MIXTAPE: The Hooten Hallers’ Punky Rootster Playlist

If there’s one thing that connects us to a lot of our road dawg peers, it’s that we don’t fit neatly into a particular genre. In this playlist, we’ve compiled some of our favorite tunes from bands we’ve met and played shows with along the way, spotlighting roots musicians with a heavy punk influence. The combination of punk and other variations of rock ‘n’ roll mixed with blues, folk, string band, bluegrass, and country make for an exciting and energetic reimagining of traditional music. Their spirit, musicality, rhythms, and lyrical themes deliver in a way that can only be achieved by artists who have lived those stories, and whose passions lie at the intersection of outsider music cultures. — The Hooten Hallers

Possessed by Paul James – “Four Men From the Row”

Possessed By Paul James is the stage name of Texas folk musician Konrad Wert, who injects his performances with frenetic, intense energy and raw emotion. An educational professional by trade, he never misses an opportunity to teach the audience something new about their own humanity.

The Tillers – “All You Fascists Bound to Lose”

A core component of both punk rock and folk/roots music is using the platform to spread messages of political reform. This anti-fascist anthem from ‘original punk’ and revolutionary folk singer Woody Guthrie is done here with raw energy and emotion that is inextricably tied to a world where this struggle is more relevant than ever — almost 80 years later.

The .357 String Band – “Down on a Bender”

Northern notables The .357 String Band featured the instrumentation of a traditional bluegrass band and played a big part in inspiring a generation of young punks to pick up the banjo and start pluckin’. The Hooten Hallers first shared the stage with .357 way back in 2008 and continue to do so with projects formed afterward by some of the band’s original members.

Carrie Nation & The Speakeasy – “Rümpeltum”

A true musical collider, Carrie Nation & The Speakeasy combine elements of bluegrass, jazz, punk and metal. Their songs often feature heavy vocals, drums, and a horn section alongside traditional stringed instruments. “Rümpeltum” is the name of a punk squat and performance space in St Gallen, Switzerland, where this band, ourselves, and many others have played over the years.

Left Lane Cruiser – “Ol’ Fashioned”

Left Lane Cruiser has been a huge influence on The Hooten Hallers ever since Andy and John first saw them play nearly 15 years ago. The effortless combination of traditional blues guitar picking with sludgy, raw metal riffs and powerful drumming make this band an absolute force of nature. Seeing this band live continues to be just as jaw-droppingly inspiring today as it was the first time.

The Goddamn Gallows – “7 Devils”

Turning the “trash-grass” up another notch toward punk and metal, this band blends acoustic string instruments with electric guitar, drums, and an energetic and antic-laden show that has become legendary. This band truly embraces the wild and strange, and we’ve gotten to cross paths in some truly wild and strange places around the world over the years.

Soledad Brothers – “Going Back to Memphis”

Soledad Brothers have been a punk blues icon since before they were formed and they forever will be. The first time we heard the saxophone taking the place of bass guitar in this way changed everything, and eventually led to Kellie joining the band. Some chance encounters and a few dear mutual friends led to our eventual collaboration with Johnny Walker, who produced our self- titled record in 2017.

James Leg – “Dirty South”

James Leg, moniker of absolute dynamo John Wesley Myers, delivers powerful riff heavy blues rock on a distorted Rhodes piano. To say he has been hugely influential on The Hooten Hallers would be an understatement, and we’re proud he appears as a guest on our new record Back In Business Again. This is his cover of St. Louis proto-punk and alt country legend Bob Reuter’s “Dirty South.”

7 Shot Screamers – “In Saint Lou”

This St. Louis group had a cult following in the psychobilly and rockabilly scenes of the ’90’s and ’00’s, and served as Exene Cervenka’s backing band for several years. Rockabilly was of course an early roots genre mixer of rock ‘n’ roll, country, and hillbilly music, and its mix with punk’s ideals and energy by the 7 Shot Screamers led to the blowing of many young minds in the sweaty brick rooms of St. Louis and beyond.

Larry and His Flask – “Young Is the Night”

Lightning fast dual leads between guitar and banjo, incredibly tight and engaging vocal harmonies, and a horn section put Larry and His Flask in a league of their own. Larry and His Flask, like many others on this playlist, connected with fans on a global scale through years of intense DIY touring. They are beloved for their musicianship, complex arrangements and chord progressions, and intensely energetic live show. It’s extremely difficult to hold back a smile when this band is on stage.

