The Athens Blur Magazine - Issue 9

for fans of music & those who make it Issue 9 • Free • athensblur.com

MANCHESTER ORCHESTRA • DEREK TRUCKS FUTUREBIRDS • MINDY SMITH • VAN HUNT MARSHMALLOW COAST • ERIC HEATHERLY LISSY TRULLIE • VIENNA TENG & MORE!!!

The AVETT BROTHERS A major band gets a major label

taking back sunday Adam Lazzara’s new perspective

Ten Questions

Sister Hazel outlives and outlasts on Release

The Trouble with tickets

A proposed merger could turn the whole business into one giant auction

(AIR) Guitar HEROES

passion pit boston’s buzz band fights the hype

Melting faces and saving the world, one performance at a time

remembering the georgia theatre>>

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The buzz instigated by five Boston kids just barely able to buy a Sam Adams at their local beer joint is inescapable — and quickly making its way to a town near you...

passion pit

by Kristen Lee

remembering

(40) the georgia theatre A proposed merger of live music giants could turn the whole business into one giant auction. by Ed Morales

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questions with sister hazel

(48) rs. The U.S. tic controlle and save e pesky plas melt faces s Forget thos ip sh on Champi time. Air Guitar mance at a one perfor the world, David by Natalie

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by Natalie B. David

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A Major Step

The Avett Brothers get a makeover — Rick Rubin style. by Alec Wooden

Something New Again Taking Back Sunday’s Adam Lazzara finds a fresh perspective. by Nicole Black

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music 29 COLUMNS 14

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Manchester Orchestra Lissy Trullie Derek Trucks Eric Lindell Eric Heatherly Mindy Smith Vienna Teng fun. Passion Pit Chimaira Marshmallow Coast Blind Pilot Keyshia Cole Van Hunt Futurebirds

11 12 13 14 17 18 19 20 22 24 25 26 28 29 30

11 spotlights

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EDITOR’S PLAYLIST: Ten Tunes Worth Noting THE FIRST WORD: Life...after MJ WHAT’S YOUR MUSICSCOPE? Astrology for Musicians Regional Report: Memphis, Tenn.

ALSO:

EAR CANDY: Album Reviews THIS DAY IN MUSIC HISTORY TOUR DIARY: Tishamingo

UPCOMING CD RELEASES

9 66

32 36 38 45

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ARTS & ENTERTAINMENT

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MOVIE PREVIEWS: Worth your money? Mike Epps: A Big Kid Livin’ in a Grown Man’s Body UPCOMING DVD RELEASES

FOOD

MEALS FOR YOUR BROKE ASS:

Cool Treats!

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67 69 71 73

ALSO INSIDE:

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MUSICIAN’S GEAR GUIDE 64 CALENDAR OF EVENTS: 74 Go Ahead, Make My Date ATHENS LIVE: The Month in Photos 78 ATHENS BLUR MAGAZINE

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“Just be there opening night.” That’s all Wilmot Greene wants — or, at least, that was his response to my hollow-feeling (yet heartfelt) question, ‘what can we do to help?’ As he says this, his pride and joy (The Georgia Theatre) isn’t even two weeks removed from being gutted by fire. Donations and goodwill continue to pour in, but rebuilding the joint isn’t, at this point, a foregone conclusion. Still, he’s confident: just be there opening night. Amazing. For my part, there’s not a circumstance on this planet that could keep me from it. The truth is, of course, there is more we can do. As a community, keep giving. Don’t let the donations slow as we become further removed from the tragedy on Lumpkin street. As music fans, get out to one of the many benefit shows that continue to pop up around town. Oh, and...be at the Theatre opening night. For our part as Blur Magazine, we’re trying to pitch in a couple ways. This month’s centerfold feature is a simple and poignant look back at memories made in the Theatre. Photographer Kevin Quinn generously donated a large part of his archives for the project, showcasing photos from around 20012009. Following the photo spread are just a few of the favorite memories from a wide range of people both willing and eager to share some of their favorite times had in the building. Also, I’d like to draw your attention to the page normally dedicated to the Georgia Theatre advertisement (this month, immediately after the abovementioned section) as we announce our efforts to chip in on the fundraising. In partnership with www.eCampusWIDE.com, Blur is proud to sponsor “Revive the Theatre,” a massive percentage day planned for Saturday, August 22 at more than 20 establishments around Athens. These businesses have generously offered a percentage of their full day’s sales, which will be gathered and donated through the current online giving means at georgiatheatre.com. For a full list of participating bars and restaurants, see the advertisement or visit www.eCampusWIDE.com/revive. If you’re around on the 22nd, get out to eat, grab a few beers, an ice cream cone, whatever. Know that every dollar you spend will be chipping in to the rebuilding battle — and it’s a long, uphill battle — and getting us one step closer to opening night at The Theatre.

editor’s playlist

old or new, 10 songs I can’t get enough of this month “So Blue” The Corduroy Road “Cold Hands” Black Lips “Polyanna” Patterson Hood “Miss Bliss” Dodd Ferrelle “Jessie The Goat” Joker’s Daughter

P.O. Box 7117 Athens, Ga 30604 Main Office(706) 353-7799 Sales(706) 207-9091 Executive Editor Alec Wooden [email protected] Director of Sales Stephen Simmons [email protected] Account Executives Adrienne Klein [email protected] Jim McGahee [email protected] Zach Greco [email protected] Jen Allen [email protected] Advertising Interns Elaine Emma Kelch, Morgan Kelly, Julia Ott Design Colin Dunlop, Lauren Mullins, Carlye Norton, Alec Wooden Editorial Interns Jessica Cole, Will Hackett, Lindsey Lee Kristen Lee, Lauren Moot, Julie McCollum, Sarah Saltzman

Alec Wooden Executive Editor

“1901” Phoenix

The Athens Blur Magazine

BLUR FROM THE EDITOR

DEAR READERS

“Sunken Union Boat” John Vanderslice “I’m Sorry Baby, But You Can’t Stand in my Light Anymore” Bob Mould “Trillion Candles” A PostWar Drama “I’ll Be There” Jackson 5 (really)

ON THE COVER: Boston’s Passion Pit, celebrating the release of the new record, Manners. Photo by Elizabeth Weinberg.

Contributing Editor Jon Ross Contributing Writers Natalie David, Ed Morales, Zac Taylor, Jon Ross, Melissa Coker, Amanda Cuda, Matt Fink, Kelly Skinner, DeMarco Williams, PT Umphress, Jacquie Brasher For general comments and inquiries: [email protected] For advertising opportunities: [email protected] The Athens Blur Magazine issue 9, copyright©2009 By The Athens Blur Magazine, INC. The Athens Blur Magazine is an eight issue/year music and variety publication, proud to be based in the “Classic City” of Athens, Ga. All rights reserved. No part of this publication may be reproduced in whole or part in any way by any means unless written permission is received from the publisher. Published monthly except for each summer issue in the United States of America and distributed free of charge (limit one copy per reader, each subsequent copy is distributed at a charge of $4.95). Postmaster send address changes to The Athens Blur Magazine, P.O. Box 7117 Athens, Ga. 30604

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BLUR THE FIRST WORD

MUSIC

Life...after mj

remembering the man in the mirror Pop quiz, music fans: who’s the only artist more popular than Presley and more prolific than Lennon? You got it. Michael Joseph Jackson. Okay, so I don’t mean that — completely. But let’s break it down for a second. Like Elvis, MJ understood that being a musician wasn’t enough. His heart rested in presentation, and no one did it better. Like Lennon, MJ wrote songs unlike any other in his time period, showcasing a genius unparalleled. So while it’s tough to make the above blanket statement, it’s certainly a defensable one (by the way, in an interesting coincidental sidenote, Jackson’s death came one day before the 32nd anniversary of Elvis’ final concert). As was the feeling (I think, I wasn’t around) in 1977 (Elvis’ death) and 1980 (Lennon’s), a generation of fans is now left with a simple, profound and hollow truth about their days on this planet. Life exists now in two distinct spheres: life before June 25, 2009, and life after MJ. Jackson is one of those sad cases of the last decade (think OJ Simpson, if you’re a sports fan) whose name has become a punchline in its own right for a joke that needn’t even be said. I didn’t care then — 2005, during the trial — and I don’t care now about the allegations. Yes, some sick charges were brought forth and, was he to be found guilty, nothing would have excused the behavior. But that doesn’t change 200+ million album sales. That doesn’t change countless #1 singles (back when it meant something to have a #1 single). That doesn’t change genius — genius — writing and arranging. It doesn’t change an untouchable legacy of showmanship. Any legacy, to be untouchable, must be properly defined — a chore not even remotely difficult when dealing with Jackson. The week after his death, he sold over 400,000 records and claimed 14 of the top 20 spots on Amazon’s UK charts. The week prior? He sold around 10,000 and wasn’t even sniffing a chart. Jackson holds a host of Guinness world records. He claims the top selling record of all time, the most successful run of concerts of all time, and the most #1 hits of the

1980’s. He even holds a record for having the most records by a recording artist. A record for having records? Wow. But the most interesting record to me? Jackson holds the Guinness for the most charities donated to by a recording artist. For all the controversy that swirled around the beleaguered star, a whole lot of good came from his misunderstood life. The jarring thing about Jackson’s death — again, I dare say as it was with Presley and Lennon — is that he was not an artist totally out of the sphere of cultural relevance, despite the general concensus that his musical prime was long, long gone. Jackson’s now cancelled “This Is It” London show series had him originally scheduled to appear 10 times at London’s O2 Arena. When ticket sales went through the roof (at one point, sales numbers were around 11 tickets/second), Jackson bumped the number to 50 shows. Here’s some perspective: when Paul McCartney tickets for Citi Field (New York) were going well for two shows, the promoters bumped the number up to three shows. A British star in America added one show by popular demand. An American star in Britain added 40. This column wasn’t originally going to be about Michael, ya know. By the time you read this, he’s been gone for at least a month, and the news outlets have long since retreated from the story. But when I checked the mailbox today, sitting inside was “Now That’s What I Call Music, Vol. 31,” and it made me stop in my tracks at the irony of its arrival date. Looking down the artist and track list, I couldn’t help but think the genres Michael bred and saved time and again are essentially dead, as they have been in his absence from the music scene before his death. Will we ever see this type of genius again? I’m not convinced the answer is yes. I hope it is, but I just don’t know. There was everything before June 25, 2009, which was blessed by his presence. And now, without warning, we must head into something which something music and pop culture is frankly not prepared — life after MJ.

“Jackson’s now cancelled “This Is It” London show series had him originally scheduled to appear 10 times at London’s O2 Arena. When ticket sales went through the roof (at one point, sales numbers were around 11 tickets/ second), Jackson bumped the number to 50 shows. Here’s some perspective: when Paul McCartney tickets for Citi Field (New York) were going well for two shows, the promoters bumped the number up to three shows. A British star in America added one show by popular demand. An American star in Britain added 40.”

— Alec Wooden

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MUSIC ALTERNATIVE

band on fire

behind the buzz of atlanta’s rising rock ACt On the rock and roll career trajectory, Manchester Orchestra is somewhere between up-andcoming and everywhere (think Kings of Leon pre-“Sex on Fire”). The promising signs are there. First, there’s the crowd volume. “It was a pretty sold-out tour, so that was encouraging,” said Chris Freeman, Manchester Orchestra’s keyboardist, calling in from his hometown of Atlanta during a two-week break after wrapping up the U.S. tour. But for Freeman, the “something’s happening here” moment for him occurred a few years back at Atlanta’s Variety Playhouse. “Our hopes were to sell 400 tickets, which was the most we’d ever sold before,” he recalled. “A couple of hours before the show, it sold out at 1,200, and we walked onstage in our hometown and there were 1,200 people there going ape-shit. …  I just couldn’t stop smiling the whole show, which was awesome.” Then, there are the awkward fame moments. “I had my first encounter with a crying fan,” Freeman admitted. “I had to go to the bathroom so bad ‘cause I was kind of drunk and we’d just played. This girl looks at me and just starts bawling her eyes out and shaking.” (Wait ... it gets worse.) “I tried to comfort her until she grabbed my butt. And then it got really awkward.” Finally, there’s the whirlwind schedule. The band played 300 shows in one year following its first major release, I’m Like A Virgin Losing A Child, and the promotion for this record is just as intense. Freeman said it’s “tour, tour, tour” until Thanksgiving. “I saw the schedule about halfway through this last tour, and I thought I was gonna have a mental breakdown.” All of that touring does have its perks, though. In addition to upcoming shows in Australia, England and a gig at Lollapalooza (“My favorite festival,” Freeman

Photo: James Minchin III

MANCHESTER ORCHESTRA WHO’S WHO Andy Hull (vocals, guitar), Chris Freeman (keyboard), Jeremiah Edmond (drums), Robert McDowell (guitar), Jonathan Corley (bass) FORMED 2004 in Atlanta, Ga. LABEL Favorite Gentleman LATEST RELEASE Mean Everything To Nothing (2009) ON THE WEB www.themanchester orchestra.com said), the constant togetherness makes them tighter. “When it came time to write for a record, it was just super easy. We’d been around each other for, you know, ever — every day,” Freeman said. “Playing all of those shows, you end up getting better by default.”

While the rest of us have been gradually catching on, the band has been steadily hitting its stride, most evident on the group’s recent release, Mean Everything to Nothing, Manchester Orchestra’s answer to Weezer’s Pinkerton. “Our goal was to make the loudest parts louder and the quietest parts quieter,” Freeman said. The effect leans on the dramatic side, but the band’s other influences —  including the Pixies and Neutral Milk Hotel as well as what Freeman described as the “nasty, grungy, loud” sound of Atlanta bands like Dead Confederate — keep the edge on. As far as what influence growing up in the South has had on his music, Freeman said, “We were all raised in the church, so I think that definitely affected us musically, and we listened to a lot of Christian music growing up.” Though the discovery of Radiohead in high school steered the musicians in a different direction, religious themes do tend to pop up in singer and guitarist Andy Hull’s lyrics. For

example, in “The Only One,” Hull sings, “I am the only son of a pastor I know who does the things I do.” (Hull’s father and grandfather were pastors.) The lyrics on the new record have gotten more personal than the first, but sometimes they go over even Hull’s own band mate’s heads. Freeman admitted that for the most part, he isn’t quite sure what the lyrics to the music he’s playing actually mean. He confessed, “A year later I’m like, ‘Oh hey, what the hell were you talking about?’” Remember back when you thought you were the only one listening to Kings of Leon, and then it turns out most of your friends were, and then suddenly everyone you know name-drops them as their favorite band? Well, with Manchester Orchestra, your friends are onto them, but the band’s music hasn’t exactly infiltrated mall department stores. It is not a bad spot to be — all of the awareness without the over-saturation that happens after a big hit song. But at this rate, it’s only a matter of time.

 

— Julie McCollum

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MUSIC ALTERNATIVE

great food, killer accommodations...and a case of swine flu Zac Taylor: You’re fresh back from Europe. How’d the tour go? Lissy Trullie: Our tour was an unlucky one. Ian fell sick, and the following morning we took him to the hospital in Hamburg where he tested positive for the Swine Flu! We all had to be quarantined and spent three days in a hotel room where we were not allowed to leave. We had to cancel a gigantic chunk of the tour and had to take Tamiflu (wrecks your stomach; not fun). We were only able to salvage the last two dates — Paris and Amsterdam — as a three piece. All and all, it was not what I was expecting from this tour, but I’m so happy Ian was alive in the end.   ZT: How do the European stagehands and accommodations compare to those of your most recent tour of the United States?   LT: I think the European techs/ sound guys are a little more attentive, but we’ve had great experiences in the U.S., too. As for accommodations, Europe kills it. Great food. Great dressing rooms. You get spoiled over there.   ZT: What kind of mentality did you have when you were living in New York and knew you wanted to pursue the musician life full time? Was there a moment when it all fell into place, or was it a gradual realization amidst working odd jobs to survive? Did you pass around a mailing list at open mic nights? Open up for bigger bands? LT: I’ve always played music. It was never a conscious decision; it’s just what I do. I went to college in New York and worked a bunch of weird jobs, but I was making music the entirety of that time. I’ve done everything from solo gigs to strange arty conceptual shows to proper opening shows. It just fell into place when it did, I guess, and thank God. I was fed up not being able to only make music.   

ATHENS BLUR MAGAZINE

LISSY TRULLIE WHO’S WHO Lissy Trullie (vocals, guitar), Josh Elrod (drums), Eben D’Amico (lead guitar), Ian Fenger (bass) FORMED 2009 in New York, N.Y. LABEL Wichita Recordings LATEST RELEASE Self-Taught Learner (2009) ON THE WEB www.myspace.com/lissytrullie

photo: jay hanna

ZT: How would you describe the current New York music scene? Is it overrated? Do you fit in? Does it ever drive you mad? LT: I think that being from NYC often impresses people that aren’t from here, and that’s something that’s overrated. It should be about the music only. As for fitting in, I don’t think that’s ever happened to me, musically and beyond.   ZT: Much has been made over the trendiness of the scene — that it’s often style over substance. Is there a higher value placed on the coolness of a band over the quality of material and performance? LT: Yes. Coolness can be confused with substance, and that often happens. From

my experience, it can also be from the standpoint of the journalists labeling my band “cool” and using it in a negative connotation. Many interviews I do are more like myth busters. If I had a penny for every time I’ve heard, “Wow, you’re really nice. I thought you were too cool for school,” I’d be a rich girl. NYC and their idea of “cool” often clouds perceptions.   ZT: There are so many bands in New York City. Some are good, but most are bad. You’ve managed to take your brand name to the next level. What has set you apart? Good reviews? Hard work? Luck? LT: I’ve paid my fair share of dues, but I think working hard and playing lots of shows is

what got us where we are going. Everyone’s a critic, and everyone loves a chance to call bullshit on something. Give them that chance and prove them wrong.   ZT: Your blog is very charming and honest — great photos, too. How else do you keep in touch with fans and keep the word out about your music? LT: People have asked me about Twitter. I can’t think of anything more terrifying (that’s a little bit of an exaggeration), but I have a feeling mine would be either really boring or borderline offensive. Probably not the best idea.    ZT: What have you learned and/ or taught yourself with the SelfTaught Learner EP? What do you want to do with your upcoming full-length record? LT: I learned the value of time. The EP was crammed into a small amount of time and money. For the full length, I’m definitely going to experiment with many different instruments and sounds that we didn’t have the resources for before. Also, it’ll be my first time working with a producer.    — Zac Taylor


MUSIC BLUES

12

lissy’s european vacation

rite of passage

the surreaL Travels of musical prodigy derek trucks A yard sale and a $5 salvaged acoustic guitar provided enough intrigue to spark the interest of then nine-year-old Derek Trucks to become a musical prodigy. By age 11 he was gigging with some of the industry’s most prolific artists of all time, developing his pickless style and slide guitar skill. “You’re at an advantage at that age — musicians will open up the book to you and teach you things if you’re inquisitive and your attitude is right, where a little later in life it becomes more competitive,” said Trucks. “At that age I found that a lot of world class musicians - whether it was Bob Dylan or Buddy Guy, or people we would do shows with — were always pretty open and would invite you into their circles.” His father, a roofing contractor, and mother, an elementary school teacher, named him after Derek of Derek and the Dominoes, and he remains appreciative of his situation. Enduring the grind of the long, slow pathway to stardom, Trucks has received accolades and his rite of passage from infamous rock royalty, including Eric Clapton. Carlos Santana called Trucks’ playing “stunning” and unlike anything he had ever heard before. “I remember having my whole family in London, staying with Eric Clapton at his place in the country,” recalls Trucks. “It hit me how surreal it was watching my dad, the roofer from Jacksonville, Florida, sipping tea with Eric Clapton. Or, you spend time with guys like Santana, people you grew up with completely admiring and learning from. Just spending time with them like people, like friends — you definitely cherish those moments.” Sharing company with the likes of John Mayer and John Frusciante of the Red Hot Chili Peppers on the cover of Rolling Stone’s “2007 New Guitar Gods” issue, Trucks was also the

THE DEREK TRUCKS BAND WHO’S WHO Derek Trucks (guitar, slide guitar), Todd Smallie (bass), Yonrico Scott (drums), Kofi Burbridge (keyboards), Mike Mattison (lead vocals). Count M’Butu (percussion) FORMED 1994 in Jacksonville, Fla. LABEL Sony Music/Victor LATEST RELEASE Already Free (2009) ON THE WEB www.derektrucks.com youngest musician named to the magazine’s list of the “Top 100 Guitarists of All Time.” Asked to join the Allman Brothers Band as a permanent member in 1999,Trucks accepted with assurance that he would maintain the freedom to pursue his own work outside of the band. In June 2004, The Derek Trucks Band released Live at the Georgia Theatre, which Trucks considered a turning point — the group’s first statement as a unified band. “Athens was one of the first towns that we started doing really well in,” said Trucks. “We had some great shows over the years and it’s sad that we’re coming back after the Georgia

photo courtesy derek trucks band

Theatre burned down. I know there are so many musicians that had a strong tie to that room. That whole scene was thriving when I was just coming to. I was starting to gig, play and travel and it was an eye-opener seeing all of those great musicians — Athens was the hub for it.” Traveling hard, playing up to 300 shows per year, the members of The Derek Trucks Band have managed to maintain a sense of humility about their craft. An evolving, growing entity for more than 16 years, the group credits the Atlanta and Athens music scene — along with the likes of Colonel Bruce Hampton & The Aquarium Rescue Unit — with contributing to its progression into a Billboard chart-topping blues-rock standout with its latest release, Already Free. “There was such a great period in music from the 50’s to the 70’s and so many great artists — singers, songwriters and musicians,” said Trucks. “It seemed to get lost for a while and become completely commercial driven. Music shouldn’t just be for entertainment, it should serve a different social function — it should enhance your life. There’s a reason music is in all of the major points in your life. It has the ability to tap in and make

you see things differently. We try to take that to the stage.” Married to blues and soul artist Susan Tedeschi with two small children, Trucks is the quintessential time manager, continuing to play with the Allman Brothers Band — who will celebrate their 40th Anniversary this year — and touring behind the new album with The Derek Trucks Band. “You make great music that you believe in, you don’t cut corners and your intention is pure,” explained Trucks. “Then, you throw it out there and whoever is turned on by it — great. Writing the tunes, recording it and producing it yourself (Already Free), it felt a little different than the other records. You tour so much and you work so hard and you’re out there just trying to make things work. Sometimes you have to take a little break and a deep breath and realize that what you’re after is right in front of your face.” — Luanne Byrd The Derek Trucks Band featuring very special guest JJ Grey & Mofro is the first performance of the season in 2009-10 Bud Select Music Series at The Classic Center Theatre. Tickets for the 8 p.m. show on Sept. 16 are priced from $20 to $38. For tickets or information call 706.357.4444, visit www.classiccenter. com or stop by The Classic Center Box Office at 300 N. Thomas St. in downtown Athens.

