By   Wed, Mar 31, 2010

Cover photo: The Riot Before's bassist Cory Manning.  Photo by Megan Wagner.  Cover design by Heather Dance.

By   Thu, Apr 01, 2010

As the rain poured outside, the atmosphere inside City Dogs in Richmond was crowded and relaxed as everyone waited for the three bands playing that night to begin.  Drinks were ordered as friends met up, and the band set up in the front on the small stage.

As the first band, Central Garage, started playing, the group crowded in front of the stage.  The loud music captured everyone's attention and sounded through the bar.  Looking around you could see the people swaying to the music, moving their heads and tapping their feet.  The band is really into it, closing their eyes in concentration and even passion as their hands strummed the beat.  Looking at each other frequently, you could see that they really liked what they were doing.  They interacted with the crowd frequently, and their set of upbeat rock lasted about forty minutes.  As they continued to play, the crowd continued to get larger and more enthusiastic, as the accelerated rock seemed to be what everyone needed to hear.

The second band to play, the Flesh Mountain Boys, were also very good.  And the crowd continued to get larger and push forward as their upbeat songs also grabbed everyones attention.  The multicolored lights swirled around the stage and were easily visible in the darkened room.  The band played passionately through several songs, moving about the stage and taking turns playing solos with their guitars.  Their interaction with the crowd continued to draw them in, soon their was a line at the door.  As the night continued the music became the sole focus of most everyone in the room, even as it grew later the group inside City Dogs continued to focus on the band up front as they took turns playing solos, some even sang along with the songs that they knew.  As the band played you could tell they enjoyed that their fans were singing along, and this encouraged them to play more songs, which was exactly what everyone wanted.

[Editor's Note: Being from Hampton Roads and needing to get home at a somewhat reasonable hour, Erin was forced to leave around 2 AM, we believe. Because of this she missed the third act of the night: The Silo Effect.  Fortunately, Magazine33 covered them back in December, so you can read about them here.]

All in all, the night was extremely fun, and I would recommend the bands to anyone looking for a similar time.  Thanks to City Dogs for hosting yet another memorable and successful showcase.

myspace.com/centralgarage

myspace.com/fleshmountainboys

myspace.com/siloeffect

By Author: Michael King   Thu, Apr 01, 2010

There was a period of time, years ago, where I wanted to listen to music in my 1983 Volvo, but I was at the mercy of my radio's ability to pick up one audible rock station.  The station guaranteed "new music" but kept regurgitating the same music from years prior.  Over time, I developed an unhealthy obsession with bands I couldn't stand.  I made up their genres to entertain myself.  Lumberjack-Rock.  Neanderthal-Pop.  Self-Destructive-Frat-Guy-Rock.  Norwegian-Trucker-Metal.  I even went to the length of buying a popular Canadian band's DVD just to see how painful their live show was.  If only I had tuned into Richmond's local music show, Studio B, with Jay Smack, I would have saved some indie street cred points.  Producing and hosting the show since 1995, Jay has been an active supporter and promoter of local and regional music.  His passion for the local music and community speaks loudly as his labor of love.  I stopped by Studio B to hang out with Jay while he produced one of his shows.

33: How long has Studio B promoted local and regional music?
JS: In total, fifteen years on three different radio stations.

33: What regions does Studio B cover?
JS: Primarily, Richmond and the Mid-Atlantic region.  When the show started, I thought it would be cool to highlight bands who were playing gigs and help artists connect and swap gigs.

33: What fueled your passion to start a local music show?
JS: I'm more of a music guy than a radio guy.  I tried the band thing, but it eventually came to an end.  I wanted to do more and stay near the music.  I wanted to do more in radio, so I married the two passions and created Studio B.  I wanted it to be a safe haven for local artists on the big airwaves; a forum where musicians could submit their music, connect with others, and not be intimidated by mainstream radio.

33: Was proposing a local music show on a mainstream station challenging?  How did Studio B get a time slot?
JS: While working at 104.7 The Buzz, I proposed the idea to the program director.  He was really into it, so it wasn't a much of a challenge.  As the station changed into XL102 and now 102.1 the X, Studio B was welcomed in each time.

