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Father Knows
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Athens legend and Drive By-Truck-
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back to move forward on his new
release, Murdering Oscar (And Other
Love Songs).

—Alec Wooden

(45) (41)
After 19 years, 311 continues

ten 311
Athens’ homegrown music to uplift spirits with reggae-
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— Alec Wooden
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ATHENS BLUR MAGAZINE 3
 music 11
COLUMNS
EDITOR’S PLAYLIST: 6
Ten Tunes Worth Noting
THE FIRST WORD: 9

30
Signs of Life, Indeed
WHAT’S YOUR MUSICSCOPE? 80
Astrology for Musicians

17 spotlights
EELS
Pepper
Mac Arnold
11
12
13
29
Patterson Hood 14
The Ginger Envelope 17
Conor Oberst & 18
The Mystic Valley Band
Metric 21
St. Vincent 22
Cycle of Pain 24

13
Matthew Sweet 25
Cars Can Be Blue 26
Asher Roth 27
Jadakiss 28
Bambara 29

28 25 ALSO:
Cage The Elephant 30

EAR CANDY: Album Reviews 32

UPCOMING CD RELEASES 35
TOUR DIARY: The Corduroy Road 36

21 ARTS &
THIS DAY IN MUSIC HISTORY 38

ENTERTAINMENT
22
MOVIE PREVIEWS: 63
Worth your money?

63
UPCOMING DVD RELEASES 65

FOOD
MEALS FOR YOUR BROKE ASS: 68
Applying The Apps!

ALSO INSIDE:

68
CALENDAR OF EVENTS: 70
Go Ahead, Make My Date
ATHENS LIVE: The Month in Photos 75
ATHENS BLUR MAGAZINE 5
 BLUR FROM THE EDITORS
BLUR WHO WE ARE

Who We Are editor’s playlist

old or new, 10 songs we can’t get enough of this month
DEAR READERS
Editor-in-Chief Summer is my favorite season in Georgia, aside from bouts of seasonal allergies. Driving
The Athens
Nicole Black Nicole Black Alec Wooden through downtown to get to our office without any traffic is the first sign school is out and the
nicole@athensblur.com Editor-in-Chief Executive Editor college students have vacated. Night time is further evidence when you no longer have to fight
for parking downtown.
Blur Magazine
Executive Editor “Ain’t No Rest For The Wicked” “Stealing Song” Claire Schofield
Despite missing nearly 30 thousand students, there are still tens of thousands of us living P.O. Box 7117
here year-round. Now is the best time for us to flood downtown to support local businesses,
Alec Wooden
Cage The Elephant
“Lisztomania” Phoenix whether it’s to grab a bite to eat and have a cold drink or check out a live show, all without Athens, Ga
fighting a crowd. And don’t forget bars and restaurants on the east and west side of Athens, too.
alec@athensblur.com “That Look You Give That Guy”
Eels “Plutonium” The Arcs The most notable local summer event we have, of course, is Athfest. Last year was my first 30604
introduction to the music and arts festival, as well as to Magic Hat #9. Be sure to check our
Director of Sales
Stephen Simmons
“If Love Was a Train” Amy LaVere “Big Blonde” Aidan Moffitt 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. Main Office
stephen@athensblur.com
“Something New”
The Airborne Toxic Event
“I Can Feel A Hot One”
Manchester Orchestra
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
(706) 353-7799
advertisers to our devoted writers, many of whom have been with us since our first issue, and
Account Executives “Dead Man Walking” Cycle of Pain “Nikorette” our readers. From our diligent sales team to our editorial team and our interns who work hard

Adrienne Klein “Sun Blows Up” Cars Can Be Blue

Conor Oberst & Mystic Valley Band juggling time at the magazine with their school schedules. Everyone has worked hard to realize Sales
the first year of this dream.
adrienne@athensblur.com
“Just One Drop” Corduroy Road
“Ryan’s Song” Venice is Sinking
I want to take a moment to thank Stephen Simmons and Alec Wooden. While I claim the (706) 207-9091
“Dearest Forsaken” Iron & Wine title of ‘Editor-in-Chief ’, these two are also truly the backbone of this magazine. Alec keeps
Jim McGahee “Lotus” Cage The Elephant me grounded and calm and has taken on the role of laying out our magazine in addition to his
jim@athensblur.com “Transgression” Mike Pardew editorial duties. Stephen runs the business side of Blur and has kept us afloat since he joined us For general comments
“Hey Milunka” The Warm Fuzzies in August. and inquiries:
Advertising Interns “All I Need” (Radiohead cover) editorial@athensblur.com
Together, we have faced enormous obstacles. It’s not easy starting a magazine from the
“In One Ear” Cage the Elephant AmpLive ground up — it’s a learning process, and there is more than ‘blood, sweat, and tears’ that go
Elaine Emma Kelch, For advertising
into making something like this work. There is still more labor ahead, as well as obstacles to opportunities:
Morgan Kelly, Julia Ott overcome, but I am confident that with the team we have here at Blur we can accomplish any sales@athensblur.com

looking for blur?

feat together and continue to swell the streets of Athens as a prominent magazine “for fans of
Design music and the ones who make it”. The Athens Blur

Colin Dunlop, Lily Feinberg
Lauren 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.
FOR MORE LOCATIONS, VISIT ATHENSBLUR.COM
6 ATHENS BLUR MAGAZINE
try here:
Thank you, Athens, for a great first-year and we look forward to delivering more issues of Magazine issue 8,
Blur in the years to come. copyright©2009
By The Athens Blur
40 Watt Club Music Exchange Magazine, INC. All rights
ABC Package Musician’s Warehouse Keep Rockin’, reserved. No part of
this publication may be
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Jimmy John’s Transmetropolitan States of America and
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J’s Bottle Shop Village Wine & Spirits (limit one copy per
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Or grab a copy at two publication boxes downtown — at the corner of 7117 Athens, Ga. 30604
College and Clayton, in front of Wuxtry Records, and across the street
in front of The Fred Building.
ATHENS BLUR MAGAZINE 7

MUSIC
signs of life, indeed
are the arts recession proof? that’s up to us.
P eople 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 -
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.
$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
BLUR THE FIRST WORD
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
ATHENS BLUR MAGAZINE 9
 MUSIC ALTERNATIVE
howl at the moon
an old eels character explores the depths of desire
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
PHOTO: AUTUMN DE WILDE
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
EELS “I think doing all of this stuff the past 4 years, what
it really motivated me to do was something blatantly
this creature stemmed from E, non-autobiographical. I’m just so sick of me.”
quite frankly, just being tired
of himself. Coming off of four WHO’S WHO — EELS —
heavily autobiographical years, E (vocals, guitar, multiple
from his life-inspired concept instruments), Koool G On Hombre Lobo, E returns strings-laden effort, E revises
record Blinking Lights and Other Murder (bass, keyboards, to his concept album ways, yet, his band as a lo-fi, garage-
Revelations, to penning his guitar), Knuckles (drums, in typical EELS fashion, songs entrenched beast. As gritty and
autobiographical tome, “Things percussion) like “Tremendous Dynamite” dirty as Blinking Lights was
the Grandchildren Should and lead single “Fresh Blood” gorgeous and ethereal, Hombre
FORMED can stand as mini-stories Lobo maintains a sound that fits
Know,” and “Parallel Worlds/ 1995 in Los Angeles, Calif.
Parallel Lives,” the BBC- separately, but make a much the overall thematic guise of the
produced documentary about greater impression combined album.
LABEL with the disc’s remaining 10 “The idea of desire to me,
his quantum physicist father Dr. Vagrant Records
Hugh Everett III, sinking into tracks. musically, equals the electric
a character was just the natural LATEST RELEASE “What motivates me is to guitar and something kind of
course of action. Hombre Lobo (2009) have that thread, but at the stripped down and immediate
“I think doing all of this same time, it’s a fun challenge and a little bit more raw,” he
stuff the past 4 years, what ON THE WEB that you have to have a song explains. “And, also, after the
it really motivated me to do www.eelstheband.com work as easily on its own, so we Blinking Lights album, I think it’s
was something blatantly non- can make people happy who only natural that I would want
autobiographical,” says E. “I’m only like songs here and there, to go someplace different.”
just so sick of me.” the idea of the album to a friend or if they like a whole album,” As for the beard that started it
However, the record may be of mine and I described it as 12 says E of songwriting. “It’s for all, E says it’s still going strong.
more about E than it originally songs from the point of view the whole family!” “My goal is for it to grow so
seems. Even when exploring the of a horny, old werewolf, and The thematic shift from the long that I won’t have to wear
lives of characters, the results my friend said, ‘Oh, so it’s your autobiographical to the fictional pants anymore,” he says. “I’m
sometimes hit closer to home most honest album to-date,’” also pointed the EELS sound in pretty close to my goal.”
than even E realizes. says E. “I’m not sure what to a new direction. After Blinking
“I will say that I mentioned make of that.” Lights, a largely poppy and — Natalie B. David

ATHENS BLUR MAGAZINE 11


MUSIC ALTERNATIVE
fresh pepper
Reggae-rock trio keeps fans coming back for more
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.  to see us. Every time we play a
“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
12 ATHENS BLUR MAGAZINE
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).  in 2002 after moving from the
“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
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.   classifies as maturity or whatever
 “We let the crowd pick out
the songs we play and make the
COURTESTY MSO PR
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.  “When you’re on tour for a
The trio released Kona Town
island they talk about so often
(Kona) to southern California.  something you love and making
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
that is, but I think that’s the big
difference.”
Pepper
WHO’S WHO
Bret Bollinger (vocals,
bass), Kaleo Wasman (gui-
tar, vocals), Yesod Williams
(drums)
FORMED
1999 in Kona, Hawaii
LABEL
LAW Records
LATEST RELEASE
Kona Gold (2009)
ON THE WEB
www.pepperlive.com
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.
month or two at a time, it gets
hard at times,” he says, “but at
the end of the day you’re doing
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.  electric bass since making the
“We can’t wait to get back
there and play again,” Williams
says.
We can’t either.
— Julie McCollum
MUSIC BLUES
mac’s musical renaissance
bassist unites lifetime of blues with a love of southern food
Bassist and singer Mac
Arnold has been cooking for
nearly as long as he’s been MAC ARNOLD
playing the blues. The Pelzer,
S.C., native rose to prominence
backing singers like Big WHO’S WHO
Mac Arnold (vocals, bass,
Momma Thornton, Buddy
Guy and Junior Wells in the slide guitar), Max Hightow-
er (harp, keyboard, rhythm
late 1960s and is most famous
for his year-long stint in The guitar, vocals), Austin
Bashier (lead guitar, vo-
Muddy Waters Blues Band. But cals), Danny Keylon (bass),
before Arnold had ever picked Mike Whitt (drums)
up a bass, he was preparing food
grown on his family’s farm. FORMED
His dishes are the genesis of 1966 in Chicago, Ill.
the Mac Arnold Cornbread
LABEL
and Collard Greens Festival, a
four-day string of concerts in Plantation One Produc-
his native state during the first tions
weekend in May.
LATEST RELEASE
Growing up in a family of Backbone & Gristle (2008)
13, Arnold found that being
handy in the kitchen was the
ON THE WEB
best way to get something to www.macarnold.com
eat. “You would have to cook
in between meals — sneak and
cook,” Arnold recalled by phone care for his mother, Arnold took
from Anderson, S.C., where he a job as a truck driver, putting
was gearing up for the second professional music behind him.
night of the festival. “I came A decade of prodding from
up with different creations. I local harmonica player Max
would run down to the barn and Hightower eventually wore
get some eggs and run back to down Arnold’s defenses though,
the house, put them in a pan and in 2005, the bassist released
and flip them over right quick Nothin’ to Prove, his first album
— make a sandwich, and hey, as a leader.
you’re finished.” He called his backing band
First exposed to blues by radio — Hightower on keyboards and
at his uncle’s juke joint, Arnold harmonica, Austin Brashier on
spent long nights listening to guitar, Danny Keylon on bass
WLAC from Nashville. The disc and Mike Whitt on drums —
jockeys spun blues and country Plate Full O’ Blues. The group
indiscriminately, exposing released a second album last
Arnold to Grand Ole Opry year and is planning to go into
regulars along with blues artists. the studio late this summer
“Blues and country music ran COURTESY PLANTATION ONE PRODUCTIONS
after a 22-day European tour.
hand in hand there for awhile,” This is a busy schedule for any
strings. “He would leave home, supporting himself by playing
he said. musician, especially someone
and I’d take his guitar, go out with a healthy helping of blues
While listening to music at who never expected to perform
into the barn and play,” Arnold legends. In 1969, Arnold moved
night, it was difficult to hear for an audience once he moved
said. Arnold still performs on to Los Angeles to serve in the
it during the day. His father back home.
a gasoline can guitar, but he Soul Train house band. While
forbade guitars in the home, “I had planned to just go out
has primarily played a standard on the West Coast, he moved
so Arnold’s brother set about to my friends in the country. I
away from the music industry,
creating a DIY instrument to had no dreams at all of getting
move to the blues Mecca of working as a video editor and a
emulate their radio heroes. Using another group together,” Arnold
Chicago at age 24. contractor. He even owned a fur
an old gas can as a resonator, said with a deep laugh. “I’m
Arnold’s career has a number shop — until animal activists
his brother cut a hole in the enjoying every minute of it,
of branches. With blues on his put the kibosh on that.
side, attached a neck whittled though.”
mind, he moved to Chicago, When he moved back home
from barn siding and added
living there for four years and to South Carolina in 1990 to
— Jon Ross
ATHENS BLUR MAGAZINE 13
 patterson hood
“I don’t know how to describe it except maybe
at “hood’s woods”
in athens, ga.
photo: jason thrasher
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 —
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
Father Knows Best
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
patterson hood looks back to move forward music that’s come out of [Muscle
Shoals], and I love my family, and
L et 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
developed close relationships
there, but it’s also a place that’s
always been a little turbulent for
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 me. It’s very much a bible belt,
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 conservative sort of town, and I
say you can’t get in touch with that without having kids, but it definitely helped me in that regard.” didn’t always feel like I fit in there,
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 and basing a band out of there
who’s spent the better part of the last decade on the road fronting The Drive-By Truckers. in the ‘80s was a nightmare,” he
“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 laughed. “Coming here was all
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 different. There’s tons of bands,
14 ATHENS BLUR MAGAZINE
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
PATTERSON HOOD
WHO’S WHO
Patterson 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)
LABEL
St. Ruth Records
LATEST RELEASE
Murdering Oscar (2009)
ON THE WEB
www.pattersonhood.com
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
ATHENS BLUR MAGAZINE 15
 MUSIC FOLK
the ginger envelope delivers
local folk-rock band gives a taste of what’s to come
“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 COURTESY ONE PERCENT PRESS
got along really well. We never had to talk
about anything.” will just happen on certain nights. I know

Your Vision. Amplified.

