Photo by Stefan Eberhard

QUOTES:

"Bloodkin are prolific, determined and strangely unknown. [ONE LONG HUSTLE] is a deep account of Bloodkin's pursuit of a cutting Southern-life storytelling with an electric lingo also drawn from Neil Young and the Replacements...while the dead reckoning in 'God's Bar,' at the end of the set, proves this tale is nowhere near over."

-DAVID FRICKE in ROLLING STONE

“You should buy the ONE LONG HUSTLE box set from the band just for the amazing liner notes.  The music is, of course, worth every penny.”
-SLOANE SPENCER in COUNTRY FRIED ROCK



“One of the more criminally underrated bands of their generation.”
-JEFFREY SISK in the Pittsburgh DAILY NEWS



“Bloodkin’s new 5 CD box set––ONE LONG HUSTLE––contains 88 song recordings covering the scope of their entire career. It’s an amazing collection and testament to their music and how far they’ve come.”

-JAMES CALEMINE in SWAMPLAND



“[Bloodkin] revolves around Eric Carter’s guitar sound, and…Danny Hutchens stands as this generation’s best barroom rock n roll poet.”
-JAMES CALEMINE in SWAMPLAND



“My new definition of underground: singer-guitarist Daniel Hutchens and guitarist Eric Carter, friends since they met in elementary school...and, for the past 23 years, the sturdy, stubborn axis of the Athens, Georgia band Bloodkin...on BABY, THEY TOLD US WE WOULD RISE AGAIN, Bloodkin are at a hot peak in their odyssey, opening with the hypnotic hell of “The Viper,” a catalog of addictions checked off by Hutchens in a belly-to-the-bar drawl against a seventies-Neil Young tornado of banjo, dirty guitars and prairie-chapel organ. The spike and clash of Carter and Eric Martinez’s guitars in “Wait Forever” suggest Keith Richards and Ron Wood--armed with Civil War bayonets.”
-DAVID FRICKE in ROLLING STONE

 

“BABY, THEY TOLD US WE WOULD RISE AGAIN is the title of Bloodkin’s new album and it’s truly one of the best damned Rock and Roll albums that I have heard in many a year...life-affirming rock and roll in the grandest tradition...one of the most under-rated bands on Earth.”
-PATTERSON HOOD of DRIVE-BY TRUCKERS



"From the very beginnings of Widespread Panic to today and beyond, Bloodkin has been one of our greatest influences. Danny and Eric's music has a consistent blend of poetry, intestinal fortitude, and song-craftmanship that I envy. I can hope their example sinks in to my own approach to music. We can voyeuristically cover their songs during our sets but ultimately it's best to listen to Bloodkin and surrender to what is coming at you––pure intention in the form of music. Bloodkin's presence in, and their approach to, rock & roll or whatever you call it––is as much of what makes up the backbone of the Athens music story as any other band that has come through this town. That's what Danny and Eric mean to me."
-JOHN BELL of WIDESPREAD PANIC



"We had Vic's song and a Danny Hutchens song [on DIRTY SIDE DOWN]...That's when we started talking about the fact that we were covering a song from Vic [Chesnutt] and a song from Danny, so why shouldn't we do one by Jerry [Joseph]? These are the three biggest songwriting influences in our band's life.”
-DAVE SCHOOLS of WIDESPREAD PANIC in BLURT ONLINE



“Slept on for 20-plus years, these roiling Southern rawkers plunge you into a guitar-moaning maelstrom rife with sagas about snorting coke and putting a gun in your mouth and living to ham-fist another round of margaritas.”
-CHARLES AARON in SPIN



“[Baby...] is a terrific record, highly recommended also by Patterson Hood...who has been a fan since he first saw them in the mid-90’s, when Bloodkin had an apparently legendary residency at the High Hat Music Club.”
-ALLAN JONES in UNCUT



“It appears that Georgia-based southern rockers Bloodkin have set the benchmark for artistic rediscovery in 2009.”
-GLIDE magazine



“Bloodkin’s 20-year history has been a roller coaster of the good, the bad and the ugly. There have been personal demons to tame, real tragedy to endure, and a very uphill battle to keep their creative relationship intact. But through it all, their music remains a genuine article of southern gothic narrative wrapped in the cloak of powerful and raw guitar-driven rock & roll music. With 9 albums of material to their credit Bloodkin is an undeniably important, although generally under-recognized, part of the contemporary southern musical landscape.”