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MUSIC BLUES 14

defying description

eric lindell can’t be pinned down Eric Lindell is a blues musician. Wait, no — he’s a soul artist. Actually, hold on there. He might be a funk musician. Or a practitioner of New Orleans inflected rhythms. Or a reggae artist. Or ... well, what is he exactly? All of the above and none of the above, said Lindell, 40, during a recent phone interview from his home in New Orleans. The San Matteo, Calif., native has been performing music for much of his life, but still doesn’t know quite how to define his style. “It’s kind of all over the place,” Lindell said. The musician’s latest album, Gulf Coast Highway, came out in April and, like his other releases, combines elements of soul, New Orleans funk, blues and other styles to create something unique. Though some critics have tried to pigeonhole him as a blues or New Orleans artist, Lindell eagerly admits he doesn’t fit into one category, and that’s the way he likes it. After all, his tastes in music have always been diverse. Throughout his life and career, he’s been influenced by a variety of artists, including blues singer Buddy Guy, reggae artists Toots and the Maytals and Motown acts like Sly and the Family Stone. “To me, it seems pretty broad,” Lindell said. Perhaps one of his earliest musical influences was the Los Angeles band Fishbone, which combined multiple styles, including punk, funk and ska. That sort of versatility impressed Lindell, even in his mid-teens, and he credits Fishbone with inspiring his loose, undefined style. “They crossed all genres, kind of seamlessly,” Lindell said. Lindell’s been playing music practically his whole life. He received a guitar at age 10 and, just four or five years later, Lindell joined his first band, which consisted of him and a few friends. “We were all skateboarders,” he explained. “And we decided we

ATHENS BLUR MAGAZINE

ERIC LINDELL WHO’S WHO Eric Lindell (vocals, guitar) FORMED 1993 in San Mateo, Calif. LABEL Alligator Records LATEST RELEASE Gulf Coast Highway (2009) ON THE WEB www.ericlindell.com

courtesy alligator records

“Every record I made in the studio, I just knocked out live. I really took my time with this one. Sonically, the record came together nice.”

— Eric Lindell — wanted to form a skate band.” Lindell played the bass in the band, though it wasn’t his first choice. “I wanted to play guitar really bad,” he said. “But my friend was the better guitar player, so I got demoted.” That little setback aside, Lindell was quickly hooked on music. As he got older, he

honed his guitar and bass skills and eventually added the harmonica to his repertoire. Lindell played with a few shortlived bands in California before starting his own band in 1993. In 1996, he produced his debut album, Bring it Back, and began building his reputation as an eclectic artist to watch.

His musical style continued to evolve, as he moved to New York City in 1998 and played some gigs there before moving to New Orleans in 1999. That city quickly became his adopted home. Upon arriving there, he discovered the area's roots music scenes. He hung out in West Bank dive bars in Gretna and Algiers, Louisiana, where he met older musicians who helped him get regular gigs. Lindell has come a long way since those days. In the 16 years following the release of Bring it Back, he’s recorded several more albums. His last three discs have been for  the independent blues label Alligator Records, including Gulf Coast Highway. Since that album’s release, Lindell has spent most of his time touring to promote it and is already musing on what he wants to do with his next album. But, for the meantime, he’s happy with Gulf Coast, which he considers his most technically assured album to date. “Every record I made in studio, I just knocked out live,” Lindell explained. “I really took my time with this one. Sonically, the record really came together nice.” Whatever the future holds, one thing’s for sure: it won’t be easy to define.   — Amanda Cuda

guitar slinger is a man of many talents  What’s in a name? Well, “Heat” is in Eric Heatherly — in more ways than one. The multi-award winning, multi-talented phenom perennially proves an everengaging showman, startlingly gifted lyric-shaper and master of his beloved green Stratocaster. To call him country’s grooviest guitar slinger is an understatement. “I’m not a man of many words ... but baby I can still communicate/ You’ll understand me when you hear me play … journey worlds away from this old bar/Oh, the things I could do to you with my guitar,” he cleverly constructs on “The Things I Could Do to You,”   a track  from his muchanticipated album, 2 High 2 Cry. He can also command attention. He planted firm roots with first album, Swimming in Champagne. Released in 2000, it hit No. 6 on Billboard’s Heatseekers chart, became its 44th Top Album of the Year and yielded three Top 40 singles. His best known song, “Flowers on the Wall,” grew to be the third Top Country single of 2000 and the No. 1 video on both the Great American Country (GAC) and Country Music Television (CMT) stations. He was the sole — and acoustic —  opener for Merle Haggard at the Ryman Auditorium in 2003. Heatherly has recorded two more  works, 2002’s  Sometimes It’s Just Your Time and The Lower East Side of Life in 2005. Sometimes isn’t widely available, but it does surface online from time to time. Life traveled to Europe and spawned six top 10 singles. Speaking of life, Heatherly got an early start on it. He wrote his first song at age eight, took the stage at thirteen, then confronted the college circuit for a two-year stint at Yesterday’s (now Midtown Music Hall) in his hometown of Chattanooga on the banks of Graysville, Georgia. “If someone asks me what I’m doing now, I tell them, ‘The same thing I’ve done since I was five years old. I never stopped,’” he said. “This was really the goal from

MUSIC COUNTRY

Oh, the things he can do

courtesy eric heatherly

ERIC HEATHERLY WHO’S WHO Eric Heatherly (vocals, guitar) FORMED 2006 in Nashville, Tenn. LABEL Mercury Nashville LATEST RELEASE 2 High 2 Cry (2009) ON THE WEB www.myspace.com/ericheatherly day one — make a living playing music and be able to pay the bills with a guitar around my neck.” One way he’s taking matters into his own helping hands is by placing copies of 2 High 2 Cry and more merchandise (like original lyrics) on eBay, passing along a portion of sales to the Make-AWish Foundation.  “Make-A-Wish is close to my heart,” he said. “I’ve sent several kids on Disney cruises already … I love animals and children.” Heatherly, who rescued his dog, Lucky, from an animal shelter,

added, “The glory and all …  it’s shallow compared to what artists can really do.”  Not to mention his anatomy. It’s quite a visual, though something of a grey area. Heatherly’s self-penned, highly contagious “Unforgettable” was featured in a recent episode of TV’s “Grey’s Anatomy” (On a related note, Playgirl named him one of country music’s top five sexiest singers, twice). Oh, and another thing. This artist, who is such in every sense of the word — he paints, for one, plus plays at least 10 instruments — is really quite a tool. He singlehandedly founded a clothing/ music accessories company, and some of his designs have made their way into the Musician’s Hall of Fame in Nashville. He also cocreated and patented the hot-rod seatbelt guitar strap, featured on a Guitar Player cover.   Lately the strapping star has fashioned a handcuff design and divulges he made one for Miley Cyrus mere weeks ago. He describes it as soft pink, stonelined leather with handcuffs. He also made a tough jet-black leather strap with black cuffs for Billy Ray Cyrus. The original design locked in a “Show Stopper” designation at this year’s prestigious NAMM

show. Both the hot-rod strap and the arresting new handcuff strap are distributed worldwide at Guitar Center stores (the latter wherever Levy’s Leathers products are sold). Just don’t let the cuffs fool you: this is one man who is neither chained in nor imprisoned by the industry. “Every single song [on Cry] is a different vibe and mood,” he reflected. “‘Bluer ‘n  Blackie’ is mainly for guitar players, ‘Unforgettable’  is like roll your windows down, ease back and groove, and ‘Curb Appeal’  will make you get a speeding ticket. I’m getting a really, really good unexpected response from the rawness of ‘Close.’” When it comes to musicmaking, Heatherly just can’t shake the ache — he’s booked up through 2010. “I’ve spent the last three years writing, touring and recording for my real true fans,” he said. “I paid for the making of this record one gig at a time.”  Stay tuned, and do remember his name. Knowing Heatherly, he has plenty more hot one-ofa-kind surprises up his welloutfitted sleeves.               
  — Melissa Coker

ATHENS BLUR MAGAZINE

17

MUSIC FOLK

mindy smith jumps back into the limelight

former software engineer traces history through song

Though most musicians have the unenviable task of spending most of their careers trying to get people’s attention and the rest trying to keep it, the expectations that come along with being labeled a “next big thing” are  both a blessing and a curse. In 2004, Mindy Smith was one such artist, with a critically-acclaimed debut album (One Moment More), a single on the radio (“Come to Jesus”) and a high-profile fan named Dolly Parton who sang backup harmonies on Smith’s first record. After 10 years of struggling and being ignored, she finally had our attention. Smith made the most of her moment, appearing on late night television and barely taking a break from nearly two years of touring to go right back into the studio for her follow-up, 2006’s Long Island Shores. Then, unexpectedly, she released a homespun Christmas album, 2007’s surprisingly unsentimental My Holiday. And then nothing. Mindy Smith had disappeared. “I feel like so much time has gone by that I don’t know if people know that I’m still around,” she laughs,  seeming eager to discuss Stupid Love, her eclectic and darkly cathartic fourth album. “I think, to me, it embodies an explanation of the two years that I took off from music. I had some things that I had to deal with in my personal life. Sometimes you have to release that, and I feel like this record is an exploration of failed relationships and my career being on hiatus. Sometimes you think relationships are going a certain way, but they’re not. I think it’s just about life … or my life,” she says. “It’s hard to explain.” What Smith struggles to explain in conversation is abundantly clear on Stupid Love, however. There are breezy drink-myself-into-a-stupor ballads (“What Went Wrong”) and frustrated post-breakup ruminations scattered over

When songwriter Vienna Teng’s grandparents escaped communist China for Taiwan, they left everything behind. In the decades since, Teng has grown up hearing fables of her father’s childhood in the Taiwanese rainforest. He told of the guns he made out of bamboo and of wild afternoons tying water snakes into pretzels.  “My favorite story was about the time when my grandfather caught an eel in the creek near his house and wanted to eat it by himself but didn’t want my grandma to know,” said Teng. “So he hid it in what he thought was a rain barrel but was instead a bottle of rice wine my grandma was making. [The snake] woke up pretty drunk before he met his demise.” Inland Territory, Teng’s latest release, is about roots. The album ranges in subject matter from a grandma’s disapproval of her rock star granddaughter’s lifestyle — yes, it’s autobiographical — to a song about people running out of their homes in a flood to a song about lovers traveling through time. “My last album (Dreaming Through the Noise) was a very mood-centric album, and with Inland, I thought it was more important for me to dig deeper with what was on my mind. There were a lot of things that were going on with my family at the time,” Teng said. “There were a lot of people who made a lot of sacrifices for me to have the life I have and there are a lot of people making sacrifices for their children right now. There’s just the sense of me needing to recognize that and to find my way to feel grateful for that, which has led to a lot of the songs. A lot are autobiographical — some of which are more like me imagining things like situations in the Middle East or past lives or future lives.” As a computer science major from Stanford University and a former employee of Cisco Systems, songwriting and the

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MINDY SMITH WHO’S WHO Mindy Smith (vocals) FORMED 2003 in Nashville, Tenn. LABEL Vanguard Records LATEST RELEASE Stupid Love (2009) ON THE WEB www.mindysmith.net

COURTESY vanguard records

“But, for me, it was what I was going to do, and it did take me a long time. Sometimes music and I get along, and sometimes we don’t, like a relationship.”

— Mindy Smith — skittering electronic beats (“Love Lost”). There are brokenhearted banjo-laden ballads (“If I Didn’t Know Any Better”) and ruminations on a devastated internal landscape hidden under driving electric guitars (“What Love Can Do”). Obsessively disillusioned but never selfpitying, the album is a study in

songwriting as therapy, one that captures a period of time when Smith was content to be away from her responsibilities and wasn’t even sure she wanted to continue making records. “I did feel like that,” she admits. “But it’s all I know how to do. I said, ‘Nuts to this! I need to do something else.’ But I’ve

had that throughout my life with music. It’s nothing new. I’ve gone back and forth with it. Most people look at trying to do art or music, trying to have a professional career, [and] typically they go, ‘Well, good luck with that!’ But, for me, it was what I was going to do, and it did take me a long time,” she explains. “Sometimes music and I get along, and sometimes we don’t, like a relationship.” Music is a fickle lover, however, and Smith has been faithful enough to her restless creative vision that she probably ensures that Stupid Love’s shifts from electronic to acoustic, from pop to rock to country, will face long odds in finding the sort of mass audience that will pay off Smith’s mortgage. She might not have a future at the top of the charts, but in continuing to reinvent herself song by song, she has the next best thing. “There might be people who go, ‘Oh, this was not what I was expecting or wanting,’ but, personally, I think it’s my favorite record,” she explains. “I write songs and do all this stuff so that I can just sing. That’s really my agenda,” she laughs. “So I make up all these songs so I can sing them. That’s what has always brought me back, having an opportunity to use my voice.” 
 — Matt Fink


MUSIC FOLK

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a little less kinky

the next best thing

COURTESY ROUNDER RECORDS

VIENNA TENG WHO’S WHO Vienna Teng (vocals, guitar) FORMED 2003 in Saratoga, Calif. LABEL Rounder Records LATEST RELEASE Inland Territory (2009) ON THE WEB www.viennateng.com lifestyle of a performer is a bit of a second life for Teng. Though she’s been playing piano since she was five years old and always saw it as “unchallenging and comforting,” it wasn’t until an epiphany halfway through college that she knew she wanted to be a musician. “I didn’t really know where to begin,” she said, “so I figured I might as well graduate and

“It was kind of this scary and exhilarating moment where I was like, ‘Alright, here we go, this thing I’ve been planning for a couple of years is finally happening.’” — Vienna Teng — have a job while I was sorting that out.” So as she worked as a software engineer to support herself, Teng recorded her first album and released it on her own. She started putting her music online for people to buy, she submitted music to reviewers, she learned how to book her own shows and she started soliciting labels — all of which took about three and a half years. “When I really made the leap from software engineer to musician, I had been working for Cisco for two years, and I had just gotten signed to a small independent label who wanted me to tour,” she said. “I looked at my calendar and saw that I had used up all of my vacation days, so if I wanted to tour, I

would have to quit. It was kind of this scary and exhilarating moment where I was like, ‘Alright, here we go, this thing I’ve been planning for a couple of years is finally happening.’” She admits that she’s always been a bit “kinky,” always the one to gravitate towards the geeks and the nerds as “her natural tribe,” which may explain her obsession with dissecting the songs of musical greats like Radiohead or John Coltrane (her own music sounds similar to Sarah McLachlan with a shot of Dido with a little Feist thrown in for good measure). But it’s the content of her songs that sets her apart. After all, stories are in her blood.   — Kelly Skinner


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MUSIC MELTING POT 20

for the FUN of it

Members of The Format, Anathallo and Steel Train have a blast It takes some guts to name your band “fun.” By definition, it’s a word used to express enjoyment and amusement, but it implies a slurry of other upbeat meanings, from the whimsical to the adrenalinefueled. But for the band fun, the new project from The Format’s Nate Ruess, Anathallo’s Andrew Dost and Steel Train’s Jake Antonoff, the word has even more complications.  “It’s scary. It’s really scary to have a band called ‘fun,’ because you’re very much expected to be fun or be zany and wacky or be danceable,” said Dost via telephone from Michigan, admitting that the group’s debut, Aim and Ignite, doesn’t exactly match those descriptors. “We might not be fun. It might be ironic. It might be true. I don’t know.” Formed in 2008, the band was born from the sudden announcement that beloved indie pop band The Format had called it quits. “The news about The Format was very much a surprise,” said Dost, who had toured with The Format as an added instrumentalist in support of 2006’s Dog Problems. Dost and Ruess had already bonded over a shared love of ‘70s pop and Weezer B-sides. They had even worked on a few tunes together while on the road. When Ruess came calling about the possibility of a new project, Dost didn’t hesitate. “I don’t think I really had to think about it at all,” Dost said. “It was pretty much instant.” But following the analogy that a band is like a marriage, did Dost feel at all like Ruess’s rebound? “If anything, we were both rebounding,” he explained. “I had recently parted ways with my band, and we were just really in a similar point in time in our lives. It didn’t feel at all like a rebound — like I was a second choice to be a part of The Format. It felt like a new

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fun. WHO’S WHO Nate Ruess, Andrew Dost, Jake Antonoff FORMED 2008 in New York, N.Y. LABEL Indie LATEST RELEASE Aim and Ignite (2009) ON THE WEB www.myspace.com/fun

courtesy big hassle media

“It’s scary. It’s really scary to have a band called ‘fun,’ because you’re very much expected to be fun or be zany and wacky or be danceable.”

— Andrew Dost, fun. — creative endeavor with the three of us.” Aim and Ignite begins with an anecdote of newness, even if it is laden with apprehension. “As I

walk through the new streets of my new city/ my back feeling much better I suppose/ I’ve reclaimed the use of my imagination/ for better or for

worse I’ve yet to know,” Ruess sings in his identifiable voice on the album opener, “Be Calm.” The record is a departure from The Format’s more straight-tothe-point indie pop. The quirky, effervescent tunes found on Aim and Ignite contain the obvious, over-the-top influences of ‘70s icons like Queen and ELO mixed with the style of modern bands like Weezer and Superdrag. It’s a sound that certainly won’t alienate The Format’s anxious fans but still sets the band apart from simply becoming The Format 2.0. “I think once they hear the record, they’ll understand that there are a lot of different people in play,” Dost said. “And if it still sounds like a Format record, that’s not a bad thing. I think the Format’s a great band, and I would be proud to sound like that, but when I hear the record, I can definitely hear traces of everybody’s hands that were in the mix.” As for the band’s name, it may not be a sound that people associate with “fun” now, but they hopefully soon will. “It’s a lot to live up to basically,” Dost said. “It’s a weird, bold choice and it’s one that’s a little scary, but ultimately I really, really love it.” 
 — Natalie B. David 

minding its manners The buzz instigated by five Boston kids just barely able to buy a Sam Adams at their local beer joint is inescapable — and quickly making its way to a town near you...

PASSION PIT WHO’S WHO Michael Angelakos (vocals), Ian Hultquist (synths), Ayad Al Adhamy (synths, samplers), Jeff Apruzzese (bass, synths), Nate Donmoyer (drums) FORMED 2007 in Cambridge, MA

LABEL Frenchkiss Records/ Columbia Records LATEST RELEASE Manners (2009) ON THE WEB www.passionpitmusic.com

“Musically, we wanted it to be very positive and euphoric. And the best way to describe it would be like a cure. So like whenever you put it on, you feel better. Like a drug kind of thing.” Nate Donmoyer, Passion Pit any type of buzz, ya know?” The formula behind Manners was, for the band, quite simple. “Musically, we wanted it to be very positive and euphoric. The best way to describe it would be like a cure,” said Donmoyer. “So whenever you put it on, you feel better. Like a drug kind of thing. However, lyrically it hits on a lot of pretty dark subjects. That kind of contrast, I think, is in all the music that I love, we love.” If Manners is a drug, critics aren’t the only ones addicted. Fans, too, are quickly catching on. Not only is Passion Pit gracing the stage (or has already) of nearly every important music festival this year (Bonnaroo, Glastonbury, Lollapalooza, Austin City Limits), but they are touring non-stop, collecting a mere 14 days off from May until Christmas Day (at least 10 shows in that span are already sold out). “[Tour dates] on the MySpace are very limited to what actually is happening, just because we’re going to be coming back to the same cities and I guess we’re not supposed to put up that we’re going to be playing later on so people come to shit [now],” said Donmoyer. This type of publicity comes with a price, though. Manners must absolutely live up to the

critical bar set for it, or the band is doomed for the all-too-often failure in the eyes of commercial expectations — and a lot of fear can sprout from this concept. “I guess [what we fear from] the buzz standpoint, that Chunk of Change is the last thing that will ever be good; that the full length doesn’t live up to it or something, that we’ll just be a flash in the pan,” said Donmoyer. “We were 21 when we made it. Please stop comparing us to bands that are on their seventh and eighth album and were in their mid-30’s when they made [hit records]. See promise, but don’t see this as our end-all-beall and every single thing we have.” The boys of Passion Pit aren’t the first group of kids to release a heavily-hyped record of late (think MGMT and Vampire Weekend) — but their similarities to these brethren serve, if nothing else, to actually highlight the differences. “I mean there are definitely songs that are electro-pop, but not the entire album is pop,” said Donmoyer. “Listening to MGMT’s record or Vampire Weekend’s record, the overall feeling I get [is that] all three are completely different. I understand the analogies that are made between us career-wise

and buzz-wise, but musically I doubt we’d ever be on a bill together. I’d never say we’d be the perfect bill with MGMT and Vampire Weekend. I don’t think we’d draw the same fans at all.” If it sounds like Donmoyer is complaining, he’s not. Any band would be fortunate to receive the amount of attention Passion Pit has gotten as of late — it’s just that, well, all this attention is sort of a shock for someone who isn’t far removed from playing in a bunch of bands that weren’t even taken seriously amongst their own respective members. “When I was in high school I was in like six bands and each of them had like five or six geeks playing in my bedroom and we never played shows because we sucked,” he said, laughing but not joking. “This one is actually fun to play in every night. During Manners’ tracking, the quintet employed the help of an unexpected (and much younger) source for the backing vocal pads on the album — a children’s choir. “It was so humbling and inspiring to see. They were so on point and didn’t seem like 4th and 5th graders. They were better singers than I am,” said Donmoyer with a laugh. “It was an after school program, because their public school doesn’t have a music program, with an amazing director who knows how to approach music for younger years — mainly pop music — and that’s what we wanted. A bunch of kids, not a polished choir, just kids singing their hearts out and that’s totally what they did. It was really kind of moving.” Rave reviews. A buzz for which bands spend a lifetime searching. Throngs of fans and ticket sales through the roof. All signs point north for Passion Pit — but can they possibly keep up the current pace? “It’s insane,” Donmoyer said with a nervous laugh. “But I wouldn’t wanna do anything else.” — Kristen Lee

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MUSIC MELTING POT

photo: elizabeth weinberg

passion pit:

Y

ou see a band. You really like the band. Then, suddenly, you’re in the band. Sounds pretty unreal,but that’s exactly how Nate Donmoyer became the drummer in the electro-pop darlings, Passion Pit. “I’m a DJ — that’s my main thing. I ran a show in Boston and we would always book local bands, usually with sort of an electronic minded sound, to open up for national or international DJs touring through,” begins Donmoyer. “[Passion Pit] played one night and I interviewed them for a blog and I was totally like ‘I really like this band.’ I had a couple friends in the band already and then somehow, six months later, I ended up being in the band. Since then, I’ve gotten to be really great friends with all four members. It’s pretty lucky to have it be that way.” Long before Donmoyer — before every band member, actually — Passion Pit was born from the simplest of circumstances. Chunk of Change, the band’s 2008 EP, was actually a solo production of nowfrontman Michael Angelakos, recorded two years prior as a Valentine’s gift for his girlfriend at the time. Now, Angelakos has a full band, a record deal (actually, two — one with the boutique Frenchkiss Records in the U.S. and the other with Columbia across the pond) and gigs from Atlanta to Paris behind the band’s official debut, Manners. Unless you’ve been living under a rock, it’s been hard to avoid the buzz instigated by these five Boston kids just barely able to buy a Sam Adams at their local beer joint, marqueed by sterling reviews from Clash Magazine (9/10), Rolling Stone (4/5 stars), Paste Magazine (92/100), Spin Magazine (3/5 stars) and Pitchfork (8.1/10). “I still just feel weird, having people critique our debut album like it’s our masterpiece or something,” said Donmoyer of the recent attention. “Wait until our fourth or fifth album to decide whether we’re worthy of

23

MUSIC METAL

inspiration from odd places

one band’s struggle to make it with metal finally pays off

andy gonzales has a new album and a new direction

Metal thrashers Chimaira (pronounced Ka-mare-ah) are among an elite list of metal bands from the late ‘90s credited for a movement known as the New Wave of American Heavy Metal (NWAHM).  While the movement may have been a slow process through the latter of the ‘90s and the beginning of the ‘00s, these days Chimaira has finally gained momentum on the metal scene. Lead guitarist Rob Arnold discussed all things metal recently during a phone interview.   Nicole Black: It seems like metal faded and went underground in the late ‘90s/early ‘00s but it seems more and more there’s a rebirth in the metal scene today.  It just seems the support is emerging again for metal music, would you agree? Rob Arnold (RA): I totally agree.  I don’t really know what to say or why but we (Chimaira) were definitely affected by that.  We were a young, up-and-coming metal band in the early 2000s.  I don’t know what people were listening to at that time but metal certainly wasn’t as popular as it is now.    NB: You have an upcoming summer tour with Hatebreed, was Hatebreed ever influential to your style? RA:  They probably came out a year before us.  While we’re all huge fans of the band, I wouldn’t say they were influential.  They’ve always been a hardcore band.  We came from hardcore bands but we wanted Chimaira to be a metal band.  So I wouldn’t say they influenced our music because we were doing two different genres of heavy music.  But like I said, we’re all huge fans.   NB: What made you decide to include Russia on this fall tour? RA: The right offer came in. Things just never worked out scheduling wise or time wise while we were going to be in

For many musicians, writing, playing and recording music is not their full-time job. Too often (and this is certainly true in Athens) the singer in the midnight slot at Caledonia has someplace to be in eight hours.  But from these day jobs comes inspiration — Andy Gonzales can attest to that.
Gonzales, an Athens mainstay for a decade, has worn many hats during his Classic City days. Once a member of Music Tapes and Of Montreal, he’s best known as creator and keeper of Marshmallow Coast (briefly M Coast). And while he’s also Andy from Denver and A.G. Forrester, during the workday he’s Registered Nurse Gonzales.  And it’s there the muse will hit him.
 “I work in endoscopy; I’m totally inundated in that world,” Gonzales said. “I have this song in my head right now called ‘Poop Cycles’, which is gonna be like this great ’80s song about pooping — probably the first and last song about it. But I can’t change the lyrics; the lyrics are unfortunately stuck with that title. It could be this amazing song that’s going to end up as a joke video on YouTube.”
 Three years removed from his previous release (Say It in Slang under the M Coast moniker), Gonzales dusted off the Marshmallow Coast name and returned to the racks with Phreak Phantasy. The ninesong collection of “nasty and weirder” tunes has Gonzales singing to drum machines and synthesizers, aided by his wife, Sara Kirkpatrick, and Circulatory System’s Will Hart with some “4-track madness.” The seventh Marshmallow Coast album, stamped with the Elephant 6 seal of approval, has Gonzales reaching into his past.
 “Forever ago, I used to be in Of Montreal and Kevin (Barnes) and I were talking about doing this kind of upbeat music with drum machines, synthesizers and keyboards,” Gonzales said.

