Posted in Whathaveyou on November 15th, 2021 by JJ Koczan
I’m glad The Midnight Ghost Train are even somewhat back together. Will it lead to anything more? I don’t know. You don’t know. But why be greedy? After disbanding in 2018, the band have decided to come back together for a few shows in Europe — one still TBA — with a stop at Freak Valley Festival where so help me robot jeebus I will see them, and other headlining shows thereafter. Whether you’re going to catch them every night or you’re not going to see them at all, isn’t it just worth being happy they’re doing anything? Do we need a new record right now? If it’s gonna happen, let it happen the right way.
That’s my rant on The Midnight Ghost Train‘s reunion, I guess. Didn’t even know I had one until I started typing. Really though, be patient. Majestic Mountain Records has vinyl reissues coming of their first two records and sent the following down the PR wire.
Preorders are, of course, up now:
THE MIDNIGHT GHOST TRAIN Keeps Rollin’ with Reunion Tour and Official Reissues on MAJESTIC MOUNTAIN RECORDS
Majestic Mountain Records – Sweden’s leading purveyors of underground rock, metal, prog, and psychedelia – is thrilled to announce the official rerelease of The Midnight Ghost Train’s self-titled debut, and their 2012 follow-up, Buffalo.
Formed in 2007, somewhere along the interstate between Topeka and New York, the southern rock power trio were an unstoppable force, propelled by big riffs, a wanton wanderlust, and life on the open road.
Over their ten-year reign, The Midnight Ghost Train performed countless shows across the USA and Europe, produced four studio albums, one live album (Live at Roadburn, 2013) and developed a signature sound that drew heavily on gospel, delta blues and stoner rock.
Established by guitarist Steve Moss in tribute to his friend, John Goff, who’d passed away that summer, a recruitment drive landed on the band’s initial line-up in time for their first release, The Johnny Boy EP, which was recorded in early 2008. Experimenting with various genres from heavy rock to psychedelia, it wasn’t until 2009 – following several line-up changes – that the band came into their own with the release of their self-titled debut album. Relocating to Kanas, the trio recorded The Midnight Ghost Train in their home studio and released it themselves. However, criminally, it has never received an official vinyl release. Until now.
‘It’s a real honour for Majestic Mountain Records to be able to reissue both these landmark albums,” says MMR founder, Marco Berg. “The band has always had a tremendous following and their recorded output is untouchable. But to be able to go back and give those first two releases an MMR overhaul will be a treat for everyone. Fans especially.”
Signed to Karate Body Records in 2012 for their follow-up album, Buffalo, the band further showcased their love of delta-blues with a critically successful record that included a rousing a capella take of Leadbelly’s ‘Cotton Fields’. Playing a huge part in their eventual signing to Napalm Records in 2013, Buffalo, much like its predecessor is an indispensable album and a crucial entry into the archives of underground stoner rock.
The band eventually called it quits in 2018 following a decade’s worth of touring alongside the likes of Truckfighters and Karma to Burn and performing at festivals such as HellFest, Roadburn and The Maryland Doom Fest. But next year the ’Train will start rollin’ once again following the band’s recent announcement of a reunion tour across Europe. (See dates below.)
Posted in Whathaveyou on July 15th, 2013 by JJ Koczan
When The Midnight Ghost Train go on tour, they stay on tour. Still in support of last year’s raging blues rocker Buffalo, the unhinged Kansas-based trio will hit the road once again starting this week. The band played Roadburn this Spring as part of a European run, and in addition to currently working on new material, they’ll also have a live record out of that performance come September, which is pretty much also how long this US tour is set to last. Go figure.
Knowledge is power trio:
THE MIDNIGHT GHOST TRAIN Announces U.S. Headlining Tour in Support of New LP “Buffalo”
Powerful, High-Caliber Rock Band Set to Barnstorm the U.S. on Massive, Six Week Cross Country Tour
Utterly unique Topeka, Kansas based HEAVY rock band THE MIDNIGHT GHOST TRAIN will launch a U.S. headlining tour in support of its sophomore LP Buffalo on July 18 at the Downtown Music Hall in Little Rock, Arkansas. Boasting a gargantuan sound that has been described as “ZZ Top trampled by mammoths” and “like the great depression era blues shouter Blind Willie Johnson, if he had fronted the ’60s San Francisco band Blue Cheer at their sludgiest,” THE MIDNIGHT GHOST TRAIN’s epic live shows are “intense and real” and an uplifting cure-all for fans or critics that may feel rock music has lost its “edge”. The 34 city trek will run through September 7, showcasing a trio that has averaged over 300 live shows per year since its formation in 2007.
