say
without Arturo Vega
you would not have The Ramones
as you know them today
i was, i am sure
like a lot of Ramone fans
embraced by the warm smile
of this Latin rock and roll
conquistador
a man of no bull shit
and for the last thirtysome years
always made me feel welcome
into the world of the
greatest rock and roll band…
i will never forget
standing at the light board
some local dj takes the stage
ladies and gentleman…
THE RAMONES!!
lights go down
logo up lit
the PA thunders the opening riff
of The Good The Bad and the Ugly
and the sillouettes of the band
take the stage through a field of fists in the air
dee dee
1 2 3 4
POW!!!
what the… ???!!
and i stand there and look at Arturo
flashing the lights to the backbeat and full frontal assault
and think to myself
man… this IS the guy
he KNOWS them
they lived with him
he designed one of the worlds most iconic logos
and after the show HE will be at the merch booth
to sell you one
and someday everybody in the whole fuckin world will wear one
but tomorrow at John Marshall High
it will only be me… and Clancy Carrol
and few else in this whole school will ever even hear of of them
i cant wait to start a band
i think to myself
as i stare out the window
in daydream…
i think that’s how it began for a thousand others
Thank You
Arturo Vega
for letting me push the merch road case
through the desert of broken beer bottles and plastic cups
and for five minutes
feel like part of the crew
and the coolest guy in Milwaukee Wisconsin…
The Ramones have left the building
But their Svengali still lives
on Joey Ramone Way
NEW YORK CITY

Love,
Kevn

Check out the Daytrotter session here: http://www.daytrotter.com/#!/concert/drivin-n-cryin/20056874-2026

Drivin’ n’ Cryin’ offer salvo number three in the EP series they launched last year, and like the other two, this third installment is an excellent collection of songs. Whereas the previous records paid tribute to garage rock, roots rock, and punk, it should be obvious by the title (Songs From The Psychedelic Time Clock) and the kaleidoscopic cover that this is their homage to psychedelic rock. It is, but don’t really think of it as a band going into new territory; sure, “Metamorphcycle” might be slow and moody and bluesy at first, but it launches into a Doors style rock. Nothing on the record is as psychedelically trippy as the cover, but what they have done is gotten in touch with a sound that’s inspired by the 60s without trying to be the 1960s. Roger McGuinn, Crosby, Stills, and Nash, and 13th Floor Elevators are the biggest influence, as they get mellow on “The Little Record Store Just Around The Corner” and “Sometimes The Rain (Is Just The Rain).” The final two songs, “In The Sound Room” and “The Psychedelic Time Clock” bring back their rock chops, and if you don’t think of Steppenwolf when you hear them, then you just don’t know. I’d been awaiting to hear Kevn Kinney‘s take on psych-rock ever since the band announced this series. There’s been zero description of what volume four will sound like; it’s a mystery, but after jamming to Songs From The Psychedelic Time Clock, all I can say is what I’ve said in my previous two reviews: bring it on!

http://www.bigtakeover.com/recordings/drivin-n-cryin-songs-from-the-psychedelic-time-clock-almost-gone-records

The third of four projected EPs, Songs From the Psychedelic Time Clock explores a heretofore buried side of Atlanta rock icon Drivin’ N’ Cryin’: psychedelia. It probably goes without saying that none of these six songs sound likes the Beatles’ “Tomorrow Never Knows” or Jimi Hendrix’s “Are You Experienced” (to name a pair of psych rock classics off the top of our heads). But DNC does work up a certain acidic head of steam, adding electric sitar, horns and lush harmonies to the 12-string folky “Upside Down Round and Round,” mixing mind-expanding lyrics and acid-laced go-go in “Metamorphcycle” and giving Nuggets garage rock a nose-tweak with the wordless “The Psychedelic Time Clock” and “The Little Record Store Just Around the Corner.” But the plangently melodic “Sometimes the Rain (is Just the Rain)” and the hard-rocking “In the Sound Room” sound like the band’s usual M.O. Regardless of fidelity to a concept, songwriter Kevn Kinney works his mojo hard here, penning the EP series’ most consistent set of tunes yet. Effortlessly enjoyable, Songs From the Psychedelic Time Clock may prove to be as essential as Drivin’ N’ Cryin’s classics.

