By Director, Founding Partner and CEO: Chris Mullican   Sun, Aug 01, 2010

Ashland - From their theme song to their numerous skits, one thing is for sure - Gods of the Bobbleheads are about as unpredictable as it gets.  Combining humor and sarcasm with honesty and intelligence, these guys are a cutting edge breath of fresh on-air entertainment.  After just 3 months of broadcasting through the local 1430 WHAN AM station, GOTB have already won the attention of local media and hordes of addicted listeners.

As I caught up with the creators, Dan “Pasta Fazul” Anderson and John “E. Cab” Massey, I started to realize that maybe, just maybe the Bobblegods were destined to be forged into existence by cosmic forces beyond our comprehension.  And that is just the beginning…

After several failed attempts and a long day in the heat, I finally received a phone call from Dan saying, “We can meet you in an hour at the station for the interview.”

“Great,” I replied, and off I went, heading for a quick stop at the Caboose to grab a couple of 4 packs of Dogfish Head succulency on the way to the station.  Upon arrival, Dan and John met me with looks of exhaustion, pain, and thirst.  The radio station is as primitive as it gets.  Everything in sight is outdated and the musty smell of 1983 still prowls the atmosphere.  Boxes of stuff that no one probably uses anymore were piled up in corners and it was hot as hell.  The perfect place to begin a raw, independent, highly addictive nationally syndicated show.  The kind of setting that makes one hell of a story later after you’ve really made it.  We sit down in a small room at a table with a couple of old microphones, open our beers and start the interview.

33:  Where did you get the name Gods of the Bobbleheads?
Pasta Fazul:  It was actually a guy that I rapped with, who is very talented named Ollie Oxgrill, and he has a song called Ravioli that he does with another guy in our group.  He’s trying to say “Goblins and Bobbleheads,” but it sounded to me and still sounds to me like he says “Gods of the Bobbleheads,” so it’s mine.

33:  Very cool.  That’s interesting.  It’s not a name you would hear every day, especially for a radio show.
PF:  You want me to tell you what it means?

33:  Yeah.  I’m kind of curious, so we’ve got Gods of the Bobbleheads as a name of the show, so in reference to the content, what’s the show about and how does it relate to the title?
John E. Cab:  Yeah.  I think it relates to the title.  The show was founded on the concept of everything that’s cool originally, and somehow it grew into more of a variety skit show.  Originally, it was going to be about tech and video games and all kinds of stuff.
PF:  Yeah.  We were trying to be very interesting with things that we think are cool.
JC:  And then we found that it was a better idea just to run with the music and whatever our guests would bring to the show instead of trying to do everything at one show, while being funny in a smart way, but at the same time, in a crude way too.
PF:  We were going to do fake commercials and the majority of the content would be conversation for the most part of music and then John E. came up with the idea of doing Storytime with Baby Huey.  It was a hit, I mean, we really like it, and from there we moved into doing more segment-type stuff.
JC:  But the name was about the lords or gods making people’s heads bobble with approval.
PF:  Everything cool, you know.  I mean bobbleheads are always nodding in approval, so everything we offer up is dope shit.

33:  So the show airs every Saturday.  Have you noticed a significant change from the first show, like an evolution?  I mean your first concept was about video games and tech, and now…  Is every show changing and growing?  Are you guys witnessing that and is it forced or just happening?
PF:  It’s happening.  We tried to force the first show.
JC:  The first show was a total disaster.  There’s a British show I like called Faulty Towers and it was like an episode of that.  It kept getting worse and falling apart. [laughs]
PF:  Our guest didn’t show up.
JC:  None of our equipment worked.  We couldn’t get the computer program to work right.
PF:  Yeah.  Our music director didn’t want to show up.  We had four or five contributors, people who knew about video games that were supposed to call, that bailed on us the day before.  Dutch called in and he was great.  I would love to have Dutch come back in, but somehow the communication fell through.  He runs a website called Hobby Shop.  Hobbyshop.com is what it’s called I think.  We also had BloggerHouse.net on.  It was just very awkward.  It was completely forced.

33:  Is there a podcast or any evidence of the first show circulating out there?
JC:  No, and I wish there was.
PF:  Me, too.
JC:  But we actually disposed of it never to be heard by anyone.
PF:  Yeah, not intentionally.  I mean, we didn’t record.
JC:  We were gonna podcast and we had built it up with this ad campaign that said “The Greatest Radio Show Ever” and we had made flyers for every day of the week and completely gone over the top.
PF:  They were cool flyers.
JC:  [laughing] The flyers were better than the show.  After everything had gone wrong, we went back to check and listen to it and we hadn’t properly recorded it.
33:  So the whole show was just a flop.
PF:  Yeah.
JC:  Totally.

33:  Did that make you guys just want to quit or did that encourage you to say “Fuck this!, we’re really gonna nail this thing!”
PF:  It was discouraging.
JC:  For me, that was what the first show had to be.  If it had been a success, I would have been like that was a fluke.
PF:  We knew things weren’t going to work right.  We had discussed it.  For me it was still discouraging.
JC:  I was looking at [Pasta Fazul] and he was like pouring sweat.
PF:  [laughs]

Hear more about this beautiful disaster of a first show, and the complete interview on the podcast at the top of this article.

Well, there you have it.  And if you think you’ve learned everything about these guys by just reading this interview and listening to the podcast, think again.  I’m just scratching the surface of what is not only a fascinating beginning of friendship and fate, but also the beginning of their mastery of commanding the airwaves, a universal road they are building that is carrying their audience through streams of humor and madness.

Gods of the Bobbleheads already has their audiences asking, “What’s next?”  There’s only one way to find out, and that is to Tune It In and Turn It On!!!

Live radio broadcast Saturdays 8 – 10 pm on WHAN 1430 AM, Ashland, Virginia with a simultaneous live stream flowing through Bobblegods.com and Studio33.

By   Sun, Aug 01, 2010

Mechanicsville - This summer in RVA has been filled with scorching hot days and well planned social events designed to sweat it out with our friends and enjoy loads of top notch local entertainment.  The most recent was a full day and night of music, friends and community celebration with the July 10th installment of Schneckapalooza held at the spacious Mechanicsville home of Tara and Mark Schneck.  The area itself has been dubbed the "Garage Mahal," and it’s sole purpose is to entertain.

This years lineup included eleven bands, starting in the afternoon and lasting into the morning hours. Friends gathered inside the Schnecks garage which has been turned into an impressive party area complete with stage and beautiful lighting provided for their favorite RVA bands to perform.  This year's bands included:

The Lonely Planet Boys
Secret Agent T
The Hellnecks
The Hotdamns
The Dregs
The Highway Saints
Venus Throw
The Octane Saints
The Velvet Nines
Gojira-X
Father of Twelve

A new addition to this year's lineup also included food provided by Smokin’ Willies BBQ.  It was a BYOB event with free refreshments for all the band members.  It was completely non-profit with custom t-shirts made to commemorate the show.  The drive to the Garage Mahal is a lengthy one for anyone living outside of Mechanicsville.  The Schnecks planned ahead and cleared enough space on their outside property to provide camping space for anyone choosing to stay the night and avoid the drive home.

This was my second time attending Schneckapalooza, and I was not disappointed.  The afternoon was hot and hazy, and I usually forgo any outdoor activities when the conditions are so severe, but I gladly made an exception to have the opportunity to see so many of my friends perform while enjoying such a great vibe as the one this event inspired.

Schneckapalooza has become an annual event and deserves the proper promotion to continue giving local bands and their friends and fans a day of summer celebration and pure, down-home rock and roll.

By Editor (Managing) and Correspondent: Robin Marschak   Sun, Aug 01, 2010

Richmond - Gulf Give RVA: a benefit show at Legend Brewery to support the gulf cleanup effort.  What's that you say?  How predictable?  Well being predictable does not negate a good cause.  Or a good excuse to drink lots of delicious beer.  To top it all off, there was even an all you can eat cookout buffet.  Now I didn't find out about this shindig until a couple days before it went down, but as soon as I did I was quick to jump on the opportunity to drink a few good beers for a good cause.  The whole thing was a fund-raiser for an organization called the Gulf Restoration Network.  They've been working to protect and restore the natural habitats of the Gulf of Mexico for 15 years.  I'll drink to that.  And maybe eat a few burgers and hot dogs as well.

The event started in the afternoon, but unfortunately I was unable to get there until late evening, just in time to hear Jackass Flats going through their sound check and grab a couple cheeseburgers.  The music was set up out on the deck, and it was a gorgeous night for it, except for the billows of smoke blowing off the grill straight into the band's faces.  But there was nothing to do but play on.  You can't have a cookout without a little smoke.  By the time I got inside and ordered a beer, I could hear the band starting to play and rushed outside to be met by some phenomenal bluegrass sounds.  I can't truly call Jackass Flats a bluegrass band, and I don't think they would want me to, but I can say that they have built their own sound from a heavy foundation in bluegrass traditions.  The first major difference that I noted was the keys.  If you were to ask someone what instruments they would expect to hear in a bluegrass band, banjo, guitar, fiddle and pedal steel guitar would all be top answers and even drums are not too unusual in more modern bluegrass.  But bluegrass keyboard?  That is indeed a rare occurrence.  But it sounded great.  The keys meshed perfectly with the guitar to make a sound that truly was bluegrass in nature if not in origin.

While I loved the sounds of Jackass Flats, I have to say that I was most excited for the band that was to come on after them.  Regular readers may recall that I love horns, but in case you are not a regular reader I'll just let you in on a little secret: I love horns of all kinds; trumpets, trombones, tubas, sousaphones, and even saxophones (yeah I know they're not technically horns, but cut me some slack they play in the horn section of most bands).  But what I really love is a good New Orleans style jazz horn section.  If you can't see where this is going then your knowledge of the Richmond music scene is sorely lacking.  For those of you that do know, say it with me: No BS! Brass Band.  There's really not much to say about No BS! other than they are one of the most awesome live performances in Richmond.  Ask anyone who has ever heard them play and they will agree with me on this one.  All thirteen members mesh their sounds together in an extremely danceable and funky style with deep roots in New Orleans jazz.  No BS! was an obvious choice for a concert to benefit the Gulf Restoration Network.

All in all the Gulf Give RVA was a tremendous success.  Despite threatening storm clouds all around, the weather held out and made for a lovely night to sit out on the deck overlooking the river and listen to some amazing music for a good cause.