CAREER TRAINING FOR THE AUDIO AND FILM INDUSTRIES
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.)
a lot of her songs; she knows a lot of mine.
THE GINGER ENVELOPE Our voices go well together. It’d be more
than welcome if she hopped on the stage or
visa versa.”
WHO’S WHO Actually, Trahan is also in Madeline’s
Patrick Carey (vocals, guitar), Colin

www.sae.edu
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
CREATE YOURSELF WITH SAE 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
SAE ATLANTA are now solidifying.
www.sae-atl.com Though the band’s summer tour is
heading everywhere from Asheville, N.C.,
404-526-9366
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
White Flag Band, so between band
Carey (drums), Paul McHugh (key-
boards), Steve Miller (bass), Matt members, equipment and a van, they will be
Stoessel (pedal steel), Jason Trahan sharing a lot more than just a stage.
“It will be a small little party,” Carey says.
(vocals, guitar)
Don’t let their laid back style fool you; it’s
FORMED an attitude, not a work ethic. While Carey
2003 in Athens, Ga. is ready for fans to hear and have the new
record, like a true musician, he’s already
LABEL cranking out new material.
Indie “I’ve basically written the third record at
this point,” he says. “So it’s kind of tricky for
LATEST RELEASE
Invitation Air (2009) me going on the road right now. I’m really
excited to play a whole batch of things.”
ON THE WEB Carey can’t help but dish about the music
www.myspace.com/thegingerenve- that he’s currently working on. It seems that
lope 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
Ginger Envelope is hitting spots along the and better, sound-wise,” Carey says. “I’m
northeast with longtime friend and local glad this record is coming out now…and
favorite, Madeline, which begs the question: I’m really excited to hand [fans] the next
Any collaborations? one, too.”
“I think if we weren’t to do that, it would
be an utter shame,” Carey says. “I think it — Julie McCollum

ATHENS BLUR MAGAZINE 17

MUSIC FOLK
accidental mysticism
making bands south of the border
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
18 ATHENS BLUR MAGAZINE
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
PHOTO: BUTCH HOGAN
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
CONOR OBERST &
THE MYSTIC
VALLEY BAND
WHO’S WHO
Conor Oberst (vocals), Tay-
lor Hollingsworth (guitar),
Nik Freitas (guitar), Macey
Taylor (bass), Nate Walcott
(keys, trumpet), Jason
Boesel (drums)
FORMED
2007 in Topoztland, Mexico
LABEL
Merge
LATEST RELEASE
Outer South (2009)
ON THE WEB
www.conoroberst.com
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
 MUSIC MELTING POT
beating like a hammer
metric’s new release, documentary and life from the top
“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, COURTESY BIG HASSLE MEDIA
but quality driven as well.
“Quality still is the only way anything. And I feel like that is at the moment. It was taking
to go,” said guitarist Jimmy the most centering thing about such a long time finishing up
Shaw, “despite all the changes METRIC this band. We’re all super, super the record and it was taking
in the industry through the close friends and I think that’s such bizarre turns from left
years. Back in the ‘70s, it was just the core of it all. “ to right in sort of the final
like there was only music And like any strong process. “When he caught up
on major labels. If you were WHO’S WHO relationship, Metric nurtures with us and started filming, it
going to the record store to Emily Haines (vocals, syn-
thesizer), James Shaw (gui- the individualism of its four was a natural narrative that was
find a song that wasn’t on a tar), Josh Winstead (bass), distinct parts. In the time happening. In the first meetings
big label, chances were that it Joules Scott-Key (drums) since Live it Out, Haines went that we had he made it very
wasn’t available to you. Now to Argentina and worked on clear that everything has to be
it’s available to you in tons of FORMED her solo project, Shaw built interesting, and talked about
different ways. All you need is 1998 in Brooklyn, NY a new recording studio in skewing time lines and stuff
a dial up connection and some Toronto (“it’s a sensual hub, a like that, but then the third
songs, and you can broadcast LABEL
Restless Records neighborhood hang,” he says), time when he showed up with
your music to millions of bassist Joshua Winstead and the camera he was just kind of
people — it is the simplest LATEST RELEASE drummer Joules Scott-Key like, ‘we aren’t going to have to
social interaction there is. You Fantasties (2009) toured their side project, Bang change a thing, you guys are
sing and I’ll listen.” Lime, Fantasies was dreamt crazy,” Shaw laughed.
May 6 kicked off the world ON THE WEB up and Bruce McDonald “The first time I saw it, I kind
tour of Fantasies, which Shaw www.ilovemetric.com approached the band about of sat back and thought ‘Oh
hopes will continue for a couple doing a documentary. my God, my life is completely
of years. At the time of the “Bruce did a show for the insane.’ Sometimes I wouldn’t
interview, he was on vacation that keep them centered,” said Canadian IFC called “The even realize it, but I was
in Paris cooling down a bit Shaw. “I feel like more than Rawside of...”  and he wanted watching an hour long special
before the nonstop concert anything the four of us are to do one on us. We were at of myself on television. It was
circus began. really, really close. When we’re such an interesting and bizarre completely bizarre.”
“Everyone has their own on tour we almost never split point for the band, and for
relationships and friendships up to eat meals by ourselves or what we were actually doing — Kelly Skinner

ATHENS BLUR MAGAZINE 21

MUSIC MELTING POT
the magical “it”
polyphonic spree, sufjan sidekick finds success on her own
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
22 ATHENS BLUR MAGAZINE
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.
PHOTO: ANNABEL MEHRAN
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.  But music videos aren’t really
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,
ST. VINCENT
WHO’S WHO
Annie Clark a.k.a. St. Vin-
cent (multiple instruments)
FORMED
2007 in Brooklyn, N.Y.
LABEL
Beggar’s Banquet/4AD
LATEST RELEASE
Actor (2009)
ON THE WEB
www.ilovestvincent.com
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. 
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

MUSIC METAL
Don’t Let the Label Fool You
Metal musicians aren’t as tough as they appear
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
24 ATHENS BLUR MAGAZINE
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
photo courtesy cycle of pain
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
CYCLE OF PAIN
WHO’S WHO
John DeServio (bass), Joe
Taylor (guitar), Gregg Lo-
casio (drums, vocals), Rich
Monica
FORMED
1984,in New Jersey
LABEL
Reform Records
LATEST RELEASE
Cycle of Pain (2009)
ON THE WEB
www.cycleofpain.net
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
he’s got it covered
30 years later, matthew sweet is still playing yes songs
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.
COURTESY MATTHEW SWEET
“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
MUSIC POP
MATTHEW SWEET
WHO’S WHO
Matthew Sweet, (vocals,
guitar, bass)
FORMED
1985 in Lincoln, Nebraska
LABEL
Superdeformed/RCAM
Records
LATEST RELEASE
Sunshine Lies (2008)
ON THE WEB
www.matthewsweet.com
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
ATHENS BLUR MAGAZINE 25

MUSIC POP
cars Can be blue
and they can sure have a tour ruined
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]
26 ATHENS BLUR MAGAZINE
“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—
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
PHOTO: MIKE WHITE
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
CARS CAN BE BLUE
WHO’S WHO
Nate Mitchell, (drums, vo-
cals) Becky Brooks (guitar,
vocals)
FORMED
2005 in Athens, Ga.
LABEL
Happy Happy Birthday To
Me Records
LATEST RELEASE
Doubly Unbeatable (2008)
ON THE WEB
www.myspace.com/
carscanbeblue
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
hope over hype
asher roth is a lot of things - but a phony eminem, he’s not
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
PHOTO: HANNIBAL MATTHEWS
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,”
ASHER ROTH
WHO’S WHO
Asher Roth (MC)
FORMED
2007 in Morrisville, Penn.
LABEL
Universal
LATEST RELEASE
Asleep in the Bread Aisle
(2009)
ON THE WEB
www.myspace.com/asher-
rothmusic
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
MUSIC RHYME, RHYTHM & SOUL
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
ATHENS BLUR MAGAZINE 27
MUSIC RHYME, RHYTHM & SOUL
deeper than rap
the empire state’s next great rapper comes back for the first time
New York has searched high
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
cameos. Just a man, his mic and
make the shit too far out, know
some of the fiercest musicianship
what I mean?”
the rap game’s heard in a few
Yep, sure do. And that’s
years. Listen closely to the
why Last Kiss’ back-to-the-
album; you’ll detect something
borough-basics approach works
else- a softer, almost sensitive
so well. There’s no auto-tune.
side we didn’t know the Yonkers
No pointless skits or Akon
native had- especially on
28 ATHENS BLUR MAGAZINE
COURTESY JADAKISS
“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 —
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
JADAKISS
WHO’S WHO
Jadakiss (MC)
FORMED
1993 in New York
LABEL
D-Block/Rock-A-Fella/Ruff
Ryders
LATEST RELEASE
The Last Kiss (2009)
ON THE WEB
www.jadakiss.com
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
MUSIC ROCK
pretty noisy
young band generates a growing buzz
After climbing through a tiny
bedroom window onto the roof
of their downtown apartment BAMBARA
and hopping over a waist-high
wall, I finally sit down over what,
I think, is Five Star Day, with the WHO’S WHO
Reid Bateh (guitar, lead
boys of Bambara.
They’re recovering from the vocals), William Brookshire
(bass, vocals), Blaze Bateh
grueling musical double header
(drums, vocals)
they had last night that began
with an opening set for the FORMED
Interns and the Futurebirds at the 2008 in Athens, Ga.
40 Watt, and ended by trucking
all their equipment through LABEL
the crowded streets during the Emerald Weapon
Twilight Criterium bike race for
a second show at Rye Bar. LATEST RELEASE
Bambara (2008)
Though their talent is definitely
starting to get noticed, the guys
ON THE WEB
either don’t seem to realize or www.myspace.com/bam-
simply don’t care. They have a baraband
laid-back and self-deprecating
attitude that is both authentic and
say ‘I’m gonna write a song,’
refreshing. Just as comfortable
or it’ll be awful. But I mean, it
nonchalantly discussing their
ends up taking a long time,” he
shared love of French New Wave
says. “Even if there’s ridiculously
cinema as they are talking music,
abstract things, it’s still all based
they exude a cool je ne sais quoi
on real life. Sometimes I have to
that is so not hipster-er than
get really abstract, because the
thou.
less room for lyrics in a song, the
From the way they finish each
more you have to pack meaning
other’s sentences, it’s obvious
into them.”
these boys know each other really
Whether they know it or not,
well. Blaze Bateh, the drummer,
Bambara is part of the new class
and Reid Bateh, the lead singer
of young Athens acts that are
and guitarist, are twins, and
COURTESY BAMBARA generating palpable buzz and
they’ve been playing with
taking Athens by storm of late.
William Brookshire, the bassist,
“Underneath all the noise, it’s pretty much They’ve opened for the likes of
for about eight years. But it
A. Armada, Cinemechanica and
wasn’t until they came to Athens just acoustic guitar songs. We just fuck it up
the Futurebirds, and yet if you
for college that the band’s current with feedback and loops.”
ask them if they see themselves
incarnation, Bambara, was born,
as part of that group, Reid
releaseing a self-titled debut at
— Blaze Bateh, Bambara — demures.
the end of last year on their self-
“We’ve played with all those
started label, Emerald Weapon.
Blaze explains. that.” The three-piece’s music is bands and we’re friends with
“We were tired of dealing
The band’s lo-fi approach noisy and aggressive rock, but, them, but I’ve never thought
with Columbia and Capitol
to music is so old-school that “Underneath all the noise, it’s about it that way,” he says. “But
records,” Brookshire deadpans.
it’s almost new. In a musical pretty much just acoustic guitar A.Armada is a pretty big band
But seriously, the real motivation
era where electro-pop reigns, songs,” Blaze explains. “We just already--they’ve toured Europe!
was, “We just wanted to get it out
this gritty, honest rock sound is fuck it up with feedback and (laughs).”
quick.”
refreshing. And coupled with the loops.” Though they say the goal is
The album has a very honest,
boys “I don’t know how cool I Reid, the most philosophical just to get to a point where they
live sound to it that strikes a
actually am” attitude, they could of the three, writes all the lyrics can support themselves playing
balance between production and
easily be time travelers straight for the group’s songs. Though the music, I’m guessing it won’t
the band’s raw energy and talent.
from the early ‘90s. meaning is sometimes hidden in be long until Bambara finds
“We wanted to be able to play
Force them to define a live cryptic symbolism, he insists that themselves on its own European
them all live as they are. And
performance in three words and the songs are about real-life. tour.
with the EP we’re recording now,
Blaze gives you, “loud, noisy, “I’ve gotta have some
we’re doing the same sort of live
pretty... but a little meaner than inspiration. I can’t sit down and — Lindsey Lee
thing, but with more keyboard,”
ATHENS BLUR MAGAZINE 29
MUSIC ROCK
yo quiero taco bell
the sacrifices — and realizations — of a rock dream
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
30 ATHENS BLUR MAGAZINE
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
photo:danny clinch/JIVE RECORDS
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
CAGE THE
ELEPHANT
WHO’S WHO
Matt Shultz (vocals), Brad
TUESDAYS......$2
Shultz (guitar), Daniel
Tichenor (bass), Lincoln
Parish (guitar), Jared
Champion (drums)
All Bottled Beers
WEDNESDAYS $2
FORMED
2005 in Bowling Green,
Kentucky Domestics and Well Drinks
HAPPY HOUR
THURSDAYS... $2
LABEL
Relentless/Jive
MON. - SUN. 3 p.m. - 6 p.m.
LATEST RELEASE
High Life and Natty Light
Pitchers and Well Drinks
Cage the Elephant (2008) $2 MARGARITAS!
ON THE WEB
$1.50 DOMESTIC DRAFTS!
120 E. WASHINGTON
120 ST. • DOWNTOWN
E. WASHINGTON ST. • DOWNTOWN ATHENSATHENS
www.cagetheelephant.com (Between
(Between Copper Creek and thePress)
Copper Creek and the Basil Basil Press)
21 and up with proper I.D.
today, Shulz no longer feels so 
3+ -3
'68
q