http://blurtonline.com/review/drivin-n-cryin-songs-from-the-psychedelic-time-clock/

by William Clark for Music Enthusiast Magazine

80’s hard rock icons Drivin’ n Cryin’ have recently been taking a creative approach when it comes to making new music. Throughout the past 10 months, Drivin’ n Cryin’ have been releasing a series of four EPs, with one coming out every couple of months, and each EP to show the band taking on a completely different genre and style. “Songs From The Laundromat” had Drivin’ n Cryin’ doing what they’ve always done best, straight up rock and roll; while “Songs About Cars, Space and The Ramones” had the band successfully embracing a dominative punk rock sound. And now, Drivin’ n Cryin’ are set to release the third installment in their magazine subscription-style EP series, appropriately titled “Songs From The Psychedelic Time Clock”.

Just as the title implies, “Songs From The Psychedelic Time Clock” shows DNC masterfully taking on the psychedelic rock genre, throughout 6 brand new slamming compositions. The nostalgic experience begins right when you pop in the disc, with the stellar vocal harmonies and memorable guitar riffs of “The Little Record Store Around The Corner”. From there, the album only increases in sheer greatness, further showcasing such gem

s as the surprisingly Tom Petty-esque “Sometimes The Rain (Is Just The Rain)”, and “Metamorphcycle”, which shows the band masterfully executing some standout synthesizer work that highly resembles something one would expect from The Who. Unfortunately apparently absent was a tribute song from DNC, as they have done the past two releases with “REM” and “Johnny Rides Shotgun”, which paid tribute to punk rock legends The Ramones; however, this CD is filled with so much great tunage, you can’t really complain.

Drivin’ n Cryin’ manages to not only perfectionistically apply psychedelic rock elements to their signature musical style with their new EP, but also make this broad change in genre their own. It is this factor, above all others, that has remained strikingly consistent all throughout this series of standout releases. Overall, “Songs From The Psychedelic Time Clock” is a righteous collection of mind-altering tracks that is a worthy followup to the band’s past two releases, and leaves us anxiously awaiting the fourth installment in the series.

by Jeremy Kennedy for The Examiner

Film me courageous: Atlanta's Drivin’ ‘N’ Cryin’ rejoiced in radio celebrity’s rockumentary

Every town has that one band that they claim as their own. Whether stardom is defined as a gold record, sell-out shows at the local tavern, or a once-in-a-lifetime performance on a nationally broadcast late night show, they have risen above the status quo to become the local superstars of their day. Setting the baseline at levels nearly unachievable for those that dare to mimic their designation, they will always remain in the upper echelon of historical importance no matter who threatens to conquer their throne of talent.

Although the 1970s are really credited as the decade when grass rooted rock legacies were born in the U.S.A., very few of those successes remained grounded in their hometowns and transplanted their fame nationally. Bands like Chicago, Steely Dan, and Grand Funk Railroad certainly pinned their hearts to the locals that believed they were the best, but the fame and fortune of global triumph lured the prominent away to bigger cities with faster cars, and a thirst that never seemed to quench with opportunities. KISS may have been from Amityville, but we all know which city they own.

In the Eighties, the fever of musical boundless creativity was born. The inspired zeal of antirational enthusiasm went viral, even in the Bible-belted Southeast. While the region’s most quintessential bands Lynyrd Skynyrd and the Allman Brothers were never truly intimidated by the era of American punk, power-pop and new wave, their crowns were rattled a bit as society began to recognize a fresh league of bands on the horizon, influenced by the unconventional Ramones, Talking Heads, and the Velvet Underground. Whereas Skynyrd and the Allmans would forever be enshrined in the beer busting billiard bars, a young breed of southern art rockers began stimulating energies of aggression in the form of noise-rock. Paying their dues in some of the most unventilated night club dungeons hidden deep in the downtown alleyways of some of the South’s most industrial cities, the stages were small, the crowds were irritable and the music was loud. And like every generation, young adults reach out to claim something for their own. In Raleigh, the Connells were jangle-popping contagious, southern melodies while in nearby Winston-Salem, the dB’s were accumulating a massive following regionally underneath the Mason-Dixon Line. Of course, everyone knows what was going down in Athens, but what about Atlanta?