Legendary Shack Shakers – “Mud”

While the band’s lineup has changed over the years, the constant star of the show has always been the banjo and harmonica leads and circus-like stage antics from frontman JD Wilkes. The chaos that he brings to the stage is much like what you’d expect at a sweaty basement punk show, but after the show he can and will give you a musical history lesson that would rival professors at most institutes of higher learning.

Split Lip Rayfield – “Kiss of Death”

These fellow Midwesterners are definite early pioneers in the melding of traditional bluegrass instrumentation and punk ethos. Split Lip Rayfield’s signature sound paved the way for scores of counter-cultural roots pickers and grinners alike to form their own sounds and take to the highways.

Scott H. Biram – “I Want My Mojo Back”

Scott H. Biram, the dirty old one man band, can go from crooning a heartfelt country ballad to exploding into heavy guitar-driven aggression in the brief moments between songs at a show and he’ll have your undivided attention every step of the way. Nodding heavily to the history and style of the great roots and blues musicians that came before him while fusing that with a vibe all his own make him an essential part of this playlist.


Photo Credit: Charles Bruce III

Possessed by Paul James: The Texas Schoolteacher Who Goes Wandering

Long before Konrad Wert took the stage name Possessed by Paul James, he was a kid living in what sounds like a fable. Wert grew up amidst the marshes and palmettos of Immokalee, Florida, watchful of “gators” but delighting in a monkey that swung from a mangrove tree near his home. Alongside his sister and the children of Mexican and Haitian immigrants, he attended the small Mennonite chapel his parents founded, worshipping and harmonizing on sturdy, simple hymns at least three times a week.

As a young adult Wert left Southwest Florida and his conservative, religious past. Free to listen to whatever he pleased, he was drawn to punk and the blues. But he set his love of music aside to pursue a teaching career. And for the last 20 years he has devoted his life to teaching special education and advocating for students and teachers.

Several years ago, with two young kids and a meager teaching salary, music became a way of supplementing his teaching income. His energetic, multi-instrumental shows quickly gained popularity and soon Possessed by Paul James (a nod to Wert’s father and grandfather) was born.

It’s been six years since Wert’s last album, There Will Be Nights When I’m Lonely. In that time, he has undergone two vocal surgeries, losing “two whole steps or three half-steps in terms of range,” he says. His latest album, As We Go Wandering, took nearly five years to complete. He would hum his compositions in school hallways, scribble lyrics on scratch paper or napkins and travel two hours northeast from his home in Kerrville, Texas, to Austin to record.

Finding common ground between the instrumental traditions of old-time music and a contemporary call to social action, As We Go Wandering is the collective work of 20 musicians. While Wert stayed consistent on banjo, fiddle, guitar and clogging, he wanted his friends and “picking pals” to add texture and feel on the record by contributing harmonies, mandolin, percussion and guitar.

He explains, “The greatest contribution to the participating musicians were the harmonies and choral effect such as in ‘Be at Rest,’ ‘As We Go Wandering,’ and ‘I’m So Good at Absolutely Nothing.’ … Their contributions added to the texture and feel tremendously. At the end of the day we’re all Possessed by Paul James. I like it like that. It’s not about the ‘me,’ it’s all about the ‘we.'”

BGS: Can you talk a little about the making of As We Go Wandering?

Wert: Our albums are very reflective of where we are in life. As We Go Wandering is really reflective of where we are as a family. My boys are 11 and 9. The kids are healthy, our relationship [with my wife] is strong, but where do we keep going?

I notice you say “we” and “our” when talking about the making of your music. Are you talking about your wife? The musicians you play with?

Yes. I’m a firm believer that the pronoun “we” is far more powerful than “I.” It’s never meant as the third person or some strange pretentious way of thinking. [Laughs] Rather, I can talk about how my family impacts the writing, how our friendships impact the writing, how life impacts the writing. I like to say, “We are Possessed by Paul James,” not “I am Possessed by Paul James.”

In the song “When It Breaks” you seem to be saying that when we hit our breaking points, we need to keep plugging away. What’s the story behind this song?

When I write, I’ll put songs on the shelf, and I’ll let it collect some dust until it feels ready to record it. We originally recorded this track on the album Feed the Family, and it was [recorded] just with me. It was very raw.