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CHIMAIRA WHO’S WHO Mark Hunter (vocals), Matt DeVries (guitar), Rob Arnold (lead guitar), Jim LaMarca (bass), Andols Herick (drums), Chris Spicuzza (keyboards/FX) FORMED 1998 in Cleveland, Oh. LABEL Ferret Music LATEST RELEASE Infection (2009) ON THE WEB www.chimaira.com Europe but it just happened to work out perfectly.  We were able to work the dates out before our European headlining tour.   NB: I’ve always wondered about these other countries that might not know English that are fans of American music, when they are there rocking out, are they singing in English? RA: You’d be surprised; everybody everywhere in the world speaks English.  There are so many countries over there (Europe) that are taught it 1st through 6th grade and everybody has to learn it because it’s such a universal language.  For the most part we rarely run into places where the majority doesn’t speak English.

Photo: Adrenaline PR

So everybody’s always singing along in English to the words.  I think it will be the same way in Russia.   NB:  Would you agree the key to musical success is constant touring? RA:  Totally, especially with metal.  That’s really the only way to have your band known is to play, play, play and let the word of mouth spread.  There’s no radio for metal bands, or videos.  You have to catch an hour of Head Banger’s Ball on a Friday night at one in the morning; it’s the only time you get to see a metal video.  But yeah, word of mouth and touring is the only way to build a successful career.   NB:  Do you feel like your music makes people angry or do you think your music’s a therapeutic outlet for anger? RA: I would say the latter ­— a therapeutic outlet for anger.  And we hear that all the time.  So many people say, ‘Oh I’m in this rough spot and Chimaira’s music really helped me out’, or ‘Chimaira’s music saved my life.’ A lot of the troops overseas, we get letters or (Myspace) comments from them saying ‘It’s brutal over here but Chimaira

helps us out and keeps us sane.’ NB:  Do you think your music is responsible for the actions of others?  For example, if a moshpit gets out of control at a show or someone commits a crime listening to your music; do you feel the band is responsible? RA:  I personally don’t think that at all.  I think that’s ridiculous.  Every person is responsible for their own actions in my eyes.  Obviously, somebody has a problem if they can’t decipher between right and wrong and feels some form of entertainment drives you to do something crazy or commit a crime or fight.  Perhaps indirectly but in no way directly do I think our music is responsible.    NB:  And it seems like it’s more like parents trying to find an excuse for their kids’ actions. RA: Absolutely.  I remember being young and my mother thinking heavy metal music was all about Satan and drugs.  Of course there are those relations but I turned out to be a good kid and certainly not Satanic in anyway.  And now she’s totally happy and supports me and is proud of what I do.

 — Nicole Black


MUSIC POP

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the metal revival

MARSHMALLOW COAST WHO’S WHO Andy Gonzales (guitar, vocals), Sara Kirkpatrick (flute, percussion) On this album: Heather McIntoch (cello), Jesse Flavin (guitar), Will C. Hart (4 -track madness) FORMED 1999 in Athens, Ga. LABEL independent LATEST RELEASE Phreak Fantasy (2009) ON THE WEB www.myspace.com/marshmallowcoast “I left the band, and he went on to do that with great success. I was about to record an album that was going to be kind of like that with Derek (Almstead), but Derek was, ‘No, let’s do drums; let’s make it a big production.’ I thought that was a great idea. We did that record as M Coast. Now that I have my home studio, I’m gonna go on this path I meant to go on five years ago. That’s

photo courtesy andy gonzales

“Im never going to be on VH1; why don’t I just write whatever absurd lyrics come to mind? That’s more real.” — Andy Gonzales, Marshmallow Coast — where my interests have been for quite a while.”
 Where other Marshmallow Coast albums, such as Slang and Ride the Lightning, bounded with jazz piano riffs, 1960s psychedelic pop and nods to classical music, Phreak is a child of the 1980s. Gonzales sought to create electronica, but not the electronica listeners would expect.  “My major influences before were classical music and turnof-the-century French music, so I feel like I’ve gotten away from that,” he said. “I’ve been inspired by ’80s production and drum machines. I’m trying to approach the kind of modern music style like what I  think electronica is. I don’t listen to that kind of music, but I want to use those tools and create my own version. I’m trying to approach that from a naive perspective.”
 When it comes to making music, there’s nothing naive

about his approach. A fiddler of sounds and lyrics, Gonzales is comfortable with the recording tools that allow him to create songs from his bedroom. And he’s embraced his identity and voice amidst the sea of songwriters.
 “I have the freedom to work on whatever I want. I can record a song I feel OK about releasing at home, which is something I never had before. If somebody else delivered my songs, it might sound crappy, but I hope in my delivery there’s a little sarcasm that makes it OK,” he said. “A lot of songwriters try to write for this audience that isn’t their audience. They try to write for a bigger audience than they have, like, ‘I’m gonna write songs that could be played on VH1.’ I’m never going to be on VH1; why don’t I just write whatever absurd lyrics come to mind? That’s more real.”   — Ed Morales



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MUSIC POP

round and round and round

band spins wheels to launch career

BLIND PILOT WHO’S WHO Israel Nebeker (guitar, vocals), Ryan Dobrowski (drums), Luke Ydstie (upright bass, vocals), Dave Jorgensen (keyboard, trumpet), Kati Claborn (dulcimer, banjo, vocals), Ian Krist (vibraphone) FORMED 2008 in Portland, Ore. LABEL Expunged Records LATEST RELEASE 3 Rounds and a Sound (2008) ON THE WEB http://blindpilotmusic. wordpress.com

photo: jay blakesberg

What does it take to make it as a band? Talent. Determination. And ... quadriceps? The musicians in Blind Pilot, the indie folk band out of Portland, Oregon, worked their legs almost as much as their instruments on a 2008 tour of the West Coast. With no accompanying van, the band members transported themselves and all their gear by bicycle, crafting handmade bike trailers for their instruments. Bassist Luke Ydstie’s trailer for his upright bass was dubbed “the coffin” for its odd shape. Musicians aren’t immune to pitfalls, however, and the tour, planning to take the band from Vancouver to Mexico along the coast, was cut short when the band’s bikes were stolen in San Francisco. In just a year, Blind Pilot has gone from stolen bikes and handmade trailers to wowing music critics and a European tour. The band also welcomed a few new members, swelling from Ryan Dobrowski and Israel Nebeker’s duo to a six-piece touring band. 

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“I personally think it is a better time than ever to make music. It certainly isn’t perfect, but the less industry involved, the better it will be.” — Ryan Dobrowski, Blind Pilot— Blind Pilot jumped onto the national music radar last July when its single, “Go On, Say It,” was featured as the iTunes single of the week. The song is emblematic of the group’s brand of folk rock — softer and smoother than that of the Avett Brothers but harder than Fleet Foxes’ music.  3 Rounds and a Sound, Blind Pilot’s debut album, rides the wave of recent success seen by the folk genre. Infused with soothing harmonies and smooth pop melodies played with folk instruments, the record has a pure quality thanks to Nebeker’s voice, separating Blind Pilot from its more gritty Southern folk peers.  “I think there is definitely a rise in folkinfluenced music at the moment. It wasn’t anything we were really trying for, it just happened,”

Dobrowski said. In a time when many musicians yearn for the old days, Dobrowski embraces the digital music revolution. “I personally think it is a better time than ever to make music,” he said. “It certainly isn’t perfect, but the less industry involved, the better it will be. If iTunes has helped to break that down, I think it’s great. Plus CDs and jewel cases are kind of a crappy format for music. It’s great how fast music can spread now. It is pretty amazing.”   In keeping with the times, Dobrowski does maintain a blog for Blind Pilot, but while some musicians spend more time in the blogosphere than the studio, you won’t find personal rants and ravings à la Kanye West or John Mayer on this blog.

“There is a little more pressure to keep connected in the digital world, but I think too many artists spend too much time working on that instead of the music,” Dobrowski said. Like the bike tour, the band even puts their own home-spun twist on blogging. The page consists of postcards Dobrowski writes from stops on the band’s tour. “I generally don’t enjoy computers, but I liked the idea of post cards. It seemed like a good way to keep people updated on our whereabouts but more fun than just standard blogging. It isn’t as immediate, but ultimately a little more satisfying,” Dobrowski explained.   For the rest of the year, Blind Pilot will be busy touring the country (not by bike) and working on its second album. Dobrowski has a humble outlook on the band’s future.  “I think we feel very fortunate to have experienced so much in a short amount of time. Hopefully things will keep growing. I think Kati and I are just happy to not be working at the coffee shop anymore.”
  —Lindsey Lee

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MUSIC RHYME, RHYTHM & SOUL

hunting for goodness

keyshia cole’s tumultuous life is an open book We don’t know what’s more amazing, Keyshia Cole’s meteoric rise to the music stratosphere in such a short period of time or the fact that we’re able to get her on the phone long enough to talk about it. For the sake of keeping this story going at a decent pace, we’ll go ahead and say the latter is slightly more unexpected. If you’ve ever been to Oakland, California, Cole’s hometown, you know the city has its rough edges. The singer was raised in one of East Oakland’s grittiest corners. While musical acts like En Vogue and Tony! Toni! Tone! made names for themselves in the Bay Area, Cole knew that if she too was to shine, a move down to Los Angeles would be in order, so she did just that. Cole found a recording home at A&M/Universal and released the well-received debut The Way It Is in 2005, which spawned FM mainstays like “I Should Have Cheated” and “Love.” With the CD, which has sold more than 1.4 million copies, the world of R&B had seemingly found a younger version of Mary J. Blige. “That was six years ago,” recalled a maturing Cole during a rare, slow moment in her summer touring schedule. “I was young when I went to L.A. and first got my deal. Also, me and my family, we’ve all grown. I’ve grown as a musician, as an entertainer. I’ve learned so much more about the business and how to handle myself and actually prepare. I’ve evolved as a person throughout everything in my life.”   Since those days of getting her feet wet, Cole has released two more heartfelt albums, 2007’s Just Like You and A Different Me in 2008. Cole has also changed in both the physical sense (another move, this time to Atlanta) and symbolic one (she’s a certified star with more than three million in domestic album sales). Still, the area where things may have altered the most with

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share her world

limitless mind equals flowing neo-soul KEYSHIA COLE WHO’S WHO Keyshia Cole (vocals) FORMED 2004 in Oakland, Calif. LABEL Universal LATEST RELEASE A Different Me (2008) ON THE WEB www.keyshiacole.com

“When I’m singing about pain, you can actually feel it. It’s not something that somebody wrote for me. That’s my life. That’s my family. That’s a side of my life.”

— Keyshia Cole —

COURTESY keyshia cole

the 27-year-old songbird are in her personal life. But it’s likely you already knew that, seeing as all her business is pretty much public knowledge because of a revealing BET reality show,

“Keyshia Cole: The Way It Is,” that has shown confrontations with her mother, Frankie, fights with her sister, Neffe and DNA searches featuring guys claiming to be Cole’s father.

“We know everything about my mother and my family and what I’ve been through and the road it took to get here,” said Cole, who’s ending her TV show and allowing the spin-off, “Frankie & Neffe,” to air in all its drama-filled delight this fall. That’s too bad for fans itching to see footage of the artist all hugged up with current boyfriend and Cleveland Cavaliers guard Daniel Gibson. “When I’m singing about pain, you can actually feel it,” Cole said. “It’s not something that somebody wrote for me. That’s my life. That’s my family. That’s a side of my life. But my music side is definitely something different. That’s why I wanted to try something different. And that’s why I named this album A Different Me.” 
 — DeMarco Williams

COURTESY big hassle media

When the clock hit midnight on March 8,1970,some certainties were established: artists such as James Brown and Ray Charles had paved the rudiments for soul music, Stax Records had formed in Memphis and the singer Van Hunt was taking his first breaths of Dayton, Ohio air. Once bound together, those oxygen molecules layered Hunt’s lungs with soul, jazz, funk and, damn it, some amazing talent. In asking Hunt about the process of making his records, he replied, “Well, since it’s just me, it can take some time, man.” In 2006 the Recording Academy recognized this process by honoring Hunt with the Grammy for Best R&B Performance by a Duo or Group with Vocals for his collaborative work with John Legend and Joss Stone on Sly and the Family Stone’s “Family Affair.” “Man, despite all the politics that go behind it, that was one of the bigger pleasures I’ve had,” Hunt said of the humbling experience. “The momentum for the show comes from the

VAN HUNT WHO’S WHO Van Hunt (vocals, guitar, bass, keyboards, drums) FORMED 1997 in Atlanta, Ga. LABEL Blue Note LATEST RELEASE Popular (2008) ON THE WEB www.vanhunt.com industry, but at the end of the day, it’s the votes of your peers that really matter.” Peers are something of which Hunt has many, ranging from his work with Dallas Austin to manager Randy Jackson — yeah, the guy from American Idol — to sharing the stage with Coldplay, Curtis Whitehead and The Dave Matthews Band. “Working with Dave

[Matthews] was a humbling experience. … Here’s a guy making a million dollars a show, and he was as down to earth as could be,” Hunt said in a smooth, easy-going voice that incorporates the compelling classiness that percolates through his music. Hunt worked with Dallas Austin in Atlanta until 2008 and has since moved out west to Los Angeles. The move to L.A. can be a whirlwind for anyone, but for Hunt it became a balancing act. “I just stay away from [the fast-paced life of L.A.],” he says of his decidedly low-key lifestyle. “I’ll just stay inside, play music and stay away from it.” After all, soul music, in its broadest sense, is a blend of the sacred gospel music and the profane blues music. It’s as though Hunt just lets the world present the profane and encapsulates it with his sacred talent. “Most of my songs are about the everyday struggles and that life gives you no promises,” he

said, “but, of course, there are the natural pleasures like love that will always come to relieve you from the hard times.” Hunt is currently working on his latest album, Popular, and a collection of unreleased studio outtakes, Use In Case of Emergency, that will supplement Hunt’s planned two-year tour with his band. Before that happens, however, the solo artist must tackle the task of selling his music. Since the albums are all Hunt, the business has become all Hunt; in both a literal and figurative sense, he must prey on those who truly appreciate his work. “It’s hard to get a perspective [of the music industry] from the outside looking in,” he said. “But I wanna get my work out to people who already love my work and to people who might love my work. If I spend less money making a record, I may make less, but I know I will be getting it out to the people who truly love my art.” 
 —Will Hackett

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MUSIC ROCK

flocking to a familiar sound

together, athens’ futurebirds found what they were after

FUTUREBIRDS WHO’S WHO Carter King (vocals, guitar, banjo, drums), Payton Bradford (vocals, drums, mandolin, guitar), Daniel Womack (vocals, guitar, banjo), Thomas Johnson (vocals, guitar, banjo, mandolin), Brannen Miles (vocals, bass), Dennis Love (pedal steel) FORMED 2008 in Athens, Ga. LABEL independent LATEST RELEASE Futurebirds EP (2009) PHOTO: Alyssa De Hayes

They had the big show booked, the studio time slotted, the songs poised for production. What they didn’t have was time.
It was the start of March, and the seven members of Futurebirds were rushing to record an EP to showcase at their March 4 gig opening for Blitzen Trapper at the 40 Watt. Playing in different groups over the years, the band members had a good feeling about their brewing, underground sound. But something else was brewing overhead.
 “We wanted to record in two days, but we had to record in two and a half days because we got snowed out,” said Carter King, Futurebirds’ “grease-stained monkey wrench” (code for vocals, guitar, banjo and keys player), of the freak snowstorm that left Athens in a deep carpet of white. “It never snows in Athens. We were just trying to crank that out. We got some cardboard sleeves, I made a stencil, and we spraypainted the stencils all crazy — some of them sucked, some were cool — and just gave them out.” In a few furious days, Futurebirds’ good feeling was confirmed. And now flocks of listeners are heading their direction. Fresh yet familiar, the

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“What I’ve heard, which I like the best, is we’re psychedelic cowboy country-esque but with a definite weirdo edge to it.” — Carter King, Futurebirds— eponymous six-track EP (available for download at futurebirds. bandcamp.com) is exactly what the seven sought. A mixture of melodies accompanies a healthy helping of guitar, banjo, mandolin, keys and pedal steel in a wideranging free-for-all that’s difficult to describe — though King gave it a shot.
 “What I’ve heard, which I like the best, is we’re psychedelic cowboy country-esque but with a definite weirdo edge to it,” he said. “Everybody plays something different on every song.”
 For some, the sound evokes the Athens of a dozen years ago, when the denizens of the scene were ruled by Elephant 6 and Kindercore bands. King was intrigued after hearing his band compared to Olivia Tremor Control and Masters of the Hemisphere, though notes there was never any intention to mimic them. He hardly knew who they

were.
 “I knew a little bit about them being an Athens resident — you kind of have to — but I didn’t really do a bunch of investigating until we heard all that comparison stuff,” he said. “People go, ‘You sound like these bands,’ but I haven’t really listened to those bands. I guess Athens just has that kind of feel.”
 Joining King in this latest enterprise are buddies from previous (and present) ventures and buddies who moved from other projects. Payton Bradford (drums), Thomas Johnson (mandolin, guitar) and Brannen Miles (the bassist who took over for China-bound Reid Scott) anchor Futurebirds; they also play with King in The Interns, a folk rock outfit started after they met as (you guessed it) interns at Chase Park Transduction Studios. Daniel Womack (guitar), Dennis Love (pedal steel) and Jessica

ON THE WEB www.myspace.com/thefuturebirds Holt (percussion, vocals) round out the crew. 
 An online roster of band members lists an eighth Futurebird, one with a curious yet familiar name: Reverend Cleophus James, master of the doom stick. After a little investigating, the truth is revealed; Rev. James was the name of James Brown’s character in the cult classic “The Blues Brothers.”
 “Yeah, James Brown is in the band,” King said with a laugh. “He’s our spiritual adviser.”
 Summertime saw the band line up dates in Nashville, Tennessee; Atlanta; New Orleans and Austin, Texas. And while the wanderlust is the sign of a band raring to go, unlike the recording of the auspicious EP, King said this time they’re not in any particular hurry. 
“We all met in college and had all been in a few different bands, but no one was getting the kind of sound they were after,” King said. “But we found it. It was a slow evolution and it is all working itself out. We’re all still young and fresh — we’re not in a rush.”   — Ed Morales


MUSIC ALBUM REVIEWS

EAR CANDY The Cubists Mechanical Advantage   The new record from Augusta-based The Cubists is anything but ordinary.  While known by the bar scene as an indie-rock band, the band also fuses pop, new wave, electronica and dance. Some songs, such as “Redux,” have no vocals and showcase the band’s unique yet sometimes eerie instrumentals that call on Pink Floyd and Rush.  I wasn’t a huge fan after hearing the four minutes of psychedelic sounds from “Redux” and the six minutes from “Lights Out.” However, after I heard  “Hallelujah Hollywood,” The Cubists quickly had my undivided attention with its upbeat dance rhythm that will easily lift you out of your seat and onto the dance floor.  Noel Brown leads the eight-man band with his soft voice, while sometimes playing multiple instruments.  Brown sounds like a gentler version of Thom Yorke in The Cubist’s “Fire in the Backyard.”   Listen also for peaceful sounds that may remind one of the Postal Service in “Best Friends,” my personal favorite. The stylings of The Cubists left me feeling refreshed — partly because I had never heard anything quite like them before and also because the band, put simply, rocks. Mechanical Advantage is worth a listen, especially since there is a little bit of every genre incorporated into the music. The band has the potential of quenching every listener’s musical thirst for good music.   — Sarah Saltzman 

