Chad Sullins and the Last Call Coalition

Chad Sullins and the Last Call Coalition are making a whole lot of noise up in Oklahoma these days, and justifiably so. In a section of the country that’s still coming to terms with just what the hell Red Dirt music was/is, and that in some distinct ways is attempting to draw a line of demarcation between itself and how its latest sound is being translated down in Texas, there’s something to be said for a band that’s committed to sounding different. In fairness, some of the fathers of Red Dirt are also now mining very different veins – Mike McClure’s doing intensely mature stuff these days, the Damn Quails are charting an interesting course, and even Cody Canada is looking for greener pastures with the Departed. So in a way it makes sense that as the sound that made Stillwater famous moves on (even as countless Lone Star bands fall into line mimicking/copying that formula while somehow decrying Nashville for being formulaic), new bands coming onto the scene make concerted efforts to flex their muscles and sound unique.

Sullins and company fit into that category, and have built both some buzz and the beginnings of a rabid fan base that rates them with the Jackson Taylor Band and other similar bona fide originals melding a combination of classic country with Mike Ness infused rock ‘n roll.

But that’s not the case with the Last Call Coalition, at least not entirely. This band, as evidenced on this, their second full-length CD (there was also an acoustic EP titled What’s Left Of Me), is in no way typical of the mindless Red Dirt drones infesting airwaves these days. But they’re also not necessarily new or unique or fresh in the sense that many of their ardent college age and young twenties fans think.

We’ve heard records like this before. One of them was released all the way back in 1992. Remember those gloomy days when hair metal was in the process of being sacrificed on the altar of flannelled grunge? All the cool kids were acting as if Kurt Cobain was the lyrical second coming of Bob Dylan (he was not), or else they were moshing furiously to the intricate yet inharmonious sounds of the Smashing Pumpkins. Dave Pirner (Soul Asylum) was getting movie roles, playing stoned out losers in apocalyptic landscapes pretending to hold some kind of universal truth. It was all bullshit, as was a significant portion of the hair metal which preceded it. But there were nuggets in those hair bands’ outputs now and again. Purists may argue with me here, and that’s okay – I am always up for a good scrap. Especially when the truth’s on my side. So, let’s get back to the point. 1992. Warrant released a record that about twelve people ever heard, titled Dog Eat Dog. Of course by that time Warrant was largely considered a joke, because the novelty of songs like “Cherry Pie” and “Love In Stereo” had long worn thin, as had the, uh, power of power ballads, which were the other key staple of Warrant’s chart success. But think back to the days when you either had parachute pants or wanted some, when breakdancing and Crockett and Tubbs and pastel shirts were cool. See if you can conjure up a song called “Uncle Tom’s Cabin.” It was on that Cherry Pie album. And it was powerful. Showed some glimpse of just what Warrant frontman Jani Lane was capable of. Then in 1992, as hair metal choked on its own excesses, Jani and the boys released Dog Eat Dog. And it was a full-on frontal assault of sound and fury and intelligence. Why are we talking about this here? Because, whether any of the kids listening these days realize it or not, Chad Sullins is Oklahoma’s answer to Jani Lane. And that is neither as horrible or as good a thing as you might think, depending on your own personal point of reference.