The sentiment when I wrote it then, and how we have reinvented it with this composition, has so much to do with, number one, my work as a schoolteacher. I had to take a year off in 2015 just for my mental health. It was starting to beat me down, that [feeling of] we’re not able to help these young people in the way that we want to help them. For me, some of these songs are reflective of, what am I going to do when I can’t take it anymore? What are teachers going to do when we can’t take it any longer? I get emotional about it.

Your performances always appear so cathartic, like you’re really just letting it all out. It sounds like your lyrics are a way of releasing emotions and inner struggles as well?

Oh, yeah. Maybe to a fault. Being raised a Mennonite, you were raised to recognize your weaknesses and your faults. You know the phrase would always be: Remember you’re broken and then you can have healing. Some people say, “When we come to your shows it feels like church.” Well, it’s meant to have people gather around and have a good time, share our burdens and talk with one another.

Many songs on this album feel nostalgic. Is that a reflection on where you are in life?

Yes. I understand how people sort of lose their footing in their mid-40s. There’s the adventures and excitement of your roaring 20s and then you’re balancing out in your 30s and quote-unquote growing up. Then in your 40s, the waters are calm and you’re thinking: What’s next? Am I just counting the minutes before I croak? I think there’s a lot of pondering, wandering in the album. I know I also wanted to slow things down. My wife is like, “Hey, can you have an album without cussing?” We wanted a more folk-y element, along with that theme of advocacy and hopefulness.

Some artists who have to have a day job to survive might compartmentalize those two things. You blend your job and your art together quite a bit.

Absolutely. I truly feel you can’t do one without the other. When I was [teaching] in elementary school, music was always in my classroom. I teach high school now, but on my wall there’s a picture of me teaching, my second-year teaching, with these little guys in school with a guitar. And there’s a little guy with a tambourine in his hand, a kid with Down syndrome, a sweet kid. So, music has always been in the class.

The song “Be at Rest” has been described as a social justice anthem related to education in this country. Is this a song you could’ve written in any other phase of your life?

No. I think with the rise of school shootings, when those tragedies occur, as a schoolteacher or counselor or any kind of educator, you’re literally walking in the same shoes of those that were injured or killed. It takes such a toll on you. You start thinking, whoa, look at this environment we are working in and this is truly now part of our job. This is truly part of our professional development and training — how to handle if someone comes into the school with a firearm. That’s profound when it’s an educational setting and we’re trying to help people learn and grow. The song was a response that came out in a cathartic manner.

My intent is to remind myself to be at rest. To remind myself that I can persevere. Is it specifically about someone coming into my school with a firearm? Yes and no. There are a lot of conflicts right now in public education that we have to focus our energy on. And I think by singing about that — there are battles in these classrooms, there are battles in these hearts — it might just be a reminder. It’s preachy, possibly. But not too preachy. I feel like if I get too preachy I lose the listener. But you have to live your convictions without losing your audience. That’s the balance.


Photo credit: George Blosser

LISTEN: Possessed by Paul James, “When It Breaks”

Artist: Possessed By Paul James
Hometown: Kendall County, Texas
Song: “When It Breaks”
Album: As We Go Wandering
Release Date: January 31, 2020
Label: PPJRECORDS

In Their Words: “When the world comes crashing down around us what will we do? I ask this question when thinking of my children. How will I react when tragedy strikes? I think of this as a teacher, when the systems in place simply are not adequate in meeting the level of need on a day to day basis. Will I quit and move on from the classroom or persevere? The blending of harmonies and the soulful fiddle song take my mind to a place of wonder.

“It’s fitting that this track happens to share the same name of the documentary produced by Milk Products Media of Chicago. In 2015 we took a journey for a full year advocating for the rights of students and families receiving special education services. I was personally at a loss when trying to understand why we simply weren’t doing more regarding resources and supports within the classroom.

“Thus, we loaded up the RV, the two kids, the dog, spouse, supplies, instruments and hit the road for a full year touring and advocating for special ed reform. The children were ‘roam’ schooled, the meetings were plentiful, the message was heard, and the songs were song. Ultimately we chose to return to the classroom at the end of the year while still balancing music performance, yet the ongoing question continues, ‘What are you going to do when it breaks?'” — Konrad Wert, Possessed by Paul James


Photo credit: George Blosser