Billy Don Burns Summer Tour Dates

Billy Don Burns Tour Dates! BDB is open for booking! Contact him on Facebook or email directly  at catiedo52@gmail.com 

6/10 House Concert for John Bowers - Fayetteville, Arkansas / Richard Burnett Sun
6/11 Jimmy Driftwood Tribute Concert - Mountain View, AR. / Tim Crouch, Pam Setser, Josh Morningstar and The Tallent Brothers
7/1 House Concert for Jim Ross - Mountain View, Arkansa
7/6 Friends of Camilla's Acoustic Gazebo Sessions Nashville, Tennessee
7/8 Castle Bridge Event Center, St.Joseph, MO. / Josh Morningstar 
7/21-22 Lincoln Caverns - Huntingdon, PA. / Josh Morningstar 
7/23 Silver Maple House - New Eagle, PA 
7/28 Ruckus in the Boonies - Heppner, OR. / Urban Pioneers / Husky Burnette, and many others
7/30 The Volcanic Theater Pub - Bend, Oregon Mon,
7/31 Down Town Ale House - Red Bluff, California Tues
8/1 House Concert / Sheana Davis - Sonoma, California Thurs
8/3 The Waterwheel Pizza Saloon - Sonora, California / JonEmery Dodds
8/5 House Concert / Angel Dean - Sacramento, California 
8/8 House Concert / Dennis Yellowhorse Jones - Paradise Valley, Arizona
8/9 Radio Interview on Dennis Yellowhorse Jones show "The Real Deal" - Phoenix, Arizona
8/10 Roosters - Mesa, Arizona 
8/12 The Lumberyard - Roscoe, Texas / Dale Watson, Dallas Moore, Josh Morningstar, Sarah Gayle Meech, Richie Allbright
8/19 Benefit Concert for cancer victim Dwayne Newman - Mountain View, Arkansas
8 25 "The Bakersfield Gig" - Bakersfield, CA 
9/2 Chuck Reeves BBQ - Mountain View, Arkansas
9/23 Checkered Flag - Indiannpolis, Indiana

The Excavators, A Brand New Side Project From The Fellas In Hellbound Glory

The Excavators album was recorded in a couple hours at someones house in Reno, NV sometime in late October of 2010. The Excavators consist of Leroy Virgil and Rico Peterson of Hellbound Glory, performing all tracks. All performances are raw and the recording techniques used are extremely primitive. The album comes out November 27th 2015 on Rusty Knuckles Music.

Pre-order your copy now

1. Big Time
2. World Coming To An End
3. Feudin'
4. Working Hard A'int Hardly Workin
5. Another Dead Friend
6. The Repo Man
7. Stateline
8. The Black Mass
9. If The Good Lords A Good Ol' Boy
10. Bonus Track L.O.F.

Leroy Virgil Feature Interview On Saving Country Music

Leroy Virgil of Hellbound Glory

Order a copy of Hellbound Glory's albums

Read more articles over on Saving Country Music

"Reno’s Hellbound Glory has just released a new 5-song EP called LV, named for the initials of lead singer and songwriter Leroy Virgil. The album was recorded in and partially inspired by Leroy’s hometown of Aberdeen, Washington, and marks the first new music from Leroy and Hellbound Glory in nearly three years.

On the occasion of the new release I gave Leroy a call and spoke to him about the new EP, another EP he has coming out July 3rd called Folk Hero, and what opening for Kid Rock on an arena tour did for his career.

“It’s about a hour-and-a-half outside of Reno on the Gardnerville side, through Gardnerville, then you take 88 up into the mountains,” Leroy tells me about the place he’s living now ouside of Reno. “Just a little town, out kinda in the middle of nowhere. I’ve got a really great view. Hardly anyone lives around me. Just a really secluded little place out in the woods, which is cool by me. I’ve lived up here for about a year.

