Book Comfort Inn for Your Memorable Trip of Maryland
The Comfort Inn® Oxon Hills, Maryland Hotel is conveniently located near the cross point of the Capital Beltway and Indian Head Highway, 9.5 miles - 12 minutes - from Ronald Reagan Washington National Airport. The hotel is hidden from the road behind spacious, lush forested area which keeps the hassle and noise at bay and provides respite from the city life
At the Comfort Inn® Oxon Hills, Marylandyou will experience the peace of mind of mountain vacation in the middle of the city, just minutes away from the Nation’s Top Historical Landmarks. The White House
, the George Washington Monument
, and Old Town Alexandria
are in the vicinity of Comfort Inn® Oxon Hills, Maryland.
The Gaylord National Resort and Convention Center
is 2.3 miles or five minutes away from us and the hotel offers shuttle services to the Gaylord National Convention Center if you are attending an event, convention or business venue at the center.
If you travel for business or pleasure, the Comfort Inn® Oxon Hills, Maryland’slocation offers additional perks and conveniences to the visitor. Just behind the hotel, you can enjoy some barbeque chicken wingettes or Swedish meat balls, North Carolina Style at Levi’s Barbeque
, voted the top restaurant of the yeargrab a quick bite at Taco Bell.
If you need a rental, Enterprise Rent-A-Car is on walking distance from us, next to ALDI
if you need something from the grocery store. The USPS
and Western Union
arealso nearby and the infamous Desserts by Gerard
is about five minutes away. You must try their much raved about mousse cups during your stay with us. They are delectable!
You do not have to disrupt your exercise routine during your travels. Stay in shape using our gym equipment in thehotel’s fitness center or swim some laps at our outdoor pool.
The Comfort Inn® Oxon Hills, Maryland Hotel offers free parking, free continental and hot breakfast; Complimentary WiFi; free High- Speed Internet, free copier machine in our business center, free local calls and free weekday newspaper with your free morning coffee.
We are happy to have you!
The Comfort Inn® Oxon Hills, MarylandHotel features:
- Free Guest Vehicle Parking
- Handicapped Parking and Mobility Access
- Free Bus Parking
- Free Truck Parking
- Outdoor Pool
- Fitness Center
- Business Center
- Business-style Meeting Room
- Theater-style /Presentation Meeting Room
- Interior Corridors
- Government travelers: FEMA Approved
- Beverages, Coffee and Tea in the Hotel's Lobby
- Free Hi-Speed Wired Internet
- Complimentary WiFi
- Free Use of Copy Machine
- Free Guest Laundry
- Free Continental Hot Breakfast
- Free Newspaper Monday - Friday
- 24 Hours Concierge Service
- Safe for Valuables
- Mobility AccessibleRooms for Individuals with Disabilities
- Check-in Minimum Age is 21
- No Pets Allowed
- No Service Animal Allowed
- No early Check-Out Fees
- Fresh Orange Juice
- Free Fresh Brewed Coffee and Teas Assortments
- Hot off the GriddleWaffles. Chose Your Favorite Waffle Flavor!
- Hot Sausages and Meats Assortments
- Cereals and Artisan Breads
- Fresh Fruits
- Yogurt and Honey
Wolf Parade appearing at 9:30 Club in Washington, D.C.
Date And Time
Sat, February 22, 2020, 6:00 PM EST
Doors at 6:00 PM
815 V St. NW
Washington, DC 20001
Event Start Date : Feb 22, 2020
Event End Date : Feb 22, 2020
Allen Stone appearing at 9:30 Club in Washington, DC.
Date And Time
Tue, February 25, 2020, 7:00 PM EST
Doors at 7:00 PM
Add to Calendar
815 V St. NW
Washington, DC 20001
Event Start Date : Feb 25, 2020
Event End Date : Feb 25, 2020
An overview of our journey from post-election blues, into the heart of Memphis and onward into 2020 with a new album.
Drive-By Truckers is kicking off the new election year with The Unraveling, our first new album in 3 1/2 years (the longest space between new DBT albums ever). Those years were among the most tumultuous our country has ever seen and the duality between the generally positive state of affairs within our band while watching so many things we care about being decimated and destroyed all around us informed the writing of this album to the core.
While a quick glance might imply that we’re picking up where 2016’s American Band album left off, the differences are as telling as the similarities. If the last one was a warning shot hinting at a coming storm, this one was written in the wreckage and aftermath. I’ve always said that all of our records are political but I’ve also said that ‘politics IS personal’. With that in mind, this album is especially personal.
Our 2018 single “The Perilous Night” acted as a sort of coda to the polemic of the last album and the original plan was to zigzag in a different direction, but alas the past few years have seen an uptick in school shootings, church shootings, racial violence, suicides and overdoses, border violence, and an assault on so many things that we all hold dear. They’re literally putting children in cages. Writing silly love songs just seemed the height of privilege.
My partner Mike Cooley and I both worked through deep pools of writer’s block. How do you put these day to day things we’re all living through into the form of a song that we (much less anybody else) would ever want to listen to? How do you write about the daily absurdities when you can’t even wrap your head around them in the first place? I think our response was to focus at the core emotional level. More heart and less cerebral perhaps.
Eventually the songs did come, some in mysterious ways. A day-long layover at an exit outside of Gillette, Wyoming resulted in “21st Century USA”, the song that for me opened up the floodgates, enabling me to write my portion of the album.