A phenomenal band who has the wind behind their backs and momentum on their side, THE MIDNIGHT GHOST TRAIN (aka TMGT) transcends geography, generation and genre. With a name inspired by an old Hank Williams lyric and a live show that hits with adamantine force, TMGT is led by guitarist Steve Moss, whose gruff-throated, Tom Waits-like vocals, gloriously fuzzy tone and unbridled, wailing guitar solos combine to deliver an entirely new form of musical power and intensity. With literally thousands of live shows under their collective belt — including 13 U.S. tours (both solo and alongside acts such as Jucifer and Truckfighters) and 3 full European jaunts — the band has developed a strong reputation for blowing the doors off every venue in which they perform, leaving a whole new contingent of music fans awestruck and hungry for more with each and every show. THE MIDNIGHT GHOST TRAIN isn’t just a band you hear, it’s something you feel deep down. Its pulse affects you.
Released in 2012 via Karate Body Records, Buffalo was recorded with producer / engineer David Barbe (Harvey Milk, Son Volt, Drive-By Truckers) and has met to shining critical acclaim in the time since its release; hailed for its soul, energy and thick Mississippi Delta-rooted Rock ‘N’ Roll. Dark, heavy blues is as much an influence on TMGT’s sound as rock/metal, but it’s also seriously head bang-able with loads of densely-packed furry riffage, heavy/quiet tradeoffs and memorable hooks. The record also contains a re-imagined cover of Huddie “Lead Belly” Ledbetter’s 1940 classic “Cotton Fields”.
MIDNIGHT GHOST TRAIN tour dates: July 18 Little Rock, AR Downtown Music Hall July 19 Lafayette, LA The Wild Salmon Bar & Grill July 20 Ocean Springs, MS The Squeaky Lizard July 21 Pensacola, FL The Handlebar July 22 Valdosta, GA Ashley Street Station July 24 Charleston, SC The Mill July 25 Fayetteville, NC Black Cat Lounge July 26 Frederick, MD Guido’s Speakeasy July 27 Indianapolis, IN Indy’s Jukebox July 28 Cleveland, OH Now That’s Class July 30 Akron, OH Annabell’s Bar and Lounge July 31 Dayton, OH Therapy Cafe August 1 Chicago, IL Reggie’s Music Joint August 2 Green Bay, WI Crunchy Frog August 3 La Crosse, WI JB’s Speakeasy August 7 Billings, MT Shooters Bar August 8 Great Falls, MT Machinery Row August 10 Spokane, WA The Hop August 11 Seattle, WA Victory Lounge August 14 Red Bluff, CA The End Up Saloon August 15 Fresno, CA Audie’s Olympic August 18 Albuquerque, NM Launchpad August 19 Fort Collins, CO Surfside 7 August 22 Denver, CO Tennyson’s Tap August 23 McCook, NE Sports August 24 Oklahoma City, OK The Conservatory-OKC August 26 Midland, TX The Blue Max August 27 Austin, TX The Legendary White Swan August 29 Monroe, LA Oaks Bar & Grille August 30 Jackson, MS Sam’s Lounge August 31 Birmingham, AL The Nick September 4 Lexington, KY Green Lantern September 7 Warrensburg, MO Bottomfeeder Bay
As part of its European headlining tour last spring, THE MIDNIGHT GHOST TRAIN delivered a jaw-dropping live performance as part of the hallowed Roadburn international rock festival. This week, it was announced that the fest’s record label, Roadburn Records will release TMGT’s full live set from the festival on both LP and CD this September as part of its popular “Live From Roadburn” series.
Posted in Whathaveyou on November 20th, 2012 by JJ Koczan
Note they call this one the “Winter Tour 2012.” One can only assume that’s as opposed to The Midnight Ghost Train‘s Winter Tour 2013, which will probably see the band take off two minutes after New Year’s and only stop in time for their Spring Tour 2013. The Midnight Ghost Train tour a lot, is the point I’m making.
And good for them, as their hard work has seen them added to next year’s Roadburn (part of the Spring tour, no doubt; announcement here), and their 2012 outing, Buffalo (stream it below), will give them no shortage of kickass songs to play there. In the meantime, here are the Winter Tour dates:
The Midnight Ghost Train Winter Tour 2012
Nov 29 Green Lantern Lexington, KY
Nov 30 Ultra Lounge Chicago, IL
Dec 1 Southgate House Newport, KY
Dec 2 Brass Rail Fort Wayne, IN
Dec 4 Pegasus Records Florence, AL
Dec 5 Squeaky Lizard Ocean Springs, MS
Dec 6 Twist Of Lime Metairie, LA
Dec 7 Tsunami Monroe, LA
Dec 8 Beer Land Austin, TX
Dec 9 Jakes Downtown Tulsa, OK
Posted in Reviews on August 11th, 2012 by JJ Koczan
I rolled into Public Assembly like a wheelbarrow full of suck. It was Thursday, and I’d worked late as the fourth day of the kind of week where even when I was ahead of myself, I was still behind (so much so, you might say, that I’m writing and posting this review over the weekend). Morale was low. What I needed was a bit of rock and roll revival, and in that regard, I was lucky it was The Midnight Ghost Train I was on my way to see.
