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Southeast
Regional Report
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Edited by Chip Schramm
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Atlanta Tour Journal Book 1 Editorial Report Atlanta is a big place. I knew that coming in, and because of that very fact, I put off my move for many months. In hindsight, I realize that I moved here for all the right reasons. I wanted more opportunity. I wanted a place where I could continue to grow. I wanted to feel like I would never run out of things to do, no matter how active I became. Boy howdy, now I ve got all that and a sack of chips. From my days in Memphis, I enjoyed a warm music scene with literally more bars than you could visit in a month of dedicated partying. Even so, I usually hit the musical highlights on any given month and sometimes wished that more good vibes would hit the stages in all of my favorite clubs and bars. Here that notion is a joke. I hardly have time to see the music that I need, to see, much less the music I want to see or music I feel some sort of curiosity about, for one reason or another. So now I have to pick my moments, trying not to burn out too hard and fast living life "in the big city," to abuse the old cliché. For this month, and if I feel so motivated, for the months upcoming, I will try to keep a little musical journal of the bands and events I am fortunate enough to attend. In months previous, I have taken the liberty of pouring lots of time and energy into just a handful of reviews. I encourage everyone that is able to do the same. The ultimate goal of this journal is to provide a little slice of life, or maybe a little taste of the scene, from my own biased perspective. A moment of Zen? Nah, but maybe just a little time to reflect on how quickly things have changed around me and continue to change every day. Thursday, Jan. 18th, Red Light Café Bluegrass Jam This was my first introduction to the small club/café in midtown. I had heard quite a bit about how good the music coming out of the place was, but I had to take a looksie for myself to find out for sure. As I drove down Amsterdam St., headed for the club, I couldn t help but wonder what kind of place is called the Red Light Café on a street named for the original European city of sin, but things were a bit more subdued once I got inside. There was a long folding table with men and women of every shape, size, and age putting together their own newsletter for all the pickers in the region. The name of the organization was SEBA, the Southeastern Bluegrass Association. Off to the side of the room, kind of caddy-corner to the bar was a nice-sized circle of pickers and fiddlers, getting tuned up and ready to jam. As it would turn out, not all of the pickers would play onstage at the same time, but there was one featured band that would provide the majority of the entertainment for the evening. Pony Express, as they were called, put on an entertaining show. They did some bluegrass renditions of some popular songs, showing a good sense of humor as well as embracing the craft. They even put on some crazy costumes to emphasize the themes to certain songs. At one point the bass player had a dreadlock wig on, and for one whole song, the lead singer spoke and sang in a Donald Duck voice. These guys weren t about to win any awards at Telluride, but the provided ample entertainment for a Thursday night. Friday, Jan. 19th, Brandyhouse, Ancient Harmony and Moonshine Still This was only my second visit to the infamous Brandyhouse since my move to Atlanta. It can get pretty loud and packed on popular nights, and this one was no exception. At least it wasn t as hot and stuffy as it gets in the summer, but never mind. The music was what brought me here, and both bands sought to represent. Moonshine Still is an up-and-coming jamband, with most of its members appearing to be college-aged or younger. They played some spacey songs and jams, even daring to tackle the Pink Floyd epic, "Echoes," complete with the whale-call simulation. Ancient Harmony provided a more upbeat rock and roll show as the crowd of faithful Harmonyheads cut a rug throughout the dance hall. Their set lasted until the wee hours of the morning, and the Brandy was just as packed as when I had first arrived. I have to give the Brandyhouse credit. They have a big stage and bring in some great musicians to play on it. Friday, Jan. 26th Dark Star Orchestra, Variety Playhouse I had heard a lot about the Dark Star Orchestra before I heard them for the first time. All of their players have been in Grateful Dead cover bands before playing in DSO, so they were tuned into their characters. They each imitated a specific member of the band, in same cases with their appearance as well as playing. Jerry looked like Jerry. He didn t play as well as Jerry, as he tended to noodle around a bit during "Playing in the Band," but overall the band played their role well. The highlights of the show were probably the Sugar Magnolia closer in the second set and the Quinn the Eskimo encore. I did get in a little late, so I missed the first few songs of the first set, but overall I was not blown away. Drums came two songs into the second set and the whole set seemed short. Ultimately their choice of show and the particular songs contained in it were not completely to my liking. That can make the difference between a good Dead show and a great one sometimes. They did acknowledge the shortness of the show by playing two "filler" songs before ending the night. They ended their show with "Let It Grow" and "Aiko." Those were two strong spots as well. As luck