Sunday, December 02, 2007

Orginal Christmas Song mp3s by Vending Machine

For the whole month of December (and the last week of November) we are making 4 of our original Christmas songs available for streaming and download. Here's a quick rundown:

wot is nog - w/Shelby Bryant [buy now]
Have you ever wondered what is in egg nog? Old jelly rolls? Christmas lights? Find out what else!
Also - check out Shelby's great new record, Luscious, that just came out on Smells Like Records last week.

north pole christmas party band
What happens when santa gets back from delivering all the toys? It's simple, a huge elf party with santa playing a double guitar solo all by himself.

candy powered sled
A kid buys a sled from an electronics store at the North Pole that's got some cheap fuel.

fly on christmas dragon (with the yellow house singers)
Santa needs help. Someone call the Christmas Dragon.

Play all of them together with the player over on the right column of the page.

Happy Holidays!

Saturday, December 01, 2007

Vending Machine plays the HiTone

Check out the photos by Don Perry (Bullyrook on Flickr) from last month's show at the Hi-Tone.

Tuesday, November 13, 2007

Thursday, November 08, 2007

Tom Martin designs 2007 Oxford American Music Issue

Congrats to Tom Martin (cover designer for King Cobras Do) on a great looking layout to the 2007 Oxford American Music Issue. Be sure to read the interview with him. Some great thoughts on design and life in general.

Tom and I had a band in junior high called the Dirty Toenails. I need to get some of those mp3s up soon.

Check out Tom's web site...

Thursday, October 18, 2007

The Hanged Man Preview at Indie Memphis

My friend Glenn Hopper has been writing and producing a movie over the past year and a half called The Hanged Man. I did the score and music supervising. It's going to preview this Saturday at the Indie Memphis Film Festival ( It's playing at Studio on the Square - Saturday October 20th at 6:25pm (buy tix now - ). Come check it out!


Sunday, September 23, 2007

Gonerfest is this weekend

Four nights of rock n roll insanity featuring 39 bands from 3 continents starts this Wednesday (9/26) at Gonerfest 4! Vending Machine is playing Saturday afternoon at Murphy's. 2 stages (one inside/one outside) - cover is $8.

Murphy's Schedule:

Inside Stage
2 p.m. Ooga Boogas (Melbourne, Australia)
3 p.m. Vending Machine (Memphis)
4 p.m. Hipshakes (Sheffield, England)
5 p.m. Goodnight Loving (Milwaukee)
6 p.m. Digger & the Pussycats (Melbourne, Australia)

Outside Stage
2:30 p.m. Headache City (Chicago)
3:30 p.m. Perfect Fits (Memphis)
4:30 p.m. Cococoma (Chicago)
5:30 p.m. Black Rose Band (New Orleans)
6:30 p.m. Evil Army (Memphis)

More info on the entire Gonerfest:

Friday, September 14, 2007

ARTICLE: Cooper-Young festival has grown into a large regional outdoors event


By Bob Mehr

Friday, September 14, 2007

As the Cooper-Young Festival enters its 20th year, the sheer numbers associated with the event have become eye-popping: 17 bands, 18 sponsors, 360-plus booths, and expected crowds of up to 65,000 are set to descend on the Midtown neighborhood this Saturday.

Started in 1988 as a small gathering, the annual festival -- staged by the Cooper-Young Business Association -- has grown exponentially since its humble beginnings. No longer just a showcase for local merchants, it's become one of the bigger outdoor festivals in the region, attracting a unique mix of people from throughout the Memphis area.

"I grew up in New York City, and I've traveled all over the world," says festival director Lyn Patrick Myers, "but this one-day happening is amazing. It's special in how it brings the various communities in Memphis together. A lot of people out east don't typically come into Midtown or Downtown or Cooper-Young, they stay out east. Our festival is a grand opportunity for family and friends from all over town to get together in one place, have a big party and kiss goodbye to summer."

The event -- at the intersection of Cooper and Young streets (see map Page 19) -- combines a variety of attractions, from concerts to booths featuring the works of local artisans, antique dealers and food vendors. "Aside from artisans and restaurants, we have everything from non-profits to doctors who do acupuncture on animals," Myers said. "It's a lovely group."

Parking is available on neighborhood streets.

Still, the main entertainment component of the event is musical. This year, 17 acts will be spread across three stages. Cameron Mann, manager of Young Avenue Sound recording studio -- who, like almost everyone involved with the festival, volunteers his time -- is handling the booking for the third consecutive year. He says the trick in selecting acts is to look at the big picture.

"With the festival being as large as it is, we get a pretty wide cross-section of people coming from Memphis and the surrounding areas," says Mann. "So what I try to do when I'm booking bands is to be as diverse as possible, really, to showcase as much variety as I can in terms of what's happening in the Memphis music scene."

Mann adds that the event strives to keep its focus on local and original talent. "One of the things we really pride ourselves on is supporting Memphis music and musicians, especially original musicians. Everybody who is playing the festival is from here. We don't take submissions from out-of-towners, and while a lot of cover bands apply, we really like to showcase original bands."

This year's lineup runs the gamut from Symbiosis, a Latin percussion group that resembles Buena Vista Social Club, to Giant Bear, an up-and-coming combo that puts a twist on bluegrass and roots music.

"We've also got Darrel Petties and Strength in Praise, an incredible gospel group," says Mann. "Then there's our headliners, Lucero, who are a great alt-country/punktry band. We've got Twin Pilot, which is a shoegazer group, as well as a lot of indie rock of varying kinds, plus singer-songwriters like Holly Cole and Blair Combest."

The growth of the C-Y Fest has become so pronounced in recent years, that it's actually spawned some side events, like the Two Chicks and a Broom "Chick Party." Candace Mills, who owns the Cooper-Young-based green cleaning company, originally launched her backyard concert bash three years ago as a small appreciation party for her employees, or Chicks.

"Now, we get several hundred people in and out through the whole day," says Mills, whose co-tenant, Light Years Vintage, also plays host to the event. "We ask for donations at the door and give all the money to a local charity each year. Our Chicks work hard, and there are so many musicians and artists among them, we wanted to show off their bands."

This year's Chick Party will feature half a dozen acts including psych-tinged instrumentalists Noise Choir, post-hardcore outfit Antique Curtains, indie-poppers Arma Secreta, performance art punks The Barbaras, and Mouserocket members Alicja Trout and Robby Grant playing an acoustic set.

Like the festival itself, Mills sees her event as a way for Memphians who aren't habitués of the area to get a snapshot of the neighborhood's charms. "This event is really family friendly. A lot of the parents of the Chicks will come. Or relatives or friends from out east who don't normally get a chance to enjoy Cooper-Young will come out and make a day of it."

As Lyn Patrick Myers notes, with summer temperatures suddenly taking a cooler turn, this year's festival might turn out to be the biggest ever. "If we have the weather that's predicted -- which is the high 70s and sunny with no humidity, we may get the entire world showing up," says Myers. "And we hope we do. It's like, 'What if you threw a party for 100,000 people and they all showed up?' It would be great."