33: When you produce a show, how do you determine which artists get on the air?  How influential are listeners in choosing songs for the show?
JS: It often depends on the calendar of shows in the area.  I'll typically play songs from artists who have gigs coming up.  The idea is to showcase the music and promote the gigs so the listeners can see them live if they enjoy what they hear.  As far as influence from the listeners, I rarely hear from them.  Ninety-eight percent of the interaction I have is with artists.  Local artists do all the work.  They make producing a show easy.  There are rare occasions where a band will mobilize many of their friends to call in and make requests.  I've had fifteen requests for the same band in one week.

33: How often does Studio B have live, in-studio performances?
JS: I try to have a couple live performances on the show each month.

33: Speaking of live performances, where do you go to check out local acts?
JS: There are a lot of cool venues.  The Camel, the National, Alley Katz, the Triple, and McCormack's are a few.  Each venue has a unique environment for live music.

33: Which artists, who have gone on in the music industry, had been featured on Studio B before their mainstream success?  Has a local artist from Studio B ever been passed to mainstream airplay?
JS: Lamb of God, Carbon Leaf, Avail, River City High, Strike Anywhere, Denali, White Cross.  Some Richmond bands that have made it to mainstream radio had never been featured on Studio B.  I think some bands feel weird about submitting their music to a local radio show.  I'm not sure if it's a pride thing.  I'm just passionate about providing the forum for local artists, showcasing their music and promoting their gigs.  Everybody is welcome.

33: In your years of hosting Studio B, which local artists have stood out to you?
JS: There are so many great bands.  Tens of thousands!  Breadwinner, the Technical Jed, Kepone, Hex Machine, Horsehead, Mensrea, Duchess of York, Labradford - bands that are uniquely Richmond.  I can't forget Anthony Curtis.  The man is a genius.

33: Which local artists should listeners keep their ears open for?
JS: It's hard to pick just one.  Brainworms, Heks Orkest, Dream Atlantic, Ki: Theory, Cough, Marionette, Transgression, Barnaby Jones, Ada Doom, Lord By Fire, Jonathan Vassar, and one of my favorites, ILAD.

33: In closing, what is the best way to submit music to Studio B?  Do you prefer nifty press kits?
JS: Mailing in a CD or emailing songs in MP3 format are the best ways to submit.  Be sure to include the band's name, song titles, and a little background about the band.  Press kits aren't necessary but they help me get to know more about the band's history, influences, and achievements.

Thanks, Jay!

Tune in to 102.1 the X to catch Studio B on Sundays from 9-10pm.

Submit your music to Studio B:

By mail:
Studio B Local Music
c/o Jay Smack
WRXL-102.1 The X
3245 Basie Road
Richmond, VA 23228

Email: smackstudiob@hotmail.com

For more information, visit www.wrxl.com/pages/studioblocalmusic.html

By Editing Department, Regional Editor and Author: Mary Catherine Gaulding   Thu, Apr 01, 2010

The Velvet Marias know how to throw one hell of a party.  In celebration of the release of their debut album Don't Mind If I Do, they packed the National on February 26 for one of the most enjoyable nights of live music I've had in a long time.  And I do see quite a bit of live music.

Now, the majority of my recent ventures to the National have been in pursuit of live electronica.  It is, after all, my new favorite genre of music.  But I'm damn glad I broke the cycle when I did.  It was a long overdue reunion with my old buddy, country music.  For those of you unfamiliar with the genre, don't bother turning on K95 to find it.  It's a rare moment you'll hear the kind of country I'm talking about on today's radio.  You might as well look in the garbage disposal.  More on that in a second.

I wouldn't dare pigeonhole a band as vibrant as the Velvet Marias into a single genre.  Yes, country may be the style of music that jumps out at you when you listen to their original tunes, but this band is much, much more than that.  Sarah Gleason (vocals), Paul Pearce (guitar and vocals), John Ran Smith (guitar and vocals), Michael Skiffington (bass), and Jorge Santamaria (drums) started off as a cover band and acquired quite the fan following playing shows around town at places such as Poe's Pub, Shenanigans, Grandpa Eddie's, and Hometeam Grill.  Their repertoire ranged from classic country to classic rock to modern rock to R&B covers.  While Smith's vocal chops are ideal for singing country-western music, Gleason brings something a little different to the table.  Her voice is strong, reminiscent of Chrissie Hynde of The Pretenders but substituting the edgy rasp for something more sultry and soulful.  As far as covers go, a crowd favorite always seems to be Janis Joplin's "Me and Bobby McGee."  A Mary Catherine favorite: Radiohead's "Creep" every time.