would have it, the band would take a night off the pre-selected show setlists and make up their own the next night. I wasn t there, but those that were said it was a stronger show overall. They sold out both nights, which says a lot about the musical climate here in Atlanta. v Saturday, Jan 27th, Bloodkin, warehouse somewhere on the westside of Atlanta The MC said "This is not a club, this is not a venue, this is not a bar, this is just a place." But hey it was a place where there was a freak party going on so who was gonna argue? The gig at the warehouse combined several bands with very different sounds and backgrounds. A couple of the bands were leaning towards rage metal, while one seemed like it drew a lot of punk and ska influence from Sublime. Each band only got 1 short set, but Bloodkin made the most of their time, rocking out with "Priviledge" and "Mercy Train To Bogart" among others. Their fans far outnumbered the others in attendance, and they seemed to feed off of that positive energy. Bloodkin was testing the room to see if it would be a good venue for future gigs. With an album forthcoming in the not-so-distant future, a CD release party was a possibility. The atmosphere was cool and there was plenty of room, but the audience tapes didn t come out that well. The acoustics might prevent them from playing there for a release party, but they didn t stop anybody from having fun on this weekend. Wednesday, Jan 31st New Orleans Juice and Rebirth Brass Band, Smith s Olde Bar Smith s never fails to amaze me. In the middle of the week, two funk bands from New Orleans came up and packed the room to capacity. There was no room for debate. There was no room to move. The horns were so loud and aggressive, that the players were commanding everyone s attention. Juice is still continuing to gain momentum since first teaming up on the road with Rebirth earlier in 2000. They seem to really click with the younger crowd, many of whom have come to know them from parties in conjunction with festivals in New Orleans or Panic post-shows on tour. What little room there was to dance at the front was being used to the fullest. Dave Jordan and his merry crew are really starting to make a name for themselves, and that s always a positive thing to see. Rebirth and Juice seemed like a well-paired touring combo. They players in Rebirth all honed impressive brass skills, and seemed more like the kind of guys you would see playing on a weeknight at any number of clubs in the big easy. As far at their performance goes, they flat out wailed. I can t recall the specific songs of their setlist, but I do remember their attitude: loud and mischievous. They were checking out the crowd from time to time seemingly bemused at all the sharply dressed youngsters who had come out to hear them play. They took the time to hype themselves in a purely playful way, and that was fair, because they really were a great brass band. They re like the band your brother-in-law will get to play at the rehearsal dinner over your parent s protests. Saturday Feb. 3rd North Mississippi All-Stars, Asheville Music Factory My first road trip out of the city of Atlanta for some live music was a treat. North Mississippi All-Stars and Asheville, North Carolina are a match-up I couldn t resist. Asheville is so beautiful with its mountaintop setting, and the weather this weekend was perfect. North Mississippi picked up their first Grammy nomination in January for best contemporary blues album for Shake Hands With Shorty. I have seen them play enough that I m fairly familiar with the songs in their rotation, as they are still focusing on the album material heavily. What really amazed me was how they could play virtually the same setlist from the last time I heard them play, yet still turn their level of performance up exponentially. They played harder, faster, and tighter than I have ever seen. I would have been taking notes, but I was too busy shaking my entire body throughout. Basically, they played the same songs that are on the album, plus "Hey, Bo Diddley," and a few more standard blues numbers. They had another guitarist sitting in with them for much of the show who I didn t recognize. He inserted a few verses about Asheville into a couple of their songs, but didn t add too much to the show overall. That s OK though, NMAS weren t letting anything hold them back on this night. When they left the stage, they were so drenched with sweat, it looked like they might need an escort out to be sure they made it all the way to the bus. Saturday Feb. 4th, Z93 live broadcast, ekoostik hookah, The Brandyhouse One of the most positive things happening on a regular basis in Atlanta is the Dunham s broadcast from their couch every Sunday night on Z93. On a station that don t vary much from your typical rock-and-roll format during the week, the Dunhams own Sunday night. They pair David Gans Dead Hour with a live set from the Brandyhouse. The band chosen for the live set varies, but usually they are bands that like to jam. I think you see where I m going with this. The Sunday shows are free, and they moved the time up an hour to 10pm, so more folks can come out, even if they have to work Monday morning. On this Sunday, they had Ohio natives ekoostik hookah as well as legendary pedal steel man Buddy Cage. Cage would only sit in on a couple of songs, but the band played a solid set and made a good showing for the local music freaks. The band is probably most famous for their music festivals in "Hookahville" each year in Ohio, but have also gained some attention from their nationwide touring as well. Any way you slice it it s hard to turn down free hookah.
