Athens Blur Magazine - Issue 8

one year issue! free!METRIC • ASHER ROTH • CYCLE OF PAINTHE GINGER ENVELOPE • ST. VINCENT •CAGE THE ELEPHANT • MATTHEW SWEETCARS CAN BE BLUE • EELS • AND MORE!

for fans of music & those who make it issue 8

Athfest turns 13: our 2009 guide

PLus!uLtimate

musician’s Gear Guide

the undyinG

rockoPera

ten Questions

with...311

nic caGe: a star’s

trek

GirLs in athens rock...

LiteraLLy

Patterson Hood Looks Back to Move Forward

FatherKnows

Best:

Profi

le:

SWO

P

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Trim: 8.25 x 10.75Bleed: 8.75 x 11.25Live: 7.5 x 10

Closing Date: 1.7.9QC: RRPub: Athens Blur

No overlapping sets, 35 Headlining Bands, 40+ Hours of music, All Ages, rain or Shine, Even Better VIP section, Microbrews, Kids area, Family camping, Drum circles, Food &

Craft vendors & much much more!

13thannual

13thannual

4 days of music, art, camping & loving

(45) (41)

(14)cover story

In Athens, there are a few summer camp options to alleviate parental worries about their kids wasting summer days in front of

the TV.

— Nicole Black

(56)

(45)

(66)

Athens legend and Drive By-Truck-ers frontman Patterson Hood looks

back to move forward on his new release, Murdering Oscar (And Other

Love Songs).

—Alec Wooden

After 19 years, 311 continues to uplift spirits with reggae-

infused rock on the first album in nearly four years.

— Nicole Black

Athens’ homegrown music and arts festival continues to get stronger with each

passing year.

— Alec WoodenNo Mystery About it:

turns13

Maturing movie star Nicolas Cage decides it’s time to put away the

guns.

—DeMarco Williams

Father Knows Best

(51)Ten bands beat the new

singles craze and prove the concept album is back on

the rise.

— Natalie B. David

tenquestions with311

(58)As the summer festival and

touring seasons kick into full swing, check out what the pros are working with this

summer.A Star’sTrek

Located in the Bottleworks on Prince Ave.Free Parking on Meigs Street behind the Bottleworks.

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freshly prepared coffee by the cuploose leaf tea * local gelato * free wi-fi

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FREE ON JUNE 20!COME GIVE US A TRY!

WE PROMISE YOU’LL BE BACK.Ultimate

the musician’s gear

guide

Girls in Athens Rock!

...literally

3ATHENS BLUR MAGAZINE

musicCOLUMNS EDITOR’S PLAYLIST:Ten Tunes Worth NotingTHE FIRST WORD:Signs of Life, IndeedWHAT’S YOUR MUSICSCOPE?Astrology for Musicians

EELSPepperMac ArnoldPatterson HoodThe Ginger EnvelopeConor Oberst & The Mystic Valley Band MetricSt. VincentCycle of PainMatthew SweetCars Can Be BlueAsher RothJadakissBambaraCage The Elephant

SpOtLightS30

17

28 25

2221

63

68

13

29

11

11

9

6

80

ARtS & ENtERtAiNMENtMOVIE PREVIEWS: Worth your money? UpCOMiNg DVD RELEASES FOODMEALS FOR YOUR BROKE ASS: Applying The Apps!

ALSO iNSiDE:CALENDAR OF EVENTS:Go Ahead, Make My Date ATHENS LIVE: The Month in Photos

65

68

63

EAR CANDY: Album Reviews UpCOMiNg CD RELEASESTOUR DIARY: The Corduroy RoadTHIS DAY IN MUSIC HISTORY

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212224252627282930

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ALSO:


dear readers

Nicole D. Black Editor-in-Chief

The Athens Blur Magazine

P.O. Box 7117Athens, Ga

30604

Main Office(706) 353-7799

Sales(706) 207-9091

for general comments and inquiries:

[email protected]

for advertising opportunities:

[email protected]

the Athens Blur Magazine issue 8, copyright©2009

By the Athens Blur Magazine, inC. 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

BLU

R FR

OM

THE ED

ITOR

S

WhO We Areeditor-in-chief

nicole [email protected]

executive editor

Alec [email protected]

director of sales

stephen [email protected]

account executives

Adrienne [email protected]

Jim [email protected]

advertising interns

elaine emma Kelch, Morgan Kelly, Julia ott

design

Colin dunlop, Lily feinbergLauren Mullins, Carlye norton, Alec Wooden

editorial interns

Jessica Cole, Will hackett, Lindsey Lee

Kristen Lee, Lauren Moot, Julie McCollum, sarah saltzman,

erica schwartz

contributing writers

Jacquie Brasher, natalie B. david,

ed Morales, Jon ross, Kelly skinner, Zac taylor,

deMarco Williams, Jenni Williams

ON The COVer: Patterson hood at home in Athens, ga. Photo by Jason thrasher.

LookinG for BLur? try here:

40 Watt ClubABC Package BarberitosBarnes & Noble Beef O’Brady’sBlind Pig TavernBorders Bookstore Copper Creek Espresso Royale CafeJimmy John’sJittery Joe’s Coffee J’s Bottle Shop Lay-Z ShopperLittle Italy Locos Deli & PubMelting Point

Music ExchangeMusician’s Warehouse School Kids Records Tall Boy Beverage Co.The Burger & Cheesesteak FactoryThe Georgia Theatre The Globe The Taco Stand Transmetropolitan Trappeze Pub Village Wine & Spirits Vision Video Wuxtry RecordsYour Pie

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R

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O W

E A

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editor’s PLayListoLd oR NEw, 10 SoNGS wE cAN’T GET ENoUGH of THIS MoNTH

Nicole BlackEditor-in-Chief

Alec WoodenExecutive Editor

“Ain’t No Rest For The Wicked” Cage The Elephant “That Look You Give That Guy” Eels

“If Love Was a Train” Amy LaVere

“Something New”The Airborne Toxic Event

“Dead Man Walking” Cycle of Pain

“Sun Blows Up” Cars Can Be Blue

“Just One Drop” Corduroy Road

“Lotus” Cage The Elephant

“Hey Milunka” The Warm Fuzzies

“In One Ear” Cage the Elephant

“Stealing Song” Claire Schofield

“Lisztomania” Phoenix

“Plutonium” The Arcs

“Big Blonde” Aidan Moffitt

“I Can Feel A Hot One”Manchester Orchestra

“Nikorette”Conor Oberst & Mystic Valley Band

“Ryan’s Song” Venice is Sinking

“Dearest Forsaken” Iron & Wine

“Transgression” Mike Pardew

“All I Need” (Radiohead cover) AmpLive

for more Locations, Visit athensBLur.com

Or grab a copy at two publication boxes downtown — at the corner of College and Clayton, in front of Wuxtry Records, and across the street

in front of The Fred Building.

Summer is my favorite season in Georgia, aside from bouts of seasonal allergies. Driving through downtown to get to our office without any traffic is the first sign school is out and the college students have vacated. Night time is further evidence when you no longer have to fight for parking downtown.

Despite missing nearly 30 thousand students, there are still tens of thousands of us living here year-round. Now is the best time for us to flood downtown to support local businesses, whether it’s to grab a bite to eat and have a cold drink or check out a live show, all without fighting a crowd. And don’t forget bars and restaurants on the east and west side of Athens, too.

The most notable local summer event we have, of course, is Athfest. Last year was my first introduction to the music and arts festival, as well as to Magic Hat #9. Be sure to check our guide to Athfest and the shows you don’t want to miss this year, if you can manage to find — or stumble — your way from the beer tent.

Most importantly, this issue marks our one year anniversary since printing the very first issue of Blur. There are many people to thank for getting us to our one year milestone. From our advertisers to our devoted writers, many of whom have been with us since our first issue, and our readers. From our diligent sales team to our editorial team and our interns who work hard juggling time at the magazine with their school schedules. Everyone has worked hard to realize the first year of this dream.

I want to take a moment to thank Stephen Simmons and Alec Wooden. While I claim the title of ‘Editor-in-Chief ’, these two are also truly the backbone of this magazine. Alec keeps me grounded and calm and has taken on the role of laying out our magazine in addition to his editorial duties. Stephen runs the business side of Blur and has kept us afloat since he joined us in August.

Together, we have faced enormous obstacles. It’s not easy starting a magazine from the ground up — it’s a learning process, and there is more than ‘blood, sweat, and tears’ that go into making something like this work. There is still more labor ahead, as well as obstacles to overcome, but I am confident that with the team we have here at Blur we can accomplish any feat together and continue to swell the streets of Athens as a prominent magazine “for fans of music and the ones who make it”.

Thank you, Athens, for a great first-year and we look forward to delivering more issues of Blur in the years to come.

Keep Rockin’,

6 ATHENS BLUR MAGAZINE 7ATHENS BLUR MAGAZINE

People often ask me how business is go-ing here at Blur, usually getting the

canned response I prepared around the time the economy took a turn towards needing life support – “Well, I don’t know if you’ve heard, but we’re in a recession…great time to start a magazine, right?”

And make no mistake, it is a scary time for the print industry. Major newspapers folding or going digital, Rolling Stone resizing from it’s mainstay format — all the other well-doc-umented falters of the industry that, in all fair-ness, began not necessarily as a part of the re-cession, but simply through cause and effect with the continued push into the digital age.

I’ve read and reread the same articles you have – and for whatever reason (probably be-cause I really didn’t want to believe it or ac-knowledge the seriousness of the situation), I’ve always brushed it off and assumed things would rebound.

That was until a few weeks ago, when Paste Magazine’s editors had to collectively stick their tails between their legs and ask for read-ers to pony up donations in order to keep the magazine afloat, quickly giving new mean-ing to their slogan — “Signs of Life in Music, Film and Culture.”

For some reason, there’s this one specific is-sue of Paste that sticks out in my mind: June 2008. Scarlett Johansson on the cover, with an amazing article about her “five dads” – what she’d learned from Bill Murray, Woody Allen, Barack Obama, Tom Waits and Bob Dylan. The issue also had great spreads on Al Green and The Replacements (both have large and long-standing soft spots in my musical heart) and the usual gaggle of fine review work and news bits. I kept this issue for so long — read and reread the thing until it was literally fall-ing apart at the folds.

But that’s what good journalism does. It gets under your skin and in your head. It makes you laugh, scream, argue and agree all at the same time. For the last few years, Paste has been, in my humble opinion, the standard of what the music and entertainment journal-ism world should be (and, of course, anything

spawned from the loins of UGA’s Grady Col-lege is okay in my book).

By all accounts, I’m not supposed to write this column. My desk is 60 miles from the Paste office, and our shared subject matter mean that we’re supposed to always find our-selves at odds, if for no other reason than that we covet the same advertisers (read: they have, we covet).

So what is it that keeps us chugging ahead in a difficult and dying industry? What is it that inspires me to write an encouraging letter about a “rival” magazine?

Look no further than what happened in the first week of Paste’s donation campaign -

$166,000+ has been raised by people who ap-preciate the product they’ve been given (this number is simply at press time – by the time you’re reading this, the number may easily have doubled).

Granted, a lot of these contributions come from people who likely utilize Paste’s incred-ible web footprint in equal proportions to the print editions. But the argument remains the same: put out a product to the best of your ability, make a product people appreciate, one

that is assimilated into a reader’s everyday lives, and they will see it an indisposable ex-pense, even when money is tight.

One sentiment I’ve heard a lot lately is that Paste’s call for reader donations is somehow irresponsible and inconsiderate during this re-cession. Let’s be clear: Paste isn’t sitting on top of a mountain of money asking for more. They’re coming to people who have long sup-ported and asking those with the means to give small donations to do so in an effort to keep their own employees working. Knowing when to ask for help, and saving many of your own employees, is equal parts admirable and responsible

It’s an encouraging sign to see the public rally around what many see as a “luxury.” A music magazine doesn’t pay the bills. It doesn’t cook you dinner or pay a kid’s tuition. But it does allow you, even if just for a few ever-waning moments, to forget something has to.

Let’s not make the mistake, either, of thinking this is a backpedaling move or sign of weakness from the company. If anything, it’s a sign of confidence in their product – one they know has touched enough lives that many will be (and already have been) will-ing to give back. We should all be fortunate enough to have a business who’s footprint is so influential.

Paste’s predicimate is symptomatic of a greater epedemic: across the board, funding for the arts has been on the decline for a while now. If you have the ability, then by all means, give. If you don’t now, what’s more important is that you’ll consider doing so once we’re out of these tough times (and yes, people, we will get out of these tough times).

If we don’t give when the times are good, these things may not be around for us to use as an escape when the times get tough. This doesn’t go for just music magazines, of course. Give to your local museums, art guilds, re-source centers — the ones who depend on your funding for livelihood.

Take a deep breath. Save Paste. Save your sanity. Save the arts. Save print media.

—Alec Wooden

BLU

R TH

E FIRST W

OR

D

siGns of Life, indeedARE THE ARTS REcESSIoN pRoof? THAT’S Up To US.

MUSIc

That’s what good journalism does. It gets

under your skin and in your head. It makes you

laugh, scream, argue

and agree all at the same time. For the last few years,

Paste has been, in my humble

opinion, the standard of what the music and entertainment

journalism world should be.


It all started with a beard. Staring in the mirror one morning, EELS mastermind E, also known as Mark Oliver Everett, realized his gnarly beard would just not fit the music he was writing. So, he took the most logical step: he made music to fit the beard.

Hombre Lobo, the latest release from the long-standing indie rock band, presents 12 songs about desire, as seen through the eyes of a werewolf. Revisiting E’s Dog Faced Boy character from the song of the same name off of 2001’s Souljacker album, Hombre Lobo explores the character in all of his grown-up isolation.

“I thought, wouldn’t it be interesting to go back to that character and see what he’s like now, as an adult, 10 years later?” says E on a phone call from Los Angeles, every bit the storyteller. “And I figured the best he could hope to be is that he grew into a dignified, old werewolf.”

Beyond the beard, the idea to create an album based upon the “frustrations and desires” of this creature stemmed from E, quite frankly, just being tired of himself. Coming off of four heavily autobiographical years, from his life-inspired concept record Blinking Lights and Other Revelations, to penning his autobiographical tome, “Things the Grandchildren Should Know,” and “Parallel Worlds/ Parallel Lives,” the BBC-produced documentary about his quantum physicist father Dr. Hugh Everett III, sinking into a character was just the natural course of action.

“I think doing all of this stuff the past 4 years, what it really motivated me to do was something blatantly non-autobiographical,” says E. “I’m just so sick of me.”

However, the record may be more about E than it originally seems. Even when exploring the lives of characters, the results sometimes hit closer to home than even E realizes.

“I will say that I mentioned

the idea of the album to a friend of mine and I described it as 12 songs from the point of view of a horny, old werewolf, and my friend said, ‘Oh, so it’s your most honest album to-date,’” says E. “I’m not sure what to make of that.”

On Hombre Lobo, E returns to his concept album ways, yet, in typical EELS fashion, songs like “Tremendous Dynamite” and lead single “Fresh Blood” can stand as mini-stories separately, but make a much greater impression combined with the disc’s remaining 10 tracks.

“What motivates me is to have that thread, but at the same time, it’s a fun challenge that you have to have a song work as easily on its own, so we can make people happy who only like songs here and there, or if they like a whole album,” says E of songwriting. “It’s for the whole family!”

The thematic shift from the autobiographical to the fictional also pointed the EELS sound in a new direction. After Blinking Lights, a largely poppy and

strings-laden effort, E revises his band as a lo-fi, garage-entrenched beast. As gritty and dirty as Blinking Lights was gorgeous and ethereal, Hombre Lobo maintains a sound that fits the overall thematic guise of the album.

“The idea of desire to me, musically, equals the electric guitar and something kind of stripped down and immediate and a little bit more raw,” he explains. “And, also, after the Blinking Lights album, I think it’s only natural that I would want to go someplace different.”

As for the beard that started it all, E says it’s still going strong. “My goal is for it to grow so long that I won’t have to wear pants anymore,” he says. “I’m pretty close to my goal.”

— Natalie B. David

howL at the moonAN oLd EELS cHARAcTER ExpLoRES THE dEpTHS of dESIRE

MU

SIC A

LTERN

ATIVE

who’s whoe (vocals, guitar, multiple instruments), Koool g Murder (bass, keyboards, guitar), Knuckles (drums, percussion)

formed 1995 in Los Angeles, Calif.

LaBeLVagrant records

Latest reLeaseHombre Lobo (2009)

on the weB www.eelstheband.com

eeLs

PHOTO: AUTUMN DE WILDE

“I think doing all of this stuff the past 4 years, what it really motivated me to do was something blatantly non-autobiographical. I’m just so sick of me.”

— EELS —


Some bands just know how to please a crowd.

Hawaii’s musical export, Pepper, is one of those. A Pepper show is probably not going to leave concert-goers with moshing injuries or new religious beliefs, but those with a pulse can bank on singing and dancing their asses off.

“It was a long time coming,” Pepper’s drummer Yesod Williams says, calling into Athens Blur Magazine from a tour pit-stop in Northfolk, Va.

Williams is referring to Pepper’s new live CD, Kona Gold, which captures the spontaneity and energy of their on stage performance, but more importantly, showcases the band’s ability to get the audience to have as much fun watching as they’re having playing.

“They were telling us at our recent studio meeting, ‘You guys are so much better live,’” he says. “They never believed we were actually going to do it, and we finally did.”

The CD, released in April, was recorded at the Fox Theatre in Boulder, Co.

“It’s a cool little intimate vibe,” Williams says of the venue. “There’s not a bad seat in the

house. It only holds like 500 people, it’s like the core fans got to come out and see the show. So everyone who was at the show gave it 100 percent, and it worked out perfectly.”

While skeptical at first, Williams says, “We started listening to it and were like, ‘Oh, we really captured a moment here.’”

The disk is full of songs spanning their career, as well as improvisation and lyrical changes (and plenty of references to drinking Jägermeister backstage).

“We pretty much play a different set every night,” Williams says. “Two nights are never the same. That keeps it fresh for us and keeps it fresh for the people that keep coming to see us. Every time we play a show, we run into people that are like, ‘This is my 10th time seeing you, or 58th time, or 6th time,’ or whatever.”

While some bands disdain on-stage banter and crowd sing-a-longs, Williams says that crowd involvement is what sets a great live show apart from the average ones.

“We let the crowd pick out the songs we play and make the

set lists and whatnot,” Williams says. “I think getting them involved as much as possible and making them feel like a part of the show instead of just spectators of the show is the key to everything.”

Fans usually get their first taste of Pepper via fan-favorite, Kona Town, but the band’s sound has evolved over the years, incorporating their Hawaiian-inspired reggae influences with the rock influences they picked up in California.

The trio released Kona Town in 2002 after moving from the island they talk about so often (Kona) to southern California. The single “Give It Up” started an underground rumble, and the band began touring the country relentlessly and recording new material, steadily building a loyal fan base in the process.

Of their evolution, Williams says, “I think our older music was more elements of different bands, where people would be like, ‘Oh is that so and so? Is that (this band) or (that band)?’ Where[as] nowadays you can put more of a stamp on it. I don’t know if that classifies as maturity or whatever that is, but I think that’s the big difference.”

While the Sublime influence is definitely there, and maybe even a splash of Pennywise, their current tour-mates (“a dream come true,” says Williams), Pepper has definitely carved out a niche in such a way that other bands are starting to field comparisons (The Supervillians, The Expendables, etc.)

After hitting the road hard, Williams says he loves to get back to Kona, get in the ocean, hang out with friends and eat barbeque.

“When you’re on tour for a month or two at a time, it gets hard at times,” he says, “but at the end of the day you’re doing something you love and making money doing it… It’s the greatest job in the world.”

While Pepper recently brought the live action to Atlanta, Athens hasn’t seen them since spring of 2008.

“I’m still kinda bitter that the Bulldogs kicked the shit out of Hawaii in that bowl game a couple years ago,” Williams says.

Pepper isn’t one to hold a grudge, though.

“We can’t wait to get back there and play again,” Williams says.

We can’t either.

— Julie McCollum

fresh PePPerREGGAE-Rock TRIo kEEpS fANS coMING BAck foR MoRE

COURTESTY MSO PR

MU

SIC

A

LTER

NAT

IVE

who’s whoBret Bollinger (vocals, bass), Kaleo Wasman (gui-tar, vocals), Yesod Williams (drums)

formed 1999 in Kona, hawaii

LaBeLLAW records

Latest reLeaseKona Gold (2009)

on the weBwww.pepperlive.com

PePPerBassist and singer Mac

Arnold has been cooking for nearly as long as he’s been playing the blues. The Pelzer, S.C., native rose to prominence backing singers like Big Momma Thornton, Buddy Guy and Junior Wells in the late 1960s and is most famous for his year-long stint in The Muddy Waters Blues Band. But before Arnold had ever picked up a bass, he was preparing food grown on his family’s farm. His dishes are the genesis of the Mac Arnold Cornbread and Collard Greens Festival, a four-day string of concerts in his native state during the first weekend in May.

Growing up in a family of 13, Arnold found that being handy in the kitchen was the best way to get something to eat. “You would have to cook in between meals — sneak and cook,” Arnold recalled by phone from Anderson, S.C., where he was gearing up for the second night of the festival. “I came up with different creations. I would run down to the barn and get some eggs and run back to the house, put them in a pan and flip them over right quick — make a sandwich, and hey, you’re finished.”

First exposed to blues by radio at his uncle’s juke joint, Arnold spent long nights listening to WLAC from Nashville. The disc jockeys spun blues and country indiscriminately, exposing Arnold to Grand Ole Opry regulars along with blues artists. “Blues and country music ran hand in hand there for awhile,” he said.

While listening to music at night, it was difficult to hear it during the day. His father forbade guitars in the home, so Arnold’s brother set about creating a DIY instrument to emulate their radio heroes. Using an old gas can as a resonator, his brother cut a hole in the side, attached a neck whittled from barn siding and added

strings. “He would leave home, and I’d take his guitar, go out into the barn and play,” Arnold said. Arnold still performs on a gasoline can guitar, but he has primarily played a standard electric bass since making the move to the blues Mecca of Chicago at age 24.

Arnold’s career has a number of branches. With blues on his mind, he moved to Chicago, living there for four years and

supporting himself by playing with a healthy helping of blues legends. In 1969, Arnold moved to Los Angeles to serve in the Soul Train house band. While on the West Coast, he moved away from the music industry, working as a video editor and a contractor. He even owned a fur shop — until animal activists put the kibosh on that.

When he moved back home to South Carolina in 1990 to

care for his mother, Arnold took a job as a truck driver, putting professional music behind him. A decade of prodding from local harmonica player Max Hightower eventually wore down Arnold’s defenses though, and in 2005, the bassist released Nothin’ to Prove, his first album as a leader.

He called his backing band — Hightower on keyboards and harmonica, Austin Brashier on guitar, Danny Keylon on bass and Mike Whitt on drums — Plate Full O’ Blues. The group released a second album last year and is planning to go into the studio late this summer after a 22-day European tour. This is a busy schedule for any musician, especially someone who never expected to perform for an audience once he moved back home.

“I had planned to just go out to my friends in the country. I had no dreams at all of getting another group together,” Arnold said with a deep laugh. “I’m enjoying every minute of it, though.”