MySpace.com/JackassFlatsBand

MySpace.com/NoBSBrass

By Director and Correspondent: Helen Brown   Sun, Aug 01, 2010

Staunton - Sometimes the most surprising events become the most rewarding when you enjoy something that you least expected.  When a friend of mine suggested I listen to a band called Chatham County Line, and since we share some of the same interests in bluegrass, I anxiously anticipated their performance at the new venue the Mockingbird in Staunton, Virginia.  This happened all within a 24-hour time period, which makes this review surprising, yet memorable because of how much I enjoyed Chatham County Lines’ North Carolina twang infused with rockabilly romance.  The four-piece band was composed of Dare Wilson, (lead vocals, guitar, and harmonica), John Teer, (violin, mandolin, vocals), Chandler Holt, (banjo, backup vocals), and Greg Readling (stand up bass, backup vocals).  The Mockingbird proved to be a very warm and inviting scene for the show, with close viewing and excellent service throughout.  The owner Wade Luhn and manager Kellie Eckert were in charge of hosting the event, and as Luhn introduced Chatham County Line to the stage with their single Chatham County Line microphone, I knew this was going to be a show that I was sure to enjoy.  It was interesting to see how they maneuvered around their single microphone, altering the emphasis of specific sounds and instrumentation at different moments around each other, but still maintaining unity and a tight-knit assembly that echoed striking harmonic and melodic intonations.

This being their first stop on their Wildwood Tour (in honor of their fifth release Wildwood) they began nicely with an enthusiastic fan base by their side equally impressive as the players that graced the stage.  It was a privilege to be privy to their performance as I sat up front and center.  The music filled our ears with buoyant rhythms, and put the audience in extremely high spirits.  I ached to kick my chair back, grab anyone willing, and start dancing the two-step.  There is no mistaking North Carolina bluegrass.  It is unique as it is traditional.  Bluegrass has a way of making you feel alive.  I cannot express the joy I feel when I think of the Appalachians, the bluegrass that has sung for years through its mothering trees, making you want to wrap your lover up in a waltz, and dance through the mountains.  As Chatham County Line opened, dressed in their suits and boots, I felt right at home.  My feet rocked along to the intricate rhythms and vocal synchronization that reverberated throughout the floor.  My mind cleared, and my heart filled while blissfully listening to pretty notes that made me blush and my hair stand up on my arms, which is the effect of instantly liking music that you hear for the first time.

When Chatham County Line emerged, it was just the introduction to their personality as a band. They were clever and upbeat, putting that emotion into their music at every moment, while transferring that energy and enthusiasm to the crowd.  It seemed every song was a reflection of true emotion.  Songs such as "Honeymoon" and "She Waits for Me" were sweet Carolinian lullabies that brought back poignant memories.  The ambiance of these particular songs captures the memory of falling in love that includes everything that is beautiful, hypnotizing, and piercing.  Music such as this results from fine instrumentation and sharp lyricism.  Musicians that pull this off have the power to transfer such intensity of emotion into the music - where music, experience, and emotion bleed together becoming one smooth ride…

It is impossible to review Chatham County Line without speaking of the players that made such music possible.  Dare Wilson’s guitar and two sets of harmonicas were fluid and serene motions that radiated heat.  His teeth-gritting vocals along with John Teer’s vocal skill made a nice arrangement of harmonic substance that was excellent.  John Teer’s higher vocal range echoed throughout the Mockingbird, and in fact sounded like a mockingbird himself… When he started playing the violin, it was almost as if another voice joined the group.  It, along with his heavenly mandolin, added another layer of density that graced our presence.  There were string quartet and gospel accents that highlighted these layers which ricocheted like invisible bullets throughout the audience and settled into the hearts of us all that listened.  Chandler Holt, who played the banjo and John Readling, the bassist, were the two elements within the band that I considered the backbone and the consistent force behind this Chatham County line.  Both Chandler and John were flawless.  Chandler’s banjo rang as if someone was tap dancing upon the instrument, never missing a beat.  As the banjo danced, the violin sang, and the harmonica added an essential spark that Chandler handled with accuracy.  In regards to the internal backbone, John Readling provided taut support and structure found within the core of the performances.  He held tight to the rhythms that stirred like a deep tenor within an opera, gracefully making subtle strides within the underpinning of the beat, much like waves rocking a boat along.

In conclusion, the Chatham County Line was an unexpected surprise I will not forget.  It was as impressive as it was refreshing to listen to music that has continued to surround and inspire me throughout the years.  Chatham County Line was a performance that was a joy on every single level!  No one should miss such a superb act.  They also indulged the audience with three encores that left everyone standing in ovation.  For future i nformation and show listings, please visit ChathamCountyLine.com.  You can visit additional shows at the Mockingbird, as well as observing their “artisan fare and roots music,” located at 123 West Beverley, Staunton, Virginia, 2401.  They have been open since October, and offer an array of fresh ingredients from local farms in the area, as well as offering spirits and the aroma of hospitality.  The music hall is specifically a listening venue, which enhanced our attention to Chatham County Line’s performance and we eagerly await another opportunity to absorb other exciting music at the Mockingbird.  You can find the Mockingbird at Mockingbird123.com.

By   Sun, Aug 01, 2010

Washington, D.C. - It's no secret that many in the hip-hop world have been a bit addled when trying to pin point the direction hip-hop is taking.  The term hip-hop has even become a cliche with dance/techno and pop weaving its way into the mixture like never before.  With fast money being on the brain of so many new artists, the public is left with forgettable one-hit wonders and a lack of longevity.  New hip-hop artists are thrown into the mix and find it difficult to establish themselves with the Gucci Mane and Black Eyed Pea crowd, leaving us with the 24/7 pumping of rubbish from the radio to the clubs.

Newcomer Bobby Capri prefers to encompass his style with the fundamentals of hip-hop by sound, lyrical content and an ear-catching melodic flow, giving Capri the meat and potatoes needed to stand out in the crowd.  Capri, a 26-year-old who calls Waynesboro, Virginia his home, is not new to the game, but at this point in his career is now aggressively seeking exposure and success.  Capri has released two mixtapes along with a compilation of originals called Ray Bans and Cardigans which includes the infectious hit “Bell Hop” and the who's who of Virginia title track, which features Jetnoisecardi and Charlie Streetz.  The originals tracks were concocted by the patriarch of beats Andrew Hypes, also a native of Waynesboro.  Hypes keeps the vision of Capri in mind without losing the freshness from track to track that he consistently delivers.  I had the unique opportunity to tag along with Capri and his team, Heavy Green Entertainment, to do a show review of him at the 19th Street Grill in the financial district in Washington, D.C.  Heavily tatted Capri reclined in his hotel chair and enlightened me on his life and aspirations.

33: Who are some of you major influences?
Bobby Capri: Timberland was my favorite producer.  Jay-Z and Biggie are major influences.  I like to hear metaphors in music.  I prefer more lyrical content.

33: When did you start rapping?
BC: Started when I was 13.  I was a rap fan.  Ya know, I'm not an athlete or anything so creativity was right up my alley.

33: What do you think of the state of hip-hop?
BC: I wish someone would tell me.  Every song is the same song.  No thought into the lyrics - drugs, guns, and jewelery.  Its like there's a formula.  I think its fucked up because they make the process accessible to everyone, anyone can access a computer program or whatever to make beats.  Its hurting the industry.  Everyone is doing it.  No one does albums anymore, and there's no longevity anymore.

33: Do you tend to include politics or social issues?
BC: If I feel it at the moment I'll put it in there.  Nothing is off limits.  I use what's going on as punch lines.  I'm big on shit like that.

33: What's the biggest surprise on your iPod?
BC: The Doors, Queen, Skynyrd.  Garth Brooks.  I don't want to get stuck with the format of what rap's suppose to be.

33: Have you faced any adversity as a white rapper?
BC: Surprisingly not.  I do me, and I'm true to myself.  If anything, it's been in my benefit because of that surprise factor.

33: Do you have any rituals that help you get ready to perform or record?
BC: Shot of Henny to warm up before a performance.  But recording... Sometimes I throw on a beat and if it hits me, it hits me.  I write the shit in my head and then go in the booth and lay it down.  Yeah, I feel it so no need for rituals.

33: If you could perform with one artist who would it be?
BC: Jay-Z.  I wouldn't even say Jay has an energy; he has a presence.  He draws me in.

33: If you could ban one person from the radio, who would it be?
BC: Gucci Mane would be the one.

33: Who is Bobby Capri when he's not in the studio?
BC: Bobby Capri the same.  I'm constantly on my job.

33: Where would you be if you weren't rapping/doing music?
BC: I wouldn't even want to imagine.  That wouldn't happen; I'm too creative.

33: What is your next big performance?
BC: I'm doing shows in NYC, D.C., and Virginia at the moment.

33: So the big question...As a white rapper do you use the “N” word in your raps or feel that's okay?
BC: No, never that.  It's not my place.  You see how some black people got that one white friend they let it slide with, well, I still wouldn't do it.  That's not me.

I must say the performance in D.C. had energy and really reeled in new fans that couldn't resist the heart thumping beats and ever present Capri.  The show had quite a bit of diversity when it came to the tracks played, and with DJ and MC in-sync it was clean and vibrant.  I've had the opportunity of schmoozing with quite a few artist in my day, but only a handful exude the drive and perfection it takes to reach the top, and Capri is one of those.  After the performance in DC Capri went around the club and thanked as many people as possible for coming, passed out his CD, and had shots with old friends and new.  The rap game is hard for many when it comes to balancing an alter ego with reality and trying to maintain normalcy in day to day life.  Carpi gets it - he can be the nervy performer with an empowered sense of self on stage but also can humble himself without ever losing focus.  I admire that, because it's few and far between when it comes to artists in this industry.  What do I see for Bobby Capri in the future?  The sky is the limit, my friend.  I see big things, and I hope to catch up with him for the ride to the top.  If you're still not sold on this dude, check him out September 3rd at Norfolk State University, where he will be accompanying Trina, Wocka Flocka, and others for a hell of a show that I assure you will not disappoint.  Big up to Heavy Green Entertainment for letting me tag along to D.C. and showing me that true hip-hop still exists.

MySpace.com/BobbyCapreezee

By Correspondent: Ryan Mason   Sun, Aug 01, 2010

Hampton Roads - Grooveline 757 starts the day out hot.  With tons of people inside a tiny area like the Farmer's Market, it was known early on that it was going to be sweaty, but that didn’t stop anyone from getting down with the sound and enjoying themselves.  The day was marked with various genres of music, everything from funk to reggae to rap, and in between the day was riddled with talented young singers gracing the mic stands in front of an appreciative audience.  Grooveline is the last band to play, but they tragically only receive a smattering of applause.  By my guess, there will be a lot more by the end of the show.

 They take it in stride, however, taking a minute at the start of their set to get the crowd into the fold with a few spirited shout-outs.  The set bursts energetically with “Fantastic Voyage” of Lakeside fame, a song that helps the crowd  understand just what kind of band Grooveline 757 will be.  It’s full of bounce and funk, an all out tribute to having a good time and enjoying life.  Lavarr and Zachary supplement it with dual keyboards skillfully, while Tony keeps the guitar fast and groovy.  Ben, the bassist, is moving around more than the singers half the time, and you can tell he’s having a good time.  His bass riffs are meticulously played effortlessly, and his highly refined style shines through every riff.  Reggie belts out the main lyrics using his strong singing voice, with Towanda and Dawn providing a bit of soul and clean sound with their own vocal chords, accenting his in perfect harmony.  Rick, the drummer, is the backbone of the entire band.  He keeps them in time with highly precise drumming, and has fun doing it.  As the song fades out to the vocalists soothing the masses, they enchant them into the land of funk.  Needless to say, the response from them is much better now that they know what they are about.