The Kansas rockers you might recall from their stint earlier this year opening for Truckfighters (reviews here and here). They’re out touring — as they do, all the time — in support of their new album, Buffalo(review here), doing a US run before heading to Europe this fall. Simply put, they rip live. I liked Buffaloa lot when I reviewed it, and I still dig that record however long it’s been later (I thought I had it or I’d have picked up a CD at the show — more the fool I), but I know from the four or five times I’ve seen them over the last four years or so that they’re an entirely different beast on stage. Public Assembly paired them with local outfits Reign of Zaius and Eidetic Seeing, the latter of whom was just getting ready to go on as I arrived.
Some bands you can just feel the heat off the their tubes as they play, and that was the case with Eidetic Seeing. I knew nothing about the band — I could’ve easily looked them up beforehand, but frankly, I like going into shows sometimes without knowing what I’m going to get — and was pleased to find them a warm-toned heavy psych jam unit. The three-piece were still pretty clearly getting their bearings sound-wise, but it could’ve been much worse. There were maybe 15 or 20 people there when they got going, but Eidetic Seeing may have had the biggest crowd of the night, and the young lady who stood several feet in front of the stage seemed to love it.
They were, however, too loud for the room — which, if you’re keeping track, I believe makes me too old for the room. I like Public Assembly‘s back room. I saw Windhand and Pilgrim there with Magic Circle a few months back and dug the space, the layout of the darkened room reminding me of any number of dingy spots in and around Manhattan where these kinds of shows have happened throughout the last decade — the difference being that Public Assembly hasn’t been forced out of business as so many others have by the onslaught of corporately-owned or sponsored venues and promotion companies. Lucinda Williams was playing down the block at the Music Hall of Williamsburg. Obviously I don’t know what goes on behind the scenes, but at least on the surface, there seemed to be peaceful coexistence, and the bar between the two venues had live gypsy jazz, which, you know, is fucking awesome.
However, I only know about it because I went outside. Eidetic Seeing‘s wash of noise came through the Public Assembly P.A. as more abrasive than I think it wanted to be, so after several songs, I took my leave and took the air, chatting outside with The Midnight Ghost Train‘s guitarist/vocalist Steve Moss about how the shows were going, mutual acquaintances, and so forth. After a while, I decided to head back in, because I didn’t want to miss Reign of Zaius‘ start, and Eidetic Seeing were just finishing up. They had played a long set. I guess you can do that on a Thursday-is-the-new-Friday in Williamsburg, and they weren’t bad, just not really what I was looking for at the time — that being the aforementioned revival — so I won’t be surprised next time around when Eidetic Seeing and I run into each other and I have a deeper appreciation for what they’re doing.
One thing they had going for them, though, was their bassist. Please try to contain your surprise that I dug the bass tone in an underdeveloped heavy psych trio — something that’s definitely never happened before — but quality low end became a theme for the night. Reign of Zaius bassist Davis followed suit, playing through a fretless and being almost solely responsible for the thickness of his band’s sound. Not that something was lacking in the guitar of Brady, just that the band wasn’t geared on the whole to fuzz or showy about their distortion. They played relatively simple, straightforward heavy-type rock, however, called their frontman Viking and had an impressive, somewhat showy, drummer in the younger Brian.
Like Eidetic Seeing, it seemed watching Reign of Zaius that the band was still working out the kinks in their dynamic. There were a couple noticeable flubs, but nothing major, and overall their songs were inoffensive. The room as uncrowded as it was, it wasn’t going to be anyone’s best night, and as I pointed out in the very first sentence of this review, it wasn’t mine either. Nonetheless, cuts from their self-titled EP like “Cravings,” “White Horse” and “Revelation” gave a decent idea of the lack of pretense in their intent, and “Thick Thighs” had its own kind of charm. No shortage of it. Any band that lists Black Sabbath and the 1988 “Rowdy” Roddy Piper classic They Live among their influences is doing something right, and Reign of Zaius clearly were.