-JAMBASE



“Easily the most under-appreciated rock n roll band of the last 15 years, Athens GA’s Bloodkin is finally getting some much-deserved attention with this soulful, demon-expelling record [Baby...]. I should let you in on a little secret--all of their albums are this good.”

-STEVE LABATE in PASTE MAGAZINE



“As if the legacy of Faulkner or even the Beats were alive on vinyl rather than in ink.” -STEPHEN M. DEUSNER in PITCHFORK



“Bloodkin...has emerged from the flames with one of the best albums of its career [Baby...], rivaling its 1996 classic Creeperweed in sound, songwriting, and overall vibe.” -JAMIE LEE in HITTIN’ THE NOTE



“Bloodkin, who formed in the early 1990s, are best known for their influence on Widespread Panic, who have covered a bunch of Bloodkin tunes. As revealed on BABY, THEY TOLD US WE WOULD RISE AGAIN, the bands share a bit of Southern-rock influence, but at its heart the Bloodkin sound is more akin to alt-country contemporaries like Son Volt, or even relative youngsters Cross Canadian Ragweed. The Crazy Horse crunch of the guitars and the willingness to let a groove develop slowly mark the band as distinctly '70s-influenced, but the thoughtful songwriting that sets them apart from the country-rock masses isn't tied to any one era.”
-CD UNIVERSE



“[Hutchens] is a national treasure, and I’ll stand on Steve Earle’s coffee table in my Jack Purcell’s and say just that.” -JUSTIN GAGE in AN AQUARIUM DRUNKARD 



"It's no mystery I am a longtime fan of the music of Daniel Hutchens and his band Bloodkin... I put his catalog right up there with the likes of Townes Van Zandt, Alejandro Escovedo and Steve Earle in terms of truly capturing the nuances of humanity, both the light and the dark, in song."

-JUSTIN GAGE in AN AQUARIUM DRUNKARD



“Like fellow Athenian [Vic Chesnutt], Daniel walks that fine line between the light and the dark. That magic lyrical twilight that you can’t quite put your finger on, but one that makes all the difference.” -JUSTIN GAGE in AN AQUARIUM DRUNKARD



"Some of the most haunted Southern literature never committed to paper...Tales of Southern gothic noir continue to unfurl on LOVESONGS FOR LOSERS, [Hutchens'] second collection of solo material. Drawing from the same well as the likes of Flannery O'Connor and William Faulkner, Hutchens grasps the duality of the South and its denizens--the good, the bad and the ugly."

-JUSTIN GAGE in AN AQUARIUM DRUNKARD



"This is fantastic. I've been listening to your tunes since I got up. I really love them." -e-mail sent to Daniel, 8/13/06, from MARGARET BROWN, director and producer of BE HERE TO LOVE ME: A FILM ABOUT TOWNES VAN ZANDT.



 

"Some of the most prolific verse to grace southern rock in the last decade. LOVESONGS FOR LOSERS is ample evidence of [Hutchens'] world-weary view that begs for redemption, and the loose, rock-and-roll swagger which brings the words of this old soul to life. Each track plays out like a Flannery O'Connor confessional...Hutchens continues to perfect his craft, and one listen to LOVESONGS FOR LOSERS makes it clear that recognition is long overdue."

-JAMIE LEE in GLIDE magazine



"Daniel Hutchens is the Mark Twain of rock n roll." -PHIL WALDEN of CAPRICORN RECORDS



LOVESONGS FOR LOSERS is one of the brightest lights grizzled, real-life rockers have had pointed at them in quite awhile. Both Hutchens and the Athens music ‘scape in general are all the better for that. -MICHAEL ANDREWS in FLAGPOLE magazine



"Singer/songwriter Daniel Hutchens' soul-inflected vocals and his knack for moving lyrics are as powerful as ever. [His lyrics explore] the idea that love survives separation, the feeling that friendship is stronger than the miles, physical and spiritual, that divide us." -MATT THOMPSON in FLAGPOLE magazine



"Just like when we do a Robert Johnson cover or a Talking Heads cover, we want to pay tribute to someone...This guy [Hutchens] happens to be young and alive and just as prolific and just as important as our other influences." -John Bell of Widespread Panic, in BILLBOARD magazine



"Danny and Eric have been writing songs and playing together since the sandbox. They might not technically be blood related, but the years and the music have woven them tighter than any brothers I know. You can hear that in the music."