But now, they've expanded their horizons and have proven to be quite gifted in the arena of songwriting.  Says Gleason, "We're noticing we're getting bigger responses out of the originals than we are the covers." 

She explains that for the most part, the band members' roots are steeped in old country, and the evidence is in the lyrics.  That said, they also grew up on rock, punk, metal, and bluegrass and elements of those genres are infused into the twang sound of their music. 

So, back to the night they packed and rocked The National.  This savvy group had far more tricks up their sleeves than just their own phenomenal performance.  The Velvet Marias put together a showcase of top notch opening acts that could not have been more complimentary of one of another.

The Santamaria Bros. kicked off the night's festivities with a set that was lock stock and barrel full throttle energy, playing originals and some covers that included Radiohead's "Paranoid Android" and for that, I'd like to thank them because if it isn't obvious by now, I love Radiohead.  What was most impressive about that cover was the vocals sounded like a dream...dare I say that I may have even preferred them to Thom Yorke's?  I can say that.  I know what I'm talking about.  I was only on my first and second drinks during their set.  As the opening act, they set the bar high with their original sound, driving Latin jazz/funk, which is impressively full for a trio.  They're busy, precise musicians onstage and have a tendency to wow new audiences.  Their performances at two Magazine33 showcases makes this more of a fact than an opinion.  Just ask the ladies who bartend at the Camel. 

Next up were the Deaves, who followed suite in terms of playing the hell out of their instruments.  From what I understand, it had been several years since this rock band had played together, which is mind blowing due to the quality and tightness of their performance.  Singing and playing guitar was the Velvet Marias' own Paul Pearce whose praises were echoed in the ladies room. 

"I didn't know Paul could rock so hard," one lady gushed. 

"I've never seen him play like that," said another.

The irony in this is that in any Velvet Marias performance, Pearce's vigorous presence onstage could put the Energizer Bunny to shame.  He's awesome.  And he's from Tennessee, so that makes him doubly awesome. 

The Chiggers were the third act to grace the stage, and this is where we can start talking real country music.  If you're a musician or a true lover of music, it's nearly impossible not to have an appreciation for the sounds of old school country.  From the balcony, I watched their set with two friends who play in a rock band that wouldn't touch country music with a ten foot pole.  We were several hours into the night, so remembering now exactly what people were saying to me then gets to be tricky.  But I do recall from both of them, deeply impressed, "Man, listen to that pedal steel."  

Or something like that.

Ah, the pedal steel.  One of the most beautiful sounds you'll hear in country music.  It was also quite effective in their lovely renditions of Chris Issak's "Wicked Game" and the Eagles' "Peaceful Easy Feeling." 

Then came the Bopcats like Santa Claus on Christmas morning.  I say this because they brought me the gift of Ricky Nelson.  This rockabilly band is well-known and loved in the Richmond area and up and down the East Coast.  Apparently I live in a cave, so it was my first experience with them but by God, it won't be my last.  Yes, I have a deep-seated love for old school country.  But I could just as easily say the same for rockabilly, surf music, and rock and roll.  I'm having so much fun at this point, I want to retire my glow sticks, build a time machine, and start over as a teenager in the late 50's.

I'm kidding about the glow sticks.  I might like electronica, but I'm 27 years old, and I don't wield things that glow when I go to the National.  Serious as a heart attack about that time machine, though.

Then came the moment all nine million of us had been waiting for.  (It was packed.  I kept losing people.)  The Velvet Marias took the stage.  And what a good looking sight they were.  Smith, a fashion plate in all white.  Santamaria, festive in his western inspired crushed velvet shirt.  You have to love it.  And Gleason, who forwent the theme attire and came out dressed and looking as beautiful as she sounded.

This wasn't the Velvet Marias first go round at the National, but it was by far their best.  One contributing factor had to be all the positive response to the original songs.  Another, Santamaria explains, is a feeling that they have "grown since the last time we were there.  We've gotten tighter.  We know each other better.  We're more able to handle a large audience."

That large audience loved every moment of it.  The only thing I found disappointing was how quickly time seemed to pass.  One thing is for sure - a large stage is a complement to this band.  They are more than just excellent musicians.  They are entertainers with a knack for showmanship unlike any local band I've encountered.  Even so, a large stage isn't necessary in order to experience this band for all it's worth.