Pattern Is Movement All Together The first thing that struck me when I popped Pattern Is Movement’s All Together into my CD player was the seemingly endless amount of noise the band managed to pack into their songs. And I don’t mean to say noise in a negative way. It’s just that this band has strung 10 incredibly frenetic, overly dramatic banging songs back to back with such a fast and intense pace that I kind of felt like I just got done running a marathon once I finished listening to it all the way through. While the beats and banging minor chords get a little baffling (and tiring) at times, Andrew Thiboleaux and Chris Ward somehow manage to pull it off. Ward’s thumping drums hold Thiboleaux’s strange melodies and keyboard choir together, if at times only by a string. And every once in a while, a truly beautiful section emerges from all that sound to keep you pushing through. “I Just Like the Sound of Your Voice” gives the listener a peaceful break with a more composed song featuring beautiful tinkering keyboards accented by a slightly eccentric horn section and more comprehensive lyrics. Although the overdose of sound and slightly offkilter melodies may come off as esoteric or pretentious to some listeners, overall, All Together is a success… if just barely. — Laurie Moot

Pete Yorn Back & Fourth   When I was little, I was a Dimetapp junkie. At the slightest sign of sickness, I’d demand a generous spoonful of that sweet grape syrup, and even if I wasn’t sick, I’d play ill just to get a fix. Fast-forward 15 years and I’m a writer who has called Dashboard Confessional “Robitussin for the broken heart” – a surefire remedy for what ails you but which, when unneeded, is practically unpalatable. Well, if Dashboard is the ‘Tussin, Pete Yorn’s Back & Fourth is Dimetapp, because I’ll be damned if Mr. Yorn hasn’t turned me into a 24-year-old drugstore cowboy jonesing for sugary nepenthe for the broken-hearted, despite the fact that I have absolutely no legitimate need for it. Yorn wears his lyrical heart on his sleeve without coming off as trite, and he bears his musical soul without being over-the-top or melodramatic. If the album were to be boiled down to two adjectives, I would say: “honest” and “subdued.” It’s honest without being brutal, and subdued without being boring. Like chugging on Dimetapp when you’re not really sick, listening to Yorn’s new album when you’re not presently heartbroken isn’t exactly something to brag about – but it’s also far from unenjoyable. Bottoms up. — PT Umphress

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Luke Winslow-King New Old Baby  There are 46 different similes used by Luke Winslow-King to express exactly how tired he is, and you can hear all of these in the track, “Never Tired” from the Cadillac, Mich. native’s new album, New Old Baby.  It’s kind of ironic to hear Winslow speak of growing tired of something since it seems nearly impossible to tire of this album.  King approaches each song with an affinity for a whole slew of genres that include:  New Orleans rag time, delta blues, country blues, folk and even classical composition.  Showing love for such a vast array of musical styles,  New Old Baby stays interesting through and through.  One instrument that is rarely heard in contemporary folk tunes is the jazz tuba.  The instrument stays prominent from the first track “As April Is To May” to the last track, “Your Eyes, Your Eyes.” Wilson’s voice is a wispy wind on a dry New Orleans afternoon and it is hard not to think of him as a Big Easy version of M. Ward, but with a fantastic '20s era brass section.  The horns can be heard most prominently on track five, “It’s All The Same.”  The combination of sax and trumpet creates a fantastic mix of free flowing riffs that unfold evenly with the lyrical rhythm.  Another track that stands apart is the instrumental “Birthday Stomp,”which gives you the feeling that you are listening to the prelude before a Vaudeville show, or maybe what you would hear playing at a carnival in the 1920's.  Either way, the track is a light hearted and extremely fun, toe tapping type of song — one which would be ruined by any sort of lyrical input.  All those who are fans of the nitty gritty delta blues can appreciate “Bird Dog Blues.”  With lyrics like, 'Don’t bird dog and don’t trail me/ Don’t track where I tread/ What I picked up I’m having/ And back through what I said,' Winslow makes you believe that he knows what he wants and goes for it. This mentality is how New Old Baby is fueled.  Luke Winslow-King’s new album is definitely one you can’t fully appreciate until you’ve given it a couple good listens. Every spin makes it easier to distinguish all of the wide varieties of sound.  With all the work that seemed to be put forth in New Old Baby, it would be appropriate to assume that Winslow is as tired as a Mardi Gras night — that would be simile number 47.  But no matter how many different ways he can be tired, one thing is certain:  Luke Winslow-King will never tire of making stand-out records. — Jessica Cole

mewithoutYou it’s all crazy! it’s all false! it’s all a dream! it’s alright   Having not drunk the proverbial Kool-Aid of indie/ experimental rock that would magically allow me to totally forgive a band its blatant musical sins in exchange for its obvious artistic creativity, I find myself deeply conflicted when it comes to mewithoutYou in general, and their new album it's all drazy! it's all false! it's all a dream! it's alright specifically. So, at risk of being crucified by devout fans, I will speak my piece to the masses and promptly make my exodus. I like mewithoutYou, and if I could get over the disturbing fact that mewithoutYou’s singer Aaron Weiss tends to sound like a creepy cross between a folksy Sesame Street character and Heath Ledger’s Joker, I just might love the band. I will say, their new album contains much less screaming, ranting and violent instrumentation – traded in for a playful, Nickelodeon-ready vibe and folksy, childish singing inflection – so it sounds much less like the schizophrenic rock ramblings of a religious nutcase and more like the subdued soundtrack to a Sunday school puppet show…put on by a religious nutcase. It’s really too bad I’m stuck between a rock and a hard place – the rock being the sense that I’m listening to a band that jacks off to Raffi tapes (“A Stick, A Carrot & String”) and the hard place being the growing fear that their lead singer belongs to a cult and I’m being subliminally recruited (“Bullet To Binary (Pt. Two)”). Bottom line, if you’d like to see the wolf in sheep’s clothing, this one’s for you.   — PT Umphress

These United States Everything Touches Everything Through assembling cities and realizing the truly important things in life, to waking up feeling a need to make a change and hope cracking open a beat heart, These United States take listeners on the roller coaster ride that is the human condition in their third full-length album, Everything Touches Everything (out September 1st). The band comes out swinging with their banging guitars and throbbing drums that just scream rock ‘n’ roll. And just when you think you’ve got a handle on them, they throw in a glockenspiel or a dobro and create a completely new sound. Bridging the gap between tunes that make you want to get up and dance and lyrics that make you want to sit down and think, Everything Touches Everything allows for anything but a passive listen. These United States play every song on their 42-minute album like they mean it. This eccentricity gets passed onto the listener, and by the time the album reaches its final track, “Good Night Wish,” it feels like an entire day of emotion and adventure has passed by and it’s time for the band to sing you to sleep. And honestly, this album is so good, I wouldn’t mind it if they did just that. — Laurie Moot The Idle Hands: The Hearts We Broke On The Way To The Show Before I even listened to The Idle Hands, I knew the band had a great sense of humor just from the name of the songs on its first album The Hearts We Broke On The Way To The Show. Lead singer Ciaran Daly and his Idle Hands, brother Criostoir on bass, Eileen on keys, Emma on guitar and Nick on drums, are a trip with their lyrics to “The 80’s Killed Your Boyfriend,” “The Fall” and “Loaded,” showcasing a dislike of all things popular and mainstream. The first four songs on the album were made with the help of Mark Needham who worked with The Killers and Cake. Daly’s voice has serious character, changing the genre of the band from song to song, especially in the spontaneous sounding must-listen-to “Sunshine On The Tenements,” that may possibly be the best song on the album. One second, The Idle Hands are punk rock, the next, electronic infused pop, and the next, new-wave…it goes on and on, even entering the realm of disco and just plain rock. They add a little bit of the synth player to get that new-wave rocker sound in their radio hit “Loaded” and “The 80’s Killed Your Boyfriend.” If you are a fan of the Arctic Monkeys, look no further. This band is definitely for you. Song “Space Thing” reminds me of the voice of a softer, grungier version of James Mercer, lead vocalist in The Shins. The band members hail from Irish decent and the Midwest, making the mixture of sounds on this album interesting, unique and just plain good. Album set to release September 8th, 2009. — Sarah Saltzman

Dave Matthews Band Big Whiskey and the GrooGrux King Being one of the most successful bands in recent memory, DMB has delivered, yet again, a kick-ass collection. With the death of founding saxophonist LeRoi Moore, DMB proves that a table can indeed stand with one leg missing. The New Orleans' roots that scream out of Big Whiskey and the GrooGrux King should serve as a perfect tribute to Moore, who died from complications after injuring himself in an ATV accident. The opening sax solo “Grux,” is an unintended tear jerker with the recent memories of Moore flowing through the listener's mind. Hit single “Funny the Way It Is” rings the typical DMB tone, yet its refreshingly new jazz/rock style incorporates the Cajun roots of the album. Produced by Rob Cavallo, the liner notes do not specify which tracks Moore was a part of, as he died before the bulk of the recordings were finished. Jeff Coffin (Bela Fleck and the Flecktones) subs for other tracks on the record and is currently on the road with the band. GrooGrux is a true New Orleans-style mourning, with its crooning ballads crammed between brawny and healthy jams. —Will Hackett

MUSIC THIS DAY IN MUSIC HISTORY

MUSIC THIS DAY IN MUSIC HISTORY

1939 - “The Wizard of Oz” premieres in Hollywood, Calif. 1969 - The first day of The Woodstock Music and Arts Fair begins in Bethel, N.Y. 1972 - Paul and Linda McCartney are arrested for drug possession after a concert in Gothenburg Sweden.

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1985 - Madonna’s “Like A Virgin” becomes the first album by a female to be certified for $5 million in sales.

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1960 – “The Twist” by Chubby Checker is released. 1981 - MTV makes its debut at 12:01a.m. with “Video Killed the Radio Star” by the Buggles as its first music video.

1962 - Robert Zimmerman changes his name legally to Bob Dylan. 1991 - Rick James is arrested and charged with sexually torturing a 24 year-old woman in Los Angeles, Calif.

1963 - The Beatles make their final appearance at the Cavern Club in Liverpool. 1974 - Jeff Baxter quits Steely Dan to join the Doobie Brothers.

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1957 - American Bandstand makes its network debut on ABC, hosted by Dick Clark. 1975 - Stevie Wonder signs a seven year, $13 million contract, the highest contract in the recording industry at the time.

1973 - Stevie Wonder is seriously injured in a car accident. He permanently lost his sense of smell and was in a coma for four days. 1989 - Adam Clayton of U2 is arrested in his home in Dublin, Ireland for possession of marijuana. 1956 - Elvis Presley releases “Hound Dog.” 1980 - John Lennon and Yoko Ono begin recording their album “Double Fantasy.”

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1991 - Charges of assault and property damage are filed against Axl Rose of Guns N Roses in connection with a riot during a show in St. Louis, Mo. 1997 - Garth Brooks plays a free concert in New York City’s Central Park.

1964 - Bob Dylan and Joan Baez perform for the first time together on stage. 1978 - Muddy Waters performs at a White House picnic for U.S. President Jimmy Carter.

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1966 - John Lennon apologizes at a news conference in Chicago, Ill., for his comment that “the Beatles are more popular than Jesus.” 1998 - Scott Weiland of Stone Temple Pilots pleads guilty to felony heroin possession. 1975 - Hank Williams, Jr. fell 500 feet down a mountain in Montana. After, two years of surgeries, he returned to music. 1992 – A riot occurs at a concert in Montreal after a Guns ‘N’ Roses’ set is cut short because Axl Rose has a sore throat.  1952 - The original version of “Hound Dog” is recorded by Willie Mae Thornton.

1994 - Jimmy Buffett’s plane flips shortly after take off in Nantucket. He swam to safety.

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1882 - Tchaikovsky’s “1812 Overture” debuts in Moscow. 2001 - The remaining dates of Foo Fighters European tour are cancelled when the band’s drummer, Taylor Hawkins, is admitted to the hospital. 1956 – Big Mama Thornton releases the original version of “Hound Dog.” 1992 - Kurt Cobain and Courtney Love have a child, daughter Frances Bean.

1995 - The Grateful Dead decide to cancel their fall tour in the wake of Jerry Garcia’s death.

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1983 - Jerry Lee Lewis’ wife, Shawn, is found dead at the couple’s home. The autopsy would reveal she died of a methadone overdose. 1998 - Shania Twain is forced to halt a Syracuse, N.Y., concert when lightning hits the ground 40 yards behind the stage.

1947 - Margaret Truman, daughter of President Harry Truman, gives her first public performance as a singer at the Hollywood Bowl to an estimated audience of 15,000. 1998 - “Scary Spice” Melanie Brown announces her pregnancy.

1995 - Michael Stipe of R.E.M. undergoes surgery for a hernia.

1985 - Michael Jackson outbids Paul McCartney and Yoko Ono for the ATV music-publishing catalog which gave Jackson the rights to more than 250 songs written by John Lennon and Paul McCartney for $47.5 million. 

2001 - Aaliyah and eight others are killed when their plane crashed in Marsh Harbor of the northern Bahamas. The cause is ruled as engine failure due to the plane being overloaded.

1985 - Madonna and Sean Penn are wed. They would divorce in 1989.

1972 - Elvis and Priscilla Presley file for divorce after being married since May of 1967.

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1993 - Elton John’s lyricist and longtime co-writer, Bernie Taupin, is married to Stephanie Haymes.

1986 – Def Leppard drummer Rick Allen plays his first concert after losing his left arm in a car wreck.

1974 - The Ramones play the band’s first show at CBGB’s in New York.

1962 - Booker T. and the MG’s release an instrumental song, “Green Onions.”

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1923 - An ordinance is passed in Kalamazoo, Mich.,  forbidding dancers from gazing into the eyes of their partner.

1964 - The Kinks release “You Really Got Me.” 

1964- The Beatles begin their first American tour in San Francisco. 1980 – In Toronto, 1,400 people riot after Alice Cooper cancels a show due to illness.

1977 - The Pretenders played their first public gig. 1987 - Sonny Bono announces plans to run for mayor of Palm Springs, Calif. He would win the election.

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1989 - Izzy Stradlin of Guns ‘n Roses is arrested for creating a disturbance on an airplane. 1995 - James Taylor and ex-wife Carly Simon reunite for a concert on Martha’s Vineyard.

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1967 - The Grateful Dead play at the wake of a Hell’s Angels member hit by a car in San Francisco. 1986 - Tina Turner receives a star on the Hollywood Walk of Fame. 1906 - The Victor Talking Machine Company commences the manufacturing of the Victrola. The units would sell for $200. 1979 - Led Zeppelin released its last album, “In Through The Out Door.”

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1974 - “The Partridge Family” ends its television run.

1997 - James Brown becomes the first U.S. artist to appear in Lebanon after the lifting of a travel ban to the country.

1967 - Brian Epstein, former manager of the Beatles, is found dead in his home from a drug overdose. 1990 - Stevie Ray Vaughn and three members of Eric Clapton’s band are killed in a helicopter crash. 1970 - The Kinks release “Lola.” 1996 - Isaac Hayes, co-writer of “Soul Man,” sends a protest letter to presidential candidate Bob Dole about the use of his song, which his supporters had changed to “I’m A Dole Man.” ATHENS BLUR MAGAZINE

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July 3, Casalmaggiore

- Arrived to Italy that morning, show that night. Sort of in twilight zone due to time change and not much sleep. - Reacquainted ourselves with how incredibly scary people drive over here. We came to grips with the possibility that we might not make it home in one piece. - Fun show. - Sang four part a capella “Star Spangled Banner” at midnight for 4th of July....proud to be Americans. - Richard barfed in his food during a laughing fit at dinner....

tour diary:

Tishamingo in Italia

This will be Tishamingo's 4th trip to Italy. This time we are here for just two weeks and playing six shows (“breve” tour). We find on these tours that we usually eat and drink our way through this beautiful country. We also have a little time to explore, drink more and try not to get booted from the hotel. We are very thankful to have friends and fans in Italy who love blues and rock ‘n’ roll music and always make our trips over very memorable. On this tour we have Tishamingo and our great friend Jason Fuller, who actually played keys on our debut album. Due to the fact that the show last night was rained out and rescheduled for Sunday we have only played three shows as this is written. We are about to head to our fourth show in the town of Traviglio (Tra-vee-leo). Again Graziemille to the wonderful folks who support us and make it possible for us to play music in such a beautiful and wonderful place. Tomorrow we play on the north side of Lago di Garda in a town called Malcesine (in redneck it is pronounced Mal chesney). That would have been the end of tour party but we have a make up gig on Sunday in the Castle of Soiano. This just means two end of tour parties right? By the way, everything in this tour journal can be accounted for and verified. Some shit you just can’t make up...Ciao! — Chuck Thomas, Tishamingo

A typical day in Italy while we are touring looks like this:

9:56 a.m. - Wake up and head down to hotel lobby. Try to catch breakfast and deeelicious caffe (espresso) or cappuccino before breakfast ends at 10. 11 a.m. - Following breakfast we get in our Fiat Ducato 8.5 passenger van with “Beppe,” our tour manager, at the helm and head to the next town. “Beppe” is short for Guiseppe, sort of like Dick is short for Richard. He is a great tour manager and very kind-hearted. Not quite sure he knows what to make of us and our antics, but seems to be going with the flow pretty well. 2 p.m. - Stop at Autogrille to grab a small lunch consistiwng of Pasta — they have chefs and full service restaurants at the rest stops over here! The food is delicious even at a highway restaurant. It would be nice to have that on the road in the states. Typical lunch on road? Caprese (7 dollar ball of buffalo mozzarella w/ tomatoes and basil), large plate of delicious pasta, too much bread, large piece of meat, water and wine — either vino rosso (red) or bianchi (white), depending on the mood. No, we are not here to fuck around or diet. Finish it off with “un caffe” and then back on the road. 4 p.m. - Check in hotel. Usually the hotels are pretty nice but every now and again we will wind up in a place where one could contract hepatitis D. What is that you ask? That would be Hep “D”= All The Above. Ok...they’re not that bad... 6:30 p.m. - Sound check (no load in...sweeet) 9:30-11:30 p.m. - Showtime! Midnight - Sit down for what is usually around a 2 hour dinner (w/ possible “southern rock” interview following). The dinners are pretty ridiculous. Our first dinner on our first night here, Richard our drummer was so full and laughing so hard that he just puked right there on his plate. Had to include that because it is not something that Richard would normally do. 2 a.m. - Continue drinking, either back at hotel or a bar with new Italian friends. Try to speak Italian, but the drunker we get we end up sounding like Watto from Star Wars. ???? - Make it back to room hopefully with a few hours to sleep before breakfast.

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July 4, Aosta

- Drove 200km to the mountains of northern Italy. Bellissima! - We were told by the promoter that we were incredibly too loud....pretty standard really. - At dinner, journalists conducted an interview for a newspaper. The questions all seemed to come back to the Allman Brothers. For ex: “Richard, you took lessons from Butch Trucks? Tell us about that.” “Cameron, do you think Dickey Betts is a better guitar player than Duane Allman?” Or even, “Jason, your uncle was in Canned Heat. Did they ever play with the Allman Brothers?” We are still laughing about the possibilities of that interview going any longer. For example, “If Derek Trucks and Warren Haynes had a baby, what would he look like? Would he be a better guitar player than Duane Allman?”

July 8, Brindisi

July 5-7, off

- Ate absurd amounts of pasta and drank lotsa vino. - Traveled to Lake Garda (Lago di Garda) one day and reacquainted ourselves with cultural customs of women not wearing tops on the beach. - Watched way too much BBC. - Drained the mini-bars in all of our rooms. - Late on the night of July 6, Jess and Chuck got into a minor, non-violent altercation with the hotel attendant. We somehow managed to avoid getting kicked out. That guy was really pissed. - Got completely hammered at an incredibly packed bar in Brescia. Learned crude things to say to Italian women, made many friends...well, maybe a couple enemies, too. Cameron ate two roses on a dare from two Italian ladies. They then told him “bye bye.”

- Early trip to the airport to fly from Milano to Brindisi (the southern tip of Italy). Hungover...badly... - Still hungover, they put us on the very back row of a plane that’s sweltering hot and smells like jet fuel. - A member of the band (who will remain nameless) passed out shortly before landing. He awoke shaking violently in what resembled a grand mal seizure. Other passengers requested a doctor and the flight attendants pulled out an insulin kit and a defibrilator. Apparently, this band member had a dream that the plane was crashing. He thought we were going down and freaked out in his sleep. Needless to say, the ambulance greeted our plane on the tarmac in Brindisi. Phenomenal...the band has arrived. “What? Ya’ll don’t like to party?” - Band member was released from medical professionals once vitals come back okay. He was given a mild sedative, making for a hell of an afternoon for him by the pool later on. Rumors have it that said band member pissed his pants...really. - Drive to amazing old estate that has been turned into a destination they refer to as “Agriturismo” or Agricultural tourism. It was an amazing hotel with a 2,000 year old church on the premises. Pool was phenomenal, placed conveniently amidst a massive olive tree orchard. - Show was really fun. It was an American Music Festival on a farm. It was also a Sausage Party....no seriously, they were grilling copious amounts of sausage. Okay, there were too many drunk dudes there as well.

July 9, Soiano

- Flew back to Milan. We decided to forego the medical emergencies on this flight. -Set up in the amazing outdoor venue at the Castle of Soiano. - Show was cancelled on account of inclement weather. - We decided to get completely drunk there on the lake instead. As usual, the night degraded into talking to our friends in accents that seem more like something out of Star Wars than anything Italian. Luckily, no one was offended. Cameron kept buying those beer tower things like they have in Vegas. - Night ends with our Italian comrades singing the theme song to "Happy Days," and doing beer tower stands to see how many liters we can drink at once...it's sooo cold when it hits your lips!

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remembering

“The Theatre was a place of memories and raging good times for many, including myself. It would be hard to describe my times there in words better than the photos I have captured could. I hope these bring memories of good times to you the same as they do for myself. Be sure to help resurrect those great times by donating to the rebuilding of the Theatre. Thanks for all the great times and fond memories!”

the georgia theatre 1

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12 Georgia Theatre crowd Particle Herring, Rogers and Sipe (2006) Moonshine Still (2006) Classic Theatre Crowd RAQ Wilmot Greene onstage with Perpetual Groove Backstage with Dubconscious & Grogus Basement, Matt Martin (2001) Will Hoge . Perpetual Groove (2006)

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Kris D (2006) Halloween (2006) Box Office line in 2006 AthFest (2006) Bling the Children Back Home STS9 (2002) Moonshine Still (2006) The Frequency Tom Hamilton & TAB (2006) . Manchester Orchestra Dubconscious (2006) The Les Claypool Frog Brigade Spam Allstars (2006) Grogus (2006)

Jay Markwalter — Singer/songwriter, former High Hat owner:

remembering

the georgia theatre

memories, stories and favorite shows from years past

Dave Schools — Widespread Panic: Widespread Panic was playing the Theatre 3/13/1992. This was the keyboardist John ‘Jojo’ Hermann’s first night playing with the band and he didn’t know that the bands usually enter in the side door on Clayton Street. He was stopped at the door by security guard Steve Fleming. Steve was the best door man on the planet and wouldn’t let Jojo inside. Jojo tried to convince Steve that he was in the band but Steve pointed to the photo on the wall. It was an old photo with the previous keyboardist, T Lavitz. After almost missing his very first gig with Widespread Panic, Jojo wrote the classic “One Arm Steve’.