Perhaps no one can answer that question more prolifically than The Regular Guys morning show host Eric Von Haessler (WNNX). Haessler, who ironically spent the 1980s outside of Georgia, has recently made his film producing debut, chronicling the beginnings of Atlanta’s homegrown rockers, Drivin’ ‘N’ Cryin’ in an extraordinary attempt to arrest the band’s fruitful beginnings while confronting the frustrations over failures of fame in spite of the longstanding gratitude they hold with their fans in the Deep South.

Haessler’s film, ‘Scarred but Smarter’ (named after the band’s 1986 debut LP) is a compelling collection of raw video, testimonial interviews, concert clips, and monologues of the band’s fluctuating, archived and current members. As with any rockumentary, it’s not a highway joyride, but it is certainly highly entertaining. Candid yet cleverly crafted, Haessler, who lead vocalist / founder Kevn Kinney described as “clueless to (who) we were” when interviewed for the first time some 20 years ago by the afternoon jockey in the former macho studio of 96-Rock, completed the 3-year project after financing the majority of the project himself.

Selling out the classically lo-fi convenience of the Plaza Theatre, Haessler acknowledged that he wasn’t certain why he gravitated to this laborious endeavor. “I can’t tell you why I felt like I should tell their story,” he said to a packed audience of Cryin’ fans and Regular Guys followers, “but when you feel this strong about something, you can’t let it rest.”

Although the Drivin’ ‘N’ Cryin’ anthology isn’t absolute, twenty-five years of sex, drugs and rock and roll does provide plenty of gripping material and profound content, ideal for a filmmaker making his production debut in a competitive world where everyone is virtually a movie maker to some degree.

On the heels of the smashing evening of the film’s debut, the author caught up with this Regular Guy to explore the mind of a Yankee observer to uncover the challenges, celebrations, and confessions of the South’s most popularly underrated band of all-time, Drivin’ ‘N’ Cryin’.

1) JK: Well Eric, it’s finally arrived. How does it feel to finally debut this film publically? What has been the greatest reward from your efforts so far?

EVH: I feel a sense of relief. It took me three years to make the movie and to finally be able to share it with audiences is fun. I thought of it as an experiment. There isn't a more independent film out there. I wanted to see if I could create something that had cinematic sweep on my desktop computer. I financed it myself and made it on my desktop Mac. Not even a tower- just a store bought Mac and Final Cut Pro 7. So to see it work for audiences in a theater setting was a reward I wasn't expecting. But it made everything we'd done over three years worth it.

2) JK: Without the modesty, it is undeniable that you’ve rekindled great interest in Drivin’ ‘N’ Cryin’ again. Seeing nearly all of the band’s former members, including drummer Jeff Sullivan, reunited for one special event like this must leave you with a sense of pride. Did you ever imagine that you’d have so much cooperation from all the present and past members of the band, including those that had been fired but not forgotten along the career path when you decided to engage in this endeavor? Did you receive complete participation from everyone you reached out to?

EVH:Every current and past member of the band was thoroughly cooperative. All gave candid interviews and bent their schedules to one degree or another to accommodate the movie. I was lucky because there are so many colorful characters around the band who were very open with us as well. I let them all know from the beginning that I planned to snoop around in some uncomfortable places- and everyone eventually just opened up. It's a movie full of people speaking their minds and I think that was the biggest payoff from the access granted. I tried not to abuse it or turn it into a reality show type of thing when following them with cameras. They are an honest and true band and this movie had to be honest and true to have any chance of capturing what they're about. After a couple years everyone got relaxed enough to tell the truth.