Brute - 2/3/01 - 40 Watt Club Athens, GA By Jason Bragg Wsp1x1@aol.com Puppy
Sleeps In what is becoming a yearly treat, Brute, the pseudonym for the collaboration between Vic Chesnutt and Widespread Panic played to another sold out audience in Athens on Saturday February 3rd. Many going into the show speculated that the show, however, was not going to be a Brute show but was going to be, as advertised, Mike, Dave and Vic. Regardless, the allotment of for the Internet sold out quickly and went even quicker when they put the rest of the tickets on sale at various ticket outlets around Athens. As show time came around, one thing that was obvious was that the 40 Watt people knew how to run a show. After learning about the overcrowding at the Georgia Theater last year, the kind folks at the 40 Watt sold just the right amount of tickets so that the people inside had plenty of space to move to and from the bar as they pleased. There was a band that came on first but I missed them due to the long line to get in. The next band to take the stage was Barbara Cue, Todd Nance's side project. Barbara Cue came out of the gate quick with a few songs of their excellent album, Louisiana Truckstop. Finally to close out their set David Blackmon and John Bell came out to join them on a cover of Al Green's "Love and Happiness". JB's soulful vocals and Blackmon's melodic fiddle playing added great depth to this song and helped Barbara Cue close their set out in style. Set break was spent by many debating on whether the next performer was going to be a full on Brute show or simply just Vic and few members of Panic. All questions were answered however when the lights went down and JB, John Keane, Houser, Vic, Dave, Todd, and Jojo stepped out on stage. They wasted no time and busted right into the power charged "Puppy Sleeps". The very feedback-laden song contained some very nice guitar interplay by both Keane and Houser as well as the always entertaining lyrics of Vic Chesnutt. Soon after "Puppy Sleeps" ended we heard the familiar bass-line and guitar riff to the raucous "Good Morning Mr. Hard On". This version was very well played and once again gave Houser plenty of room to shine. "Aunt Avis" was next and was very similar to the version on Bombs and Butterflies, however instead of ending the song, the band followed each other's leads and jammed this tune our for quite awhile, much to the liking of the rabid, Athens crowd. "Got It All Wrong" , a new collaboration between Vic and Panic was next, and it the audience a preview of the rumored new Brute album. Next, to the delight of the crowd, the band broke into one of the best "Blight"'s I have ever heard. Blight as of late at many Panic shows has been known to have some very sick jams built into it and this version was no exception. Dave and Houser led the band into the furthest reaches of space and back with swirling guitar solos and some nice bass work. "Morally Challenged" served as a great way to calm the crowd down, and also gave the crowd, lyrically, much to laugh about. Finally to close out the show the band played what is in my opinion their best work, "Protein Drink>Sewing Machine". This song epitomizes Brute to me and also displays some of Mike Houser's best guitar work on record. All in all a great time was had by all at the 40 Watt and I for one look forward to making the Jan/Feb Brute show a yearly occurrence. Also, as of note, hopefully we will see a Brute album sometime in the near future as there are many rumors floating around Athens that one has been recorded. Thanks for reading.