Incommunicado, as noted above, is just the second full-length release from Sullins and the Last Call Coalition. As second releases are wont to do, it highlights both room for growth and indications of real potential. The record’s big summer hit, “Thank God for Jack Daniels,” is every bit as ingratiating and as throwaway as “Cherry Pie” ever was. It gets down in your eardrum and stays apparently forever, the sort of barroom rocker singalong that kids these days will be singing to annoy their grandchildren decades in the future. It’s infectious, it’s catchy, it’s enjoyable as all get out. And it has absolutely nothing mature or intelligent to say. This is the double-edge downside of what Sullins and company are doing these days. On the one hand, this is a fantastic song for radio and for emptying out the beer tubs at a honky tonk on a Saturday night. On the other, it feels like another ridiculous attempt by wet behind the ears youngsters to explain the concept of whiskey to those of us who’ve danced with the demons in the bottle. Clearly that opinion’s influenced by this reviewer’s age (42) and experience (varied and colorful). The song sounds mightily different to a 22-year-old frat boy who doesn’t understand yet what a hangover on a Monday morning really means. So in fairness, let’s account for that distinction. But in the final tally, the best songs about that wonderfully destructive amber liquid in the bottles from Lynchburg have already been written and sung to perfection by the likes of Coe, Gary Stewart, and, yes, Jackson Taylor. This isn’t one of those; it’s just a song about how fun it is to get fucked up. And there’s a place for that. If that’s all this record was, I would have passed on a review. We just don’t deal with simple entertainers here at Outlaw. But Sullins has something else going on, and that’s where it gets intriguing, much as Jani Lane has long intrigued me.

Take the first real opening track on this record, “Scratch,” as Exhibit A. There’s an intro before it that’s an interesting mélange of handclaps and boot stomps and other assorted noises, but that first real song dives into a swampy blues rock feel that would be at home in the finest Delta dives. Like many traditional blues songs, it says a lot without actually saying much. The important parts are in between the lines and require interpretation. But within the context of the genre that spawned it, it’s a solid track. And later, on a completely different plane and within an utterly different sound, Chad and the boys slow down and deliver haunted and powerfully soul-searching ballads like “Paris” and “10 One 10” that speak to material songwriting ability.

I know we argue

And I know we fight

I hope you know you’re the reason

That I come home at night

Even when you’re broken

Even when you’re sad

The love that you give to me

Is the best I ever had

Not the most intricate lyrics, sure. But heartfelt, and delivered with a weathered vocal underscoring the absolute belief in every single word. It’s in these moments that Chad turns a listener into a believer, and it’s tracks like these that spark a genuine interest in what the band does next. Adding a pedal steel doesn’t hurt, either.

There’s also an entrancing and compelling nod to Oklahoma legend Bob Childers in an inspired cover of “Dance With the Gypsies.” Perhaps nowhere else on the record is the band’s ability to set a tone and create an atmospheric mood highlighted so effectively. It’s also an eminently effective track for Sullins’ weathered, nuanced, cryptic and powerful vocals.

So what are we left with? For my money, it’s a combination of Oklahoma’s answer to Jani Lane as noted above and the promise of something potentially much, much more. If you’re already a fan of Sullins and you like this record, do yourself a favor and go get a copy of Dog Eat Dog. See where Jani was going and what he could do when the label suits weren’t always yanking his chain. And if you thought Warrant’s lesser known records had substance, you’ll find a lot to enjoy in Chad Sullins and the Last Call Coalition. Better yet, if you’re one of the music literati who believe only certain sounds have worth, you’ll get an eye opening education that you definitely need.

It seems clear that the band doesn’t yet quite know who they want to be when they grow up, and that’s okay. They demonstrate unequivocally here that they’re capable of being effective across a very wide spectrum of songs and sounds and genres. You’re sure to be entertained and occasionally inspired by the track list on Incommunicado. The question is, what’s next? Just another rehashed hair band like the Red Dirt followers in Texas seem to be turning into? Or a truly effective and mature act capable of taking on whatever sound feels right for a given lyric and hammering it home without mercy? We’re hoping for the latter, of course. And there’s no doubt the potential exists. It’s going to be interesting watching this band evolve. And in the meantime, with this record, they’ve given us plenty to sing along to and, on occasion, substantive things to think about while we enjoy the ride.

www.reverbnation.com/chadsullinsmusic to get yourself acquainted.

~ Dave Pilot

Dave Pilot lives in north Texas with his first good wife (don’t ask about the other one), seven horses, and five dogs. When his wife’s not looking, he tries to figure out ways to feed the 987 or so cats to the coyotes out behind the fenceline. When he’s not trying to raise his kids to turn out better than he did, he’s hitting historical sites on his way to honky-tonks from Denton to Port Aransas. Visit Dave Pilot on Facebook.