— Jon Ross

mac’s musicaL renaissanceBASSIST UNITES LIfETIME of BLUES wITH A LovE of SoUTHERN food

MU

SIC BLU

ES

who’s whoMac Arnold (vocals, bass, slide guitar), Max hightow-er (harp, keyboard, rhythm guitar, vocals), Austin Bashier (lead guitar, vo-cals), danny Keylon (bass), Mike Whitt (drums)

formed 1966 in Chicago, ill.

LaBeLPlantation one Produc-tions

Latest reLeaseBackbone & Gristle (2008)

on the weB www.macarnold.com

mac arnoLd

COURTESY PLANTATION ONE PRODUCTIONS


who’s whoPatterson hood (vocals, guitar); the screwtopians: John neff (pedal steel, vocals), Will Johnson (gtr, vocals), scott danborn (keyboard, fiddle, vocals), david Barbe (bass, vocals), Brad Morgan (drums)

formed 1995 (the drive-By truck-ers) LaBeLst. ruth records

Latest reLeaseMurdering Oscar (2009)

on the weB www.pattersonhood.com

Patterson hood

Father Knows Best

two days to just chill out. The writing part is the hardest part to find the time for, yet it’s the foundation that everything else is built on.”

Though Hood says all this on the eve of a new release, Murdering Oscar (out June 23), which is a collection that draws largely from a beleaguered period in his life – one when he had plenty of time to write, resulting in a “new” record where most of the material actually pre-dates his well-known songs.

“The general skeleton of this record does come from a group of songs I wrote in ‘94 when I first moved to Athens,” he said. “I was kind of making a fresh start for me. But even at the time I wrote them, I thought it was kind of a breakthrough, sort of fresh bunch of songs for me, and I was really really happy and proud of them.”

Hood comes from a long line of Southern poetry, entrenched and deeply ingrained in the bustling Southern creative culture of Muscle Shoals, Ala., the place he called home for many years. And while he doesn’t dare sell out his upbringing, he seems to have a great understanding that a move to Athens allowed the personal growth his music desperately needed.

“I’m fiercely proud of the music that’s come out of [Muscle Shoals], and I love my family, and developed close relationships there, but it’s also a place that’s always been a little turbulent for me. It’s very much a bible belt, conservative sort of town, and I didn’t always feel like I fit in there, and basing a band out of there in the ‘80s was a nightmare,” he laughed. “Coming here was all different. There’s tons of bands,

tons of creativity, there’s just a lot of really progressive thought. The politics are certainly more to my liking than where I come from. Even if it’s just a tiny blue dot in this huge red state, at least I kind of feel like I live in the oasis of it.”

Ten years into life in his “oasis,” the rediscovery and rebirth of the Murdering Oscar songs came in 2004, when Hood finally managed to catch his breath between the backbreaking tour and recording schedule of The Drive-By-Truckers.

“I was coming up on Ava’s birth, the band was gonna be taking some time off, and I really just kind of spent a day going through some old cassettes and found the old Murdering Oscar cassette,” said Hood of the monumental spring cleaning discovery. “It was like listening to someone else’s songs – I had changed very much in my life – a lot of the things those songs said, I wasn’t really relating to in the present tense, but I really liked those songs. So I began writing the new ones to go as sort of a counterpoint to go along with those older ones.”

With counterpoints in hand, and roughly a decade after the original writing sessions in his cramped bedroom, he was finally ready to put them down in a professional setting, picking Athens’ Chase Park Transduction Studios under the direction of David Barbe and surrounded by a typically-stellar cast of characters, including Truckers cohorts Brad Morgan and John Neff, as well as members of Hood’s favorite Athens band, Centro-Matic (“I fell in love with Centro-matic around 2001,” he said. “I just got obsessed with them, played them

so much.”). The equally interesting

fatherhood thread (the first being Ava’s birth around the recording time) of Murdering Oscar is that the record marks the first time, with the exception of one short track on a past compilation, Patterson and his father, legendary Muscle Shoals session bassist David Hood, have shared a recording studio.

“He’s played on, in my opinion, some of the greatest records in the world,” Patterson began. “We’d played professionally, but we’d never really even played personally. We never sat around playing when I was growing up. In years since, I’ve always aimed towards the more live band/touring kind of thing, and he’s a session guy. It’s two different worlds. [Murdering Oscar] was perfect timing for him to come into town, with my daughter being born, I talked him into coming into town and checking everything out. I aimed those songs, the three he’s on, specifically for him. So it just seemed like perfect timing.”

The perfect timing of the recording session didn’t translate into a perfect release date. One thing led to another, and Oscar was shelved for another five years. Now, Hood finally deems the collection ready, and its release date will fall just days before Hood will headline AthFest, Athens’ homegrown music & arts festival – just one of the many ways he constantly keeps his presence known and gives back to the town he feels has given him so much.

“This town’s done a whole lot for me, ya know? So this is, kind of in a lot of ways, very much an Athens record, and more so than most of the Truckers records. So much of the Truckers music is set in Alabama — the geographic setting of the song, the vibe of the song — it’s always been a little more rooted in what I took away from Alabama,” Hood said. “Oscar was very much immersed in this town. So it’s great to have that.”

When you consider the amount of personal change this record encompasses for Hood, it’s easy to overlook some other

obvious changes between 1994 and 2009. Hood remembers dubbing cassette after cassette of Oscar and sticking them in any open hand he could find – now, of course, he’s got labels and management who will track every physical and digital sale the same songs will soon make.

“I was ahead of my time in that I was giving music away years before people could just easily take it,” Hood laughs. “I watched it coming. I saw it coming. I read this crazy article in the very early ‘90s that basically predicted all that stuff, all the downloading, and it sounded like some really fake shit when they wrote it, and I’m sure nobody took it seriously. But it made sense to me, probably because I wanted it to, and I felt so much negativity towards the music industry that I kind of saw a lot of that. The industry didn’t really have a place for what I was trying to do, and I never understood that, but it’s just how it was. And sure enough, now that so much of the industry has kind of fallen on hard times, we’ve done really well during that time. We’re not having to compete with so much of the flavor of the month sort of shit.”

—Alec Wooden

Patterson hood Looks Back to moVe forward

“I don’t know how to describe it except maybe it’s put me in touch with some additional part of the soul, for a lack of a better term. But that’s sort of the feeling of it. That’s not to say you can’t get in touch with that without having kids, but it

definitely helped me in that regard.”

— Patterson Hood on songwriting after parenthood —

Let the truth be told: Patterson Hood is head over heels for a younger woman – a much younger woman, in fact, and as he answers the phone from his Athens home, his usual gruff and gravelly voice is softened by adoration for her: Ava Ruth, his four year-old daughter.

“I think [parenthood] has made me a better writer,” says Hood, returning to the phone after setting up a video to keep Ava company while he talks. “I definitely write less songs, but I think I’ve written some of the best stuff I’ve ever written. I don’t know how to describe it except maybe it’s put me in touch with some additional part of the soul, for a lack of a better term. But that’s sort of the feeling of it. That’s not to say you can’t get in touch with that without having kids, but it definitely helped me in that regard.”

Here’s hoping he’s right because, as he talks, he’s closing in on the birth of his second child – a polar opposite reality, of sorts, for a man who’s spent the better part of the last decade on the road fronting The Drive-By Truckers.

“For 11 or 12 years now, I’ve been pretty much full-time, nonstop on the road,” he said. “All of a sudden there is a whole new level of homesickness involved. And it’s all good stuff – I can’t dare complain about it. But when I get home, sometimes I do wish I had just about

PATTERSON HOOD AT “HOOD’S WOODS”

IN ATHENS, GA. PHOTO: JASON THRASHER


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“Real, real pretty.” That’s how guitarist Jason Trahan sums

up the new record coming out from Athens-based folk rock band, The Ginger Envelope. Patrick Carey, the band’s lead vocalist adds, “It’s a pretty laid back record. It’s darker and a little softer, and it’s best listened to turned up really loud.”

The Ginger Envelope’s music is decidedly low key, much like Trahan and Carey, who were drinking Yuenglings and smoking cigarettes on Carey’s back porch when we met. The only thing that would make the late afternoon more kicked back would be band mate Matt Stoessel strumming the pedal steel nearby.

Both Carey and Trahan seem to have found their musical destinies around the age of 10, when Trahan discovered KISS and started playing guitar. As for Carey? “The Cure was my KISS,” he says. After honing their skills separately, Trahan and his then-band the Urbosleeks (with Jason Robira on drums and Steve Miller on bass) joined Carey and longtime friend Stoessel’s Ginger Envelope in 2003.

“Musically, it just made so much sense,” Carey says. “We had a common feeling and got along really well. We never had to talk about anything.”

Carey has high praise for the Urbosleeks: “This crew from Louisiana could do anything I ever wanted to do. If I played death metal, they could have done it.” (He doesn’t, for the record, play death metal.)

The Ginger Envelope released its debut record in 2005. In comparison to that first record, Carey says that the new music is more raw and relaxed, with most of it recorded in a friend’s basement using very little overdubbing.

Like many a sophomore album before it, the record represents a transition for the band. With longtime drummer Jason Robira leaving, and with the new additions of Colin Carey on percussion and Paul McHugh on keyboards, Carey says things are now solidifying.

Though the band’s summer tour is heading everywhere from Asheville, N.C., to Brooklyn, N.Y., the Ginger Envelope definitely has a grasp on the Athens music scene. Carey sums up his favorites: 40 Watt (“the best sound in town”), Little Kings, Flicker, and Caledonia (“dirty and fantastic”). On July 18, the group will play back home in Athens at Little Kings to close out their tour.

In the meantime, the newly solidified

Ginger Envelope is hitting spots along the northeast with longtime friend and local favorite, Madeline, which begs the question: Any collaborations?

“I think if we weren’t to do that, it would be an utter shame,” Carey says. “I think it

will just happen on certain nights. I know a lot of her songs; she knows a lot of mine. Our voices go well together. It’d be more than welcome if she hopped on the stage or visa versa.”

Actually, Trahan is also in Madeline’s White Flag Band, so between band members, equipment and a van, they will be sharing a lot more than just a stage.

“It will be a small little party,” Carey says. Don’t let their laid back style fool you; it’s

an attitude, not a work ethic. While Carey is ready for fans to hear and have the new record, like a true musician, he’s already cranking out new material.

“I’ve basically written the third record at this point,” he says. “So it’s kind of tricky for me going on the road right now. I’m really excited to play a whole batch of things.”

Carey can’t help but dish about the music that he’s currently working on. It seems that the new album is more of a taste of what’s to come rather than a final destination.

“The next one is going to be even bigger and better, sound-wise,” Carey says. “I’m glad this record is coming out now…and I’m really excited to hand [fans] the next one, too.”

— Julie McCollum

the GinGer enVeLoPe deLiVersLocAL foLk-Rock BANd GIvES A TASTE of wHAT’S To coME

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who’s whoPatrick Carey (vocals, guitar), Colin Carey (drums), Paul Mchugh (key-boards), steve Miller (bass), Matt stoessel (pedal steel), Jason trahan (vocals, guitar)

formed 2003 in Athens, ga.

LaBeLindie

Latest reLeaseInvitation Air (2009)

on the weB www.myspace.com/thegingerenve-lope

the GinGer enVeLoPe


Two years ago, Conor Oberst decided to take a break from Bright Eyes. So he ventured southward, hitting Tepoztland, Mexico to record a solo album. He got that album, but what he hadn’t bargained for was crossing back over the border with a whole new band, The Mystic Valley Band.

The story is not a complicated one. Oberst needed people to play on his new album, and as the musicians assembled, they sort of just became a band. It started with drummer Jason Boesel and bassist Macey Taylor helping Oberst get his stuff out. Then, he needed a keyboardist; enter, Nate Walcott. Finally, guitarists Nik Freitas and Taylor Hollingsworth joined in, completing Oberst’s need for a solid group to finalize his album.

“He kind of sprung it on us,” says Hollingsworth, a solo artist out of Birmingham, Ala. Hollingsworth, who is working on his own album, joined the gang as the group headed

south. “I just kind of came along to hang out, and turns out [Conor] had saved some tracks for me, so I just sort of joined in.”

It wasn’t long until that “joining in” mentality birthed a band.

“He wanted us to do a practice show for the album,” Hollingsworth says. “We were staying in this place called Valle Mistico, so we just went with that and called ourselves the Mystic Valley Band.”

“Conor drives people to want to listen to us. They know his music, and they like his songwriting,” he continues.

Officially recorded in January of 2008, the group wrapped up in Mexico and drifted back to their homes across the country, back to their own solo careers.

“I thought that was it,” Taylor says. “I wasn’t planning on anything else. But a few weeks went by and I started getting emails from Conor’s people, asking me if I could play here, play there, giving me lots of

tentative dates until the list was long enough to be a tour.”

The next thing they knew, The Mystic Valley Band was on the road for a five month tour around the new self-titled album.

“Somehow we just turned into a band,” Hollingsworth says. “That first time we played together, all six of us, it just felt great. We just had fun together.”

Each member brings a style different from the rest (a direct result of six combined solo careers), making the end result something unique, yet cohesive.

“I’m more Hendrix—classic rock, bluesy and even a little punk,” Hollingsworth says, describing Freitas as “classic Beatles or Paul Simon.”

“He comes up with stuff I never would, but I end up lovin’ it.”

It’s no surprise the band is each other’s inspiration.

“Each of us is so unique, talented in different ways

stylistically and artistically,” Hollingsworth says. “The combo of all of us together compliments the band as a whole. Everyone has an influence on the songwriting, so it keeps you excited about what we’re all going to put into it.”

The rest is history. Conor Oberst and the Mystic Valley Band tour all over, playing with big names, running their own shows, not to mention frequenting the late night TV circuit (Leno, Conan, Craig Ferguson). Most recently, they agreed to follow WILCO, fitting that into their own tour, currently out west.

Their first release as an official band is Outer South, a 16-track collection out in May, recorded outside El Paso at Sonic Ranch Studios. It’s classic rock with hints of blues, a touch of alternative and a lot of stuff you will have never heard before. The band also welcomes fans to witness the making of the band first hand by watching “One of My Kind,” the band’s self-made documentary recounting their Mexico tale and beyond.

— Jennifer Williams

accidentaL mysticismMAkING BANdS SoUTH of THE BoRdER

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who’s whoConor oberst (vocals), tay-lor hollingsworth (guitar), nik freitas (guitar), Macey taylor (bass), nate Walcott (keys, trumpet), Jason Boesel (drums)

formed 2007 in topoztland, Mexico

LaBeLMerge

Latest reLeaseOuter South (2009)

on the weB www.conoroberst.com

conor oBerst & the mystic

VaLLey Band

PHOTO: BUTCH HOGAN

18 ATHENS BLUR MAGAZINE

“I tremble….they‘re gonna eat me alive,” Emily Haines croons in Metric’s fourth full length record, Fantasies. With a dreamlike album clad in skin tight leather knickers, the Canadian new wave group snuffs any doubts about its ability to survive.

Despite some speculation that the band was breaking up after the grueling tour for its 2004 album, Live it Out, it seems that Metric has revitalized its spirit along with its sound. Fantasies is Metric’s first independent release, and contains what Haines calls “the clearest and simplest songs I’ve written in my life.”

Fans rode shot gun in the year and a half recording process, gaining access to downloadable songs and videos through ilovemetric.com and Myspace. Metric wanted the feedback and wanted to be sure that the album wasn’t only profitable, but quality driven as well.

“Quality still is the only way to go,” said guitarist Jimmy Shaw, “despite all the changes in the industry through the years. Back in the ‘70s, it was like there was only music on major labels. If you were going to the record store to find a song that wasn’t on a big label, chances were that it wasn’t available to you. Now it’s available to you in tons of different ways. All you need is a dial up connection and some songs, and you can broadcast your music to millions of people — it is the simplest social interaction there is. You sing and I’ll listen.”

May 6 kicked off the world tour of Fantasies, which Shaw hopes will continue for a couple of years. At the time of the interview, he was on vacation in Paris cooling down a bit before the nonstop concert circus began.

“Everyone has their own relationships and friendships

that keep them centered,” said Shaw. “I feel like more than anything the four of us are really, really close. When we’re on tour we almost never split up to eat meals by ourselves or

anything. And I feel like that is the most centering thing about this band. We’re all super, super close friends and I think that’s just the core of it all. “

And like any strong relationship, Metric nurtures the individualism of its four distinct parts. In the time since Live it Out, Haines went to Argentina and worked on her solo project, Shaw built a new recording studio in Toronto (“it’s a sensual hub, a neighborhood hang,” he says), bassist Joshua Winstead and drummer Joules Scott-Key toured their side project, Bang Lime, Fantasies was dreamt up and Bruce McDonald approached the band about doing a documentary.

“Bruce did a show for the Canadian IFC called “The Rawside of...” and he wanted to do one on us. We were at such an interesting and bizarre point for the band, and for what we were actually doing

at the moment. It was taking such a long time finishing up the record and it was taking such bizarre turns from left to right in sort of the final process. “When he caught up with us and started filming, it was a natural narrative that was happening. In the first meetings that we had he made it very clear that everything has to be interesting, and talked about skewing time lines and stuff like that, but then the third time when he showed up with the camera he was just kind of like, ‘we aren’t going to have to change a thing, you guys are crazy,” Shaw laughed.

“The first time I saw it, I kind of sat back and thought ‘Oh my God, my life is completely insane.’ Sometimes I wouldn’t even realize it, but I was watching an hour long special of myself on television. It was completely bizarre.”

— Kelly Skinner

BeatinG Like a hammerMETRIc’S NEw RELEASE, docUMENTARy ANd LIfE fRoM THE Top

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who’s whoemily haines (vocals, syn-thesizer), James shaw (gui-tar), Josh Winstead (bass), Joules scott-Key (drums)

formed 1998 in Brooklyn, nY

LaBeLrestless records

Latest reLeaseFantasties (2009)

on the weB www.ilovemetric.com

metric

COURTESY BIG HASSLE MEDIA


A former sidekick for The Polyphonic Spree and Sufjan Stevens, as a well as a Berklee College of Music alumna, multi-instrumentalist songstress Annie Clark (St. Vincent) has got that magical ‘it.’ Zac Taylor: What would you have done differently on your first EP Ratsliveonnoevilstar? Were you still in school when you made it? Annie Clark: It was horrible. I did that my sophomore year or something. I haven’t listened to that in a really long time. I would say now that I should have put a little more Bill Callahan and a little less Herbie Hancock in it.

ZT: What kind of student were you? AC: I wasn’t a very good student. What’s the magic secret? Oh— Practicing.

ZT: I think tighter jeans and cigarettes works better than practicing. And blogging a lot. AC: Really? Everybody blogs? I have to be honest—I started twittering, and I feel very uncomfortable about it. No one cares if I’m like, “Woke up. Ate a bagel.” My life is very boring. I would never want people to know how boring it is.

ZT: So, after college and a failed stint in Brooklyn, you moved back to Texas, saved some money, and recorded some stuff? AC: Yeah. I joined this band, The Polyphonic Spree, and finished the Marry Me record, and toured a bunch, then wrote with Sufjan, and then blah blah blah. And then started touring with my own St. Vincent thing a whole lot starting in 2007.

ZT: How’d you hook up with Sufjan Stevens? AC: I had done about half of the Marry Me record, and he had heard it and liked it, and I had just agreed to work with Billions Corporation, which is his agency, and so many

other bands. I kind of sought out the Billions Corporation, because I looked at their roster — Antony and the Johnsons, Joanna Newsom and Sufjan. It was like all my favorite artists ever.

ZT: Working with Producer John Congleton on Actor— AC: Johnny C. We’re getting married. Could you start spreading that rumor?

ZT: We’ll tweet it for you. But you seem to be quite a savvy sound technician yourself. What was it like working with him? Did you reach a happy medium? Was he the boss or were you the boss? AC: I think any good producer-artist/co-producer relationship has nothing to do with someone assholishly asserting their ego. It’s all about a common goal. We can sometimes disagree about what it would take to get there, but there’s no throwing your weight around. That’s a weird thing to put into a communicative situation. You both want the ship to sail. You just resolve to both commit to that, and not have an ego about it.

ZT: How much of the production and the arrangement is preplanned and how much do you experiment? AC: All of the clarinet stuff and all of the orchestral parts I arranged before recording began. They were all put together, I knew what I was doing with those.

ZT: Coming out of the gate of Berklee, what’s some general advice you have as far as the craft of songwriting? Did you scribble in a notebook for hours? Were you out gigging? What was your priority? AC: Well, I knew I wanted to make an album, and release an album. I didn’t have any idea if anyone would hear it or any sense of that. But part of life is being moderately prepared at the right time at the right place. But I would say there’s not like a theorem or a formula or anything, except to just do what you really love to do, and follow that. Whatever makes you feel really awesome about yourself, about life — do that. And keep doing that. And keep doing that. And the other stuff,

the ephemeral, and the things that are out of your control, will remain out of your control. Always. So focus on the things you can control. Make music that you love and believe in it. I know it sounds cheesy, but there’s not a shortcut in that regard. And in the process of doing that, you typically attract like-minded people.

ZT: The music video you made for “Actor out of Work” is really cool. But music videos aren’t really commercials for records anymore. So you have a beautiful video and website, and an excellent internet presence. What excites you the most about the way this industry’s changing? How are you capitalizing on that the best? AC: I’m with a label called 4AD, who I really like, and everyone there is good at their job, and smart, and totally capable—and I kind of let them think about that. I used to do a blog, which was kind of okay, and I twitter, so I try to keep current, but I’m in my late-mid twenties, so things are changing and I feel like I’m older. I guess it means more access for people. There are a lot ways to get your thing out there. And I twitter. Usually about the bagel.

— Zac Taylor

the maGicaL “it”poLypHoNIc SpREE, SUfjAN SIdEkIck fINdS SUccESS oN HER owN

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who’s whoAnnie Clark a.k.a. st. Vin-cent (multiple instruments)

formed 2007 in Brooklyn, n.Y.

LaBeLBeggar’s Banquet/4Ad

Latest reLeaseActor (2009)

on the weBwww.ilovestvincent.com

st. Vincent

PHOTO: ANNABEL MEHRAN


Face it, Matthew Sweet goes to better birthday parties than you.

“I was at Sue’s birthday party” — that would be Susanna Hoffs, Bangles’ lead singer — “and Lindsey was there” — that would be Lindsey Buckingham, of Fleetwood Mac — “and we got to play Fleetwood Mac songs with him. We did ‘Go Your Own Way’, and he did this amazing solo version of ‘Never Going Back Again’.”

(Pause). “It was amazing.” Amazing, yes, but for Sweet

it was also work. At the time, Sweet and Hoffs were joining forces on Under The Covers Vol. 2, a collection of the duo’s favorite songs from the 1970s. Three years after the release of their highly-touted 1960s compilation, the pair wanted to ensure their second Covers effort had an added edge. Looking to record Fleetwood Mac’s “Second Hand News,” Sweet thought who better to play lead than the guy who wrote it.

“During the party I asked him if he would consider doing a lead part on our second Under the Covers, “ Sweet said. “And he said sure. He just recorded it one morning on a little tube amp and just rocked it.”

Cake, good friends, California sunshine and jamming with musical legends. Pretty good work if you can get it.