Music lineup

Cooper-Young Festival Saturday

East stage:

12:30 p.m. - Hi Electric

1:30 p.m. - Twin Pilot

2:30 p.m. - Noise Choir

3:30 p.m. - The Third Man

4:30 p.m. - Jump Back Jake

First Congregational Church parking lot:

12:15 p.m. - Holly Cole

1:15 p.m. - Blair Combest

2:15 p.m. - Symbiosis

3:15 p.m. - Zazerac

4:15 p.m. - Ron Franklin and November 6th St.

Main stage

11:30 a.m. - Rhythm Realm

12:15 p.m. - U of M Jazz band

1:15 p.m. - Giant Bear

2:15 p.m. - Antenna Shoes

3:15 p.m. - Darrel Petties and Strength in Praise

4:15 p.m. - Vending Machine

5:15 p.m. - Lucero

Two Chicks and a Broom ''Chick Party'' at 885 S. Cooper

1 p.m. Noise Choir

2 p.m. Antique Curtains

3 p.m. Arma Secreta

4 p.m. The Barbaras

5 p.m. Alicja Trout and Robby Grant

6 p.m. Hi Electric

Suggested $6 donation for charity. Beer will be availble.

Thursday, September 13, 2007

Cooper Young Festival this weekend

Cooper Young Festival is this weekend. Vending Machine is playing at 4:15pm in front of the Young Avenue Deli.

Alicja Trout and I will also be playing around 6pm behind 2 Chicks and a Broom.

Weather looks to be great!

Friday, August 17, 2007

Vending Machine w/Lucero - Photos from 2002

Since we're playing with Lucero at the upcoming Cooper Young Fest (Sept 15th) I figured I'd post some old photos. This is us as a 2 piece opening for Lucero at Vino's in Little Rock.

Friday, July 27, 2007

Thriving pop scene gets its props

Thriving pop scene gets its props

Daylong inaugural festival will showcase rising local stylists

Bob Mehr

July 27, 2007

During the past year, something struck Shangri-La Projects owner and veteran Memphis music impresario Sherman Willmott as being very strange.

"I was noticing all these pop music festivals around the country -- in San Francisco, in New York, and Los Angeles -- that were featuring bands from Memphis or bands that were affiliated with Memphis," says Willmott. "And I wondered why we didn't have something like that here."

Addressing that oversight, Willmott is staging the inaugural Memphis Pops festival this Saturday. The daylong event will feature 10 bands -- covering a panoply of pop styles -- playing at the Shangri-La Records store and at the Hi-Tone Cafe.

Though the lineup includes several bands with long-standing local roots, the emphasis is mostly on new and up-and-coming acts -- ranging from the sweet-sounding trash-pop of The Perfect Fits to the expansive chamber pop of Antenna Shoes.

"I really do think this is the best time for Memphis music I've seen in my life. And there also seems to be a civic movement to promote current arts," says Willmott.

"That's the whole idea behind putting everyone on a bill for one day. To give people who can't get out to the clubs all the time an opportunity to see and enjoy what's going on in town and the region right now."

Willmott notes that Memphis' legacy as a town rich in roots music -- blues, R&B, soul -- has tended to obscure the city's identity as a thriving environment for pop.

"I don't think people have ever really considered Memphis a pop center," he says. "At a certain point in the mid-'60s it was, but even then it was so overshadowed by what was going on at Stax and Hi," says Willmott. "But if you go back to that period and look at Sam the Sham, the Box Tops and the Gentrys, they all had big pop hits."

That trend toward pop music continued -- albeit with less chart success -- into the 1970s, with several bands revolving around Midtown's Ardent Studios, including Big Star, The Scruffs, The Hot Dogs, Cargoe and Tommy Hoehn.

"And there are bands in town that still carry on that tradition," says Willmott. "But I don't think anybody immediately thinks of Memphis as a place for pop, unfortunately."

Memphis Pops will begin Saturday at 3 p.m. with a series of free in-store performances at Shangri-La Records. The lineup features several interesting fledgling bands -- Jared McStay's Nice Digs, Quinn Powers' and Alix Brown's The Arch Rivals, the Scott Rogers-led Perfect Fits, and the Wallendas, fronted by former Reigning Sound bassist Jeremy Scott and ex-Panther Burns guitar ace Jim Duckworth.

The nighttime festivities at the Hi-Tone commence at 6 p.m. with the first public screening of a 2006 documentary on the history of Ardent Studios by The Commercial Appeal's former music writer Larry Nager.

Live performances start immediately afterward, beginning with the Tim Lee 3, the new project from the Mississippi native and legendary Windbreakers front man. Local left-field indie pop crews Vending Machine, led by Robby Grant, and Antenna Shoes, featuring Tim Regan, will follow.

Atlanta's fast-rising punk-pop outfit The Carbonas will also appear; their set will offer a preview of their album due on the local Goner Records label this fall.

Memphis power-pop veterans Rick Camp and Jeff Golightly of 1980s favorites The Crime unveil their latest project, The Everyday Parade, while art-pop ensemble Viva L'American Deathray , featuring former Memphian Nick Ray and celebrated local tunesmith Harlan T. Bobo, will cap the night.

The fest's $10 cover charge also includes a limited-edition four-song vinyl single featuring cuts from various Memphis Pops artists, including an unreleased Viva L'American Deathray track.

Willmott says the event is something of a dry run for what he hopes will be an expansion of the festival into a multi-day event next year. He cites the success of the locally produced garage rock extravaganza Gonerfest -- the fourth edition of which will take place in late September -- as an example of how specifically targeted music fests can succeed without the need for expensive headlining acts and pricey tickets.

"That's kind of where cultural tourism is going – people just want to go and indulge in their passions a long weekend," says Willmott. "That's why Gonerfest is so successful. It's not because they have the biggest bands in world playing necessarily, it's because everything they have that weekend appeals to that audience and gives them ten reasons to come to town instead of just one."

More info:

Music preview

Memphis Pops

Free in-store at Shangri-La Records, 1916 Madison, at 3 p.m. Featuring: Nice Digs, The Arch Rivals, The Perfect Fits and The Wallendas. Call 274-1916.

Festivities begin at the Hi-Tone, 1913 Poplar, at 6 p.m. Cover is $10. Music starts at 7 p.m. Featuring: Tim Lee 3, Vending Machine, Antenna Shoes, The Carbonas, The Everyday Parade, and Viva L'American Deathray Music. Call 278-8663.

Vending Machine
The Carbonas
Everyday Parade
Viva L'American Deathray

Wednesday, July 11, 2007

Festivals, festivals, festivals

Seems like Vending Machine is playing a lot of festivals coming up. The first one is soon (July) and the other are in September. Keep an eye out for some other shows to be added soon (mainly a short early September tour).

Memphis Pops: July 28th

Saturday, July 28 at the Hi Tone Café Memphis

6:00 Ardent Records 40th Year Documentary
7:00 Tim Lee 3 featuring Tim Lee from the Windbreakers!
8:15 Vending Machine
9:30 Antenna Shoes
10:45 Goner Recording stars The Carbonas
12:00 The Everyday Parade featuring members of The Crime!
1:15 Viva L'American Death Ray

Also Featuring Special Guest Debonair DJ/MC Zak Wilders!

