"After three hundred thousand miles/ the upholstery's looking sad/ who knows how many tyres/ but the last ones look pretty sad." - Them Wheels Don't Roll No More - Kieran Kane-Sean Locke.

The genetic creativity of the Dead Reckoning musical family sprouted new wheels on release of the second Kieran Kane-Kevin Welch-Fats Kaplin CD.

Kane's son Lucas joined him on a Canadian tour to promote Lost John Dean (Dead Reckoning-Shock) that also features another new tune penned by Welch and prolific progeny Dustin.

The genetics were immediately rewarded - the dynamic disc hit #12 on debut on the prestigious Americana charts before its release in May.

And, now months down the track, it's still winning widespread airplay on Americana and alternate radio stations.

Now, the trio plans another Australian tour to capitalise on popularity for a collective 18 albums dating back to 1982.

"I'm very happy we're taking my son Lucas to play percussion for the first few dates in Canada," Kane now 56 and father of three, told Nu Country TV from his Nashville home.

"I did a concert with Fats and Lucas in December. It was Lucas's first time on a band stage - something we've been wanting to for a long time."

The performance at now defunct Sutter bar was a fertile font.

"He's now working in the duo Jimmy The Lung with talented song-writer Jim Reed. It has nothing to do with me - there is no mentoring at all."

Kane dedicated his 2002 disc Shadows On The Ground to Lucas.


"So much rain must fall/ for our daily bread/ through it all, to the harvest look ahead," - To The Harvest Look Ahead - Kevin Welch-Dustin Welch.

Meanwhile Dustin Welch, who first won exposure with Steve Earle's son Justin and Gary Nicholson's son Travis in Nashville band The Swindlers, has graduated to a new California group that recently toured Europe.

But it's a inter-generational pairing on new tune To The Harvest Look Ahead that adds to royalties ignited by their teaming on Glorious Bounties on Kevin's fifth solo album Millionaire.

"They used a seasonal metaphor to illustrate that no matter how bad things get there is something in that relationship that pulls them through," says Kane.


"It's probably got a million stories/ but I don't car what they are/ don't want to know the history/ just love the lines of that old car/ the chrome, the glass, the steel/ and the locks on all four doors." - Them Wheels Don't Roll No More - Kieran Kane-Sean Locke.

Kane and fellow singer-songwriter Sean Locke didn't use metaphors for Them Wheels Don't Roll Anymore - one of their three new collaborations.

"It was actually a real car parked next door to my little writing painting studio," Kane revealed.

"This girl had a black 1953 Pontiac in perfect condition, I went on the road and came back and it had been pushed up into the back yard with wheels caved in. It sat there a long time - we looked at the car and started writing about it. We didn't really want to write about anything but the car. Now both car and neighbour have gone."

Kane's writing with Locke has traction dating back to his 2002 disc Shadows On The Ground where they wrote five songs - the title track, Better When You Take It Slow, The Baby Keeps Crying, I Ain't Holding Back and Mountain Song.

Kane and Locke also collaborated on Hillbilly Blue, Callin' Me and the title track of the Kane-Welch-Fats Kaplin disc You Can't Save Everybody.

Chart topping Californian cowboy Gary Allan and Pinmonkey have also cut Kansas born Locke's songs.

"Sean is a lot younger than I am, we're good friends," says Kane.

"We have written about 30 songs together. He also writes a lot on his own. You'll hear lot more of him. He wrote Barbed Wire & Roses for Pinmonkey. Gary Allan also recorded his song Don't Look Away for his new album See If I Care."


"Did you ever hear the story about Lost John Dean/ a bold bank robber from Bowling Green/ put him in the jailhouse the other day/ late last night he made his getaway." - Lost John Dean - Traditional - arranged by Kane/ Kaplin/Welch.

Kane and Welch also wrote with Scandinavian singer Claudia Scott - Kevin's real life partner - on their new disc whose title track Lost John Dean is a revamped song on a thirties Kentucky bank robber.

"No, he wasn't an ancestor of John Dean - the Watergate lawyer for Richard Nixon," quipped Kane.

"It's a very old song Fats gathered."