Outlaw Magazine. Country, Rock and Roll, Blues, Folk, Americana, Punk. As long as it is real, it is OUTLAW. Overproduced mediocrity need not apply.

www.outlawmagazine.com - Outlaw Magazine

Two songs into Chad Sullins and the Last Call Coalition's debut album Incommunicado and it's easy to see where the comparisons to Mike McClure and Cody Canada have come from. There's certainly a rock-n-roll attitude to "Scratch" and "Straight To Hell" that also shows up on "Full Throttle" and "August Sun" and the brooding closer "Oklahoma Moon." These Red Dirt Rockers showcase full-bodied tunes that embody the phrase 'spirited.' They're bluesy, soulful and are only matched by the ballads on the album, songs like steel-drenched story song "Paris" and "Only Girl," a song with a hook so good that I'm wondering when mainstream country music will take a shine to an act like Chad Sullins and the Last Call Coalition.

Incommunicado is the kind of album that defies genre classifications yet fits comfortably in country, rock, soul, blues and the Red Dirt/Texas Music scenes. It's a blended brand of American Music that is easy to call country rock and soul, the kind of songs that rock you in once instance and shake you to the core of your soul the next. It's that good.
Read more at http://www.roughstock.com/reviews/chad-sullins-and-the-last-call-coalition-incommunicado#lqoQ3QK9VKi7MQDT.99
- Roughstock

If you haven’t heard the name yet, get ready… Chad Sullins & the Last Call Coalition is a band that you are going to be hearing of more and more in the months and years to come. They come to us from in and around Stillwater, OK; a place revered for its deep roots in the Red Dirt music scene. Chad and his band mates in LCC Josh Rutz on guitar, Jerry Stanley on bass, and Jeremy Clark on drums have obviously paid attention and are influenced by that rich musical history.

They recently released INCOMMUNICADO, their second full length album and first release put out with label support since being picked up by the Smith Music label. All I can say about this band and this album is I’m damn glad I found them when I did. This album is one of the best releases that I have had the honor to put my ear to this year.

From track to track this album runs the gamut of genres from rowdy southern rock mixed with a little blues to pure country and slow moving ballads. Tracks like the album’s first single ‘Thank God for Jack Daniels’ and ‘Full Throttle’ you had better buckle up because these songs move fast and hard with blazing guitar riffs courtesy of Josh Rutz, lead guitarist. The track ‘Straight to Hell’ is an honest man’s unapologetic opinion on the state of some things in this country today that I think more people than will admit, will relate to. The tunes ’10 One 10’ and ‘Only Girl’ are ballads with honest, sincere lyrics with similar themes of love and sticking together through good and bad. ‘Paris’ is about as close as you can get to a straight pure country track. ‘August Sun’ is without fail a great southern rock tune that would fit into any classic rock station rotation next to the likes of Sknyrd and the Stones. I do have to say, that my favorite track on the album is a cover of an old Bob Childers song. LCC’s version of ‘Dance With the Gypsies’ is hands down, the best version of this song since the godfather of Red Dirt Childers himself. And yes, I know other great Red Dirt artists have done the song. I stand by my statement.

INCOMMUNICADO is a can’t miss album. The buzz surrounding these guys is growing every day. And it is well deserved. I have no doubt that before long, Chad Sullins & the Last Call Coalition will be on the top of the charts, playing with and not opening for the bigger names in Texas & Red Dirt music. Get in on these guys now.

Do yourself a favor and check this band out at:
http://www.facebook.com/pages/Last-Call-Coalition/
http://www.reverbnation.com/chadsullinsmusic

-By Brandon Meyers of www.reddirt-bluecollar.com - Southern Music Scene

Chad Sullins and the Last Call Coalition “Incommunicado” (Smith Music Group)

With their new album “Incommunicado,” Chad Sullins and the Last Call Coalition color their red dirt sound with enough muscular blues to leave fans of the distinctly Oklahoma musical style a bit speechless.