-Shelly Allen, in AN HONEST TUNE magazine



As a singer/songwriter, Hutchens could very well be one of the most underrated of the past decade. His creativity, use of imagery, songwriting depth, and sheer vocal prowess make him a true original." -Pete Sienkiewicz, in HITTIN' THE NOTE magazine



"Those who know Bloodkin only through the interpretations of another band are missing out on some of the more deeply poetic and symbolic songs they have in their notebook. It's hard to typify a single Bloodkin song, but most tend to paint pictures of modern gothic, mixing virtue and vice to weave realistic tales tinged with a sense of ironic humor."

-Chip Schramm, in JAMBANDS.COM online magazine



"A mean, greasy, guitar oriented sound...Hutchens' lyrics are a maze of masks and temptations while Carter's guitar playing is the backbone of Bloodkin's sound. Eric Carter's playing ranges from sad hearted country twangs to shotgun shack electric slides...it's like a shot of good bourbon in the early morning light."

-James Calemine, in HITTIN' THE NOTE magazine



"This Athens four-piece may be one of the best barroom bands in the state...(their music contains) pockets of countrified pop and boozy, roots rock thrown in as well." -Ballard Lesemann, in FLAGPOLE magazine



"Song-oriented, dark Southern rock. There's a Terry Kay novel called DARK THIRTY (referring to the 30 minutes before the twilight goes dark), and Bloodkin's distinctly Southern music reminds me of the mood of that novel, and likewise of its heritage-steeped content...along the lines of the early Stones. If Jagger and Richards had grown up in Georgia..." -Mark Pilvinsky, in FLAGPOLE magazine



"On this night at the intimate Bluebird Theater, Danny Hutchens stepped to the microphone in cowboy boots and all black attire, and lyrically swung for the fences with every effort. Hutchens has the same realness and in-your-face persona of fellow song writing friend Jerry Joseph...At times his stripped away style is reminiscent of a Neil Young leading Crazy Horse thru 'Tonight's The Night'. " -Brad Hodge, in AN HONEST TUNE magazine





BIO:
Daniel Hutchens and Eric Carter met each other when they were eight years old. They solidified their early friendship based on a mutual love of baseball, comic books, and rock n roll music. They grew up in West Virginia; much time during their high school years was spent on Skull Run Road, where Eric's family lived, a few miles outside Ravenswood. The boys recall that road as being the site of their first garage band practices.



After high school, they started getting a little more serious about their blossoming songwriting partnership. Their road wound through Huntington, WV, and eventually on to Athens, GA, which they soon came to call home. They continued to concentrate on their songwriting, and by the early ‘90s they had a catalogue of over 300 compositions. By this time Hutchens and Carter had given their musical collaboration a "band name": Bloodkin.



People started to notice, and some even started covering some Bloodkin compositions, most notably Widespread Panic, who wound up recording three Bloodkin songs, and who continue to play those and other Bloodkin songs live. Panic's cover of "Can't Get High" peaked at #27 on the Billboard AOR charts. Other songs in Panic's regular rotation are "Makes Sense To Me", "Henry Parsons Died", "End Of The Show", "Who Do You Belong To", and occasionally "Quarter Tank Of Gasoline".



Daniel also wound up playing with ex-Velvet Underground member Moe Tucker in the early-to-mid ‘90s; he played on three of her albums and several of her tours.

 

In 1994 Bloodkin released their first official CD, GOOD LUCK CHARM. The project was produced by Johnny Sandlin (legendary producer of the Allman Brothers, Eddie Hinton, and so many others). Bloodkin recording projects over the years have also featured producers John Keane (R.E.M, Cowboy Junkies, etc.) and David Barbe (Son Volt, Drive By Truckers, etc.). All the while, the Bloodkin boys have continued to play live all over the Southeast and beyond.



Daniel and Eric have shared the stage with different lineups throughout Bloodkin's history, but the last several years have cemented a familiar band: Daniel on vocal and guitar, Eric on guitar and backing vocal, William Tonks on guitar, dobro and backing vocal, Jon Mills on bass, and Aaron Phillips on drums. Recording sessions for the next Bloodkin project will begin in the summer of 2014.

The CD releases to date are:
GOOD LUCK CHARM, 1994
CREEPERWEED, 1996
OUT OF STATE PLATES, 1999
ALL DOLLED UP, 2000 (live)
THE BLOODKIN COMMUNITY GOSPEL REHAB, 2001
RAVIN' BEAUTIES, 2002
LESSER, 2003 (Daniel Hutchens solo)
LAST NIGHT OUT, 2005
LOVESONGS FOR LOSERS, 2006 (Daniel Hutchens solo)
BABY, THEY TOLD US WE WOULD RISE AGAIN, 2009
ONE LONG HUSTLE (5 disc box set) 2013