Boasting more than 25 years as a working musician with 10 solo albums to his credit, Sweet still must work to “pay that mortgage,” but can pick projects that please him the most. Producing a new album for the Bangles, he’s also talking up Covers, 16 songs comprised of classics (Yes’ “I’ve Seen All Good People: Your Move/All Good People”), deep tracks (Big Star’s “Back Of A Car”) and songs everyone knows by heart (Carly Simon’s “You’re So Vain”). Aside from Buckingham, he also enlisted Yes’ Steve Howe (“Yes were a huge formative influence for me, I learned to learn the bass on Yes songs,” Sweet said)

for a project close to his heart. “Both of us wanted to capture

what was really cool about those original records because that’s what makes us excited,” Sweet said. “Other people do covers and feel like they need to reinvent the thing, but I have my own original music and so does Sue. We’re not so much about having a stake in it, we’re trying to glorify the music we love.”

Sweet’s been seeking those musical loves since the early 1980s, when, as a high school student in Lincoln, Neb., he wrote postcards to R.E.M. and pen palled with Let’s Active founder Mitch Easter. A chance encounter with a touring Athens band steered the Cornhusker toward the Classic City.

“Oh OK came to Lincoln and played a place called The Drumstick, there were like 100 people there. I had their 45 and I talked to them,” Sweet recalls. “That was a big deal to me, so I hooked up with those guys and eventually went to Athens.”

Sweet joined Oh OK, playing power-pop dance music, then went on to form Buzz of Delight before signing a development deal with Columbia Records in 1985. It was not the typical path of an Athens musician, and it soured Sweet with some around town.

“About the time I got the deal people said, ‘You shouldn’t do that, you should go on tour and build an audience,’” Sweet said. “But I couldn’t deal with that. So much when you’re young is about

the people you know and what’s cool and not cool. But I learned that goes away, and all that stuff doesn’t matter. What matters is the music you made and what you learned.”

He learned plenty. His 1991 album Girlfriend, with its infectious guitars and top 10 title track, drew raves and a slew of fans. At the same time he developed bonds with musicians — such as Richard Lloyd of Television and Ivan Julian of Richard Hell & the Voidoids — who became collaborators in the coming decades.

Last year Sweet released Sunshine Lies, playing with many of those same band mates, and he plans another solo album due out this year. One aspect he relishes most is the technology which allows him to keep his musical ideas and projects in a small little box.

“I swear I gave interviews to people in the 80s where I said, ‘What I dream of is a box that’s small and makes perfect recordings and can do everything,’ and that’s really what the computer became,” Sweet said. “I have a better outlook now than ever, I’m more confident and it’s clear to me that I can do music and I’ll keep being able to do so.”

— Ed Morales

he’s Got it coVered 30 yEARS LATER, MATTHEw SwEET IS STILL pLAyING yES SoNGS

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who’s whoMatthew sweet, (vocals, guitar, bass)

formed 1985 in Lincoln, nebraska

LaBeLsuperdeformed/rCAM records

Latest reLeaseSunshine Lies (2008)

on the weB www.matthewsweet.com

matthew sweet

COURTESY MATTHEW SWEET

John “JD” DeServio is a busy bassist. Not only does he lend his skills to metal band, Black Label Society, he’s also started a side project, Cycle of Pain, which he first began over 25 years ago in his garage. Juggling two bands, both on the same bill, can be exhausting, but DeServio still finds time for interviews, phoning in from Grand Rapids, Mich., the last stop on his most recent tour stint that started February 24.

Athens Blur Magazine: How do you adjust from being on the road for a few months to going back home? John “JD” DeServio: It’s crazy because you get home and everything stops. I’m so busy out here (on the road), it’s insane. My days are just packed. It’s a hard adjustment.

ABM: Summer touring has to be brutal. What is the worst venue/area to play in the summer? JD: Phoenix. It’s so f-ing hot, it’s like 120 degrees.

ABM: What do you think has changed with the metal scene from 90s metal to today? JD: Well, a lot more of the bands that are coming out nowadays are

really lacking in soul, and blues in that element of music. Where in metal, when Sabbath came out, even in like the 70s, it was blues based.

ABM: Why is metal lacking in soul nowadays? JD: They’re not listening to it. They’re just not listening to the music--to blues and soul music. All the kinds of things we listened to before. Now everybody’s just all into technique and shredding but they’re lacking the feeling, ya know?

ABM: With metal musicians, there always seems to be this façade of total bad asses. How bad ass do you think you are offstage? JD: (laughs) It’s all a really big façade. Everybody’s a bunch of pussies.

ABM: How do you manage time between Black Label Society, Cycle of Pain, and family? JD: It’s rough. It’s a lot of work. And doing double duty out here is a lot of work..I’m here now and do these meet and greets everyday with Black Label, then I’ve got to get my Cycle of Pain gear inside the club. Then I have to do a Cycle

of Pain sound check, and then a show, then the merch booth, then the Black Label show.

ABM: Do you anticipate any conflict with touring between the two bands? JD: Black Label is home. Cycle’s still on the side, for right now, so it’s not a problem.

ABM: So, if Cycle takes off, will you continue working with Black Label Society? JD: Oh yes, of course. This is home.

ABM: What would you pitch to our readers to entice them to go pick up Cycle of Pain? JD: ( Jokes) It comes with a free beer. Nah, it’s just good music, great musicianship. They’re good songs man, good grooving tunes so hopefully people dig it. I have a lot of influences in the funk world, jazz and soul.

ABM: I noticed some AC/DC influence in one of your songs off this album. JD: “Dead Man Walking” totally nicked “Back in Black”. It’s got that rhythm; it’s such a great rhythm. The notes are all different

but the rhythm definitely was obviously where that came from.

ABM: Where did you record this album? JD: Most of it in Barber Shop Studios in Jersey and I did a lot of it at my house as well. It’s real easy to have it [Pro Tools] at my house so I can record tracks.

ABM: Do you find yourself up in the middle of the night writing music? JD: I’m always up in the middle of the night. I’m up till like six in the morning every day, I’m a night owl. I’ve seen a lot of sunrises.

ABM: Do you have a guilty pleasure song people wouldn’t expect a metal musician to like? JD: Well, yeah metal musicians wouldn’t expect any of the shit I listen to. I listen to jazz, and funk and soul music. I love Motown. My favorite bass player is James Davidson. People just freak out if they see my collection. I mean I do listen to Sabbath, but I listen to other shit because there’s so much music out there. We had a contest winner once come on Zakk (Wilder)’s bus with her dad and we’re listening to Marvin Gaye, “What’s Going On?”.

— Nicole Black

don’t Let the LaBeL fooL youMETAL MUSIcIANS AREN’T AS ToUGH AS THEy AppEAR

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who’s whoJohn deservio (bass), Joe taylor (guitar), gregg Lo-casio (drums, vocals), rich Monica

formed 1984,in new Jersey

LaBeLreform records

Latest reLeaseCycle of Pain (2009)

on the weB www.cycleofpain.net

cycLe of Pain

PHOTO COURTESY CYCLE OF PAIN


You know the Weepies (who doesn’t?). Now, imagine their complete polar opposite, and you’ve got Cars Can Be Blue (CCBB). Though this quirky pop duo doesn’t have the cute baby, a marriage license or a heaping load of fans, they’ve really got it together in their own mixed up way.

Their boy meets girl story began in Keene, New Hampshire circa 2002, where Nate Mitchell and Becky Brooks first discovered their undeniable musical chemistry. Well, sort of.

“We were dating and he was in this other band,” says Brooks. “I got mad because I wanted to be in a band, so I started learning how to play guitar, writing songs and then we kind of started from there.”

It wasn’t butterflies and bubblegum for long, though. In 2005, the band loaded up their mini school bus, which was converted to run on vegetable oil, and hit the road for a scheduled three months of touring from coast to coast. And that school bus broke down... a lot.

“It [the mini school bus]

ended up being the bane of our existence,” says Mitchell. “We kept breaking down different places, missing shows and getting repaired and then driving straight to try to get to the next point where we were supposed to play.”

They made it all the way to Seattle, the half-way point of the tour, and were forced to cancel the rest of the shows. The band attempted to make their way back to the East coast, but the bus broke down at a gas station in Ranger, Texas, and that’s where it stayed for two and a half months.

“Becky worked the Subway counter, and I worked the gas counter, living in the bus in the parking lot,” says Mitchell.

At the very end of February, they were able to get the bus fixed and from Texas they drove to Athens where they knew

someone who could put them up for a while.

“We knew him and we knew some other people so we were like, let’s just go to Athens, regroup for a few months, kinda earn some money, and that’s basically how we ended up here,” says Mitchell. “Instead of staying here for a few months, we’ve stayed since 2006.”

That wasn’t the only downfall, though. In 2008, the hopeful CCBB boarded a plane to Manchester, England, where they would start touring with Hotpants Romance for 12 days. They landed only to find out that the officials would not let them into the country. So they were forced to cancel yet another tour and caught a flight back home.

“I just feel like we got stuck with the worst person to deal with at the airport,” said

Mitchell. “We got the female equivalent of Dwight Schrute.”

Mitchell and Brooks broke up as a couple soon after moving to Athens and their 2008 record, Doubly Unbeatable, is arguably representative of that. Brooks admits that some things on the album are too honest. And I can only guess a few songs, which are fueled by bitter sarcasm and humor, are about their relationship, which Mitchell calls “a kind of strange affair; an interesting dynamic.”

When asked about their goals, Brooks jokes, “We don’t have goals.”

“That’s something we’re very different on,” Mitchell adds. “We’re supposed to do a tour that I’m in the process of working on right now for August through September, and then trying to resolve problems with the UK immigration to do a tour.”

CCBB has been through a lot of heartbreak, misfortune and flat out bad luck in its seven years of existence. But they’ve had a lot of fun too, and they have managed to keep the band intact. Hopefully their talents, and a bit of luck, will see them through.

—Kristen Lee

cars Can Be BLueANd THEy cAN SURE HAvE A ToUR RUINEd

PHOTO: MIKE WHITE

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In the NBA, he’s had names like Rex Chapman, Bob Sura and Adam Morrison. In boxing, he’s gone by James Jeffries and Ricky Hatton. In hip hop, the Great White Hope has technically worn a handful of handles too: Marshall Mathers, Slim Shady, Eminem. All of those names, of course, represent the same beleaguered, smart-tongued Detroit rapper who’s garnering music headlines now with the release of his fifth commercial album.

Asher Roth wishes nothing but success to Em. A pale, skinny kid from Morrisville, PA, Ash isn’t exactly the type to purposely pick a fight- let alone one with the top-selling rapper alive. His voice inflections may say, “Hi, I’m riding Slim’s coattails,” but his music says something resoundingly different. Em writes songs about killing his mom. On Asher’s fine debut, Asleep in the Bread Aisle, he’s got a song called “His Dream,” where he pats his dad on the back for sacrificing for his family. Big difference.

When Mr. Mathers’ name comes up for the millionth time, Roth says, “[People] hear the album. They’re starting to understand who I am. They’re starting to get past the pre-conceived notions and easy reference points. They’re starting me at 0 instead of -10. [Critics say], ‘All right, this kid isn’t Marshall Mathers. It’s not that bad’. It’s whatever. It is what it is. It’s pretty simple and clear-cut. I just know that [now that the album’s been released], it’s an entirely different ballgame.”

Ash, like Eminem, is a big sports guy. (Okay, last comparison. Promise.) So, when you listen to conversations on Asleep, a CD that hit No. 1 on Billboard’s top digital albums chart, you know where the ESPN-y references stem. “I played a lot of baseball growing up,” Roth, 23, admits. “Sports and a good TV show are a

part of my life. I love waking up, making a good breakfast, hanging with a honey, watching some “Sportscenter” and going out and playing some wiffleball. Nothing too wild. I’m a very simple kid. It was the same way when I was 14. I’d hang with the boys, flirt with some local debutantes and get some good food. I pretty much haven’t changed. That’s why you hear youthful exuberance in my music. I still carry some of the attributes I did when I was 13.”

It was somewhere around that time Asher Roth fell in love with rap music. On the album standout “Fallin’,” Roth explains how he faced challenges from parents, peers and every other person when he initially said he wanted to rhyme. Even while laboring through West Chester University — “For me, college was 60 percent socializing and 40 percent going to class”- he kept at his craft. And then one magical night, after sending a random Myspace friend request to a guy named Scooter Braun, he found a believer.

“He’s the most authentic artist I’ve ever worked with,”

tells Braun, a well-connected, former Atlanta party promoter, who became Roth’s manager. “He’s completely unashamed of who he is. I actually think that makes him fearless. He’s a white kid in a predominately African-American genre who does not have a stamp from a Dr. Dre or any of that backing him. And not only that, he isn’t going into their lane. He isn’t wearing chains or driving a Bentley. He

is coming out wearing flip-flops, saying this is who I am. It’s about talent. Asher’s more hip hop than 99 percent of the artists out there.”

All cats in hip hop, no matter the color, respect authenticity. Marshall Mathers gets love because he was a poor white guy pretending to be nothing else. Ash is the same way — only he’s reppin’ for the ‘burbs, not the back alleys. “Being a white kid in hip hop,” Roth continues, “I’m grilled about politics and race and very serious issues. It’s important for me to have a good head on my shoulders. It’s not an easy transition, going from a ‘normal’ lifestyle into very much entering a role of responsibility and being a role model of kids 12 or 13 watching what you do and watching what you wear. At some point, all of that is going to have to be toned down because of who’s paying attention and who really does matter. My whole mentality is going to have to change.”

We hope he’s up to the challenge.

— DeMarco Williams

hoPe oVer hyPeASHER RoTH IS A LoT of THINGS - BUT A pHoNy EMINEM, HE’S NoT

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who’s whoAsher roth (MC)

formed 2007 in Morrisville, Penn.

LaBeLuniversal

Latest reLeaseAsleep in the Bread Aisle (2009)

on the weB www.myspace.com/asher-rothmusic

asher roth

who’s whonate Mitchell, (drums, vo-cals) Becky Brooks (guitar, vocals)


LaBeLhappy happy Birthday to Me records

Latest reLeaseDoubly Unbeatable (2008)

on the weB www.myspace.com/carscanbeblue

cars can Be BLue

PHOTO: HANNIBAL MATTHEWS

“I got mad because I wanted to be in a band so I started learning how to play guitar, writing songs and then we kind of started from there.”

— Becky Brooks, CCBB—


After climbing through a tiny bedroom window onto the roof of their downtown apartment and hopping over a waist-high wall, I finally sit down over what, I think, is Five Star Day, with the boys of Bambara.

They’re recovering from the grueling musical double header they had last night that began with an opening set for the Interns and the Futurebirds at the 40 Watt, and ended by trucking all their equipment through the crowded streets during the Twilight Criterium bike race for a second show at Rye Bar.

Though their talent is definitely starting to get noticed, the guys either don’t seem to realize or simply don’t care. They have a laid-back and self-deprecating attitude that is both authentic and refreshing. Just as comfortable nonchalantly discussing their shared love of French New Wave cinema as they are talking music, they exude a cool je ne sais quoi that is so not hipster-er than thou.

From the way they finish each other’s sentences, it’s obvious these boys know each other really well. Blaze Bateh, the drummer, and Reid Bateh, the lead singer and guitarist, are twins, and they’ve been playing with William Brookshire, the bassist, for about eight years. But it wasn’t until they came to Athens for college that the band’s current incarnation, Bambara, was born, releaseing a self-titled debut at the end of last year on their self-started label, Emerald Weapon.

“We were tired of dealing with Columbia and Capitol records,” Brookshire deadpans. But seriously, the real motivation was, “We just wanted to get it out quick.”

The album has a very honest, live sound to it that strikes a balance between production and the band’s raw energy and talent.

“We wanted to be able to play them all live as they are. And with the EP we’re recording now, we’re doing the same sort of live thing, but with more keyboard,”

Blaze explains. The band’s lo-fi approach

to music is so old-school that it’s almost new. In a musical era where electro-pop reigns, this gritty, honest rock sound is refreshing. And coupled with the boys “I don’t know how cool I actually am” attitude, they could easily be time travelers straight from the early ‘90s.

Force them to define a live performance in three words and Blaze gives you, “loud, noisy, pretty... but a little meaner than

that.” The three-piece’s music is noisy and aggressive rock, but, “Underneath all the noise, it’s pretty much just acoustic guitar songs,” Blaze explains. “We just fuck it up with feedback and loops.”

Reid, the most philosophical of the three, writes all the lyrics for the group’s songs. Though the meaning is sometimes hidden in cryptic symbolism, he insists that the songs are about real-life.

“I’ve gotta have some inspiration. I can’t sit down and

say ‘I’m gonna write a song,’ or it’ll be awful. But I mean, it ends up taking a long time,” he says. “Even if there’s ridiculously abstract things, it’s still all based on real life. Sometimes I have to get really abstract, because the less room for lyrics in a song, the more you have to pack meaning into them.”

Whether they know it or not, Bambara is part of the new class of young Athens acts that are generating palpable buzz and taking Athens by storm of late. They’ve opened for the likes of A. Armada, Cinemechanica and the Futurebirds, and yet if you ask them if they see themselves as part of that group, Reid demures.

“We’ve played with all those bands and we’re friends with them, but I’ve never thought about it that way,” he says. “But A.Armada is a pretty big band already--they’ve toured Europe! (laughs).”

Though they say the goal is just to get to a point where they can support themselves playing music, I’m guessing it won’t be long until Bambara finds themselves on its own European tour.

— Lindsey Lee

Pretty noisyyoUNG BANd GENERATES A GRowING BUZZ

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and low for its next great rapper. Saigon, Papoose and Joel Ortiz have all tried their hands at carrying on the legacies of Jay-Z, Nas and the late Notorious B.I.G. All have failed fabulously at the task. Through the auditioning and premature media christening, Jason “Jadakiss” Phillips has quietly played his role in the corner, putting in consistent work and patiently waiting on his chance to shine.

At 34 years of age, Jadakiss’ time may have finally come. The Last Kiss is the scruffy-voiced MC’s third album, and it’s your typical trek around a dark, desolate Brooklyn or Harlem block. There’s posturing, pistol-waving and proclamations of being the best. But it’s all arranged so magically, those who’ve heard the spring release can’t help but scream its praises. “Pain & Torture,” “Something Else” and “Come and Get Me” are vintage East Coast sounds that don’t ever feel forced or dated. It’s the kind of music Jada fans can play in Atlanta, Chicago or Miami and follow with a proud “What?! We told you the North wasn’t goin’ nowhere!”

“I think some people are taking the art for granted,” says Kiss, who’s also still one-third of rap trio The LOX. The popular late ‘90s crew plans to bring more heat to Rotten Apple streets with No Security later this year. “Hip hop is a culture that shouldn’t be tampered with. It should be expanded. Hip hop stems from break-dancing and block parties out in the park and a DJ with two turntables, a mixer and two MCs battling, going back and forth. We can’t switch it. We can’t be ignorant about it. But at the same time, we can’t make the shit too far out, know what I mean?”

Yep, sure do. And that’s why Last Kiss’ back-to-the-borough-basics approach works so well. There’s no auto-tune. No pointless skits or Akon

cameos. Just a man, his mic and some of the fiercest musicianship the rap game’s heard in a few years. Listen closely to the album; you’ll detect something else- a softer, almost sensitive side we didn’t know the Yonkers native had- especially on

commercial tracks like “By My Side.”

“That Ne-Yo song is for the ladies,” Jadakiss swears. “You gotta cater to the ladies- no matter how you look at it or how gangsta you are or what you portray. I’m an artist. I understand

the demographics of the game. If you start complaining early, [my label, Def Jam will] cut the money off. So, I had to let them rock with that. It works out as a win-win for me. I ain’t changin’ though. That might be good ‘cuz you gotta cop the album in case you think I changed. There definitely aren’t no more songs like the Ne-Yo song. That ain’t what the core of the album is. The core of the album is that Jada shit- them good lyrics, them good beats.”

Jada will admit that, while his first Roc-A-Fella release, ultimately is his own vision, he did get some aid from one of New York’s finest to polish things off. “Hove came in,” Kiss recalls, “and [had me] go back in [the studio] with Swizz Beatz. I got a joint from DJ Khaled and another Pharrell [Wiliams] joint too. It was good. Some advice and help is always good. Everybody could use help- Barack, Jordan, LeBron, Kobe, Shaq. Everybody needs a lil’ bit.”

Fans in the Tri-State area looking for the next big thing to come out of New York don’t need any help. They’ve finally found him in Jadakiss. But the funny thing is that he’s been there the whole time.

— DeMarco Williams

deePer than raPTHE EMpIRE STATE’S NExT GREAT RAppER coMES BAck foR THE fIRST TIME

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who’s whoreid Bateh (guitar, lead vocals), William Brookshire (bass, vocals), Blaze Bateh (drums, vocals)


LaBeLemerald Weapon

Latest reLeaseBambara (2008)

on the weB www.myspace.com/bam-baraband

BamBara

who’s whoJadakiss (MC)

formed 1993 in new York

LaBeLd-Block/rock-A-fella/ruff ryders

Latest reLeaseThe Last Kiss (2009)

on the weB www.jadakiss.com

Jadakiss

COURTESY JADAKISS

COURTESY BAMBARA

“Hip hop is a culture that shouldn’t be tampered with. It should be expanded. Hip hop stems from break-dancing and block parties out in the park and a DJ with two turntables.

— Jadakiss —

“Underneath all the noise, it’s pretty much just acoustic guitar songs. We just fuck it up

with feedback and loops.”

— Blaze Bateh, Bambara —


In 2007, five young men from Bowling Green, Kentucky created a ‘must see’ frenzy after a much talked about performance at the South by Southwest festival. Word spread rapidly about Cage the Elephant and its lead singer Matt Shulz, who is now becoming known for his constant crowd surfing and on-stage antics such as parading around in a tutu. Reps from major and independent record labels at the festival were licking their chops for a chance to lock the band into a contract.

“There was a lot of labels that were interested (in us),” recalls a soft-spoken Shulz (quite opposite from his persona while performing). “We did the whole courtship thing, but due to creative control issues, we just decided to go with a smaller label in the UK because they gave us 100 percent creative control.” The indie label was Relentless, and in 2008 the band released its debut album in the UK. After signing with Relentless, Cage moved to Leighton, London, where they lived for 20 months.

“We missed our family, friends and Taco Bell,” he reflects. “We missed Taco Bell so bad we’d sit around in our splitter van and pretend to order... it was ridiculous.” He adds, “Almost every single time when we come back from a tour from England, the first thing I do is go to a Taco Bell and order a double decker taco supreme, chicken gordita supreme, mexican pizza, and a large Pepsi.”

After spending nearly two years in London, Cage found new management and continued to receive offers from bigger labels. “We maintained kind of like a courtship relationship (with major labels since SXSW),” he explains. “We never felt right about any of them, but Jive also [offered] us the 100 percent creative control.” The rock quintet decided to finally sign with Jive Records, which released the same self-titled

debut here in April. “The truth is large labels can

reach more people,” he says. “It just seems like today there is so much more pretentiousness. There are a lot of great bands that won’t sign to majors just because of the name major.” He adds, “I enjoy people listening to my music and I’d like to reach as many people as possible. It’s only been recently that it’s become a thing where like you’re not a cool band if you’re on a major. I had the same kind of thoughts for a long time.”

Shulz and his brother/guitarist Brad, both were heavily influenced by classic rock legends such as Jimi Hendrix and Bob Dylan. And you can hear tinges of these influences in Cage’s music. There is a sense of lyrical freedom reminiscent of Dylan, and Matt uses the same poetry

songwriting format as Dylan to express his thoughts openly.

Doing what’s cool and what is accepted by others has never been a compromise for Shulz. In high school, he found himself an outcast among the jocks and popular kids.

