Mile Markers is just what the name says: a set of signs posted to guide the way home. . . or maybe point out the direction that has home in the
rear view mirror.
Set in the West, it rambles and wanders and aims the steering wheel out
at the endless horizon. A halfways unfolded road map, it passes through
Austin and Tucson and San Ysidro and Los Angeles, through the badlands
of both South Dakota and New Mexico, from Oklahoma and the windy
Panhandle country around Abilene all the way to Bakersfield and the San
But Mile Markers is a spiritual voyage as much as a mere travelogue, a
set of tales that turns into a single song of journeying forth.
It’s like a Western, in a way. It’s "The Searchers," or "Ride the High
Country," or" High Plains Drifter." Or even"Two-Lane Blacktop" or "The
Getaway," because it’s set in a contemporary West divided by white lines
and asphalt, and settled by truckstops and parking lots. It’s a
landscape of big skies and long roads and endless Mile Markers flying by
at the edge of your vision. And like every true Western ever,
contemporary or not, it’s a story of drifting and settling, of setting
down roots and then having them torn up again, of learning that you
don’t dare settle down when you’re just going to be forced to hit the
For Mark Stuart and the Bastard Sons, the last ten years has been a blur
of miles and markers. BSOJC has played more shows most years than most
bands do in their entire careers, and they’ve done it the hard way,
piling their own gear into their own van, and then heading off into a
dark night that’s just a couple of hours away from day. A lot of indie
bands have done a lot of this, but not many have made the long haul
across an entire decade. And amidst that grueling schedule, Stewart has
managed to keep writing, delivering two previous records, Walk Alone and
Distance Between, that built a hardcore fanbase for the band and yet
achieved a critical recognition that most singer-songwriters would slit
their left wrist to gain. It was an enviable position, as long as you
didn’t have to do all the work that went with it.
Produced by the Texicali 3: Mark Stuart, Mike Turner & Alan Mirikani
Recorded by Alan Mirikani at Dawghouse Studios, Burbank, CA
Additional Engineering by Sergio Ponzo and Jaime Black.
Mixed by the Texacali 3 and Bart Bull
Mastered by Alan Mirikani
All songs written by Mark Stuart
except "Night Comes Down" by Mark Stuart and Deane Cote
2 Lane Music BMI
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