3) JK: ‘Scarred but Smarter’ is complimented with testimonies by several of the Southeast’s most important rock icons, including Peter Buck, Darius Rucker, and Edwin McCain. As an amateur filmmaker, were you met with any red-tape challenges of getting them on board to contribute to your project?

EVH: I was lucky to have Scott Munn helping me out. Scott's tour managing for Blackberry Smoke right now- but he used to tour manage for Kevn (solo) and Drivin n Cryin. He began helping me in early 2011. He hooked me up with Peter, Darius, & Edwin. He also conducted two of those interviews and had a great deal to do with keeping continuity with certain themes that run throughout the movie. Randy Blazak was the band's first manager and now lives in Portland.Peter Buck had agreed to an interview but wasn't going to be in Georgia within my time frame so I rented equipment in Portland, had Randy pick it up, turn the camera on himself for an interview (questions submitted by email)- then take the equipment up to Seattle and conduct the interview with Peter at his office. Randy did a great job and Peter's interview was a gift to the project. I didn't know what to expect but he gave us a compelling interview, full of detail and honest emotion.

Darius Rucker was very accomodating- sitting down for an interview just one day home from a European tour, and just before the start of a charity golf tournament. And Edwin McCain just lit up during his interview. He's a huge fan of Drivin

n Cryin. We also got a lot of great stuff out of Fred LeBlanc from Cowboy Mouth.He ends up kind of being the George Will of the piece.

4) JK: Like the best of Eighties music-documentaries, one of your film’s strengths is that you escort the viewer through the band’s previous incarnations The Prosecutors and later the Nightporters. Were you just as surprised as viewers to learn that some members of Drivin’ ‘N’ Cryin’ were actively engaged in post-punk? How rare is that video footage and how did you obtain it?

EVH: It is probably a surprise to most people that Drivin n Cryin is a punk rock band. They have many styles, maybe too many for their own good, but the beating heart at the center of the band is punk rock… the punk ethic. Both Kevn and Tim were in great punk rock bands before they met in Atlanta to form DNC and it was a mutual love of that music that brought them together.

The footage of Kevn fronting The Prosecutors is from a film they made about themselves back in the early 80's. It's awesome footage. I'm sure many people are surprised to see the future singer of Straight To Hell screaming his way through the Prosecutors song Brute Force. But that's who he still is today. He's more like that person screaming into a microphone than the Americana image that surrounds him. One of the cool things in the movie- though I never draw attention to it- is that the red Mosrite Kevn is playing in that old Prosecutors footage is the same guitar he's playing in most of the current live stuff that's in there.

5) JK: One aspect of your film that stands out almost subliminally is that you don’t actively narrate the film, opting instead to allow monolog conversation to smooth the transition of chapter to chapter. This had to be incredibly painstaking when editing the film. Although you’re one of Atlanta’s most recognizable voices, why did you resist the temptation to narrate this story if you thought it so important?

EVH: In an earlier version of the movie my voice was more prominent. For awhile the edit followed me while I went in search of the story. But Kevn and Tim were interesting and funny enough- the piece didn't need me flitting about like some low-rent Morgan Spurlock. So I decided to lay back and let the band, their friends, and other interested parties tell the story.

I'm glad you mentioned chapter transitions. I think we handle that in interesting ways. We often have, as you said, one person or a montage of people changing the subject as a way to push the story forward. It ended up working better than I thought it would- and hopefully makes it look a bit different from other rock docs.

6) JK: Not only did you lug a video camera around for 3 years, capturing the lives and those related to Drivin’ ‘N’ Cryin’, but you also produced, edited, directed, and financed this documentary yourself. Which of these roles did you find the most satisfying? What lessons did you learn about film-making that you won’t repeat should you initiate another film project for EVH Productions?

EVH: Lesson #1: Get the money first next time!