“It’s like if you didn’t fit in with everyone else they thought you were gay or a nerd, and maybe both,” he says. “I was really big into art and painting. I used to get picked on so much. So I just kind of stopped drawing and picked up a guitar. It made me feel a lot cooler.” He admits, “I collected astronaut cards, and I had a bunch of Robin Hood cards which is kind of really nerdy. I mean I collected baseball cards, too. I had Lion King Cards too, what the hell was wrong with me?”

Going back to his hometown

today, Shulz no longer feels so isolated.

“I think people’s actions towards me have changed and towards the band, but people change in general when you get out of high school. You kind of realize a lot of that stuff is bullshit. So I don’t know if it’s because of the band’s success or just that people change.”

If Shulz could lend advice to other kids that are picked on in school for being different than everyone else, he would advise, “Be ready for change. You know, people change, and life situations will change, and just keep looking forward. Try not to be jaded. The world is a fucked up place and there’s a lot of hate in it but you don’t have to buy into that.”

He also never lets what critics have said or continue to say about the band hinder them from moving forward. He addresses critics in the song, “In One Ear,” crooning “They say that we ain’t got the style, we ain’t got the class, we ain’t got the tunes that’s gonna put us on the map…” But Cage the Elephant has proven such critics wrong; they are on the map, and they’re stampeding the music world.

— Nicole Black

who’s whoMatt shultz (vocals), Brad shultz (guitar), daniel tichenor (bass), Lincoln Parish (guitar), Jared Champion (drums)

formed 2005 in Bowling green, Kentucky

LaBeLrelentless/Jive

Latest reLeaseCage the Elephant (2008)

on the weB www.cagetheelephant.com

caGe the eLePhant

yo Quiero taco BeLLTHE SAcRIfIcES — ANd REALIZATIoNS — of A Rock dREAM

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PHOTO:DANNY CLINCH/JIVE RECORDS

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SnowglobeNo Need To Light A Night

Light On A Night Like Tonight

Snowglobe’s new EP is puzzling in the way it strings together an array of genres — pop, rock, indie, psyche-delic, even a little folk — yet they all work together to fit perfectly. Though the boys claim Memphis, Tenn., as their hometown, Snow-globe’s origins lie right here in Athens. The band played its first shows with several artists of the Elephant 6 col-lective, and that influence is still with them on this fourth album.

“Get It On ” is my favor-ite of the seven tracks with its potential for a serious jam out if you were to see it live. Starting out acous-tic, it slowly adds instru-ments until the last minute when it breaks out into com-plete insanity with Nahshon Benford’s serious trumpet skills. “Nothing I Can Do” is a poppy song and proba-bly the catchiest on the al-bum. The last track is iron-ically called “Prelude,” and it shows the band’s experi-mental and psychedelic ten-dencies. Overall, Snowglobe delivers an easy, happy lis-ten and would be an ideal summer album to get your hands on.

— Kristen Lee

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Lissy Trullie Self-Taught Learner

The first time I listened through Lissy Trullie’s debut album, Self-Taught Learner, I absolutely hated it. Then I gave it another spin, and strangely enough, I kind of liked this pop-rock hipster paradise of new wave riffs and grungy girl vocals that’s almost too cool for it’s own good.

Trullie has a low, throaty alto that sounds fresh, but lacks a lit-tle control. Falsetto “ooo’s” pretty up the songs, but sometimes it comes across as a little too cute compared with the grit of her normal range. I’d like to see what Trullie could do outside the shadow of her ‘90s influences like The Strokes.

The highlight of the album is the catchy opening song “Boy Boy.” Self-Taught Learner is a quintessential New York rock al-bum imbued with a little grit and a lot of arrogance. It’s so ste-reotypically cool it’s almost off-putting, but it’s still good rock music.

— Lindsey Lee

Iron & Wine Around The Well

Around the Well is a double-disc collection that features re-issues of out-of-print tracks from Iron and Wine’s early days and never before released B-sides. The songs span the band’s career, from the first thing they ever recorded, a cover of The Postal Service’s “Such Great Heights,” all the way through 2007’s The Shepherd’s Dog. The first disc is quieter and more raw, while the second is a bit more polished. Sam Beam’s voice is as pretty and soothing as ever on these tracks. That being said, it sounds the same on every track, which gets a little boring. This is an album for listening to on the porch during a summer thunderstorm, leaving you with a forlorn but beautiful impression. “”Communion Cups and Someone’s Coat” is a gorgeous acoustic track, while the piano on “Kingdom of the Animals” lends a little more spunk to the overall melancholy feel. “The Trapeze Singer” is a heartbreakingly beautiful nine minute treat that finishes the record on a strong note. And though I feel a little bit gloomy at the end of the 23 tracks, I love the breathy beauty of Beam’s voice and the flawlessly beautiful melodies his voice presents.

— Lindsey Lee

The Thermals Now We Can See

Hutch Harris, lead singer of the Portland, Oregon-based three piece The Thermals, is not a beautiful singer. In the tradition of his punk forebears and even, ahem, Neil Diamond, Harris speaks melodies, spitting out words over a pronounced guitar wash. He can sing, and he does so to great effect — almost like you don’t expect it when it happens — but his vocals are most powerful conversationally. On Now We Can See, he takes this delivery and creates an album full of memorable tunes. Now We Can See is The Thermals’ first studio effort since 2006’s The Body, the Blood, the Machine. Both are concept albums formed around different conceits — Now We Can See is based on death, while The Body focused on religion — and Harris’ delivery pays reverence to every descriptive lyric on both records. On Now We Can See, thudding bass and splashy drums surround but never overwhelm the words, so when Harris sings about taking off his skin and losing his spine, the words are clear, even if we might not know what they mean. The words are front and center, but the songs off Now We Can See are made irresistibly catchy by the band’s simple blend of loud guitar fuzz and steady backbeat. A healthy bit of irreverence helps, too. The title track and most irresistible song begins with a 16-bar anthemic singsong. “Woa-a-o o-ah-o,” the band members shout, proving that words may mean a lot, but singing still counts for something. - Jon Ross

The Incredible Sandwich Self-titled

I like the metaphor of a band as a sandwich. When you think about it, what is a sandwich? Much like a song, or most definitely like a record, it’s a blank canvas of creative possibilities. Combine all the bread, core and topping possibilities, and you don’t have

to eat the same sandwich twice for a very long time. Specifically, the metaphor works for this quartet of Athens youngsters, releasing a self-titled debut on Mule Train Records. Like our endless sandwich combinations, the band runs the musical gamut in the confines of this 34 minute release, smoothly mixing styles on a winding road of peaks and valleys that never fails to entertain. The virus that tends to kill “jam” bands is the noodling effect – jams that become four musicians doing four things on top of each other, akin to multiple conversations crammed in close confines, turning clear speech into little more than an unintelligible drone. The antibody for such an affliction is subtlety and placement, and The Incredible Sandwich is a shining example. They can play, no doubt. That’s evident within the first minutes of any track on the EP. What’s more impressive is the band’s collective knowledge of when not to play or, at the very least, knowing when not to overplay. Much like a Miles Davis jazz record, or (if you like the local examples), a Davis Causey guitar solo for Randall Bramblett’s band, The Sandwich attacks with a subtle dynamic that showcases musicianship and intelligence, separating them from a seemingly endless line of Teva-wearing, river-side frisbee tossing jam rock.

— Alec Wooden

Paul and the Patients To The Lions

With the upcoming release of its debut EP, To the Lions, Paul and the Patients has a 5-song compilation that it can hang a hat on. The band provides listeners with the comfort of honest lyrics, catchy guitar riffs and hippy bass. The opening track, “Complaint 15,” starts the EP off with a release of emotion of sort and welcomes in the listener to the four excellent tracks to follow. The subtle hints of pop, chime-rock and synthesizers mix in well with the broodish vocals of front man Paul Holmes. The EP mirrors thoughts of nights with friends that aren’t wholly remembered, but for all of the right reasons. Fresh and in possession of a sound definitely its own, this is the sort of band the general public desperately needs.

— Will Hackett

Camera Obscura My Maudlin Career From the welcoming Wall of Sound wail of “French Navy,” the opening track of Camera Obscura’s excellent My Maudlin Career, I’m quickly reminded how free and lasting Phil Spector’s influence is, even as he faces a life of incarceration. “French Navy” has the band going back to the 1960s, but also reaching into Let’s Get Out of This Country, its breakthrough 2006 release. The mixture of new and old holds the comfort of a fond memory, but as the song ends, the transition to “The Sweetest Thing” has Camera Obscura moving on. Goodbye Phil, have fun in your cell, we have more to achieve. What opens up is an ardent album of springy strings and playful melodies as the Glasgow outfit is atop their game, borrowing from the past while rocketing fast-forward with a certain freshness. The engine is propelled by Tracyanne Campbell, whose sweet voice belies the cheery songs with sour lyrics of heartbreak and cynicism. “You challenged me to write a love song/Here it is, I think I got it wrong.../The pain was too much to write and sing” she croons on “Sweetest Thing.” The listener is feted with country ballads (“You Told A Lie,” “Away With Murder”) and Beach Boy homages (“My Maudlin Career”). “Honey In The Sun” closes the session with a frolic of horns amid Campbell’s plea of “training to become as cold as ice.” Poor Tracyanne. Phil’s not the only one in solitary, but we’re all the better for it. — Ed Morales


Marcus Roberts New Orleans Meets Harlem Re-imagining classic songs is not a unique concept. Cover bands base their entire existence around playing melodies someone else created, and pop singers have always found hits singing other people’s words. The key to interpretation, however, is paying tribute to the original while also keeping in mind the author’s intent. The pianist Marcus Roberts and his long-time trio jump to this restorative task with vigor on New Orleans Meets Harlem, Volume 1. The album includes a diverse array of standards that represent more than 100 years of jazz history. Roberts plays the tunes of jazz masters, including Duke Ellington and Thelonious Monk, as well as pieces by the historical figures Jelly Roll Morton, Scott Joplin and Fats Waller. These tunes are not simply melody-solo readings; most are given new working parts. Scott Joplin’s “The Entertainer” is a dizzying mash—up of styles. It starts with a plodding drum solo, on brushes, that slowly gathers speed into a laid-back, funk beat. Roberts enters, playing the familiar ice-cream truck jingle, adding offbeat chrodal hits and bits of melodic filigree. Then everything stops, a grand pause of sorts, and the tempo changes. The drums are now in an all-out, ride-cymbal swing, and Roberts takes a solo. Not soon after, the feel of the piece changes again … then again and again. Throughout the entire album Roberts creates a world of ably played, hip jazz updates, but he sometimes indulges himself to the point that the original tunes all but fall apart. — Jon Ross

The Felice Brothers Yonder Is The Clock

The newest release by New York’s The Felice Brothers is entirely enjoyable, throw-back country/folk/rock music. Ian Felice has not exactly taken care of his vocal chords; they have seen a lot of dark liquor and cigarettes, but the grit in his voice gives the music traction (he sometimes sounds like a deep-fried Bob Dylan). “The Big Surprise” is a slow-burner, followed by “Penn Station,” which comes out with a bang, making you feel like you’re in a rowdy tavern with peanut shells crushing underneath your boots. To eliminate any doubt that this is a country-influenced release, check out two different songs with the word “chicken” in the titles, but that may have something to do with the fact they have thus far recorded all of their albums in a renovated chicken coop. As far as the slower songs go, the highlights are “Buried in Ice” and “All When We Were Young.” A less successful slow tune: “The Sailor Song.” (Make. It. End.) The CD ultimately succeeds, though. The instrumentation (pedal steel, keyboards, accordion, guitars, etc.) give it a textured feel that also manages to sound effortless, unpretentious and like they had a great time making it. Translation: you’ll have a great time listening.

— Julie McCollum

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upcoming CD releasesjune 16Incubus Monuments and Melodies (Great-est hits) Twista Category F5 Alchemist Chemical Warfare

june 23Patterson Hood Murdering Oscar (And Other Love Songs) Regina Spektor Far Third Eye Blind Ursa Major Pete Yorn Back and Fourth Tortoise Beasons of Ancerstorship Dinosaur Jr. Farm Dream Theater Black Clouds & Silver Linings Charles Hamilton The Perfect Life The Mars Volta Octahedron Lil Wayne The Rebirth Nas and Damian Marley Distant Relatives

june30Bone Thungs N Harmony Uni5 Wilco Wilco (The Album) Rob Thomas Cradlesong Levon Helm Electric Dirt Brad Paisley American Saturday Night

july 7

july 14

july 21

Cass McCombsCatacombsBowerbirdsUpper AirBombay Bicycle ClubI Had the Blues But Shook Them LooseOneidaRated OAnimal CollectiveSummertime Clothes 7”Fritz Helder & the Phantoms Greatest Hits Son Volt American Central Dust Wonderlick Topless At The Arco Arena

Daughtry [title TBA] Miss Derringer Winter Hill Time and Distance Gravity

Rescue Signals Indecisions Sugar Ray Music For Cougars Fiery FurnacesI’m Going AwayMegafaunThe Fade (single)Wye OakThe KnotMagnolia Electric Co.Josephine

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]


Anna TernheimLeaving On A Mayday

The minute I played this album I succumbed to a musical trance. You can’t help but feel relaxed listening to this album from the soothing melodies infused with percussion and Swedish musician Anna Ternheim’s soft, elegant, and enchanting singing. Her voice has subtle similarity to Dido and the drum beats, orchestra, and percussion performed on nearly every song from Leaving On A Mayday gave me the same tranquility I find when listening to Enya. Songs like, “Damaged Ones”, and “Terrified” are such examples despite the titles. The instrumentation plays an intricate part in creating these mesmerizing and spell-binding moments experienced with each song. The next time you are feeling stressed, or heart-broken, or you just need to escape the real world for a bit, try listening to Leaving On A Mayday. “No I Don’t Remember” is one of my favorites and I will definitely be including this album into my bedtime ritual to help unwind from a hard day’s work.

— Nicole Black


the corduroy roadtour diary:

April 22 — Today we wake up around 8 a.m., load up on coffee and hit the road, headed for Spindale, NC for our appearance on the radio at WNCW. They have been playing our music since the first EP came out and we have met folks all over the place that discovered our music through them. The setting is quite different than what I’m used to. There is no audience there and we are playing into mics and hearing each other through headphones. We do four songs with bits of interview in between. Amazingly, the questions steer us directly into the songs we had planned on our set list even though we just decided what to play in the van on the way to the station. The band sounds good and tight and the interview goes well and seems natural. We leave feeling good about what just happened. (Dylan Solise)

April 23 — Waking up in Knoxville with only a few hours drive to Chattanooga isn’t so bad. We pull into Chattanooga in the early afternoon in hopes to find a park or area we can hang out. Unfortunately, the gathering storm clouds quickly dash our hopes for a nice day in the park. Instead we end up spending the afternoon under a large overpass, which turned out to be pretty entertaining. The overpass had a huge concrete slope leading to the ground, and what better to do on downhill slopes than slide down them. I decided to take the lid off our merchandise box and fashion it as a sled. After a few runs, I realized the friction was wearing the plastic lid down too much and we needed a top to the merch case at the end of the day, so we picked up some instruments and just jammed for the rest of the afternoon. As we were jamming, a tour bus stopped in the parking lot under the pass and one of the tourists got out and snapped a picture of us playing. I’m sure at the next family slide show he’ll say “…and this is when we saw some redneck bums

May 1 — Transitioning between bass players has been a pretty smooth process. Tim Helms is moving on to his career in teaching, which opened the door for us to find an upright bassist, Elijah Neesmith. Last night was the first time he’s played with us outside of practice. We decided to go over to a friends house who was throwing a party and play a short set with Elijah. It was exactly the direction I have always envisioned the band going: acoustic set, banjo, guitar, upright bass, John on a 2 pc set with a washboard and a pint of whiskey. We leave today and head to one of my favorite places to play: Winston-Salem, NC at The Garage. We’ve always done very well in Winston. The folks are always great, the venue is cool, and the sound guys are top notch. I always make it a point to swing by a local guitar store called The B String, to say hello to “B,” the owner. He’ll usually hook us up with some strings and I always play the same old banjo he’s had on consignment for the past 12 months. Being on the road so much, I’ve come to realize that playing in a band is much more about relationships with people in the towns you play, rather than just playing music. If you don’t have any relationships, you won’t have a committed fan base. Commit yourself to a person or town, and they’ll usually support you right back. (Drew Carman)

May 14 — Perhaps one of our most fun shows to date. We played a new venue in Lexington called the Tin Roof. The house was packed with familiar faces as well as a lot of new faces. We were spot on throughout the whole set and kept hammering the crowd with tune after tune all night, only taking one short break. It was a very small stage and the folks were packed in right up to the front. At one point I whacked Elijah in the face with my banjo, but he didn’t miss a beat. I think that is what accounted for the large cut we noticed on his forehead the next morning. Of course, we were sipping whiskey throughout the entire night so a banjo to the face might not have been to blame…I woke up the next morning for the drive to Roanoke and realized I pushed my voice pretty hard with singin’ and screaming last night. I drank tea throughout the day to try to regain the voice. One more show then a night off so I should be fine. Some punk graffitied our Uhaul trailer…hope we don’t get charged for it. (Drew Carman)

May 15 — Tonight’s show is a last minute addition. We were approached last week by a North Carolina band called the New Familiars about playing a show in Roanoake, VA. We had planned on taking the night off, but we’re never one to turn down a good show and since the NFs already had the show booked, we decided to saddle up. Some friends that live in Roanoake offered up a place to stay and even cooked dinner for us. The venue tonight is called Kirk Ave Music and I find out that all the profits go to benefit a local music school that specializes in programs for disadvantaged kids. We come across places like this from time to time in our travels and it always inspires me that people can combine music and philanthropy. I know that playing music is not going to save the world but I like it when I know that I can play some small part in helping others. We’re the opening act tonight so we play a short set of about 45 minutes and have a chance to hang out and listen and meet some new people. We make some new friends that decide to throw a house party if we agree to play a little music. We agree to do just that and before you know it we’re outside a house playing some old-time numbers and enjoy-ing a little Natural Light. (Dylan Solise)

May 17 — Our last show of this tour is in Hilton Head playing a Lawyer’s Conference. I love getting private gigs like this for a few reasons. 1. It’s always great pay. 2. It’s always laid back. 3. They always put us up in a nice hotel. In this case it was the 5 star Hilton. Quite a far cry from Bernie’s Ecolodge or a friend’s floor, which is usually the fare. The show went great, very relaxed attentive audience. After the gig, we broke down and had the entire night to spend at the beach. Unfortunately it was cold and rainy, but that didn’t stop us. On a beach in pitch-black rain, no one is ever out enjoying it. It oc-curred to me that no matter the weather, there are all kinds interesting things to enjoy. Walking along in the dark, we found coral washed up, starfish, horseshoe crabs, jelly fish and what looked like a dead dog. The dead dog turned out to be a pile of clothes someone had left, thank god. After soaking in the beach rain, we hit the outdoor hotel hot tub (also deserted) to polish off the rest of our beer and enjoy the remainder of the night. It was a great way to end this tour. (Drew Carman)

April 21 — Packing a few pairs of clothes for a six or seven day tour is starting to become an old hat for me…(no pun intended). I’ve learned that one of the most important things is socks. I

pack double socks, always. Why? Because socks that sit in an old pair of boots on feet that stomp and hammer a stage every night tend to sour after a few hours, and although I have done laundry

in venue backstage sinks before, carrying double socks is just plain easier. So, The Corduroy Road leaves Athens: five guys, double socks, and about 1300 miles to cover in a few days. Our first stop is

Charlotte, NC at the Double Door Inn. There were a few familiar faces, a few new ones, not a packed house, but not empty. One of those familiar faces is a correctional officer who frequents our shows

around the area.Tonight she brought me an old Chromatic Harmonica she found and wasn’t using. I think I’ll get it polished and cleaned up and try to jam on it a bit. We got into a conversation about how

(although it was a clear night) rain affects each others’ work dramatically. I suppose less folks get into trouble and go to jail when it is pouring rain. Unfortunately for us though, rain hurts the crowds that

would normally come to a show… Maybe it’ll rain tomorrow. I think I’d rather her have a safe night than us have a packed house. (Drew Carman)

April 25 — It’s a short drive to Savannah today, where we’re booked as the entertainment for a wedding. The ceremony is beautiful and things go off without a hitch. Afterwards they serve sweet tea, cocktails and appetizers while we played through a set of original material blended with some more traditional stuff. Ian also played a set and things went by in a breezy, laid-back manner that perfectly fit the setting. Playing music leads to some inter-esting experiences and I always enjoy it when we play weddings. It’s an honor to be asked to participate in such an intimate and momentous occasion. Afterwards the band is ready to head back home but Drew and I decide to stay for a while. We find a place right on the river and get a table overlooking the river. We enjoy a little well-deserved relaxation. I eat crawfish and a shrimp po’boy and swill a few Yuenglings as we watch the ocean liners pass headed out to sea. Later we head to an after-party and we play music in the garage until near sunrise. We’ll worry about fatigue tomorrow… (Dylan Solise)

May 2 — Tonight we play in Bristol, TN, an area that we have really been trying to push since we landed a spot at the Bristol Rhythm & Roots Reunion. The Reunion is a big festival in September and the people there have been more than helpful to us. They have set us up with shows in the area and helped with publicity and been all around proponents of our music since they became aware of us. The venue tonight is an Italian restaurant that focuses on

May 12, pt. 1 — Heading out this week for an-other 1500 miles. It’s our first road tour with Elijah. Should be a good start with him on a run up to Indiana and a old hometown show in Ken-tucky. I’m sure he’ll enjoy the abundance of good bourbon, pretty horses and fast women. Before hitting (our hometown) Lexington, we roll up to Hanover College in Southern Indiana. The college show went great. There was an attentive crowd and pleased faces. After the show, Dylan, Elijah and I headed over to a house party with our instruments to drink, play, and hang. When we walked in and I heard some CCR playing on a small cassette player and immediately was hand-ed a bottle of whiskey…this is precisely my kind of party. We played well into the night, met some kind folks and finally found our way back to the hotel. (Drew Carman)

May 12, pt. 2 — In most cases, our music goes over particularly well in college towns. Tonight we are performing on campus at Hanover College located in Indiana. Drew and I played there once a year ago when we were touring as an acoustic duo, and it was one of our more memorable shows. The col-lege is small and isolated so any event on campus gets a good turnout. Tonight is also our first show with new bass player Elijah. We’ve been rehearsing constantly for the past month but the set is kind of long so we’re going to be pushing the limits of what we can do at this point, but everyone seems comfortable and confident. A few minutes before the show starts I get a surprise when my aunt and uncle show up with some of their friends. I haven’t seen any of them in quite a while and it’s a real treat to see some familiar faces. We catch up and they ask lots of questions about the touring musician life. When we’re on the road I love it when we have family or close friends in at a show because it allows me to feel a bit more at home and comfortable, which is rare. As expected the show goes well. Elijah has slipped into the lineup more seamlessly than I could have hoped. His presence and excitement energize the band. After the show we convene at a house party on campus. Several people who were at the show are there. Elijah and Drew play music in the basement for a couple hours but I’m off the clock so I spend my time talking and listening. It has been a fun night. (Dylan Solise)

playing bluegrass under the overpass.” The evening’s show was killer. We played with three other bands: Girl Haggard, a bluegrass band made of strictly ladies in skirts and boots, The Fox Hunt, an old time band from WV, and of course, Ian Thomas, who we are touring with this week. The venue had to have been 90 degrees with all the people in it, which I often like. It seems like I have really accomplished something when I can sweat through an entire shirt and ring it out at the end of the night. Added bonus: $1 tallboy PBRs for bands. We left Chattanooga to drive back to Athens and sleep in our own beds for a few hours, then hit the road again in the morning to St. Simons Island and Savannah to round out this tour. Often when we roll back into town this late, we’ll give a wave to the blonde hooker who frequents the corner outside me and Dylan’s house. I guess as our job for the day is coming to a close, hers is just beginning. (Drew Carman)

its bar later in the evening. We know it’s going to be a grueling night with three hour long sets and to make things worse, it’s Tim’s last show with us. We are happy for him and proud but he will be missed. We watch the Kentucky Derby after dinner and I enjoy a celebratory glass of Maker’s Mark. It’s my third derby since leaving Kentucky, and it always makes me homesick. I miss the derby parties with mint juleps and hot browns and derby pie and burgoo. I also miss my friends. The race is an exciting one, and Mine That Bird pulls off one of the biggest upsets in Derby history, and I wish I could be at Churchill Downs in the infield celebrating. It’s tough to keep the energy up tonight knowing that it’s Tim’s last performance with us but we manage to push through. Tim has been with us through the entire emergence of the Corduroy Road as a full band. We’ve traveled thousands of miles together and played near a hundred shows together. And we recorded an album that is the proudest accomplishment of my life. The end of the show marks the end of this chapter for our band. Tomorrow we begin the next one. (Dylan Solise)

Check out more of The Corduroy Road at www.thecorduroyroad.com or myspace.com/thecorduroyroad. Also, be sure to check out the Athens Blur Blog archives at athensblur.blogspot.com to read Drew and Dylan’s entire, unedited tour diary.