There's also an early thing at Shangri-La that day as well. Quinn Powers' band, the Arch Rivals will be playing.
Coooper Young Festival: September 15th
Other bands: Lucero, Secret Service, Antenna Shoes, and more.


Gonerfest: September 26th - 30th
Vending Machine is playing Saturday afternoon - September 29th at Murphy's. I think Mouserocket might be playing Sunday afternoon as well.
Full list of bands and activities at the website.

Wednesday, June 06, 2007

SHOW: Hi-Tone Cafe Friday Night June 8th, 2007

Bret Preston, Justice Natchez and Vending Machine (Robby and Quinn only)
9pm doors
$5 cover
at the Hi-Tone

Thursday, May 17, 2007

Memphis Pops - July 28th, 2007

Saturday, July 28 at the Hi Tone Café Memphis
6:00 Ardent Records 40th Year Documentary
7:00 70s sultry pop punks The Klits
8:15 Vending Machine
9:30 Antenna Shoes
10:45 Goner Recording star The Carbonas
12:00 The Everyday Parade featuring members of The Crime!
1:15 Viva L'American Death Ray

More info:

Vending Machine

Memphis’ Vending Machine is the nom-de-band of Robby Grant, a one-man local institution with a musical resume longer than Dom DeLuise’s grocery list. A journeyman aesthete that picks his projects and co-players with care, Mr. Grant has held down the guitar slot in Big Ass Truck, Mouserocket, and the Glitches to name a few. But Vending Machine is his baby, a great excuse to exercise an exceptional talent for furious, quirky pop. And I don’t mean “quirky” in the bad word sense, nor do I mean “pop” in the overt, uh, “pop” way. This is leftfield Southern eccentricity at its finest, without what you may associate with Southern rock, but more than a passing hint of the individuality that made early R.E.M. and Pylon so great. King Cobras Do is the fourth Vending Machine album in six years (plus a 7”), which is literally a saturation in Memphis music time, but that’s sort of what it takes in this town when you have the moxy to make something that falls outside of garage rock, blues, or Americana. Let’s hope that a widespread national appreciation follows in the wake of King Cobras Do, as an opening song like “Babies” deserves nothing less. It’s almost a chore to get to the rest of the album, as this song’s furious guitar/organ herky-jerking and sticky falsetto hook will be enjoyed 5 – 10 times before one realizes that it has eleven worthy successors. “44 Times” is dark indie blues (but catchy!! they’re all catchy!!) and the syncopated blip and burp of “Saturn National Anthem” shows a loose playfulness before its early-Pink Floydish meltdown. “Runaway” is like early acousti-lectric Sebadoh, and it’s neighbor, “Garden 1040 A.D.” is simply gorgeous and closes with a brilliantly haunting guitar-god solo. Not to lapse into the blow-by-blow format, as these things are wont to do, so I left out some treasures that need finding. Underrated? Sure, but those days are numbered. Hear the magic.

Antenna Shoes

Antenna Shoes features Tim Regan's versatile workmanship and pop songwriting skills, culling songs from new inspirations, old dreams and ancient sagas. Regan took a sabbatical from his other all-consuming project, Memphis' Snowglobe, to live in the Smokey Mountains creating the ideal environment to write and record his first proper solo album. Along the way, Regan hooked up with fellow Appalachian Mark Linkus, of national indie stalwarts Sparklehorse, doing piano sessions for Sparklehorse's Dreamt for Light Years in the Belly of a Mountain. Regan has now decided the time is right to push Antenna Shoes to the next level and take this project on the road. Antenna Shoes' Generous Gambler looks the listener directly in the eyes with a sincerity and forthright honesty that has made Regan the coveted sideman he's become. Regan's debut CD pulls no punches, yet the range of emotions Antenna Shoes offers affect a warmth and sincerity that commands attention, listen after listen.


This one's a punk rock broken-hearted valentine for sure. With three sold-out singles and two sold-out full-lengths behind them, Atlanta's Carbonas are next to explode out of the happening Atlanta indie scene - fast in the footsteps of garage freaks The Black Lips and psych-poppers Deerhoof. Their new album on Goner Records is a twenty minute buzzsaw sugar rush full of massive guitar hooks and hummable choruses that won't shake out of your head. LP/CD in stores late August


2007 finds Viva L'American Deathray Music at the height of their powers as a three-piece, kings of all things hip, aloof, and intense. After years as Memphis' finest glam/soul VU spectacle this side of a quaalude and a time machine, they have morphed into a more calculated no-wave DIY juggernaut that does not fear the future. Their most recent record, "In the Meantime," was released on Kid Congo Powers' New York Night Train Label. They sound like Television and have the drummer from the Polyphonic Spree. Rather obviously, they are ace. - NME, 2006

The Everyday Parade

The Crime ruled Memphis new wave in the early '80s. In those days, everyone had a skinny tie and a Rickenbocker, but not everyone could write a song. Those that could often never left their parent's garage. The Crime did it all - killer harmonies, ripping guitar leads, and panty-littered stages. Now, Jeff Golightly and Rick Camp return, and, miraculously, the voices and the songs are still there! Backed by a crack crew of indie vets, Golightly is back in the fray, with a new album set to come out in July.

Wednesday, May 16, 2007

Snocap and Myspace

All the songs from two Vending Machine albums ("Chamber from Here to There" and "Kicked and Scratched") are now available via digital download on MySpace.

Look for the Snocap area on the page:

More on Snocap...

Monday, April 16, 2007

Friday, April 06, 2007

Show this Monday Night - April 9th

WHEN: Monday April 9th at 9pm
WHERE: Hi-Tone Cafe - Memphis, TN

Vending Machine is playing with The Wallendas (featuring our bass player, Grayson) this Monday night at the Hi-Tone. We're playing first around 930pm. Come early.

Who are the Wallendas?

The following may or may not be true about the Memphis band known as THE WALLENDAS:

· Members of THE WALLENDAS play with (or have played with) the Panther Burns, Reigning Sound, Gun Club, Big Ass Truck, Harlan T. Bobo, Pump Action Retards, Vending Machine and Alex Chilton.

· THE WALLENDAS are complete social outcasts whom you do not want to encounter in a dark alley.

· The lead guitar player is in it for the tunes only and has a secret intense dislike for the other three.

· THE WALLENDAS aim to resemble “the Lovin’ Spoonful on meth.”

· THE WALLENDAS are in the middle of writing and rehearsing a mini-rock opera about life in midtown Memphis, tentatively titled “Baby I Hate Your Pants.”

· The bass player is the ladies man of the group and may or may not hit on you at their next gig.

· THE WALLENDAS have been together for about six months as of this writing. (Feb 2007)

· During the recording of THE WALLENDAS’ first demos, their recordist, Chuck Vicious, tore open his shirt, screamed “I have no son!” then tumbled down the attic stairs.

· The rhythm guitar player/songwriter gets inspiration in equal measure from people he meets/hangs out with, and people on mid-afternoon “judge” shows. Sometimes he finds the two groups interchangeable.