The Stillwater quartet — lead singer/guitarist Sullins, lead guitarist Josh Rutz, drummer Jeremy Clark and bassist Jerry Stanley — boldly leave a mighty musical mark with their second full-length album, the follow-up to their debut “Uphill Battle” and acoustic EP “What’s Left of Me.” Their sophomore LP thrums with a gritty live energy that makes it perfect for cranking loud and powering through a long drive or boring day at the office.

Made primarily at 115 Recording in Norman, “Incommunicado” opens unassumingly enough with a minute-long “Intro” of handclaps, boot stomps and acoustic guitar strumming, but it’s almost as if the band can’t take that much mellow music, quickly kicking into take-no-prisoners blues-rock mode with the grinding rebel anthem “Scratch.”

Framed by unapologetic electric rock, Sullins boasts a gruff voice that growls effectively through the driving “Straight to Hell” with its pointed commentary on commercialism and class warfare and rasps appealingly on the rowdy drinking song “Thank God for Jack Daniels,” the album’s first single and one of only two tracks the frontman didn’t write.

But Sullins’ barroom-ready vocals soften nicely on the ballads, from the bluesy “Only Girl” to the acoustic “10 One 10.” He matches a hard-edged vulnerability with brawny, reverberating guitars and an insistent plonking piano on the scorching torch song “August Sun.”

Some of the top musicians on Oklahoma’s red dirt music scene make guest spots on the album, including Parker Millsap on resonator guitar, Randy Crouch on fiddle, Tony Pearce on harmony vocals, Jon Knudson of The Damn Quails on B3 organ and piano and Ryan Engleman of the Turnpike Troubadours on lap steel.

Red Dirt Ranger John Cooper plays mandolin and makes the dedication on the album highlight, an appropriately atmospheric “Backporch Style” rendition of red dirt legend Bob Childers’ “Dance with the Gypsies.” Sullins and his cohorts pair their rendition of the late godfather of red dirt music’s signature song with an original companion piece “Oklahoma Moon,” closing the album with a moodily restless air that will leave listeners craving more.

The band has several Oklahoma shows coming up, including Friday and Saturday at the Woodward Elks Rodeo, Sunday at the Red Barn in Enid and July 27 at Eskimo Joe’s in Stillwater. For more information, go to www.reverbnation.com/chadsullinsmusic.

— BAM - The Oklahoman

Just a few minutes into Incommunicado, it becomes painfully obvious that Oklahoma native Chad Sullins knows his Red Dirt, country, classic rock and blues, and he blends them into the perfect barn-party soundtrack. The album plays like The Hangover set in Stillwater instead of Vegas, with all the emotions, amusement and reflections therein.

With clear-cut single “Thank God for Jack Daniels,” Sullins positions himself somewhere between Stoney LaRue and Eric Church, executing the whiskey tribute with all the subtlety — and admitted fun — of a Michael Bay film after a charming, vintage-Western introduction. He leads into that some good-ol’-boy politicking in the blistering, if familiar “Straight to Hell.” Sullins makes a 180 in “Paris” and “Only Girl,” showing that he can do dreamy country ballads with the best of them, subsequently launching into the classic-rock anthem “Full Throttle,” which bleeds away like the protagonist riding his hog off into the sunset.

Yes, Sullins is more than satisfactory at all the cornerstones of Red Dirt and country, but he really excels when he steps off that platform into more woolly territory, like he does in the closing pair of “Dance with the Gypsys” and “Oklahoma Moon.” While the big anthems are more immediately accessible (like “Jack Daniels”), tracks like this find him excelling artistically in a far more rewarding way.

