A nation/hard rock-band shaped by Illinois local Jason Ringenberg in 1981, Jason & the Scorchers came careening onto the indie rock and roll scene seemingly from nowhere (truth was, it had been Nashville) having a debut EP whose most killer monitor (among a slew of killer songs) was a fire-breathing cover of Bob Dylan’s “Absolutely Nice Marie.” This amalgam of quick hard rock and roll fused with Ringenberg’s decidedly nation twang, combined with the band’s capability to deftly negotiate between Moving Stones-style stomps and quieter, even more melodic acoustic nation music, resulted in Jason & the Scorchers learning to be a critically lauded and pretty popular ’80s music group. Capitalizing quickly on the eye brought by their debut EP, the Scorchers kicked out two good LPs, Shed & Found but still Standing up, that sounded ideal for radio, however, not therefore slick concerning sound produced. With Ringenberg’s yowling tone of voice pushed way in advance, the band’s sonic power originated from the synchronous playing of Nashville rock and roll veterans Warner Hodges (electric guitar), Jeff Johnson (bass), and Perry Baggs (drums). Writing very similar musical backgrounds that respected the music of Hank Williams and Johnny Money as much because the Rocks or Beatles, this business could crank out mega-amped hard rock and roll about a minute and appear to be the Traveling Burrito Brothers another, everything finished with great skill and enthusiasm. Despite their apparent talent, with the discharge of 1986’s Still Position, it seemed as if the music group wasn’t heading anywhere. That they had attained a modicum of achievement, but weren’t in a position to break to mass acclaim, partially because they arrived right before the explosion of nation radio in the past due ’80s/early ’90s. Therefore, rock and roll radio was hesitant to try out them simply because they sounded as well nation, and nation radio thought these were as well rock and roll; it’s a vintage story that always spells doom for the music group in question. Following a three-year break that noticed Johnson’s departure, the Scorchers released a desultory third record, Thunder and Fireplace, that sounded such as a eager attempt at hard rock and roll credibility. They split up immediately after. Ringenberg continued to record country-oriented single work, re-formed the initial Scorchers in 1994, and released a humble reunion record, A Blazing Sophistication, that sounded just like the Scorchers of previous. Two years afterwards, the reunited Scorchers released Crystal clear Impetuous Morning hours; Midnight Roads implemented in 1998. Rock and roll on Germany made an appearance three years afterwards, Halcyon Times found its way to 2010.