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Saturday, February 28, 2009
Sunday's Pour House 'deck gig' rescheduled
Posted by T. Ballard Lesemann on Sat, Feb 28, 2009 at 5:26 PM
The Pour House was going to host Dangermuffin, Cary Ann Hearst, Hit or Miss, Steven Sandifer, members of Po'Ridge, and other local players on Sun. March 1 to celebrate the "spring opening of the Poho Deck." The weekend wet weather has inspired a change of plans
Just in from the Pour House street team: "Hey guys, due to impending weather tomorrow we have decided to reschedule the Deck Opening for next Sunday, March 8. Hope everyone can still make it!"
Proceeds from the March 8 event will benefit the "ceiling fund" — the club's effort to renovate it's ceiling fixtures in stricter compliane with the city's codes. Music on the back deck starts up at 1 p.m.
LIVE REVIEW: Michael Franti and Spearhead
Posted by T. Ballard Lesemann on Sat, Feb 28, 2009 at 4:46 PM
City Paper caught some great shows last week. Some were covered in this week's Concert Reviews. Stratton Lawrence and Josh Dybzinski attended a sold-out lively Saturday night show at the Farm as well. Here's a review:
Music Farm
Sat Feb. 21
A band could once build a name and massive following on a few enthusiastically played chords and a strong message. But music as a political force has lost much of its societal influence. Rage Against the Machine inspired folks in the last decade, but their popularity was as much due to the originality and sheer force of their sound as their lyrics. Enter Michael Franti. Unlike the folks who walk out of a Steve Earle concert because they love his music but can’t handle his message, everyone at a Franti and Spearhead show seems to be on the same page.
Maybe they’re just impressionable. Wen Franti says to put your hands up, the crowd obeys. But when he talks about his experience meeting regular Iraqis in Baghdad, or the stories he hears playing in prisons, hopefully everyone’s soaking that in, too. The Music Farm was packed on Saturday. Feb. 21, and it’s refreshing that such a motivating performer can sell-out a gig four days in advance. At one point, Franti called up two fans onto stage, then gave them each a guitar (including his) to jam out for the crowd. It seemed like the sound crew killed the guitar volume and cranked up a backing track, but the two dudes ate it up, leaping around the stage for an appreciative audience. Franti held back on the “How you feelin’??!!” shouts he’s known for, but on the way out the door, everyone seemed to be feelin’ pretty good. —Stratton Lawrence
(LIVE PHOTOS BY JOSH DYBZINSKI)
Friday, February 27, 2009
R.I.P. Pylon guitarist Randy Bewley
Posted by T. Ballard Lesemann on Fri, Feb 27, 2009 at 2:19 PM
Admired and Influential Musician
According to reports, Bewley (pictured above at far right and below at top left) died on Wed. Feb. 25 after he suffered from a heart attack on Monday evening while driving in downtown Athens. He lost control of his van, was injured, and remained in a coma for a full day.
The remaining members of Pylon released a statement on their Facebook page:
“Today, our bandmate and brother passed away at a little before 5 p.m. with his family and friends at his side. He will be missed, even as we celebrate his life and creativity. His guitar sound was as special as he was and always will be. Randy’s guitar work defined not only a generation of sound but Randy himself. His visual art, painting and photos, combined with his signature sound formed a loose set of boundaries that helps understand him. His quiet devotion to family and friends will become a benchmark for those he leaves behind."
Pylon were one of the pioneering and inspiring bands of the early modern Athens music scene. They had a brief but influential early-’80s heyday, following musically and stylistically somewhat in the footsteps of The B-52’s. Bewley, singer Vanessa Briscoe-Hay, bassist Michael Lachowski, and drummer Curtis Crowe pounded out some of the weirdest rock and dance music to bounce outta the South.
Here’s a clip from Inside/Out on YouTube featuring the song “Stop It” from the band’s first full-length, Gyrate. DFA Records re-released Gyrate in the fall of 2007, re-mastered from the original reels, with the addition of their landmark 1979 debut 7” single “Cool” b/w “Dub” (1979) and unreleased demo track “Functionality.” The liner notes were from Fred Schneider, Gang of Four drummer Hugo Burnham, and Michael Stipe.
Bewley was a friendly, cool, and supportive guy. As part of Pylon, he was part of the spirit of the Athens music scene at its very best. "Turn up the volume."
Tuesday, February 24, 2009
Kevin West got his rest
Posted by T. Ballard Lesemann on Tue, Feb 24, 2009 at 11:50 AM
After a bit of a hiatus this year, the Kevin West Band — led by singer/guitarist Kevin West — is back in action and set to perform at the Pour House on Wed. Feb. 25.
“My voice has finally recovered from surgery I had on my vocal chords,” West told us last week. “I also have a bunch of new material.”
This week’s gig is the local scen veteran’s first time actually headlining the Pour House. He’ll be joined by several special guests, including sax man Louis “Louie D” Dixson, Brittney Linder, and Ace & O.C. Local combo Suspicious Package handle a blend of funk, hip-hop, and jazz fusion in an opening set.
Orrin Starr performs, teaches at Hungry Monk, Feb. 27-28
Posted by T. Ballard Lesemann on Tue, Feb 24, 2009 at 11:40 AM
Orrin Starr — an award-winning guitar, banjo, and mandolin player, author, and teacher based in Washington D.C. — performs a set of bluegrass and variety at Hungry Monk Music (1948 Belgrade Ave. in West Ashley) at 7:30 p.m. on Fri. Feb. 27. Starr won the 1976 National Flatpicking Championship (the largest bluegrass guitar contest in the country). When he’s not doing solo gigs, he plays with his band Orrin Star & The Sultans of String.
Look for his recordings on Flying Fish Records. Admission for Friday night’s show is $12. An additional private workshop from Starr is set for Sat. Feb. 28 from 1:30-3:30 p.m. as well.
"A mindful teacher is one who has taken the time to analyze the details and nuances of the style(s) of music that he plays, and can explain them coherently and succinctly," Starr says. "He is also aware of his students: their goals and tastes, their trust in him as their guide, their self-consciousness or vulnerability, and their skill levels as players. He neither bores nor overloads them; he tries to challenge and excite. And he enjoys the teaching process as it unfolds."
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