I love my chicken. by Jason Bragg Ron
Levy's ORGANic Grooves By Bill Kuntz A chill filled the usually warm Florida air at Skippers Smokehouse on Saturday. Skipper's is an outdoor venue and is legendary for the live music they bring to the west coast of Florida. Known for the live blues they have on the weekends such as Fingers Taylor, Jimmy Thackery, and Rev. Billy C. Wirtz, Skippers also caters to the jamband scene with such acts as Donna The Buffalo, Derek Trucks, and Jupiter Coyote. The sounds of the Grateful Dead can also be heard every Thursday night with Uncle John's Band. Surrounded by oak trees and wooden decks, the picnic tables, and thatched roof bars make this a unique music venue. From the opening notes on Ron's Hammond B-3 organ, Skippers was transformed into a swank red velvet Las Vegas lounge, where olives dance on the rim of martini glasses to the sound of boogaloo. Ron's sound blends jazz, blues, funk, and gospel to produce a groove that will make you want to get up and dance. This organic funkmeister takes complete advantage of the stylistic sounds of his instrument. Known as the "ultimate blues keyboard player," Ron has backed and shared the stage with such greats as Albert King, B.B.King, John Lee Hooker, Bo Diddley, Big Mama Thorton, and most recently with Melvin Sparks, Karl Denson, Beanstalk and Fat Mama. Ron is immersed in the music scene. He not only is a player, but a producer, publisher, arranger and songwriter as well. It seems he has experience in all aspects of music including road managing, marketing and promotions, discovery and development of new artists. Ron has nine Grammy nominations under his belt and has been honored with several awards for his keyboard skills. His band consists of Joe Goretti on drums, John Trama on guitar, and himself on organ. The sound this trio puts out is simply FUNKY. Funk boogaloo, gospel, and acid blues are the words I would use to describe their sound. This sound is late night groove music, very danceable. You won't be able to keep your feet still. From the organ work to the guitar work, the sound is fresh and exciting. John's guitar work is especially refreshing. His solos are bluesy sounding, yet clean and smooth with a jazzy feel. Ron' s organ work has a very bluesy and gospel feel that melts well with John's jazz style. From the mellow sounding Silver Cannon Ball to the up-beat sounds of "Ain't It Funky" and "Funk Fiesta," the show was definitely a groove-a-thon. The up-beat music makes this is a great FUNK BOOGALOO group to see live.
Ron is currently on tour and all of the dates can be found at: v http://www.levtron.com/index.html The latest news has Ron Levy's band opening the night at the Subterranean in Chicago, IL. after which the acid-funk stylings of Jive, http://www.boulderjive.com/ , from Colorado will take the stage and feature Ron on B3 and then......... AND THEN the muthas of all that grooves, a super-group featuring Melvin Sparks on guitar, Leon Spencer on B3, Clyde Stubblefield on drums, and Ron on Fender Rhodes will take the night on home. This event, put on by Silverwrapper Productions, www.silverwrapper.com , is a DO NOT miss event.
The
Radiators By Marc Trager If you jones for it, it's monkey. So goes the credo of the monkeykrewe, a Mardi Gras style party organization whose main monkey is to party to the irresistible grooves of The Radiators, the legendary band from New Orleans. Seeing The Rad's anywhere is a treat unto itself, but to get two nights in West Palm Beach in early January, in a small venue, with Mardi Gras flavor and attendees in costumes added to the mix, and you've got yourself all the ingredients for a memorable weekend indeed. On Saturday night, Respectable's on Clematis Street in West Palm Beach was absolutely transformed from a dance club to a sultry, Carnival atmosphere, with decorations of all shapes, sizes, and colors adorning virtually all angles of the room. Tickets for MonkeyBall told those coming to the party to come in costume, and costume they did! This added an incredible dimension of visual intrigue and in some cases hilarity that just brought more and more people together in pre-show frivolity that created an amazingly festive mood in the room even before The Radiators stepped on stage. Once the band hit the small platform wedged into the corner of the room, the already revved up crowd inched it's way towards the stage like a roller-coaster car being pulled by a chain to the top of that first big drop. From the first note struck by keyboardist Ed Volker, the crowd unstrapped their safety belts and jumped on for a wild ride. Opening the party with a slow, greasy version of The Beatle's "Everybody's Got Something To Hide Except for Me and My Monkey", the band wasted little time in creating the connection between themselves and the costumed revelers. Volker clearly relished the opportunity to emphasize the word "monkey" in the lyrics, and the crowd responded in kind, singing along, loudly and with feeling. As the coaster reached the bottom of the first hill, the band seamlessly ripped into a longtime crowd favorite "Screwloose," whipping the multi-colored throng into a synchronized frenzy. Now the party is in perspective, and the ensemble musicianship begins to take form right before your eyes. The crispness and rich textures of sound and energy can be attributed to 23 years on the road. To watch the band relate