I'm lucky enough to have some disposable income but I only have one movie like this in me. The producing role was easy because a producer finds the money- and I found me. So that was one-stop shopping. Directing the live shoots was exhilarating. We often had 8 to 9 cameras going at once. But editing is my favorite part of the process. There are over 900 edits in this movie. This is where it became possible to make something cinematic on my desktop computer. It was the willingness to work for hours and hours getting each edit just right. Editing is rhythm and it's the only part of the process I feel 100% comfortable with. I've never taken an editing class in my life- but I could teach it. It comes natural to me.

7) JK: Your journey with Drivin’ ‘N’ Cryin’ started in 2009. Based on the outcome of the film’s premiere and the revival of the band’s spirit across this city, how much longer will you continue to invest your life to Drivin’ ‘N’ Cryin’? What other bands’ stories would you like to tell and why?

EVH: I am a certified Drivin n Cryin Super Fan! I have other ideas for them but I think it's best that we get away from each other for awhile before doing anything else professionally.

The personal part is different. These guys have become my friends. I feel like they're my brothers. I joined them at SXSW and just carried guitars from the van to backstage, etc. I love being in the van and being part of the team for brief periods of time. They humor me & let me participate every once in awhile- and it's fun. But I think we're all friends now- and I don't see that changing.

I think I'm going to be making a music video for someone else very soon. Too soon to announce- but it's probably up next. Then I'd like to make a short film with real actors. That'll be a real challenge for me. I've never worked with actors before so I don't know if I'm any good at it.

JK: When an artist is performing, mistakes are sometimes made, hopefully unnoticed, but carried on through recovery. However, when filming, the director has the power of the retake. Did you pursue any retakes? How difficult was it to ‘teach’ members how to behave naturally with the camera on in spite of their local celebrity status?

EVH: I shot over 50 hours of footage for the movie and went back and pulled whatever I needed to push the narrative. If things were botched up it just wasn't used because there was always plenty more footage to pull from. I did do a few later interviews with Kevn where I would ask specific questions that I knew would bridge gaps, or otherwise help pull together the running narrative.

It didn't take long for the band to get comfortable and act natural in front of the camera. These guys are pros. They've seen everything. And the upside of being around them for three years was they couldn't help but be candid. Nobody can keep up a facade for that long.

9) JK: Inarguably, the core of the success of Drivin’ ‘N’ Cryin’ isn’t the musical talent, a heavily funded record label, or a Billboard chart position. Kevn Kinney’s lyrical thumbprints are the nucleus that created, championed, and define this band’s victories. What revelation did you learn about Kinney that you were committed to share with viewers? Was there anything that you didn’t share with us that might be of interest?

My revelation was the depth of the catalog. I don't think enough people realize that this guy has written over a hundred great songs. I didn't expect to be able to swim so deep in that catalog. I use as much of their music as I can on the soundtrack- but we barely scratch the surface.

Kevn's personality is a bit more mercurial than I explore in the movie. I could do a different movie on Kevn that would have very little overlap with this one. Kevn is the real deal in a marketplace of false poets. He lives in his own head a great deal of the time- but also has a very social side. It just depends when you catch him. The band is punk rock but Kevn is a poet. The greatness of the band is forged by the clash of the punk rocker and the peace-loving poet… and it all goes down inside his head. But the whole thing works like a machine that continually produces these great songs. Kevn is writing new, great songs all the time. He has songs he's been writing for twenty years and songs that come to him nearly fully formed. It's remarkable. He sings something new to me nearly every time I see him. There's a lot more that can be said about him. I believe he will eventually get the recognition that's due. The catalog is too good. It simply can't be ignored.

10) JK: Much like the past struggles of Drivin’ ‘N’ Cryin’, you too are faced with the challenge of marketing your product. What steps do you plan to take to try and recover from your 3-year, lofty investment?