I have been very fortunate, over the last 17 years in Athens, to work with so many great people and musicians as a manager and friend; however, Athens musicians and music industry professionals aren’t just friends – they are family. I am not sure that I stopped in the years of good times to realize how much I love the Georgia Theatre until I saw it burning. The scene of barefooted Theatre fans and a former mayor working together to hand exhausted firemen drinking water made me realize how much I care about the Athens community and what a special place downtown Athens is for so many people – especially a landmark structure that thousands have enjoyed….A ticket for a great show, a stroll past on tip-toes for a look and listen, or maybe just a wave to a friend working inside - that's the Georgia Theatre - the shows run together but the experiences brand the sights, sounds and smells forever!!

Derek Trucks — Allman Brothers Band/Derek Trucks Band:

There are so many musicians that had a strong tie to that room in Athens. Owen Gray — Theatre Staff/Nimbleslick Entertainment: We played so many great shows in that room with a lot of different people back to the days when Colonel Bruce Hampton & The Aquarium Rescue I started working at The Georgia Theatre in the summer of 2006, dur- Unit were playing amazing stuff. We did a lot of shows with those guys. ing Beck. First day in, Wilmot gave me two free tickets to Phil Lesh & Friends, and that’s the kind of person he is — cares deeply about his staff and friends. One great night was a surprise birthday bash for Adam Per- Bruce Burch — UGA Music Business Program: ry. After a huge dinner we all hung out at the Theatre ‘til very early in the morning with different musicians playing their hearts out, collective im- The Georgia Theatre wasn’t here when I attended UGA from 1971-1975 promptu. Now more than ever, I feel what the people and endless nights of and neither was the Athens music scene. I came back here in 2005 to start the UGA Music Business Program and the first place I went was to the music at the Theatre mean to me. Georgia Theatre. Wilmot Greene introduced me to the Athens music scene and I will forever be grateful to him. It felt like coming home.

Andrew Heaton — Packway Handle Band:

The Georgia Theatre was one of our wilder venues and the bar for extreme antics on stage had gotten pretty high. One show, we drew a blank and went on stage with no real plan except to think of something. Nothing good came to mind, so in a panic, I announced a “sexiest dancer” contest on stage for a free CD. Several girls got on stage and then the half of us who were paying attention broke into "Happy Birthday" (to “Blah, Blah”) at breakneck speed. It was impossible to dance to, but they tried and the result was ludicrous. The audience loved it. Half the band was profoundly embarrassed to have been a part of something so idiotic. I just shook my head and thought “man, what was that?” It was the Georgia Theatre.

Publix-Lucas Theatres Inc. buys the building, cuts it in half, builds a balcony and opens a new cinema.

1918

1930’s

Building erected and converted into the first YMCA of the South. Would later become a department store.

1926 Masonic Temple Associated of Athens buys the building.

Ed. Note: A special thanks to Daniel Peiken for contributing past Theatre ticket stubs!

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I remember the "Bar Tab" shows my band Bloodkin participated in, along with members of Widespread Panic and several other bands around town, during the mid ‘90s...those were always great gatherings, lots of old friends, new friends, just pretty memorable events...and about two weeks before the fire we did a "Bloodkin & Friends" benefit, and lots of those same faces from all those years back showed up, and it felt like a full circle...though I hope it won't be the last time we ever play the Theatre. Let's rebuild it. I also always recall seeing the Replacements at the Theatre, and Soul Asylum on a different occasion...two of the better rock shows I've ever seen.

Elite Theatre Movie House opens on ground floor, while The Majestic Hotel occupies second and third floors.

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Daniel Hutchens — Bloodkin:

Kevin Lane — The Arcs:

Nelson Wells — President, Team Clermont Publicity:

I have SO many great memories of the Georgia Theatre, but one that sticks out in my mind is a show I played there in October 2001 when I was with The Possibilities. We’d been asked to take part in a Community Connection benefit show and a day or two before the show was to take place, I got a call from the R.E.M. office asking if the band could use our gear to play a set when we were done. We said, “sure.” We were asked to keep it a secret and we did, but it didn’t matter. The word inevitably got around and the place was completely sold out by show time. We played some Neil Young covers with Scott McCaughey joining us, some Big Star and Posies songs with Ken Stringfellow, and Pete Buck joined us for “ You Don’t Mean It” (a song of ours that the Minus 5 had recently covered on Conan O’Brien). R.E.M. followed and the place went nuts. Somewhere in the middle of the set, Michael Stipe thanked us and dedicated a song to us! That was one of MANY special nights that I’ve spent at the Georgia Theatre.

My memories are of moments at “The Theatre” and they are powerful; they date back & include many great shows, including Book of Love, Dead Milkmen, Marilyn Manson, Allgood (& meeting my first business partner Jimmy McLean there), Derek Trucks at 15 years old, Feist, David Byrne, Dave Matthews Band, The Avett Brothers, Ween, Venice is Sinking, Kudzu Bowl IV 1991, Team Clermont Prom with Patton Oswalt & Tiny Sticks, the Athens Comedy troupe, Drivin & Cryin, & of course witnessing Wilmot’s proudest moment with the installation of the largest fan on earth; just to name a few.

Troy Aubrey — Nomad Artists:

Serves as a worship hall for United Methodist Church.

Georgia Theatre shows it’s last movie, “Brotherhood of Death.”

Carafe and Draft Theatre opens as movie house, with “Raiders of the Lost Ark” as the first show.

Sea Level is the first performer of the Theatre’s new incarnation as a music hall.

United Theatre Enterprises Inc. buys the building; continues Georgia Theatre.

Oct.,1975

My first visit to the Georgia Theatre was in 1987 as a University of Georgia freshman. It was a ‘Carafe and Draft’ at that time and I liked it. Since then it has hosted thousands of unforgettable rock shows and I’ve made my way to hundreds of them. I’ll never forget seeingWidespread Panic, Phish, Hot Tuna or the Ramones at the Theatre. I was also lucky enough to see Drivin’ N Cryin, the Drive By Truckers and the Chickasaw Mudpuppies there. Warren Zevon sang ‘Werewolves of Athens’ on January 22, of 1992. Those memories will never be forgotten and I look forward to creating more musical memories in the New Georgia Theatre.

I have some fond memories of seeing some amazing shows at the Georgia Theatre during my time in Athens (1988-present)…like The Replacements, when during the 1st song some kid threw one of the big Theatre beers at Paul Westerberg and he threw his guitar down and jumped off the stage with fists pumped after the kid, crowd surfed around and then jumped right back up on stage, picked up his guitar and told the kid “not to fuckin’ do that again” and went right back in to “I Will Dare” with- Mike Rizzi — Former drummer, Five Eight: out missing a beat! Coolest thing I’ve ever seen. Paul’s been my hero ever since.Can’t wait for the new and improved Georgia Theatre, but will miss The biggest memory of all is running into Wilmot Green in Athens a few years back and he told me that he just bought the Theatre. Then he took me the old one dearly! on a tour of the Theatre (which I've seen many times, but this time was special). He had a glow and was proud of his new baby and I totally was hapNic Goodson — Sleepy Horses: py to see him so excited about something I longed to do myself someday. Not a better guy to have to own such a venue. He understands the musician, I stumbled into Athens (without ever having set foot in Georgia before) seeing as he is a great one himself, and has a perspective most owners don't on a balmy day in August. I had decided to move outta Texas for some rea- have. I don't doubt he'll rebuild and it will be even greater than before. son or another.....music...grad school....change of scenery. My first night in town I heard that Will Johnson (Centro-Matic) would be playing with Benjy Davis — The Benjy Davis Project: Patterson Hood and Don Chambers. I found the Theatre (after a long, long walk around downtown). I fell in love with Athens that night. I We have always loved the warm welcome the Georgia Theatre and Athens was in awe of the Theatre. I decided right then that I had to play the Thegave us. The fans there rocked. I remember when we were playing with The ater someday. I've played there quite a few times...however, AthFest 2008 Kin, there was a woman at the show who worked at a salon. So we took Sleepy Horses played with Don Chambers + GOAT....I had come full cirher backstage after the show, and she gave us all haircuts. cle...it was a perfect night."

Jan. 11, 1978

1967

1960’s

Daniel Peiken — AthensRockShow.com, Analogue Records:

1977 Sam Smartt, Hap Harris, George Fontaine and Sheffy McArthur team up to open Georgia Theatre as a concert hall.

The building is sold to Wilmot Greene and Randy Smith, who undertake massive renovations over the span of the next 5 years.

April 9, 1982

1979 The Police make a tour stop at the Theatre.

Sometime in the early morning, a massive fire breaks out in the back right corner of the building. While the walls are salvaged, the roof and interior are are badly damaged. The investigation is ultimately inconclusive in its search for a cause.

June 19, 2009

2004

1989 Reopened as a music venue, Kyle Pilgrim and Bill “Duck” Anderson buy the building; plan to open Georgia Theatre as a concert venue. First band to play was Pylon on October 2, 1989.

2004 The Derek Trucks Band recorded Live at the Georgia Theatre.

July 7, 2009 From Wilmot Greene, in his latest public update: “The smoke has cleared and now it’s time to focus on rebuilding the Georgia Theatre. I am still confident that out of all this confusion something positive will emerge.”

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july

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Fabolous Lose’s Way Howling Bells Radio Wars Sax Ruins Yaqiauo Ryan Starr 11:59 Ashley Tisdale Guilty Pleasure M.O.P. The Foundation J-Kwon Hood Hop 2.5 Swollen Members Greatest Hits Warren Haynes/Gov’t Mule By A Thread

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Bill Champlin No Place Left To Fall Jullan Plenti Skyscraper Circulatory System Signal Morning Seasick Steve Dog House Music The Duke & The King Nothing Gold Can Stay Cooper Boone Cooper Boone

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Amerie In Love & War Cobra Starship Hot Mess Raekwon Only Built 4 Cuban Linx II Danny Chaimson And The 11th Hour Young Blood, Old Soul

Release dates are subject to change. Check artists or store websites as these dates approach.

Hey local bands! Got a release date coming up? Let us know at [email protected]

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Lil Wayne Rebirth Sean Paul Imperial Balze Third Eye Blind Ursa Major Brandi Shearer Love Don’t Make You Just Paul Burch Still Your Man Destroyer Bay Of Pigs [EP] (Vinyl-only) Nathan Maxwell And The Original Bunny Gang White Rabbit

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MUSIC RELEASE CALENDAR

upcoming CD releases

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Colbie Caillat Breakthrough Matisyahu Light Dolores O’Riordan No Baggage Zechs Marquise Our Delicate Stranded Nightmare Loundon Wainwright III High Wide & Handsome: The Charlie Poole Project The Casualties We Are All We Have Mariah Carey Memoirs Of An Imperfect Angel

sept

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Whitney Houston Title TBA Black Crowes Before The Frost...Until The Freeze

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Hazel. So I think that was another thing that brings it together. It can be the most avant garde music brought to the table, but Ken’s still gonna put his take on it and make it what it is, which makes it sound like Sister Hazel.

ABM: Now this is also Sister Hazel’s 7th album, excluding live releases and other things like that. Once you hit album 7, do you still get butterflies about its release?

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questions with sister hazel Now on the verge of releasing their 7th and most collaborative album yet, Sister Hazel’s Mark Trojanowsi sounds as determined as ever. On a phone call from Atlanta, the drummer is eager to discuss the band’s latest, what it takes to outlast their peers and having their faces on a credit card. Read on…By Natalie B. David

Athens Blur Magazine (ABM): The new album, Release, is a very collaborative effort for the band with every member contributing at least two songs — how did that idea come about?

Mark Trojanowski (MT): It got inspired from our Christmas record a few years ago. We went into the Christmas record with everybody choosing three songs and you could either choose to do original Christmas songs or cover Christmas songs, and then you got to do whatever you wanted to produce those songs, whether you wanted to do them acoustically or do full band versions. And that record was sort of made in multiple places — everybody did their own things. Some people recorded in Ryan [Newell, guitars]’s basement. I went out to Dallas. So with it being a hodgepodge like that, recording being all over, it all seemed to work really well, and we did a lot of the vocals, actually, out on the road. So after having the success of that, and everyone kind of getting more of an integral part of the recording process and creative process, we decided that it might be a good way to do a new studio record.

ABM: So when you were writing your songs, were you off in your own little world, or was there much collaboration or input from your bandmates?

MT: The way it works for us, everyone had their songs and then, whether you wrote ‘em on your

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own or you collaborated with other people, we got together in Gainesville for a week before going to Nashville to the recording studio, and that was the first time that the band got to play everyone else’s songs. And we knew we needed to do that in order to go into the studio and play them and it still sound like a band, like Sister Hazel. So even though everyone had their songs, everybody in the band still had to learn their parts and what they were going to bring to the songs, so that was a pretty crucial part of the process. And we’ve always done it on every other record and we knew that we needed to do it on this one as well. So we got together for a week and every person had a day to bring their three songs in and get the band to learn them. Then, the following week, we went to Nashville and pretty much in four days recorded all of the bass and drums on all of the songs on the record and then we took several months after that to start doing all of the guitars and over dubs and keyboards and strings and vocals.

ABM: How did you all decide what songs from each of you would be the ones that made the record?

MT: Um, it was just, everyone just kind of picked the material they felt strongly about. Some people only wrote two songs. Some people wrote three songs. The normal process was people write songs and it was a vote system of what was going to make the record. So we

went into this record knowing that everyone was getting all their material on the record and so I think that was another positive situation for us, knowing that you were not going to have to wait to the end of the process to know if your songs were going to be on the record. You knew from the beginning that your songs were going to be on there, so we just sort of picked what we liked the best and put them on there.

ABM: Sounds easy enough. So Release is certainly varied, but in a subtle way. Having five people writing and helming the different songs, what did you all do to make sure it still sounded like a Sister Hazel record and not just a compilation?

MT: Well, I think the one thing I already said that sort of addressed that was getting together and playing the songs as a band. I think it would’ve been quite different if we had gone to Nashville and never played it until we got into the studio. There wouldn’t be as much of a band feeling about the music at that point, and at least, Ryan and Jett [Beres, bass] and myself having a strong foundation of the rhythm sections of the songs was a major key. And it’s kind of hard to not sound like Sister Hazel when you have Ken [Block, vocals] singing. So having him sing all the songs, even though Drew [Copeland, gutars/vocals]’s singing the most he’s ever sung on a Sister Hazel record on this one, you hear Kens voice and instantaneously know it’s Sister

MT: Oh, I think anytime you put our new music you’re excited about the fans hearing it and other people getting to hear it for the first time, and the big thing for the band is getting to play new music live. You can write new music and play it live, but without a record it’s almost kind of pointless because without fans getting to hear that song ahead of time, or at least having a recorded copy of it, you get a lot of people looking at you with blank faces when you play music that they’ve never heard before. So it’s exciting for us that we can play a bunch of new music live and people know the music and the words already, so, it just kind of breeds excitement, not only for the record release, but for touring and live shows. Once you make a record, usually there’s a lot of creative energy around to create more songs, so hopefully we’ll go back into the studio in the fall.

ABM: You’ve really kind of out-lasted a lot of bands that emerged around the time when you all did. Has it always been easy to keep the band going?

MT: I think the most difficult part was probably in the early years, but once we got past our first two records, I think whatever could’ve potentially caused problems for us, and then broke up many other bands, kind of dissipated. We don’t really have to worry about that much anymore. Even with this record, while we were in the studio we were playing shows. A lot of other bands will make a record, do a tour and then disappear for two years. You really can’t do that and have a career like this. Your fans want music. They want to see you. And so we’re always playing at least four to five shows every month or so. I think that has been a major point in why we’ve held out as long as we have.

ABM: You mentioned your fans, and you guys have an incredibly loyal fan base, the Hazelnuts, but what have you all done to attract such loyal fans?

MT: I think that partly is because we do appreciate them and try to do as much as we can for our fan base. We’re very accessible at our concerts. And I think that we’ve always been that way, in the early days when we were starting, trying to get ourselves out there, we would walk around at colleges and just hand out our music and just meet people and try to get them interested in our music. And these

SISTER HAZEL WHO’S WHO Ken Block (lead vocals, guitar), Jett Beres (bass, vocals), Andrew Copeland (guitar, vocals), Ryan Newell (lead guitar, vocals), Mark Trojanowski (drums) FORMED 1994 in Gainesville, Fla. LABEL Croakin’ Poets LATEST RELEASE Release (2009) ON THE WEB www.sisterhazel.com days we started with our fans at the Rock Boat, which is coming on the 10th one this year and that was a fans-based, sort of appreciation thing after one of our tours to try and get every one together and have a big party and it’s just this big music festival. And we do the Hazelnut hang, which is in South Carolina in May. And so we just try to do some fun things with our fans. Ken, our lead singer, has the Lyrics for Life charity foundation. So it’s just being accessible and trying to have our fans be as big a part of our music world as possible.

ABM: You mentioned Lyrics for Life — what are you hoping to achieve with Lyrics for Life Day?

MT: I think the goal is, we can only do so many things in a year, right? And we can only be so many places between touring and family life and we had a Lyrics for Life main event that we were doing here in Atlanta for many years and then Tim started doing smaller satellite projects in the New England area, and we do one in Tampa in the fall, which I think is on the day that they’re hoping to do Lyrics for Life Day, and then there’s Operation Swan Dive in the Boston area, where people actually jump out of a plane and people get donations for Lyrics for Life from people who sponsor them. So there was all these sort of side Lyrics for Life events popping up and we could only do so many of the events in a certain year. Some of these other events were started by other people who wanted to help so we just felt like let’s try to organize all these people to do something on the same day.

ABM: I have to ask you about this: when I went to the website, the first thing that popped up was something saying to apply for the Sister Hazel credit card…

MT: Yeah, we actually started that this year as

well. A lot of bands have started paid fan clubs, and we’ve been in the middle of whether or not we wanted to do something like that. With us being so accessible, we’re sort of caught in the middle that we’ve done so much where our fans are used to whatever. But we decided that one of the other ways for people to recognize the name, because so many times people have heard our music, “All For You” or “Champagne High” or “Change your Mind,” but they don’t connect the name to the face of the band. And at the same time, we’ve got some good relationships with different bank people and it’s sort of a difficult economic time, not that we are encouraging people to take on debt, but we think it’s one of the lowest rates possibly out there. Obviously we don’t encourage people to go get a credit card and put all their spending on it, but we always try to do different things with our fans and we felt like this was another way to brand our name and brand who we are by people using it and hopefully we’ll be offering different specials and perks to some of those people who use it as well as, or instead of, having a fan club. Maybe as more and more fans start using the card, we will offer concert tickets and things like that as a way to give back to them through that system, rather than use a fan club based paid kind of thing.

ABM: You all are really involved in a lot of different things, but I have to admit that I didn’t know about most of it until I was doing research for this interview.

MT: Well, that’s been the hardest thing. We’ve been that band that has been around since the late ‘90s and we’ve done all of these things, but a lot of it is so much under the radar because we weren’t considered the media darlings and we weren’t considered the Matchbox Twenty-type band, whatever. But there’s certain things that we can control and certain things that we can’t. And that was one of the things that has helped the five of us continue our career and forge ahead and we just have to learn that there are certain things that we can’t control and we don’t worry about it. If our song doesn’t get on the radio, it’s not going to be the end of our record or the end of our career. We’re just gonna go out there and tour and do other things to get our music out there for people to hear it, and I think that’s why we continually come and play Athens and play other college towns because if we don’t have a vehicle, whether it’s media or radio or television for the new younger college students or younger people to hear our music, then we have to go out and play it live for them. And that’s what we’ve continued to do for all these years. If one door gets shut down, we open two or three more until we can make it work for ourselves. B

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traded its cozy, boutique home of Ramseur Records and settled in the with the magic touch of some guy named Rick Rubin in a little place known as Columbia Records. “I can’t honestly tell you that I wasn’t a little uncomfortable playing in front of Rick Rubin the first couple of times,” said Crawford with a laugh. “But it’s typical to shut your mind off to who is in the room for me personally. I think it may have been felt by the other guys, but after you get used to it, and it kind of goes away.” What’s developed between Country Was and I And Love And You has been steady songwriting maturity, not overstated in its process but evident in the end product. “Between I And Love And You and Emotionalism (2007) there isn’t a great distance. Ya know, we learned a ton but I think song-wise and playing-wise there is only a step of evolution.  I think between Four Thieves Gone (2006) and Emotionalism there is also a step.  I think between Mignonette (2004) and Four Thieves Gone there is a step.  A Carolina Jubilee (2003) and Mignonette there is a step, so if you want to take A Carolina Jubilee and I And Love And

A Major Step

“For us, it was always the live show before there was anything else.”

