For generations of great American songwriters, the music and the message have been inextricably linked. Word and deed are one in the same, and the only thing more moving than the rousing call to action is the evocative melody that transports the words like a shell casing. These are fire-breathing poets of justice who sing about ordinary people in extraordinary ways, and can turn the world inside out with three chords and the truth. These are the tenets by which STATE RADIO’s Chad Stokes Urmston, Chuck Fay, and Mike “Mad Dog” Najarian are driven, and they once again flex that strength and sense of purpose on their third album, LET IT GO. But this is no soapbox symposium.
“It’s the only way I know how to do it,” says singer/guitarist Stokes about the band’s impassioned social consciousness. “It’s the only way State Radio has done it. This has always been an organic, grassroots thing. It’s about trying to be true to what we do.”
Like Rage Against The Machine and System Of A Down before them, State Radio roll up their sleeves as they practice what they preach, whether it’s riding bikes to gigs to support Bikes Not Bombs, hosting food drives in conjunction with Rock For A Remedy, or playing shows to raise money for the Learning Center for the Deaf. How’s Your News?, a film project created by Stokes while working at a camp for adults with disabilities, where the campers are the reporters, was just a way for Stokes and company to flip the standard interview format on its head with a different viewpoint before it was picked up by Trey Parker and Matt Stone for a run on HBO and MTV.
Action is hardly a new concept for all the members of State Radio. Before the band, Mad Dog volunteered as mentor with Big Brothers Big Sisters, while Fay was and continues to be a powerful voice for Instant Runoff Voting and comprehensive election reform across the country. On tour, State Radio has joined with Amnesty International to expose the injustices and improprieties of the legal system by protesting the death penalty for Georgia’s Troy Davis. They’ve worked to minimize wildfire danger by removing invasive plants from areas in California, and have partnered with Oxfam America to organize home run derbies and 5K road races to raise money and awareness to help protect women against violence in Sudan. Most bands have touring schedules. State Radio have an Action Calendar.
During their sold out, 25-city tour this past February, the band performed service projects in every town they visited, from serving lunch at a homeless shelter in Houston to building a community garden at an inner city elementary school in Washington, D.C. Calling All Crows (callingallcrows.org), the group’s platform for social action started by Stokes and State Radio tour manager Sybil Gallagher, is committed to continuing the group’s socio-political dialogue once the music ends and the lights come up. In less than a year, State Radio and their fans have amassed over 1,800 hours of community service through projects that have local, national, and global impact.
“There are times when there’s a service project every morning at 9am—and we’d had a late night the night before—where it’s like, ‘Are we a service group that plays music, or are we a band that does service projects?’” Stokes laughs. “There’s a balance between the two things because they feed each other. I want to experience the stuff I’m writing about.”
That same mindset held true for Stokes’ previous band, the roots rock outfit Dispatch, who formed while Stokes was a student at Middlebury College in Vermont. Though the group disbanded in 2002, they’ve reunited three times, the most notable being a three-night, sold out run at Madison Square Garden in 2007 to raise funds and awareness for poverty-stricken Zimbabwe. It marked the first time in history an unsigned band had headlined the Garden, let alone sold it out.
“It was a progression,” says Stokes’ of the shift from Dispatch to State Radio, who formed in 2002. “I think had Dispatch stayed together, all these State Radio songs would have been Dispatch songs.”
State Radio’s first album, Us Against The Crown, introduced listeners to the band’s raw, pop-punk sound. Tracks like “Mr. Larkin” and “Black Cab Motorcade” had all the boundless energy of a vigorous protest, while “Right Me Up,” a personal account of a friend with a disability, showcased Stokes’ reggae harmonies.
Their second album, Year Of The Crow, was recorded in the UK and produced by Tchad Blake (Peter Gabriel, Pearl Jam, Soul Coughing). Featuring songs like “Sudan,” “Guantanamo,” and “Gang Of Thieves,” the album pushed the group’s socio-political motivations even further into the forefront. It also broadened their sonic palette with bigger guitars (“CIA”) and more diverse instrumentation (“The Story Of Benjamin Darling, Part 1”). But the bridge between both records has always been Stokes’ transcendental storytelling, which continues to mature and evolve on Let It Go.