I wrote “Babies in Cages” in the living room of my wife’s parent’s house and quickly demoed it on my phone. A portion of that original recording acts as the introduction to the version on the album. Cooley wrote “Grievance Merchants” about the proliferation of white supremacist violence we’ve seen in recent years. Our family’s babysitter’s best friend was murdered on a train in beautiful progressive Portland, Oregon in one such incident. The political is indeed very personal.
“Armageddon’s Back in Town” takes a whirlwind joyride through the daily whiplash of events we are collectively dealing with, while “Slow Ride Argument” offers an unorthodox but hopefully effective method of the prevailing of cooler heads. Perhaps it should come with a disclaimer though.
Meanwhile “Awaiting Resurrection” dives headfirst into the void of despair and painful realities these times are tolling. It’s a song unlike any in our band’s history, yet somehow quintessentially DBT to the core. A call to deal, unblinkingly, with the horrors surrounding us all, but to also survive, with perhaps even a hint of optimism.
“In the end we’re just standing, watching greatness fade into darkness /
If the writing was a long and brutal process, the recording was a joyous celebration. Another of our band’s many dualities, perhaps.
We convened for a week in Memphis, Tennessee at the historic and wonderful Sam Phillips Recording Service. We tracked, mostly live in the studio, aided by long-time producer David Barbe and famed engineer Matt Ross-Spang. Initially recording 18 songs in 85 hours of near around the clock sessions, the band essentially spent the whole week in an artistic marathon, housing ourselves at the Memphis Music Mansion (AirBnB), surrounded by historic photos and a mid-century vibe that seemed to even seep into our dreams each night. (My bedroom was, fittingly, The Big Star Room, named after the seminal Memphis power pop band that I have always held as an all-time favorite).
Recording in Memphis has been a life-long dream for this band. Both the city, with its dark social history and amazing musical heritage, and the studio which is a time machine set to its early 1960’s origins and inhabited by the spirit of its genus founder, affected and inspired the creation of this album in ways that go far beyond the tangible and technical.
Sam Phillips left my hometown of Florence, Alabama and moved to Memphis, working in radio before opening the legendary Sun Studios (Memphis Recording Service) where he essentially discovered Rock and Roll, recording the first records of Howlin’ Wolf, Ike Turner, Johnny Cash, Carl Perkins, Jerry Lee Lewis, Charlie Rich, and of course Elvis Presley. When he sold Sun, he built his dream lair, the, then state of the art Sam Phillips Recording Service which opened in 1962. If Phillips’ love of ‘slap-back’ echo had given those early Sun records their legendary sound, his new studio incorporated three different echo chambers into its design, giving the studio a very unique and wonderful sound that we incorporated into this album.
I can’t impart enough the impact that recording there had on this album. We were all beyond inspired by the surroundings and the sounds coming out of the speakers from every playback or the sound of the echo chambers reverberating down the halls. Every day we got to hang out with Sam’s son Jerry who took us up to Mr. Phillips’ old office on the third floor. Unlocked in time, it was still exactly as it had been the last day Sam spent there. His jackets still hanging in the closet and the bar still stocked with his favorite whiskey. There, with Jerry, we toasted our recordings and the spirits that still inhabited that sacred space.
In honor of finally getting to record in Memphis, I wrote “Rosemary with a Bible and a Gun”, a sort of stream of conscious love song to that dark and mythical city on the banks of the Mississippi. Although the song isn’t a literal story of such, it was certainly informed by the brutal times Cooley and I had in 1991 when we followed Sam Phillips’ example and moved from Florence to Memphis in search of dreams that for us were still to be over a decade in coming. I heard the song in my head as a sort of Bobbie Gentry inspired southern gothic and we further explored that by adding gorgeous strings by Kyleen and Patti King (arranged by Kyleen). It seemed the perfect way to kick off this album.
Our sessions were rounded out by a guest appearance from Cody Dickinson (North Mississippi All Stars) who came in and played an electric washboard through an Echoplex and wah-pedal into an amp for “Babies in Cages”. The song, recorded completely live, in one magical take, perfectly captured the mood and tone of the week we spent there. (We even kept the scratch vocal since it had so much live bleed from the take). The following day, Mick Jagger came by, but alas we weren’t able to record with him, although his presence certainly added to the already surreal vibe of the week.
A few months later we reconvened in Athens, Georgia at Barbe’s Chase Park Transduction studios where Matt and David mixed the album on Barbe’s vintage 1975 Neve console. As a band that got its start essentially making albums as field recordings on mobile gear, it is indeed a treat to get to make our albums on 2” 16 tracks tape in historic studios and on beautiful vintage gear. We finished the process by having the legendary Greg Calbi master it all at Sterling Sound in Edgewater, New Jersey.
In the end, we whittled the album down to the nine songs included, saving several key songs for a foundation to the next one that will hopefully occur sooner than later. Lilla Hood designed the packaging utilizing a stunning photo by Erik Golts of two young lads watching a sunset at the Oregon coast, lettering by famed graphic artist Aaron Draplin, and once again beautiful artwork from our long time collaborator Wes Freed. We plan on touring extensively throughout the next year taking these songs around the world.
We hope to see you there.
Date And Time
Fri, February 28, 2020, 8:00 PM EST
Doors at 8:00 PM
815 V St. NW
Washington, DC 20001
Event Start Date : Feb 28, 2020
Event End Date : Feb 28, 2020