EVH: I did this as an experiment. One part was to see if I could make something cinematic on my desktop computer. The other was to test a “build it and they will come” theory. I didn't begin to think about things like distribution until after the film was done. I said I was going to make an entertaining movie. All I cared about was delivering on that promise. I knew getting it to the marketplace would be a whole different thing. The good news is that since the first public showings people have come forth with help in that area- and hopefully we'll get it to TV, DVD, etc. in a reasonable amount of time. Until then we have plans to take the movie to premiere in a few different cities- with performances by the band perhaps being part of the package.

http://www.examiner.com/article/film-me-courageous-atlanta-s-drivin-n-cryin-rejoiced-rockumentary

by Chris Martin for The Examiner

To say the last couple of years have been kind to Atlanta rockers Drivin’ N’ Cryin’ (DNC) would be an understatement. Through incessant touring, a tell all documentary and a wealth of new music the veteran band has excited the diehard fans, herded back those that had wandered and infused their fan base with a plethora of new young faces. With an incredible showing at the annual SXSWfestival behind them and right on the heels of the premier of their biopic, Scarred But Smarter (the life and times of drivin' n' cryin'), at the Atlanta Film Festival, DNC readies the third EP of the four volume set. (There are rumors that they may continue after number four). Once again they switch gears diving head first into the past on Songs From The Psychedelic Time Clock (SFPTC).

With jangly fuzz filled guitars, killer harmonies and spacey melodies DNC transports the listeners into the world of classic

garage rock. Way before the Strokes, Black Keys, White Stripes or the Mooney Suzuki garnered any success with their low-fi rock there were the13th Floor Elevators, the Pretty Things, theKinks and the Count Five laying the groundwork. SFPTC is a homage to those bands that laid the groundwork.

Kicking things off may be the best of the bunch, “The Little Record Store Around The Corner”. Distorted guitars lead the way as Kevn sings about buying his favorite albums from his favorite little record store. Once again Kevn’s lyrical abilities are front and center as he sings about the music he loves, but the backing vocal harmonies from Tim, Sadler and Dave along with the echoing guitars take this tune to a whole other level.

DNC really steps outside the box with “Metamorphcycle”. Not only does the name sound like something concocted while participating in a mind altering activity but the music follows suit. While more guitars lead the way it is the percussive sound effects strategically placed all over this song that gives

it the psychedelic flavor. They have created a haunting echoing hazy wall of sound around Kevn’s vocals and it works brilliantly.

On “Upside Down Round And Round” is a familiar sounding tune as they mix in a 60’s pop vibe to the music. Jangly guitars mesh with sitar music and an unobtrusive horn section to create the classic sound, I had to research the track because I was positive I had heard the song before. Once the vocals fade out the band delivers an outro that takes the listener on ride through a groovy spacey soundscape. They then borrow from bands such as the Status Quo and the Grass Roots offering up “Sometimes The Rain (Is Just The Rain)”. Successfully blending the music of the past with “REMesque” sounds they have created a tune that would have fit right in on Top of the Pops.

Closing out the EP is a couple of hard rockers. “In The Sound Room” is the closest track to DNC’sclassic sound. Chunky guitars and thundering rhythms dominate supplying an angry background to Kevn’s growl. They close out the album with “The Psychedelic Time Clock”. A surf guitar infused instrumental it takes a life of its own with punk riffs and guttural grunts and howls from the band, a fun way to end things.

With each of these EP’s DNC keeps upping the ante. They are able to mold the songs to sound like whatever they want yet still keep the bones that are Drivin’ N’ Cryin’. The songs on this latest collection sound like they all belong on the old Nuggets compilations which highlighted underground garage rock of the 60’s & 70’s. If that is what they were going for then they pulled it off. Songs From the Psychedelic Time Clock hits stores in April, and if that isn’t good enough for you DNC will be setting up shop at Atlanta’s Star Bar for two nights of balls to the wall rock and roll, but more on that later. It amazes me that at a time when most bands fade away or turn into greatest hits clichés Drivin’ N’ Cryin’ keeps on getting better.

http://www.examiner.com/review/drivin-n-cryin-go-back-time-with-their-psychedelic-time-clock

by Hal Horowitz for Creative Loafing

Nobody said it would be fair
They warned me before I went out there

There's always a chance to get restarted
To a new world, new life
Scarred but smarter

It's likely that Atlanta's Drivin' n' Cryin' never imagined the opening track and title to their 1986 debut would perfectly encapsulate the band's scrappy career nearly three decades later. Still, it comes as little surprise that when director/Regular Guys radio show host Eric Von Haessler was ready to name his documentary, Scarred but Smarter: (life n times of drivin n cryin) wasn't an obvious choice. Three years in the making, and with the act experiencing a bit of a revival due to three well-received EPs released over the past 12 months (a fourth is coming soon), the film is complete and ready for its local premiere.