My spirits had picked up some by the time The Midnight Ghost Train had their gear set up. Since the last time they came through, the Topeka outfit jettisoned bassist David Kimmell, leaving Moss and drummer Brandon Burghart — who wore a Truckfighters shirt for their set — to search out a replacement. Before they went on, Moss told me they’d only been playing with Alfred Jordan, from Mississippi, for a few weeks, but watching them on stage, they were still easily the tightest band of the three that played, and Jordan‘s presence on stage, his dreadlocks tossed in several directions at once with each headbang, made a fitting complement for the already established dynamic between Moss and Burghart.
Moss introduced the band in his usual throaty affect, saying, “We’re The motherfucking Midnight Ghost Train from motherfucking Kansas,” pausing for a sip of water before adding, “That’s right, Kansas. Yes, we can read.” The Brooklyn crowd got a laugh out of that, and while I can’t imagine what talking like that with the kind of regularity Moss does so must do to your throat — if you’ve never seen them, think of any number of grizzled 85-year-old Delta blues players, then make it fast, and that’s kind of how Moss talks when he’s on stage — it’s clearly had no effect on his energy level over the course of the time he’s been doing it. The Midnight Ghost Train remain one of the most undervalued quality live acts in their genre, and at Public Assembly, they made a solid case for revisiting Buffalo.
The height of the stage at Public Assembly provides a little distance, and watching them closely, it’s pretty easy to discern the common patterning of The Midnight Ghost Train‘s riffing. They rely a lot on upbeat progressions, cycling through a riff, finishing it with a couple hits, then cycling through again, but what makes it exciting to watch live or to listen to on the album is that you don’t at any point know what they’re going to do with it, and they don’t always do the same thing. They are masters of the sudden stop. Burghart will mute his cymbals, Moss and Jordan will cut the strings, and even if it’s just half a second of silence, the raucousness that ensues following is that much stronger for the pause. Top that with Moss‘ hand-in-the-air raving testimonial vocal delivery, and Buffalotracks like “Henry” and “Foxhole” wind up as exciting to watch as they are to hear.
Still, it was the slower “Tom’s Trip” that was the highlight of their set. Burghart played without a rack tom — his kit just the snare and bass drums and a floor tom, crash, ride and hi-hat — and that got me thinking about the balance for a drummer between stripping things down to force more creative play and oversimplifying. It’s easy for a drummer, provided he or she can afford it, to adorn a kit with extra toms, cowbells, wood blocks, china cymbals and the rest, but Burghart‘s minimal drumset worked to both his interests and those of the songs, and the play from the snare on his left to the floor tom on his right was a big part of what made “Tom’s Trip” so much fun. The song also reaffirmed that as bombastic and vibrant as The Midnight Ghost Train are on any given night, they’re also readily capable of locking in a stoner rock groove and letting it ride where and when they want it to.
All that feeds into the notion of their unpredictability, which is one of their strongest assets. They have a set context for themselves, but within that, you can never be quite sure where they’re headed. Shouts rose up when they finished for one more song, so they encored with “Southern Belle,” Moss rounding out the set by asking how much he should make it hurt, and then they were quickly done. With work in the morning and the drive back to Jersey ahead, I said a quick thanks and goodnight and split out back to my car, not knowing I’d spend the better part of the next hour in Holland Tunnel traffic.
And I won’t lie to you, there was a moment when — stuck in the tunnel after 1AM, having not moved for 10 minutes because of something no one could see or understand, as discordant chorus of car horns and New York-accented shouts rose up all around me — I really thought I was going to die there in that spot. There was a strange sub-harmony to the horns, and their futility — no one even knew what they were honking at — gave the anger driving them a melancholy edge. Sad, hopeless assholes, stuck in a tunnel together. No doubt after 12 hours, the weak among us would’ve been dismembered and eaten; my own flesh stripped off and cured, like bacon, for breakfast around what for the rest of the world would’ve been sunrise. No sunrise for tunnelfolk.
I barely escaped with my hide, and eventually got through to Jersey and back to my humble river valley, the driving rhythms of “Foxhole” still stuck in my head, where they remain. The Midnight Ghost Train were off the next day, and at The Station in Philly the night after (which is Saturday, tonight). All their tour dates domestic and abroad can be found on their website — they put them right out front. If the point hasn’t been made clear, they’re a highly recommended good time, and bound to improve whatever mood you might be in when you first show up.
This one was too cool not to post. Topeka, Kansas, heavy as hell trio The Midnight Ghost Train are once again hitting the road in support of their new album, Buffalo(review here). To promote their Aug. 9 Brooklyn gig with Reign of Zaius and Eidetic Seeing, the band has silkscreened posters onto the backs of PBR boxes. Even as someone who doesn’t drink the beer, I think that’s pretty clever. Click to enlarge:
Check out the full list of The Midnight Ghost Train tour dates (including European shows this fall) at their website.