The next song “Window Seat” (of Erykah Badu fame) allows Towanda to take the lead using her well-trained voice.  Erykah Byadu has a very unique voice that’s hard to top, but this singer doesn’t falter in her determination to succeed, and she does a fine job.  Her voice is full of the heart that made the song possible in the first place, and even an untrained ear can tell that it holds some personal meaning to her.  The pianists play soothing riffs the set the tone, while Ben keeps the mood with his bass, slowing it down just a bit to let the song meet his stride.  Towanda’s voice has a visible effect on the crowd, warm, inviting, not lacking in power. This is truly a standout song for the band and shows a deeper side compared to the rest.

Not one to stay serious for too long, Reggie’s trademark charisma shines through as he introduces the next song, as well as showing some love to Dawn.  Her and Reggie take a lead role in the vocals for this song, intertwining their unique voices while Towanda provides backing vocals beautifully.  The band responds in kind, playing fast and funky to the tune of “Boogie Oogie Oogie” by A Taste of Honey.  This one in particular has a lot of fun parts for them, starting with a slow bass before twisting into the fast song we know and love.  Tony has a searing guitar solo in the start, each note planned and practiced to perfection.  Whatever emotions he needs to express, he does so on the fret board.  Dawn emerges as the driving vocalist in the song, showing that Grooveline 757 understands each other’s strengths and weaknesses.  If Reggie or Towanda sung this song, it just wouldn’t be the same because of their natural voices, but Dawn can tackle it gracefully.  The singers encourage Ben, asking the crowd to listen to their bass while he slaps his strings like there’s no tomorrow, followed quickly by another screaming solo from Tony.

Well, it’s time to stop and the heat is truly the antagonist of the day, but as they start to put their instruments away and say their farewells, the crowd screams for an encore.  They respond with the ever famous “Ain’t No Stopping Us Now” of McFadden & Whitehead fame, letting the crowd know that they are slaves to their whims, and if they show them love they’ll respond in kind.  Reggie really gets into a groove on this one, unable to stay still as his powerful voice shakes the Farmer’s Market, everyone able to feel the music through vibrations in the stone floor.  Towanda and Dawn do their steps as they sing, creating a truly complete show and song.  By this point people are up and dancing together, getting faster and funkier with each beat of the song.  The song slows down to give the band a moment to provide some information about who they are…which of course leads to a person by person introduction that allows each one of them to show off their honed skills.  Ben slaps and pops his bass like a madmen, whil e Rick shows some fun drum lines that hint of his true skills.  I can’t wait to hear this band's original tunes.  Once the introductions are done they end the song with that groovy tone the crowd has learned to love, fading out in the end.

33: How did Grooveline come together?
Rick Williams: Actually, Grooveline was first put together by me, Tony, and a guy named Dave.
Anthony Askew: Yeah, I was coming out of the IRS building and Rick called me.  [Laughter from Rick and Tony] I was playing with some other guys and he was like, “Well, what about playing with two bands?”  So I said “Yeah.”  The other band didn’t work out, so I rolled with him.  He put an ad on craigslist and we got the whole band from there, and that was the first installment of Grooveline.  We got some of the members playing in other bands.

33: What are your roots in the local scene?
AA: I’m from Hampton.
RiW: I’m from North Carolina.
Dawn Godfrey: Seven cities, that’s why we’re called Grooveline 757.

33: What is Groovlines motto or statement to the world?
RiW: We’re saying we’re coming to groove you!  That’s why we got groove in our name, we want you to groove when we come in town.

33: Tell us about the upcoming tour slot that you guys got in.
Reggie Williams: The one with me is a world wide tour covering Atlanta, Minneapolis, North Carolina, all the big cities.  It’s in promotion for the album that’s being released by Moiko Records, the name of the album is Keep Your Head Up.  The artist is Reggie Williams featuring Grooveline 757, and we’ll probably be opening up for whoever has the hottest record at that particular time.  We’ll end up being the beginning band for whoever is out on the road at the time.  Once the record company gets it all set up and sends us an itinerary, which would be in the next 30 days, then we’ll be able to give that information to you.
Towanda Hudson: We went up to four of the sons of the Temptations, the Dramatics, not only to open for them but to perform with them.  They’re coming from Detriot.  They’re coming from Toledo to everywhere, and we’re fortunate enough that they know about Grooveline and they want us to be on their tour.  Maybe it will go further than that once we play with them.
ReW: Also, this Monday I will be boarding a flight to Atlanta, and I will be doing an interview at Hot97.  They will be playing the album and I’ll do my interview there, just setting up the hype and start our record into rotation so we can get it playing, and people will be familiar with it before.  We should have some appearances in Atlanta within the next 30 days.

33: What was your most rewarding show you’ve played?
TH: All of them.
AA: Yeah, all of them.  We enjoy them all.
RiW: Yeah, we enjoy them all.
ReW: The one that I think was really nice for us was the one for the city of Newport News, we were able to do that festival.  June 19^th, Juneteenth symbolizes the release of slavery.  That was a good thing for us to do for the community, which all of the young kids and everybody was there to participate, as well as other entertainment factors at that time.

33: How about you guys go through and tell us a little bit about the people behind the music?
ReW: Starting with the drummer, Rick Duane Williams.
RW: I started out playing drums at the age of 14, got into my first band at 15 and pretty much have been playing ever since.  I started out listening to a lot of James Brown, a lot of fat R&B.  That’s my background, I love it.
AA: My father was a guitar player for the Dells and the Persuaders.  He also mentored a guy named David Williams who went on to become Micheal Jackson’s guitar player.  Music was always around the family and around the house, so I picked up it probably around the ninth grade.  When I went to high school I participated in the band and stuff, and by the time I graduated I learned how to play ten instruments.  I went to school for recording engineering in Atlanta, Georgia.  For awhile I used to work as an assistant for Bobby Brown back in his hayday.  Then I worked promotion with a marketing division in Atlanta, then I moved back here to start playing in local bands.
ReW: Ben Stokes, the bass player.
Ben Stokes: I’m just an old country boy from Kentucky.  I’ve been playing bass since I was 14, so…I ain’t gonna tell you how old I am now.  I caught on to Grooveline off of…craiglist. [Everyone laughs] I just had to come over and holler at them.  Pretty square bunch of guys, they work hard.  If they don’t I ain’t gonna be around here long. [Everyone laughs again]
ReW: Zach Bridges, keyboard player extraordinaire jazz man.
Zachary Bridges: Well, I started playing when I was about 13, and most of my playing background is mostly choir, church, that kind of stuff.  I really only started playing out in bands the last couple years around here.  Reggie and I, we’ve done some things together as well as Rick, and even Dawn, Tony, definitely Tony.  They asked me if I could, you know, come aboard so I said, “Well, sure, we’ll see what’s up.”  So here I am.
ReW: Dawn Godfrey, lead and background vocals.
Dawn Godfrey: Hi, I’m just a lifelong lover of music.  I love just about all types of music, my favorite being, of course, R&B.  I grew up overseas so I heard a lot of different artists, but I always have a love for old music, old time music.  So just a lover of singing.
ReW: Towanda Hudson, lead and background vocals.
Towanda Hudson: Well I’ve been singing since I was seven, everywhere.  I’ve had the opportunity to play behind Anita Ward.  I was one of her background vocalists.  I’ve done some gospel, traveled a lot.  Went to New York, did a lot of bistros, open mics, and this is my home and I love it, so I’ve got to bring the soul back to Newport News.  I’ve been doing it for awhile, so I’m not going to stop until they make me stop.
ReW: And we have a professional photographer, Erika Samson.
Erika Samson: I was very blessed to come across this wonderful group of people, two of which I’ve known since my childhood.  That is Towanda and Reggie.  It just so happens that I ran back across them because I was invited to the CD release party, which was May 26.  I didn’t answer the RSVP, I just showed up and surprised both of them.  I have a great love of photography and graphics arts, I have a history of editing from Maryland called the Troubadours Digest.  I was the assistant editor, I did the ad copies, all the logos for people and things like that, so I’ve always had a love for art.  I’ve been blessed with an eye for photography to go beyond just the point and shoot.  My goal is to bring out the character in each member of the group so that we can know what we’re showing the public.  Image is our number one thing, how you go out, you have to be ready and clean cut.  Also I have a history in dance, I’ve taken jazz, tap, ballroom, every kind of dance you name.  I used to be in a performing group, the High Image Dancers on WHRO.  So I have an extensive background in choreography.  So all together, all the experiences, our goal is to bring you the best group possible.
ReW: One member that is not here with us is Lavarr Taylor, keyboard player.  He’s been with Grooveline 757 for about a month now.  He’s one of the hottest keyboard players I’ve had a chance to play with.  I also want to mention the album is available at Moikorecords.com.  Myself, Reggie Williams, I’ve been entertaining and performing for 20 years.  I’ve opened up for Celine Dion at Rupert’s Nightclub in Minneapolis, Minnesota.  I’ve had the pleasure of touring along with a lot of great acts during the time, and landed my first deal in 1989 with the Funk Club, CBS Scotti Brother’s Records.  Scotti Brother’s Records at that particular time was home of groups called Survivor who had a hit single called “Eye of the Tiger,” and James Brown was also on the roster.  We ended that relationship maybe two years later.  Five years after that, I landed a solo deal with Moiko Records, and it’s being promoted and on its way now to being distributed worldwide, and the band that will be playing alongside me is Grooveline 757.
TH: And we rock!

33: So what would you guys say we should expect from you in the future?
TH: Great things.  Great things, records, um…household name.
ReW: Right now we’re playing cover tunes, as a majority of the bands do, but we are soon going to deviate from cover tunes to strictly originals and hope to have an album out in the near future.

If you can’t walk down the street without a little funk in your step, Grooveline 757 is the cure.  They turned an uninterested crowd into dancing fans in just one short segment and will have no problem doing it to you.  Unfortunately, a bit of band drama has torn the band in half.  Ben Stokes, the incredibly energetic bass player, Tony Askew, the amazingly talented guitar player, and Reggie William’s powerful vocal chords are no longer lent to the band.  Never fear, however, because new members will replace them and Grooveline will be back in full force.  If you feel like helping or maybe even auditioning, be sure to contact the remaining band members on Facebook to show them some love.