· THE WALLENDAS once took a field trip together to catch a midget-tossing contest. (Okay, poor choice of words there.)

· The drummer REALLY likes midgets.

· THE WALLENDAS hope to have a full-length record done by the end of this year.

Saturday, March 31, 2007

Memphis Magazine March 2007

Family Affair


Robby Grant spent most of his 20s touring the country with popular Memphis band Big Ass Truck, singing and playing guitar in front of packed crowds at college bars and rock clubs.

But now that he's 33 years old and a father of two, music functions differently in Grant's life. Recording solo albums under the moniker Vending Machine, he makes his music at home and rarely plays outside the city.

"With Big Ass Truck, the last year we were touring, my son Five was born. So I wasn't around [much] his first year," Grant says. "He's 7 now and

I've also got a 2-year-old daughter, and I can't imagine being gone for two or three weeks."

Grant builds websites by day, but records music by night -- or morning -- at the home studio he's fashioned in the attic of his Midtown bungalow.

"I get a lot of work done early, before the kids get up," Grant says. "Setting your own schedule is a big benefit [of not touring and recording at home]."

Grant's new album, King Cobras Do, his fifth solo album and fourth under the Vending Machine name, is the first he's recorded entirely in his current attic studio.

"I feel like I get good drum sounds with the angled ceilings," Grant says of his upstairs respite. "I tend to play, record, and write all at the same time. It's rare that I sit down and write a song on an acoustic guitar and then go record it. So the home studio gives me the luxury to play around and record whenever I feel like it."

King Cobras Do is not only home-recorded, but also homey. As indie-rock records go, it has an unusually cozy feel. The intimacy of the recording process and Grant's penchant for referencing his home life in his songs give the album a unity of tone and content. The result is an album that feels like a hymn to domesticity in both spirit and subject matter.

"It's definitely a family affair," Grant says of the record. His son, Five (Robert Grant the fifth), contributes free-associative lyrics to the album-opening "Rabies" and to "Saturn National Anthem. "He comes up with me in the mornings when I'm recording sometimes," Grant says. The rest of the family shows up as song subjects.

The second song, "Rae," is a hand-clap-fueled love song to Grant's wife. The memories here are charmingly lived-in: "When you developed photos there/And we hung out and I sat in the chair/Nervous and scared around you" and "Remember when our room was just a bed." The album-closing "Tell Me the Truth and I'll Stop Teasing You" is a delicate tribute to Grant's 2-year-old daughter, Sadie. "The animal noises that you make never sound all that fake/It feels like there's an elephant in the room," Grant testifies, before a great little moment where he catches her yawning. And the theme is completed with "Good Old Upstairs," which personifies the attic studio/guest room where King Cobras Do was created: "In my sleep, she nudges me/To come up and play around some more."

Vending Machine started as a side project during Grant's stint in Big Ass Truck. Though he fulfills his itch to play in a "band" alongside Alicja Trout in Mouse Rocket, and gets plenty of help from an extended family of former Big Ass Truck bandmates (ex-Truckers Steve Selvidge, Robert Barnett, and Grayson Grant -- Robby's younger brother -- appear on King Cobras Do), this one-man-band is now his primary creative outlet. And it's one that allows him more freedom than ever before.

"With Big Ass Truck, everything was a collective effort, so the big difference is that Vending Machine is all me," Grant says. "I write all the songs and record everything. When we were recording albums that we knew we were going to be touring behind, we were always aware of how an audience might relate. You're not as open as a songwriter in that situation. It's hard to get intimate in a bar full of 600 college kids."

If Grant misses anything from the old days, it's less the travel and the packed clubs than the networking opportunities. He's releasing King Cobras Do via Shoulder Tap Records, a new label he's started with a New York-based Big Ass Truck fan he met on the road.

"I've been lucky enough to meet a lot of people, which is what I miss from touring," Grant says. "But things have also changed a lot with the Internet. You're able to get out there, make contacts, and let people hear your music without touring. I don't really care how many records I sell, but I do want my music to be heard."

Grant seems content with a situation that affords him the luxury of creating music on his own time and meeting his own specifications.

"Another great thing is there's no deadline," Grant says. "This album came out when it was ready. And that's how I want to make music. I feel that's what resonates the most. In Big Ass Truck, it was hard to be personal because I felt self-conscious a lot. With this, the more specific you get about your personal life, the more people can relate to it." M


Wednesday, March 28, 2007

Good Old Upstairs lyrics

Good Old Upstairs
Vending Machine
From: "King Cobras Do"

i hear her call
my upstairs
the first thing when the sun comes up
she won't judge
my upstair
if i get tired there's a bed for rest

any time of day
she's ready to play
never cries or whines
a giant of all times

and her floor is a little warped
you have to sit in just the right place
she's always there
my upstairs
because she's got no place to go

any time of day
she's ready to play
never cries or whines
a giant of all times

my upstairs is wearing a disguise
my upstairs won't look me in the eye

i can leave a mess
my upstairs
and she will take care of all the rest
in my sleep she nudges me
to come up and play around some more

any time of day
she's ready to play
never cries or whines
when she hears bad rhymes

Wednesday, March 21, 2007

"Theem From" Lyrics / Big Ass Truck

Theem From 
performed by Big Ass Truck

From the album "Kent"

she ran up under a rock
and slammed the door
and i chiseled away now just to see her

so i sat on the stone
and contemplated alone
about the state of my nerves and what to do

now she's branded me with something i'll never forget
it's not where you leave
it's where you met
it won't take long
you'll need these theme to keep it on

so i hiked my pants
and touched my toes
and gathered my wits and my composure

but it took to long
this realization of wrong
before i lifted the rock and she was gone

now she's branded me with something i'll never forget
it's not where you leave
it's where you met
it won't take long
you'll need these theme to keep it on

Tuesday, March 20, 2007

March 2007 Shows

WHEN: Friday March 30th at 5pm
WHERE:Shangri-La Records - Memphis, TN
Shangri-La started doing "Happy Hour" shows back in November. I played one with Alicja Trout back in December and it was a lot of fun. Vending Machine will be playing an acoustic set starting around 6pm on the 30th. All merchandise in the store is 20% off from 5-7pm. Come on down!
WHEN: Saturday March 31st at 10pm
WHERE: The Buccaneer - Memphis, TN
We are playing with the great Jeffrey James and The Haul. We will also have a super special guest, Jonathan Kirkscey, playing first at 10pm. Jonathan (also in Mouserocket) will be doing a solo cello piece. Come early so you don't miss it!

Embed the flyer on your site. Copy the html below:

Poster by Gabe Martin

Thursday, February 22, 2007

Friday, February 16, 2007

King Cobras Do Review From The Commercial Appeal

King Cobras Do
Vending Machine
Shoulder Tap Records
Time magazine last week ran an article about a new generation of hipster parents seeking to stay cool while raising a family; locally this trend is best expressed in Rock-n-Romp, a group that Memphis musician Robby Grant co-founded, that hires local alternative bands to play in family-friendly settings. But Grant, whose home studio band Vending Machine has just released its fifth CD, could also turn out to be the hipster parents' Dylan.

