Ryan Bingham burst onto the national scene with Mescalito, his first release with his new Lost Highway label. With appearances on The Tonight Show with Jay Leno and Austin City Limits already in his pocket, it has come time to get the ball rolling once again. His sophomore release “Roadhouse Sun” is now out, and it is obvious Bingham is here to stay for quite sometime.

Following up such success can be a daunting task, but not for Bingham. The sophomore jinx has caught several artists in the past, but Bingham escaped successfully with a release somewhat different than the first, combining a mixture that best suits his unique abilities.

“I never really looked at it as added pressure,” Bingham said. “I just wanted to continue what I was doing, and put songs out there that reflect how I am feeling at this moment in my life. There are some poignant songs that have meaning to me, and others I felt just needed to be said. I did try to capture a live sound and appeal, since we get great responses from our live music. We went straight off the road and into the studio to record the new record, so we were able to maintain the drive and energy.”

Maintaining the same talented band members, plus coming back with one time Black Crowes guitarist Marc Ford producing, allowed this cohesive unit to keep right on rolling. The Dead Horses include Corby Schaub on guitar and mandolin, Matt Smith on drums, and Elijah Ford on bass.

“We have been very fortunate recently to continue touring, and have really had lots of fun with one another. Spending so much time together on the road can be hard, but it has worked for us. Everyone has stuck together, and I am quite proud of how we worked out the new record.”

Life on the road is nothing new for Bingham. Moving around a lot as a child, Bingham continued his travelling by hitting the rodeo circuit. These travels helped to form a writer well versed in life’s successes and failures, not to mention a desire to find a better way to make a living.

“I was exposed to so many different types of music everywhere. In all parts of Texas, there are so many different cultures and types of music, even within this one state. You have the Mexican appeal in the south and the Delta Blues in eastern Texas near Louisiana. Northern and western Texas has the swing music. I spent some time in California as well, so there was an introduction to rock music there. So, traveling around and hearing all of this definitely molded my music in several ways. It also provided some stories to write about as well for sure.”

While out on the road with the rodeo, Bingham played for some of the locals from time to time, gaining some valuable experience. He gradually taught himself how to play guitar too.

“The first thing I learned was mariachi songs, and progressed from there. I got sick of only playing that one song, so I began messing around with sounds on my own and writing songs. I picked up some chords just by watching others, but mostly on my own. It took a lot of observation for sure. As I played more for others, I began to gain more confidence and improve.”

Bingham has also had the good fortune to meet up with other musicians who have helped him considerably with his writing and playing. Among these were Terry Allen and Joe Ely.

“Joe definitely has been a mentor for me. He and Terry have introduced me to a lot of great people who have helped me get here today. Without a doubt Guy Clark is up there too. He is such a great writer, and has had a huge impact on me as well.”

Bingham went on to say the state of Texas is filled with talent, many who never become well known. Even without the public notoriety, these musicians still impacted him.

“Just here in Luckenbach alone there are a lot of great writers no one has ever heard of, just guys that came back from Vietnam, sit around camp fires, and write some amazing stuff. There is a guy named Greg Gorman that passed away a couple of years ago, who had a huge impact on me. Another guy named Danny Perry from here in Luckenbach has impacted me as well. There is just a lot of great stuff here that unfortunately never gets out, but it has certainly helped mold me a great deal.”

Many of these influences are evident on the new record. Bingham hits it hard right away with the initial cut “Day Is Done.” The subtle beginning, with the soft intro, builds into a pulse driving chorus that would fit comfortably in any Black Crowes set. The alternating tempo makes this song quite entertaining, and certainly sets up the remainder of the record very well.

“It is one of the older tunes that I have had for a few years,” Bingham said. “All of the songs I write tend to come from my own personal place, and what I feel at that time. I also like to leave my songs up to the listener, and let them relate to it in their own way, as opposed to my own. I felt this one would open the record well for sure.”

Throwing caution out the window, Bingham decided it was time to start writing songs which were not only about nights at the local bar. “Dylan’s Hard Rain” is a salute to Bob Dylan’s original song “Hard Rain.” Attempting a similar rhyme scheme by the master is dangerous if you are trying to avoid the comparisons, but the song is well done without doubt. Bingham’s own attitude clearly shows through. He also tips the hat to Dylan later with “Hey Hey Hurray.” You can almost picture him holding up the signs as he rattles off each phrase, just as Dylan did years ago.

“I thought it was ironic how much an old song like “Hard Rain “still fits in today’s world. The problems that were going on then are still going on now. I have had this one for a year or two, and thought it was appropriate for the record, given the problems today.”

Bingham also allows more personal feelings to show in his songs “Tell My Mother I Miss Her So” and “Country Roads.” That is not to say either of these songs are slow tempo tear jerkers by any means. Bingham handles this in his own unique style. His mother passed away just last year, leading him to write the song. The superb mandolin by Corby Schaub sets this one apart. “Country Roads” portrays a sense of desperation of being alone on the road.

“Country Roads” is one of the older songs on the record,” Bingham said. “I think I wrote that one about 5 or 6 years ago. It was one of the first songs I had written. I was more or less homeless and living in my truck. So, I was just driving around, camping everywhere, and decided to write my thoughts down.”

The mesmerizing song “Bluebird” certainly has an eerie quality to it, with Elijah Ford’s bass providing a great beat. While having a somewhat spiritual feel to it, Bingham did not intend this one to have any religious interpretations, although one could easily do so.

“It is a deeper song, perhaps spiritual in a way, but by no means religious. It is just something that came up from the depths of my own soul. None of my songs are religious in nature, but hopefully makes a person think somewhat so they can form their own opinions on how it touches them, religious or not. I will leave that up to the listener.”

If you enjoy the sound of a lone acoustic guitar, “Snake Eyes” is the song for you. The passion flows from Bingham in this one. “Writing songs for me has always been a way to vent, and allow my feelings to release,” Bingham said. “Snake Eyes” is another example of that. It reflects life experiences at that time for me.”

Of course there is only one way to come out of a mellow introspective song, and that explains “Endless Ways.” This one hits you hard right away, supported splendidly by Matt Smith on drums and some driving electric guitar. Bingham takes a stand here, in both a personal and political manner.

“I wrote “Endless Ways” during the past couple of years in dealing with the last Bush administration, and everything that was going on. Being me, I just felt compelled to get those feelings off my chest and put them out there. So at the time it was more political, but it has some personal appeal as well. Even though I am from a small town, or anyone else who is from a small town for that matter, it does not mean you can not have a big voice.”

The epic “Change Is” hits the seven minute mark before it begins winding down. This psychedelic, somewhat hypnotic tune, spins a tale of empowerment with a definite 1960’s appeal. Utilizing a mixture of sounds and instruments, this one is about as far from country as you can get, proving Bingham has come full circle.

Bingham has spread his wings successfully here. Preparing to go on tour with The Flatlanders soon, he continues writing for his next project. Yes, the horizon looks quite bright indeed.