isolated. (NEXT TO ACADEMY SPORTS)
from the owners of La Fiesta (Eastside), re-opening soon!
“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
MUSIC ALBUM REVIEWS

EAR CANDY
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
The Incredible Sandwich he does so to great effect — almost like you don’t expect it when it
Self-titled happens — but his vocals are most powerful conversationally. On
Now We Can See, he takes this delivery and creates an album full of
I like the metaphor of a memorable tunes. Now We Can See is The Thermals’ first studio effort since 2006’s The Body,
band as a sandwich. When the Blood, the Machine. Both are concept albums formed around different conceits — Now We
you think about it, what is a Can See is based on death, while The Body focused on religion — and Harris’ delivery pays
sandwich? Much like a song, reverence to every descriptive lyric on both records. On Now We Can See, thudding bass and
or most definitely like a record, splashy drums surround but never overwhelm the words, so when Harris sings about taking
it’s a blank canvas of creative off his skin and losing his spine, the words are clear, even if we might not know what they
possibilities. Combine all mean. The words are front and center, but the songs off Now We Can See are made irresistibly
the bread, core and topping catchy by the band’s simple blend of loud guitar fuzz and steady backbeat. A healthy bit of
possibilities, and you don’t have irreverence helps, too. The title track and most irresistible song begins with a 16-bar anthemic
to eat the same sandwich twice for a very long time. Specifically, Snowglobe Iron & Wine singsong. “Woa-a-o o-ah-o,” the band members shout, proving that words may mean a lot, but
the metaphor works for this quartet of Athens youngsters, No Need To Light A Night Around The Well singing still counts for something.
releasing a self-titled debut on Mule Train Records. Like our Light On A Night Like - Jon Ross
endless sandwich combinations, the band runs the musical Tonight Around the Well is a double-
gamut in the confines of this 34 minute release, smoothly mixing disc collection that features
styles on a winding road of peaks and valleys that never fails to Camera Obscura
Snowglobe’s new EP is re-issues of out-of-print tracks
entertain. The virus that tends to kill “jam” bands is the noodling My Maudlin Career
puzzling in the way it strings from Iron and Wine’s early
effect – jams that become four musicians doing four things together an array of genres days and never before released
on top of each other, akin to multiple conversations crammed From the welcoming Wall of Sound wail of “French Navy,” the
— pop, rock, indie, psyche- B-sides. The songs span the
in close confines, turning clear speech into little more than opening track of Camera Obscura’s excellent My Maudlin Career,
delic, even a little folk — band’s career, from the first
an unintelligible drone. The antibody for such an affliction is I’m quickly reminded how free and lasting Phil Spector’s influence
yet they all work together thing they ever recorded, a
subtlety and placement, and The Incredible Sandwich is a shining is, even as he faces a life of incarceration. “French Navy” has the
to fit perfectly. Though the cover of The Postal Service’s
example. They can play, no doubt. That’s evident within the first band going back to the 1960s, but also reaching into Let’s Get Out
boys claim Memphis, Tenn., “Such Great Heights,” all
minutes of any track on the EP. What’s more impressive is the of This Country, its breakthrough 2006 release. The mixture of
as their hometown, Snow- the way through 2007’s The
band’s collective knowledge of when not to play or, at the very new and old holds the comfort of a fond memory, but as the song
globe’s origins lie right here Shepherd’s Dog.
least, knowing when not to overplay. Much like a Miles Davis jazz ends, the transition to “The Sweetest Thing” has Camera Obscura
in Athens. The band played The first disc is quieter and
record, or (if you like the local examples), a Davis Causey guitar moving on. Goodbye Phil, have fun in your cell, we have more to achieve.
its first shows with several more raw, while the second is a
solo for Randall Bramblett’s band, The Sandwich attacks with a What opens up is an ardent album of springy strings and playful melodies as the Glasgow
artists of the Elephant 6 col- bit more polished.  Sam Beam’s
subtle dynamic that showcases musicianship and intelligence, outfit is atop their game, borrowing from the past while rocketing fast-forward with a
lective, and that influence voice is as pretty and soothing
separating them from a seemingly endless line of Teva-wearing, certain freshness.
is still with them on this as ever on these tracks. That
river-side frisbee tossing jam rock. The engine is propelled by Tracyanne Campbell, whose sweet voice belies the cheery
fourth album. being said, it sounds the same
songs with sour lyrics of heartbreak and cynicism. “You challenged me to write a love song/
“Get It On ” is my favor- on every track, which gets a
— Alec Wooden Here it is, I think I got it wrong.../The pain was too much to write and sing” she croons on
ite of the seven tracks with little boring.
“Sweetest Thing.” The listener is feted with country ballads (“You Told A Lie,” “Away With
its potential for a serious This is an album for listening
Murder”) and Beach Boy homages (“My Maudlin Career”). “Honey In The Sun” closes the
jam out if you were to see to on the porch during a
Lissy Trullie session with a frolic of horns amid Campbell’s plea of “training to become as cold as ice.”
it live. Starting out acous- summer thunderstorm, leaving
Self-Taught Learner Poor Tracyanne.
tic, it slowly adds instru- you with a forlorn but beautiful
Phil’s not the only one in solitary, but we’re all the better for it.
ments until the last minute impression. “”Communion
The first time I listened through Lissy Trullie’s debut album,
when it breaks out into com- Cups and Someone’s Coat”
Self-Taught Learner, I absolutely hated it. Then I gave it another — Ed Morales
plete insanity with Nahshon is a gorgeous acoustic track,
spin, and strangely enough, I kind of liked this pop-rock hipster Benford’s serious trumpet while the piano on “Kingdom
paradise of new wave riffs and grungy girl vocals that’s almost skills. “Nothing I Can Do” of the Animals” lends a little Paul and the Patients
too cool for it’s own good. is a poppy song and proba- more spunk to the overall To The Lions
Trullie has a low, throaty alto that sounds fresh, but lacks a lit- bly the catchiest on the al- melancholy feel. “The Trapeze
tle control. Falsetto “ooo’s” pretty up the songs, but sometimes bum. The last track is iron- Singer” is a heartbreakingly With the upcoming release of its debut EP, To the Lions, Paul and the Patients has a 5-song
it comes across as a little too cute compared with the grit of her ically called “Prelude,” and beautiful nine minute treat compilation that it can hang a hat on. The band provides listeners with the comfort of honest
normal range. I’d like to see what Trullie could do outside the it shows the band’s experi- that finishes the record on a lyrics, catchy guitar riffs and hippy bass. The opening track, “Complaint 15,” starts the EP off
shadow of her ‘90s influences like The Strokes. mental and psychedelic ten- strong note. And though I feel with a release of emotion of sort and welcomes in the listener to the four excellent tracks to
The highlight of the album is the catchy opening song “Boy dencies. Overall, Snowglobe a little bit gloomy at the end of follow. The subtle hints of pop, chime-rock and synthesizers mix in well with the broodish
Boy.” Self-Taught Learner is a quintessential New York rock al- delivers an easy, happy lis- the 23 tracks, I love the breathy vocals of front man Paul Holmes. The EP mirrors thoughts of nights with friends that aren’t
bum imbued with a little grit and a lot of arrogance. It’s so ste- ten and would be an ideal beauty of Beam’s voice and the wholly remembered, but for all of the right reasons. Fresh and in possession of a sound
reotypically cool it’s almost off-putting, but it’s still good rock summer album to get your flawlessly beautiful melodies definitely its own, this is the sort of band the general public desperately needs.
music. hands on. his voice presents.
— Will Hackett
— Lindsey Lee — Kristen Lee — Lindsey Lee

32 ATHENS BLUR MAGAZINE

 MUSIC RELEASE CALENDAR
The Felice Brothers
Yonder Is The Clock upcoming CD releases
16
  The newest release by New York’s The Felice Brothers is entirely Release dates are subject to change. Check artists
enjoyable, throw-back country/folk/rock music. Ian Felice has not or store websites as these dates approach.
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 june Hey local bands! Got a release date coming up? Let
us know at editorial@athensblur.com
(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 Incubus
Monuments and Melodies (Great-

7
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 est hits)
different songs with the word “chicken” in the titles, but that may have something to do with
july
Twista
the fact they have thus far recorded all of their albums in a renovated chicken coop. As far as Category F5
the slower songs go, the highlights are “Buried in Ice” and “All When We Were Young.” A less Alchemist
successful slow tune: “The Sailor Song.” (Make. It. End.) The CD ultimately succeeds, though. Cass McCombs
Chemical Warfare
The instrumentation (pedal steel, keyboards, accordion, guitars, etc.) give it a textured feel Catacombs
that also manages to sound effortless, unpretentious and like they had a great time making it. Bowerbirds

23
Translation: you’ll have a great time listening. Upper Air
Bombay Bicycle Club
— Julie McCollum
june I Had the Blues But Shook Them Loose
Oneida
Patterson Hood Rated O
Marcus Roberts
Murdering Oscar (And Other Love Song Animal Collective
New Orleans Meets Harlem s)
Regina Spektor Summertime Clothes 7”
Re-imagining classic songs is not a unique concept. Cover Far Fritz Helder & the Phantoms
bands base their entire existence around playing melodies Third Eye Blind Greatest Hits
someone else created, and pop singers have always found Ursa Major Son Volt
hits singing other people’s words. The key to interpretation, Pete Yorn American Central Dust
however, is paying tribute to the original while also keeping Back and Fourth Wonderlick
in mind the author’s intent. The pianist Marcus Roberts and
Tortoise Topless At The Arco Arena
his long-time trio jump to this restorative task with vigor
Beasons of Ancerstorship

14
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 Dinosaur Jr.
Farm
july
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 Dream Theater
are not simply melody-solo readings; most are given new working parts. Scott Joplin’s Black Clouds & Silver Linings
“The Entertainer” is a dizzying mash—up of styles. It starts with a plodding drum solo, Charles Hamilton Daughtry
on brushes, that slowly gathers speed into a laid-back, funk beat. Roberts enters, playing The Perfect Life [title TBA]
the familiar ice-cream truck jingle, adding offbeat chrodal hits and bits of melodic filigree. The Mars Volta Miss Derringer
Then everything stops, a grand pause of sorts, and the tempo changes. The drums are now Octahedron Winter Hill
in an all-out, ride-cymbal swing, and Roberts takes a solo. Not soon after, the feel of the Lil Wayne Time and Distance
piece changes again … then again and again. Throughout the entire album Roberts creates a
The Rebirth Gravity
world of ably played, hip jazz updates, but he sometimes indulges himself to the point that
the original tunes all but fall apart.  Nas and Damian Marley