Tune in to the smooth keyboards of Zachary Bridges, one of the most hardworking men in the business.  He’s currently doing solo gigs and co-producing his very own record with the Nashville producer Eric Copeland.  Check them out at CreativeSoulJazz.com or hit up the Facebook at Facebook.com/CreativeSoulJazz.  Be sure to support Zachary as well, and check him out at ZachBridges.com.

By   Sun, Aug 01, 2010

We recieved this message recently from Collin of the band The Influence, an indie rock band hailing from Hampton Roads:

Hello again guys,

We have one week left on our Kickstarter project.  So far we've raised over $6,000.  For those of you that helped out so far, we can't thank you enough for believing and participating in our success.  If you have the scratch this week, please visit http://kck.st/dCL931 to show your support.  You'll be rewarded with free music, maybe a free dinner, and definitely love and affection.  Help us reach our $10,000 goal.  Take care.

Collin and The Influence

Official Website: theinfluence.com

We thought it important to share this with you, and to show them some 33LOVE!  Break a leg, guys!

--Your friends at Magazine33

"The Influence: Taking the Lead and Being Heard" Magazine33, March 2010

By   Sun, Aug 01, 2010

By   Sun, Aug 01, 2010

Richmond - The distant sound of the soulful voice of Markiss Blowfish singing "Corina, Corina" infiltrates the thick blanket of humidity that has colonized the city.  The smokey aroma of homemade BBQ makes love midair with the sweet smell of flowers and the spicy hints of herbs.  The prickly sounds of gravel being pinched under the multitude of car tires almost drowned out by the sounds of stroller wheels turning, dogs panting, and neighbors greeting.  The air is moist with the sweat from the brows of the hundreds of people who make their way on this Saturday morning for their weekly rendezvous at the South of the James Market at Forrest Hill Park.

Owned and operated by Karen Atkinson, this particular market, located at Forest Hill Ave and 42nd St. on Richmond's Southside, serves as a quaint arena for community members to enjoy music, local food and crafts all while mingling in a vibrant, creatively rich atmosphere that has a vaguely European feel.  While some vendors are set up weekely, other share their space or make bi-monthly appearances.  Whatever the week, marketeers can bank on a healthy variety of food vendors ranging from smoked BBQ to breakfast burritos, from market fave Paal with her sassy selling lines and cabbage spring rolls to die for, to garlic fries and berry baskets - carnivors to vegans alike will be able to find something to snack on while they peruse the market.  Those looking to blow through the extra $20 bill they found in last year's winter coat will only have trouble deciding where to spend it.  The market has a healthy population of local artisans with tables of funky jewelry, hand-dyed clothes, rainbarrels, t-shirts, meats, veggies, flowers, fruit, and the list goes on.  Though some people go to shop, others go for the social aspect. 

Stu Harnsbarger is a weekly regluar at the market selling his homemade rainbarrels.  Harnsberger commented on the market, "My favorite part is being able to talk to everyone.  The people are great and even just being able to talk to the people I sell stuff next to."  There is an evident sense of comradery at this market.  "It's great.  I've learned so much just from the other vendors.  They taught me everything about gardening this year.  I wouldn't have one if it weren't for them."  Harnsbarger's other fave part about the market: Nightbird and James.  Relative newcomers to the market, Nightbird and James have only been playing for about eight weeks but are already a crowd favorite.  Their silky smooth remakes of classics like the Batman theme song and Michael Jackson hits can be found in the heart of the market.  On the outskirts of the market, musician Markiss Blowfish can be seen playing guitar surrounded by his weekly audience in his signature spot to the right of the market entrance.    "I love to eat Saturday morning breakfast with the family and listent to him play," said weekly market goer Sumire Vance.  Those who are not able to listen to Markiss on Saturdays are likely to see him playing in the Shockoe slip on Friday nights.  Blowfish's brand spankin' new CD enititled Come Along With Me is also avaialble for purchase.

Perhaps the best part about the market is not just the people who come in droves to support local vendors, but their canine companions who accompany them.  Completely dog friendly, this market looks like a baby Westminter Show with all types of breeds present.  From the pit-daschund mix sitting next to his owner buying basil to the labradoodle wishing some BBQ would fall off the cart to the black puppy mutt pumped about some jerky he just scarfed down, the market does not fail to impress.  In fact, some vendors such as Dog Town Lounge specialize in raw food and snacks for dogs and cats.  And while you may not see any cats at the market, petowners are welcome to purchase a variety of differnt puppy and kitty snacks to take home from booth owner Mugsy Lunsford.

The market operates from May 1st to December 4th, 8 AM - 12 PM every Saturday.  Be sure to check out TheMarketUmbrella.com for more information about this and other markets run by The Market Umbrella or for contact information to become a vendor.
 

By   Sun, Aug 01, 2010

Roanoke - Many indie-pop music lovers around here are familiar with Shapiro because they played many shows in Roanoke not too long ago.  Nowadays, the band is known as one of Harrisonburg’s most popular acts.  Having been snowed out their last time through, they are playing their second attempt at the Penn Forest Worship Center.  We are all hoping that tonight all the little flurries in the air are just pollen.

After setting up equipment for the show with the two local bands, Twelve O’Clock Knob and the John Barry Conception, half of the members of Shapiro showed up in a white tour van.  Jeremy Teter (vocalist), John Granofsky (drums), and Aaron Parker (special guest guitarist, known for his work with the K-Word, the Silent Press, and many other projects) came in the side door and shook all of the band members’ hands very graciously.  They came in and set up with a little time to hang out before they went on.

I went outside to see what everybody was doing.  Jeremy was just hanging in the passenger’s side of the van by himself at the moment so I asked if it was a good time to ask him a couple questions.

33: Thanks for coming.  How are you doing?
Jeremy Teter: Doing well.  We are booking a summer nationwide tour.  It’s a lot of work but it’s coming together.  Should be fun.  We’ll be out for about a month and a half.

33: Where are you planning on going?
JT: I think we’re going to kick off the tour in North Carolina.  Then, we’re going to go down to Florida on a Southern route.  Then, we’ll go up to Portland and over.  We should hit up Boston before we go back down.

33: Sounds pretty awesome!  When are you aiming to make this happen?
JT: Sometime in June until the last week of July. 

33: Is the show tonight part of a tour or is this a special trip?
JT: We just had two shows planned this weekend.  Special trip. 

33: You guys came from Harrisonburg today, right?
JT: Yeah, we played in West Virginia last night.

33: Where did you play?
JT: Franklin.  It’s a really small town.  Our drummer’s sister was putting on a little festival called Spring Fest.  We played and Nathan’s other band played.  It was a really good time.

33: What is Nathan’s other band?
JT: A band called Song Suns.

[About this time, the rest of Shapiro arrived at the van]

33: Just to get the story straight, what is the band’s background prior to Harrisonburg?
JT: We started in Harrisonburg.  None of us have lived in Roanoke.  We toured with a band from Roanoke, the Silent Press, a long time ago.  Aaron Parker, former member of the Silent Press, is actually filling in for our guitarist tonight.  He’s doing a really bad job. [joking with Aaron as he is getting ready to leave]

33: Do you enjoy playing The Kirk Avenue Music Hall? What other venues in Roanoke do you like?
JT: Yeah, we liked playing there.
CS: [Looking around at bandmates]  Where else did we play before Kirk Avenue?
John Granofsky: I remember the Water Heater [all nod].

33: Are there any least favorite places or maybe just really bad experiences here?
JT: [hesitates] Green Dolphin [everybody laughs].  We played a show there a long while back.  It was just bad.
Nathan Granofsky: We really just weren’t what they were looking for.  They were expecting us to play three hours and when we got there, we just played thirty minutes.  Then they all were like, “Wait.  What are you doing?  Keep playing!”
JG: I just remembered a good show at Hollins College.
JT: Yeah, Hollins was fun!
CS: Alejandro’s at Hollins was great food!  We didn’t play there.  I just liked it.

33: So what venues do you like to play in Harrisonburg?
JT: Venues?  Well, there aren’t many.  I mean, my favorite places to play at home are house parties.
CS: Yeah, Yeah!  I was about to say.
JT: But there aren’t too many of those anymore.

33: So it appears that the MacRock Festival is a big festival for you all.
JG: It is big.  We played four years in a row, but the last two years, we had other things going on.  This year we had shows in New York and Baltimore, and last year we had our album release party two weeks after MacRock so we didn’t want two Harrisonburg shows too close to each other.  MacRock is good.
JT: [to Nathan] Why didn’t you all play MacRock this year?
NG: We were on tour!  There were some pretty ridiculous shows, too!  I had a lot of fun though.

33: Who are the brothers here?
JG: Nathan and I. I know it doesn’t look like it. 

33: Is there any sibling related conflict within the band?
NG: Conflict?
JT: Pssh.  There’s tons of conflict.  You don’t want to talk about that.
JG: There’s pros and cons, you know.  We’re family so we don’t have the fear of taking new paths and playing shows.
NG: We hate each other so much and that hate comes across in our music, which makes it rock more.  It works out.

33: I can definitely feel the hate when I listen to your music.  Jeremy is blood related to you, too, right?
JT: That’s correct… We think.
NG: Jeremy doesn’t have a test tube.  He was born in a test tube. 

33: All of you are blood-related except for Carl Shapiro, which is where the band name derived from.  Where did you find Carl?
JG: We used to skate together.

33: I saw on a link from the Shapiro People website [ShapiroPeople.com] that Shapiro’s Arabic translation means “pretty or good”.  Was that at all intended or just coincidence?
JG: We just like to think that we are pretty good.  But no, we found that out after we named the band Shapiro.

33: What would you say you are influenced by?
NG: Sex.
JG: You don’t have to put that.  Are you talking about music or influences in general?

33: What music influenced you all the most?  I was talking in general or just musically.
NG: In general, you could say clouds and triangles.
JT: I’d say we are all influenced by Spoon and we grew up listening to Newsboys.  We all have individual tastes though.

33: What are some individual influences?
JT: I like Brian Wilson.
JG: That’s the thing.  Some of us have weird tastes like Kings of Leon and Charles Mingus.  We don’t play music like we listen to.
JT: We listen to a bunch of old music.  You can say Christian music because we grew up listening to that.

I had to wrap it up because I needed to start setting up with my band, Twelve O’ Clock Knob.  I said thanks to the band for letting me get an interview, and they were very gracious.  Overall, they were very fun to hang out with and I was very anxious to see them play live.

After seeing them play, I was stunned.  Jeremy’s falsetto, tenor vocals were great layered over his broad piano playing.  Nathan played upbeat, intricate guitar solos in many songs like “L-E-A-V-I-N-G”.  He was so full of energy, jumping high into the air and stomping on the beats.  Towards the end, he took it down when we played his synthesizer, but he kept the energy high.  Carl kept the bass strong the whole time.  Aaron Parker was doing a great job filling in.  I did not hear one off note, and he played both guitar and a moog keyboard!  The best thing that had my attention was their drummer, John.  He was laughing and having a great time.  He put his whole body and facial expressions into his drumming and foreshadowed many crashes and progressions without giving too much.