PHOTO courtesy crackerfarm

The Avett Brothers Get a Makeover — Rick Rubin Style

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atching Bob Crawford on the road is no surprise. Bassist for the hell-raising North Carolina “grungegrass” (we’ll get to that) trio The Avett Brothers, Crawford and his bandmates (brothers Seth and Scott Avett) have enjoyed a meteoric rise through the musical ranks, realized the old-school way: touring. Lots and lots of touring. Naturally, then, as Crawford speaks through the traffic noise on the other end of the line, he must be steaming toward some new musical high – Bonnaroo, MerleFest or any one of the mid-sized performing arts centers across the country they’ve come to sell out with a frightening regularity. “Actually,” he said, “I’m driving to Ohio to go see my parents.” Oh. Well, if anyone deserves some R & R at their folks’ house, it’s these Avett fellas. They claimed over 150 shows alone in 2008, and 2009 has already seen them hitting the above listed hotspots and freshly-removed from

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a tour with Dave Matthews, all the while prepping for the release of a new studio album, I And Love And You. The well-spoken Crawford sticks out from the group in a couple ways, namely the lack of a particular lineage (obviously, he’s the only Avett “brother” without the last name Avett). Moreover, he’s the band member that almost wasn’t, nearly choosing a career path in film production shortly after his move to North Carolina and shortly before he got hooked up with the songwriting brothers. Years later, there’s little doubt his career that didn’t pan out has immensely benefited the one that did. “I think about [the similarities] all the time, especially with recording I And Love And You and the way we did it. In film you have storyboard, where you get the shots that you need to get but, you know, you won’t use every shot. You get so you shoot as much as possible and you edit — that was more of the approach in recording this album than it had ever been before. I was kind of beside myself

by Alec Wooden

thinking about how much like filmmaking that that process is and that it's a very visual process to make a record.  For me, there is a lot of commonality in making a movie or television show and being a touring band or in the aspect of making a record, filming and logistical things that a lot of people probably don’t think about. It's 80 percent logistics. Creativity, of course, factors in but you need to have all of these logistics in place so the creativity can flow open.” In that flow of creativity, The Avett Brothers have conjured up some unique genre monikers (or the fans have, more correctly). There’s “polk” (punk + folk), “bluerock” (bluegrass + rock) and the ever-popular “grungegrass” (grunge + bluegrass). Whichever one chooses, a large part of the Avett Brothers appeal, particularly to a younger demographic, has been the high-profile left turn from the romanticized view of folk music as old-timey, out-dated or “Deliverance” laden music. “This is the information age, and everybody is influenced by everybody else,”

said Crawford. “The world is very small, and so I don’t think you’re gonna have people that play ‘old time music’ the way the very bizarre rules of, say,  certain types of jazz or rag time do. You’re gonna always have people that try to carry that tradition on, which is great and necessary and we need that. I think the larger population that makes music is going to be influenced by a lot of fringe elements. What I mean is, you can’t tell anybody now that they’re a certain genre. I mean, it’s always 'this meets this', well 'this means this' and so on. I think ultimately when people talk about this period of popular music, it will be a more generational term, where you kind of have a term to represent a generation. I think it is going to be less jazz/funk or rock and roll, there will be less of that kind of stuff and more of like, whatever, information age rock or technology music, I don’t know.” The Avett Brothers have long been a “major” player in the music world, with a cult following turned super-sized as a result of each album since the sterling debut (with the current lineup) Country Was in 2002. I And Love And You, however, marks the first “major” step for the band in the literal sense of the word, as the trio

Bob Crawford The Avett Brothers You there will be this huge gap.  But if you take them all in context, it is a nice steady ladder and a nice progression and very comparable for us.” Apart from the records, Crawford has seen a progression in other logical ways — simply put, for the first time in years as a band, the Avett Brothers now brim with confidence in their actual playing ability. The elaborate stage presence for which the band is known was, at one time, essentially a cover up for what many saw as relatively sub-par playing ability — now, however, it’s a compliment to the much improved technicality of the members. “I think we are only beginning to understand how to play our instruments and more in a professional manner and I think to make up for the lack of professionalism with our instruments, we just let it all hang out and leave it all on the stage,” said Crawford. “For us, it was always the live show before there was anything else. We’ve always felt like if people are choosing to spend their time with us, we’re going to give them their money’s worth every night and

THE AVETT BROTHERS WHO’S WHO Seth Avett (guitar, vocals), Scott Avett (banjo, vocals), Bob Crawford (bass, vocals) FORMED 2000 in Concord, N.C. LABEL Ramseur/Columbia LATEST RELEASE I And Love And You (2009) ON THE WEB www.theavettbrothers.com it’s never been a problem for us.” Watching an Avett Brothers show is an exhausting enterprise for a fan, let alone for the men on stage making the magic happen. But if the trio has slowed with time, they hide it well. Much like the improvement on their respective instruments, Crawford senses a better understanding of what it takes night in and night out to put on the kind of no-holds-barred, whiskey soaked melee they’ve claimed as a trademark. “In a normal show, I have found in recent years it’s better to pace yourself,” he said. “It’s almost like when you’re exercising, you might get on the treadmill for ten minutes or work your legs or whatever you want to do, but you stretch, you get loose.  I like to get loose on those first four or five songs and pace myself, rather than let it all hang out and be beat for the last 30 minutes of the show, which has happened sometimes.” Crawford’s words make perfect sense coming from (and going to) any musician. Such a steady progression is a musical goal of any band. The commercial success is a bonus, and The Avett Brothers enjoyed the more rare combination of the two being hand-in-hand. Of course, the terrifying side of the coin is that with each new album comes new expectations and all-too-often crushing pressure from a large and stillgrowing group of fans. “What fans can expect from I And Love And You, I would say, is that we expand the range of sound and texture.  We play more of the different instruments than I think we have in the past,” said Crawford. “The topics are getting broader and deeper.  There are some songs on the new album that are just incredible and then the songs that we are just playing now and learning that are even newer that I think are even more incredible — so I think that the progression just kind of continues.” B

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Something New Again Adam Lazzara gets a

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fresh perspective

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“Emo was a word that we used to make fun of our friends with. I wouldn’t consider myself emo at all. It’s weird we got put in that category. Maybe it’s because of the bands we’ve toured with. I’ve just always considered us a rock band.”

TAKING BACK SUNDAY WHO’S WHO Adam Lazzara (vocals), Eddie Reyes (guitar), Mark O’Connell (drums), Matt Rubano (bass, vocals), Matthew Fazzi (guitar, vocals) FORMED 1999 in Long Island, N.Y. LABEL Warner Bros. LATEST RELEASE New Again (2009) ON THE WEB www.takingbacksunday.com

photo: kurt iswarienko

here’s more than one reason lead singer Adam Lazzara of Taking Back Sunday feels new again. Not only does he have a new album and a new band member, he’s also a newly married man. It’s no wonder the band chose New Again as the title for its latest release. “Both in our personal lives and wour lives within the band, that’s just how everything feels,” Lazzara said. “When we were writing this record, there was this excitement that each one of us had, and it felt almost like a rekindling of a flame.” Lazzara credits the rekindling to the band’s newest member, Matt Fazzi, who replaced lead guitarist and vocalist Fred Mascherino last spring. “With the addition of Matt Fazzi, it really made it fun again,” he said. “We [felt] like we were putting out our first record (Tell All Your Friends) all over again.”  On finding Fazzi, Lazzara explained, “We’ve known him since 2004. We met him on the Warped Tour when he was playing with his band, Facing New York. We just stayed in contact with him. He was actually the first person to come and audition, and he was just the right guy. We went through a lot of other auditions, but it always came back to Matt Fazzi.”  Members of TBS decided to take a year-long break after heavy touring supporting their third album, Louder Now. “After we did the tour for Louder Now, we just wanted to take a break for a little while to kind of get reacquainted,” Lazzara said. “We wanted to not feel like carnies for a hot minute.” Getting everyone back together wasn’t a process, he explained, “There wasn’t really a defining moment; it’s just what we do.”  New Again plays a little more with pop-rock than on previous albums, as evinced in the song “Sink Into Me.” Yet the lyrics still remain dark in true TBS fashion. “I don’t necessarily think that the music’s happier,” Lazzara said. “The music just feels a little happier with a little bit darker subject matter. We went in and said, ‘OK, there’s nothing that we’re not going to try,’ and that was really freeing. It was like we

by Nicole Black

were reminding ourselves that it’s up to us to dictate who and what Taking Back Sunday is.” Some people classify TBS as an emo band. When asked if he considers himself ‘emo,’ Lazzara laughed. “Emo was a word that we used to make fun of our friends with. I wouldn’t consider myself emo at all,” he said. “It’s weird we got put in that category. Maybe it’s because of the bands we’ve toured with. I’ve just always considered us a rock band.” Lazzara credits constant touring as the group’s reason for success. “Since we’ve started, we’ve toured nonstop,” he explained. “And we kind of all dropped our last names for the name of the band. Then again, I have a bunch of friends that did the same thing (touring), and they’re still kind of struggling. We have a long way

Adam Lazzara, Taking Back Sunday to go. We’re just really blessed. Somebody’s looking out for us. We always dreamed of doing this; we never thought it would happen, though. Being that it has happened is just really awesome.” After so many heartaches and devastating breakups, Lazzara says he has finally found someone that can put up with him. Married for just one year, you might wonder how Lazzara can still write such agonizing love songs. “The songs were written prior to getting hitched,” he admitted. “Leading up to getting married, just as we all do, I put myself through a lot of crap. You’d be pretty hard pressed to meet anybody in their mid-20’s that doesn’t have some horror stories. There’s one or two that are quite the hopeful love songs, like ‘Catholic Knees.’”  The most trying period lies ahead for the couple, as TBS begins a venue-packed summer tour to promote New Again. “I try to bring her out as much as I can,” Lazzara said. [Touring] is just what we do, and she knows that. We both knew that going in to this. You can make anything work as long as you put the right B heart behind it.”

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n three decades traversing the music business, Wakeling has seen it all. The 53-year-old Brit has been on stages big and small, playing in front of tens of thousands and sometimes just tens. Much of the industry has changed in those 30 years – once a realm inhabited by the connected few, the personal computer and Internet opened the gates to everyone, whether you want to listen, create or simply learn about music. “The old model we had of the music industry may be dead, but the music has never been more alive,” Wakeling said as he prepared to take The English Beat out on a lengthy American tour. “It was all so sown up and cut and dried when I started, and certainly who you knew or who you could meet could make a whole big heap of difference. Monopolies were guarded very tightly and to be invited into the monopoly was much sought after. It’s always been a mixture of sharks and angels attracted to the music business, and I think it’s all for the better now. The whole thing has fallen to bits. It deserved to.” Amid those bits lie remnants of an industry’s past – concept albums, cassettes, large record companies, David Lee Roth – while what arose remained lean and compact. Small, tightly-run record labels, CD collections stored in electronic boxes the size of your hand, the music itself reduced to one or two downloadable megabytes. Everything got smaller. But not the live spectacle. Concerts became the behemoth. Amphitheaters of steel built in empty lots, showcasing lights of all colors and sounds to deafen the sky. Lead singers displayed their faces and egos on television screens 200 times their size (or 100 times, in Kanye West’s case). The crowds grew, the venues grew, and the tickets prices – oh my did they grow. A show that was once $35 became $100 (thank you Eagles), then became $350 (thank you Paul McCartney). And yet for the last decade, this growth was steered by the power of two – Live Nation (the world’s largest live music company) and Ticketmaster (the world’s largest live entertainment ticketing company). Now they want to be one. One company controlling the tickets, the venues, the promotion, the secondary

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ticket market as well as many of the world’s top musical acts. Now that’s power.

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ere’s where we’re at. In February of this year Ticketmaster and Live Nation announced they wanted to merge and become Live Nation Entertainment, a full service company uniting the largest ticket distributor with the largest concert promoter. The two entities spent years fighting, as Live Nation ended its contract with Ticketmaster in 2007 – which gave it sole control to sell tickets at Live Nation events – and started a ticket service of its own. Ticketmaster countered, buying Front Line, one of the world’s largest artist management companies, and TicketsNow, a secondary ticket sales subsidiary (read legal scalpers). A few years ago, Live Nation started signing several top artists (Madonna, Jay-Z to name a few) to “360-deals,” giving them multi-million dollar payments upfront in exchange for future percentages of their recording, touring and merchandising sales. The fight proved costly, as a weakened economy saw the companies’ sales and stock prices plummet. What could save them? A gathering of the giants. “This combination will drive measurable benefits to consumers and accelerate the execution of our strategy to build a better artist-to-fan direct distribution platform,” Live Nation’s Michael Rapino said in a statement after merger plans went public. “This merger, and the resources of these combined companies, will create a new dynamic and unique creative platform of choice for fans across all levels of the live entertainment experience,” Ticketmaster’s Chief Executive Irving Azoff said. Sounds good? “Monopolies are inherently bad,” said longtime rock critic Jim DeRogatis, who has written for Spin, Rolling Stone and now resides as pop critic for the Chicago Sun-Times. “I miss the corner coffee shops. I like Starbucks I drink Starbucks,

as a writer I drink coffee by the boatload. But I would like to have a choice. Whether the product is good or bad, it’s just not a choice and that’s not good for the consumer. The lack of competition is never good for the consumer.” In an analysis of the merger released by the American Antitrust Institute in April, James D. Hurwitz, who worked with the Federal Trade Commission, wrote: “Live Nation Entertainment would be a vertically integrated enterprise with dominance or substantial power on five market levels. The new entity would therefore be able to use its strengths in some markets as leverage to gain customers or compliance in others. This vertical integration would effectively frustrate new entry because, as a practical matter, it would require firms seeking to compete seriously against Live Nation Entertainment to enter the industry on several levels at once. The second factor is that the merged entity would likely enjoy market power not just as a seller but also as a buyer. In essence, the company’s market dominance would benefit it in both ways.” I’m not sure what it means either, but it certainly doesn’t sound good.

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ace it, the arena concertgoing experience is a pain in the ass. If you’re lucky to get tickets to the concert of your choice before a) it sells out, b) Ticketmaster times out your computer before you can make a purchase or c) Ticketmaster sends all the best seats to its secondary-selling site where you can buy tickets for five times the base price (a practice which reared its crooked head with Bruce Springsteen tickets earlier this year), you’re still left paying a small mint for a few hours of entertainment in what may be crappy seats. Of course, for the convenience of buying tickets online and printing them out yourself, Ticketmaster charges you a fee. “We’re kind of on the cheaper end

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of the tickets and I’m grateful of that,” Wakeling said. “We do hear it sometimes, where you might have a $20 ticket and by the time you finished buying it you might be paying $32 or $35 for the same damn ticket.” “What is convenient?” said Iain Bluett, president of Atlanta’s Ticket Alternative, a company fighting Ticketmaster for a small piece of the ticket-selling pie. “The convenience was allowing you to buy the ticket online? They have no competition and they built this huge infrastructure and that fee just kept creeping up and up. If they’re so worried about their fees, why are they charging you $2.50 to print out the ticket yourself? Your printer, your paper, $2.50 to do that? Ohhh, they have to pay for that technology. Well you know what, I don’t know how much technology costs but it’s not that hard to print out your own ticket.” So you paid for the tickets, the fees, now it’s time to go to the show to have some fun. “You’re treated like a piece of shit,” DeRogatis said. “With Live Nation I resent being treated like cattle. Whether it’s the added parking fee, which they do per ticket – four people carpool out to a show and each of them are paying $15 to park? $7.50 for a beer? $5 or $6 for a hot dog? And then in between they have the audacity to advertise to me? I paid $50, $60, $100, $250 for a ticket, I just paid $60 for the whole car to park in the middle of nowhere in a dirt field. You’re lined up, they search your bag and God forbid you brought in a bottle of water – throw that away because they’re going to sell you one for $5. The experience is an inferior one.” This will change with the merger, right? Trent Reznor, the mastermind behind Nine Inch Nails, is quite vocal about the merger, especially in what happens to ticket prices if it were to go through. On the NIN Web site, Reznor wrote a scathing review of the events, with a harbinger of things to come. “My guess as to what will eventually happen if/when Live Nation and TicketMaster merges is that they’ll move to an auction or market-based pricing scheme – which will simply mean it will cost a lot more to get a good seat for a hot show,” Reznor writes. “They will simply BECOME the scalper, eliminating them from the mix.” “We’re moving to this world where you have to be filthy fucking rich to see a concert and if you’re not you’re out of luck,” DeRogatis said. Auctioning off tickets “is absolutely what they’re going 56

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to do.” “You’ll start to see dynamic pricing,” Bluett said. “You’d have thresholds. You would sell the first couple of thousand tickets at $100 and then once they sell out you put the tickets up to $120, very much like the airline industry. It gets more complicated because the artists are looking to get more money out of it as well.” Surely the artists will put a stop to this ticket-selling plan.

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ono didn’t know. When asked by DeRogatis about the of Ticketmaster/Live Nation merger, the bespectacled honorary knight, who seemingly knows something about everything, was clueless to the news.  “A charlatan and a fraud,” DeRogatis said of Bono. “If you just made $50 million from somebody, you would know.” In fact in 2008, Live Nation signed U2 to a 12-year touring deal worth $100 million. And therein lies the next dynamic piece of this improbable puzzle – what are the artists to do? There are vocal barbs on both sides of the issue. Many top artists signed deals with either Ticketmaster or Live Nation, and their silence is deafening. “I think there is a certain amount of artists spitting in the face of the fans,” DeRogatis said. “When Paul McCartney was 15 or 16 he was able to see Little Richard in Liverpool for the equivalent of a dollar or two and it changed his life. Now some kid who’s sitting in a basement learning to play those Beatles songs, unless he has access to his dad’s gold Amex card at $350 a ticket, can’t see that experience. Paul McCartney has the right to charge whatever he wants, but don’t you tell me you’re an artist anymore. You’re not. This is now some capitalistic cash-in enterprise. How much money does everybody need for 90 minutes of work?” Springsteen fans bellowed after Ticketmaster sent tickets to his show to its secondary selling site, TicketsNow. The Boss himself got involved, scolding the company for its practices and demanding they stop: “The one thing that would make the current ticket situation even worse for the fan than it is now would be Ticketmaster and Live Nation coming up with a single system,

thereby returning us to a near monopoly situation in music ticketing . . . the abuse of our fans and our trust by Ticketmaster has made us as furious as it has made many of you,” Springsteen wrote on the band’s official Web site. Ticketmaster relented and apologized. But then there’s Billy Corgan, Smashing Pumpkins’ front man, who wrote to a U.S. Senate Committee earlier this year that “the combination of these companies creates powerful tools for an independent artist to reach their fans in new and unprecedented ways, all the while restoring the power where it belongs.” Corgan, as it turns out, is managed by Azoff. “It’s starting to look a little less appropriate for $150 or $1,000 stadium seats tickets to go on and watch a band that’s in front of the television screen with the singer dancing and miming their latest,” Wakeling said. “It’s becoming to appear a bit pretentious and particularly in this social clime when people are losing their jobs, their houses, losing any sense of hope for the future. It’s as though the artists have in some ways separated from the people they’re meant to reflect on and service.” “I know Ticketmaster makes a lot of money,” Tim Mahoney, lead guitarist of 311 said. “To charge for a ticket now, most people buy it online, but the cost for that service charge just seems like a ton of money. I know our band; we don’t get any of that. It’s not like the bands or artists are getting any sort of cut of it … it interests me where all that money goes.” In the end, the artist will set the price at what the people will pay. And they’re paying. “If I was in a band like Coldplay and U2 and I heard that people weren’t going because of the price, I would do everything in my power to change it,” Bluett said. “Unfortunately there are 80,000 other people at the Georgia Dome who don’t care and suck it up and say ‘Well that what it is, screw you,’ click and they bought the tickets. We all do it.”

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hat, if anything, is being done? As the economy continues to falter while tickets continue to rise...is anyone paying attention? Some of the country’s larger festivals remain a great bargain, and all are

allowing people to pay on layaway. April’s Coachella festival (The Cure, Paul McCartney, Morrissey) checked in at $269 (or less than a single top-tier seat for one McCartney show) to see more than 100 bands during the three-day event. June’s Bonnaroo (Springsteen, Nine Inch Nails, Beastie Boys) charged $250 for the three-day festival, while August’s Lollapalooza (Depeche Mode, The Killers, Jane’s Addiction) runs $190. And Bluett, for one, is trying to tackle the dreaded convenience charge. Ticket Alternative, handling between 150 and 400 venues nationwide in usually smaller venues (such as The EARL and Smith’s Olde Bar in Atlanta), charges less than half of what Ticketmaster does. “We only make money if we sell tickets,” Bluett said, “so we work really hard for our venues to help them sell tickets.” Of course the merger can only help him, since the overwhelming presence of one company could spur venues to look for alternatives. “It’s actually a great thing for us if it goes through because a lot of the smaller venues are looking now to jump ship, like this is the final straw,” he said. “It’s a bit of a win-win, lose-lose for us. On one hand, I don’t want it to go through because consumers have a hard enough time getting good deals on buying tickets and the exorbitant fees those companies charge are outrageous. On the other hand, if it does go through it could mean great things for us because it’s going to push more promoters to look for other alternatives, which is where we step in.” But the billion-dollar question remains: Will the merger go through? Bluett sees it happening, though with some concessions.

“Ticketmaster is going to be forced to sell TicketsNow, and if they do that I don’t think there’s any reason why it wouldn’t go through,” he said. “Those are a complete conflict of interest, how on earth anyone ever let that go through blows my mind. But if Ticketmaster does that, then they’ll likely merge with Live Nation” Members of the U.S. Congress and the Justice Department are looking into the merger, and some have vowed it will not go through. Of course, the winning of mergers such as this depends on how deft the companies are at playing political poker – and Live Nation has a face card in the hole. “I think it’s a 50-50 shot, I think this is a really bad time to be selling the American public this argument of bigger is better,” DeRogatis said. “On the other hand, the Live Nation board has a really interesting fellow on it named Ari Emanuel who happens to be Rahm Emanuel’s brother.” Who is Rahm Emanuel? He’s President Barack Obama’s Chief of Staff. Live Nation with a straight to the king.

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et’s stop where we started. For fans of the underground, none of this matters much. Clubs and bars were never tied to Ticketmaster and Live Nation, and likely never will be. The underground, after all, is the future before anyone is aware of it, and monopolies are never too good at seeing

much past their balance sheets. But the window of opportunity to see bands before they ascend to a new level could be closing faster by the day. With controlling interest in all music matters, the merged companies could seek 360 deals with smaller, lesser-known bands to join their cadre of superstars. Suddenly the up-and-coming band you wanted to see before it was big has reached the land of $50 tickets and $9 beers. The power of live music has never been more important, or valuable, as it is now. There’s a belief that if the merger goes through, live music’s best of the best (and maybe even its middle of the pack) will be reserved only for the affluent and connected. And those anchored amphitheaters, much like the high tension wires they sit aside, will be forever seen but never touched. “The thing that is old as mankind itself is the traveling troubadour who goes from village to village with his mandolin, puts out his hat and if he’s any good he winds up with a couple loaves of bread and pennies,” DeRogatis said. “If he’s not, he better become a blacksmith. “People talk about cybersex, but it’s still just jerking off. It’s not as good as the real thing. The one experience that can not be duplicated in this digital age is sitting in a room with a musician you admire and he or she is playing this incredible music. That remains incredibly valuable – that may be the only part of the music industry that is still viable. And to have that in the control of one company is outrageous.”