The title track features Kane on banjo was recorded at Moraine Studios in autumn of 2005 with the CD cover designed by Melbourne Shock Records roots music executive Dave Laing in his Yarraville abode.

Although the title track didn't have political roots it wasn't the case with Mr Bones - penned by Welch, Scott, Olney and Hadley.

"It was written after the last presidential election and they were not happy about the result," Kane explained.


Kane admits he and Locke drew on a book by late celebrated author Nelson Algren for entrée tune Monkey Jump.

"We were sitting around late one night and had written all these verses but didn't have a chorus," Kane said.

"I started re-reading Nelson Algren book Never Come Morning - I'm a huge fan. His character Bruno Bicek is in jail. He gets a new cellmate and asks his name. The guy's crazy and says I'm the guy that's giving it all away - he starts listing all these things. I took some lines from the book."

Bob Dylan is name checked but it wasn't the Algren novel The Devil's Last Stocking penned about jailed boxer Ruben Carter that produced the Dylan hit.

That book was released in 1983 after Algren died.

"No, I didn't realise Nelson had written a book about Carter," says Kane.

"I was familiar with Walk On The Wild Side and The Man With The Golden Arm. Very dark stuff. He's a brilliant writer. I kept re-reading the same paragraph."


"There's a blue light down that road/ over the hill and out of sight/ in that shack down that road/ something's cooking day and night/ I know well and so do you/ it's that lonesome devil's brew." - Satan's Paradise - Kevin Welch-Claudia Scott.

Kane revealed that Welch and his partner - Scandinavian singer Claudia Scott - wrote Satan's Paradise about the lethal speed labs that have replaced moonshine liquor and grass as the illegal drug of choice in the south.

It's a subject tackled by James McMurtry in his song Choctaw Bingo - also covered by Ray Wylie Hubbard.

"It was written about a methamphetamine lab," Kane explained.

"It's based on a million cases in these parts.'"

Scott also co-wrote I Can't Wait with Kane and Locke.

"It's a song about faith," Kane revealed.

"I'm not sure exactly what it's about. We just sat down and banged it out - it's about whatever people can get out of it, that's fine by me."

But Kane was more explicit about the Welch-Chris Stapleton song Heaven Now.

"It's about regrets over temptation of the flesh," Kane said.

"It's a song Kevin had written and didn't have a melody or wasn't happy with the melody.

He got together with Chris - a great writer - and finished it. Chris and Fats are in Mike Henderson's bluegrass band. It came out quickly."


"Liquor store, she takes the money/ easy score, later honey/ drops the gun in my lap/ takes off, I take the rap/ hands up in the night/ go to court, lose the fight." - Postcard From Mexico - John Hadley-Dave Olney.

The trio also recorded Postcards From Mexico - penned by Dave Olney and John Hadley, long time collaborator of Kane and Welch.

"Olney like it and sent it to me," Kane recalled.

"I liked it but didn't know if we could pull it off. I was reluctant initially but when we got in the studio it came together straight away. I played drums - it somehow seemed to make sense. There was a female villain. They were in this room writing things on pieces of paper and worked on separate characters. Two different singers were not necessary for the story - it's really one voice. It's hard to do with one singer but Olney is recording it for his new disc."

Olney released his 13th album The Wheel on Austin record label Loudhouse in 2003.

He was born in Rhode Island and moved to North Carolina to attend the University of North Carolina.

Olney, 58 and father of two, has been living in Nashville since 1973.

Although the title of Welch song Clean Getaway seems like a stark contrast sibling to Postcard From Mexico it has different roots.

The song's character is unsuccessful in escaping from the memory of a past lover.

"It's in the songs I sing/ it's the price I pay/ there's no such thing as a clean getaway."


Kane reverted to his own artistry for the drawing on the front cover of the CD slick.

"It was another way to dodge a photo session," Kane quipped.

"It was just a painting I had, it was like the previous one."

Well, not exactly one.

Kane's drawings have appeared on the covers of his solo discs Six Months No Sun (1998), The Blue Chair (2000) and Shadows On The Ground (2002) and their 2004 disc You Can't Save Everybody.

"It was not painted for the cover specifically," Kane added.

"It was another painting that speaks to the tone of the record."

Lost John Dean was released in Australia in April, 2006.

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