Shapiro had everybody humming and singing along.  For a Harrisonburg-based band, you would think they were Roanoke local for having so many dedicated fans engaged and singing the lyrics word for word.  They were so laid back, too.  They explained how Aaron was filling in during small tuning breaks, and they made jokes about playing the old school arcade games in the back room.  They played a couple downbeat songs, but they made everybody feel good and had everybody’s attention.  The band was asked to play an encore so they played "Soporific (When I'm With You)".  It was a great ending, especially for those who knew the words.

MySpace.com/shapiro

By   Sun, Aug 01, 2010

Richmond - We are all privileged to be present at GWAR’s fortress in Antarctica for the 25^th anniversary show, but as penance, we must first be forced to watch video footage explaining their past.  In just “ten excruciatingly short minutes,” GWAR: Behind the Murder will explain it all.

As we are learning of GWAR’s crack-filled journey through fame and fortune along with their attempts to return to outer space, Cardinal Syn interrupts with an announcement.  He has created a syn virus to homogenize the universe, ridding it of all immoral and deviant behavior.  “Resistance is futile, as the antidote can only be made using the blood of this baby,” he declares, but the camera cuts to an empty high chair.  “W-w-w-where is the baby! Someone has stolen the syn child!”

We are saved! The scumdogs Sawborg and Bozo Destructo have stolen the syn baby and are heading to GWAR’s fortress on their ship the SS Cripple Killer.

Let the blood-lusting begin!

GWAR takes the stage to the chanting commands of the audience and begins their thrashing barbarian assault with their new song “Metal-Metal Land.”  Mid-song, Sawborg Destructo rages onto the stage battling a syn warrior.  With the help of Oderus Urungus, the syn warrior is ripped limb from limb and the crowd grows ecstatic as they are showered in his blood.  Realizing they now have a scumdog warship parked just outside, GWAR commandeers it and rockets all of us into outerspace.

Now the show is in full swing.  Oderus Urungus shouts like a sex-craved crack addict and Beefcake the Mighty strums his bass with the poise of a Roman warrior.  Balzac the Jaws of Death and Flattus Maximus squeal out riffs with finger-speed no mortal being could possess, while Jizmak Da Gusha beats the drums like they’re a pregnant prostitute needing a cheap abortion.

Sawborg Destructo brings a halt to the madness, and informs our fearless antiheros that a syn warrior has sprayed everyone with the syn virus.  Without the antidote, GWAR is doomed to become a Christian-rock band and we their bland, polite followers.  Sawborg brings forth the guilty syn warrior to exact bloody, gut-spilling revenge.

Momentarily satisfied with the decimation of the syn warrior, GWAR takes us in search of General Zog, long-lost leader of the master scumdog legions.  Zog boards the ship, but he is now a homeless bum, attempting to squeegee faces while panhandling for cigarettes and change.  Annoyed and disgusted by his pathetic descent into destitution, GWAR decides to chop General Zog out of his misery, piece by piece.

After disembowling General Zog, we come across Bozo Destructo and the syn baby floating through space.  Taking the baby onboard attracts the attention of Michael Jackson, who always wanted to be a “celestial molester.”  Oderus and the King of Pop are gang-banging the baby when Oderus becomes curious about Michael’s nose.  He pinches it to see if it’s real and promptly rips Michael’s face clean off.  We in the crowd now have the privilege of washing in the King’s blood.

The metal continued with their brutal new single, “Let Them Slay.”  Then Sawborg returns to the stage and insists we must bring the syn baby back to Earth.  Oderus refuses until Sawborg reminds him that Earth is the only place in the galaxy that they can get crack.  We set course for Earth immediately.

A space battle with syn-warrior ships causes us to crash-land back in Antarctica.  Now it is time to be cured of the syn virus.  Oderus impales the syn baby, and the medicinal blood shoots over the crowd, rinsing us clean of morality.  With thumping bass lines and screaming guitars we mosh ourselves back to our deviant sanity.  But we are not yet safe.  To our dismay, the towering robotic space-pope Cardinal Syn attacks.  Oderus and Sawborg seem no match for the giant, but when joined by fellow scumdog Bonesnapper, Cardinal Syn is dismantled, and the bloody victory is ours.  The victory is bittersweet, however, as the ship has been destroyed, and GWAR are once again trapped on Earth.  Their frustration is played out in the pounding yet melodic title track from their new album Lust in Space.

GWAR retire back stage intending to have a good ol’ crack romp, but Flattus spills all the drugs on the floor.  Realizing they left their giant crack rock on stage, they return and are greeted by Obama.  He wishes to thank them for saving Earth, and presents them with the Presidential Medal of Ass-Kicking Cool Shit.  However, he is the President of the United States, so he must be decapitated.  With his head nearly severed, Obama runs about the stage giving us all a taste of presidential blood as GWAR play “Bring Back the Bomb.”

The encore continues as Oderus rapes and drinks the blood of aborted babies while singing “Have You Seen Me.”  We then move to the finale, fan-favorite “Sick of You.”  More blood ensues.  The few survivors stumble into the warm Richmond night, filled with a new lust...

Gwar.net

MySpace.com/GwarOfficial

By Editor (Managing) and Correspondent: Robin Marschak   Sun, Aug 01, 2010

Richmond - When was the last time you were at a concert and two sword wielding pirates charged the stage only to be fended off by the lead singer?  Thats what you can expect at a Craptain Jack and the Shmees show.  The frontman, known to land lubbers and seamen alike as the Craptain, leads his band of Shmees with an infectious pirate attitude that had me almost convinced there was an actual pirate on stage.  All of the members of the band looked the part from the parrot on drums to the giant skull on bass and even the two regular shmees playing guitar.  There were even a few pirates in the audience, a fact which I took no real note of until one of them leapt to the stage and deftly plucked the Craptain's small sword from his waistband.  He was quickly followed by two more sword wielding pirates and the Craptain barely had time to grab his giant Craptain sized sword from the side of the stage.  But with sword in hand he was able to beat back the advances of his enemies and force them from the stage into the swells of the audience from whence they came.
 

While the Craptain's antics and persona truly dominated the show, there was also some amazing musicianship on display that evening.  I don't know too much about specific subgenres of metal and punk, but the Shmees music fell somewhere in the crossover with maybe a touch of straight hard rock.  Both guitarists played some amazingly face ripping solos, but I was most impressed with the work of the bass player.  I didn't know that the bass could be played as fast and yet accurately as I witnessed him playing, especially on their last song, entitled "Blackfin."  I must also mention the parrot.  I don't know if you've ever seen a parrot playing the drums, but this parrot could really play.  On their song "Rippin a Fot" the bass player broke a string and the parrot showed what he could do on an improvised solo to fill in until the string could be replaced.

Now enough about the music.  Back to the Craptain.  He was, after all, the main attraction.  He not only looked like a pirate, but his movements and banter between songs mimicked exactly what I would expect from a real pirate.   He had just enough of a  drawl to really bring out the graveliness of his voice so that lines like “This ones about me, so I like it a whole lot;” sounded as though they came from vocal chords that had not seen land in years.  This sound combined with his overwhelmingly convincing pirate garb made for a truly swashbuckling night at Strange Matter.

MySpace.com/CraptainJackAndTheShmees

You can even watch the whole show, including the sword fight, right here thanks to Chris L. Childrey:

By Director, Genre Lead, and Editor: Andrew Wolfe   Sun, Aug 01, 2010

Chesapeake - It all started at a show at H20.  I was just checking things out, taking in a Jackmove show, when I happened upon the awesome; a band I hadn’t heard yet.  I was a little unsure what to expect when I heard the opening band was called Feed God Cabbage.  I know that traditionally Jackmove pulls from a diverse pool of music for their openers, and while the band might not exactly be my cup of tea, they are always at least talented.  So I was standing at the bar when it all began.  It caught me off guard, this smooth style that was reminiscent of Sublime and Pepper and the like, but without the drawback of being derivative.  I started getting into it and turned to look at the stage.  That’s when I realized that the drummer was singing, and doing a damn good job of it. 

After the show I ended up spending some time talking to their guitarist Aaron March and the drummer/singer, Dylan Sajbel.  Not only did these guys have a tight groove on stage, but they were nice, down-to-earth cats with a very genuine and easy-going attitude.  So I popped the question: How about an interview?  Well, they had driving to do that night, plus I didn’t have any ready to go questions so I asked them when they would be down this way again.  They said July 9^th, so I dialed it in to the calendar and started research that night with a mellow listening session of the album. 

Well, time flies when you’re groovin’ to some chill tunes and next thing you know, it’s July 9^th.  I met up with the guys at Paradocks in Chesapeake, a nice place with an outside stage on a deck, a perfect atmosphere for a chill summer show.  This time around they had their full lineup of musicians including a second guitarist named Jared.  Their sound caught my attention before, but the second guitar really filled out their sound.  They opened up with “Roller Skates” by Steel Pulse, and they played a couple Sublime tunes, but it was the originals that really caught my attention.  Having had some time to listen to them at my leisure and now having some kind of expectation of what their sound was, I was not disappointed by the show.  They definitely drew the crowd in.  What started as just a couple kids standing around ended with a decent compliment of newly found fans dancing and enjoying their unique blend of music. 

With their time on stage over and the band in need of a place to kick back, it was back to my place for refreshments and the inevitably awesome interview…

(Note from the Wolfe:  Unfortunately I must mention in passing that Seth has departed the band since this interiew.  We’ll call it “artistic differences” and keep it moving.  FGC is currently looking for a new second singer but are still carrying on without for now.)

What a friend we have in cabbage…

33: First I would like everyone to introduce yourself, say who you are, what you do in the band. We'll start in a left to right kind of motion...
Corey Sullivan: Can we not start with Seth, please?
33: And we're gonna start with Seth...
Dylan Sajbel: Dammit!
Seth: I am Seth, better known as “Seech.”  I am the front man of the band.  My job in the band is to sing and to keep the crowd... I'm the middle-man between the band and the crowd.  I make sure that the crowd is having as much fun as we are.  And I also play the tambourine, because I just gotta keep the rhythm going.
Aaron March: Talks to the customer so that the technicians don't have to...
33: “I'm a people person! Dammit! I've got people skills!”
S: My instrument is the people...
CS: My name is Corey.  I play bass.
DS: My name is Dylan Sajbel.  I play drums, and I do vocals.
AM: I'm Aaron March, and I play guitar.
S: He's the riff guy.
AM: I own the van.  I own everything.
S: Your van, your equipment....
Jared: I'm Jared, and I play guitar.