(1) The Corduroy Road jams on WNCW (2) The band after a wedding gig in Savannah (3) killing time in Savannah (4)After-show house party in Hannover (5) giggin in Lexington (6) a street corner warm up before the show in Chattanooga.

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MUSIC THIS DAY IN MUSIC HISTORY

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1967 - Peter green joins Mick fleetwood to form fleetwood Mac after leaving his band, Blues Breakers.

1989 - recent anit-semetic remarks from Public enemy member “Professor griff” results in a 2-month hiatus.

1987 – Motley Crue is sued by a woman claiming she lost her hearing because a recent concert was too loud.

1955 - Johnny Cash releases his first single, “Cry Cry Cry”.

1989 - the new Kids on the Block release “hangin’ tough.”

1964 – BBC-tV’s “Juke Box Jury” has the rolling stones appear as its entire panel.

1988 - MCA records purchases Motown records for $61 million.

1977 - elvis Presley performs his final concert at Market square Arena in indianapolis.

1986 – Metallica lead vocalist/guitarist, James hetfield, breaks his wrist falling off a skateboard.

1969 - the Jimi hendrix experience perform its last concert on the last day of the denver Pop festival.

1987 - tiffany releases her self-titled debut album.

1965 - John Lennon publishes his second book, “A spaniard in the Works.”

1990 - Perry Bamonte replaces keyboardist roger o’donnell in the Cure.

1970 – sponsors of the original Woodstock, Woodstock Ventures, announce a loss of $1.2 million on the festival.

1995 - Pearl Jam begins a tour without using ticketmaster, opting instead for a mail order ticket service.

1981 – John Lennon’s assassin, Mark david Chapman pleads guilty.

1990 - Billy Joel is the first rock artist to perform at Yankee stadium.

1988 - hillel slovak of the red hot Chili Peppers dies from a heroin overdose.

1995 - Pearl Jam cancels its tour as a result of an ongoing feud with ticketmaster.

1999 – dMX’s (earl simmons’) home is searched as part of an investigation into the shooting of uncle/manager ray Copeland’s foot from the previous day.

1986 – Wham! makes a final farewell concert appearance at London’s Wembley stadium with special guest, elton John.

1980 – geffen records signs its first act, donna summer.

1988 – Michael Jackson performs in West Berlin while over 3,000 east germans gathered at the Berlin Wall to hear his concert from the other side.

1980 - Led Zeppelin begins its last tour.

1995 – An attendance record for Wembley stadium is set by rod stewart with a crowd of 90,000.

1970 - Chubby Checker and three others are arrested in niagara falls after marijuana and other drugs were found in Checker’s car.

1975 - Alice Cooper falls from the stage during his “Welcome to My nightmare” tour in Vancouver and breaks six ribs.

1969 - Jimi hendrix sets a record at the time for highest earned paycheck when he received $125,000 for one set at the newport Jazz festival.

1973 - “American Bandstand” celebrates its 20th anniversary with a 90-minute television special.

MUSIC THIS DAY IN MUSIC HISTORY

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1971 - Jim Morrison dies in Paris at the age of 27.

2002 - sony/AtV Publishing announces the purchase of a country music catalog from gaylord entertainment for an estimated $157 million.

1973 - Queen releases its first single, “Keep Yourself Alive.”

1978 - eddie Mahoney officially changes his name to eddie Money.

1977 - elvis Costello quits his day job as a computer operator at a cosmetic factory.

2001 - the Backstreet Boys temporarily stop its “Black & Blue World tour” because A.J. McLean enters a treatment center for depression and alcohol abuse.

1969 - Blind faith begins its one and only tour at a sold out at Madison square garden.

1999 – in trinidad, dMX is arrested in mid-concert for using obscene language.

1939 - frank sinatra makes his debut with harry James’ band.

1975 - Cher marries greg Allman. the couple would divorce just 10 days later.

1969 - the rolling stones give a free show for 250,000 fans in hyde Park to introduce Mick taylor as the band’s newest member.

1969 - Bassist noel redding and drummer Mitch Mitchell quit the Jimi hendrix experience.

1990 - the italian Catholic Church announces it would attempt to bar Madonna from performing in rome because of her alleged inappropriate use of crucifixes and sacred symbols.

1958 – the riAA presents the first ever gold record, honoring the soundtrack Oklahoma!

1996 - the spice girls debut single “Wannabe” is released in Britain.

1987 - steve Miller receives a star on the Walk of fame in hollywood.

1988 - Michael Jackson begins his first British tour at London’s Wembley stadium.

1946 - dean Martin records his first four songs.

1995 - Mike Mills (r.e.M.) undergoes emergency intestinal surgery in germany. As a result, seven shows of the band’s european tour are cancelled.

1973 – After 720 performances on Broadway, “Jesus Christ superstar” closes.

1981 - John Morey of steppenwolf dies in a car accident. he was 32.

1956 - Johnny Cash makes his first appearance on “grand ole opry.”

1968 - the Yardbirds disband.

1974 - eric Clapton releases “i shot the sheriff.”

1995 - geddy Lee (rush) performs “oh Canada” before the All-star game at Camden Yards in Baltimore.

1975 - Cher files for divorce from greg Allman, just 10 days after the couple were married.

1979 - Chuck Berry is sentenced to four months in prison for income tax evasion.

1895 - the song “America the Beautiful” is first published.

1970 - Casey Kasem hosts “American top 40” for the first time on radio.

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1973 - ray davies announces that he is leaving the

Kinks – he returned to the group in under a week.

1995 - sinead o’Connor drops out of Lollapalooza because she is pregnant.

JULY


tenquestions with311

after 19 years, 311 continues to uplift spirits through its reggae-rock infused music with the first album release in nearly four years, Uplifter. Lead guitarist Tim Mahoney phoned in from Los angeles, and when I answered I was greeted by a loud hiccup, quickly followed by an apology and giggle from Mahoney. apology accepted, we delved right in…By nicole Black Athens Blur Magazine: Who came up with the title for this album? Tim Mahoney: Actually, I got to give him his credit where it’s due but our manager Peter Rassler thought of it. We were talking about titles for the record and he came up with that. It was the one everyone kind of gravitated towards and ended up the one that everybody liked.

ABM: Do you think it was a fitting title for making a comeback in the music industry? TM: We’re just trying to influence people in a positive way with our music and create positive energy with

the music and kind of be an uplifter for how we are with music. It’s a nice escape; it’s ‘uplifting’ listening to music. It seemed fitting for us right now. We’re all happier now, I think, than we’ve ever been playing music together. You know we’ve been playing together for 19 years now.

ABM: Why now, 19 years later, are you happier playing together?

TM: I think just each year we enjoy it more. We’ve always enjoyed it. It’s been my favorite thing to do my whole life. To play music and to be able to earn a living at it, doing it with four of your best friends is awesome. So, I’ve always enjoyed it. I just think that now rather than it being old and boring playing with the same people, I think it’s more enjoyable and interesting. It keeps getting that way.

ABM: Does writing songs get easier over the years or do you find it more challenging to come up with new music to complete an album? TM: For me it’s always kind of trying to get your ideas down when you’re inspired. We work really well together now, I think. As time goes on we’ve just kind of figured out a way how we work well together, as far as getting together and bouncing ideas off each other and putting ideas together. So I think over the years it becomes a little easier. And I think working with Bob Rocket made it really easy working and putting ideas together. As far as writing, it’s always just kind of being inspired and I think everyone is really inspired right now.

ABM: What events have happened recently in your life to inspire you? TM: It sounds like it wouldn’t make sense but my mom passed away and another good friend passed away and both my dogs passed away this past year. So I’ve been dealing a lot with death, but I don’t mean that in a morbid way. Just to have those kinds of experiences and energy working

We’re all happier now, i think, than we’ve ever been playing music together. You know we’ve been

playing together for 19 years now.

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with me. I haven’t remembered having a better time making a record.

ABM: Considering your recent losses, how do you create uplifting music?

TM: It’s kind of like therapy. I’m really fortunate I have a really good support system around me and working on music is like therapy. And everyone gets along really well and it’s a really fun environment — we have a lot of laughs.

ABM: how is it you have been able to maintain your same style throughout these years?

TM: I think it’s how we are naturally. We love reggae. We all have bands like Led Zeppelin we’re all huge fans of. Our musical tastes are all very similar. For the most part we’ve always loved playing reggae and rock. I enjoy every-one else’s songwriting, so that keeps me inspired. A big part of still being able to be a band after all these years is enjoying playing music that the other guys in the band write. We’ve always liked blending styles. When we were starting Red Hot Chili Peppers were doing it and Bad Brains — we’re huge Bad Brain fans — they blended punk rock and reggae.

ABM: Where are some of your favorite venues/cities to play?

TM: You’re in Georgia, right, in Athens? I love it there! People are very nice there. We haven’t played there in a long time. I think we did a Halloween show there once. We were talking about hoping to get there on this tour. Maybe in the fall we’ll get to come through there. I’m a big R.E.M. fan, and I’m a big Widespread Panic fan. The very first fake ID I ever had, my name was Peter Buck. I was really proud of that! I wish I still had that! I grew up listening to R.E.M. And we were on Capricorn with Widespread, so I’ve

seen them a lot. I’m really stoked they have Jimmy Herring in their band now; I’m a big Jimmy Herring fan. [But] We’re really looking forward to our 4th of July show in Atlanta. We always have a really good time in Atlanta.

ABM: What’s a major misconception you had when first starting a band versus the reality of being in a band?

TM: It’s a lot of work. You work really hard to get to a point where a record company will sign you and that’s just the beginning of it. I think a lot of times people think just because you get a record contract you’re set, you’re on easy street. But that’s not the case; you got to [keep

working at it].

ABM: What advice can you give hopeful local bands?

TM: Play what inspires you and what you really enjoy, because then you are always going to be happy. Don’t try to fit in. A lot of times you grow up listening to bands. It’s easier and easier maybe to make recordings for cheaper, but it’s also harder and harder to earn a living playing music. You got to be able to play live. If you really enjoy it and your heart’s in it, you got no choice, you got to do it anyway. We’re really super fortunate we could earn a living doing it. It can be done, you can make a living playing music, but it’s a lot of work, but it’s rewarding work. B

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We are here!Washington St.

A big part of still being able to be a band after all these years is enjoying playing

music that the other guys in the band write.

PHOTO: MARCELLO AMBRIZ


No Mystery About it:

all photos courtesy www.athfest.com

thing – it’s not necessarily trying to copy SXSW, but in the beginning that was the floorplan, or the example we had.” Now, AthFest showcases over 200 bands on its designated weekend, encompassing three outdoor stages (including the KidsFest stage) and a gaggle of indoor club affiliations for nighttime shows. “I think it took a few years to become accepted and to start to live up to my expectations, but I still have an even bigger vision for it,” he said, adding that he still hopes for more venues, a wider downtown footprint and even more local sponsorship support. “I like to think of it as a great snapshot of Athens. You can really see what’s going on here in one weekend.” And the 2009 headliners are indeed a three-generation portrait of sorts - Friday night tapping the youthful talent of Dead Confederate before giving way to the seasoned, dependable likes of Bloodkin and

Sorry I’m late,” says Jared Bailey, speed-walking his way into the cramped AthFest office in

downtown Athens. “I’m always a few minutes late.” There’s no offense meant or taken — Bailey isn’t late on account of a lack of tact or respect. It’s just that, well, he’s probably one of the busiest people in the Southeast for the next few weeks. “I’m in a daze, man,” he says, though not as a complaint. “There are no weekends, no weekdays... it sort of all just runs together.” This day is no different - seven weeks shy of opening the 13th incarnation of AthFest, the music and arts festival in celebration of all things Athens, Bailey is a flurry of activity, hot-footing through the heat (“You think it’s bad now,” he says, “One year it reached 107 degrees during the festival”), first to the post office for a mass mailing of promo materials and then across town to drop

off the festival’s recently completed television spot to the local cable office. “I do stay pretty busy,” he says with a chuckle at such a gross understatement. Along with lending the instrumental hand in creating AthFest, Bailey has done (and still does) his fair share of entrepreneurial work about town, from founding Flagpole Magazine in 1984 and settling the 40 Watt Club into it’s current location in 1990, to today still doing business with various organizations and developmental authorities. “At my age, it’s a little hard on me. I need to be in better shape to be doing all this,” he continues with a laugh. The genesis of the festival is now common Athens folklore: in 1997, Bailey mustered up 50 or so bands to be showcased on a single stage — a shell which the event would quickly outgrow. “The original vision was something similar to (Austin, TX, based) SXSW,” said Bailey. “But it has become its own

turns13by Alec Wooden


main stages 2009

*on second stage at Washington & Hull St.

time friday saturday sunday11:00-12:00

The Empties

Tealvox

Twin Tigers

Those Darlins

Dead Confederate

Excali Brah

Pam Blanchard & the Sunny-Side Up Band

Farmer Jason

Nappy Roots

The Warm Fuzzies

Venice is Sinking

Liz Durrett

The Corduroy Road

Gabriel Kelly & The ReignsDon Chambers

+ GOAT

Jason Ringenberg

Bloodkin

Holy Liars

Randall Bramblett Band

12:00-12:4012:40-1:201:20-2:00

2:00-2:402:40-3:10*3:10-3:50

4:20-5:005:00-5:30*5:30-6:10

6:10-6:40*6:40-7:207:20-7:50*7:50-8:308:30-9:00*

9:00-10:00

Black Lips Patterson Hood & The Screwtopians

3:50-4:20*

The Ginger Envelope

The Starter Kits

AthFest:do it cheap!

A slow economy shouldn’t stop you from having a great AthFest week-

end! Here’s how to survive the week-end on a minimal budget.

FRIDAY:

Grab a quick bite at Little Italy. Slice of pizza, one topping and a draft

beer: $4

Head over to the mainstage to catch some shows: FREE!

Go for the club crawl. Here’s your big-gest investment for the weekend, but

you might as well spend it now. Wrist-band for club shows all weekend: $15

Some miscellaneous dollars (drink cheap!): $7

Friday total: $26

SATURDAY:

Eat lunch at home: FREE!

Head over to the mainstage for some afternoon tunes: FREE!

Dinner: Hey, why not Little Italy again? Total: $4

Clubcrawl: You’re already in! FREE!

Miscellaneous: $7

Saturday Total: $11

SUNDAY:

Shows all day on the mainstage: FREE!

You’ve been good all weekend. Treat yourself to a cold one in the beer tent:

$4.

Sunday Total: $4Weekend total: $41

And there you go. It’s probably a little less brew than you hoped for, but

you’ve survived AthFest on $41 and should still be able to get some gas

for the Monday commute.

time(sun. only)

11:00-12:0012:00- 1:001:50-2:202:20-3:003:00-3:30

4:10-4:404:40-5:205:20-5:505:50-6:306:30-7:007:00-8:00

3:30-4:10

JazzChronic

Grogus

David Barbe & The Quick Hooks

Dreams So Real

Patterson Hood on Saturday and bonafied local legends Dreams So Real and Randall Bramblett for a Sunday evening finale. Bailey has seen the rise (and fall) of some of the most special times in Athens music history. He was here when bands like R.E.M., Pylon, The B-52’s, The Side Effects, The Jesters and Love Tractor lit the town’s musical torch, and he’s seen it pass to the likes of Five Eight, Don Chambers, Widespread Panic, of Montreal and The Elephant 6 Collective of the ‘90s and now to the current likes of Drive-By-Truckers, Modern Skirts, A.Armada, Madeline Adams, The Whigs, Packway Handle Band and Dubconscious. “There’s always peaks and valleys, ebbs and flows, whatever, but we’ve got a lot going on here right now,” said Bailey of the current creative pulse about town, one that most consider a definite (and perhaps definitive) peak. “As an older person, you always think back to those early days and how much fun it was and think that nothing could replace that. But that helps keep me going, the fact that there’s so much talent. It keeps me kind of youthful, working with all the young people, working in all the music clubs, ya know. It keeps me from becoming totally a cranky old man.” One aspect that could make Bailey cranky are the year-in and year-out, predictable (though albeit very few) grumbles that sometimes surround AthFest. Why not hold the fest in the fall, benefiting from cooler weather and an inflated student body? Why not get some more national acts to increase the overall attendance? “It’s very straightforward — there’s no mystery about it,” begins Bailey in an anything-but-defensive tone. “This event is about Athens music. It’s about Athens bands. We’re focused on promoting what we have here — and we have plenty here. Plus, there’s a lot more competition in the fall. There’s a lot of events. [AthFest] was created from the very beginning to provide an attraction for people to come into town when it’s normally dead. That’s a time when the hotels, the bars, the restaurants need a little help.” These days, of course, summer isn’t the only reason everyone could use a little help. From national (Langerado folding shop in March) to local (Athens PopFest canceling the 2009 edition), the country’s economic slump hasn’t spared the music — and, in particular, the festival — industry. “Every event, festival, program, whatever, put on in Athens that promotes music and arts is a positive thing, so losing any of them is a little bit of a blow,” said

Bailey of the PopFest cancellation, though he quickly adds that it didn’t necessarily turn up the heat on his festival. “We’re always trying to increase the quality of the festival, we try and do new things all the time and make what we have better,” he continued, adding that this year’s festival will feature longer outdoor slots on the second stage, an extended KidsFest stage, and more film events than ever before, including a special showing of local favorite “Darius Goes West” at the mainstage location Saturday night following Patterson Hood. “I didn’t really feel we had pressure to make the product better, but we did have to work a little harder to get sponsors, maybe be a little more creative. We’ll be in about the same range of sponsors but, to prepare ourselves in case we didn’t have as many sponsors, we did some things to cut money. So I think we’re in pretty good shape after taking some cost saving measures and working out of the box a little bit.” Working out of the box for the AthFest foundation also meant extending their reach beyond the four days in June, including hosting music business panels (in partnership with the University’s Music Business Program) throughout the year and recently spearheading an initiative to revive school music programs on their last breath. “We grow a little bit every year, and it becomes a little more complex,” he said, endlessly thanking his massive team of volunteers, from the year-round committee members to the 100-150 folks that turn up in June to help make the festival happen. “The festival itself doesn’t all fall on my shoulders — we’re fortunate to have our committee chairs and all those other volunteers. It’s a collective effort, and it just helps that I’m there to kind of push – and that’s one of my responsibilities, to move things forward.” And by all accounts, things have moved forward quite nicely, with AthFest being named a “Top 20 Event” numerous times by the Southeastern Tourism Society and Bailey himself earning recognition as “Best Festival Organizer” by ConventionSouth. “The awards and recognition are fine, but I tell you what’s probably the most rewarding is just seeing people have a good time during the event,” he said. “Once it’s rolling, and people are enjoying it, that can be pretty rewarding. And the fact that it has become part of people’s travel plans, that people are cognizant of it, that’s rewarding, too. That’s really what it’s kind of all about.” B

Monsignor Donovan Ram Jam Winner

Art Rosenbaum & Friends

Dancer Vs. Politican

Heavy Feather

Holman Autry Band

Bob Livingston

Betsy Franck & The Bareknuckle Band

Marty Winkler, Michael C. Steele, M. Lee Dvis

The Gospel Starlights

“Camp Amped”Showcase


AthFest: memories

“All my favorite memories run together into one: hot days, great bands, cooler nights, a community coming together with out-of-towners to celebrate the

great music that defines Athens.”— Bertis Downs —

Manager, R.E.M.

Randall Bramblett Band (2005) “Randall’s band was totally on fire,

especially Davis Causey, who was like a man possesed. They were ‘jamming’ in the old sense of the word, playing

the songs to the limit of their intended arrangments. They were going over the alloted time so I found the singer of the

next band (Stewart & Winfield). I asked him if he was cool with a shorter set and he responded ‘don’t you dare stop them’.

Honestly, I don’t think the rock gods would have allowed me to if I had tried.”

— Wilmot Greene —Owner, Georgia Theatre

Dark Meat (2008) “Dark Meat last year was

something I’ll never forget! Thatanarchy is what I love about Athens!”

— Bruce Burch —UGA Music Business Program

Hope For agoldensummer (2005)“Hope For agoldensummer played Nuçi’s

Space late on Saturday night during AthFest 2005. The place was full of people but almost completely silent

during the band’s songs… incredible.”—Will Kiser—

Nuçi’s Space Staff Member

Pylon (2006) “The band made pink helium balloons

with their logo and gave out hundreds to the crowd. It was a sea of pink balloons.

The excitement was palpable as Pylon took the stage. It was great watching

the older fans like me dancing like crazy while seeing younger folks get turned

onto this legendary group from Athens!”— Michelle Roche —

Michelle Roche Media Relations

shows not to missArt Rosenbaum is so many things that it’s hard to decide

what to label him. A musician? Yes, indeed, his banjo play-ing contributions to folk music since the 1960’s is consid-ered unrivaled by many. A historian? Certainly. A collector? Such a good one, in fact, that his work of collecting rare and out-of-print rural music has been nominated for two Gram-

my awards. This showcase with Rosenbaum’s “friends” (lord only knows who may show their faces) promises to be a quiet gem.

I’ve found myself making this argument a lot lately: the pe-riod starting a year ago and lasting for probably the next two has the potential to be known as one of the most cre-ative in Athens music history. And A. Armada is at the fore-front of this — post-rockers who are way too young to be post-rockers, these guys put on a show you have to see to believe. It’s a startling display of loud, brash, rock ‘n’ roll musicianship that leaves your ears ringing and your jaw on the floor.

For a lot of people, it takes one hell of a showcase for them to make the walk outside of downtown to The Melting Point during Athfest, when everything else is so closely bunched. Well, uh…here’s that one hell of a show-case: Flash To Bangtime, Love Tractor, Time Toy and Five Eight. Four legendary groups on one stage, playing songs that some of which date back nearly three decades but haven’t lost an ounce of firepower.

shows not to missclub crawl 2009

Friday: All Night Drug Prowling (10:15 p.m.), Dexter Romwe-ber (11:15 p.m.), Still, Small Voice & the Joyful Noise (12:15 a.m.), Magnum Force (1:15 a.m.)