Be sure to check the Velvet Marias' website to find out how to get your copy of Don't Mind If I Do and for upcoming show dates at their regular venues, as well as performances at Gibson's in June and the Hat Factory in April.  You'll have a great time and probably leave with a crush on Sarah Gleason, as well as a new favorite band.

velvetmarias.com

facebook.com/velvetmarias

myspace.com/velvetsrock

By Author: Meredith Ripple   Thu, Apr 01, 2010

I've always been a sucker for a creative band name, it's true. Many times, that's what gets me out to see a band I've never heard before. That's why I couldn't help but laugh when I was at Emilio's and someone asked me,

"What band is this?"

I answered, "They're On Point."

"Well, I mean I know they are, but what's their name?"

It was like the local-band version of "Who's on First?" except I'm not as funny as Abbot or Costello. I try though. I met Brian, Dan and Andre a while back at Cary St. Café, and as soon as they heard about Magazine33, they were excited. Unfortunately, because of my hectic schedule, I had to space out the interview, photos and live show review over the course of several months. We got everything wrapped up and they're playing with even more punch than when I first saw them back in January.

I sat down with the three members of On Point and their former bass player about 20 minutes before their show at Baja Bean. Unfortunately, they have since parted ways with their bass player Nate, and recently promised me they had someone awesome up on deck. Which, even though they were a great act to catch beforehand, makes me even more excited for their next show.

See, On Point brings a terrific energy to their set. Front man Andre Pecht has animating stage presence that motivates the crowd around him, while Brian (guitar and vocals) and Dan (percussion) exhibit a similarly exuberant complementary energy. And that was definitely evident when I caught their show at Emilio's.

They are also a very forward thinking group. They aren't content with simply playing a show here and there, but would love to collaborate with such established Richmond success's as 11^th House. I asked them their recording plans, but since they've moved to a different bassist, I'm reluctant to assume they've remained the same.

Instead, I'll tell you how packed Emilio's was when No Dice opened for them, and when the group took the stage not long after. Not only are their original songs well put together, well written and well executed, but also they play covers in the way that I'd rather listen to On Point play them, instead of listening to the originals.

Another aspect I really enjoy about the group is the range between Andre's voice and Brian's. Both are enjoyable, and the way the group staggers each singer's choice of song really helps you appreciate how talented each is. They both have differing vocal styles, that are at once distinct and memorable. When I re-listen to their songs on line, I can always tell who's singing, and I enjoy every difference.

Now, percussion is not my forte and it's constantly hard for me to critique or even discuss. However, between the three members of On Point, Dan definitely jumps out as a huge contributor. While the guitar work and voices of Andre and Brian build a memorable melody that gets people up and moving (even in 3-inch heels), Dan builds that crucial rhythm that keeps them dancing until last call.

As I said, I haven't been fortunate enough to meet the group's new bassist, but I truly hope he contributes the same energy as the existing members. If this is the truth, On Point and their local (and other) listeners have a lot to look forward too. Until their next show, check them (and their tunes) out on Myspace here: myspace.com/onpointva.

By Editing Department, Editor-In-Chief and Author: Andrew Lutwin   Wed, Mar 31, 2010

"We have given chase to regretless days,
disregarding what we lack.
If it takes a million miles we'll find the time, we'll get that gas.
There are moments I doubt it we'll ever make it back.
There are times when I don't question that."

-The Riot Before ("We Are Wild Stallions")

It's only the second show of the tour, and already the harsh reality of life on the road is sinking in.  "I can already smell myself," states Brett Adams - singer, guitarist, and songwriter for Richmond-based punk band the Riot Before.  But these boys are no strangers to the road.  Since the band's inception around 2003, touring has been their primary means of promotion, having played well over 300 shows in their lifespan.  "I'm not good at internet promotion," says Brett.  "It downplays earnestness to sell oneself online."  And that largely sums up the band's ethos - to play with the utmost sincerity and, as a result, be taken seriously by whoever happens to stumble across their music.  And on this first leg of the tour opening for unsung heroes of the 90s punk scene Leatherface, they will have ample opportunity to prove themselves to a new audience.

The Riot Before technically came into existence with the 2005 EP Horseshoes and Hand Grenades, but it was not until Brett relocated to Richmond from California that same year that the band was fully formed.  Brett recruited Cory Manning (bass), Freddy Clark (drums), and Garrett Berneche (lead guitar), and started booking shows, playing about 150 over the course of the following year.  One EP (So Long the Lighthouse), one broken tour van, and several tours later found the band down one guitar player with a recording session fast approaching.  Jon Greeley was enlisted on lead guitar, and the Riot Before was solidified as we know it today.