33: I'm gonna preface this next question by saying I actually did read your bios and everything, people are gonna want to know...
CS: What does “Feed God Cabbage” mean?
33: Yeah.
CS: Do you want to know the real story or...
S: We'll tell you two stories and you can pick which one is real.  Feed God Cabbage is a representation of what we aim to deliver.  When you feed god cabbage, what do you do? (pause) You give sustenance to god.  But what is god?  God is everyone...
33: I'm guessing this is the bullshit meaning?
S: We are the feeders, we are the providers, we feed the food to the people.
CS: “Feed God Cabbage” really does mean something, but it's one of those things that you can't explain.  It means something different for everyone else.  Like the way it came up is, I was actually playing disc golf with my brother and his friend, and they had actually come up with it earlier in the day.  It was in a text message or something.  And I did something, and I ended up saying something to my brother, and I was like “Man, what the fuck?” and he was like, “Corey, go feed god cabbage!”
CS: Our music is all about life, and how awesome life is, and that's kind of what Feed God Cabbage means now.  It's how good life is, and how life is short.
S: You gotta feed god cabbage.   You gotta live shit up before it's over.
CS: People tend to think everything is so serious.  I'm not really a religious person anymore, but this world has become so religious that it causes problems.   If people were just kind of relaxed and didn't take things to seriously, then the world would be a better place.
S: Instead of taking shit from god, let's feed him...

Welcome to Dub Rock!

33: Alright, I'm gonna have to dive into this one, it was inevitable, you know it's coming just because of the kind of music that you play.  For a band that only lived its life in it's pure form, Sublime has become a major influence in a lot of newer bands.  How do you guys see it?  Is it like to me, being of an older generation, how I saw the Doors and Hendrix and Joplin...a band that peaked and was gone before my time...what's your take on that?
DS: I think they were the forefathers of our genre. They created a whole new wave that spread like quickfire across America.  Now you go to bars, and you're gonna hear a lot of reggae rock.  Because when people get drunk they want to hear something beachy and rootsy.  We try to put a lot of funk and groove into our music.   I grew up on Sublime; my mom listened to them...probably one of the most influential bands...because they lived so short and became so big.
33: They burned bright as a motherfucker...
CS: And they did it the way you’re supposed to do it.   They did it themselves, and they built themselves up on their own.  And really what won everybody over was the music.  The music was so good...they could put out a CD, and it's not even like they had to go out and promote.  People would hear the CD, and they'd just want to come out and see them.

 I’ve “scene” it all…

33: So the local music scenes can be very tight-knit groups.  You got the punks and the rudeboys and all your little subsets and sects that have come up.  Dub rock has got its own little scene right now, it's started, it's germinated.  Which of the other scenes do you feel like your most a part of that actually accepts you?  Or is there actually a dub rock scene that I haven't seen out there?
S: There is a dub rock scene.  It’s building.
CS: We're right in between...
DS: We can hit two genres at once...
CS: We mix with everything.  Most of the shows we play, the people that we play with are on different sides of the extreme.  They're like really reggae or sort of like punk.
DS: We play with so many genres.  Northern Virginia you got a lot of different people there, and a lot of different bands...a lot of sounds.  And it's so unorganized with the scenes; it's a shit-fest.  So basically you end up playing with bands, punk bands and a reggae band and a fusion band.  All in one show.

33: So what's the scene like in northern Virginia?
S: The thing about northern Virginia is the whole west coast, ya know, as far as Sublime and all that, everything came from the west coast and the east coast is building it's scene but a lot of it is hip-hop, a lot of it is metal, a lot of bands that could be great are either too local to do anything, or they burn out before their time.  Pointed example Duburbia.  They were a great local band, and they burnt out before their time.  Their lead singer died.
(Note from the Wolfe: Duburbia was indeed a great band.  Check out their MySpace page and you can see what we mean by the loss of their singer Jay being particularly tragic.  They truly had potential to do something great.)
S: The scene has hit too many shortcomings to be bigger than it could be now.  And at that point, that's what we're trying to break into.  You've got all these bands like No Dreads, Jackmove...all these bands...punk, rock...they all draw from the same genres, the same influences but there's not enough standing behind them to bring it all together and that's what we aim to do

33: It definitely needs to take, in my opinion a lot more from the punk rock DIY thing...the who do-it-yourself...that's what keeps the punk scene alive no matter what happens... And there's less reliance on the labels now with iTunes.  You can just put a good album together.  You don't need a record label anymore; you can just sell your shit directly to the people.
CS: The best way I could describe NoVa's music scene is by comparing it to somewhere else.  I mean, I come down to Virginia Beach, and whenever we come to Virginia Beach, I always have a great time.  The first time I ever really came down here was actually seeing Duburbia shows and hanging out with Jay and all those guys.  And the scene down here is so much better, I mean people actually like going out to places and hearing live music.  Live music isn't a big part of northern Virginia.  When you go out and play people are like, “I rather go out and listen to top 40 pumpin' boomin on the speakers.”

33: Reading your bio I read something about you started as a high school party band.
CS: I have been throwing parties since I was in high school.  And I started every year like my senior year throwing backyard parties.
DS: We would practice like times a week at least.
CS: I remember the first practice, I walked in, and I saw Dylan on drums, and I started seeing him sing.  I remember the first thing in my head was like, “He's not playing drums after a week.”
DS: Dude, I sucked so bad...
CS: He pulls it off really good.  I was like, “Man, he can actually like kind of do that...”

Stay tuned for next month’s issue for the conclusion of the Feed God Cabbage interview!  Find out what happens when you close your eyes on stage!  Hear the amazing account of the greatest show ever in a church basement!  Shock and awe, all brought to you by the Wolfe and Magazine33.

By   Sun, Aug 01, 2010

Negril, Jamaica - White sand beaches by day and independant reggae recoprding studio by night.  It's a life that most recording artists can only dream of, but for Caribbean reggae artist Abiona, it's a way of life.  Hailing from St. Thomas, Abiona has called Negril, Jamaica, home for the past two years and had already found her niche at Lazene Productions.  With three underground albums already released, Abiona is looking forward to mass distribution and sales when her album drops in the fall 2010.  Her record, as of now yet to be named, is set to have 17 tracks, all written by Abiona herself.  Collaborating with good friends and fellow artists Mo Jo Herb and Princess Tia Shamor, Abiona's album will be a funky, upbeat mix of heart thumping reggae beats with lyrics about life, love, relationships and the Creator.

While she's been singing seriously for the past seven years, Abiona's introduction to music and performing started early.  "My father had a sound system, and I couldn't work it but I was able to sing into the microphone...I was always a performer," states Abiona.  "Whenever my mother was down and needed a laugh, she would come to me.  It was so hard for my dad to [discipline] me because I was always making him laugh."

Although Abiona is focusing most all of her energy on completing her record, she can regularly be seen performing around Negril hotspots such as Rick's Cafe, Negril Escapes, Bourbon Beach, and Roots Bamboo.  When asked what she wants people to take from her music, Abiona responded, "My music will give them stregnth.   All you have to do is ask Jah to guide you along the way."

Be sure to check out Abiona, Mo Jo Herb and all of the other Lazene Productions artists as well as Abiona's album on Facebook and MySpace.  Also, be on the lookout for Abiona's Garden of Jewelry - all hand crafted wooden pieces, currently sold exclusively on the white sand beaches on Negril with plans to be on etsy by the end of this year.

By Director and Correspondent: Helen Brown   Sun, Aug 01, 2010

Charlottesville - What would you do if given the opportunity of a lifetime?  Consider that question for a moment, and try to fathom your reaction if you had the fortune to meet someone whom you considered to be larger than life?  When Michael Ponzini put in a request for Magazine33 to review and photograph the celebrated B.B. King, I was hopeful we might be able to cover him, yet unsure of the outcome.  So when I heard that we would indeed have the chance to review B.B. King at the Pavilion in Charlottesville, Virginia, I did not know what to think or how exactly what to expect.  Although I did not get to meet R iley B. King and ask him the dozens of questions I had prepared, the Magazine33 team got the chance to see B.B. King  perform live, along with a group of his exquisite fellow musicians that included James "Boogaloo" Bolden (MD, trumpet), Stanley Abernathy (trumpet), Walter King (sax), Melvin Jackson (sax), Ernest Vantrease  (keyboards), Tony Coleman (drums), Reggie Richards (bass), and Charlie Dennis (guitar).  This fusion of multitalented artists shows how B.B. King attracts the finest musicians from across the world.  Each band member added their musical expertise with none other than precise perfection.  These artists are as instrumental as the man that continues to give gracious recognition to the many artist he has chosen to perform with over the last sixty years, which include Eric Clapton, Sir Elton John, Randy Travis, Tracy Chapman, George Harrison, and Jeff Beck.  Lukas Nelson and the Promise of the Real opened, a group that included Lukas Nelson (vocals and guitar), Anthony LoGerfo (drums), Tato Melgar (percussion), and Micah Nelson (interpretive art).

They started the night with an ensemble of modern, electric blues and a live performance that was rigorously energetic and captivating.  As Lukas Nelson started playing the electric guitar with his mouth, the Promise of the Real rose to the occasion.  As they echoed originality and hard-hitting chops, the band immediately started pulling the fans to the seats that would begin what would be a memorable night, to put it lightly.  

As B.B. approached the stage around 8:30 PM, I looked above the crowd and placed my eyes directly on B.B. and rarely left him throughout the night.  As he made his way to his seat, he started throwing guitar picks to a direct gathering of adoring fans, and I experienced first hand the flavor that B.B. King can truly claim as his own.  If there were any doubt after that night, I can honestly say there is no one in the world like B. B. King.  He has paved the way for other artists to follow in his footsteps, showcasing his special style by singing from his soulful experience of what he has lived and what he has created as his legacy.  There might have been blues before B.B. King, but no one has relayed the feeling of the blues to others as he has.  He represents a fruitful life, full of music, full of meaning, which is something impossible to mistake.  He is a living legend who has continued to tour approximately 250 shows per year, producing over fifty albums, as well as being awarded 14 Grammy’s.  He is the existential blues man, and at the young age of 84, I am proud to have seen him perform; a chance in my lifetime that I probably will never experience again.

As the first couple of notes blasted from the chords of Lucille’s hollow body, B.B.’s profound vocals resonated throughout the Downtown Mall.  It was as if flooding shivers turned into torrent waves of music mania.  I felt my hair on my arms rise and something in my stomach plummet with exhilaration.

As I heard, “Good evenin, ladies and gentleman,” there was an emphasis placed on “ladies,” which he stated was “one of God’s greatest gifts,” and to which he dedicated the song, "You Are My Sunshine."  As a true woman afficionado gracefully stole the hearts of every woman on the Pavilion’s premises, he oozed polished charm and wit.

