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PREMIERE: Jason Heath And The Greedy Souls Release New Music Video For “Nowhere To Go”

Keeping up with our premiere week, we are teaming up with Jason Heath and The Greedy Souls for the release of their new music video for “Nowhere To Go,” a summation of the album and it’s a shotgun blast, uptempo rager that suggests that this broken-down locomotive of a country has run out of track and we need to get busy repairing it.

“We’re now nationally and globally at the place where we need to, as Abraham Lincoln so eloquently stated, reach for and be touched by the better angels of our nature,” says Heath. “To give up the ghost of what we think this country is or used to be, and begin again – better. To rise. There is hope in surrender. It’s all possible, but only if we’re honest with ourselves about our past, and willing to come together to unite as one for the common good.”

“As far as the video goes, it’s a bit mysterious actually. I received an encrypted email from a fellow by the name of Frank Future. He said he had heard our song “Nowhere to Go” and that he really enjoyed it and thought the message of the song was something he would like to adapt a short digital film to. He sent me a link to his site: http://hencethegreyskies.com/. I thought his other animated films were amazing, and I told him I’d definitely be interested in seeing what he came up with. We never spoke directly, I paid him in crypto currency, and a few weeks later, he delivered the film. I was BLOWN AWAY! He had captured the vibe and intent of the song perfectly with incredibly precise imagery. He placed QR codes at different places in the video that you can scan with a QR reader from your phone, and it will take you to other films to help you better educate and understand the current state of the social structures within the U.S. and abroad.
 
I’ve asked around about the identity of Frank Future, and no one really knows for sure who he is… some people say he’s an animator/hacker from St Petersburg, Russia, and others say they heard he was actually an animator who became an executive at one of the big corporate studios and keeps his identity hidden. I guess we’ll never know…
 
Originally the album was gonna be titled “Broken Promised Land,” but as we were working on it, I began to see that there were other artists who had used that title for songs and albums, so I was beginning to consider alternative titles for the record. The cover art was a picture I took of a large wall near my mechanic’s shop in Los Angeles that had the “Dead End” sign on it. An unknown street artist had put up a bill that said “But There’s Nowhere To Go” with an arrow pointing toward the sign. I posted the cover art with the album title “Broken Promised Land” and my friend Tom Morello (yes, that Tom Morello) commented that “But There’s Nowhere To Go” was a pretty good name for an album as well. So I tried it on for size but wasn’t totally convinced. The album was pretty much done, and one day I was messing with this riff in one of the songwriting classes I teach in a prison for Jail Guitar Doors (jailguitardoors.org). I started singing, “There’s nowhere to go…” over the progression and one of the inmates said, “Man, that’s tight,” and he came over to put a beat to it. We rocked it for a few minutes, and he told me I needed to record it and put it on the record. I wasn’t sure, because it felt like more of a punk tune, but it felt good when the band started in on it, and then Justin added that guitar line and it pretty much put it over the top for me. We recorded it that weekend, so the entire tune was conceived, written, and recorded in about a week.”

LA-based roots-rock band Jason Heath And The Greedy Souls is set to release its new album, But There’s Nowhere To Go, on October 13, 2017 via Industrial Amusement. It is the band’s second al-bum for Wayne Kramer’s label. The record is a cry from the broken belly of the American Dream, where time, neglect, and corruption have taken their toll on this grand experiment called the U.S. of A. Seems like there’s nothing left to do but howl at the moon, and set out through the wilderness of the unknown in search of a new direction.

The new songs were mostly written as the band was on tour after the U.S. Presidential election last November. Traveling the country in its aftermath, Heath saw and heard from all walks of Ameri-can life and put those observations into his new work. “It couldn’t be helped,” says Heath. “We are losing our national identity. Everyone is looking for someone else to blame. Faith in the status quo has been lost. There is a general feeling of confusion and misrepresentation, no matter who one voted for. There is a national ambience of panic, a fear of the unknown, and an overall distrust of any institution.”

Songs run the gamut of relevant, current-headline topics in today’s American psyche. “Fair Fight” pulls no punches, exploring the idea that this country and what it’s supposed to stand for are well worth fighting for (“We’ve been waiting too long… so bring it on!”). “Postcards From The Hanging” is a forceful demand that we all remember that something is broken in this promised land that has been divided for 400 years and is a stark exposé on racism. The ballad “Miss Arizona” weaves a tale of love gone wrong with winners, losers, Arizona Sheriff Joe Arpaio, his helpless victims, and those who would like to deny others access to the American Dream (“you can’t entertain angels if you don’t let them in”). “Garden of Machines” takes on environmental and human destruction of our Earth, driving home the fact that greed and technology cannot be sustained. “We are collaps-ing under its weight, and we’re running out of options, and time,” says Heath. “This sounds heavy – not your standard pop song fare – but I, and many others more qualified than myself, believe it’s a discussion that needs to happen. Before it’s too late.”

The harsh truths keep coming. “South Of Babylon” explores the idea that if human beings contin-ue to follow corruption with such complacency, plodding along like drones, there will be a steep price to pay (“the obedient ain’t guilty, they just play their part”) . “The Ballad Of The Brown Bomber” tells the story of how heavyweight champion Joe Louis gave up his best fighting years to enlist in the Army to boost morale in the fight against the Nazis. For this, the IRS helped themselves to most of his money. “Here Comes My Savior” is a clear examina-tion of how folks tend to blindly trust leaders and looks at where that gullibility has got-ten us.

Record stores might have filed their previous releases under “Americana,” but it’s un-clear what that means to the band anymore, as they’ve incorporated the musical influ-ences of punk, alternative, soul, garage rock, blues, and jazz into their sound, while pushing the expected boundaries of a typical alt-country, folk rock, Americana produc-tion.

Produced by Mike Fennel, Heath, and The Greedy Souls, But There’s Nowhere To Go builds on the same foundation of fiery roots-rock heard on their previous albums, which prompted Paste Magazine to call their first record, The Vain Hope Of Horse (which featured guests Tom Morello [Rage Against The Machine], Wayne Kramer [The MC5], and Nels Cline [Wilco]), “a wonderful debut: ragged, soulful, and well written.” Famed rock journalist Dave Marsh said of their second disc, Packed For Exile, “Jason Heath And The Greedy Souls speak to the heartache and joy in the world, with the wis-dom not to try to separate them, and the skill to make all of it beautiful.” And American Songwriter lauded their last release, A Season Undone, writing, “…if you’re a fan of rock and roll, it deserves to be on your shortlist as one of the most heartfelt, honest and intelligently soulful rocking albums of the year.”

About RJ Frometa

Head Honcho, Editor in Chief and writer here on VENTS. I don't like walking on the beach, but I love playing the guitar and geeking out about music. I am also a movie maniac and 6 hours sleeper.

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