21
Distant Relatives

june 30
— Jon Ross

Anna Ternheim
july
Leaving On A Mayday Rescue Signals
Bone Thungs N Harmony Indecisions
The minute I played this album I succumbed to a musical trance. You can’t help but feel
Uni5 Sugar Ray
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 Wilco Music For Cougars
subtle similarity to Dido and the drum beats, orchestra, and percussion performed on nearly Wilco (The Album) Fiery Furnaces
every song from Leaving On A Mayday gave me the same tranquility I find when listening Rob Thomas I’m Going Away
to Enya. Songs like, “Damaged Ones”, and “Terrified” are such examples despite the titles. Cradlesong Megafaun
The instrumentation plays an intricate part in creating these mesmerizing and spell-binding Levon Helm The Fade (single)
moments experienced with each song. The next time you are feeling stressed, or heart- Electric Dirt Wye Oak
broken, or you just need to escape the real world for a bit, try listening to Leaving On A
Brad Paisley The Knot
Mayday. “No I Don’t Remember” is one of my favorites and I will definitely be including this Magnolia Electric Co.
album into my bedtime ritual to help unwind from a hard day’s work. American Saturday Night
Josephine
— Nicole Black

ATHENS BLUR MAGAZINE 35

 tour diary:
the corduroy road
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 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
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)
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 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 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
36 ATHENS BLUR MAGAZINE
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)
May 12, pt. 1 — Heading out this week for an-
other 1500 miles. It’s our first road tour with
1
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
2 3
to Hanover College in Southern Indiana. The
college show went great. There was an attentive
crowd and pleased faces. After the show, Dylan,
4 6
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 5
kind folks and finally found our way back to the (1) The Corduroy Road jams on WNCW (2) The band after a wedding gig in Savannah (3) killing time in Savannah (4)After-show
hotel. (Drew Carman) house party in Hannover (5) giggin in Lexington (6) a street corner warm up before the show in Chattanooga.
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)
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)
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.
ATHENS BLUR MAGAZINE 37
MUSIC THIS DAY IN MUSIC HISTORY
june
15 16 17 18 19 20 21
1967 - Peter Green joins
Mick Fleetwood to form
1980 – Geffen Records
signs its first act, Donna
Summer.
Fleetwood Mac after leaving
his band, Blues Breakers.
1988 – Michael Jackson
performs in West Berlin
1989 - Recent anit-Semetic
while over 3,000 East
remarks from Public Enemy
Germans gathered at
member “Professor Griff”
the Berlin Wall to hear
results in a 2-month hiatus.
his concert from the
other side.
1970 – Sponsors of the
original Woodstock,
Woodstock Ventures,
announce a loss of $1.2 1969 - Jimi Hendrix
million on the festival. sets a record at the
time for highest
1995 - Pearl Jam begins earned paycheck
a tour without using when he received
Ticketmaster, opting instead $125,000 for one
for a mail order ticket service. set at the Newport
Jazz Festival.
1980 - Led Zeppelin begins 1973 - “American
Bandstand”
its last tour.
celebrates its
1995 – An attendance record 20th anniversary
for Wembley Stadium is set with a 90-minute
by Rod Stewart with a crowd television special.
of 90,000.
1987 – Motley Crue is sued
by a woman claiming she
lost her hearing because a
recent concert was too loud.
38 ATHENS BLUR MAGAZINE
MUSIC THIS DAY IN MUSIC HISTORY
1973 – After 720
performances on
Broadway, “Jesus 1969 - The Rolling Stones give a free
Christ Superstar” show for 250,000 fans in Hyde Park to
1969 - The Jimi Hendrix Experience closes. introduce Mick Taylor as the band’s
perform its last concert on the last day newest member.
of the Denver Pop Festival. 1981 - John Morey of
Steppenwolf dies in a
1987 - Tiffany releases her self-titled car accident. He was
debut album. 1977 - Elvis Costello quits his day job
32. as a computer operator at a cosmetic
factory.
1987 - Steve Miller receives a star on
1939 - Frank Sinatra makes his debut with the Walk of Fame in Hollywood.
1965 - John Lennon publishes his 2001 - The Backstreet Boys temporarily
second book, “A Spaniard in the Works.” Harry James’ band. stop its “Black & Blue World Tour”
1988 - Michael Jackson begins his
because A.J. McLean enters a treatment
1975 - Cher marries Greg Allman. The couple first British tour at London’s Wembley
1990 - Perry Bamonte replaces center for depression and alcohol
would divorce just 10 days later. Stadium.
keyboardist Roger O’Donnell in The abuse.
Cure.
july
22 23 24 25 26 27 28 29 30 1 2 3 4 5 6 7 8 9 10 11 12 13 14
1988 - Hillel Slovak
1964 – BBC-TV’s
1895 - The song
“America the 1958 – The RIAA presents the
15
1955 - Johnny Cash of the Red Hot Chili
“Juke Box Jury” Beautiful” is first first ever gold record, honoring 1969 - Blind Faith begins its
releases his first single, Peppers dies from
has The Rolling published. the soundtrack Oklahoma! one and only tour at a sold out
“Cry Cry Cry”. a heroin overdose.
Stones appear at Madison Square Garden.
as its entire
1989 - The New Kids 1995 - Pearl Jam 1970 - Casey 1996 - The Spice Girls debut
panel. 1999 – In Trinidad, DMX is
on the Block release cancels its tour Kasem hosts single “Wannabe” is released in
arrested in mid-concert for
“Hangin’ Tough.” as a result of an “American Top Britain.
1988 - MCA using obscene language.
ongoing feud with 40” for the first 1973 - Ray
Records
Ticketmaster. time on radio. Davies
1970 - Chubby purchases 1956 - Johnny Cash makes
announces
Checker and three Motown his first appearance on
that he is
others are arrested Records for $61 “Grand Ole Opry.”
1973 - Queen releases its leaving The
in Niagara Falls after million.
first single, “Keep Yourself Kinks – he returned to the
marijuana and other 1969 - Bassist Noel Redding 1968 - The Yardbirds
Alive.” group in under a week.
drugs were found in 1977 - Elvis and drummer Mitch Mitchell disband.
Checker’s car. Presley quit the Jimi Hendrix 1995 - Sinead O’Connor
performs his Experience. 1978 - Eddie Mahoney
officially changes his name drops out of Lollapalooza
1975 - Alice Cooper final concert
to Eddie Money. because she is pregnant.
falls from the stage at Market 1990 - The Italian Catholic
during his “Welcome Square Arena in Church announces it
To My Nightmare” 1981 – John would attempt to bar
Indianapolis. 1946 - Dean Martin records
tour in Vancouver and Lennon’s assassin, Madonna from performing
Mark David his first four songs.
breaks six ribs. 1986 – Metallica in Rome because of her
Chapman pleads alleged inappropriate use
lead vocalist/ 1995 - Mike Mills (R.E.M.)
guilty. of crucifixes and sacred
guitarist, undergoes emergency
James Hetfield, symbols.
1990 - Billy Joel intestinal surgery in
breaks his wrist
is the first rock 1975 - Cher files for divorce Germany. As a result,
falling off a
artist to perform at 1971 - Jim Morrison dies in Paris at from Greg Allman, just 10 seven shows of the band’s
skateboard. days after the couple were European tour are cancelled.
Yankee Stadium. the age of 27.
married.
1999 – DMX’s (Earl Simmons’) home is searched as part of an 2002 - Sony/ATV Publishing
1979 - Chuck Berry is 1974 - Eric Clapton releases “I Shot The Sheriff.”
investigation into the shooting of uncle/manager Ray Copeland’s announces the purchase of a
foot from the previous day. country music catalog from sentenced to four months
in prison for income tax 1995 - Geddy Lee (Rush) performs “Oh Canada” before
Gaylord Entertainment for an
evasion. the All-Star Game at Camden Yards in Baltimore.
1986 – Wham! makes a final farewell concert appearance at estimated $157 million.
London’s Wembley Stadium with special guest, Elton John.
ATHENS BLUR MAGAZINE 39

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ten 311
Ballpark Stadium Seat Cuff Links Leather Watch Case
questions with
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
Offer available only at 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
Grilling Tool Kit Magnetic Wrist Band
PHOTO: ALLISON DYER
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?
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.
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
ATHENS BLUR MAGAZINE 41
 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.
seen them a lot. I’m really stoked they working at it].
have Jimmy Herring in their band
now; I’m a big Jimmy Herring fan. ABM: What advice can you give
[But] We’re really looking forward hopeful local bands?
to our 4th of July show in Atlanta.
We always have a really good time in TM: Play what inspires you and what
Atlanta. you really enjoy, because then you
are always going to be happy. Don’t
ABM: What’s a major misconception try to fit in. A lot of times you grow
you had when first starting a band up listening to bands. It’s easier and
versus the reality of being in a band? easier maybe to make recordings
for cheaper, but it’s also harder and
TM: It’s a lot of work. You work harder to earn a living playing music.
really hard to get to a point where You got to be able to play live. If you
a record company will sign you really enjoy it and your heart’s in it,
and that’s just the beginning of it. I you got no choice, you got to do it
think a lot of times people think just anyway. We’re really super fortunate
because you get a record contract we could earn a living doing it. It
you’re set, you’re on easy street. But can be done, you can make a living
that’s not the case; you got to [keep playing music, but it’s a lot of work,
but it’s rewarding work. B
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.

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 Washington St.
We are here!

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 Clayton St.
Widespread Panic fan. The very first
fake ID I ever had, my name was
Peter Buck. I was really proud of Broad St.

that! I wish I still had that! I grew up

College Ave.
Lumpkin St.

Jackson St.

Wall St.
listening to R.E.M. And we were on
Capricorn with Widespread, so I’ve
Photo: Marcello ambriz

42 ATHENS BLUR MAGAZINE

 No
Mystery
About it:
S
orry 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.   footprint and even more local sponsorship
    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.   three-generation portrait of sorts - Friday
    “The original vision was something
similar to (Austin, TX, based) SXSW,”
said Bailey. “But it has become its own
all photos courtesy www.athfest.com
turns 13
by Alec Wooden
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
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
night tapping the youthful talent of Dead
Confederate before giving way to the
seasoned, dependable likes of Bloodkin and
ATHENS BLUR MAGAZINE 45

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: $4
Weekend 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.
46 ATHENS BLUR MAGAZINE
Patterson Hood on Saturday and bonafied Bailey of the PopFest cancellation, though
local legends Dreams So Real and Randall he quickly adds that it didn’t necessarily
main stages 2009
Bramblett for a Sunday evening finale. turn up the heat on his festival. 
     Bailey has seen the rise (and fall) of      “We’re always trying to increase the
some of the most special times in Athens quality of the festival, we try and do new
music history. He was here when bands things all the time and make what we
like R.E.M., Pylon, The B-52’s, The Side have better,” he continued, adding that
Effects, The Jesters and Love Tractor lit this year’s festival will feature longer
the town’s musical torch, and he’s seen outdoor slots on the second stage, an
it pass to the likes of Five Eight, Don extended KidsFest stage, and more film
Chambers, Widespread Panic, of Montreal
and The Elephant 6 Collective of the ‘90s
events than ever before, including a
special showing of local favorite “Darius
time friday saturday time sunday
and now to the current likes of Drive- Goes West” at the mainstage location (sun. only)
By-Truckers, Modern Skirts, A.Armada, Saturday night following Patterson Hood. 11:00- Pam Blanchard & the
Madeline Adams, The Whigs, Packway “I didn’t really feel we had pressure to 12:00 Sunny-Side Up Band
Handle Band and Dubconscious. make the product better, but we did have
     “There’s always peaks and valleys, ebbs to work a little harder to get sponsors, 12:00-
Farmer Jason
and flows, whatever, but we’ve got a lot maybe be a little more creative. We’ll be 12:40
going on here right now,” said Bailey of in about the same range of sponsors but,
the current creative pulse about town, to prepare ourselves in case we didn’t 12:40- Nappy Roots
one that most consider a definite (and have as many sponsors, we did some 1:20
perhaps definitive) peak. “As an older things to cut money. So I think we’re in
person, you always think back to those pretty good shape after taking some cost 1:20- Art Rosenbaum
early days and how much fun it was and saving measures and working out of the 2:00 & Friends
think that nothing could replace that. But box a little bit.”
that helps keep me going, the fact that      Working out of the box for the AthFest 2:00-
Dancer Vs. Politican
there’s so much talent. It keeps me kind foundation also meant extending their 2:40
of youthful, working with all the young reach beyond the four days in June,
people, working in all the music clubs, ya including hosting music business panels 2:40- 11:00- The Gospel
The Warm Fuzzies
know. It keeps me from becoming totally (in partnership with the University’s 3:10* 12:00 Starlights
a cranky old man.” Music Business Program) throughout
3:10- 12:00- “Camp Amped”
     One aspect that could make Bailey the year and recently spearheading an Venice is Sinking
cranky are the year-in and year-out, initiative to revive school music programs 3:50 1:00 Showcase
predictable (though albeit very few) on their last breath.
3:50- 1:50- Marty Winkler, Michael
grumbles that sometimes surround      “We grow a little bit every year, and Liz Durrett C. Steele, M. Lee Dvis
AthFest. Why not hold the fest in the fall, it becomes a little more complex,” he 4:20* 2:20
benefiting from cooler weather and an said, endlessly thanking his massive
inflated student body? Why not get some team of volunteers, from the year-round
4:20- The 2:20- Betsy Franck & The
more national acts to increase the overall committee members to the 100-150 5:00 Ginger Envelope 3:00 Bareknuckle Band
attendance? folks that turn up in June to help make
5:00- Monsignor Donovan 3:00-
     “It’s very straightforward — there’s the festival happen.  “The festival itself The Starter Kits Bob Livingston
no mystery about it,” begins Bailey in an doesn’t all fall on my shoulders — we’re 5:30* Ram Jam Winner 3:30
anything-but-defensive tone. “This event fortunate to have our committee chairs 5:30- 3:30- Holman
is about Athens music. It’s about Athens and all those other volunteers. It’s a
6:10 The Empties The Corduroy Road
bands. We’re focused on promoting what collective effort, and it just helps that 4:10 Autry Band
we have here — and we have plenty here. I’m there to kind of push – and that’s one
6:10- Gabriel Kelly 4:10-
Plus, there’s a lot more competition in of my responsibilities, to move things Tealvox JazzChronic
the fall. There’s a lot of events. [AthFest] forward.”     6:40* & The Reigns 4:40
was created from the very beginning to    And by all accounts, things have moved
6:40- Don Chambers 4:40-
provide an attraction for people to come forward quite nicely, with AthFest being Twin Tigers Grogus
into town when it’s normally dead. That’s named a “Top 20 Event” numerous times 7:20 + GOAT 5:20
a time when the hotels, the bars, the by the Southeastern Tourism Society and 7:20- 5:20-
restaurants need a little help.”     Bailey himself earning recognition as “Best Those Darlins Jason Ringenberg Heavy Feather
    These days, of course, summer isn’t the Festival Organizer” by ConventionSouth.   7:50* 5:50
only reason everyone could use a little   “The awards and recognition are fine, Dead
7:50- 5:50-
help. From national (Langerado folding but I tell you what’s probably the most Bloodkin Dreams So Real
shop in March) to local (Athens PopFest rewarding is just seeing people have a 8:30 Confederate 6:30
canceling the 2009 edition), the country’s good time during the event,” he said. 8:30- 6:30- David Barbe & The
economic slump hasn’t spared the music “Once it’s rolling, and people are enjoying Excali Brah Holy Liars
— and, in particular, the festival — it, that can be pretty rewarding. And the 9:00* 7:00 Quick Hooks
industry. fact that it has become part of people’s
9:00- Black Lips Patterson Hood & 7:00- Randall Bramblett
   “Every event, festival, program, travel plans, that people are cognizant
whatever, put on in Athens that promotes of it, that’s rewarding, too. That’s really 10:00 The Screwtopians 8:00 Band
music and arts is a positive thing, so losing what it’s kind of all about.” B
any of them is a little bit of a blow,” said *on second stage at Washington & Hull St.
ATHENS BLUR MAGAZINE 47
 shows not to miss
club crawl art rosenbaum: mainstage, sat. 1:20
by Alec Wooden
AthFest:
memories