“Obviously I spend a lot of time out on the road. But my wife and I moved up here to be closer to her family. Just wanted a place where my kid could play out in the woods. The area we can afford to live in Reno was getting a little bit rough. So this was good for the family. My boy is great. He’s a big boy. He knows my music, loves music in general. He’s my biggest fan, and I’m his biggest fan too. Since he’s been born I’ve been stealing material from him.”

Tell us about this new EP you’ve got out, LV.

Last Halloween I wrote this song called “Streets of Aberdeen”. It literally took me like a half hour to put it all together. I wrote it, and later that night I posted it on the internet to share it, and as I started playing it more, I thought, “this has some potential.” I got a hold of an old friend of mine back in Aberdeen that I used to record with when I was a teenager who has a studio there. I just said, “Hey, would you be interested in hitting the studio together?” He’d been out of commission for a while, but he got it all set up. If you’ve heard the song, the storyline’s about an infamous murderer back there in Aberdeen. And the place I recorded it—and this is completely random, none of this was on purpose—but the actual studio is an old union building where Billy Gohl murdered all these people at. That just happens to be where the studio happens to be. So I wrote this song, and I kind of knew in the back of my mind that the studio was in the same place, but the song is about it, and it’s recorded right there. I don’t know, I just thought it was something kind of cool. I’d always heard the story when I was a kid and it was stuck in my brain. It makes for a good story at the very least.

The EP is all tape, all analog studio, and he hadn’t been recording for about ten years or so. So it’s old tape equipment before they started using Pro Tools and stuff. There’s no computers in the whole entire office. And I went there and did a couple of songs with Adam whose playing bass for me, and Marty Chandler who plays guitar for the Supersuckers. They play on a few of the songs, and then the rest of the songs I just did by myself as kind of a one man band.

The “Streets of Aberdeen” song, I tried to get it recorded for a couple of sessions, and it just wasn’t coming together. It got to be one of the last days, and I knew Bryan [the engineer] had to head off to some dance thing for his wife. It got to about four o’clock and he had to be gone by five, so I just tuned the guitar down and started strumming something and I came up with this chord. And after a bunch of tries earlier, I found the right chord, I found the right tempo, and I recorded everything on the song in about an hour.

Tell us about your history with Aberdeen. Hellboud Glory is so synonymous with Reno, but I know that’s the area you’re from.

My mom moved to Aberdeen when I was about three. She met my step dad out there and I lived out there for the most part, with the exception of a couple months here and there when I would visit my real father who lived in Sun Valley, right outside of Reno. So I bounced back and forth between the two places quite a bit. At about 21, I decided to move out of Aberdeen because I wanted to go to Reno to become a big star (laughing). That’s a joke. Nobody moves to Reno to become a big star. But I moved to Reno to pursue music a little bit, and to get to know my dad. But yeah, I grew up in Aberdeen. I grew up on an oyster farm just outside of town, but I also spent a lot of time hanging out in the downtown area with street kids.

And Aberdeen is a strange town because I don’t know that traditionally you would call it a music town, but there’s all this musical history swirling around the area out there.

Metal Church is from out there, which actually Brian Smith who recorded this EP has some ties to. The Melvins are from out there. And of course Nirvana and Kurt Cobain are from Aberdeen as well. There’s definitely something in the water out there I’d say.

So why release a 5-song EP now instead of a full album a later? Do you consider this somewhat of a concept album because it’s so tied to this location?

There would be more songs if I had more songs that I’d recorded. I’ve got to say that LV is the first thing I’ve put out where I’m happy with every single one of the songs. The versions are definitive versions of these songs. Some of the past projects, I’d put twelve songs on it and there would be three or four songs where it was a good song, but I just wasn’t quite happy with the way it turned out, but I put it on there just because I wanted to get the song out. This was the first time I didn’t make concessions to time or anything.

I’ve got another 5-song EP in the can that I’ll be putting out July 3rd. It’s going to be called Folk Hero. It’s going to be a political album. A lot of the songs people have probably heard and there’s a couple of cover songs. It’s more electric than the stuff I have doing with the Aberdeen sessions. It’s a little bit more like what our live show is going to be like. It was recorded out in Detroit.