to one another onstage and with the crowd leaves you blown away that these guys are having as much fun as they are after all this time. Yet they are. The guitar work of Dave Malone and Camile Baudoin is a thing of beauty to witness, and an even bigger treat for the ears. The synergistic interaction of these two axe-masters lends itself to truly inspiring impromptu jams and melodies. Malone's thick, cord driven rhythms and tasty riffs leave the crowd begging for more. Coupled with his deep, raspy voice and his playful stage antics, Malone exudes sex appeal, personality, wit, and precision in his performance that has the crowd feeling like they are hanging out with an old friend. Baudoin, in comparison, plays leads that leave you straining hard sometimes to actually see his fingers moving. His complimentary riffs to Malone s rhythms add perfect texture and intrigue to the tunes, but those leads! It is doubtful that they could be reproduced, and as Baudoin himself stated that night, "...sometimes I don't know how or why I do it... it just comes out that way!" The guitar work of Malone and Baudoin is on display in full regalia during a high-energy cover of "Further on up the Road", a nine-minute ripfest that features dueling leads that damn near left some folks in the crowd weak in the knees. Wave after wave of improvisational jams that just kept the adrenaline flowing. Now, throw into the gumbo the driving rhythms of drummer Frank Bua. The steady, rich beat Bua provides keeps the crowd bopping and bouncing in a sensual sea of involuntary hip shaking. Nothing fancy here, no complicated fills or drawn-out solo's, but precise, infectious grooves that guides the bands full steam ahead. Bua can hardly be seen from the crowd, but his presence is felt straight through to your soul. The next level of texture is bassist Reggie Scanlan. He and Bua are as synchronized as Malone and Baudoin. To watch Scanlan play bass is akin to flying inside the eye of a hurricane -- he is a case study in concentration. Rarely opening his eyes during a single song, Reggie (as those in the crowd scream to him) is the glue that keeps all the pieces together. He plays with a gracefulness and elegance that seems hard to fathom when you hear the sound he is producing. It is considered a victory to get a smile out of Scanlan during a Rads show, not because he lacks feeling or personality, for quite the contrary is true. Witnessing a musician this in touch with his craft is inspiring to say the least. His work on "Little Sadie" and another old crowd favorite "All Meat" has the costumed carousers yelling, "REGGIE...REGGIE...REGGIE!" Finally, there is Ed "Zeke" Volker. The velvet-tongued ringleader always has a musical trick or two up his sleeve, and you just never know when he is going to take artistic license with a tune or lyrics and take it somewhere else! This is part of the beauty and anticipation of any Rads performance, and the MonkeyBall is no exception. References to "monkey" are everywhere in the first set, from the aforementioned retooling of "Everybody's Got Something To Hide Except Me and My Monkey," to a spine-tingling version of "Blue Monkey." Volker's keyboard work is truly phenomenal. It adds the "happiness" factor to almost any Rads tune. He has the ability to take the party to another level, and does on numerous occasions throughout he evening. Case in point, coming out of a slow, subdued finish to "Blue Monkey," the band rips into a phenomenal version of "Psychotic Reaction," and his energy-filled vocals and twisting of lyrics for the occasion took the crowd to a crescendo that nearly blew the roof off of tiny Respectable's. Other highlights from the two set extravaganza included covers of "Magic Bus," and a version of "How Long has This Been Going On?" with Malone on vocals that had the crowd singing and grooving with friends and strangers alike. Once the encore was reached and the boys hit "Down on the Corner" by CCR and "Gimme Some Lovin'," the crowd was absolutely spent! Until a repeat performance the next night at Respectable's for another two set stunner... without the costumes and decorations. Put all the piece's together, the great Palm Beach weather in January, the spectacular decorations, the funky and freaky costumes, and the music of The Radiators, and a party was created that had those that had traveled from far and wide uttering things like, "I've been seeing The Rads since 1987 and that's the best show I've ever seen them play!" But then again, for most Rads fans, the best show they've ever seen is the last one they saw! The Radiators are a band not to be missed. Anywhere. Anytime. If you're not hooked by this band and their live performances, consult a physician, because a mysterious medical condition would be the only logical explanation for not feeling the groove and energy that this band puts out on a regular basis. For tour dates and more information about The Radiator's, go to:
MonkeyBall is an annual event featuring the Radiator's during the dead of winter when most folks are freezing their "tails" off up north, so make plans to attend next year's party early. For information about the MonkeyKrewe and their party's, go to: http://twenty9.tripod.com/monkeykrewe/ SET LISTS v A Twelfth Night Monkey Masquerade 01/13/01, Respectable Street Cafe, West Palm Beach, FL Set
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