On the surface, it ostensibly follows the archetypal VH1-style rock-doc format, chronicling a group's highs and lows through its bumpy 28 year lifespan. That includes the usual assortment of rare clips, firsthand rock star stories (Peter Buck is featured prominently), and tales of record company and chemical abuses. Add dysfunctional inter-group relationships, frequent breakups, side projects, and nervous breakdowns that have buried so many others since even before the Beatles for a complete profile of a bunch of gifted outsiders whose current rejuvenation comes as a surprise to many.

But with frontman/founder Kevn Kinney's self-deprecating humor and tough journeyman's attitude, it's a tale of survival in an industry that has traditionally eaten up and spit out artists as talented and deserving as Drivin' n' Cryin' for lunch. Despite such clichéd rock-doc images as split-screen performances and grainy old recordings, this is obviously a labor of love. Its warts-and-all depiction of D n C through its ups and more frequent downs adds gravitas and a compelling thread to a group that, despite

succumbing to nearly every misfortune that life throws its way – not the least of which is commercial apathy – continues to soldier on, arguably stronger than ever. Galvanizing live footage displays the power of their rugged, red-clay Americana rock when it gels with an appreciative audience.

“Drivin' n' Cryin' got exactly what they had coming to them; fame and no fame, fortune and no fortune,” admits Kinney in the flick's trailer. Other black-and-white talking-head interviews bring the outfit's colorful if somewhat depressing history to life with concise, articulate, and often humorous reminiscences from fans and associates who witnessed it going down.

Even casual rock fans boisterously sing along when “Straight to Hell” makes an appearance on whatever classic rock radio stations are left, and if they leave no other legacy than that, Kinney and Drivin' n' Cryin' will be acknowledged as one of the more influential Southern-bred collectives. Personalities as diverse as Cracker's David Lowery, Darius Rucker, and Collective Soul's Ed Roland attest to D n C's staying power, primarily due to consistently sweat-soaked live shows keeping them relevant for generations too young to have been around for the

majority of its tenure. Additionally, songs like “Scarred but Smarter” become more appropriate to the band and its cult fans as both age. It's increasingly clear that this story may well need a follow-up, since it's long from over.

Scarred but Smarter (life n times of drivn n cryin) premieres at the Plaza Theatre on Friday March 22 during this year's Atlanta Film Festival.

http://clatl.com/cribnotes/archives/2013/03/18/drivin-n-cryin-documentary-makes-hometown-premier

These guys are crankin' out the tunes like nobody's bidness!

By Blurt Staff

Following up June 2012's Songs From The Laundromat and September 2012's, Paul Ebersold-produced Songs About Cars, Space and The Ramones, Drivin N Cryin releases Songs From The Psychedelic Time Clock, the third of four EPs to be created and released over a 12 month period. We are stoked as hell to unveil a fresh track from the new EP, “The Little Record Store Just Around The Corner.” Check it out here: http://blurt-online.com/news/view/7206/

Both an homage and an update to the garage band sound of the '60s, this new EP explores the experimental facet of the Drivin N Cryin sound with flourishes of 12-string guitar, electric sitar, synthesizer washes and horns while continuing to showcase the strength of Kevn Kinney's songwriting. The new EP is released April 16 on the band's New! Records label, distributed by Redeye.

DNC kicked

off a new tour last night in Asheville, NC, and continues tonight in Charleston, SC. Dates at: http://www.drivinncryin.com/tour/