The “LV” of the EP is for your initials. How much is this LV EP Hellbound Glory, and how much of it is it Leroy Virgil?

I started Hellbound Glory more than ten years ago back in Reno. Hellbound Glory has always been my thing. It’s always been less of a band, and more of a gang. People come and people go, and people come back. Because I recorded this EP back in Aberdeen, and I recorded a lot of it by myself, it is a little bit more of a pure expression of just me. I really put a lot of myself onto the tape with it. Just trying to capture more where I’m from as opposed to where the band is from.



Have you thought about just going under the Leroy Virgil name?

I’ve actually considered it a lot. We’ve talked about it, but there’s so much momentum going with Hellbound Glory and I’ve got so many years of work into it. Within a week or two of moving to Reno, I’d written the song and turned it into a band name. So it’s been something I’m stuck with. Part of me would like a change. But it’s a great band name when you think about it. It’s good and evil, heaven and hell. As I’ve changed lineups, I’ve always called the band something different. For a while we were the Excavators, for a while I was calling it the Damaged Good Ol’ Boys, for a while to was the Damn Seagulls, so it’s always kind of changing up for me. I could see a day when it is called Leroy & Hellbound Glory, or whatever. I have no shortage of good band names. I want people to connect with the songs rather than the band name.

Every time I bring up Hellbound Glory, people ask me what’s going on with those Shooter Jennings sessions that you did out in Nashville. Is it coming in the future, is it sort of in limbo?

You know, I’d say it will probably be out someday. To be honest with you, I didn’t really bring it to the recording sessions. A lot of the songs I hadn’t finished yet, I don’t think. And we were just really limited on time. I’ve heard them, and Shooter did a great job, it was just I didn’t do that great of a job. We drove three days and showed up at noon and started playing. We really partied pretty hard. And you know, I don’t regret doing it because it made the songs better. But I just wasn’t too stoked about what got laid to tape. I love Shooter to death and I wish it would have worked out, but the songs weren’t done yet. There were lyrics on it that were half cooked. I didn’t sing all that great. But I’m looking forward to working with Shooter again. We’ve actually talked about getting back into this studio in Aberdeen.

How much does it concern you that you have songs out there that you’ve created, and maybe you get tired of them, or maybe you’re working on them, and that maybe they’ll get lost?

I’m not afraid of that at all. I like my songs. I’ve got five new ones that I’m polishing up right now. For me, I don’t want to force it in the studio. All of those songs I recorded with Shooter, they’re not off the table. I’m not going to put them out until I’ve got the right groove for them. I’m going to keep on trying. I’m always working on them. I’m still planning to get them out because I like them. I think they’re great songs.

What kind of impact did the Kid Rock tour have on your career?

It put me on stage in front of a bunch of people, and I learned a whole shitload just being around the guy. I don’t know. My life has completely changed since I went on that tour. People may not be able to see it. We’re not selling out big places or nothing. But I’ve got a nice new van, recording in a nice studio. I’ve got a really good booking agent. I don’t know. Every interaction I had with Kid Rock, I learned something. He didn’t make me an overnight sensation, but he definitely put me on the radar."

Sturgill Simpson Featured In The New York Times

Sturgill Simpson is a country music shaman

Read more articles over on the New York Times

"Sturgill Simpson is a top-notch miserablist, from the lyrics that pick at scabs to his defeated vocal tone, leaky even when he’s singing at full power. His second album, “Metamodern Sounds in Country Music” (High Top Mountain), is a triumph of exhaustion, one of the most jolting country albums in recent memory, and one that achieves majesty with just the barest of parts.

“Time and time again, Lord, I’ve been going through the motions/It’s a means to an end but the ends don’t seem to meet,” Mr. Simpson sings resignedly at the top of “Living the Dream.” Even his quick yelp while singing “going” feels doomed, like a pounce on the gas pedal that still doesn’t start the car.