2009
Friday: All Night Drug Prowling (10:15 p.m.), Dexter Romwe-
Art Rosenbaum is so many things that it’s hard to decide “All my favorite memories run together
40 watt club ber (11:15 p.m.), Still, Small Voice & the Joyful Noise (12:15
a.m.), Magnum Force (1:15 a.m.) into one: hot days, great bands, cooler
285 Washington St.
what to label him. A musician? Yes, indeed, his banjo play-
Saturday: Powers (10:15 p.m.), Pegasuses-XL (11:15 p.m.), A. ing contributions to folk music since the 1960’s is consid- nights, a community coming together
Armada (12:15 a.m.), Cinemechanica (1:15 a.m.) ered unrivaled by many. A historian? Certainly. A collector? with out-of-towners to celebrate the
Such a good one, in fact, that his work of collecting rare and great music that defines Athens.”
Friday: The Incredible Sandwich, Bearfoot Hookers, Ibilisi out-of-print rural music has been nominated for two Gram- — Bertis Downs —
tasty world
312 Broad St.
Takedown
Saturday: Futurebirds, The Interns, Dr. Squid the globe cine my awards. This showcase with Rosenbaum’s “friends” (lord only knows who may Manager, R.E.M.
show their faces) promises to be a quiet gem.
199 Lumpkin St. 234 Hancock Ave.
Friday: Happy Happy Randall Bramblett Band (2005)
Friday: Puddin Tang (10 p.m.), Quiet Hooves (11 p.m.), Noot Friday: Cachaça (10
Birthday to Me Records “Randall’s band was totally on fire,
D Noot [Record Release] (Midnight), Rump Posse [Reunion] (1 p.m.), One L (11
showcase with Casper a. armada: 40 watt, sat. 12:15 especially Davis Causey, who was like
farm 255 a.m.) p.m.), The Donner
& the Cookies, Cars I’ve found myself making this argument a lot lately: the pe-
255 Washington St. Saturday: Kite to the Moon (10 p.m.), birds & wire (11 p.m.),
Party [Pogues Tribute]
Can Be Blue, Forever, riod starting a year ago and lasting for probably the next a man possesed. They were ‘jamming’
(Midnight) in the old sense of the word, playing
Electa Villain (Midnight) Tunabunny two has the potential to be known as one of the most cre-
Saturday: Sailor Dawn ative in Athens music history. And A. Armada is at the fore- the songs to the limit of their intended
Saturday: Kindercore
(10 p.m.), The Pre- front of this — post-rockers who are way too young to be arrangments. They were going over the
Friday: Vincas (8 p.m.), The Wydelles (9 p.m.), Lona (10 p.m.­), Records showcase with
caledonia Nutria (11 p.m.), Pride Parade (12 a.m.), Hayride (1 a.m.)
monitions (11 p.m.),
The Buddy System, post-rockers, these guys put on a show you have to see to alloted time so I found the singer of the
Rand Lines Trio (Mid-
lounge Saturday: Mandy Jane & the Jaws of Life (8 p.m.), Attest
Ruby Isle, Grape believe. It’s a startling display of loud, brash, rock ‘n’ roll musicianship that next band (Stewart & Winfield). I asked
Soda,The Young Sin- leaves your ears ringing and your jaw on the floor. him if he was cool with a shorter set and
256 Clayton St. (9 p.m.), Kill Lebaron (10 p.m.), Hot Breath (11 p.m.), The
Dumps (Midnight), Music Hates You (1 a.m.) square one clairs
he responded ‘don’t you dare stop them’.
fish co. Honestly, I don’t think the rock gods
414 N. Thomas ST nuci’s space a postwar drama: go bar, sat. TBD would have allowed me to if I had tried.”
Friday: Grant Mitchell, 3 Foot Swagger When I finally found the time to listen to this years Ath-
rye bar Saturday: Savannah, GA Music Night: Wormsloew (10 p.m.),
Saturday: Tropical 300 Washington St. — Wilmot Greene —
Breeze Steel Drum Fest CD, I found an awful lot of pleasant surprises — and
140 Clayton St. Junkyard Angel (11 p.m.), Turtle Folk (12 a.m.), Brock Butler Friday: lineup not Owner, Georgia Theatre
Band (9 p.m.) / One perhaps none more pleasant than A Postwar Drama. This
(1 a.m.) available at press
Ton Tomato (10:30 time. please visit
showcase promises to be a nice glimpse of the band’s debut
p.m.) full-length, currently in the works at DARC studios. Soulful, Dark Meat (2008)
www.athfest.com for
flicker Friday: Madeline, Moths, Creepy ehtereal guy-and-girl vocals over a natural, earthy sound “Dark Meat last year was
updates.
padded by subtle strings, this has a chance to impress a lot something I’ll never forget! That
263 Washington St. Saturday Gemini Cricket, Little Francis, Nanny Island, Sphinxie
blur bar Saturday: lineup not of people. anarchy is what I love about Athens!”
227 Dougherty St. available at press — Bruce Burch —
the melting Friday: Americana Night with: Little Country Giants (8 p.m.) Curley Saturday: Wired Dance time. please visit
UGA Music Business Program
point
Maple (9 p.m.), William Tonks (10 p.m.), Dodd Ferrelle (11 p.m.) Music Festival
(2 p.m. - 2 a.m.)
www.athfest.com for
updates.
melting point, saturday night
Saturday: Flash to Bangtime (9 p.m.), Love Tractor (10 p.m.),
295 Dougherty St. For a lot of people, it takes one Hope For agoldensummer (2005)
Time Toy (11 p.m.), Five Eight (12 a.m.)
hell of a showcase for them to make “Hope For agoldensummer played Nuçi’s
Friday: (Outdoor Stage): Half Dozen the walk outside of downtown to The Space late on Saturday night during
little kings Friday: Etienne de Roache (solo), Our New Silence, Brave New Brass Band (9 p.m.), Lingo (10 p.m.), Melting Point during Athfest, when AthFest 2005. The place was full of
Citizen, Fire Zuave
shuffle club Saturday: Justin Evans (solo), Monkey, Rebecca Jean Smith
the Wilx (11 p.m.) everything else is so closely bunched. Well, uh…here’s that one hell of a show- people but almost completely silent
(Indoor Stage): TBA (8:30 case: Flash To Bangtime, Love Tractor, Time Toy and Five Eight. Four legendary
223 Hancock Ave.
(solo), Timber, Kaitlin Jones and the County Fair green p.m.), Nathan Sheppard (9:30 p.m.), groups on one stage, playing songs that some of which date back nearly three
during the band’s songs… incredible.”
room Harp Unstrung (10:30 p.m.) —Will Kiser—
decades but haven’t lost an ounce of firepower.
512 Thomas Nuçi’s Space Staff Member
Friday: T.T. Mahoney & the Standard 8 (10 p.m.), The Shut Ups Saturday: (Outdoor Stage): TBA (9
St.
go bar (11 p.m.), Ume (Midnight), DJ Mahogany (1 a.m.) p.m.), Tent City (10 p.m.),Lionz (11
195 Prince Ave. Saturday: Tin Cup Prophette, A Post War Drama, Madeline p.m.) tealvox: mainstage, friday 6:10 Pylon (2006)
(Full Band), DJ Twin Powers (Indoor Stage): Rachel If you read the bill for a Tealvox show — let’s say the Melting Point, for the sake “The band made pink helium balloons
O’Neal (8:30 p.m.), Ken Will Morton of argument — it’ll say “all ages” show. It’s not that the band is trying to be uber- with their logo and gave out hundreds to
(9:30 p.m.), Bros.Marler (10:30 p.m.),
family friendly (though they are), it’s just that, well...if the show was 18+, the the crowd. It was a sea of pink balloons.
georgia Friday: Lazer/Wulf, Hot New Mexicans, Marriage, Geoff Reach- Jam with any/all artists (11:30 p.m.)
band members themselves couldn’t get in (the average age is right around the The excitement was palpable as Pylon
er, Deaf Judges, We Versus The SharkWe Versus the Shark,
theatre legal driving age). The band claims U2, R.E.M, Coldplay, The Killers and Radio- took the stage. It was great watching
215 Lumpkin St. Saturday: What’s Our Name, Gift Horse, Kuroma, Velveteen bands and starting times are listed as of press time.
Pink, Immuzikation please check www.athfest.com or consult a festival head as the collective influences, and they just might be young and amibitious the older fans like me dancing like crazy
guide when in doubt... enough to pull off Brit-infused rock for years to come. It’s always nice to see while seeing younger folks get turned
Friday: lineup not available at press time. please visit www. fresh faces — especially ones with pure passion for what they’re doing. onto this legendary group from Athens!”
wild wing athfest.com for updates. — Michelle Roche —
312 Washinton St. Saturday: lineup not available at press time. please visit And a few “I’m Out Of Room” Honorable Mentions: Corduroy Road (Mainstage, Sat- Michelle Roche Media Relations
www.athfest.com for updates. urday 5:30), Twin Tigers (Mainstage, Friday 6:40), and Gift Horse (Georgia Theatre,
Saturday 10 p.m.)

48 ATHENS BLUR MAGAZINE ATHENS BLUR MAGAZINE 49

 Tommy,
Can You
Hear Me?
Ten bands beat the singles craze and prove
concept rock is back on the rise.
by Natalie B. David

F
or 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...

ATHENS BLUR MAGAZINE 51


*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,
*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.
*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
by the numbers:
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.”
*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

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.
by the numbers:
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 Hazards of Love The 33 songs vary greatly from the
sarcastic (“Hey Man! (Now You’re Really
Peak Chart Position: Billboard #14
Living)”) to the painfully poignant (“I’m
Sold 19,210 copies in first week
Going to Stop Pretending That I Didn’t
Break Your Heart”), but it’s the recurring
“Truly, this is the album The Decemberists were “Theme of Blinking Lights” that holds the
destined to make, taking full advantage of Meloy’s album together.
story-telling chops. Although an ambitious affair, Clearly no stranger to concept albums,
E’s latest, entitled Hombre Lobo, tackles the
the band’s ability to create a long-form piece is no theme of desire as experienced through
surprise for Decemberists fans who know of the the lens of a werewolf. It may seem less
autobiographical this time around, but after
band’s 2004 EP The Tain, an 18-minute song cycle
seeing E’s recent bearded face, there’s some
based upon an Irish myth.” doubt there.
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.