Regardless, Incommunicado is a well-produced good time, one well worth the hangover. —Joshua Boydston - Oklahoma Gazette

STILLWATER, Okla. — A little more than a month separates fans of Chad Sullins and the Last Call Coalition from the group’s newest album, “Incommunicado”, which will be released July 10.
Band members include Chad Sullins, Josh Rutz, Jerry Stanley and Jeremy Clark.
When asked what excites them about the new album, Sullins and Rutz replied “everything.”
“Hyping it up, we’ve got a label behind us now and everything is coming together really well and it’s really exciting,” Rutz said.
Sullins said that over the past few years, fans have said they liked the group’s first record “Uphill Battle”, but that it was worth going to see them live. He loves that, he said.
“I’d rather have somebody say that every day,” Sullins said. “But with this (album), I think it really encompasses what we can do onstage and it’s been put on a record.”
“Uphill Battle” was released in 2009. Sullins began the record by himself, without an official band. It was recorded in Stillwater. When the Last Call Coalition was formed, the recording process had been a year in the making and had been halted by a lack of money. The group pooled together the money to finish the record.
“If you listen to that first record, there’s like five songs that are really produced songs with studio players and there’s four or five songs that are just us getting in there and saying, ‘Let’s knock this thing out,’” Sullins said.
He said he wishes he could go back and record the album again with the knowledge he has acquired since. After “Uphill Battle”, Sullins released an acoustic EP titled “What’s Left of Me.”
For Sullins, the writing process is not standard. He said it’s not structured.
“Some of my favorite stuff has just come from about 30 minutes and I got it and it’s usually based on something that’s happened to me in my life at that point in time,” Sullins said.
Rutz and Sullins have different stories about how music entered their life. Sullins lived in Yukon when he began writing. A friend of his had introduced him to Red Dirt music and artists like Cross Canadian Ragweed and Jason Boland. He fell in love with it, he said.
“I grew up listening to country music because of my parents, but I always thought that Red Dirt music was kind of like the bastard child of country music, so I was drawn to it,” Sullins said. His parents gave him his first guitar when he was 16. “And, of course, just to piss them off, I learned every punk song I could get my hands on because they wanted me to play country music and I just couldn’t get into it,” Sullins said.
Okeene native Rutz said he grew up with music playing in his house all the time. “I was a drummer at first and I love drums, but guitar playing got all the attention,” Rutz said.He knew fellow musician Jerry Payne from No Justice and that helped him get into Red Dirt music.
“It kind of changed my whole outlook on how music is because they were singing about stuff I grew up to and then from there it just took off,” Rutz said.

Now, Sullins and the Last Call Coalition are hitting the stage to support their upcoming release. Sullins said performing live invokes only one word — energy. “I want people moving around and bouncing around and jumping around,” Sullins said. “And I’m not going to tell them that they have to get rowdy unless we’re getting rowdy right back and we do. We’ve gone onstage, fully energized, rested up for the week and ready to go onstage and by the time we come off, we’re sweating bullets and we can barely stand up.” Rutz agreed, saying they believe if you come to a show, you should get one.

The group has many goals. They have achieved some, but are still working on others. For example, Sullins said he would like to see the group do a Live at Billy Bob’s album at some point. “I don’t want to be the next Garth Brooks and make a trillion dollars,” Sullins said. “I just want to make a decent living and get down the road and play music for people. If it comes down to the point where I get lucky enough to make - Chase Rheam - Stillwater News Press

Chad Sullins & the Last Call Coalition are set to release their next album 'Incommunicado' July 10. They finished mixing the album last week. It will be the band's first release since 2009's 'Uphill Battle' and the first with a label behind them. They celebrated by popping into the tiny Sports bar Woody's in Altus, OK last Thursday for a surprise show, crashing the bar's open mic night hosted by Mike Bennett.