Eventually, he concludes, he’s got nothing to do except “sit around and wait to die.”

This desperation is both felt and a form of drag, rooted in Mr. Simpson’s deep affinity for and understanding of the tattered parts of country music’s past, be it Johnny Cash’s morbid ramblings or Waylon Jennings’s scratched-up heart.

But while plenty of practitioners of classic country see their work as duty, reflecting a need to protect a style that’s beset at every turn by modernization, Mr. Simpson doesn’t have the feel of a preservationist. He speaks the language because he was raised around it, but his dialect is wholly his own.

Similarly, this album — the title is a nod to Ray Charles’s pioneering 1962 album “Modern Sounds in Country and Western Music,” a watershed of country-soul crossover — doesn’t make an argument about the direction of the genre as a whole. Its relationship to mainstream country music’s increasingly urban core is tenuous at best, even as a response.

Instead, this is a hermetic work, an act of therapy as much as anything. Compared with his debut album, “High Top Mountain,” from last year, which was lonely and desolate, too, this one feels even more skeptical, and is richer musically with only a few extra brush strokes.

Lyrically, Mr. Simpson is deadpan and bruised. “She left my heart feeling taunted/And my memories all haunted/But it’s her I have to thank for all my songs,” he sings on “Life of Sin.” On “Voices,” his voice is sopping wet, low to the ground and bumpy. He sounds peaceful only on “A Little Light,” which is rich with the influence of Southern gospel and the rare burst of optimism on this album.



As a singer, Mr. Simpson is gifted but in an unflashy way, yanking his drawl into sharp shapes when it’s called for, but mostly content to let his dusty luster do the heavy work. The only places he feels vocally constrained at all — and only slightly at that — is on the pair of covers at the center of the album: Charlie Moore and Bill Napier’s trucker anthem “Long White Line,” and “The Promise,” by the new wave one-hit wonder When In Rome. Mr. Simpson’s respect for the originals seem to prevent him from fiddling too much with their structure. (“The Promise,” in particular, feels indebted to Johnny Cash’s late-in-life career turn remaking unlikely artists’ songs in his inimitable style, right down to Mr. Simpson’s pulpy murmur.)

Part of Mr. Simpson’s skill is that he picks his accompanists carefully. This album was produced by Dave Cobb and recorded live to tape with Mr. Simpson’s touring band: the guitarist Laur Joamets, the bassist Kevin Black and the drummer Miles Miller. Mr. Joamets, especially, is vicious, an ostentatious talent given to filling small holes with outsize filigree. He’s almost as able a narrator as Mr. Simpson, as on the opening of “It Ain’t All Flowers,” which flirts with ZZ Top-esque swamp-blues rock, or on “Long White Line,” which opens with four different guitar approaches in four consecutive passages.

Dissenters like Mr. Simpson have occasionally seeped into country’s center, or near it, in recent years. There was Jamey Johnson, with whom Mr. Simpson shares a black cloud overhead, though he doesn’t quite have the full breadth of Mr. Johnson’s dolor. They also share a predilection for mind-bending substances, as Mr. Simpson shares on “Turtles All the Way Down”: “Marijuana, LSD, psilocybin, DMT — they all changed the way I see/But love’s the only thing that ever saved my life.” (Or on “Life of Sin”: “The level of my medicating some might find intimidating.”)

And Mr. Simpson toys with the sort of core-values skepticism recently reintroduced to the country mainstream by Kacey Musgraves, Ashley Monroe and others, singing, also on “Turtles,” about how “Every time I take a look inside that old and fabled book/I’m blinded and reminded of the pain caused by some old man in the sky.”

But while big establishment systems discourage Mr. Simpson, his angst is almost wholly internal. And even though he’s fighting himself, he takes pleasure in the challenge. “Woke up today and decided to kill my ego/It never done me no good no how,” he sings on “Just Let Go,” and it sounds like a big old grin."

Sturgill Simpson featured in the New York Times