*Bloc Party – A Weekend in the City (Wichita; 2007) *My Chemical Romance – The Black Parade (Reprise; 2006)

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.
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.

52 ATHENS BLUR MAGAZINE ATHENS BLUR MAGAZINE 53

 *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 *Green Day – American Idiot
praise. (Reprise; 2004)
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 Green Day’s biggest accomplishment
songcraft and the meticulous detail given to the varying locales. On Michigan he paints a to-date, American Idiot is a punk rock
portrait of the state well beyond the Motor City, including a lament for the ill-fated city opera that takes place in and accurately
of Flint and “John Wayne Gacy, Jr.” even invites sympathy for the Illinois serial killer. The snapshots a post-9/11, Bush-reigning
locations and their myths are merely the jumping off point, the background characters era. A far cry from the trio’s breakthrough
for Stevens’ slice of life stories and universal themes. album Dookie, American Idiot follows one
These albums include special treats for those familiar with the states in question but Jesus of Suburbia through his transition
are just as accessible for the uninitiated. Whether or not he continues on this path, it as he abandons the shallow and
can’t hurt to hope he puts out an album ode to Georgia: The Great Peach State. unchallenging suburbs for the glitz of the
Big City. Here he encounters the fierce

by the numbers:
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,
American Idiot an American Idiot once more.
Peak Chart Position: Billboard #1 No doubt the spotty plot will be
Sold 267,000 copies in first week tweaked when the album makes the leap
Certified 5x platinum to the stage later this year. Helmed by the
Tony award winning Michael Mayer, who
“A far cry from the trio’s breakthrough album co-writes the Book for the show with
Billie Joe Armstrong, the production
Dookie, American Idiot follows one Jesus of follows in the footsteps of Tommy, which
Suburbia through his transition as he abandons the experienced a hit on Broadway in 1993.
shallow and unchallenging suburbs for the glitz of Pink Floyd’s The Wall is also currently
being adapted for the stage.
the Big City. Here he encounters the fierce punk There are no Broadway plans yet for
and false prophet St. Jimmy and the opposing, American Idiot, but the inaugural run,
produced by Green Day, will run from
true rebel Whatshername before losing his free
September 4 through October 11 at the
spirit and resorting back to the welcome arms of Berkeley Repertory Theatre in California.
conformity, an American Idiot once more.” 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. B

54 ATHENS BLUR MAGAZINE

Girls in Athens Rock!
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
playing,” she says. “The music
part is about 50% of the camp.
ATHENS SUMMER
It’s using the music as a medium,
not so much as getting the MUSIC CAMPS:
technical stuff right. If the girl

choose the instrument they
desire to play. Not all girls will
walks away from camp and never
picks up an instrument again,
Girls Rock! Camp
Type of Camp: Music

...literally
get the instrument of their she’s still a success because she
By: Nicole Black
Randi Davis and the camp’s Cost: $250/ applicant
With summer upon us, parents choice pending how many learned something at camp.”
coalition, they have structured
may find themselves wondering Photos by: Calley Payne a concrete program to be held at
choose the same options. On Even if a girl who wants to be a Cost Includes: Week long summer day camp,
what to do with their kids now Athens Montessori School.
the first day, orientation will be singer can’t necessarily sing, the instrument use, instruction, snacks, drinks.
that school’s out. In Athens, there to the program created the the camp here in Athens. She says held in the morning, followed camp doesn’t dissuade her from Girls must bring own lunch.
There are a few obstacles to
are a few summer camp options need for more space and more about the experience, “Through launching a week-long camp. by instrument instruction. using her vocal chords. “There are Ages: 9-15 females only
to alleviate parental worries camps. Over the years, the camp music instruction, mentorship “This year we don’t have money,” After this the girls will have 10 so many ways you can categorize
minutes to form bands. “That’s
Duration: July 27-August 1
about kids wasting days in front has branched in to major cities and workshops structured to Payne says. The program will be what singing is. If they want to
of the TV. For females ages 9-15 such as New York, Philadelphia, foster self-esteem I watched as primarily based on donations probably the most stressful part get up there and scream then Location: Athens Montessori School
in particular, a new summer Oakland and Atlanta, totaling 24 female adolescents developed and run by volunteers. “We of it all,” she reveals. “These just let them get up there and Website: http://girlsrockcampathens.com
camp is being introduced — nearly 30 Girls Rock! Camps. in to six powerful bands within a have to have females with girls are standing around with scream,” she states. “It’s just all
Girls’ Rock! Camp, where girls Internationally, the camp has few short days.” all these genres up, they don’t about giving these girls a safe
musical experience to actually
will have the opportunity to been adapted in the UK and Two months after her Atlanta do instrument instruction,” know each other — they just place to express themselves and Camp Amped
express themselves using music Sweden. experience, she decided to have she explains. “In order for met each other.” Once bands are do it in a way that they want to Type of Camp: Music
as a therapeutic outlet. The formed, there are two afternoon do it. They are never going to
Calley Payne, an ambitious 21- one here, creating a MySpace us to operate, we’ll need to Cost: $500
camp will take place July 27th year-old, was initially inspired to page to promote and seek help have instrument instructors, practices, “quiet” practice and be told to be quiet or to turn
Cost Includes: Two weeks instrument use and
— August 1st. During that week, get involved with the program with organizing the week-long band coaches, and counselors. “loud” practice. Quiet practice is their volume down. Turn it up
girls will be given their own after watching the documentary, day camp. This is how she found Counselors don’t necessarily where the young females work louder.” instruction
instrument and grouped in to Girls Rock!, which highlighted 23-year-old local musician have to have as much musical on writing songs, getting more Applications for the camp Ages: 11-17 both male and female
six different bands, where they the history and mission of the Emmie Berretta. Berretta joined experience. We’ll need two acquainted with each other, are now being accepted. Space Duration: June 8-June 20 and July 6-July 18
will learn to play together as a rock camp. Payne volunteered Payne’s vision and came on board musicians per instrument. We’ll and come up with a band name. is only guaranteed pending an Location: Nuci’s Space
band, as well as discover their last summer for Atlanta’s first as Program Director. Together need roadies, stage production Following this, they get to plug application submission, and Website: www.squidoo.com/campamped
inner voice. After the week-long launch, fueling her to introduce with the help of Art Director people.” And don’t forget the in and play during loud practice. fees are paid two weeks prior
music day camp, the girls In addition to learning the respective camp’s start
instruments. “Our

“
music, girls will participate in date. Limited scholarships are

They are never going to be told Randi

will showcase what they
have learned when they
Artistic Director,
workshops, such as History of available. The girls’ showcase will Theatre Camp
Davis’ husband Type of Camp: Theatre/Arts
perform onstage with is a musician and
Women in Rock, Self-defense, be held on Saturday, August 1st
Cost: $0-$173/ACC Resident;

The concept originally to be quiet or to turn their volume Even my neighbor has
their fellow band members and Body and Image that are and is open to the public (location
can accumulate a lot
before an audience. of stuff, like guitars.
“constructed to aide their still to be announced as of press $260/Non-ACC Resident
development as powerful female time). For more information Cost Includes: Theatre basics -
n 2001 on the campus of down. Turn it up louder.
adolescents,” Payne explained in
"
started in Portland, Ore., offered guitars.” But and additional camps offered to terminology, articulation, projections,
a recent press statement. In such youths in Athens, see box to the
there is still a need for
a short time, parents may wonder
blocking, memorizing lines, handling
Portland University. The right. B
overwhelming response
additional instruments
how their children can possibly props and being fitted for costumes
and equipment. Ages: 8-12
learn to play an instrument.
“It’s not all about instrument 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

56 ATHENS BLUR MAGAZINE ATHENS BLUR MAGAZINE 57

 the musician’s Line 6 Blackstar

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guide
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-
The Link.USB is
Tapco’s highly por-
Tapco Link.USB quiet 1/4-inch input, a 1/4-inch output for immediate
playback, a “Mark” button to organize your best ideas
table computer audio on-the-fly, a “Play” button for instant replay, better-than-
interface for connect- CD-quality audio, a rugged flash memory, lightning-fast
ing two channels of USB 2.0 for importing audio to your DAW while the inter-
high-quality audio nal battery recharges. Best of all, BackTrack is incred-
from the real world ibly easy to use. It’s always on, and always listening, so
into your Mac or PC there’s no need for a Record button. When inspiration
computer using a strikes - at rehearsal, in the car, anytime!
common USB con-
nection. As cost-effec-
tive as it is compact,
Parker Fly Mojo MIDI
Link.USB doesn’t
chintz out when it
comes to sound qual-
New for 2009, Parker is proud to introduce the
Fly Mojo MIDI. Featuring a Roland® GK-KIT-
ity. It features pro-level
GT3 Divided Pickup Kit, this instrument will
24-bit/96kHz fidelity and
allow you to simulate all the tones you can
premium-grade mic pre-
ever imagine. Simply plug into a Roland®
amps. Link.USB comes complete with
V-Guitar System, GR-20 Guitar Synthe-
beginner-friendly Tracktion 2 Music Produc-
tion Software and Final Mix CD Mastering Plug-in, both
sizer, or any BOS GK Effect Pedal and
courtesy of Mackie.
let your creativity run wild. Along with
the MIDI capability, this guitar features
Seymour Duncan® Jazz (N) & JB (B)
pickups, Sperzel® Trim-Lok™ tuners,
Elixir Instrument Cables and an exclusive Fishman® Piezo
electronics system. Explore the
Cables can distort the sound of your guitar
unlimited possibilities of the Fly
by pushing the mids up and turning the
Mojo MIDI, and enter a whole new
highs down. Elixir® Cables feature a
musical world.
unique cable technology that fixes this prob-
lem by delivering the lowest capacitance Fly Mojo Standard Finishes:
and truest voice of your guitar. You’ll get a Dusty Black, Emerald Green,
similar sound from a 20-foot Elixir Cable as Galaxy Gray, Italian Plum,
you would a typical 3-foot cable. Majik Blue,
Ruby Red,
Trans
Blue,
Trans
EAW UX8800 Dual-Mode Cherry,
Digital Processor White.
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.
Reason 4 Sweetwater
Creation
Reason Version 4
has reached the next
Station
level. Stronger, swifter When you’re working
and smoother to work with tons of tracks or
with, Reason 4 will alter the way you multiple virtual instru-
create your music. Reason’s new ments, you need a powerful CPU.
devices and features will not only
inspire you to produce great tracks,
That’s why Sweetwater designed the
Creation Station Tower. Optimized
they will provide you with new ways for audio, the Tower gives you the
of doing so. Reason is a totally processing power you need, plus
expandable, software-based, music “Whisper Quiet” operation to use it in
workstation for Mac or PC. Step the studio environment. You get two
into the age of Reason and learn big 500GB drives, a built-in optical
more about the software that will turn drive, and plenty of USB and FireWire
your home studio into a hit-making connections. The Tower is great for
machine. desktop studios and pro facilities alike!
Crate 125DG Acoustic Amp Series
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.

58 ATHENS BLUR MAGAZINE ATHENS BLUR MAGAZINE 59


Hohner Marine
Band Crossover
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.
Randall
RM100
KH - Kirk
Hammett
Edition
Randall’s new line of
Kirk Hammett Signa-
ture Amplifiers and
Cabinets were de-
Orange Amps - Dual Terror Crate Taxi TX15 Fender B Road Worn ‘50s P-Bass
If you’re the type of performer who requires the
Orange can now announce the next generation of the Tiny Terror concept — ultimate in portability, but refuse to sacrifice tone
the 'Dual Terror': a twin channel, 30-watt head, switchable from 30 to 15 or 7 for mobility, the Crate TX15 was made for you.
watts giving more choice and options shrunk into a size that belies its power! With up to eight hours of battery power, Taxi
The 30 watt Class A dual channel amp incorporates the unique Tiny Ter- lets you leave the wall outlets far behind. Dual
ror channel and a new 'Fat Channel' bringing a new 'fatter' chunk- channels allow you to control two instruments, or
ier sound, whilst keeping the classic Tiny Terror sound. plug in your guitar and use the handy 1/4” & XLR
The power options make this a truly versatile amp, capable of dominating at big- Some things just get cooler with age.  It’s es-
combo input jack for a high-quality vocal mic. The pecially true of electric guitars and basses—
ger venues and subtle enough to be perfect for recording, studio work and home specially designed 8” woofer and tweeter ensure
playing. Switchable between 30, 15 and 7 watts and switchable between 4 and 2 they develop an unmistakable mojo over time
clean, loud, full-range performance that will as- that makes them look cooler and feel even more comfortable
output valves, the combinations of options provide for unmatched levels of per- tound you. Perfect for solo performers who want
formance and flexibility. than when they were brand new. Fender Road Worn Series guitars and bass-
to play and sing, or use a CD play- es come with a head start on history and bring the player the best of both
The Dual Terror OS-DT30-H er/drum machine in re-
is built to the usual Orange worlds—a killer aged design aesthetic that conjures up the ghosts of past mu-
mote areas, the sic lives, paired perfectly with the modern functionality, playability and high-
high quality standards, using TX15 includes
top quality components and quality that players know to expect from Fender.  The original was born in the
a 120V char- ‘50s and produced the sound of bass. On the road, the more you punished
its roadworthy rugged con- ger/adapt-
struction (supplied with pad- a Precision, the more it gave back–a virtually indestructible bass that took a
er for standard beating and laughed while it asked for more, becoming even cooler-looking
ded gig bag ) is everything operation and
you'd expect from an Orange and more comfortable-feeling than when it was brand new. Fender’s new Road
recharging the Worn ‘50s Precision Bass guitar delivers that aged look and feel–designed
amp. The proven 'Orange battery.
Terror' concept of combin- with 1950s specs and a nitrocellulose-lacquer finish, and is built to look, sound
ing portability, versatility and and feel like it’s got more than just a few miles on it. Deluxe gig bag included.
delivering most important-
ly a great sound, is all here. Audio Technica
2000 Series Boss ME-70: Multiple Effects Pedal
Mighty Moe Amped-Up Strap The 2000 Series is a 10-channel
frequency-agile UHF system of-
A multi-effects unit
that’s as easy as a
More volume without obstructions! Mighty Moe Ampstrap is a
bodacious little 1W amplifier fixed to a nice leather guitar strap
fering a high-quality, profession- stompbox — that’s the
al wireless system at an beauty of the new ME-
with a dedicated signal cable. Mighty Moe provides a re- affordable price. 70. The friendly, knob-
spectable volume boost for acoustic/electric guitar, uku-
lele or mandolin. Controllers are easy to access and 9V
Includes au-
tomatic scan-
laden design makes tone
creation a snap, but with
battery lasts up to nine hours. Ready for travel, prac- ning, True Diver- a powerful COSM® AMP
tice, jamming and performing. Includes tote bag. sity reception, section derived from the
and easy setup. GT-10, the ME-70 takes
the “EZ effects” concept
The Shredneck to new heights.