40 watt club285 Washington St.

Saturday: Powers (10:15 p.m.), Pegasuses-XL (11:15 p.m.), A. Armada (12:15 a.m.), Cinemechanica (1:15 a.m.)

Friday: The Incredible Sandwich, Bearfoot Hookers, Ibilisi Takedowntasty world

312 Broad St. Saturday: Futurebirds, The Interns, Dr. Squid

Friday: Grant Mitchell, 3 Foot Swaggerrye bar

140 Clayton St.Saturday: Savannah, GA Music Night: Wormsloew (10 p.m.), Junkyard Angel (11 p.m.), Turtle Folk (12 a.m.), Brock Butler (1 a.m.)

Friday: Puddin Tang (10 p.m.), Quiet Hooves (11 p.m.), Noot D Noot [Record Release] (Midnight), Rump Posse [Reunion] (1 a.m.)farm 255

255 Washington St. Saturday: Kite to the Moon (10 p.m.), birds & wire (11 p.m.), Electa Villain (Midnight)

Friday: Madeline, Moths, Creepyflicker263 Washington St. Saturday Gemini Cricket, Little Francis, Nanny Island, Sphinxie

Friday: lineup not available at press time. please visit www.athfest.com for updates.wild wing

312 Washinton St. Saturday: lineup not available at press time. please visit www.athfest.com for updates.

Friday: Vincas (8 p.m.), The Wydelles (9 p.m.), Lona (10 p.m. ), Nutria (11 p.m.), Pride Parade (12 a.m.), Hayride (1 a.m.)

256 Clayton St.Saturday: Mandy Jane & the Jaws of Life (8 p.m.), Attest (9 p.m.), Kill Lebaron (10 p.m.), Hot Breath (11 p.m.), The Dumps (Midnight), Music Hates You (1 a.m.)

caledonialounge

Friday: Americana Night with: Little Country Giants (8 p.m.) Curley Maple (9 p.m.), William Tonks (10 p.m.), Dodd Ferrelle (11 p.m.)

295 Dougherty St. Saturday: Flash to Bangtime (9 p.m.), Love Tractor (10 p.m.), Time Toy (11 p.m.), Five Eight (12 a.m.)

the meltingpoint

Friday: T.T. Mahoney & the Standard 8 (10 p.m.), The Shut Ups (11 p.m.), Ume (Midnight), DJ Mahogany (1 a.m.)go bar

195 Prince Ave. Saturday: Tin Cup Prophette, A Post War Drama, Madeline (Full Band), DJ Twin Powers

Friday: (Outdoor Stage): Half Dozen Brass Band (9 p.m.), Lingo (10 p.m.), Wilx (11 p.m.) (Indoor Stage): TBA (8:30 p.m.), Nathan Sheppard (9:30 p.m.), Harp Unstrung (10:30 p.m.)

Saturday: (Outdoor Stage): TBA (9 p.m.), Tent City (10 p.m.),Lionz (11 p.m.) (Indoor Stage): Rachel O’Neal (8:30 p.m.), Ken Will Morton (9:30 p.m.), Bros.Marler (10:30 p.m.), Jam with any/all artists (11:30 p.m.)

the green room512 Thomas

St.

Friday: Lazer/Wulf, Hot New Mexicans, Marriage, Geoff Reach-er, Deaf Judges, We Versus The SharkWe Versus the Shark,

georgia theatre

215 Lumpkin St. Saturday: What’s Our Name, Gift Horse, Kuroma, Velveteen Pink, Immuzikation

Friday: Cachaça (10 p.m.), One L (11 p.m.), The Donner Party [Pogues Tribute] (Midnight)

the globe199 Lumpkin St.

Saturday: Sailor Dawn (10 p.m.), The Pre-monitions (11 p.m.), Rand Lines Trio (Mid-

Saturday: Wired Dance Music Festival(2 p.m. - 2 a.m.)

blur bar227 Dougherty St.

Friday: Happy Happy Birthday to Me Records showcase with Casper & the Cookies, Cars Can Be Blue, Forever, Tunabunny

cine234 Hancock Ave.

Saturday: Kindercore Records showcase with The Buddy System, Ruby Isle, Grape Soda,The Young Sin-clairs

Friday: lineup not available at press time. please visit www.athfest.com for updates.

nuci’s space300 Washington St.

Saturday: lineup not available at press time. please visit www.athfest.com for updates.

square onefish co.

414 N. Thomas ST

Saturday: Tropical Breeze Steel Drum Band (9 p.m.) / One Ton Tomato (10:30 p.m.)

little kingsshuffle club

Friday: Etienne de Roache (solo), Our New Silence, Brave New Citizen, Fire Zuave

223 Hancock Ave.Saturday: Justin Evans (solo), Monkey, Rebecca Jean Smith (solo), Timber, Kaitlin Jones and the County Fair

a. armada: 40 watt, sat. 12:15

art rosenbaum: mainstage, sat. 1:20

melting point, saturday night

a postwar drama: go bar, sat. TBD When I finally found the time to listen to this years Ath-Fest CD, I found an awful lot of pleasant surprises — and perhaps none more pleasant than A Postwar Drama. This showcase promises to be a nice glimpse of the band’s debut full-length, currently in the works at DARC studios. Soulful, ehtereal guy-and-girl vocals over a natural, earthy sound padded by subtle strings, this has a chance to impress a lot

of people.

If you read the bill for a Tealvox show — let’s say the Melting Point, for the sake of argument — it’ll say “all ages” show. It’s not that the band is trying to be uber-family friendly (though they are), it’s just that, well...if the show was 18+, the band members themselves couldn’t get in (the average age is right around the legal driving age). The band claims U2, R.E.M, Coldplay, The Killers and Radio-head as the collective influences, and they just might be young and amibitious enough to pull off Brit-infused rock for years to come. It’s always nice to see fresh faces — especially ones with pure passion for what they’re doing.

tealvox: mainstage, friday 6:10

And a few “I’m Out Of Room” Honorable Mentions: Corduroy Road (Mainstage, Sat-urday 5:30), Twin Tigers (Mainstage, Friday 6:40), and Gift Horse (Georgia Theatre, Saturday 10 p.m.)

by Alec Wooden

bands and starting times are listed as of press time. please check www.athfest.com or consult a festival guide when in doubt...


Can You Hear Me?

ToMMY,

Ten bands beat the singles craze and prove concept rock is back on the rise.

For most folks, a pinball wizard started it all. But concept albums, a collection of songs united by a common, detailed theme or story, have been alive even longer than rock ‘n’ roll. Onward from concept albums of the 1930s to the first Rock Opera, 1968’s S.F. Sorrow by British Invasion

band The Pretty Things, these albums are responsible for some of rock’s most iconic songs and characters. It’s a club that includes The Who’s Tommy, Pink Floyd’s The Wall, David Bowie’s Ziggy Stardust, and The Beatles’ Sgt. Pepper’s, which all hail from a time when the album was king, as well as more recent classics like Smashing Pumpkins’ Mellon Collie and the Infinite Sadness and Nine Inch Nails’ The Downward Spiral.

But it was much harder to skip tracks on vinyl, 8-track or cassette than it is to press forward on an iPod. With songs easily purchased separately in a single mouse click, it’s no wonder that today the album is in danger. Yes, iTunes may offer the handy “complete the album” option, but there’s no denying that the single is back, and in a big way. Oddly, though, the concept album is making a much-needed comeback. Here are some selections from this decade that don’t deserve the slice and dice...

by natalie B. David


*The Decemberists – The Hazards of Love (Capitol; 2009)

One of the most polarizing albums of 2009, The Hazards of Love tells the doomed story of kind-hearted Margaret and her magically enchanted beau, William. As is the case in many old-fashioned fairytales, from which Hazards is clearly inspired, there are bizarre occurrences and ample villains—the jealous Forest Queen and the Margaret-kidnapping, baby-killing Rake.

A rock opera in it’s truest form, Hazards is geeky, over-the-top and impeccably executed, from it’s 16th century setting to the use of character-tied leitmotif. Colin Meloy and his band of melody makers incorporate elements from folk, metal, indie rock and country for the sonic accompaniment for a narrative on par with Grimm’s Fairytales. Guest vocals by Shara Worden (My Brightest Diamond) and Becky Stark (Lavender Diamond), as the Forest Queen and Margaret, respectively, add a theatrical, yet not out of place dimension to the endeavor.

Truly this is the album The Decemberists were destined to make, taking full advantage of Meloy’s story-telling chops. Although an ambitious affair, the band’s ability to create a long-form piece is no surprise for Decemberists fans who know of the band’s 2004 EP The Tain, an 18-minute song cycle based upon an Irish myth.

*Neon Neon – Stainless Style (Lex Records; 2008)

By all accounts, Neon Neon’s concept album, Stainless Style, should be a tragedy doomed to used CD store bargain bins. And if the concept rested in the hands of any other duo, that would undoubtedly be the case. The brainchild of Super Furry Animals frontman Gruff Rhys and hip-hop producer Boom Bip, Stainless Style is an all together awesome ode to ‘80s icon John Delorean.

That’s right. They guy who designed the car from “Back to the Future.”

But Delorean’s story makes for more than a thematic launching board for ‘80s sonic indulgence. The automotive mogul got wrapped up in an entrapment scheme for using his cars to transport cocaine; his name was synonymous in the Motor City for decadence. Neon Neon uses this story not only in tribute, but as commentary on this decade’s love and lust for hedonism and paparazzi-dazzled drunken rampages. Guest spots from Har Mar Superstar, Yo Majesty! And Spank Rock give the album a modern hip-hop edge, while “Michael Douglas” and “Belfast” recant the ‘80s so, so sweetly.

*Various Artists – Repo! The Genetic Opera (Lionsgate; 2008)

Repo! walks in the footsteps of Jesus Christ Superstar rather than Tommy but it remains a rock opera nonetheless. More than a musical, Repo! is a true opera in that even in the film all lines are sung.

A feat for the metal and goth inclined, Repo! tells the story of a future where getting repeat transplant surgeries is like keeping up with the latest iPod. Set in a dark 2056, Repo! still targets current themes, like corporate greed, for in the world of Repo!, if you can’t pay for those new organs, well, the title says it all. It hurts to have a car repossessed, but a heart? Liver? Face? Gruesome.

On top of this new reality, a series of intertwined personal power struggles, from father-daughter to former adversaries, play out in song. Performance wise, though most pull their weight, vocals are a bit lacking from the lead, Alexa Vega, and, Paris Hilton, who is somewhat tolerable playing a parody of her real-life self. However, it’s the songs themselves, like the addictive “Zydrate” they both champion and denounce, that make repetition worthwhile.

by the numbers:

*Bloc Party – A Weekend in the City (Wichita; 2007)

An in-depth foray into the struggle of truth in modernity, A Weekend In the City is frontman Kele Okereke’s critical take on, well, a weekend in the city — in this case London. From the scene setting “Song for Clay (Dissappear Here)” through to the end, the album thematically plays out 48 hours of youthful decadence, constantly pitting in-authenticity against a search for truth and substance.

There are no true characters, allowing the point to come across without any restrictions. Rather than have it seen as a Holden Caulfield moment, it comes across as a city-wide plague.

Songs illustrating druggy hazes, one night stands and packed clubs continually seek the comfort of childhood at every turn. Struggling with themes of alienation, the closest to a connection it finds is a promise to “love you in the morning/ when you’re still hungover” on “Sunday”. The closing track “SXRT” plays out as a suicide note, a resignation from the losing battle.

*EELS – Blinking Lights and Other Revelations (Vagrant; 2005)

EELS mastermind Mark Oliver Everett, often known simply as “E”, has told many stories over his seven-album, 14-year career. Of these, the 2005 concept album Blinking Lights is his magnum opus. A highly autobiographical endeavor, Blinking Lights builds off of E’s unbelievable past, not for the first time, but in a more consistent way.

Even without much knowledge of E’s life, which has been further chronicled in his autobiography Things the Grandchildren Should Know and the BBC documentary about his quantum physicist father entitled “Parallel Worlds/Parallel Lives,” Blinking Lights is a beautiful experience about coming to terms with life for all its greatness as well as its horribleness, and the soul searching questions we ask along the way.

The 33 songs vary greatly from the sarcastic (“Hey Man! (Now You’re Really Living)”) to the painfully poignant (“I’m Going to Stop Pretending That I Didn’t Break Your Heart”), but it’s the recurring “Theme of Blinking Lights” that holds the album together.

Clearly no stranger to concept albums, E’s latest, entitled Hombre Lobo, tackles the theme of desire as experienced through the lens of a werewolf. It may seem less autobiographical this time around, but after seeing E’s recent bearded face, there’s some doubt there.

*Coheed and Cambria – The Second Stage Turbine Blade (Equal Vision; 2002), In Keeping Secrets of Silent Earth: 3 (Equal Vision; 2003), Good Apollo I’m Burning Star IV, Volume One: From Fear Through the Eyes of Madness (Columbia; 2005), Good Apollo I’m Burning Star IV, Volume Two: No World For Tomorrow (Columbia; 2007)

This foursome deserves a special place in the concept album pantheon. Coheed and Cambria’s entire catalog is dedicated to a singular sci-fi story, told somewhat out of sequence. The band name itself stems from

the tale’s doomed lovers, Coheed and Cambria Kilgannon, who are ordered to kill their own children lest they fall in love and unleash a plague upon the world. You know, the basic stuff.

Add to this a different universe called Heaven’s Fence, a group of 78 planets united by beams of energy called The Keywork, a seriously pan-galactic power struggle, a brigade of fairy-like creatures called The Prise, a homicidal, sexist racist named Al the Killer and a dog named Apollo and it’s easy to see why the band needs accompanying comic books and graphic novels to help explain what exactly singer and primary songwriter Claudio Sanchez is getting at.

Additionally, Sanchez’s side project, The Prize Fighter Inferno, tackles another side of the Coheed and Cambria story and is titled after yet another of the plot’s characters. It may be dedication or obsession, but at least it’s working for the group so far. Their latest album debuted at number 6 on the Billboard charts, with many fans none-the-wiser to the album’s underlying saga.

*My Chemical Romance – The Black Parade (Reprise; 2006)

Telling stories is hardly a stretch for Gerard Way, MCR’s frontman, who also pens the Dark Horse comic book, The Umbrella Academy. But with The Black Parade he mixes the two pieces together. The follow up to the emo band’s 2004 breakthrough Three Cheers for Sweet Revenge, and incidentally just two years after and from the same label as Green Day’s American Idiot, The Black Parade sets MCR apart from their emo contemporaries.

In keeping with the band’s gothy image, the album deals with death, pain, drama and redemption. We greet death head-on with “The Patient” at the very start of the record, with death, in Way’s imagining, appearing to us as the form of our favorite memory. Here, it’s the Black Parade.

The songs that follow are a reflection on life at the moment The Patient dies from cancer and in this world both Fear and Regret are personified. Marching bands and guest vocals by Liza Minelli (on “Mama”) only give this release a greater theatrical appeal. MCR’s own method-acting antics as a band called The Black Parade, sporting Sgt. Peppers’-style suits and all, completes this dark charade.

The Hazards of Love Peak Chart Position: Billboard #14 Sold 19,210 copies in first week

“Truly, this is the album The Decemberists were destined to make, taking full advantage of Meloy’s story-telling chops. Although an ambitious affair, the band’s ability to create a long-form piece is no surprise for Decemberists fans who know of the band’s 2004 EP The Tain, an 18-minute song cycle based upon an Irish myth.”

The Black Parade Peak Chart Position: Billboard #2

Sold 240,000 copies in first week Certified Platinium

“In keeping with the band’s gothy image, the album deals with death, pain, drama and redemption. We greet death head-on with “The Patient” at the very start of the record, with death, in Way’s imagining, appearing to us as the form of our favorite memory. Here, it’s the Black Parade.”

by the numbers:


*Sufjan Stevens – Greetings from Michigan: The Great Lake State (Asthmatic Kitty; 2003), Come On Feel the Illinoise (Asthmatic Kitty; 2005)

Perhaps one of the most unique ideas for a series of concept albums is Sufjan Steven’s “50 State Project.” Because even for the most prolific of songwriters recording an album for all 50 states would take a lifetime, Stevens recanted a few years back, but not before presenting us with interpretations of his native Michigan and Illinois, the latter of which earned the budding folkie heaps of praise.

What makes these albums work, and really, an entire disc dedicated to a U.S. state should fall way short of entertaining, is the combination of Stevens’ perfected neo-folk songcraft and the meticulous detail given to the varying locales. On Michigan he paints a portrait of the state well beyond the Motor City, including a lament for the ill-fated city of Flint and “John Wayne Gacy, Jr.” even invites sympathy for the Illinois serial killer. The locations and their myths are merely the jumping off point, the background characters for Stevens’ slice of life stories and universal themes.

These albums include special treats for those familiar with the states in question but are just as accessible for the uninitiated. Whether or not he continues on this path, it can’t hurt to hope he puts out an album ode to Georgia: The Great Peach State.

*Green Day – American Idiot (Reprise; 2004)

Green Day’s biggest accomplishment to-date, American Idiot is a punk rock opera that takes place in and accurately snapshots a post-9/11, Bush-reigning era. A far cry from the trio’s breakthrough album Dookie, American Idiot follows one Jesus of Suburbia through his transition as he abandons the shallow and unchallenging suburbs for the glitz of the Big City. Here he encounters the fierce punk and false prophet St. Jimmy and the opposing, true rebel Whatshername before losing his free spirit and resorting back to the welcome arms of conformity, an American Idiot once more.

No doubt the spotty plot will be tweaked when the album makes the leap to the stage later this year. Helmed by the Tony award winning Michael Mayer, who co-writes the Book for the show with Billie Joe Armstrong, the production follows in the footsteps of Tommy, which experienced a hit on Broadway in 1993. Pink Floyd’s The Wall is also currently being adapted for the stage.

There are no Broadway plans yet for American Idiot, but the inaugural run, produced by Green Day, will run from September 4 through October 11 at the Berkeley Repertory Theatre in California. Whatever the result, it certainly can’t be any stranger than the upcoming Spider-man play featuring music by U2. Yikes.

*Drive By Truckers – Southern Rock Opera (Soul Dump Records; 2001)

Regardless of the title, Southern Rock Opera is much more of a love letter to southern rock, and the South, than any type of rock opera as we know it. A true Lynyrd Skynyrd legacy, the double disc set is semi-autobiographical for DBT ringleader Patterson Hood, who grew up in Alabama and clearly favored music to tossing around the pigskin. Though Mike Cooley contributes his tunes as well, Hood is clearly running this show.

A two disc set, the first explores growing up in the Deep South (We’re talking Alabama) idolizing rock ‘n’ roll over varsity football, while the second disc brings it full circle with the kid grown up and running his own rock band, road cases and all. Book ended by deadly crashes, high school drunk-driving accidents give way to an aviation nightmare a la Lynyrd Skynyrd. More than just commentary, Southern Rock Opera touches on Southern political history—most notably George Wallace—for a well-rounded picture of the south as it is, not as it appears to be.

by the numbers:american Idiot Peak Chart Position: Billboard #1 Sold 267,000 copies in first week Certified 5x platinum

“A far cry from the trio’s breakthrough album Dookie, American Idiot follows one Jesus of Suburbia through his transition as he abandons the shallow and unchallenging suburbs for the glitz of the Big City. Here he encounters the fierce punk and false prophet St. Jimmy and the opposing, true rebel Whatshername before losing his free spirit and resorting back to the welcome arms of conformity, an American Idiot once more.”

B


playing,” she says. “The music part is about 50% of the camp. It’s using the music as a medium, not so much as getting the technical stuff right. If the girl walks away from camp and never picks up an instrument again, she’s still a success because she learned something at camp.”

Even if a girl who wants to be a singer can’t necessarily sing, the camp doesn’t dissuade her from using her vocal chords. “There are so many ways you can categorize what singing is. If they want to get up there and scream then just let them get up there and scream,” she states. “It’s just all about giving these girls a safe place to express themselves and do it in a way that they want to do it. They are never going to be told to be quiet or to turn their volume down. Turn it up louder.”

Applications for the camp are now being accepted. Space is only guaranteed pending an application submission, and fees are paid two weeks prior the respective camp’s start date. Limited scholarships are available. The girls’ showcase will be held on Saturday, August 1st and is open to the public (location still to be announced as of press time). For more information and additional camps offered to youths in Athens, see box to the right.

Space for the camp is limited to 25 applicants and is based on a first-come, first-serve procedure. On the application, girls will have the chance to choose the instrument they desire to play. Not all girls will get the instrument of their choice pending how many choose the same options. On the first day, orientation will be held in the morning, followed by instrument instruction. After this the girls will have 10 minutes to form bands. “That’s probably the most stressful part of it all,” she reveals. “These girls are standing around with all these genres up, they don’t know each other — they just met each other.” Once bands are formed, there are two afternoon practices, “quiet” practice and “loud” practice. Quiet practice is where the young females work on writing songs, getting more acquainted with each other, and come up with a band name. Following this, they get to plug in and play during loud practice.

In addition to learning music, girls will participate in workshops, such as History of Women in Rock, Self-defense, and Body and Image that are “constructed to aide their development as powerful female adolescents,” Payne explained in a recent press statement. In such a short time, parents may wonder how their children can possibly learn to play an instrument. “It’s not all about instrument

With summer upon us, parents may find themselves wondering what to do with their kids now that school’s out. In Athens, there are a few summer camp options to alleviate parental worries about kids wasting days in front of the TV. For females ages 9-15 in particular, a new summer camp is being introduced — Girls’ Rock! Camp, where girls will have the opportunity to express themselves using music as a therapeutic outlet. The camp will take place July 27th — August 1st. During that week, girls will be given their own instrument and grouped in to six different bands, where they will learn to play together as a band, as well as discover their inner voice. After the week-long music day camp, the girls will showcase what they have learned when they perform onstage with their fellow band members before an audience.

The concept originally started in Portland, Ore., n 2001 on the campus of Portland University. The overwhelming response

Girls in Athens Rock! ...literallyto the program created the need for more space and more camps. Over the years, the camp has branched in to major cities such as New York, Philadelphia, Oakland and Atlanta, totaling nearly 30 Girls Rock! Camps. Internationally, the camp has been adapted in the UK and Sweden.

Calley Payne, an ambitious 21-year-old, was initially inspired to get involved with the program after watching the documentary, Girls Rock!, which highlighted the history and mission of the rock camp. Payne volunteered last summer for Atlanta’s first launch, fueling her to introduce

the camp here in Athens. She says about the experience, “Through music instruction, mentorship and workshops structured to foster self-esteem I watched as 24 female adolescents developed in to six powerful bands within a few short days.”

Two months after her Atlanta experience, she decided to have one here, creating a MySpace page to promote and seek help with organizing the week-long day camp. This is how she found 23-year-old local musician Emmie Berretta. Berretta joined Payne’s vision and came on board as Program Director. Together with the help of Art Director

Randi Davis and the camp’s coalition, they have structured a concrete program to be held at Athens Montessori School.