Earlier that day Chad had put up a Face book post saying that some friends of his were going to be dropping by and to check out the show. A little after 9pm that night in walks Chad with LCC guitarist Josh Rutz, and Brandon Johnson and Josh Lamle of LJ & the Delivery. 4 hours later, lots of great music had been played and good times had been had by all. It definitely got me excited about the new stuff coming from Chad & LCC.

Watch here for a full write up on Chad and the new album in the next couple weeks. And grab his album when it comes out. I guarantee it will be one you will not want to miss. In the meantime, check out a story on Chad & LCC the Stillwater NewsPress put out this week. http://www.stwnewspress.com/local/x234171249/New-label-same-Red-Dirt-sound-for-Sullins-and-Last-Call-Coalition - Red Dirt - Blue Collar Brandon Meyers

Unrated Music spoke with Chad Sullins:
How did you get your start/how did your group form?

I remember watching my step dad play country music when I was a kid. He had a country cover band that played outdoor dances and alcohol free shows so I could get in to some of the shows. I got my first guitar at 16 and started playing punk and grunge music. I put my first rock band together at 19 and played in rock bands for a few years, I then took a break from music when I got married, returned to my country roots and started writing songs. I got divorced and decided to start playing music full time! I have been playing acoustic for a living every since. I put together the band I have now almost 2 years ago and have been banging out 150 to 200 shows a year since.

Who are some of the biggest influences on your music?

My stepdad for one! He turned me on to Willie, Waylon, Charlie Daniels, Steve Earle, Pink Floyd, Blackfoot, Allman Brothers, Social Distortion, Johnny Cash, The Great Divide and Bob Childers to name a few.

What genre do you feel you fit into?

A lot of artist don’t like labels, but I am perfectly comfortable calling myself a red dirt singer/songwriter. I am also in a rock band that plays country music!!

Favorite tour story?

All I can say is meat and potatoes!! Trust me when I say you don’t want the details of this twisted game but if you catch me at a show or on the road and ask, I will tell you.

Who would be a dream artist to open for or who would you love to have open for you?

I would give anything to open for the Rolling Stones or Pink Floyd. I would love Kenny Chesney to open for me, so I could make fun of him the rest of the night!! I really don’t like that guy!!
How would you describe your live show?

Chaos of energy and well controlled noise, at high volume!

What are your plans for the future?

I just want to play live and put out original records and make a living and have people enjoy my songs.

And I want to go to Disney world!

Tell us about your latest album?

The new acoustic EP, “What’s Left of Me” is a collection of songs that were a little to personal and a little off keel for what I had in mind for my first record, so we left them off my debut album “Uphill Battle” so it could have a more upbeat vibe. I thought they should be heard in their rawest form and I would just let the fans decide if they were good songs or not. I am my own worst critic.


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I am really looking forward to touring this year and playing new venues for new people and seeing what comes of it! I have the material for the next record and I’m excited to start work on that this year. As long as people keep coming to my shows I’m going to keep playing. - Nick Taylor

By Andrew W. Griffin

Red Dirt Report, editor

Posted: June 22, 2010

reddirtreporter@gmail.com

OKLAHOMA CITY – Wearing a Charlie Daniels Band shirt, ripped jeans, boots and a ball cap, Red Dirt singer-songwriter Chad Sullins relaxes a bit behind the be-stickered stage in Bricktown’s smoky Wormy Dog Saloon.

Sullins is a relatively new name on the increasingly diverse Texas/Red Dirt music scene.

Since the age of 16, Sullins has been playing the guitar and writing songs. But it wasn’t until he was attending Western Oklahoma State College in Altus and started getting support from his family that Sullins began taking music seriously.

Sullins had been raised on country music and while he tolerated a lot of the Nashville pop-country just barely, it was the edgier progressive and outlaw country that really made a connection with him.

But it would be a few years before Sullins’s musical ambitions were realized as they are today, as he fronts Chad Sullins and the Last Call Coalition.

A stint as a trucker, working in the oil field and various other jobs would come first.

“I lived just about everywhere – Ohio, Texas,” Sullins said.