The album kicks off with “Mansin Humanity,” a gripping song about the Armenian genocide, then slides into “Calling All Crows,” a one-drop groove that calls the band’s legion of fans to attention as Stokes beckons, “It’s gonna be a showdown, said the rebel to the revolutionary, come with me!” Elsewhere, State Radio invoke the spirit of the Clash on “Doctor Ron The Actor” and “Knights Of Bostonia,” a raise-yer-pints anthem to the band’s hometown. (After all, Stokes did meet Mad Dog while he was drumming on a bucket outside of the home of the Red Sox Fenway Park.) Another track, “Held Up By The Wires,” mixes classic Boston references and Civil War tales with nods to Jack London’s “The Road,” sailing pioneer Irving Johnson, and Stokes’ own time spent in Zimbabwe. The track has been in the band’s repertoire since the early days, but it wasn’t until now that it found it’s way onto an album, a fact Stokes attributes to the way in which Let It Go was recorded.
While touring Year Of The Crow, State Radio enlisted Tchad Blake’s assistant, Dom Monks, as their front-of-house engineer; a critical position for a band with such a large live audience. When it came time to seek out producers for Let It Go, Monks threw his hat in the ring. He also suggested that the band record the songs in the same manner as they were performed: live off the floor, with all the instruments buzzing and howling at once.
“He has a great ear and he’s worked with the best guy,” says Stokes of his producer and friend. “He knew all our songs and he did an amazing job.”
Two-thirds of the album were recorded at Q-Division in Boston, while the remaining parts were tracked at the famous Long View Farm Studio, the preferred practice space of the Rolling Stones before all their US tours, and a location that houses just as much livestock as it does vintage pre-amps. The rustic setting provided the perfect atmosphere with which to coalesce the band’s trademark live energy, while recording straight to tape with limited tracks allowed them to be more succinct with the musical message they wanted to convey.
“We’ll take the long way around, we gather on the wall on the wrong side of town. We’ll surprise them all,” sings Stokes on “Evolution.” After years of social action and political awareness—not to mention playing in front of thousands upon thousands of fans with very little support by the mainstream—the 33-year-old Stokes knows a thing or two about how to serve up lighting in a bottle. Sometimes quiet persistence is the best way. Like when he and 15 other peers spent 28 days walking a headstone 433 miles from Sherborn, Massachusetts to Arlington National Cemetery to honor unknown civilians killed in war. (Alas, they were stopped at the bridge and not allowed to enter.) But after you’ve done the backstroke in the Lincoln Memorial Reflecting Pool and shaken hands with the Prime Minister of Zimbabwe, what do you do next?
“I think the dream would be to jump freights to each city,” says Stokes of their upcoming tour to support Let It Go. “Going out to the Democratic National Convention last year, my brother and I jumped freights from Massachusetts to Denver, then from Denver to California, opening up for Rage in the middle there.”
And have someone drive the gear?
“Or just get back line everywhere we go,” Stokes smiles, “and hit the rails that night.”
State Radio’s Let It Go is out September 29, 2009.
Barn Storming
State Radio Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Said the guns get jammed up in the sand, don't let them try to fool you.
I said but daddy we ain't fightin' the Cong no more.
He said you're going over there to lose the very same war.
I said nothin' you can do is gonna make me stay,
Gotta let others have their glory day.
Everyone's getting' their nice shoes on.
Girls are all cuttin' up their confirmation dresses.
Streets will be empty tomorrow as the whole town confesses.
[Chorus]
It's a barn storming yeah,
Gonna leave my bed tomorrow.
It's gonna be a barn stormin' yeah,
Won't hold a head of sorrow.
Cause it's a lovely heartbreak, a lovely heartbreak.
Now Ginny she was up to no good,
As up to no good as she could sometimes be.
I used to lie awake at night,
Just thinkin' about her being up to no good with me.
But tonight she said just like the flower to the bees,
I'm gonna give you a little somethin' before you go overseas.
All I could do was stammer,
Yes, yes please look in the other direction.
[Chorus]
Cause I never been laid and so it goes,
Never danced before so stoned.
It was the first time I didn't want to go,
Now I wish I could take it all back again.
She spit in my hand,
Said boy I'm gonna make you a man.
It was all I could do to stand and ask the levy to hold.
[Chorus]
The lyrics to State Radio's song "Barn Storming" speak to the conflict between duty and personal desires during wartime. The singer's father urges him to go fight for his country, warning him not to be deceived by those who would try to keep him from doing so. Despite this, the singer refuses to stay and fight in a war he believes is already lost. The chorus describes a town gathering in a barn, with everyone dressed up and confessing their sins, indicating a desire for redemption and cleansing.
The second verse introduces Ginny, a woman the singer has been pining over. She offers him intimacy before he leaves for war, which he eagerly accepts despite being inexperienced. The lyrics paint a picture of a young man grappling with conflicting desires to be a good soldier and to enjoy life's pleasures before potentially dying in battle.
The song's title, "Barn Storming," refers to the gathering in the barn described in the chorus. It also has a double meaning of a daring, reckless act, which could be interpreted as the singer's decision to pursue personal happiness instead of following his duty to his country.