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Scattered character amongst the chatt er s ‘70s stereo come to life: a m ing crowd are se on v a hybrid type with a mullet strous, spiked ro eral Guitar Hero of cker in bl and Kool suit weari a dirty hippie ack, a ci g a rett a around th ng super hero. Th nd John McEnroe, e-branded pants, ev e e la en ro tter maneu om, mingli a spandex as The Fr ng wit vers o is all abo and passes out g h the crowd. He inhis gigantic afro u u it tr t being sa ar picks oduces him   fe!”), work w ing the cr ith his logo (“Air self The stage owd like Guitar is a pro. ba re , This is Ai sa r Guitar. ve for a spotlig ht, but wh mundane For two h to o needs in crowned At the eccentric wilours, contestants ranging fr struments? l la m n ou ta nt the st ’s best air champion om the age gu sh spirit of ips in Washingto itarist and conti in a quest to be n n ro u D ck e .C . Wh on ‘n’ roll, fu hair style ll of spli at results is a te to the national ts, sta malfunct s, ridiculous nam ions and es, stage jumps, moonwalkin ment to the drunkenn d ess. Defin ives, burning chesg, outrageous itely dru “It’s kind nkenness. t hair, costume involved. of all of the thri ll An d of lo th u der music, e Olympic too-ROCK”) s, ” , biggest p the undisputed fa explains Björn Tü but with a lot mor hilosopher roque (pro ce of U.S. e alias of Ai nounced “B beer s. r In Gu itar it si fo three yea rmer New York so nce U.S. Air Guita and perhaps one yorn ftw rs, coming r of its 2005 nati in secon are producer Dan began in 2003, Bjö on the 2006 d als. His struggle d place a total of Crane, competed rn, the 11 ti ocumentary fiv to into his Air Guitar overcome air legen e times, including mes in book To A N d at the a ti Con D ir id Guitarist. , If nothin Is Human: One Man and his further exdy was chronicle d in   g else, he ’s Quest to p lo it s wer B is a mad As an act genius am ecome the World’s G e compiled ivity, air ong madm re a te st Air rock ‘n’ ro en. g ll, but it uitar has raged on when the w World Air as first practiced since the earlie st days of 1996. The Guitar Ch on an Ol U. a roll had S. organization, su mpionships began ympic-style scale no represe rp in Oulu, Fi   ntation a rised that the bi rthplace nland in t the wor World org ld ’s , fo rmed in 20 of rock ‘n’ anizers be 03. based on gan the co th guitar. Cu e belief that you ntest as a way to stomary a ca p ro n’t hold mote world competitor t peace s join on the end of every a gun if you’re h stage for competitio olding an , a mass air n, all air guitar to

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air guitaris score perfor ts, local music journali ma 6.0.  A perfec nces on the Olympic sts, and radio personal Figu t score from it   round one, ap re Skating scale: from ies, tly, is a st Judging is raight 6-6-6. 4.0 to ba merit (the ex sed on a combination of three crit guitar), stag tent to which contesta eria: techni nt and airness. e presence (how well co s appear to be playin cal nt g the De es fi ta ne nts win over d by U.S. Air performance the cr Guit an art form transcends the imitat ar as “the extent to wh owd) io ich a that makes in and of itself,” airn n of a real guitar an d be ess is the va it, well, awes   ome. riable of Ai comes r Guitar “It’s when a person is pl just standi ng there ma aying air guitar and dly gesturin yo and you go ‘Wo g and flaili u forget that they’re guitar,” Björ w. That guy, or girl, is actually ng their arms about n illustrate airness does ho s. melt faces.” “It’s best experienced lding some kind of   live at a sh ow, and Commonly li kened to po rnography, it, airness as is singular el the pinnacle to whic in you know it when h yo em what rock ne ent that makes air gu every contestant stri u see ve it rd ar s do wo rt at hy home quality that of contest, s, the ra turns air gu in their spare time.   Airness is cr ther than itar legend s into air gu ucial, the For The Fro, it ar gods. airness lie now in his second year with the or iginal U.S. Chof competition, his stan Hello Kitty br performance. eastplate-clad maniac amp, David “C-Diddy” Ju dards of ng, and that Chris Harden “To me, that’s airness,” ’s 2003 world champion sh from Columb , a 34-year-old software says the superhero, al ip winning ia ia but holy cr , S.C. “When I look at th engineer and comic bo s of one ap! Every ti ok author at , I kn ow me I watch   it, I get pumphe’s not playing a guit ar, The Fro, a ch ed up.” when embodi aracter pulled from Ha ed by Harden rden’s comic and Jeff Ly , is an exub book of the nn from good ol e. For his regional wi erant cross between St same name, ep n in Atlant ’ Villa Rica C-Diddy, ligh a (he origin hen Colbert ), The Fro pe ally hails rformed an exploding inting candles beneath ho mage to th a “Play With Meto his own rendition of mock-up of the air lege e now retired nd .” C-Diddy’s si   gnature song , before : Extreme’s Beyond scor in both fans an g, titles or prizes, it ’s Atlanta show d contestants coming ba these unique characte venues fill had a decent turn ou ck year after year. Al rs that keep t, in other, to capacity more establ though the stars, like with throng is L. of whom have A.’s Rockness Monster ans left waiting for entr hed cities, fan bases th held U.S. titles in 2005 d New York’s William Oc y. Air guitar ean, both and 2007, re instruments. at easily rival those of local ba spectively, earn local nds that re   ly on real However, wh il A-game is on e maintaining a fan ba e it in throug way to become air gu se and keeping on your itar Hall of h dedication on par with Fame materi air guitar , like Björn circles is ththe greatest of rock my Türoque, or simply vi al, others make a performance, e case of Bettie B. Good ths. A story well-known circumstances e. During he which includ in Kapronica, r 2008 Brookl air guitar ed a metal ac yn regional chose to cont cidentally severed th folding chair, Bettie , re e rather than inue her performance fourth toe on her left al name Taryn anyhow, goin fo Bettie, whil medical help. The inci g for air gu ot. Bettie de e the toe wa   s inevitably nt resulted in a regi itar glory onal win fo a sacrifice r The Fro hims to the gods of rock. Air Guitar elf even had his own injury to sp eak of, spraining hi during an in s wrist in a fall tense practi session. ce

ce. rld pea r of wo o n o h rd” in what “Freebi or not, people y l s u o g i n   c bringi lves k cons “I thin lly about is ots of themse a very i a s e d i i r h e ic it’s ak sic, wh not er to m togeth ration of mund it’s about ically b s e a a l b , e and form in c al art iously f the commun yourself ser says Björn o de. “And, i taking a good time,” conscious s bout.” a having politically ld peace is r t’s contes hat’s what wo Japan gland, to me, t and, En orld title, l n i F e w rom   d held th tants f Contes ly have all g three worl the n g a i t and I e U.S. produc rs, includin U.S. a with th ns in six ye and two-time o p i m p a m h a c h c ahan. t world curren Hot Lixx Hul d r e n ble an win y likea irl e t a i med   is a doesn’t x is im bout h Hot Lixbly humble a st glance he d r i l i a Wor a incred ents. At a f o hold m chieve e the type t on stage he’s n’s k r seem li tar title, but t foil to Bjö eems c s Air Gui cker. A perfe s, Hot Lixx g the firecra pher ramblin ughtful of much o o philos used than th t still very as u m more a henomenon, b f air guitar p t o r a e agnet” whole h s in t by Zac “Mr. M der e v e i l e l b d ected e ime ophize philos he much resp tar and two-t t i , u o g r n r i Mu an of a ndon. statesm hamp from Lo c rt d worl inal a f the f ow,” o e n o   n f ight lly is “It rea t least for r ppelganger o eer o a n d , i s g e m n h r e t o , f studio ot Lixx ht says H a, California an’t be boug c i n d o t e “I r m e . r ck Ala (continued on ou. illmeie t a sti Craig B You can’t pu away from yit. page 62) t . i d e l v e a h o or so ne can tak t l l f i o k s o d e any ll that kin it. No n’t tak A It does orn with it. b e ’r u o Y gin stuff.” can be win a ties, stants hey have to rch hit 25 ci d Boston, in st, but e t   n o c t n e a , a e r e s o s l f t a e e i l us que nd h b t l But world on. In 2009, t Angeles, Da ’s a ridiculo ir mullets a a g n i t s e i I o h . L t t , s n k plott l competit i o r r ew Yo g to d a guita . region ng Atlanta, N y’s best air ants willin to the stage p i r ar includ of the count ager partici droom and on ir guit e e Hero, a ds. In the search e plenty of out of the b r a it u n r r ame G er two rou The there a he air guita video g choice. ov t for the aking place ong of their ey must s bring t n e s am th , t e r tourn and furious seconds of a round, where testants hav   simila t 0 n Unlike ions are fas en perform 6 e compulsory me cases, co eviously r h m it so compet und air axe move on to t ng that, in which have p llo, as well e o o , r s r s s o r t e d o M ran s g e t r i d m n i t i o f as vete compe eterm ced. Three ju gods like T e -d e v i r f p p a i r t to o c a t t a i r m u p r g o l ne rf all pe eard, let alo included rea h never

Photo courtesy Natalie B. David

ATHENS BLUR MAGAZINE

61

l, , fell t e my fal tairwell g a wris bing a s he ground brok ow I was wearin im cl e p o “T h r . s s a e y a e th s k et, but o ay of r,” he “I Br the plan n stage.” the floo til the d balls on ore and pushing f o o g right to nice, but up un l before I got o l l s ea it is ck ‘n’ ro ing back for m which wa my wrist could h any ways m icated ro most ded ir guitarists co ing because in m essary skill, e th f brace so o keeps a t the nec are some ets o appeal aithful or Finland that ar mythos is s citement withou on fee, which g it guitar f . ti o u ex a .C n g D ir d tr e a n r ir to is a a e a h l e e T ip reg a free tr ge. For many, th l the glory, thril ing up a small ’ roll alias, ther it’s not y ed ‘n l n a e o : p ck th y o r s r fo nta t to us the spor ate rock star fa uipment. Except truly outrageo eq m ming a r to the ulti ns or expensive s d in a d br o mullette connecti in free beer, an n. ey’re all lived with th t a io th ck it d a compet paid b arists is ave a mullet, an walks of ents for air guit h Photo court requirem on about Björn. “I used to ey come from all e two-time esy ti p ce n Nick Roble ho is th rists, th mon misco r mother,” says w s a m t’ t it a co s ec u e th g it th d ch ir n r k A a ei a , in e. th n h n o th o h m is g m it “I to a Brit and are long ing in co ho live w losers w , but those days at Mets stadium all have one th uty that is rock r e o er ea w d b th k en e o v m in th th og my celebrate on. But I m a hot d life, fro mpion from Lond me on stage and a a h ch s inly of a o d n worl are certa come to play to have ts y it is r il a b the a air guit ous. Those that f shame.” o the best ci roll.” yone but shy or self-cons e and total lack n a to en p et e o l p th y m l r u o ’s not f ion, “a co fake rsuit tr It’s a pu aracter type. It the world champ ility to r the ab e love and ch f o o , n in s o d ta r ti r o w ce mplet inebria y, in the It takes f all a co nds for,” need onl cohones. es most o rock ‘n’ roll sta surrender k y ta il r a it k im at in g to , pr e willin rink. I th ything th , I think “It takes on if you don’t d ‘n’ roll and ever amp, you must b allow dignity.” ch ’t ti n r ck o a o ia d r guit d we inebr n to n edge itars an edicatio be an air e them a absurd d s Björn. “But to e don’t allow gu will giv rn and Hot t en m W u . te tr r a jö e doo elabor f the ins cluding both B bands and nity at th . wledge o in your dig various te to air genius that kno ny contestants, k in , in s m th r ists who think twice. Ma uitar” in air te always transla r a it u g g l can l doesn’t Even rea mpetition should ar, or “fake air guitar, I ical skil ying air who lost while a in air co e played the guitors. However, mus l p r o f t Lixx, n of me Lixx, hav musical endeav makes fu with it,” kids Ho ho wasn’t a real te w omebody d s , n ea legitima if h ea t e Oc a ge is th nk them over th lding William ta n a v d a ie co and flip-w y real l guitar in 2007 to back “The onl ow too e et my rea y. t you kn always g his 2006 U.S. titl e in tha in guitar realit g ta n a v g d a ed is s , d a s b a ce defendin e r can b le was very much the crowd’s fa et t. g ir guita in guitaris lay non-aal air guitar sty y about getting ou need to do to p to w o h y l l in g er ea ig v in r r w o te o ’s a h it se kn “I think lains Björn, who foundation, but at them, doing w p t , .” es out to ey much,” ex to have a decen ed r s u u o y e uitarists ar ing e modern g surprise f o “You hav our tongue, bulg t what guitarists m l ea y o ical r little n wagging ted, and that’s n , there’s ey’ve see d the typ go beyon guitar playing best concerts th audiences to s er them exci m l of rea of the rested ’ s perfor ar force ical limitations ntests are some s produce disinte psulates rock ‘n air guit s w ca es o r co h a en ik s l it r u e a ck g o Because quishes the phy it th that air n they should, r spectrum, air gu ose songs from nd, of and relin air fans claim energy a ely cho tly tha ite end of the en y u n a eq m r f t s routin rince, for their a o os er p m th to p r o o r f a e F er th P P de. s. en On this deca c performances. ght of its exces he Scorpions, ev T till and stati ria from the hei la, Slayer and ave to dis es te really h to go pretty ts n roll hys len, Metallica, T ta s a s a the conte ce, so they tend of Van H itar prowess. is used a because n u ny ways second performa . I’ve seen a pen a concert in a m in course, g t at a 60 concer lashed n melted ’ roll in ws.” eeing a reasts f r than s ow about rock ‘n e’s sometimes b y face hasn’t beet air guitar sho te et b s t’ er n “M a h “I k . T s n . g r ey n cs jö th B ti ti a g s el b y m everythin ean, there’s acro ne occasion,” sa cars from face m into e than o have numerous s r crazy. I o m n o pastime I ick g a silly and reviving guitar p yet I find that in n r tu t ut by ining years, bu uments. B are redef any instr, air guitarists ’t en r a there rsuit So maybe nship worthy pu ce at a time. n a champio ll, one performa o rock ‘n’ r

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music ians corn er

gear guide SWR golight™ 4x10 4 ohm Bass Amp These high-quality, lightweight enclosures are the result of a painstaking process in which every component of SWR’s Goliath Series was evaluated and, whenever possible, a new lightweight high-performance component was selected for use in the golight enclosures. This model features a 4x10 enclosure, 800 watts handling, custom SWR neodymium speakers, horn tweeter with attenuator, Speakon® and 1/4” speaker jacks, removable casters, side handles, vibration-free shock-mounted grill, front slot port. 56 lbs. (25.4 kg) impedance: 4 ohms.

MOOG MP-201 The MP-201 Multi-Pedal is the perfect Control Hub for live performers, studios, DJ’s and more. It’s built like a tank and with CV, MIDI and USB connectivity, it can control anything from a laptop running the latest software to a monster analog modular synth. Stay in control while your hands are busy playing, spinning or mixing!

Boss FRV-1 Fender ‘63 Reverb Pedal BOSS and Fender® USA have collaborated to create the FRV-1, a stunning recreation of the legendary ’63 Fender® Reverb. The FRV-1 puts that timeless tubedriven reverb sound under your foot in a tough, reliable compact pedal. The original ‘63 Fender® Spring Reverb is the sound that launched the surf-music phenomenon, and is a staple of rockabilly, country, and blues. Later, it became commonplace in grunge and other modern genres. Now the same legendary sound can be had in an affordable, rugged compact pedal. 64

ATHENS BLUR MAGAZINE

Aguilar DB 751 Bass Head

The DB 751 Bass Head features a combination of raw power and rich tone that continues the legacy of the DB 750. The DB 751 is a groundbreaking hybrid with a discrete Mosfet output section and a 3-tube preamp. While maintaining the legendary sound of the DB 750, the DB 751 features improvements in the EQ section and a better control layout, which gives you the headroom to bring your tone to life no matter what kind of music you are playing.

Commemorating its 40th Anniversary as America’s premier builder of uniquely shaped, lifestyle-driven electric guitars, B.C. Rich® proudly announces a new series of handcrafted instruments to mark the milestone. The special guitars are a tribute to models originally developed by company founder Bernardo (“Bernie”) Rico and are limited to a production run of 40 guitars per model. The four Anniversary Guitars represent the first original designs offered by B.C. Rich: the Seagull, Eagle, Mockingbird and Bich. Each will receive a 40th Anniversary commemorative logo on the back of the headstock, a special serial number and certificate of authenticity. All Anniversary instruments utilize Neck-through-Body Koa wood construction, a feature rarely seen before B.C. Rich came on the scene back in ‘69. This method maximizes sustain and helps maintain the long-term structural stability of the instrument. Bodies are crafted of solid Koa with Maple accent stripes (“stringers”) on two models and utilize DiMarzio® Dual Sound pickups. Additional design details include the classic B.C. Rich Diamond fingerboard inlays (Snowflake design on the Seagull), Grover® Super Rotomatic™ tuners and vintage Cal Rad knobs.

B.C. Rich Anniversary Guitar: The Eagle

Sabian AAX & HHX cymbals In addition to vintage bright sounding AA and vintage dark HH versions, SABIAN has introduced modern bright AAX and modern dark HHX designs of its popular Raw Bell Dry Ride cymbal. Renowned for award-winning innovations, SABIAN cymbals are played by such greats as Chad Smith of the Red Hot Chili Peppers.

Spector “Shorty” Spector Basses is now offering for the first time a short scale USA bolt on neck bass. Known familiarly as “Shorty” the bass utilizes a 30 3/8” scale length 22 fret neck. The original versions of this bass were built for Garry Tallent who has been using them for years on tour with Bruce Springsteen and the E Street Band. The neck features a pau ferro fretboard on a 3 ply graphite reinforced hard maple neck. The body is the original Spector ergonomically carved shape with a light weight mahogany core. It is available with a wide range of figured maple and exotic wood tops and stain colors. All hardware is black plated and the electronics consist of EMG pickups and an Aguilar OBP-3 active tone circuit.

Hohner Blues Bender Hohner, Inc. announces the addition of the Blues Bender P.A.C. to its line of professional harmonicas. Designed primarily to make playing and note bending easy for entry level players, the Blues Bender P.A.C. allows everybody access to the bluesy notes needed to make any riff complete.

Mackie u.420d Mixer The Mackie u.420d 4-channel mixer with 24bit/96kHz FireWire includes two Mackie mic channels featuring 3-band EQ with mid-sweep, a built-in DI box and 30mm faders. Two high headroom stereo line inputs channels feature Mackie Designed RIAA phono preamps, 3-band “full kill” EQ, a 30mm crossfader and a full headphone cue system.

Krank “Krankenstein Jr.” Mini Stack Krank Amps is known for making seriously kick ass guitar amps and was the last stop in tone for the late Dimebag Darrell of Pantera fame. Their collaboration resulted in the uber popular Krankenstein amp that has since weaved the sonic tapestries of such rock luminaries as Metallica, The Offspring, and  even the hilarious Metalocalypse Cartoon Network show. And now Krank is introducing the mini versions of Dime’s tone in the Krankenstein Jr., available in both 20W and 50W and featuring 1x12 cabs to complete the cool rock amp “stack” look.  And the mini version of it’s big brother certainly doesn’t skimp on the tone, reproducing Dime’s wsignature sound at more home-friendly volumes or being able to easily power club gigs.

Swart Amplifiers

In a short time, Swart Amplifier Co. has garnered some of the most stellar raves in the industry from the ones who matter most: musicians. Featuring USA built, 100% hand-wired, all-tube circuits, with components selected to maximize harmonic richness and superior sonics, the Swart brigade will satisfy any connoisseur of Great Tone. Choose from 5w of pure Class A, Single-Ended 6V6 combo portability to the 30w SST-30 altar to Tonal Glory.

ATHENS BLUR MAGAZINE

65

musicscope

Astrology for

66

?

Musicians

CAPRICORN (12/22-01/19) It’s not that you’re a bad musician, dear Capricorn; you’re just playing the wrong instrument.  Try alternating to a completely different musical interest.

AQUARIUS (01/20-02/18) A band member quits, forms another band and takes with him/her songs you have written.  It’s up to you to fight for the songs back or create new ones inspired by the fiasco. 

PISCES (02/19-03/20) Someone in your band is bad mouthing you to every ear that will listen.  When you confront the member, they will deny everything.  Be cautious about keeping this person around.

ARIES (03/21-04/19) Drinking before shows is starting to be a problem.  Pace yourself or you may make a total ass of yourself when you fall off stage in the middle of a performance.

TAURUS (04/20-05/20) Your band is gaining momentum.  Continue playing as many shows as you can even if there’s no pay involved.  Hard work does and will pay off.

GEMINI (05/21-06/21) Your significant other is significantly jealous of the attention you have been receiving from the opposite sex after shows.  Time to think about how to break up with him/her…

CANCER (06/22-07/22) Singing is not your forte and no one else has the heart to tell you.  You might want to consider taking vocal lessons for a few months before trying to start your own band.

LEO (07/23-08/22) You are invited to open for another band this month but without any compensation.  Take the opportunity to expose your music to new fans. 

VIRGO (08/23-09/22) You’re not the only one feeling like the drummer has to go.  Find a tactful way to let this person know it’s not working out, then take your time recruiting a new drummer.

LIBRA (09/23-10/23) A powerful performance at a recent show has generated a local buzz.  Instead of rushing to play the next available gig, wait a few weeks to let the buzz about your band magnify. 

SCORPIO (10/24-11/21) Don’t let your temper get the best of you.  A club promoter angers you at a gig this month and how you handle yourself could dictate whether you play any club in town again.

SAGITTARIUS (11/22-12/21) Drink water in between all the summer boozing you’ve been doing before shows.  Otherwise, you may collapse during an outdoor performance from dehydration.

ATHENS BLUR MAGAZINE

Regional

report

Memphis, TN

. ...By Amanda Dent

established 1819 population 1,280,533 notable bands Big Star, Lucero, The Grifters, Amy

Lavere, Al Green, Elvis, Cory Branan, Isaac Hayes, Big Ass Truck, Three 6 Mafia, North Mississippi Allstars, Justin Timberlake, Booker T and the MGs. usEless triviA There’s 7.5 miles of trolley track in downtown and midtown Memphis. drive from athens 456 miles Something Extra $5 Cover, a web and television series featuring real Memphis musicians and fictionalized stories, aired on mtv.com and MTV during the month of May. The series was the brainchild of “Hustle & Flow” writer and director Craig Brewer.

ARTS &ENTERTAINMENT

upcoming on the screen making sure it’s worth your $9.50

G-Force (July 24) (Hoyt Yeatman) In this 3-D animated comedy adventure, animals are trained by the government as spies and are given the latest equipment to assist them in their missions.  The ‘G-Force’ consists of guinea pigs by the voices of Sam Rockwell, Tracy Morgan, Penelope Cruz, a literal fly-on-the-wall and a mole by the voice of Nicolas Cage.   Prediction: The talking animated animals are overdone but the plot is new.  The kids will love this creative 3-D film making pets and insects the deciders of the world’s fate.

your new favorite band

Orphan

This indie folk/pop outfit picked up steam in the past year after founder/vocalist/guitar player Josh Cosby met Ardent Studios engineer and musician Nick Redmond. Redmond joined the band as lead guitar player, and soon Star and Micey were recording at worldrenowned Ardent Studios, becoming the second band on the newly reactivated Ardent Music label (which launched power-pop pioneers Big Star). With Geoff Smith on bass, Doug Walker on organ and keys, and a revolving cast of local drummers, Star and Micey wrapped up their first studio album (to be released later this fall). Included in the album are special guest appearances by some of Memphis’ most recognizable names — Big Star drummer Jody Stephens, North Mississippi Allstars axman Luther Dickinson, and Dave Cousar, guitar virtuoso and one of Memphis’ best kept secrets. Star and Micey continues to be a fixture of the live music scene in Memphis, with future gigs planned regionally.

(July 24) (Jaume Collet-Serra) A sweet little girl named Esther is adopted by a troubled couple, John and Kate, played by Sarsgaard and Vera Farmiga.  After Kate’s miscarriage and the couple’s terrible luck with their marriage, they adopt in order to be somewhat normal.  The innocent sweet attitude of the little girl quickly vanishes leaving Kate concerned and eager to alert her friends and family before something terrible occurs.   Prediction:  Oddly resembling the plot of The Omen, this film promises some nightmarish scenes that will make your stomach drop.

the buzz in memphis : star and micey

venue profile

on the charts

The Hi Tone has long been a staple of the local live music scene, featuring acts from all over the globe and from Memphis’ own backyard. Located on Poplar Avenue — Memphis’ central thoroughfare — in the heart of Midtown, this intimate and gritty bar (which also serves superb New York-style pizza) is the perfect representation of the city of Memphis and the music it has created. With an estimated 400-person capacity, the Hi Tone has packed them in for acts such as MGMT, Band of Horses, Brian Jonestown Massacre and a broad slate of local acts and charity concerts.