Musically, Grant has never walked the straight path. In all his other various projects -- from defunct alterna-funk band Big Ass Truck to current outlets like the cover band the Glitches, the Alicja Trout collaboration Mouserocket, and Vending Machine -- Grant brings a quirky, punkish sensibility laced with a love for classic pop but just out of synch with expectations. You can hear it in the jerky rhythms he prefers and the strange harmonics that imbue his melodies. This anti-pop stance does not, on a casual listen, make for very accessible music; previous Vending Machine records have been, on the surface at any rate, jarring efforts with little visceral engagement.

But on King Cobras Do, Grant has struck a nice balance between pop songcraft and his own yen for angular detours. With lilting tunes and pared down lyrical imagery, tracks such as the bubblegum love song "Rae" (about Grant's wife) and the bluesy "Recording Your Thoughts" are some of Grant's most immediately appealing songs.

Even the more challenging material has a new depth. The father of two is very good at exposing the childlike whimsy in the current vogue of twee pop, going so far as to even give his 7-year-old son writing credit on "Saturn National Anthem." And even a song about death like "Desert Played Sun" is populated with children and animals, and full of playful humor. - Mark Jordan

Thursday, February 15, 2007

Pics from the Feb 3 show

Here are some pics from the February 3rd show at the Hi-Tone. We have a recording of it that I will be posting in the next few days. Keep an ear and eye out.

More pics here

Friday, February 02, 2007

Man and Vending Machine

Grant sings, plays, writes songs, builds Web sites and satisfies his urge to create
By Bob Mehr
February 2, 2007
FROM: The Commercial Appeal

On the surface, there's nothing really remarkable about Robby Grant. A quiet, unassuming 33-year-old, he's a husband, a father of two, a homeowner and has a job with a big title ("senior solutions architect") with local a advertising company. But Grant is also one of Memphis' more interesting singer-songwriters -- and has been for more than a decade.

Though he's probably best known as a member of now-defunct rock band Big Ass Truck, he's quietly built an impressive catalog as a solo artist, mostly recording under the name Vending Machine. Last month, Grant released his fifth album, King Cobras Do. A charmed collision of styles and sounds, its 12 tracks refract everything from '50s doo-wop to early '80s Australian pop through his own skewed kaleidoscope. Grant will mark the release of the disc -- and the launch of his new label, Shoulder Tap -- with a show at the Hi-Tone on Saturday.

Born in Little Rock, Grant grew up in a musical environment. His mother, who emigrated from England to the United States with her family during World War II, was a massive Beatles fanatic. His father was a Memphis native who'd fronted a mid-'60s garage outfit called the Deltas. "I have these vague, very early memories of him when he was singing and playing," says Grant. Grant's father was killed in a car accident when he was just 5, and the family left Little Rock and came to Memphis.

Grant first picked guitar as a teen and was soon playing in a succession of groups. "I've been in bands since seventh grade, and every group has been the logical extension of the previous one," he says. In high school, Grant, along with his classmate Steve Selvidge, formed Thrill of Confusion, which later became Fester, which -- after the pair graduated in 1991 -- evolved into Big Ass Truck. The latter group would enjoy a decade-long run and considerable national success, recording four critically acclaimed psych-tinged albums (including 1996's standout Kent) and touring heavily.

In the midst of his tenure with Big Ass Truck, Grant decided to indulge his avant-pop sensibilities, cutting an eclectic solo album as Robert Grant for North Carolina indie Yep Roc, before switching to the Vending Machine moniker with 2000's Chamber from Here to There for Boston's Powerbunny label. That year Grant joined his Big Ass Truck bandmates in the studio to write and record an experimental album called The Rug. But the group broke up soon after the album was released in 2001.

Meanwhile, Grant had begun teaching himself how to write computer code and do Web site design. "I was always interested in computers, long before you could go to school for that," says Grant. "So I had two tracks going at the same time. As a touring musician, you're not on the road all the time, so I had other jobs. Eventually, I stopped touring and those other jobs took over."

In 2000 Grant began working at local firm, Ringger Interactive -- the company's head, Paul Ringger, had been an early Big Ass Truck supporter and had actually released the group's first album. Ringger Interactive was eventually bought and Grant has been working at the new company since 2005.

Since the demise of Big Ass Truck, Grant's put out a series of largely one-man band, home-recorded and self-released Vending Machine titles: 2002's Five Piece Kit, 2004's Kicked & Scratched, and a limited-edition CD of holiday songs, released late last year. A prolific songsmith, Grant is constantly writing and piecing together songs from fragments before refining them in his attic studio.

"Mostly, I just record these 10- to 30-second ideas on a little tape recorder, and build a collection of those and then take them upstairs and flesh them out as songs."

Musically, Grant's latest, King Cobras Do, mixes his well-defined brand of left-field pop with more meditative moments. "I've been listening to a lot of quieter stuff. And as far as writing songs, I've gotten more personal than I have in the past. I write more specifically about what's going on in my life," says Grant, referring to numbers like "Rae" and "Tell Me The Truth and I'll Stop Teasing You," sweet odes to his wife and baby daughter.

Grant's unique recording process also dictated the warm, easy feel of the album. "I work in the mornings -- really early, before the kids get up," he says. "My studio is removed enough from their bedrooms so I can record -- I can't play drums but I can play guitar and sing."

While generally working around his kids, Grant did end up in an unlikely collaboration with his young son, Five, who provided the lyrics for the track "Saturn National Anthem."

"I played it for him and he was kind of free-associating some lyrics, and I pulled them together and put them in the song," says Grant who gave his son co-writing credit. "I mean, I won't be a stage father by any means, but I'd be lying if I said that it wouldn't be great to have a family band someday with my daughter playing drums and my son playing guitar."

Unlike his last few albums, King Cobras Do received a proper pressing and release -- a change made possible thanks to MTV. In 2005, through a connection with local roots rockers Lucero, the network contacted Grant to license instrumental versions of a pair of Vending Machine songs for placement in its "Real World: Austin" series.

"It was funny 'cause I made more money from one placement than I ever made selling records or CDs with any other band I've been in," says Grant. With his MTV windfall, Grant decided to start a small label, Shoulder Tap, with his friend, New York City-based musician Yazan Fahmawi. The new album was released to stores a couple weeks back, as well as on I-tunes -- and Grant already has secured further placements for songs from the CD for the new season of MTV's "Pimp My Ride."

Although largely a recording project, Grant does occasionally play out with a live version of Vending Machine. The core group includes Grant's younger brother Grayson on bass, Circuit Bender veteran Quinn Powers on guitar, and his longtime Big Ass Truck bandmate Robert Barnett on drums. Recently, the group added a second drummer, the Secret Service's John Argroves. "Fortunately, neither one of the guys are 'check me out' kind of drummers; they really listen to each other. Plus," jokes Grant, "playing with two drummers makes me feel a couple feet taller than I really am."

In addition to doing a handful of local shows over the next few months, Grant will mount a brief tour later in the summer. "In the days of Big Ass Truck, you really had to tour and get out there and play just to connect with people," he says. "With the Internet, connecting with fans is much easier these days. My only regret is that MySpace wasn't around in 1996."