Songs he incorporated into his performance included "I Need You So," "Key to the Highway," "One Kind Favor," and he concluded with the a renowned favorite "The Thrill is Gone," which made me jump to my feet, as I could not help but immediately start dancing to the familiar beats that, for me, might as well be comparable to the "Star Spangled Banner."  B.B. King is as intertwined with our nation’s culture as his music that helped define it.  He has come along way from the Mississippi Delta, but has maintained his sense of self, as it is apparent through his humor and stories that he willingly shares to his fan base who believe to be apart of his life as well. His fans are forever loyal.  He has surpassed our wildest dreams, erasing the many lines of young and old, black and white, rich or poor.  His music has reached far corners of the world and influenced numerous styles of music, people, and ideas.  When researching areas of his notable career, I found in an issue of Rolling Stone's Interviews Vol. 2 (copyright 1973), where B.B. King was interviewed by Ralph J. Gleason.  Gleason asked B.B. King, “What do you want to do with your music?  And with your singing?”  B.B. King responded, “Play the best that I can.  Reach as many people as I can, as many countries.  In other words, I’d like the whole world to be able to hear B.B. King sing and play the blues” (February, 1968).  As the world knows now, thirty-two years after that interview, the world is well acquainted with B.B. King and his endeavors to spread humanity throughout the world, using his voice and the help of Lucille to inspire millions.

Recently back from performing in Madrid, Spain, B.B. King performed at Nelson Mandela Day 2010, a free concert in honor of Nelson Mandela’s commitment to human rights.  B.B. has long been giving back to his community in which he has been awarded countless achievement awards.  He has also worked with countless artists to promote musical camaraderie.  Rolling Stone magazine actually considers him the third-greatest guitarist of "The 100 Greatest Guitarists of All-Time."  Across the board, I am unsure of what the world would be like if there were no B.B. King.  He is a staple among us all and will always usher a smile whenever I hear his name. 

For any further information, show listings and tour information please visit BBKing.com.  You can also refer to CharlottesvillePavillion.com for many other upcoming acts.  Lastly, in honor of B.B. King, for millions around the world, the thrill will never be gone from all the fans that absolutely think the world of you and hold you close to their hearts.  We love you, we wish you well, and we will see you down the road...

By Editor-In-Chief and Correspondent: Andrew Lutwin   Sun, Aug 01, 2010

Bartow, WV - This year's edition of Camp Barefoot will be sponsored by yours truly, Magazine33.  The festival will be held at the stunningly beautiful Camp Hidden Meadows in West Virginia from August 19-21.  This year's lineup includes headliners Conspirator, RAQ, the Kyle Hollingsworth Band, EOTO, Particle, Toubab Krewe, Big Gigantic, and the Hackensaw Boys, as well as many local favorites from across the state of Virginia, such as the DJ Williams Projekt, the Silo Effect, Former Champions, Jackass Flats, and the No BS Brass Band.  The festival will feature a Main stage and two side stages, as well as many vendors for arts and crafts and outlets for local artists such as live painting events.  Be sure to stop by the Magazine33 tent to say hello and grab some refreshing, high quality H-two-O.  See you all there!

By Photojournalist: Chris Pecoraro   Sun, Aug 01, 2010

Floyd - Once in a Fandango can you hear so much great music, see such amazing performances, and sample such a variety of fine wines and frothy brews…

Across-the-way Productions holds some wicked festivals off the Blue Ridge Parkway in a little town called Floyd, Virginia.  These festivals comprise of the Vintage Virginia Wine Festival, Floyd Fandango Beer & Wine Festival, FloydFest, and the Virginia Wine Festival.  The festival at hand is the annual Floyd Fandango, falling this year on July 3-4.  This is a festival that holds up its end of the bargain.  Floyd Fandango surprised and impressed me, to say the least.  I figured, being a beer and wine festival, there would be no going wrong.  This holding true, the musical lineup absolutely made it a weekend to remember.

With one tent designated for beer and one tent designated for wine, this festival was prepared to abide by the law of good times.  On the flip side of that coin, I saw no law-breaking festival-goers the entire weekend.  Some of the 16 breweries represented at Fandango included Star Hill, Devil's Backbone Brewing Co., Bluegrass Brewing Co., and Bull & Bones Brewhaus.  My personal favorite was the smooth, thirst-quenching-on-a-hot-day goodness, Wacko, of the Magic Hat Brewing Co.

For the wine connoisseurs, well, they had their bag of candy as well.  It appeared to be wine tasting heaven for sippers, with wineries such as Rockbridge Vineyards, Chateau Morrisette, Kluge Estate Winery, and Villa Appalaccia Winery.  These vineyards and wineries were among many other reputable wine vendors present at Floyd Fandango.  I would give you my favorite pick here, although I could't break free from the gravitational pull of the beer tent.  Maybe next year gravity will shift.

Once slightly sauced, it was time to head to the main stage for some musical performances.  Kicking off the festival was one of my choice picks for the weekend, Dangermuffin.  This bearded trio fills the stage, and festival grounds, with their cool sound.  There music is mellow, and their smooth vocals are easy to listen to.  Their presence is more than welcome with a happy, dancing crowd.  With two guitars, two vocalists, and drums, they demonstrated a strong ability to cohesively and creatively tell a story while entertaining the crowd.  They played certain covers with great fan response from bands like Pink Floyd, in the midst of playing their original tunes from their new album titled Moonscapes.  Dangermuffin is a sure fire crowd pleaser.

Other notable artists playing at the festival included Robert Jospe with John D'Earth & Royce Campbell, DJ Williams Projekt, and Missy Raines & the New Hip, all providing great musical performances.  To finish up the day on the main stage though, was headliner the Sam Bush Band.  Sam definitely did not disappoint the crowd.  His "newgrass" style and electrified chops on the mandolin left the audience wide-eyed and jaw-dropped, hair standing on end.  Awing everyone with their originals, they mixed it up and jammed on, covering legends such as the Grateful Dead with their very own Sam Bush bluegrass guise.  Their set started in the sun and ran through dusk and into the dark.  The whole time, the crowd was jumping and singing along.  The Sam Bush Band plays to a growing crowd and leaves them looking forward to the next show.  What a way to close the main stage for the day.

Leaving Sam Bush, Fandango-ers then meandering down the trail back to their respective tents stumbled upon a rare find indeed.  Dancing amongst the trees were newly amped up fans of a uniquely entertaining band of characters.  Performing strongly there at the Garden Stage was a band by the name of My Dear Disco.  This disco deck of cards holds five aces to be sure.  And believe me, they'll pull aces out of their sleeves one after another.  Their style is one that is fused with disco, house, and techno.  They classify themselves in a genre that they like to call "dancethink."  Their sound is amazingly unique, but their performance as a whole is what makes them stand apart from all the rest.  You'll see a cool cat on the bass, screaming guitar playing abilities, and a vigorous show on the percussions.  The redhead on the synthesizer, sporting a red feathered top hat and a one sleeved sports coat, will surprise your eyes and ears when he belts out his solos from a set of electric bagpipes.  The keys player and vocalist charge up the crowd as she bounces from one side of the stage to the other, hopping over and jumping on top anything in her way, arms raised high in the air.  She'll spontaneously throw her lyrics towards eager eardrums via megaphone which in turn creates a roaring crowd.  These true entertainers are just as visually exciting as they are audibly stimulating.  My Dear Disco keeps the crowd on their dear feet, all night long.  Being a hard act to follow, they did just that the next day to a lazy Sunday afternoon crowd.  I wasn't sure how this slow-moving, heat-stricken crowd would respond.  But these unsuspecting listeners and soon to be fans lit up like fireworks as the band boomed out another awesome performance.  The next time you hear of My Dear Disco coming to a town near you, do yourself a favor, and buy a ticket.

I got a chance to ask the group a few questions. Here is what they had to say:

33: Can you give a little back story on your name, My Dear Disco?
My Dear Disco: The band's origin can be traced back to a group called the Toolbox Trio, which consisted of Tyler Duncan (Irish bagpipes), Aaron Gold (percussion), and a computer.  The computer was eventually replaced by live musicians and the band grew.  Eventually Robert Lester (computer/guitar) and Michellle Chamuel (vocals) joined the band, which was now called Toolbox.  At this point, Toolbox had a much different sound from its trio origins.  In need of a more fitting name to launch the project, the band voted on My Dear Disco - the title track Lester and Chamuel had collaborated on before Chamuel joined the group.

33: Where are you all from?
MDD: As a band we are from Ann Arbor, Michigan.  We met at the University of Michigan School of Music.

33: What are your names and what instruments do you play?
MDD: Tyler Duncan - synthesizer and bagpipes; Robert Lester - guitar, production; Michelle Chamuel - vocals, keys, production; Michael Shea - percussion; and Christian Carpenter - bass.

33: The electric bagpipes are a unique addition to the group and seem to be one of the key elements to your performance.  Can you tell us any history behind this?
MDD: The bagpipes are actually part of the original sound of the group.  Guitar, vocals, and keys are all additions to the project that ended up changing the direction of the band.  Tyler Duncan, multiple world champion bagpiper continues to play pipes in the project, as well as synthesizer.  Each member of My Dear Disco can play a variety of instruments.

33: The Michael Jackson tribute is quite a crowd winner.  He is obviously an influence to the group.  Are there any other influences that you all share?
MDD: Definitely.  The Brazilian Girls, Daft Punk, Justice, Cornelius, and current pop music are a few.

33: You put on an extremely energetic show.  Is it hard for you to consistently pump out this kind of energy?
MDD: It depends.  Sometimes crowds are pumping out great energy, so it makes it so easy to channel it right back.  Other nights are harder, but it's always more rewarding to play a show where we can bring the energy up - even if the crowd is sparse or starts out with low energy.

33: I have to say that after seeing your late night performance, I wasn't sure how your afternoon crowd was going to be able to keep up with you the following day.  But it seems as if they responded with an even greater enthusiasm than the crowd from the night before.  Have you ever had a disappointing day audience following a late night performance?
MDD: Sure.  The energy of a daytime set is different from a night one, so it helps to be sensitive to that and match the performance with the appropriate energy.  However, it's our job to bring the energy up and give the best show we can - not the audience.  So even if a crowd is disappointing, suffering from heatstroke, or is just not interested; what really matters is whether or not we (the band) bring it.

33: Of course everybody has their off days.  So, in this situation, what kind of things do you do, as a cohesive group, to keep your performance as high key as we have witnessed it to be?
MDD: Often at a show, we try to look at each other and vibe off one another.  Being an engaging performer is closely related to being a good actor.  You have to find a reason to believe in your own performance - each person can do that in a different way, whether it's thinking of happy things, focusing on one or two members in the audience that are dancing their butts off, or realizing how lucky we are to be with each other on the stage at that moment.

33: You traveled a long way to make it to Floyd Fandango.  Do you have a story from the road that you would like to share?  Good times?  Bad times?
MDD: The drive into Floyd was beautiful.  We were all sweaty, gross, and groggy.  As we approached the festival, we all perked up and started looking around at the mountains and getting perked up for the show.  Floyd is an awesome festival.