There are a few obstacles to launching a week-long camp. “This year we don’t have money,” Payne says. The program will be primarily based on donations and run by volunteers. “We have to have females with musical experience to actually do instrument instruction,” she explains. “In order for us to operate, we’ll need to have instrument instructors, band coaches, and counselors. Counselors don’t necessarily have to have as much musical experience. We’ll need two musicians per instrument. We’ll need roadies, stage production people.” And don’t forget the

instruments. “Our Artistic Director, Randi Davis’ husband is a musician and can accumulate a lot of stuff, like guitars. Even my neighbor has offered guitars.” But there is still a need for additional instruments and equipment.

ATHENS SUMMER MUSIC CAMPS:

GIRLS ROCK! CAMP Type of Camp: Music Cost: $250/ applicant

Cost Includes: Week long summer day camp, instrument use, instruction, snacks, drinks. Girls must bring own lunch.

Ages: 9-15 females only Duration: July 27-August 1

Location: Athens Montessori School Website: http://girlsrockcampathens.com

CAMP AMPED Type of Camp: Music

Cost: $500 Cost Includes: Two weeks instrument use and

instruction Ages: 11-17 both male and female

Duration: June 8-June 20 and July 6-July 18Location: Nuci’s Space

Website: www.squidoo.com/campamped

THEATRE CAMP Type of Camp: Theatre/Arts

Cost: $0-$173/ACC Resident; $260/Non-ACC Resident

Cost Includes: Theatre basics - terminology, articulation, projections,

blocking, memorizing lines, handling props and being fitted for costumes

Ages: 8-12 Duration: June 15-26 and July 6-16

Location: Athens Creative Theatre Website: www.accleisureservices.com

Phone: 706-613-3628

DANCE CAMP Type of Camp: Theatre/Arts

Cost: $0 - $41 per week/ACC Resident/per child Cost Includes: Dance instruction

Ages: 6-15 Duration: July 6-August 7

Location: East Athens Educational Dance Center Website: www.accleisureservices.com

Phone: 706-613-3624

For additional summer camps, visit: www.athensparent.com/camps

By: Nicole BlackPhotos by: Calley Payne

“They are never going to be told to be quiet or to turn their volume down. Turn it up louder." B


The Mackie SRM150 Compact Active PA System is ideally suited for applications ranging from A/V to live music performance and can be mic stand mounted, placed on a tabletop, or used in traditional stage monitor position. The built-in three-channel mixer provides 3-band active EQ, true 48V phantom power

and accepts mic, line and instrument level inputs. A built-in limiter protects the

powerful 150 watt Class-D amplifier and exception-ally loud 5.25” full-range speaker. The cabinet is made of the same composite material as the legendary Mackie SRM450.

Ultimatethe musician’s

gear guide

Mackie: SRM150 Compact PA

The Maritime Solid Wood Series (SWS) fea-tures the dreadnought Maritime SWS Semi-

Gloss & SWS High-Gloss, as well as SWS Folk HG and SWS Mini-Jumbo HG. All solid wood construction is used

in all four models including solid mahogany back & sides and

select pressure tested solid spruce tops, all with a custom polished finish. Available with optional EPM Quantum 1T

electronics.

Seagull Maritime SWS Mini-Jumbo

The new UX8800 dual-mode digital processor extends EAW’s revolutionary system alignment and engineering expertise to the world of rack-mount processors. Long an industry leader in the field of loudspeaker and array design, EAW traditionally relied upon third-party digital signal processors to provide alignment processing for its products. That is, until now. With the advent of ground-breaking Gunness Focusing alignment technology embodied in NT Series powered loudspeakers, it was evident that a critical link should be added to the drive chain of EAW conventionally powered systems. Enter the UX8800, a digital processor expressly created to provide users with the algorithms necessitated by our new alignment and driver protection technology, while also a comprehensive digital system processor/controller.

EAW UX8800 Dual-ModeDigital Processor

The Link.USB is Tapco’s highly por-table computer audio interface for connect-ing two channels of high-quality audio from the real world into your Mac or PC computer using a common USB con-nection. As cost-effec-tive as it is compact, Link.USB doesn’t chintz out when it comes to sound qual-ity. It features pro-level 24-bit/96kHz fidelity and premium-grade mic pre-amps. Link.USB comes complete with beginner-friendly Tracktion 2 Music Produc-tion Software and Final Mix CD Mastering Plug-in, both courtesy of Mackie.

Tapco Link.USB

Why is it so hard to amplify an acoustic guitar? By its very nature, an acous-tic instrument requires lots of feedback control, especially when it’s asked to compete with drums and a stage full of rockers. And although most amps can effectively control feedback, they often do so by severely sacrificing tone for volume. These CA Series amps give you all the tone and features necessary to put your acoustic sound on top of the mix, whether you’re soloing at the Opry or strum-min’ at the coffeehouse. With its unparalleled balance of clarity, power, natural tone, and intuitive controls, the Acoustic Series remains Crate’s most widely endorsed amp line. Try one and you’ll see why.

Crate 125DG Acoustic Amp Series

The HT-DUAL of-fers the ultimate in high voltage valve distortion flexibil-ity. Channel 1 has either Clean or Crunch modes so it can be used clean, as a boost or overdrive. Channel 2 gives distortion tones from super crunch right up to screaming lead. The unique switching operation will transform a single channel vintage amp into a three channel tone machine. The ISF control takes you from ‘British Valve’ to ‘Modern American’ and anywhere in between and the no compromise speaker emulated output lets you get it all down to tape or disk.

BlackstarHT-DUAL

BackTrack is an easy-to-use portable digital recorder that provides total inspi-

ration control for musicians. Typical flash, MP3 and cassette recorders can be complicated, expensive and unreliable when put to the test. They offer low-quality sound and no intuitive way to keep recordings orga-nized. Designed for guitarists by guitarists, BackTrack solves each one of these historic problems.BackTrack boasts pro-grade features including a super-quiet 1/4-inch input, a 1/4-inch output for immediate playback, a “Mark” button to organize your best ideas on-the-fly, a “Play” button for instant replay, better-than-CD-quality audio, a rugged flash memory, lightning-fast USB 2.0 for importing audio to your DAW while the inter-nal battery recharges. Best of all, BackTrack is incred-ibly easy to use. It’s always on, and always listening, so there’s no need for a Record button. When inspiration strikes - at rehearsal, in the car, anytime!

Line 6 Backtrack

New for 2009, Parker is proud to introduce the Fly Mojo MIDI. Featuring a Roland® GK-KIT-GT3 Divided Pickup Kit, this instrument will allow you to simulate all the tones you can ever imagine. Simply plug into a Roland® V-Guitar System, GR-20 Guitar Synthe-sizer, or any BOS GK Effect Pedal and let your creativity run wild. Along with the MIDI capability, this guitar features Seymour Duncan® Jazz (N) & JB (B) pickups, Sperzel® Trim-Lok™ tuners, and an exclusive Fishman® Piezo electronics system. Explore the unlimited possibilities of the Fly Mojo MIDI, and enter a whole new musical world.

Fly Mojo Standard Finishes: Dusty Black, Emerald Green, Galaxy Gray, Italian Plum, Majik Blue, Ruby Red,

Trans Blue,

Trans Cherry, White.

Parker Fly Mojo MIDI Reason 4Reason Version 4 has reached the next level. Stronger, swifter and smoother to work with, Reason 4 will alter the way you create your music. Reason’s new devices and features will not only inspire you to produce great tracks, they will provide you with new ways of doing so. Reason is a totally expandable, software-based, music workstation for Mac or PC. Step into the age of Reason and learn more about the software that will turn your home studio into a hit-making machine.

SweetwaterCreationStationWhen you’re working with tons of tracks or multiple virtual instru-

ments, you need a powerful CPU. That’s why Sweetwater designed the Creation Station Tower. Optimized for audio, the Tower gives you the processing power you need, plus “Whisper Quiet” operation to use it in the studio environment. You get two big 500GB drives, a built-in optical drive, and plenty of USB and FireWire connections. The Tower is great for desktop studios and pro facilities alike!

Cables can distort the sound of your guitar by pushing the mids up and turning the highs down. Elixir® Cables feature a unique cable technology that fixes this prob-lem by delivering the lowest capacitance and truest voice of your guitar. You’ll get a similar sound from a 20-foot Elixir Cable as you would a typical 3-foot cable.

Elixir Instrument Cables


The SHREDNECK allows guitar players to warm-up any time a guitar is not convenient: in a car, train, plane, at the office, before gigs, between sets, watch-ing TV or in anticipation of playing guitar. Use the SHREDNECK to work on scales, patterns and tech-niques, practice chord fingerings and movements along with building and maintaining calluses.

Randall’s new line of Kirk Hammett Signa-ture Amplifiers and Cabinets were de-signed & developed in conjunction with one of the world’s most influ-ential rock ‘n’ roll guitar players. The new MTS KH series was created to produce each tube tone of Kirk’s illustri-ous, axe-shredding ca-reer with Grammy-win-ning, world-renowned hard rockers, Metal-lica. Known for using multiple amps to create his signature sound, Randall developed the RM100KH with Kirk to encompass his sig-nature clean (KH1), rhythm (KH2) and hi-gain (KH3) lead tones.

With the Crossover, Hohner has expand-ed the Marine Band series to introduce a new, top-of-the-line professional quality in-strument for the discerning player in mod-ern blues, rock, jazz, soul or funk. The rev-olutionary laminated bamboo comb (patent pending) is completely sealed, making it wa-ter repellent and exceptionally stable. In combination with the screw together as-sembly the Crossover is extremely airtight, with fast, even response and a raspy, pow-erful sound which is exceptionally well suit-ed to amplified playing as well as acous-tic styles. The modern compromise tuning is ideal for single note playing in different po-sitions in contemporary blues, rock, jazz, soul and funk, while still ensuring a full chord sound, making the Crossover an optimal ad-dition to the great Marine Band range.

Orange Amps - Dual Terror

Randall RM100KH - KirkHammettEdition

Orange can now announce the next generation of the Tiny Terror concept — the 'Dual Terror': a twin channel, 30-watt head, switchable from 30 to 15 or 7 watts giving more choice and options shrunk into a size that belies its power!The 30 watt Class A dual channel amp incorporates the unique Tiny Ter-ror channel and a new 'Fat Channel' bringing a new 'fatter' chunk-ier sound, whilst keeping the classic Tiny Terror sound.The power options make this a truly versatile amp, capable of dominating at big-ger venues and subtle enough to be perfect for recording, studio work and home playing. Switchable between 30, 15 and 7 watts and switchable between 4 and 2 output valves, the combinations of options provide for unmatched levels of per-formance and flexibility.The Dual Terror OS-DT30-H is built to the usual Orange high quality standards, using top quality components and its roadworthy rugged con-struction (supplied with pad-ded gig bag ) is everything you'd expect from an Orange amp. The proven 'Orange Terror' concept of combin-ing portability, versatility and delivering most important-ly a great sound, is all here.

Mighty Moe Amped-Up Strap

The Shredneck

Crate Taxi TX15If you’re the type of performer who requires the

ultimate in portability, but refuse to sacrifice tone for mobility, the Crate TX15 was made for you.

With up to eight hours of battery power, Taxi lets you leave the wall outlets far behind. Dual channels allow you to control two instruments, or plug in your guitar and use the handy 1/4” & XLR combo input jack for a high-quality vocal mic. The specially designed 8” woofer and tweeter ensure clean, loud, full-range performance that will as-tound you. Perfect for solo performers who want to play and sing, or use a CD play-er/drum machine in re-mote areas, the TX15 includes a 120V char-g e r / a d a p t -er for standard operation and recharging the battery.

Audio Technica 2000 SeriesThe 2000 Series is a 10-channel

frequency-agile UHF system of-fering a high-quality, profession-al wireless system at an affordable price.

Includes au-tomatic scan-ning, True Diver-sity reception, and easy setup.

Eden WTX-500The WTX-500 is the perfect amplifier for

players who need a full-featured amp that will fit in the pocket of the average gig bag. The pre-amplifier section of the WTX-500 is based on the Golden Ear chip for amazing warmth and musicality. This is the same chip used in ultra-high-end recording consoles and is more expensive – and more musical – than the chips used by other manufacturers. Powered by a unique Analog Switching Amplifier that deliv-ers 500W RMS, the WTX-500 has the same impressive list of features as the WTX-260.

Fender B Road Worn ‘50s P-Bass

Boss ME-70: Multiple Effects PedalA multi-effects unit

that’s as easy as a stompbox — that’s the beauty of the new ME-70. The friendly, knob-laden design makes tone creation a snap, but with a powerful COSM® AMP section derived from the GT-10, the ME-70 takes the “EZ effects” concept to new heights.

Some things just get cooler with age. It’s es-pecially true of electric guitars and basses—

they develop an unmistakable mojo over time that makes them look cooler and feel even more comfortable

than when they were brand new. Fender Road Worn Series guitars and bass-es come with a head start on history and bring the player the best of both worlds—a killer aged design aesthetic that conjures up the ghosts of past mu-sic lives, paired perfectly with the modern functionality, playability and high-quality that players know to expect from Fender. The original was born in the ‘50s and produced the sound of bass. On the road, the more you punished a Precision, the more it gave back–a virtually indestructible bass that took a beating and laughed while it asked for more, becoming even cooler-looking and more comfortable-feeling than when it was brand new. Fender’s new Road Worn ‘50s Precision Bass guitar delivers that aged look and feel–designed with 1950s specs and a nitrocellulose-lacquer finish, and is built to look, sound and feel like it’s got more than just a few miles on it. Deluxe gig bag included.

More volume without obstructions! Mighty Moe Ampstrap is a bodacious little 1W amplifier fixed to a nice leather guitar strap with a dedicated signal cable. Mighty Moe provides a re-spectable volume boost for acoustic/electric guitar, uku-lele or mandolin. Controllers are easy to access and 9V battery lasts up to nine hours. Ready for travel, prac-tice, jamming and performing. Includes tote bag.

The Stage NinjaThe Stage Ninja® INS-26S offers a premium instrument cable with in-stant cable retraction. Pull desired cable length from damage resistant case, perform, pull again for instant, tangle-free retraction. The units are mountable (seen on Gibson’s VIP Tour Busses) and stackable for studio use. XLR and Custom configurations also available.

For those players who need a portable, high perfor-mance rig with even more low end than the XLT, we have de-signed a new 2 x 10” cabinet for our latest XST woofers. This new 2 x 10” cabinet han-dles more power than many 4 x 10” cabs on the market. The low end is full but tight, the mids are open and well de-fined and the highs are clear and crisp. Truly amazing low end output for a 2 x 10" enclo-sure. This cabinet weighs 10 pounds less than our standard version.

Eden D210 XST

Hohner Marine Band Crossover

61ATHENS BLUR MAGAZINE60 ATHENS BLUR MAGAZINE

the ProPosaL(June 19) (Anne fletcher) this comedy stars sandra Bullock as Maggie, a high-powered book editor who faces deportation to her native Canada, and impul-sively declares that she is engaged to her unsuspect-ing assistant, Andrew, played by ryan reynolds. in or-der to throw immigration officials off their tails, the unlikely duo are forced to spend the weekend togeth-er in Alaska meeting Andrew’s quirky parents.

PREDICTION: Bullock and Reynolds are romantic com-edy vets, so their spin on a pretty predictable story could make it worth your while (and money).

ARTS &ENTERTAINMENTA

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uPcominG on the screenMAkING SURE IT’S woRTH yoUR MoNEy by julie Mccollum

year one(June 19) (harold ramis) Jack Black and Michael Cera play two lazy hunter-gath-erers who are banished from their vil-lage. the two of them set off on a quest through the B.C. world in search of the meaning of life.

PREDICTION: The ridiculous plot scores originality points, and the team of Black and Cera is enough of a reason to check this one out. To top it off, Judd Apatow lends his comedic Midas touch to the producer role. But wait, there’s more: towards the end of the trailer there is a Christopher Mintz-Plasse (McLovin) sighting.

my sister’s keePer (June 26) (nick Cassavetes) this movie, based on Jodi Pic-coult’s book, stars Abigail Breslin (“Little Miss sunshine”) as Anna, a 13-year-old who has undergone countless surgeries so that her older sister can fight leukemia. the family is torn apart when Anna makes the decision to sue her parents for the rights to how her body is used.

PREDICTION: As Debbie Downer says, “Whomp whomp.” How-ever, this will be an alternative to the over-saturated summer feel-good movie market, and Abigail Breslin is the cream of the child-actor crop.

cheri (June 26) (stephen frears) in this ro-mantic drama set in 1920’s Paris a well-known french prostitute (Kathy Bates) sets up her son with a fellow courte-san (Michelle Pfeiffer) to learn the affairs of love. they continue their affair years down the road, when a chance for the son to marry into wealth threatens their romance.

PREDICTION: Paris, prostitutes, certified cougar Michelle Pfeiffer and the racy plotline will likely seduce movie goers into checking this one out.


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firefLies in the Garden(June 26) (dennis Lee) this film, starring Julia roberts and ryan reynolds, deals with a complex family situa-tion, made more complicated when faced with an un-expected tragedy.

PREDICTION: Sleeper hit. It’s been a while since audi-ences have seen Julia Roberts in a role she can really sink her teeth into.

PuBLic enemies (JuLY 1) (Michael Mann) this action-thriller stars Johnny depp and Christian Bale in the true sto-ry of legendary depression-era bank robber John dillinger (depp), whose robberies made him the number one fBi target, and whose multiple jail-breaks and charm made him a public hero.

PREDICTION: Depp soars in roles with a devi-ant twist (Captain Jack Sparrow), and this char-acter sounds right up his alley. With Mann lend-ing his award-winning direction to this film, it will be worth opting for over the rest of the summer fluff.

harry Potter and the haLf-BLood Prince(JuLY 17) (david Yates) this is the sixth (next to last) in-stallment of the harry Potter series, in which harry learns more about the past of his arch nemesis,Voldemort. harry must confront the reality of Voldemort’s rising power and learn what it will take to stop it.

PREDICTION: Harry Potter fans always pack out the box office, and this one won’t be an exception.

ice aGe 3:dawn ofdinosaurs (JuLY 1) (Carlos sandana) Manny (voiced by ray ramano) and the gang encounter a dinosaur, reptile and amphibian popu-lation which survived extinction in a trop-ical paradise, existing below the thick lay-ers…until now.

PREDICTION: The success of the past Ice Age flicks pretty much guarantees that the third installment will bring families to the theaters.

500 days of summer (JuLY 17) (Marc Webb) Zooey de-schanel stars in this romantic comedy which debuted at this year’s sundance film festival. the film is about a greet-ing card copywriter and hopeless ro-mantic (Joseph gordon-Levitt), who is blindsided when his girlfriend, summer (played by deschanel), dumps him, so he sifts through their 500 days togeth-er to try to figure out when things went wrong.

PREDICTION: Zooey Deschanel thrives in quirky Sundance-esque roles, and this romantic comedy promises to de-liver something a little different than, say, a Sandra Bullock movie.

upcoming DvD releasesjune 16

New Releases: Tyler Perry’s Madea Goes to JailFriday the 13th

TV Box Sets:Family Guy, Volume 17The Secret Life of The American Teenager: Season 2

Music DVDs:Keith Urban: Love, Pain, and The Whole Crazy World TourB.B. King: Live at Sing Sing PrisonSugar Hill Gang: Rapper’s Delight

june23New Releases:Confession of A ShopaholicThe Pink Panther 2InkheartCodeSimon SaysFive Fingers

Music DVDs:Punk in England

july 7

july 14

july 21

New Releases:KnowingThe UnbornBorder Town

TV Box Sets:Matlock (Season 1-3)Mystery Science Theatre 3000 Collection XV

New Releases:The Haunting in ConnecticutThe Edge of LoveFor All MankindBreak

TV Box Sets:ER: The Complete 11th Season

Music DVDs:Arrested Development, Live in TokyoCheap Trick - Every Trick in the BookStanley Jordan - The Paris ConcertNew Kids On The Block - Hangin’ Tough Live!

New Releases:WatchmenThe Great Buck HowardEchelon Conspiracy

TV Box Sets:Pushing Daisies: The Complete Second SeasonMonk: Season 7Psych: The Complete Third SeasonThis American Life: The 2nd Season

Music DVDs:Reel Big Fish Live in Concert!

Release dates are subject to change. Check artists or store websites as these dates ap-proach.

june30New Releases:Two LoversFrontline: Poisoned WaterNostradamus 2012Two Lovers

TV Box Sets:Entourage: The Complete Fifth SeasonEastbound & Down: The Complete 1st Season


Knowing,” Nicolas Cage’s big-budgeted, apocalyptic thrill ride, came out to lukewarm reviews and sales last March.

Back in April, it was reported on numerous websites that the economic downturn was the reason behind the famed actor selling his 28-room castle in Germany. And in May, viral video surfaced of a car stunt gone wrong on the set of Cage’s 2010 anticipated blockbuster “The Sorcerer’s Apprentice.”

Suffice it to say, Spring wasn’t terribly kind to Cage.

Summer and Fall, however, are shaping up to be much better. On July 24, Cage, the hardest-working man in Hollywood without the last name Jackson, lends his voice to the sure-fire hit “G-Force”, a CGI-filled world of rodent espionage. In the fall, he’s sharing his trademark tone in another probable winner with the kiddies, “Astro Boy.” With back-to-back family-friendly flicks, might the star of modern classic actioners like “Face/Off” and “Con Air” be turning soft?

“As I get older,” explains the 45-year-old Cage, “[my acting] is coming more from a place of wanting to use the craft to help others in some way, to hold a mirror up to the situations that we’re going through, to actually be more cautious about the way that I use the power of film and to see if there’s anything that I can do in the performances that will resonate in the public.”

What we think the clever, meticulous Long Beach native is actually saying is that he’d like to make more responsible films, movies he doesn’t necessarily have to shield the eyes of his two boys to watch. Could an all-out laugher be in Cage’s cinematic future?

“Comedies, not so much,” insists the Best Actor Academy Award winner for “Leaving Las Vegas.” “I don’t find the same things funny that many other people seem to find funny. I don’t really respond to sex jokes and things like that. Some of my friends look at me and go, ‘Come on, Nic. That was my best joke. Why aren’t you laughing?’ I go, ‘I really don’t know why I’m not laughing. I’m sort of out of sync with it.’ So, I’d have to find something that was really about weird human behavior for me to laugh.”

Though BLUR is yet to see trailers from Cage’s other upcoming movies like “Bad Lieutenant: Port of New Orleans” and “Season of the Witch,” we’re betting they offer more punches than punchlines. What, you thought he was putting down the guns for good? If you believe that, you probably think there won’t be another sequel to the box-office-shattering “National Treasure” franchise either.

Still, the future project Cage seems most enthused about is next July’s, “Sorcerer’s Apprentice.” “Wonder, enchantment, awe” are the words he uses to describe “Fantasia,” the classic Disney picture from which the “Apprentice” story originates. “It was my first real introduction into classical music and it was married to these beautiful, life-like animated sequences with dinosaurs and ogres and gargoyles. It was just totally inspiring to me. So it’s kind of a big moment for me to be able to play that part [of the sorcerer].”

Wow, the guy from “Adaptation” and “Ghost Rider” has a soft side. Who knew?