Grant's other band, Mouserocket, which he co-fronts with singer/guitarist Alicja Trout, has been on a semi-hiatus while Trout's been touring with her main project, the River City Tanlines. However, Mouserocket will be going in to Memphis Independent studio later this month to complete tracks for a new album, the band's first since its 2004 self-titled debut.

For Grant, the commitments of a family and full-time job don't allow for music to be a 24-hour-a-day passion anymore. But he says his wife, Rachael, who teaches art at the Montessori school that the couple's children attend, has allowed him to pursue his muse. "I've known my wife since we were in high school, so she's very aware of the things that are important to me," says Grant. " In the end, I'm just creating. As long as I can do that, I'm happy."

Link to article

Link to PDF

Thursday, February 01, 2007

Vending Machine’s Robby Grant On Music, Family

FEBRUARY 1, 2007 - 03:44 PM

I’ve known Robby Grant since the sixth grade. (We also went to religious school and high school together.) We always ran in the same circles, but didn’t really get to know each other until about a year ago when I cornered him at the Children’s Museum and convinced him to help me get a Rock-n-Romp started. Now Robby and I often call on each other for favors—me more than him—and meet up for lunch downtown when we have the time. I recently sat down with him (tape recorder in hand) at the Majestic to talk about music, parenting, and the intertwining of the two. — Stacey Greenberg

When did you start playing music?

Robby: I was in 7th grade, so age 12, no 13. I had piano lessons when I was really young. I sucked at sports for the most part. Music was always a part of my life. My mom had a lot of great old 45s, a lot of great records. She was a fan of music. I got to choose what I wanted to play. I chose an electric guitar. I bought one with my cousin—we split it, but he never played it.

That was a good deal for you.

Robby: Yeah.

Why the electric guitar?

It looked cool. We went in the music store and it was the coolest thing in there. It was an Electra Phoenix with a whammy bar and it cost $100. My dad was a singer and my uncle played drums. My dad passed when I was really young (5). But I saw him sing when I was really little. Once I had the guitar, I immediately formed a band in seventh grade with my friend, Tom Martin. It was just the two of us for the first two albums. I like to learn by doing so I bought a guitar, formed a band, and started recording music.

How did you record?

With a jambox, and a tape recorder so I could multi-track. (This was all prior to being able to afford a 4-track.) It sounds a lot fancier than it was. We had skits and songs. We played at my Bar Mitzvah. We tried out for my high-school talent show every year. In 10th grade we did Jimi Hendrix’s “Fire.” In 11th grade we did “Pinball Wizard” by the Who, which probably wasn’t a smart choice since my high school had such a big hearing-impaired program. In 12th grade I played drums and we played “The Devil Went Down to Georgia.”

Did you ever win?


So how did you go from not winning talent shows to being in the very successful band, Big Ass Truck?

It was a natural progression. We got a 4-track and did some recording with that. Then in college [The University of Memphis where Robby got a film degree] I got together with some friends [including Steve Selvidge] and started playing in a band called Thrill of Confusion. I spent a lot of time making videos too. TOC disintegrated and morphed into a band called Fester. Our drummer went away to UT, so we never practiced. We got together and just played noise for 45 minutes when we opened up for The Simple Ones and surprisingly Jared (the lead singer) liked it. However, I wasn’t interested in pursuing a noise band at that point. Steve got five friends together to open for the Simple Ones at the Antenna in 1991 and that was basically Big Ass Truck. We had a lot of friends and hung up a lot of flyers. We played frequently—once a month for four or five years. Then did more regional shows. Then we toured the U.S. for four years.

What was the band’s peak?

Our peak was the last record we made—we wrote it in the studio. It was the culmination of all the time we spent together. We were on some weird MTV show “Oddville.” We had a video—Robert Gordon shot it. It was on “120 Minutes” on VH-1. We had five CDs total.

Where in all this did you get married and start having kids?

Rachael and I dated as seniors in high school and have been together ever since. We got married when I was 24, so 1997. I was gone a lot during that time. I was on the road a lot. There was the whole “absence makes the heart grow fonder” thing going on. We had a lot of time to do our own things. I think that contributes to the fact that we are still married almost 10 years later. Five was born while I was still touring. I missed the whole first year of his life.

What was that like?

I missed being there—we were really busy—but having never been a father before I didn’t know what I was missing. We were the first ones of our friends to have kids.

Was Rachael like, “You suck?”

Not really. I’d be home for a few weeks at a time. I could never do it now. Five is seven now and he’d have like a million questions I couldn’t answer.

Did having Five contribute to the band’s break up?

Not really. We quit when we all still liked each other. We’d been doing it for 10 years and it had just run its course.

So what did you do when Big Ass Truck broke up?

After Five was born, I started doing side work for Paul Ringger at Every CD and then later for Ringger Interactive. I took a laptop on the road and built Web sites while I was in the van. I didn’t have to wonder what I was going to do when we broke up. I just started going to work more. I had a desk at Paul’s house. I was always home every couple of weeks—it wasn’t like I was out of sight out mind for very long. Paul taught me a lot and gave me a lot of books to read. We built a lot of sites together and I just learned that way.

So Five is two, you have a day job, how do you express yourself musically at this point?

Three or four years before Big Ass Truck broke up, I was already doing my own thing—I released two solo records, one under the name Vending Machine. It actually gave me a chance to express myself without the constraints of being in the band When it’s just me it’s like, “I like the beat, let’s record it.” I also just wanted to play guitar and not necessarily write songs, so I started playing in Mouserocket with Robert Barnett (from Big Ass Truck).

Do you have like a whole in-house recording studio?

I’ve recorded all my records at home. I wouldn’t call it a recording studio, but I can go up at 5:30am and record what I want. I can’t schedule a whole session with other people—that’s hard to do. I like recording early morning, but no earlier than 5:30am.

When do you go to sleep?

Robby: I usually go to bed at 11pm or midnight. I’ve got bags under my eyes.

What about including Five in your music?

The record before this, he’d scream and I’d loop it. On the last one I hit a wall a couple of times when writing a song and I’d play it for Five and say, “What does this sound like to you?” On one of the faster ones, he was like, “It sounds like cobras.” It actually inspired me to name the album King Cobras Do. He even wrote the lyrics to the Saturn National Anthem. He was sort of free associating words. I rearranged them a bit, but they’re his words. We also do a lot of recording where he’ll come up and he’ll play drums or guitar or keyboards and just make some noise on the weekends. We’ll take turns being boss. He’s a hard boss. For the past three years we’ve done a holiday song as a family and sent it out to friends.

Is Sadie (Robby’s two-year-old) getting involved?

She’ll bang on the drums and do her thing. She inspired a new song called “Tell me the truth and I’ll stop Teasing You.”

How often do you play shows?

Once every other month. My other band, The Glitches, has a few gigs.

Ok, wait. You are in another band?