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-
The Stage Ninja
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.
The SHREDNECK allows guitar players to warm- Eden WTX-500
up any time a guitar is not convenient: in a car, train,
plane, at the office, before gigs, between sets, watch- The WTX-500 is the perfect amplifier for
ing TV or in anticipation of playing guitar. Use the players who need a full-featured amp that will Eden D210 XST
SHREDNECK to work on scales, patterns and tech- fit in the pocket of the average gig bag. The
niques, practice chord fingerings and movements pre-amplifier section of the WTX-500 is based For those players who
along with building and maintaining calluses. on the Golden Ear chip for amazing warmth need a portable, high perfor-
and musicality. This is the same chip used in mance rig with even more low
ultra-high-end recording consoles and is more end than the XLT, we have de-
expensive – and more musical – than the chips signed a new 2 x 10” cabinet
used by other manufacturers. Powered by a for our latest XST woofers.
unique Analog Switching Amplifier that deliv- This new 2 x 10” cabinet han-
ers 500W RMS, the WTX-500 has the same dles more power than many 4
The Stage Ninja® INS-26S offers a
impressive list of features as the WTX-260. x 10” cabs on the market. The
premium instrument cable with in-
stant cable retraction.  Pull desired low end is full but tight, the
cable length from damage resistant mids are open and well de-
case, perform, pull again for instant, fined and the highs are clear
tangle-free retraction. The units are and crisp. Truly amazing low
mountable (seen on Gibson’s VIP Tour end output for a 2 x 10" enclo-
Busses) and stackable for studio use. XLR sure. This cabinet weighs 10
and Custom configurations also available. pounds less than our standard version.

60 ATHENS BLUR MAGAZINE ATHENS BLUR MAGAZINE 61


ARTS &ENTERTAINMENT
upcoming on the screen
making sure it’s worth your Money by Julie McCollum
The Proposal Year One
(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).
A&E MOVIE PREVIEWS
(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

Cheri a Christopher Mintz-Plasse (McLovin)

sighting.

(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.

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.

ATHENS BLUR MAGAZINE 63

 upcoming dvD releases
A&E MOVIE PREVIEWS

Ice Age 3:
Dawn of
16
Release dates are subject to change. Check
artists or store websites as these dates ap-
Dinosaurs june
proach.

(JULY 1) (Carlos Sandana) Manny (voiced

7
by Ray Ramano) and the gang encounter
New Releases:
a dinosaur, reptile and amphibian popu- Tyler Perry’s Madea Goes to Jail
lation which survived extinction in a trop-
ical paradise, existing below the thick lay-
Friday the 13th
july
ers…until now. TV Box Sets:
Family Guy, Volume 17 New Releases:
PREDICTION: The success of the past Ice The Secret Life of The Knowing
Age flicks pretty much guarantees that American Teenager: Season 2 The Unborn
the third installment will bring families to Border Town
the theaters. Music DVDs:

Fireflies in Keith Urban: Love, Pain, and TV Box Sets:

Matlock (Season 1-3)
Public
The Whole Crazy World Tour

the Garden B.B. King: Live at Sing Sing Prison Mystery Science Theatre 3000 Collection
XV

Enemies 14
Sugar Hill Gang: Rapper’s Delight
(JUNE 26) (Dennis Lee) This film, starring Julia Roberts
and Ryan Reynolds, deals with a complex family situa-
(JULY 1) (Michael Mann) This action-thriller stars
july
23
tion, made more complicated when faced with an un-
Johnny Depp and Christian Bale in the true sto-
expected tragedy. New Releases:
ry of legendary Depression-era bank robber John
PREDICTION: Sleeper hit. It’s been a while since audi-
Dillinger (Depp), whose robberies made him the
number one FBI target, and whose multiple jail-
june The Haunting in Connecticut
The Edge of Love
ences have seen Julia Roberts in a role she can really
breaks and charm made him a public hero. For All Mankind
sink her teeth into. New Releases: Break
PREDICTION: Depp soars in roles with a devi- Confession of A Shopaholic
ant twist (Captain Jack Sparrow), and this char- The Pink Panther 2 TV Box Sets:
acter sounds right up his alley. With Mann lend- Inkheart ER: The Complete 11th Season
ing his award-winning direction to this film, it will Code
be worth opting for over the rest of the summer Simon Says Music DVDs:
fluff. Five Fingers Arrested Development, Live in Tokyo
Cheap Trick - Every Trick in the Book

500 Days of
Music DVDs: Stanley Jordan - The Paris Concert
Punk in England New Kids On The Block - Hangin’ Tough
Live!
Summer
21
30 july
(JULY 17) (Marc Webb) Zooey De-

Harry Potter schanel stars in this romantic comedy

which debuted at this year’s Sundance
june
and the Film Festival. The film is about a greet-
ing card copywriter and hopeless ro-
New Releases:
Watchmen

half-blood mantic (Joseph Gordon-Levitt), who is

blindsided when his girlfriend, Summer
New Releases:
Two Lovers
The Great Buck Howard
Echelon Conspiracy
prince (played by Deschanel), dumps him, so
he sifts through their 500 days togeth-
er to try to figure out when things went
Frontline: Poisoned Water
Nostradamus 2012
Two Lovers
TV Box Sets:
Pushing Daisies: The Complete Second
(JULY 17) (David Yates) This is the sixth (next to last) in- wrong. Season
stallment of the Harry Potter series, in which Harry learns
Monk: Season 7
TV Box Sets: Psych: The Complete Third Season
more about the past of his arch nemesis,Voldemort.
PREDICTION: Zooey Deschanel thrives Entourage: The Complete This American Life: The 2nd Season
Harry must confront the reality of Voldemort’s rising
power and learn what it will take to stop it.   in quirky Sundance-esque roles, and Fifth Season
this romantic comedy promises to de- Eastbound & Down: The Music DVDs:
PREDICTION: Harry Potter fans always pack out the liver something a little different than, Complete 1st Season Reel Big Fish Live in Concert!
box office, and this one won’t be an exception. say, a Sandra Bullock movie.

64 ATHENS BLUR MAGAZINE ATHENS BLUR MAGAZINE 65

 K
nowing,” 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

Maturing castle in Germany. And in May, viral video surfaced

of a car stunt gone wrong on the set of Cage’s

movie star 2010 anticipated blockbuster “The Sorcerer’s

Apprentice.”

Nicolas Suffice it to say, Spring wasn’t terribly kind to

Cage.
Cage Summer and Fall, however, are shaping up to
be much better. On July 24, Cage, the hardest-
decides it’s working man in Hollywood without the last
name Jackson, lends his voice to the sure-fire hit
time to put “G-Force”, a CGI-filled world of rodent espionage.
In the fall, he’s sharing his trademark tone in
away the another probable winner with the kiddies, “Astro
Boy.” With back-to-back family-friendly flicks,
guns. 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,

A
“[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

Star’s
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?