Maturing movie star

Nicolas Cage

decides it’s time to put

away the guns.

by DeMarco Williams

AStar’s

Trek

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EXPIRES 7/24

EXPIRES 7/24

MoRE wAyS To pINcH pENNIES wITH yoUR GRocERy LISTaPPLyinG the aPPsif you’ve ever waited tables (as i did, for many years), you’ll know that appetizers in the restaurant business are called “apps.” You’re told to encourage the sale of them because they add to the profits on the bill — and, hopefully, to your tip at the same time. Well, most apps are surprisingly easy to prepare. so, if you’re broke and you’ve always wanted to create those delicious, tantalizing morsels, here’s an easy way.

dips are great. You can create so many kinds. the most popular kind happens to involve a vegetable most of you probably avoided as kids. But, trust me, this vegetable is quite the star of this dip!

directions:Mix all ingredients in a large bowl. Cover and refrigerate for 24 hours. serve with assorted crackers. if you want to be slightly fancier, buy a round loaf of any kind of bread, scoop out the middle, and serve the dip in the hollowed out bread. You can also use the bread you scooped out in addition to the crackers. Just remember to cut the bread into scoopable pieces.

summer is a great time to find fresh tomatoes. Look for them at your local produce stands. Chances are you’re going to get a great deal on locally grown vegetables. it’s a win-win situation; you’re getting the nutrition of fresh produce and supporting your local farmer at the same time! this app is really yummy.

Easy Spinach Dip!

1 10 oz. package frozen spinach, thawed and squeezed dry of water 1 packet dry vegetable soup mix (in the soup aisle) 1 8-oz carton sour cream ½ cup mayonnaise

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1 loaf french bread, cut into ½ inch slices 1 very big red tomato 1 lb. mozzarella olive oil salt and pepper

directions:Preheat the oven to 350 degrees. Layer the slices of bread on a baking sheet. Brush both sides of bread with olive oil. Cut the mozzarella into sections that fit the circumference of the sliced bread. slice the tomatoes and then quarter those slices. Layer each slice of bread with a quarter slice of the tomato. Lightly salt and pepper each slice, and then layer the top of the tomato with a slice of mozzarella. Bake in the oven for about five to seven minutes, or until the cheese has melted. if you like your cheese browner, leave in the oven for a couple more minutes. optional: if you have access to fresh basil, add a leaf between the tomato and cheese. however, if you have dried basil, you can do the same by sprinkling a little bit between the tomato and cheese.

Tomato Mozzarella Bites

Lemon Oregano Chicken Wings12 chicken wings 2 tablespoons olive oil Juice of 2 lemons 1 tablespoon dried oregano

½ tablespoon garlic powder ½ teaspoon each salt and pepper

directions:Wash the wings and pat dry with a paper towel. in a large bowl, add the wings, olive oil, lemon juice, oregano, garlic powder and salt and pepper. Mix well. Cover and let sit in the refrigerator for at least 1 hour. take out of the refrigerator. Let sit at room temperature for about 10 minutes. in the meantime, preheat oven to 400 degrees. Put the wings on a baking sheet and pour the remaining marinade over them. Bake for about 45 minutes or until the wings are browned and crispy. You will need a spatula to scrape the wings from the sheet, because they get sticky. optional: if you like spicy wings, add a teaspoon of crushed red pepper or your favorite hot sauce.

By jacquie Brasher

i know i like to spout healthy eating, but the truth is, i can’t help but love the kind of food that everyone says is bad for you. for example--chicken wings! oh yeah. You know what i’m talking about. once in a while, these poultry appendages are just irresistible. this recipe is easy, cheap and a definite hit.


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athensJune 12X, steve soto and the twisted hearts40 Watt, 9 p.m., $20/adv.

abbey road Live!Georgia Theater, 10 p.m., $10

dashboard saviorsCaledonia Lounge, 8 p.m., $5 (21+) $7 (18-20)

fiction family featuring John foreman and sean watkinsThe Melting Point, 9 p.m., $16/adv.

June 13st. Vincent, Pattern is movement40 Watt, 10 p.m., $12/adv.

wrong wayGeorgia Theater, 9 p.m., $7

nutria, adam klein, the wydellesCaledonia Lounge, 10 p.m., $5 (21+) $7 (18-20)

Lil’ malcom and the house rockersThe Melting Point, 8:30 p.m., $10/adv.

June 17the warm fuzzies, heypennyThe Melting Point, 9 p.m., $5

July 18Better than ezra40 Watt, 8 p.m., $15/adv.

yonrico scott Band, Geoff achison, acho/rico funk soul experiment

The Melting Point, 8 p.m., $8/adv.

June 19Perpetual GrooveGeorgia Theater, 10 p.m., $12

June 20Perpetual GrooveGeorgia Theater, 10 p.m., $12

June 23romanenko, catawba, the stereofidelicsCaledonia Lounge, 10 p.m., $5 (21+) $7 (18-20)

June 24Leading edge, ashutto mirraThe Melting Point, 8:30 p.m., $5

June 25Very disco: Performing the music of daft PunkGeorgia Theater, 11 p.m., $8

Powerload, Pastor of muppets, ice cream menCaledonia Lounge, 10 p.m., $6 (21+) $8 (18-20)

June 26athfest night 1: dexter romweber duo, still, small Voice & the Joyful noise, magnum force, the all night drug Prowling wolves40 Watt, 10 p.m., $5

athfest night 1: we vs the shark, deaf Judges, Geoff reacher, marriage, hot new mexicans and Lazer/wulfGeorgia Theater, 9 p.m., $7

athfest night 1: incredible sandwich, Bearfoot hookers, ibilisi takedown

Tasty World, 10 p.m., TBA

athfest night 1: hayride, Pride Parade, nutria, Lona, the wydelles, VincasCaledonia Lounge, 7:30 p.m., $6 (21+) $8 (18-20)

athfest night 1: curley maple, Little country Giants, william tonks, dodd ferrelleThe Melting Point, 8 p.m., $6/adv.

June 27athfest night 2: cinemechanica, a. armada, Pegasuses-XL, Powers40 Watt, 9 p.m., $5

athfest night 2: kuroma, Velveteen Pink, Gift horse, immuzikation and what’s our nameGeorgia Theater, 9:30 p.m., $7

athfest night 2: futurebirds, the internsTasty World, 10 p.m., TBA

athfest night 2: music hates you, the dumps, hot Breath, kill Lebaron, attest, mandy Jane + the Jaws of LifeCaledonia Lounge, 10 p.m., $6 (21+) $8 (18-20)

athfest night 2: five eight, time toy, Love tractor, flash to Bang timeThe Melting Point, 9 p.m., $6

July 1Jenny Lewis, heartless Bastards, the GrenadinesGeorgia Theater, 9 p.m., $15/adv.

July 2Zoso: Led Zeppelin tributeGeorgia Theater, 10 p.m., $7/adv.

July 4Packway handle Band and the melting Point present the red, white & Brewgrass festival featuring 14 bluegrass bandsThe Melting Point, 1 p.m., $15/adv.

July 9eddie & the Public speakers, tent city, Lassiez funkGeorgia Theater, 10 p.m., $5

marcia BallThe Melting Point, 8:30 p.m., $22/adv.

July 10free LunchGeorgia Theater, 10 p.m., $5

July 11strawberry flats, rick fowlerGeorgia Theater, 8:30 p.m., $10

July 16yo mama’s Big fat Booty Band, JazzchronicGeorgia Theater, 10 a.m., $7

July 17Zoogma, nautilusGeorgia Theater, 10 p.m., $5

July 18Better than ezra, tyler hilton40 Watt, 8 p.m., $15/adv.

July 21conor oberst & the mystic Valley Band, aa Bondy40 Watt, 8 p.m., $20/adv.

July 22magnolia electric company, the donkeys, thousand arrows40 Watt, 9 p.m., TBA

July 24Venice is sinking, Lazer/wulfGeorgia Theater, 10 p.m., $5

atlantaJune 12Girls in a comaMasquerade, 7p.m., $10 adv.

Little Joy, starfish and coffee, Parachute musical, k. taylorSmith’s Olde Bar, 8p.m., $12/adv.

the fray with Jack’s mannequinChastain Park at 7p.m., $33.50/adv.

here we Go magicThe Earl, 9p.m., $8

Laura iziborVinyl, 8:30p.m., $10/adv.

June 13tV on the radio with Grizzly Bear and dirty ProjectorsThe Tabernacle, 8p.m. $26/adv.

cd release Party with eliot James and the snakesSmith’s Olde Bar, 8p.m., $12/ adv.

Portugal. the manThe Earl, 9p.m., $10

Big chad famous strezoThe Drunken Unicorn, 9p.m., $5

summer slaughter tour with necrophagist, suffocation, darkest hour, winds of Plauge, dying fetus, Born of osiris, origin, Beneth the massacre, after the Burial, Blackguard and moreThe Masquerade Heaven, 2p.m., $22.50/adv.

June 14dirty sweet and circus house BandSmith’s Olde Bar, 8p.m., $10/adv.

cotton Jones and Pete silberman of the antlersThe Drunken Unicorn, 8p.m., $10

Better than ezraVariety Playhouse, 7:30p.m., $22/adv.

st. VincentThe Earl, 8p.m., $12/adv.

June 15white collar crime, angry withinSmith’s Olde Bar, 7p.m., $5

holy f*ck, crocodilesThe Drunken Unicorn, 9p.m., $10

russian circlesThe Earl, 8:30p.m., $10/adv

Peaches, drums of deathMasquerade Heaven, 7p.m., $20/adv.

June 16civil twilight, Bankrupt and the Borrowers, the conditionalsSmith’s Olde Bar, 7p.m., $5

sunset rubdown, witchies, elfin saddleThe Drunken Unicorn, 9p.m., $10/adv.

the meat PuppetsThe Earl, 8:30p.m., $15

Propain, sworn enemy, mantic ritualMasquerade Hell, 7p.m., $12/adv.

June 17the hard Lessons simplifiedSmith’s Olde Bar, 8p.m., $10/adv.

taking Back sundayMasquerade, 6:30p.m., $25/adv.

upcoming events in athens and atlanta

Saturday July 4th, 2009 Noon-Midnight

for tickets:meltingpointathens.com or 706.254.6909

Food and drink specials! Fun for the whole family!

featuring

MOUNTAIN HEARTPACKWAY HANDLE BAND MAYHEM STRING BAND THE DAPPLED GRAYS

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eorgia Bluegrass Band Peachtree Station Solstice Sisters String TheoryListed in the “Top 40 Best Music Venues in the U.S.” by Paste Magazine

$15 in advance/$20 at the door$10 for UGA Students w/ID

14 bluegrass acts on 2 stages!

Event will take place rain or shine. This is an all Ages Show! (Children under 18 must

be accompanied by an adult)

The Foundry Park

Inn is offering a

special room

rate of $74 and

packaged deals!

For info:

foundryparkinn.com

The Melting Point & Packway Handle Band Present The 1st Annual Red, White

& Brewgrass Festival

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the tipsThe Earl, 8:30p.m., $7

June 18Grayson capps and the stumpknockers Smith’s Olde Bar, 8p.m., $10/adv.

wheels on fire and the sylvansThe Drunken Unicorn, 9p.m., $6/adv.

John VandersliceThe Earl, 8:30p.m., $10/adv.

June 19trampled By turtles and the Lee BoysSmith’s Olde Bar, 8p.m., $10/adv.

the 54, citizen icon, mcnary, duvasoundsThe Drunken Unicorn, 9p.m., $8

camera obsuraVariety Playhouse, 8:30 p.m., $16/adv.

an hourse

The Earl, 9p.m., $10

LedisiThe Tabernacle, 8p.m., $25/adv.

martians see red cd release with Beatrix kiddo, the drownoutMasquerade Heaven, 8p.m., $8/adv.

framing hanley, red, needeepMasquerade Heaven, 7p.m., $15/adv.

fuzeMasquerade Purgatory, 10p.m., FREE/adv.

June 20ryan cabreraSmith’s Olde Bar, 8p.m., $15/adv.

the Paperchase, attention system, this Piano Plays itselfThe Drunken Unicorn, 9p.m., $8/adv.

errol mooreVariety Playhouse, 9p.m., $20

noot d’nootThe Earl, 9p.m., $7

Breaking Vegas cd release with uncrowned and from tomorrowMasquerade Hell, 8p.m., $8/adv.

owl city with holiday Parade & swimming with dolphinsVinyl, 8p.m., $10/adv.

June 21the Georgia satellites and chris edmunds featuring former members of the swinging richardsSmith’s Olde Bar, 6p.m., $15/adv.

Joey capeThe Earl, 7p.m., $10

June 22Before the solstice, electric touch, the fire tonightSmith’s Olde Bar, 7p.m. $5

Boys like Girls with special Guests never shout never and the ready setMasquerade Heaven, 6p.m., $20/adv.

the hideous strength, casual kill, feeding the foxes, kretos, feed me to the seaMasquerade Hell, 7p.m., $8/adv

June 23civil twilight, hurts to LaughSmith’s Olde Bar, 7p.m., $5

the Black holliesThe Earl, 8:30p.m., $8

Peter murphyMasquerade Heaven, 8p.m., $22.50/adv

drop dead Gorgeous, he is Legend, Before their eyes, and then there were noneMasquerade Hell, 6:30p.m., $13/adv.

June 24tishamingoSmith’s Olde Bar, 8p.m., $10/adv.

capibara cd release show, f’n hearbreaksThe Drunken Unicorn, 9p.m., $5

eddie VedderCobb Energy Performing Arts Centre, 7:30 p.m., $75/adv.

Ben LeeThe Earl, 8:30p.m., $15

Goatwhore, abigail williams, das, abysmal dawn, swwats, and moreMasquerade Hell, 7p.m., $15/adv.

June 25Benjy davis Project and sons of BillSmith’s Olde Bar, 8p.m., $12/adv.

those darlins, the electric cyclesThe Drunken Unicorn, 9p.m., $7/adv.

dax riggsThe Earl, 8:30p.m., $10/adv

road to essence music festival featuring Jazmine sullivan with special Guest ryan Leslie concert ticketsThe Tabernacle, 8p.m., $20

aBsu, destroyer666Masquerade Heaven, 6:30p.m., $15/adv.

John hoge with time Brantley $ moreVinyl, 8p.m., $10

June 26turtle folk, under the Porch, Gaslight streetSmith’s Olde Bar, 8.p.m., $8

fake Problems, kiss kissThe Drunken Unicorn, 9p.m., $8/adv.

david wilcoxVariety Playhouse, 8:30 p.m., $17.50/adv.it’s elephantsThe Earl, 9p.m., $7el scorcho and Black in Black (weezer and ac/dc tributes)Masquerade Hell, 7p.m

dedsetVinyl, 9p.m., $8/adv.

June 27the hackensaw Boys and the sundogsSmith’s Olde Bar, 8p.m., $15/adv.

awesome new republic, futureshock, La chansonsThe Drunken Unicorn, 9p.m., $6

marahThe Earl, 9p.m., $10

Last november, the BreakdownMasquerade Hell, 6:30p.m., $8/adv.

Love rush & flight case for sushiVinyl, 9p.m., $5/adv.

June 29

the wooden BirdsThe Earl, 8:30p.m., $10

June 30

Lustre king, swank sinatra, hip to deathSmith’s Olde Bar, 7p.m., $5

Gentleman Jesse & his menThe Earl, 8:30p.m., $8

July 1

the forty-fivesThe Earl, 8:30p.m., $8

Joy in tomorrow and GuestsMasquerade Hell, 7p.m., $8/adv.

July 2

mama’s Love and the heapSmith’s Olde Bar, 9p.m., $8/adv.

Le castle Vania, kill the noise, rrrumpThe Drunken Unicorn, 9p.m., $5 for 21+, $7 for < 21

the orbVariety Playhouse, 8:30p.m., $20/adv.

the Black Lips and special guestsThe Earl, 9:30p.m., $12

July 3

Judi chicago, noot d’ nootSmith’s Olde Bar, 9p.m., $10/adv.

our Brother the native, religious Girls, facehuggerThe Drunken Unicorn, 9p.m., $8

snowdenThe Earl, 9p.m., $10

altered and guestsMasquerade Heaven, 7p.m., $8/adv

dropkick entertainment Presents: fuel the fire 09 “independence day destruction”Masquerade Hell, 6p.m., $10/adv.

July 4Japandroids, the n.e.c., GuylinerThe Drunken Unicorn, 9p.m., $7

the earL’s 10th anniversary & 4th of July Bash!The Earl, 4p.m., $10

4th of July Punk rock

extravaganza!Masquerade Heaven, 7p.m., $8/adv.

July 5Groove stain, Ballyhoo!, 50:50 shot, simultaneous rexSmith’s Olde Bar, 7p.m., $8/adv.

July 6ex norwegianSmith’s Olde Bar, 7p.m., $5

July 7devon allman’s honeytribeSmith’s Olde Bar, 8p.m., $12/adv.

July 8cd release Party for Blair LottSmith’s Olde Bar, 8p.m., $5/Free CD with cover

Vampire LezbosThe Drunken Unicorn, 9p.m., $5/adv.

hank iii & assjackMasquerade Heaven, 7p.m., $20/adv.

atheist, the faceless, agnostic and guestsMasquerade Hell, 6:30p.m., $16/adv

July 9Paul warner, the issues, idiot slowdown, ethan and the ewox, duvaSmith’s Olde Bar, 7p.m., $8/adv.

abby Go Go, renminbi, ukuThe Drunken Unicorn, 9p.m., $5

Lfo, rookie of the year, Go crash audio, kiernan mcmulanMasquerade Heaven, 6:30p.m., $16/adv.

July 10carbon LeafSmith’s Olde Bar, 8p.m., $15/adv.

Jungol, today the moon, tomorrow the sun, BrennThe Drunken Unicorn, 9p.m., $6 for 21+, $8 for < 21

July 11calu’s Peep sho,Smith’s Olde Bar, 9p.m./ $12/adv.

rama don & the PowermovesThe Earl, 7:30pm, $10

July 13Paradise daze Smith’s Olde Bar, 7p.m., $5

sonic youth with special guest entranceVariety Playhouse, 8p.m., $25

July 14handsome fursThe Earl, 8:30pm., $10adv.

July 15o’Brother, dignan, rova Zetella, morning BellThe Drunken Unicorn, 9p.m., $5 for 21+, $8 for < 21

the coathangersThe Earl, 8:30p.m., $8

10 for 10$ with Poison the well, madball, error, crime in stereo, war of ages, the Ghost inside, death Before dishonor, trapped under ice, this is hellMasquerade Heaven, 3p.m., $10/adv

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Calendar listings are subject to change. List-ed prices may be for ad-vance tickets only, and

listed times are door times of the given shows. We suggest you call ahead

before heading out!

athens live seen around town

see your

photos here!submit to

[email protected]

pHoToS By SHELBy wRIGHT, SANdRA GALLARdo, GEof poSS/vIII EAST GRApHIcS, BEN RAMIREZ

Call us today to see how we can streamline your IT.

www.netstreamconsulting.com(706)-549-6781

PC Sales & SupportNetworking

Printer Sales & ServicePhone & Surveillance

SystemsWebsite Building

& HostingEmail Hosting

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...

on the stageconcert shots

Hermon Hitson @ The drunken Unicorn (will Gravlee) jim wilson of GoAT @ 40 watt (daniel peiken) Hermon Hitson @ The drunken Unicorn (will Grav-lee) G.E. Smith w/Moonalice @ Georgia Theatre (Stefan Eberhard) kite To The Moon @ Human Rights festiva (daniel peiken) Birds & wire @ Georgia The-atre (Alyssa de Hayes) Radiolucent@ 40 watt (Alyssa de Hayes) chris Mckay & The critical darlings @ Human Rights fest (daniel peiken) The walkmen @ 40 watt (Stefan Eberhard) . The walkmen @ 40 watt (Stefan Eberhard)

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Save The Grand canyon @ 40 watt (Bryson Blumenstock) Suburban Soul @ drunken Unicorn (will Gravlee) Save The Grand canyon @ 40 watt (Bryson Blu-menstock) WildKard @ 40 watt (Geoff Poss/VIII East Graphics) Suburban Soul @ drunken Unicorn (will Gravlee) WildKard @ 40 watt (Geoff Poss/VIII East Graphics) Tommy Valentine @ 40 Watt (Geoff Poss/VIII East Graphics) Unknown MC @ 40 Watt (Geoff Poss/VIII Easy Graphics) caitlin jones @ Hu-man Rights festival (daniel peiken) . Tommy Valentine @ 40 Watt (Geoff Poss/VIII East Graphics)

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Magik Markers @ Tasty world (Alyssa de Hayes) Magik Markers @ Tasty world (Alyssa de Hayes) Col. Bruce Hampton @ Georgia Theatre (Stefan Eberhard) Hightide Blues Band @ Georgia Theatre (Alyssa de Hayes) Parker Gispert of The Whigs @ 40 Watt (Stefan Eberhard) Radiolucent @ 40 watt (Alyssa de

Hayes) Booker T. jones @ variety playhouse (daniel peiken) Booker T. jones @ variety playhouse (daniel peiken) Arizona @ Go Bar (daniel peiken) . drive By Truckers @ variety playhouse (daniel peiken) futurebirds @ 40 watt (Alyssa de Hayes) Lona @ Go Bar (daniel peiken)

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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...

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CALL 30 MINUTES AHEAD

DON’T TAKE A CAB, CALL ZINGO AND GET YOU AND YOUR CAR HOME SAFE!WITH THREE PEOPLE, IT IS THE SAME

PRICE AS A CAB!

SET UP AN ACCOUNT TODAY!WE ALSO TAKE CREDIT CARDS!

GIFTCARDS AVAILABLE!

SUMMER

SPECIAL!!!

Mention this ad for

25% o� pick-up fees

before 12:30 a.m.!!

musicscope?Astrology for Musicians by Miss Terious

GEMINI(05/21-06/21)

Spend a weekend getting up early and rummaging through

local yard sales in town. You’ll be surprised to find a rare musical

treasure.

SAGITTARIUS

(11/22-12/21)Enter a local battle of the bands competition and blow the others out the venue. Constant practice

pays off — enjoy the victory.

TAURUS(04/20-05/20)

Don’t let that gas tank get below empty like usual. If you do, you’ll end up out of gas in the middle of nowhere on your way to a

show in South Carolina.

VIRGO(08/23-09/22)

Say yes this month to any gig opportunity that comes your way regardless if it pays or not. Your

friends won’t say this but the band needs a lot of tuning up…

ARIES(03/21-04/19)

This is your month of opportuni-ties! An Athfest performance

opens many doors for your music career, one that could lead to a record deal with a prominent

indie label.

CAPRICORN(12/22-01/19)

Pay close attention to your audience during your next few performances; a fan that is showing up lately may be infatuated with more than just

your music.

PISCES(02/19-03/20)

A feud between you and a fellow band mate occurs after you both discover a common love interest. Best to leave love behind and both of you focus on your

musical career.

SCORPIO(10/24-11/21)

If you’re feeling burnt out from playing the same songs with the same tunes try introducing a

harmonica or tambourine to get things shaking again.

CANCER (06/22-07/22)

A sizzling summer romance could end up distracting you from your music and tempting you to cancel band practice to spend time with your fling, which could end up with

the band cancelling on you.

(07/23-08/22)Time to stop being shy and let other band members hear your singing voice. There is no reason you can’t sing back-up and even

lead vocals on a few of your songs.

AQUARIUS(01/20-02/18)

A trip to the beach is needed to rejuvenate your senses. Dont for-get to bring your instrument with you; a day by the ocean side will

inspire a new song.

LIBRA (09/23-10/23)

Don’t let one bad performance get you down. You have a sum-mer tour lined up and plenty

more gigs to show off your tal-ent.

LEO

What’s your


Athens Blur Magazine - Issue 8

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Transcript of Athens Blur Magazine - Issue 8