1.“Gives You Hell” All-American Rejects       2. “Second Chance” Shinedown 3. “The Climb” Miley Cyrus 4. “If Today WasYour Last Day” Nickelback 5. “Boom Boom Pow” Black Eyed Peas                6. “I’m Your’s” Jason Mraz    7. “You Found Me” The Fray         8. “Poker Face” Lady GaGa                 9. “No Surprise” Daughtry 10. “Please Don’t Leave Me” Pink 

the

hi tone

top 10 songs played on wmfs 92.9 FM

A&E MOVIE PREVIEWS

What’s your

Funny People (July 31) (JUDD APATOW) George (Adam Sandler) is a successful comedian who has less than a year to live. He meets Ira (Seth Rogen) after a stand-up set and hires him as his semi-personal assistant and friend. The two form a friendship where George teaches Ira how to be a better comedian and Ira helps George come to grips with death. However, when George finds out that his disease has gone into remission, he decides to start living the life he has always wanted and tries to win back the love of his life (Leslie Mann).  Prediction: A strange mix of comedy and the very serious subject of death, this movie will be a tough one to pull off. However, if anyone can tackle it, director Judd Apatow is the one to try. Proving nothing’s sacred, he’s already done it with both virginity and pregnancy (The 40-Year-Old Virgin and Knocked Up). And if nothing else, the new team of Adam Sandler and Seth Rogan will be interesting (and hopefully hilarious) to watch. 

Aliens in the Attic (July 31) (John Schultz) In this comedy adventure, a family takes a vacation and the kids discover alien invaders with ambitions to destroy the world.  The kids must eventually battle the aliens without their parents ever finding out about the petite invaders.   Prediction:  Co-scripted by one of the writers of Madagascar, this film has high-hopes for success.  Teen phenomenon Ashley Tisdale is sure to bring a large audience after the box-office hit of “High School Musical I and II.“

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A&E MOVIE PREVIEWS

Julie and Julia (August 7) (NICK EPHRON) Based on two true stories, Julie and Julia is about two women, Julia Child (Meryl Streep) and Julie Powell (Amy Adams), whose lives become intertwined despite being separated by time and space. Julie Powell is a temp who decides to change her life for the better by creating a blog to document her quest to cook all 524 recipes in Julia Child’s “Mastering the Art of French Cooking.” Going back and forth between time periods, the movie also shows Child’s struggle in making the cookbook and realizing her dream.  Prediction: If Meryl Streep and Amy Adams were not in this movie, I’d probably write it off as an overindulgent chick-flick. The switching between time periods may be somewhat off-putting, but with these two actresses side by side, the movie can’t be all bad.

Cold Souls

District 9

(August 7) (SOPHIE BARTHES) In this interesting tragicomedy, Paul Giamatti (who plays himself) is a man struggling with anxiety while playing the lead role in Chekhov’s Uncle Vanya. He discovers a high-tech company offering to deep-freeze souls and, in effect, take away suffering. Giamatti decides to freeze his soul until after his performance in the play, but complications arise when a soul-trafficking “mule” steals his soul for a soap-opera actress. The film chronicles Giamatti’s quest to find his soul again while discovering what happiness and being able to experience emotion really mean along the way.

(August 9) (NEILL BLOMKAMP)  Peter Jackson takes the reigns as producer in this sci-fi flick about alien refugees living in slums on earth who have overstayed their welcome.  While the government tries to sort out what to do with the extraterrestrials, the MNU (Multi-National Unit) try to capture an ex-MNU field officer, Wikus van der Merwe (Sharlto Copley), who has become infected with a virus that is mutating his DNA and just may be the key to unlocking the alien’s advanced technology and weapons. 

Prediction: A combination of dry humor, pathos and the question we have all wondered at some point or another, would we actually be better off without the burden of our souls?, this film is sure to be worth checking out.

Prediction:  Sci-fi fans will flock to the theaters and the fresh take on the tired aliens-coming-to-earth scenario may strike interest in action film junkies.  Plus, a new extraterrestrial movie might be just the breath of fresh air cinemas need from this summer of robots (Terminator Salvation, Transformers: Revenge of the Fallen).

The Boat that rocked (August 28) (RICHARD CURTIS) Set in the 1960s, The Boat that Rocked tells the story of ”The Count” (Philip Seymour Hoffman) and Quentin (Bill Neighy) who are in charge of an illegal radio station that broadcasts from the middle of the North Sea.  Along with a group of rogue DJs, the crew fights for their right to play the music that defined their generation and stray from the quintessential jazz music that reigned supreme in Britain. Prediction:  For movie buffs, the name Philip Seymour Hoffman carries a lot of clout and if writer/director Richard Curtis goes along the same lines as his previous Brit comedy, “Love Actually”, then audiences should be in for a fun and hilarious romp into the British pop movement.

Carriers (September 4)  (ALEX & DAVID PASTOR) Chris Pine (Star Trek) and Piper Perabo (Coyote Ugly) star as survivors of a deadly viral pandemic that begins in Western America.  Along with two other survivors, the group flee from the virus only to find out that they may be more of a threat to one another.  Prediction:  Though the premise sounds like every other zombie/infection movie ever made, audiences seem to never get enough of the genre.  Not to mention, Chris Pine’s new found fame with the popularity of Star Trek.  If a PG-13 rating is announced, Carriers should be a sure fire hit. 

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ATHENS BLUR MAGAZINE

17 Again  

The Hangover’s Mike Epps is just a big kid livin’ in a grown man’s body. By DeMarco Williams

If you’ve seen Mike Epps on film, you know the dude is an absolute nut. If you’ve ever hung with Mike Epps in person, you know it’s the farthest thing from a front. The guy smiles incessantly. The guy tells stories like a grandpa. The guy cracks jokes like a cool uncle. Epps, one of the funniest people of this generation, simply loves life and all that it entails. “I stayed suspended,” Epps begins, presumably on his way through another hilarious chapter in his life. “I always had a school prank. Out of 94 days, I might have went to school 50 of them, straight up. I always had straight F’s.” Thankfully for Mike, the reception he got after a stand-up performance would be the true final exam. “When I knew I was on to something,” the Indianapolis native recollects, “people would just tell me I was funny. I was actually going around practicing [my routine] on people in just everyday life. I would say to myself, ‘Damn, this shit be workin'. I was seein’ if I could do it on cue. I was makin’ people laugh all the time, just bein’ me. Then I started gettin’ some one-liners together. My name was kinda poppin’ around the city in the after-hour clubs and the bars. I noticed how people would act when I came around. Everybody would be like, ‘Get’me, Mike. Talk about him!’ I was onto something. I ran with it.” From there, gigs started to roll in. Then TV spots. Then movies. Then stand-up DVDs. But Epps maintains, “I never did it for money. Still don’t 'til this day. My wife cusses me out everyday. [She asks] ‘What you gonna do when you can’t do it no more?’ I said, ‘Shiiit. When is that? When I’m dead? I can do this forever.’ I love to do it. I’mma be 70-years-old, talkin’ crazy. Been married five times. Funny is funny till you die.” He ain’t lyin’. Just as sure as you’re holding this magazine right now, somebody across this great land is bustin’ a gut, watching Epps’ old Def Comedy Jams footage or a scene from one of his crazy pictures like Next Friday, All About The Benjamins or last May’s Next Day Air. Hell, Mike wasn’t even in the surprise summer hit The Hangover long, but his time in front of the camera was memorable. It’s almost as if Epps, like Jimmy Fallon or Amy Poehler, makes you laugh the moment he opens his mouth. Almost. For when Mike Epps is 38, married and a proud papa these days- starts to explain how his approach to comedy has changed over the years, he’s all business. “I know exactly what I want out of it now,” says the comedian, who still books stand-up dates when he can. “At first, it was like, ‘What do I want?’ Now I want to make my fans happy and I want to walk away successful. I want people to be able to say, ‘I liked the way he set that up. I liked how he broke it down.’ Details are important to me now. I’m more into what I’m doing as opposed to just going out there freestylin.’ I like to know what I’m doing and how to attack.” With that sort of focus, fans would have enjoyed watching Mike portray his idol, Richard Pryor, on the big screen. For years a deal was reportedly close to becoming official. Now Epps insists quarrels amongst the Pryor estate may permanently hold up the project. “Richard Pryor taught me how to protect my craft and to appreciate it,” tells Epps, who will costar with Ice Cube in the long-delayed comedy Janky Promoters later this year. “That’s one of the downfalls that he had of being a great artist, you know what I’m sayin’? He was a complete genius. There’s a heavy price to pay for being that. I learned how to appreciate and protect my craft and protect my blessing and not take it for granted and not let it destroy me. That’s the everyday fight when you have genius qualities or God blesses you with a gift. The fight is just to keep your sanity.» “I make people laugh all the time. I just be wantin’ to laugh sometimes. I want somebody to bust me up. It’s a heavy price to pay. You give up so much for the position. I just try to be as normal as possible. I try to do normal things. I don’t have too many people or servants just doing stuff for me. Fuck all of that. If I can’t ride down the street by myself, I don’t want it. When it start gettin’ like that, I quit ‘cuz I ain’t gonna be able to enjoy nuthin’.” B Epps from the “Honeymooners,” courtesy Paramount Pictures.

upcoming dvD releases july

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The 10th Victim Comrades Devil in the Flesh Becoming Charley Chase Torso

july

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Battlestar Galactica Dollhouse [Season 1] Green Lantern: First Flight An American Affair Dragonball Evolution Fast and Furious Miss March Ancient Aliens Angel of Death Life on Mars: Series 1 The Mafia Streets of Blood Repulsion

aug

Release dates are subject to change. Check artists or store websites as these dates approach.

aug

17 Again Alien Trespass I Love You, Man London to Brighton Almost Heaven Dark Rising Minstral’s Daughter Soundstage: Chris Isaak’s Greatest Hits Starman Teenage Mutant Ninja Turtles [25th Anniversary Collector’s Edition]

aug

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Sons of Anarchy (Season 1) Hannah Montana: The Movie Go Gossip Girl: Complete Second Season The Last House on the Left Dexter: The Complete 3rd Season

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Alien Uprising Delgo Mutant Chronicles Labor Pains Race to Witch Mountain The Mysteries of Pittsburgh Obsessed Flight of the Conchords: The Complete Second Season The Soloist

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Adventureland Sunshine Cleaning Samantha Who?: The Complete 2nd season House MD: Season 5

ATHENS BLUR MAGAZINE

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FOOD

By Jacquie Brasher

Nothing soothes the summer sweats quite as refreshingly as ice-cold treats, am I right? Instead of spending your hard-earned cash buying ice-cream from the grocery store, try making these easy-to-prepare desserts. Not only will you have an abundance of coolness at your disposal, your friends will be begging for more!

Blueberry Mint Granita

Granita is a fancy Italian word for slushy, flavored shaved ice. It’s very easy to make, but you need to check on it every hour or so while it is setting in the freezer. Hey, it’s worth it!

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2 tablespoons chopped fresh mint 1/2 cup superfine granulated sugar 3/4 pounds blueberries (2 1/2 cups), thawed if frozen 3/4 cup water 2 teaspoons fresh lime juice

meals for your broke ass

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COOL TREATS TO BEAT THE SUMMER HEAT

Directions:

Finely grind the mint with sugar in a food processor or blender. Add blueberries and purée until smooth. Force purée through a fine sieve into an 8to 9-inch baking pan, pressing hard on solids (discard solids). Stir in water and lime juice. Freeze, stirring and crushing lumps with a fork every hour, until evenly frozen, about 4 hours total. Scrape with a fork to lighten texture, crushing any lumps. (Scrape less for slushier ice.) Serve immediately. (You can freeze this for a bout 3-4 days, covered. Scrape the ice to freshen it up.)

195 Paradise Blvd. * Athens, Ga. * 30607

     My friend Teresa runs her own catering business and makes absolutely wonderful desserts. She has graciously loaned me this recipe as something that’s quick, easy, inexpensive and delicious!

Punch Cup Parfaits 3 lemons 1 can sweetened condensed milk ½ pint whipping cream

Directions:

Juice all three lemons to yield 1/3 to 1/2 cup juice. Mix juice with sweetened condensed milk. Pour very cold whipping cream into mixing bowl and beat until soft peaks form. Add powdered sugar and mix until medium peaks form. Alternately layer whipped cream and lemon mixture in punch or parfait cups. Refrigerate two hours. If you have a slightly larger budget, this pairs beautifully with berries, pound cake, graham cracker crumbs or broken bits of cookies. Just add the layer of your choice.

Throw-It-Together Trifle This next dessert is something my mother came up with when I was a child. I have always loved it. And it involves Jell-O! What’s not to like? 1 4-serving size pkg. Jell-O, your favorite flavor 1 8 oz. can fruit cocktail 2 thick slices of moist pound cake, cut into 1-inch cubes

Directions:

Prepare the Jell-O as directed. Meanwhile, in a medium glass casserole dish, combine the fruit cocktail and pound cake cubes. Stir very gently, making sure the cake doesn’t get broken into crumbs. Pour the Jell-O into the bowl. Stir gently to incorporate all ingredients. Refrigerate until the mixture is set. Serve with dollops of whipped cream--or if you’re really decadent--lashings of heavy cream!

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BLUR EVENT CALENDAR

go ahead : make my date upcoming events in athens and atlanta July 24

July 25

The Starter Kits, The Thirties, Guided By Stewart, Minor Birds Caledonia Lounge, 10 p.m., $5 (21+), $7 (18-20)

Gift Horse, All The Saints, The Balkans Caledonia Lounge 10 pm., $6 (21+), $8 (18-20)

Michelle Malone Band, Heidi Hensley The Melting Point 8 p.m., $10/adv. Bob Linvingston The Globe, 9 p.m. FREE! Man, Valley Arena, Creepy Farm 255, 11 p.m.

Heavy Feather, Shanghai Gesture Melting Point, 9 p.m., $5/adv. Mad Whiskey Grin Athens Farmers Market, 10 a.m., FREE! Quiet Hooves, Sea of Dogs, DJ Recreation Department Farm 255, 11 p.m.

“Slopfest” featuring Christopher’s Liver, Daffodil, Dead Dog, Jungol, Lazer/Wulf, Tendaberry, Laminated Cat Little Kings, 6 p.m., $2

July 27 Grogus Ashford Manor Concerts on the Lawn, 6 p.m., $15 (adults), $6 (children 12 & under), FREE! (children under 6) The Pride Half Moon Pub, 11 p.m., FREE Dear Savannah, Mad Whiskey Grin Tasty World, 9 p.m., $5 LoftComedy.com showcase The Loft, 9 p.m. $5, (21+), $8 (18+)

Tasty World, 10 p.m., FREE! Casper and the Cookies Caledonia Lounge, 10 p.m., $5 (21+), $7 (18-20) Scarlet Stitch, Daniel Lee Band The Melting Point, 9 p.m., $5 Kaos Tasty World, 8 p.m., TBA

July 27 M. Ward, The Moaners 40 Watt, 9 p.m., $15/adv.

July 28 Trachtenburg family Slideshow Players, Lady Blanche, Joachim’s Dream 40 Watt, 8 p.m., $2 (21+), $8 (18-20)

Clay Leverett Farm 255, 11 p.m.

August 1

Harvey Milk, Torche 40 Watt, 9 p.m., $10/adv

August 3 The Pride Half Moon Pub, 11 p.m., FREE!

August 4 Before the Solstace, Wolfgang Wild, Shining Through, Shootout the Stars Caledonia Lounge, 9:30 p.m., $5 (21+), $7 (1820) The Incorrigible String Band The Melting Point, 7 p.m., $3

August 6 Sonny Got Blue Girasoles, 6-9 p.m., FREE!

July 30

Dark Meat 40 Watt, 10 p.m., TBA

The Mudflapjacks The Melting Point, 7 p.m., $3

The Dumps, Lions, Hot Breath Caledonia Lounge, 10 p.m., $5 (21+), $7 (18-20)

August 7

Punk Rock Dance Party Little Kings, 10 p.m., FREE!

The Sauce Boss The Melting Point, 7 p.m., $10

July 29

Sonny Got Blue Girasoles, 6-9 p.m., FREE!

David Prince Gnat’s Landing, 6 p.m., FREE!

Justin Brogdon Wild Wing Cafe, 9 p.m., FREE!

July 28

KAOS

Reigning Sound, Thomas Function, DJ Kurt Wood & DJ Grrtch 40 Watt, 10 p.m., $10/ adv.

August 10 So It Goes, Buddha Heroes, Wrist Bandits Caledonia Lounge, 9:30 p.m., $5 (21+), $7 (18-20)

The Pride Half Moon Pub, 11 p.m., FREE! Randall Bramblett Ashford Manor Concerts on the Lawn, 6 p.m., $15 (adults), $6 (children 12 & under), FREE! (children under 6)

August 12 Marshmallow Coast, How I Became the Bomb, The Lolligags Caledonia Lounge, 10 p.m., $5 (21+), $7 (1820)

August 13 Sonny Got Blue Girasoles, 6-9 p.m., FREE! Twin Tigers, Panda Riot, Tunnabunny Caledonia Lounge, 10 p.m., $6 (21+), $8 (1820)

August 14

Kalvinova, Daffodil, Cemetery Improvement, Society, Meteoreyes Caledonia Lounge, 9:30 p.m., $5 (21+), $7 (1820)

August 18 High Strung The Melting point, 7 p.m., $3

August 20 Sonny Got Blue Girasoles, 6-9 p.m., FREE!

August 22 Georgia Theatre presents Packway Handle Band 40 Watt, 9 p.m., $10 (21+) $12 (18-20) MuleFest! MuleTrain Records, N. Thomas St. Time and Price TBD.

August 25

Amy Ray of the Indigo Girls, Bellafea, The Holland Dutch 40 Watt, 9 p.m., $12.50/ adv.

String Theory The Melting Point, 7 p.m., $3

August 15

August 26

Kill LeBaron, Mask the Wretch, Thunderbolt Five, Kill The School Caledonia Lounge, 10 p.m., $5 (21+), $7 (1820)

Eric Culberson The Melting Point, 8:30 p.m., $5/adv.

August 17

August 27 Cars Can Be Blue, The Lovely Eggs, The Visitations,

Tunabunny Caledonia Lounge, 9 p.m., $5 (21+), $7 (18-20) Sonny Got Blue Girasoles, 6-9 p.m., FREE!

August 28 Needtobreathe, Griffin House, Green River Ordinance 40 Watt, 9 p.m., $12/adv. Marshmallow Coast, The Lolligags, Oh Ok, Red Pony Clock Caledonia Lounge, 9 p.m., $5 (21+), $7 (18-20) Calendar listings are subject to change. Listed prices may be for advance tickets only, and listed times are door times of the given shows.

Recurring Open Mic and Trivia Nights: Karaoke at Wild Wing Café Every Tuesday night at the downtown wing chain’s upstairs space at 10 p.m., free, www. wildwingcafe.com Cine Bar Café Movie Trivia with drink specials and prizes every Tuesday. Sign up at 7:30 p.m., free

1a.m., free

9:30 p.m., free, 706-549-0840

Locos Trivia All three Athens locations of Locos Grill and Pub (Westside, Eastside and Harris St.) feature trivia night every Tuesday at 8:30 p.m., free, locosgrill.com

Beef O’ Brady’s Trivia Every Monday at 8:30 p.m., free, 706-850-1916

Club Chrome Karaoke Every Thursday night at the new dance club off Atlanta Highway across from Sam’s Club, 9 p.m., 706-543-9009

Buffalo’s Southwest Café Live Trivia Every Monday with Trivia Joe. Winning teams have a chance to qualify for a 200 dollar cash prize. 8 p.m., free, 706-354-6655 Fat Daddy’s Texas Hold ‘Em Every Monday at 6 and 9 p.m. 706-353-0241

Fat Daddy’s Karaoke, Huge karaoke dance party hosted by Lynn every Tuesday at 10 p.m., free, 706353-0241

“Dr. Fred’s Karaoke” at Go Bar www.myspace.com/gobar — Hosted by karaoke fanatic John “Dr. Fred” Bowers, every Thursday, 10 p.m.

Rock and Roll Trivia at Little Kings Shuffle Club! 8 p.m., free, myspace.com/ littlekingsshuffleclub

Fat Daddy’s (again) Open Mic Every Wednesday featuring Avery Dylan from 10 p.m.-

The Office Lounge Karaoke Every Wednesday with Stan at

WOW Café and Wingery Sports Trivia every Monday, 706543-5510

concert shots

scenes from summer shows and athfest 2009

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see your pics here! submit to editorial@ athensblur.com or let us know when you’re playing! you never know when we’ll show up...

Trances Arc @ Little Kings (Nicole Black) A.Armada @40 Watt (Daniel Peiken) Dead Confederate @ Mainstage (Daniel Peiken) The Warm Fuzzies @ Hull Street Stage (Daniel Peiken) Hope ForAgoldensummer @ 40 Watt (Alyssa De Hayes) Play us a song, piano man (Nicole Black) Athfest at The Arch (Nicole Black) Ginger Envelope @ Mainstage (Daniel Peiken) Liz Durrett @ Nuci’s Space (Steve Hendriksen) . 10-year-old rocking out @ Kids Stage (Daniel Peiken) Don Chambers @ Main Stage (Daniel Peiken) Sanni Baumgartner @ Main Stage (Daniel Peiken) Randall Bramblett Band @ Mainstage (Daniel Peiken) Cooling off at Hull Street Stage (Nicole Black) . Modern Skirts @ Nuci’s Space (Steve Hendriksen)

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Heartless Bastards @ 40 Watt (Alyssa De Hayes) Jessica Lea Mayfield @ 40 Watt (AlyssaDe Hayes) The Circulatory System @ Farm 255 (Alyssa De Hayes) The Incredible Sandwich @ Tasty World (Laurie Moot) The Corduroy Road @ 40 Watt (Laurie Moot) The Corduroy Road @ 40 Watt (Laurie Moot) The Present @ Farm 255 (Laurie Moot) TJ Mimbs @ Sideways (Alyssa De Hayes) The Whigs @ Tasty World (Alyssa De Hayes) . Dodd Ferrelle @ 40 Watt (Laurie Moot) The Present @ Farm 255 (Laurie Moot) Dodd Ferrelle @ 40 Watt (Laurie Moot)

The 8th Annual

ch Bruce Burnds & Frie

Honor

d r a r r a J n h Jo Concert 2009 Thursday, September 24 6:00PM - 10:00PM (Gates open at 5:30pm)

The Lawn at Brenau John was born and reared in Gainesville, Georgia, and moved to Nashville in 1977 to pursue a career as a country music songwriter. Within one year, he began to experience sight failure resulting from diabetes, and by 1979, was totally blind. When country music superstar Don Williams recorded John's song, "Nobody But You," taking it to the top of the charts, doors began to open. Over the ensuing years, John's songs were recorded by the group Alabama, George Strait, Diamond Rio, Tracy Lawrence, and others, until he had scored eleven number one hits.

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For Tickets and Further Information:

http://www.johnjarrardconcert.com/

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The John Jarrard Foundation is a non-profit organization with proceeds going to a permanent endowment fund in John’s name established at the North Georgia Community Foundation. Proceeds benefit local charities, including the Good News Clinics, the Boys and Girls Clubs of Hall County, Georgia Mountain Food Bank Fund, and one of John’s favorite causes, Good News at Noon.

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