I saw Jared (from the Simple Ones) at a PTA meeting—our kids go to the same school—and the school and I said, “We need a band to play at the thing at the end of the year.” We hadn’t had a chance to play together so we formed the Glitches, which is a cover band, and now we’re good friends. We play a lot of the school functions and it’s fun. We’re currently looking to play private parties…you know if anyone is interested?

So what do you do when you have a late show? Does Rachael come?

Sadie is experiencing the terrible twos so it’s hard to find a babysitter. Rachael probably comes to every other show. But we practice at the house so she’s very aware of our set.

Do the kids ever get to see you play other than at Rock-n-Romp?

Yeah we did a show at the Shell and the Center for Southern Folklore. I got Sadie some big soundproof headphones so she could listen.

So is being in three bands now somehow easier than being in Big Ass Truck?

Big Ass Truck was a lifestyle commitment. We practiced two times a week, we had beers after practice, we toured, etc. Now I’m more focused on end goals, like finishing a record. I have a show next week and the band has practiced for the last month so we can do several shows now.

Do you go out and hear music very often?

I don’t go out near as much as I used to. But with the Internet I can keep up with music via Myspace, web sites, and various message boards. It’s a pretty good alternative to going out. I can get 10 firsthand accounts of any show sitting at my desk.

What are your musical ambitions at this point?

At this point, just to keep making music. Big Ass Truck did some shows with Ben Harper and he was touring with his family. They had a separate camper. I saw him kiss his daughter goodnight before going to a show. I could see us doing that in a few years (not quite at that scale). Rachael likes to travel. For now, music from my last two albums was featured on “The Real World” and I just released some new songs to “Pimp My Ride.” I’m interested in doing movies. I just scored Glenn Hopper’s movie—The Hanged Man.

Do you see yourself having a family band someday?

Five takes piano lessons. I see music as a way to express myself, and I hope Five has something like that. I want him to be happy and have something that he enjoys doing forever. I might get Sadie to take cello lessons. We need someone in the family to play a classical string instrument.

Link to article
Stacey Greenberg's blog
Memphis Rock n Romp

One-Man Bands

FROM: The Memphis Flyer

Recorded under the moniker Vending Machine, Robby Grant's latest, King Cobras Do, is scheduled for release this weekend. On Saturday, February 3rd, he's having an album-release party at the Hi-Tone Café; the self-released CD is also available at Goner Records and Shangri-La Records.

With 12 songs and guests ranging from former Big Ass Truck bandmates Robert Barnett and Steve Selvidge to current Glitches bandmates Adam Woodard and Jared and Lori McStay, King Cobras Do runs the gamut from frenzied pop ("Babies," the album's opener) to blues rock ("44 Times") and surreal space music ("Saturn National Anthem").

The stylishly experimental, electronic-flavored music favored by artists such as Beck -- and, closer to home, former Memphian Shelby Bryant -- factors in on "Memories and Actions," "Desert Sun Played," and the aforementioned "Saturn National Anthem," while "Yawp" shares the same sonic space as Santo & Johnny's "Sleepwalk" transmogrified with, say, Southern Culture on the Skids' "8 Piece Box."

"Shelby has had a big effect on me," Grant admits. "When Big Ass Truck was recording Kent at Ardent, he lived right across the street from the studio. Later, when I started doing a lot of four-track sessions at my house, he was the first person I collaborated with. Recently, we've been in touch, writing and collaborating on songs over the Internet."

By now, Grant has bypassed the four-track machine for Sony Vegas, a program similar to ProTools -- and on King Cobras Do, he partnered with an up-and-coming lyricist, his 7-year old son, Five.

"He does a lot of free association," Grant says. "Sometimes I use his words as-is; other times, I'll turn a phrase around or just build on something he said.

"Upstairs, in my home studio, I have a piano and an acoustic guitar. I'll start with little ideas, just bits and pieces that I'll build on until the songs become what they become. I go back, listen quite a bit, and do a lot of editing, then move onto the next song. It's a constant revision," he says, noting that the process to complete this album, his fourth CD in six years, took 28 months.

"On 'Saturn National Anthem,' I had the song and the lyrics, but I felt like it needed something else," Grant explains. "I extended the first part of the song, but it still needed a solo, and it popped into my head that Steve [Selvidge] could do a spacey, wicked guitar part. I gave him the files, and he recorded it. In the case of Robert [Barnett], a lot of times I have ideas in my head that I can't play. He's such a creative drummer, and I'm a more keep-the-beat kind of guy."

When Vending Machine plays at the Hi-Tone this Saturday night, the band will be a five-piece, with Grant's brother Grayson Grant on bass, guitarist Quinn Powers, and two drummers, Barnett and John Argroves. For more information, visit Vending Machine's Web site at

Link to the article
PDF version of article

REVIEW: The cozy comfort of Vending Machine's homemade pop.


FROM: The Memphis Flyer

So much indie rock these days can feel so insular -- consciously separated from the larger world. But King Cobras Do, the fifth solo album from former Big Ass Truck singer/guitarist Robby Grant and fourth under the Vending Machine moniker, makes insular work in its favor. Recorded at the attic studio of Grant's Midtown house, King Cobras Do doesn't sound estranged -- it sounds homey, cozy. It radiates a unity of production, tone, and content.

The cumulative impact of this intimate album is that of an energizing hymn to domesticity in both its subject matter and musical spirit. With images of dancing in the den to daylight, the second song, "Rae," is a hand-clap-fueled love song to Grant's wife. The memories here are charmingly lived-in: "When you developed photos there/And we hung out and I sat in the chair/Nervous and scared around you" and "Remember when our room was just a bed."

The album-closing "Tell Me the Truth and I'll Stop Teasing You" is a delicate tribute to Grant's 2-year-old daughter. "The animal noises that you make never sound all that fake/It feels like there's an elephant in the room," Grant testifies, before a great little moment where he catches her yawning. And Grant's 7-year-old son makes a more tangible appearance, contributing some free-associative lyrics to "Babies" and "Saturn National Anthem."

On "Good Old Upstairs," Grant expands the theme with a personification of the attic home studio where the album was recorded. ("In my sleep, she nudges me/To come up and play around some more.") And, with his one-man band bolstered by an extended family of siblings (Grayson Grant), former bandmates (Big Ass Truckers Steve Selvidge and Robert Barnett), and friends (Jared and Lori McStay), the intimacy of the record is more inclusive than most bedroom pop.

Even the songs that don't take domesticity as subject matter -- the gently melodic acoustic/electric "Runaway"; the relaxed, toe-tapping "Desert Sun Played" -- sound like testaments to the creative comfort zone that home provides. The album feels like a spring breeze blowing through an open kitchen window; a front-porch packed with family and friends. -- Chris Herrington

Link to review

PDF of article

Wednesday, January 31, 2007

Download the Vending Machine WEVL show

Thanks to Andrew (host of the Memphis Beat), Judy, Brian, and Stephanie at WEVL. We had a great time playing there on Tuesday. Most of the songs we played are from our new CD - King Cobras Do (order now).