33: I think you made a lot of fans here in Virginia over the 4th of July weekend.  Do you have any plans for coming back in the coming months or years?
MDD: Absolutely.  We're talking to our booking agents about planning a return trip as soon as we can.

There definitely is no going wrong at Floyd Fandango.  Only a good time to be had with great musical performances to be seen and heard; and, of course, a ton of great beer and wine to choose from.  With a wide demographic of festival-goers, including even the family listeners, it was a fun environment for everyone.  The free feeling festival spirit makes you never want to leave.  Next stop, FloydFest!

More information on Floyd Festivals

DangermuffinMusic.com

My Dear Disco - DanceThink.com

SamBush.com

By   Sun, Aug 01, 2010

Waynesboro - The 31st Annual Waynesboro Summer Extravaganza took place July 10-11 at Ridgeview Park in Waynesboro, Virginia.  We choose Saturday to attend, and while it started out cloudy, the sun eventually broke through, a cool breeze blew, and it turned into a great day.  The lifeguards were even on duty at the pool, expecting a good day.  It was a weekend filled with food, music, and crafts of all kinds to buy.   Let’s not forget the rides, face painting, and hair painting (oh my!).  They had pony rides, the bouncy-house ride, and a magician for the kids.  There were children fishing in the creek, as well.

Vendors came from all over the nation to attend the weekend’s events.  Some of the crafts were woodworking, handmade jewelry, artificial flower arrangements, blown-glass items, bird houses, and so much more.  There were several churches in attendance with booths trying to reach out to the youth.  There was a booth for Bark for Life, a dog version of Relay for Life.  They do musical chairs for the doggies, as well as bob for sausages.  The Waynesboro fire department as well as the Army also had booths set up.  Crowd control was maintained by the local police as well as the National Guard.  Spectators are faithful to this event and enjoy coming back every year.  They come from all across the nation to attend.

The music on Saturday was mostly jazz and rock.  The bands that played were Byrdland Jazz Ensemble with Llyn Walker, they played Charlie Chaplin, Doris Day, and many more of the classic artists while also singing in French and Spanish.  The crowd really seemed to enjoy Llyn Walker’s strong voice and electric sound.

Cat Daddy came out and had quite the sound check that in itself was a show to see.  Most of its members graduated from Waynesboro High with the exception of one from Virginia Beach Lincoln High.  This was their first performance, but you would not have known it by the one given.  They played some Jimi Hendrix, Led Zeppelin, as well as some Grand Funk Railroad, and closed with AC/DC.

When the Soul Shakers came up, they had Llyn Walker join them and share her voice with the crowd once more.  This band starts with the blues and mixes in some jazz with the sweet sounds of a saxophone and later slipped in some reggae.  Their sound definitely had the crowd tapping their toes to the beats of this band.  They played songs like Nat King Cole’s “Route 66,” “Midnight Train to Georgia,” “Mustang Sally,” and let’s not forget Bob Marley’s “Stir It Up.”

Sun Dried Opossum performed all their own songs, and they had a rock beat that kept your feet moving and your body swaying, with Clozur coming in for the finale.  It was a nice touch to the end of the day.

We enjoyed our time at this event.  The food was great, we spent some money on some Indian jewelry, and watched all types of people having a great time playing games, listening to music, checking out the antique cars, and just spending time with their family.

 Waynesboro Summer Extravaganza

Story by Debra DeSouza

By   Sun, Aug 01, 2010

Fredericksburg - Hello to all the Magazine33 Gospel Chain Readers!  I am so excited to introduce you to this next artist and his group.  Minister Tyrone Powell is a producer, writer, musician, singer, recording studio owner, minister of music and awesome praise and worship leader!  Tyrone recently formed a new group called Team Judah.  The group is currently auditioning for singers.  Audition information will be at the end of the interview.  I have known Tyrone for a few years, and I receive a blessing every time I watch him and his group perform.  I hope you will seek him out so you can also enjoy their ministry.  Let’s get started!

33: Why Fredericksburg?
TP: We prayed and asked God for direction because our season was changing where we were.  We wanted a place for our families to live and grow.  Fredericksburg is where we are supposed to be.  It is where God wants us to be.

33: What is your inspiration?
TP: The need for a movement comprised of worship leaders from local churches.  We are not just another group of singers.  Most groups have people from all over, doing a lot of things.  We are empowering worship leaders with a mature worship style which includes some of the things that are absent from their current styles.

33: Any goals for 2010?
TP: We want to expose the movement to other areas of the world with people that can push the vision forward.

33: What is one thing you would like Magazine33 readers to know about you?
TP: We are just regular people that are no better than anybody else.  We want to display the love of God for the world to see that we are not like everybody else.  Team Judah wants the world to know that God is not mad at us.  He is for us, not against us.

33: Any encouraging words or advice for newcomers to the Gospel music local circuit?
TP: Be true to who you are, be faithful, and make sure you treat people right.  Don’t try to be what is already out, and don’t be afraid to present your ministry.  Let your style be authentically you, and find people who love and support you.

Thank you for spending a little time reading about another upcoming local group that I am looking forward to hearing.  Tyrone Powell and Team Judah will be out soon so keep an eye out for them.

For more information, contact Tyrone Powell Ministries at 540-907-7206 or email at teamjudah2009@gmail.com.  You can also check out Tyrone’s website for audition times at: TyronePowell.net. 

By   Sun, Aug 01, 2010

Richmond - It’s only proper that I start at the beginning.

Smashing Pumpkins were the love of my life from 1994-2000.  I saved my allowance to buy Mellon Collie and the Infinite Sadness on its release date.  Ditto with Adore, though that purchase also involved sneaking out of my high school and running across the street to the record store in between classes.  I still have the VHS tape I made of all their TV appearances, from music videos to Billy Corgan’s interview on the Regis and Kathy Lee Show, to their performance of "Muzzle" on Late Night with Conan O’Brien, where D’Arcy Wretzky offered the carrot-topped host Twizzlers.

I remember writing a song-by-song review of their boxed set The Aeroplane Flies High complete with star ratings, and spending one weekend listening to "Disarm" on repeat (on cassette tape, no less), figuring out the violin and cello parts by plucking on my violin, then writing the parts on a hand-made staff so that my friends and I could perform a cover of the song at our talent show.

My obsession culminated in the creation of "Pumpkinland," a Smashing Pumpkins-themed, trivia-based board game.  The object of the game, of course, was to procure all the Pumpkins albums, up to Mellon Collie (as the others had yet to be released).  The game had spaces designated as record stores, and the trivia cards were marked with the same question mark-star hybrid as Billy’s outfit in the "Rocket" video.

And yes, there was a five-page rulebook.

My interest in them dwindled a bit with Machina: The Machines of God.  For some reason, the songs seemed less thought-out, too rushed, too dependent on overdrive pedals.  Only "Stand Inside Your Love" and "I of the Mourning" really stuck out as exemplary work, and even those songs paled in comparison to comparable tracks from Mellon Collie and Adore.

When the Pumpkins disbanded and Zwan formed, I was enthusiastic and supportive.  A supergroup including former members of Sea & Cake, Slint and Tortoise?  It seemed too good to be true.  Sadly, the end result wasn’t good at all.  Mary, Star of the Sea, or as I like to call it, "How I Learned to Stop Worrying and Love the Hug," was too slick, too overproduced.  One thing that I had loved about Pumpkins records was that they were less compressed than other albums.  Yes, the lack of compression made them quieter, but it also maintained a warmth and depth lacking in most modern pop music.  Zwan threw that to the wind, and the glistening viscera left behind was too sweet for my palette.

This is not going to be a fair review, and I’m fine with that.

Let’s clear the air.  I know that many people will think that my ambivalence toward the new Pumpkins incarnation has to do with the new lineup.  This is ridiculous for one main reason: Smashing Pumpkins was never a democracy; it was a dictatorship.  It’s well-known that Billy Corgan was and still is the maestro, going so far as to record all the parts, with the exception of drums, on all the records.  James Iha and D’Arcy were members of Billy Corgan backup band number one.

And yes, I wanted them to play older material.  This is only normal, since I came of age during the Golden Age of Smashing Pumpkins.  I have specific emotional connections to some of the lesser-known songs from Siamese Dream and Mellon Collie, and it’s understandable that I would want to see them performed.  I’m only human.  Sue me.

Also, Zeitgeist was released three years ago, and with no new releases since then, it’s all technically "old stuff," thereby making Billy’s entire Pumpkins repertoire fair game.

Really, I’m just avoiding writing this review.  On a basic level, it pains me that I found myself bored during part of the show.  Is it just me, or does every song from Zeitgeist sound the same?  There are only so many power chords, so much overdrive and distortion, with pounding toms that one can take before it sounds derivative.  I found the overproduction, candy-coated slickness of the album to be extremely off-putting, bordering on farcical.

Personally, I always enjoyed the Pumpkins most when they were ripping off My Bloody Valentine and Bauhaus than when they were ripping off Black Sabbath, and it seems like this new Pumpkins era is taking a turn toward the latter, with their set borrowing heavily from Zeitgeist.

One thing that has always struck me about Billy Corgan is his uncanny ability to find female bass players who can’t actually play.  This works for the music, as Corgan doesn’t write especially imaginative bass parts, and I guess it’s nice to have a pretty, expressionless face on stage.  At one point, Corgan and guitarist Jeff Schroeder filled the air with wonderful dissonance.  Bassist Nicole Fiorentino (formerly of Veruca Salt), in the Ultimate of Lame, went to the side of the stage and actually SAT DOWN.  On the floor.  And looked up at Billy.

It’s very rare that I’m overcome with violent urges, but every muscle in my body wanted to pistol whip her with a copy of Bell Hooks and say, "Get a feedback loop pedal and get your ass back up there."

The show did have some exceptional highlights, though.  The audience was treated to a delicious version of "Eye," from the ‘Lost Highway’ soundtrack.  "Bullet With Butterfly Wings" and "Stand Inside Your Love" were also excellent and raw.  And yes, I sang along to "Hummer" at the top of my lungs and was not surprised that I still knew all the words, years later.

They also played a song referred to as "a new one," which was mellow and reminded me of Billy’s appearance on the New Order track "Turn My Way."  I found the "new one" to be a breath of fresh air, in much the same way that I find most New Order songs.

Ultimately, though the most enduring image of the show is of Fiorentino curled up on the floor, cradling her P-bass, with Schoebel and protégé drummer Mike Byrnes staring expectantly at Corgan, waiting for him to twirl his finger over his head, a cue to stop, a sign what to do next.

I’m sure, to some extent, this is how things have always been in Pumpkinland.  At least now it’s in the open.

SmashingPumpkins.com

By   Sun, Aug 01, 2010

Visit the Online Music Store:
CafePress.com/BluesTshirts

Visit Buddy and Hopkins on MySpace:
MySpace.com/BuddyandHopkins

Visit the Buddy and Hopkins website:
BuddyandHopkins.com