Line by Line Meaning
My father was a haystack man, always said son go find what you can.
The singer's father was an optimist who always motivated him to explore possibilities and make the most out of life. He encouraged him to persevere and not let setbacks bring him down.
Said the guns get jammed up in the sand, don't let them try to fool you.
His father advised him about the harsh reality of war, telling him to stay alert and not to be deceived by anyone. He warned him that guns could malfunction and put him in greater danger if he wasn't cautious.
I said but daddy we ain't fightin' the Cong no more.
The singer expressed his disregard for Vietnam which his father supported. He couldn't see the point of the long term war which wasn't going to benefit anyone in the end.
He said you're going over there to lose the very same war.
His father wasn't convinced that the American troops could win the war in Vietnam. He predicted that the war would be a quagmire for the U.S soldiers.
I said nothin' you can do is gonna make me stay,
The artist was determined to go to Vietnam regardless of his father's views. He was influenced by a sense of duty and patriotism and wasn't going to be swayed by his father's pessimism.
Gotta let others have their glory day.
He understood that this decision might not be popular with his father or the town at large. However, he believed it was his calling to serve his country, even if it meant risking his life.
But you know the whole town's getting' together in Leeland's barn.
The town is coming together to celebrate before he heads off to Vietnam. This is an opportunity to reminisce with old friends, form new bonds and create a sense of belonging before he leaves.
Everyone's getting' their nice shoes on.
People are dressing up for the occasion, signifying the importance of the sendoff; it's not just an ordinary gathering.
Girls are all cuttin' up their confirmation dresses.
Young women are modifying their confirmation dresses to make them look more attractive. They know that this could be the last time they see the boys, and they want to make an impression.
Streets will be empty tomorrow as the whole town confesses.
The artist expects that the town will be empty following the barn party. People will reflect and be grateful for the service of vetrens who have fought to keep their country safe.
Now Ginny she was up to no good, As up to no good as she could sometimes be.
Ginny was usually mischievous, and the singer thinks back to all the times she had done things that she knew she shouldn't have. Her behavior might have had an element of danger to them, but he liked that about her.
I used to lie awake at night, / Just thinkin' about her being up to no good with me.
Ginny would often come to his mind before he would go to bed. He would daydream about the mischief they could get up to if they were alone. Such thoughts would make him feel daring.
But tonight she said just like the flower to the bees, / I'm gonna give you a little somethin' before you go overseas.
Ginny expressed her love by giving him a gift, something intimate, that would remain with him through his journey overseas. She does this to show her love for him in a way that he'll remember always.
All I could do was stammer, / Yes, yes please look in the other direction.
The singer is speechless and left in a state of excitement and nervousness. He wants her to proceed with what she's planned, but he's shy, so he turns his gaze away and pretends he's not interested.
Cause I never been laid and so it goes, / Never danced before so stoned.
The singer is a virgin and has never been intimate with anyone before. He's inexperienced when it comes to intimate relations with the opposite sex, he's not even a good dancer either.
It was the first time I didn't want to go, / Now I wish I could take it all back again.
The moment that he experienced with Ginny caused him to hesitate going to Vietnam. He now wishes that he can relive that experience with Ginny.
She spit in my hand, / Said boy I'm gonna make you a man.
Spitting in his Hand is a symbol of trust and after that, she makes a promise to make him a man which may either refer to sexual intercourse or just him becoming more masculine.
It was all I could do to stand and ask the levy to hold.
The situation was emotionally overwhelming for the singer, he could hardly stand, and he gracefully asked Ginny for a minute to mentally walk through everything that had just happened with him before he left.
It's gonna be a barn stormin' yeah, / Won't hold a head of sorrow.
The sendoff would be memorable, he would have joy at the party and dwell on those good memories upon departure. He would not leave that town with a head full of sorrows but rather joyful memories.
Cause it's a lovely heartbreak, a lovely heartbreak.
No one ever knows when they will see the faces of the ones, they love again. Someday, they will all be gone, faded in memory, and that thought is a heartbreak. However, the moment that they shared at the farm was lovely, and he will treasure it forever.
Lyrics © BMG Rights Management
Written by: Josh Osborn, Kevin Savigar
Lyrics Licensed & Provided by LyricFind
Uli Nowski
Hey Chadwick: How could you ever leave these guys! They understand what you mean...a brutal drummer who wants to play. And a bass-player who just plays what is necessary for the groove. This production let the bass more feel than hear...
jim weiss
Love it
Uli Nowski
Very subtle lyrics. One of my favorites.
Copper Kettle
Nice song
Jake Young
what??