But after meeting Red Dirt star Jason Boland while working out in the Oklahoma oil field, embracing the Red Dirt scene began making sense to Sullins.

And by the time Sullins made his way to the capital of Red Dirt music – Stillwater, Okla. – the scene had already peaked and a lot of the big stars had gone elsewhere, mostly to Texas.

“The scene was kind of dead,” recalls Sullins, but he knew he had to give it a shot, writing songs and playing where he could, including a regular gig at the Watering Hole, south of Stillwater. It was the gigs at that, err, watering hole, that really “lit the fire,” as Sullins put it.

The guitar-slingin’ drifter thought things would happen a lot quicker than they did. It took time and it was that time paying dues that began paying off.

Sullins, with his gritty, seen-the-hard-side vocals and confessional, honest songs began drawing a crowd in the Stillwater area.

“We’re not your average Red Dirt band,” Sullins said, noting that their harder, rock-oriented band sound wasn’t conducive to two-stepping honky-tonks.

“We were kicked out (of one venue) because we were too hard,” Sullins said. “We didn’t play anything people could dance to.”

Yet, listening to the band’s new album, the terrific Uphill Battle, released in 2009, you have acoustic-oriented (with a little electric guitar and organ thrown in) “December” to the more traditional Red Dirt country-rock of “This Town” or the more straightforward roots-rock of the title track, Sullins and the band prove they can stand tall next to some of the top acts on the Texas/Red Dirt scene.

“We’ve been hitting Oklahoma hard,” Sullins said. But an occasional gig out of state comes along, one in Missouri and another in Arkansas where the venue owner assumed they were a country band.

“We saw them put sawdust on the floor and people two-stepping … a ‘Blues Brothers’ moment,” Sullins said. “But it turned out to be an absolutely amazing time. They really liked our music.”

Adds Sullins: “People either love us or hate us. There’s no in-between.”

Back to the album. If you want something light and fun and pure Sullins, check out “Shotgun Daddy Blues (Backporch Style).” Think Dierks Bentley’s “What Was I Thinkin’” with a little tambourine and jaw harp and less production. Great stuff. And then there is the mournful “Broken Wings,” a raw bit of Brandon Jenkins-esque desperation set to a simple keyboard.

The reaction to Uphill Battle, Sullins said, “blew away my expectations out of the water.” They printed up 1,000 copies late last year and about 80 copies remain.

“I quit working for a living three years ago,” Sullins said, adding that music is his full-time job.

They’ve already opened up for everyone from Gretchen Wilson to Eli Young Band to the Bart Crow Band.

“We’ve gotten really lucky in the last year,” Sullins said, noting that Jerry Payne of No Justice has helped out on production side of things.

And on this particular night, talking to Red Dirt Report backstage at the Wormy Dog Saloon, Sullins and his bandmates perform a nightly ritual – toasting one another they then do a shot of Jagermeister in unison and proceed to pick up their instruments and hit the stage. They would run through strong originals like “Whiskey Angels” and covers like The Great Divide tune “If You Want it That Much.”

But right before that, Sullins’ bandmates – bassist Jerry Stanley, guitarist Josh Rutz, and drummer Mike Hatley – talked a little bit about themselves and their music. Rutz had previously played in the Paul Daniels Band before teaming up with Sullins.

“I called Josh and he was right on board at the get-go,” Sullins said, as Rutz smiled.

Stanley joined after answering an ad and Enid native Hatley, who looks more like a hard rock drummer. Hatley says hard rock is a big deal in Enid.

And rock is a big deal with Chad Sullins and The Last Call Coalition.


“We’ve already got the next CD written,” Sullins said, adding that he hopes to work with Tony and Greg Pearce again, as well as studio guitarist Nick Gibson.

And then it’s time to rock out, as they do every week. And they do it well.

For more information, go to www.myspace.com/chadsullins

Copyright 2010 West Marie Media
- Red Dirt Report