Trek
“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
by DeMarco was really about weird human behavior for me to
laugh.”
EXPIRES 7/24
Though BLUR is yet to see trailers from Cage’s
Williams 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.”
EXPIRES 7/24
“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? B
meals for your broke ass
APPLYING THE APPS
more ways to pinch pennies with your grocery list
By Jacquie Brasher
If 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
FOOD
vegetable is quite the star of this dip!
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
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.
68 ATHENS BLUR MAGAZINE
Tomato Mozzarella Bites
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.
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.
Lemon Oregano Chicken Wings
12 chicken wings ½ tablespoon garlic powder
2 tablespoons olive oil ½ teaspoon each salt and
Juice of 2 lemons pepper
1 tablespoon dried oregano
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.
BLUR EVENT CALENDAR
go ahead : make my
upcoming events in athens and atlanta
Athens
June 12
X, Steve Soto and the Twisted
Hearts
40 Watt, 9 p.m., $20/adv.
Abbey Road Live!
Georgia Theater, 10 p.m., $10
Dashboard Saviors
Caledonia Lounge, 8 p.m., $5
(21+) $7 (18-20)
Fiction Family featuring John
Foreman and Sean Watkins
The Melting Point, 9 p.m., $16/
adv.
June 13
St. Vincent, Pattern Is
Movement
40 Watt, 10 p.m., $12/adv.
Wrong Way
Georgia Theater, 9 p.m., $7
Nutria, Adam Klein, The
Wydelles
Caledonia Lounge, 10 p.m., $5
(21+) $7 (18-20)
Lil’ Malcom and The House
Rockers
The Melting Point, 8:30 p.m.,
$10/adv.
June 17
The Warm Fuzzies, Heypenny
The Melting Point, 9 p.m., $5
July 18
Better than Ezra
40 Watt, 8 p.m., $15/adv.
Yonrico Scott Band, Geoff
Achison, Acho/Rico Funk
Soul Experiment
date
The Melting Point, 8 p.m., $8/
adv.
June 19
Perpetual Groove
Georgia Theater, 10 p.m., $12
June 20
Perpetual Groove
Georgia Theater, 10 p.m., $12
June 23
Romanenko, Catawba, The
Stereofidelics
Caledonia Lounge, 10 p.m., $5
(21+) $7 (18-20)
June 24
Leading Edge, Ashutto Mirra
The Melting Point, 8:30 p.m., $5
June 25
Very Disco: Performing the
Music of Daft Punk
Georgia Theater, 11 p.m., $8
Powerload, Pastor of
Muppets, Ice Cream Men
Caledonia Lounge, 10 p.m., $6
(21+) $8 (18-20)
June 26
AthFest Night 1: Dexter
Romweber Duo, Still, Small
Voice & the Joyful Noise,
Magnum Force, The All Night
Drug Prowling Wolves
40 Watt, 10 p.m., $5
AthFest Night 1: We vs The
Shark, Deaf Judges, Geoff
Reacher, Marriage, Hot New
Mexicans and Lazer/Wulf
Georgia 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, Vincas
Caledonia Lounge, 7:30 p.m., $6
(21+) $8 (18-20)
AthFest Night 1: Curley
Maple, Little Country Giants,
William Tonks, Dodd Ferrelle
The Melting Point, 8 p.m., $6/
adv.
June 27
AthFest Night 2:
Cinemechanica, A. Armada,
Pegasuses-XL, Powers
40 Watt, 9 p.m., $5
AthFest Night 2: Kuroma,
Velveteen Pink, Gift Horse,
Immuzikation and What’s
Our Name
Georgia Theater, 9:30 p.m., $7
AthFest Night 2: Futurebirds,
The Interns
Tasty World, 10 p.m., TBA
AthFest Night 2: Music Hates
You, The Dumps, Hot Breath,
Kill Lebaron, Attest, Mandy
Jane + the Jaws of Life
Caledonia Lounge, 10 p.m., $6
(21+) $8 (18-20)
AthFest Night 2: Five Eight,
Time Toy, Love Tractor, Flash
To Bang Time
The Melting Point, 9 p.m., $6
July 1
Jenny Lewis, Heartless
Bastards, The Grenadines
Georgia Theater, 9 p.m., $15/
adv.
July 2
ZoSo: Led Zeppelin Tribute
Georgia Theater, 10 p.m., $7/
adv.
July 4
Packway Handle Band and
The Melting Point present
the Red, White & Brewgrass
festival featuring 14
bluegrass bands
The Melting Point, 1 p.m., $15/
adv.
July 9
Eddie & the Public Speakers,
Tent City, Lassiez Funk
Georgia Theater, 10 p.m., $5
Marcia Ball
The Melting Point, 8:30 p.m.,
$22/adv.
July 10
Free Lunch
Georgia Theater, 10 p.m., $5
July 11
Strawberry Flats, Rick Fowler
Georgia Theater, 8:30 p.m., $10
July 16
Yo Mama’s Big Fat Booty
Band, JazzChronic
Georgia Theater, 10 a.m., $7
July 17
Zoogma, Nautilus
Georgia Theater, 10 p.m., $5
July 18
Better Than Ezra, Tyler Hilton
40 Watt, 8 p.m., $15/adv.
July 21
Conor Oberst & The Mystic
Valley Band, AA Bondy
40 Watt, 8 p.m., $20/adv.
The Melting Point &
Jumpin’ Jesus Christers
Curley Maple
July 22 June 14 Packway Handle Band Present
Magnolia Electric Company, Dirty Sweet and Circus House The 1st Annual Red, White
The Donkeys, Thousand Band & Brewgrass Festival
Arrows
40 Watt, 9 p.m., TBA
Smith’s Olde Bar, 8p.m., $10/adv.
Cotton Jones and Pete
July 24 Silberman of the Antlers
The Drunken Unicorn, 8p.m., $10
Johnny Roquemore
Venice is Sinking, Lazer/Wulf
Georgia Theater, 10 p.m., $5
Better Than Ezra
Variety Playhouse, 7:30p.m.,
$22/adv.
Atlanta
St. Vincent
North Georgia Bluegrass Band
The Earl, 8p.m., $12/adv.
June 12 June 15
Girls in a Coma
Masquerade, 7p.m., $10 adv. White Collar Crime, Angry
Within
Saturday July 4th, 2009
Hawk Proof Rooster
Little Joy, Starfish and Coffee, Smith’s Olde Bar, 7p.m., $5
Parachute Musical, K. Taylor
Holy F*ck, Crocodiles
Noon-Midnight
14 bluegrass acts
Smith’s Olde Bar, 8p.m., $12/adv.
The Drunken Unicorn, 9p.m., $10
The Fray with Jack’s
on 2 stages!
Russian Circles
Mannequin
The Earl, 8:30p.m., $10/adv
Chastain Park at 7p.m., $33.50/
adv.
Peaches, Drums of Death
Masquerade Heaven, 7p.m., featuring
Here We Go Magic
The Earl, 9p.m., $8 $20/adv.
MOUNTAIN HEART
June 16
Laura Izibor
PACKWAY HANDLE BAND
Peachtree Station
Vinyl, 8:30p.m., $10/adv.
Bob Hay & The Jolly Beggars
June 13
Civil Twilight, Bankrupt
and The Borrowers, The
Conditionals
MAYHEM STRING BAND
TV On the Radio with Grizzly Smith’s Olde Bar, 7p.m., $5 THE DAPPLED GRAYS
Bear and Dirty Projectors
The Tabernacle, 8p.m. $26/adv. Sunset Rubdown, Witchies,
Elfin Saddle Food and drink specials!
CD Release Party with Eliot
James and the Snakes
The Drunken Unicorn, 9p.m.,
$10/adv. Fun for the whole family!
Smith’s Olde Bar, 8p.m., $12/ adv.
The Meat Puppets
d
k
ry Pgara
E
placveent will ta
Solstice Sisters
o u n
Portugal. The Man The Earl, 8:30p.m., $15
ThenFis offeroinom This israin or shke
The Earl, 9p.m., $10 In pecial r and an a ine.
Propain, Sworn Enemy, s f $74 s! (Child Show! ll Ages
Mantic Ritual ratekoaged de:al re
be acc n under 1
Big Chad Famous Strezo
The Drunken Unicorn, 9p.m., $5 Masquerade Hell, 7p.m., $12/ pac For infonn.com ompan 8 must
i adult)ied by an
adv.
o u n d rypark
Summer Slaughter Tour with f
June 17
The Corduroy Road
Necrophagist, Suffocation, $15 in advance/$20 at the door
Darkest Hour, Winds of
Plauge, Dying Fetus, Born
$10 for UGA Students w/ID
of Osiris, Origin, Beneth the
The Hard Lessons Simplified
for tickets:
Smith’s Olde Bar, 8p.m., $10/adv.
String Theory
Massacre, After the Burial, meltingpointathens.com or 706.254.6909
Blackguard and more Taking Back Sunday
The Masquerade Heaven, 2p.m., Masquerade, 6:30p.m., $25/adv.
$22.50/adv.
Listed in the “Top 40 Best Music Venues
in the U.S.” by Paste Magazine
BLUR EVENT CALENDAR
The Tips The Earl, 9p.m., $10
The Earl, 8:30p.m., $7
Ledisi
The Tabernacle, 8p.m., $25/adv.
June 18
Martians See Red CD Release
Grayson Capps and The
with Beatrix Kiddo, The
Stumpknockers
Drownout
Smith’s Olde Bar, 8p.m., $10/adv.
Masquerade Heaven, 8p.m., $8/
adv.
Wheels on Fire and The
Sylvans
Framing Hanley, Red,
The Drunken Unicorn, 9p.m., $6/
adv.
NeeDeep
Masquerade Heaven, 7p.m., $15/
John Vanderslice
adv.
The Earl, 8:30p.m., $10/adv.
Fuze
Masquerade Purgatory, 10p.m.,
June 19 FREE/adv.
Trampled By Turtles and The
Lee Boys
June 20
Smith’s Olde Bar, 8p.m., $10/adv.
Ryan Cabrera
The 54, Citizen Icon, McNary,
Smith’s Olde Bar, 8p.m., $15/adv.
Duvasounds
The Drunken Unicorn, 9p.m., $8
The Paperchase, Attention
System, This Piano Plays
Itself
Camera Obsura
The Drunken Unicorn, 9p.m., $8/
Variety Playhouse, 8:30 p.m., $16/
adv.
adv.
Errol Moore
An Hourse
Variety Playhouse, 9p.m., $20
Noot D’Noot
The Earl, 9p.m., $7
Breaking Vegas CD Release
with Uncrowned and From
Tomorrow
Masquerade Hell, 8p.m., $8/adv.
Owl City with Holiday Parade
& Swimming with Dolphins
Vinyl, 8p.m., $10/adv.
June 21
The Georgia Satellites and
Chris Edmunds Featuring
former members of The
Swinging Richards
Smith’s Olde Bar, 6p.m., $15/adv.
Joey Cape
The Earl, 7p.m., $10
June 22
Before The Solstice, Electric
Touch, The Fire Tonight
Smith’s Olde Bar, 7p.m. $5
Boys like Girls with Special
Guests Never Shout Never
and the Ready Set
Masquerade Heaven, 6p.m., $20/
adv.
The Hideous Strength, Casual
Kill, Feeding the Foxes,
Kretos, Feed Me to the Sea
Masquerade Hell, 7p.m., $8/adv
June 23
Civil Twilight, Hurts To Laugh
Smith’s Olde Bar, 7p.m., $5
The Black Hollies
The Earl, 8:30p.m., $8
Peter Murphy
Masquerade Heaven, 8p.m.,
$22.50/adv
Drop Dead Gorgeous, He is
Legend, Before Their Eyes,
And Then There Were None
Masquerade Hell, 6:30p.m., $13/
adv.
June 24
Tishamingo
Smith’s Olde Bar, 8p.m., $10/adv.
Capibara CD Release Show,
F’n Hearbreaks
The Drunken Unicorn, 9p.m., $5
Eddie Vedder
Cobb Energy Performing Arts
Centre, 7:30 p.m., $75/adv.
Ben Lee
The Earl, 8:30p.m., $15
Goatwhore, Abigail Williams,
Das, Abysmal Dawn, Swwats,
and more
Masquerade Hell, 7p.m., $15/
adv.
June 25
Benjy Davis Project and Sons
of Bill
Smith’s Olde Bar, 8p.m., $12/adv.
Those Darlins, The Electric
Cycles
The Drunken Unicorn, 9p.m., $7/
adv.
Dax Riggs
The Earl, 8:30p.m., $10/adv
Road to Essence Music
Festival featuring Jazmine
Sullivan with Special Guest
Ryan Leslie Concert Tickets
The Tabernacle, 8p.m., $20
ABSU, Destroyer666
Masquerade Heaven, 6:30p.m.,
$15/adv.
John Hoge with Time
Brantley $ more
Vinyl, 8p.m., $10
June 26
Turtle Folk, Under The Porch,
Gaslight Street
Smith’s Olde Bar, 8.p.m., $8
Fake Problems, Kiss Kiss
The Drunken Unicorn, 9p.m., $8/
adv.
David Wilcox
Variety Playhouse, 8:30 p.m.,
$17.50/adv.
It’s Elephants
The Earl, 9p.m., $7
El Scorcho and Black in Black
(Weezer and AC/DC Tributes)
Masquerade Hell, 7p.m
Dedset
Vinyl, 9p.m., $8/adv.
June 27
The Hackensaw Boys and The
Sundogs
Smith’s Olde Bar, 8p.m., $15/adv.
Awesome New Republic,
Futureshock, La
Chansons
The Drunken Unicorn,
9p.m., $6
Marah
The Earl, 9p.m., $10
Last November, The
Breakdown
Masquerade Hell, 6:30p.m.,
$8/adv.
Love Rush & Flight Case
For Sushi
Vinyl, 9p.m., $5/adv.
June 29
The Wooden Birds
The Earl, 8:30p.m., $10
June 30
Lustre King, Swank
Sinatra, Hip To Death
Smith’s Olde Bar, 7p.m., $5
Gentleman Jesse & his
Men
The Earl, 8:30p.m., $8
July 1
The Forty-Fives
The Earl, 8:30p.m., $8
Joy in Tomorrow and
Guests
Masquerade Hell, 7p.m., $8/adv.
July 2
Mama’s Love and The
Heap
Smith’s Olde Bar, 9p.m., $8/
adv.
Le Castle Vania, Kill The
Noise, RRRump
The Drunken Unicorn,
9p.m., $5 for 21+, $7 for <
21
The Orb
Variety Playhouse, 8:30p.m.,
$20/adv.
The Black Lips and
special guests
The Earl, 9:30p.m., $12
July 3
Judi Chicago, Noot D’
Noot
Smith’s Olde Bar, 9p.m., $10/
adv.
Our Brother The
Native, Religious Girls,
Facehugger
The Drunken Unicorn,
9p.m., $8
Snowden
The Earl, 9p.m., $10
Altered and guests
Masquerade Heaven, 7p.m.,
$8/adv
Dropkick Entertainment
Presents: Fuel the Fire
09 “Independence Day
Destruction”
Masquerade Hell, 6p.m., $10/
adv.
July 4
Japandroids, The N.E.C.,
Guyliner
The 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 5
Groove Stain, Ballyhoo!,
50:50 Shot, Simultaneous
Rex
Smith’s Olde Bar, 7p.m., $8/adv.
July 6
Ex Norwegian
Smith’s Olde Bar, 7p.m., $5
July 7
Devon Allman’s Honeytribe
Smith’s Olde Bar, 8p.m., $12/adv.
July 8
CD Release Party for Blair
Lott
Smith’s Olde Bar, 8p.m., $5/Free
CD with cover
Vampire Lezbos
The Drunken Unicorn, 9p.m., $5/
adv.
Hank III & Assjack
Masquerade Heaven, 7p.m., $20/
adv.
Atheist, The Faceless,
Agnostic and guests
Masquerade Hell, 6:30p.m., $16/
adv
July 9
Paul Warner, The Issues, Idiot
Slowdown, Ethan and the
Ewox, Duva
Smith’s Olde Bar, 7p.m., $8/adv.
Abby Go Go, Renminbi, Uku
The Drunken Unicorn, 9p.m., $5
LFO, Rookie of the Year,
Go Crash Audio, Kiernan
McMulan
Masquerade Heaven, 6:30p.m.,
$16/adv.
July 10
Carbon Leaf
Smith’s Olde Bar, 8p.m., $15/adv.
BLUR EVENT CALENDAR
Jungol, Today The Moon,
Tomorrow The Sun, Brenn
The Drunken Unicorn, 9p.m., $6
for 21+, $8 for < 21
July 11
Calu’s Peep Sho,
Smith’s Olde Bar, 9p.m./ $12/adv.
Rama Don & the Powermoves
The Earl, 7:30pm, $10
July 13
Paradise Daze
Smith’s Olde Bar, 7p.m., $5
Sonic Youth with special
guest Entrance
Variety Playhouse, 8p.m., $25
July 14
Handsome Furs
The Earl, 8:30pm., $10adv.
July 15
O’Brother, Dignan, Rova
Zetella, Morning Bell
The Drunken Unicorn, 9p.m., $5
for 21+, $8 for < 21
The Coathangers
The 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 Hell
Masquerade Heaven, 3p.m., $10/
adv
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!
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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
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40 Watt (Stefan Eberhard) . The Walkmen @ 40 Watt (Stefan Eberhard)
ATHENS BLUR MAGAZINE 77
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musicscope
Astrology for Musicians
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.
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.
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.
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.
80 ATHENS BLUR MAGAZINE
What’s your
by Miss Terious
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.
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.
LEO
(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.
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.
?
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.
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.
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…
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.