Download the mp3s:
Desert Sun Played
Tell Me The Truth and I'll Stop Teasing You

The players:
Quinn Powers - guitar
Grayson Grant - bass
Robert Barnett - drum and cowbell
Robby Grant - guitar, keyboards, and vocals
Five Grant - handclaps and pokemon handbook

Monday, January 29, 2007

Good Ole Upstairs Lyrics

Good Ole Upstairs
Vending Machine
From: King Cobras Do

i hear her call
my upstairs
the first thing when the sun comes up

she won’t judge
my upstairs
if i get tired there’s a bed for rest

any time of day
she’s ready to play
never cries or whines
a giant of all times

and her floor’s
a little warped you have to
sit in just the right place

she’s always there
my upstairs
because she’s got no place to go

any time of day
she’s ready to play
never cries or whines
when she hears all the bad rhymes

My Upstairs is wearing a disguise
My Upstairs won't look me in the eye

i can leave a mess
my upstairs
and she will take care of the rest

in my sleep
she nudges me
to come up and play around some more

Saturday, January 20, 2007

CD Release Show - February 3rd

We are playing February 3rd at the Hi-Tone with Jack O. and the Tennessee Tearjerkers (or could be the Flipside Review).

Vending Machine will consist of:
Grayson Grant: bass
Quinn Powers: guitar
Robert Barnett: drums
John Argroves: drums
Me: guitar and singing

That's right you saw that correct - 2 drummers. Like 38 Special.

Poster by Brian Dixon:

I think we will have some of these for sale at the show.

We are playing on the WEVL

Check out Vending Machine on WEVL's "Memphis Beat" Tuesday, January 30th from 1pm-2pm.

Listen live on January 30th and anytime before or after -

Tuesday, January 16, 2007

44 Times Lyrics

44 Times
Vending Machine
From: King Cobras Do

born in austrailia
i knew your feet would fail you
you tried to run on here
twisted in the year

but wrestling was something
that made you wanna come humming
and i knew that too
i taught it to you

from the second you said you'd got there
i knew i wasn't gonna be there XXXX
i left long ago
left it in the road

and i got 44 eyes
in a blink of shy
and i told you that you died
and i told you that you died

rareley made fun of
all the things you run from
it was still the same
you made it all real tame

Monday, January 15, 2007

Pulp Faction Review

From Pulp Faction:

I haven't listened to Vending Machine's previous albums in their entirety, but I know that "Chocolate Guitars" sounds like the best of Ween and therefore I am a fan. Plus, they always put on a live show that knocks my socks off. Love these guys, and love the new album King Cobras Do, too. Order it early or go to
a show and buy it like I did.

Thursday, January 11, 2007

Tell Me The Truth and I'll Stop Teasing You Lyrics

Tell Me The Truth and I'll Stop Teasing You
Vending MachineFrom: "King Cobras Do"

The animal noises that you can make
Never sound all that fake
It feels like there’s an elephant in the room

Cheeks turn red I walk in the door
You start laughing right before
you turn around and bang on drum

Fortunes come and go
Riding highs and lows
Just tell me the truth

You’ve got your kimono on
I caught a glimpse of your yawn
You never really stay up this late

Maybe since it’s New Years Eve
Or the wind is rattling the tree
That touches the window next to your bed

Fortunes come and go
Riding highs and lows
Just tell me the truth
I’ll stop teasing with you
It’s what you want me to do

A record with a storybook
the pages you tore out and took
And as it plays you’re acting it all out

Fortunes come and go
Riding highs and lows
Just tell me the truth
I’ll stop teasing with you
It’s what you want me to do

Podcast: 10 Degrees of Dungen with Steve Selvidge

Listen to Steve play some Vending Machine in this podcast:
Rachel and the City: Podcast #4: 10 Degrees of Dungen with Steve Selvidge

He talks about how we collaborated on Saturn National Anthem.

Some great song pics. The download is really big and slow but worth it.

Tuesday, January 09, 2007

Rae lyrics

Vending Machine
From: "King Cobras Do"

Rae, I want to be with you night and day
let's take a walk and you could lead the way
we could get lost and that'd be fine

Hey - i've got a question for you here
would you be my eyes and ears?
if i went blind
and couldn't hear the rhymes in this song

Hey - when you developed photos there
and we hung out and i sat in the chair
nervous and scared
around you

When we grow young
we will be the sum
of our hearts

Rae, if I started to drown
by the drain pulling me down
Would you rescue me
please, please, please

Remember - when our room was just a bed
before time ticked off in my head
not having anywhere to be

When we grow young
we will be the sum
of our hearts

Rae - i wanna take you out all night
and get in a small fight at 4am
and dance in the den till daylight

Hey - I want to be with you night and day
i want you to say that you'll be here
love me every year
and let things like all hopes and fears
remain crystal clear

When we grow young
we will be the sum
of our hearts

Desert Sun Played lyics

Desert Sun Played
Vending Machine
From: "King Cobras Do"

told me when you die
to make lights into little eyes
on the dunes

The children
In treetops
Watch as you go past them

Now you’re in
And you’ll never go
pictures on the doorway spelled it out real slow

a small cloud
looks down
mistook you for someone world renown
it was your hair

With dresses on
They stomp right on through you lawn
And the prince is riding on top
He waves at the children up in the treetops

Desert sun
Makes you stay
It gets played out all the way

Stretched along
Beaches that are filled with song
It goes on all night

The torture
forced you
To come get this thing out of your head

It’s been there way
Too long to explain
Always made excuses for the pain

Desert sun
Makes you stay
It gets played out all the way

Desert sun
Makes you stay
You now get the final say

Sunday, January 07, 2007

Runaway lyrics

Vending Machine
From: "King Cobras Do"

I wish I could go back
I wish I could go back
but it's way to late
We had to run away

i'm not sure i heard it
clearly becuase of the rain

you begged to come home
you begged to come home
after a week had passed
we weren't going back

i'm not sure i heard it
clearly becuase of the rain

you carried it so far
your back may break
but here you are
you carried it so far
your back may break
but here you are

the sun still comes up
the sun still comes up
it shines on a different plane
we had to run away

i'm not sure i heard it
clearly becuase of the rain

Lyrics and Chords - Babies from King Cobras Do

Vending Machine
From: King Cobras Do


C# A Bflat
the king cobras do
B C C#
and the mouths do to
A Bflat B C C#
watching every move that you are making with their hearing

C# Aflat
when you're inside
banging the bars
F# A E Aflat
on the cage it can't be heard unless you're just a few away

C# A Bflat
the king cobras do
B C C#
and the mouths do to
A Bflat B C C#
watching every move that you are making with their hearing

C# Aflat
now your babies
getting older
F# A E Aflat
and you let them out the door and they fall right onto their face

Aflat A B F# E G

C# A Bflat
the king cobras do
B C C#
and the mouths do to
A Bflat B C C#
watching every move that you are making with their hearing

C# B E D C# B C

C# A Bflat
with their guns and knives
B C C#
they will hunt your eyes
A Bflat B C C#
you bleed different colors it collects inside the gutters

C# Aflat
now your babies
getting older
F# A E Aflat
and you let them out the door and they fall right to outer space

Aflat A B F# E G

C#->A->Bflat->B->C->C# 4X

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