This lineup modification turned out to be a blessing in disguise, as Jon's guitar work on 2008's Fists Buried in Pockets stands out as a potent weapon in the band's repertoire. It's refreshing to hear a punk band treat the lead guitar as a distinct instrument and not simply a complement to a trio of power chords, and his tastefully subtle lines on "We Are Wild Stallions" and "Capillaries" gives the group a solid leg up on their one-dimensional peers. Imagine a tamer, slightly more sober version of Bob Stinson (minus about 100 pounds - you could probably fit two or three Jons in one pair of Stinson's pants).

While the band has no pretense regarding their originality (or lack thereof, stating that their influences "will be worn on our sleeves"), it is their potential versatility that will set them apart.  "Words Written Over Coffee" provides an example of what the future may hold, as Brett has crafted one of the better genre-bending punk songs in recent memory, featuring a simple yet effective harmonica line that drifts over an alt-country shuffle.  While the average punk band would fail miserably at this sort of leap, the Riot Before succeeds, because no matter what shape their style happens to take, their lack of posturing keeps it grounded in the earnestness they are dedicated to delivering.

The Riot Before recently recorded their follow-up to Fists in Baltimore at Magpie Studios under the wisdom and production of J. Robbins (Jawbox, Burning Airlines).  The finished product, Rebellion, is due out on April 27.  In considering the nature of this session in relation to previous recording experiences, Jon states simply, "It was awesome."  Brett continues, "It was great to have the luxury of a trusted opinion with J.  It was also our first time recording out of town."  Cory elaborates, "We were out of town, we had no day jobs to go to, so it was kind of do or die.  This is what we are here to do so let's do it."

On this particular evening at the Canal Club, they do not have to concern themselves much with winning over their hometown crowd, as many audience members can be seen singing right along with Brett.  That's not to say that they didn't convert anyone new; both my drunk, country music-loving friend and my esteemed photographer were rightfully impressed.  New songs from Rebellion such as "A Good Sense of Style" and "The Oregon Trail" display tremendous growth, and the confidence with which they were performed can only be the result of relentless touring that gives them a sound weathered beyond their years.  They close the set with a rousing version of "Capillaries," a favorite among band and audience members alike.

One cannot help but root for a band with this type of work ethic. They create a fan base the old-fashioned way - not through Facebook networking, but through persistent touring and simply getting out there to match a face to the sound.  "The advantage of our touring schedule is that you simply become a better band.  The disadvantage is that you run the risk of burning out," says Brett.  "We know when we need a break," adds Cory.  One can only hope that no break is required any time soon, as their momentum builds with each subsequent show, and with the release of Rebellion, their persistence could pay off quite handsomely.

You can find them online at myspace.com/theriotbefore.

Read Brett's tour blog at theriotbefore.com

By Editing Department, Regional Editor and Author: Robin Marschak   Wed, Mar 31, 2010

This article very nearly failed to exist.  The weather did not seem to favor us in the endeavor as the concert was twice rescheduled due to snow from its original date of January 30 before finally taking place on March 7.  However, when the day of the show did come, the weather was gorgeous.  It was a lazy Sunday afternoon, the kind that's best spent listening to live music.  To be honest, I think all days are best spent listening to live music, but this one particularly so.  The show was put on by the Richmond Folk Music Society as part of their yearly concert series showcasing traditional folk music.  The series takes place at Congregation Or Ami on Richmond's Southside.  It was the perfect environment for this particular show.  One whole wall of the room was a giant window looking out on a beautiful little pond with some trees around it, giving the feeling that we were sitting out on the porch.  Which is the perfect environment for some good old-time fiddle music.

And we were in for some exceptionally good fiddlin'. If you are a fan of fiddle, as I am, and have not heard of Mark Campbell, you're really missing out.  He's won all sorts of fiddle competitions including Clifftop, the Virginia State Fair, and the West Virginia State Folk Festival, but he's not just good at fiddle. He has won the West Virginia State Folk Festival's banjo competition as well.  To top that, in 2008 the Virginia Foundation for the Humanities named him a master fiddler.  It's not often that you meet a true master of a particular art form, and even rarer when that art form is one of your favorites.  Old time fiddle does just happen to be one of my favorite forms of music, so you can imagine how much I was looking forward to this show.

On this particular occasion Mark was playing with his wife, Marty Gravett, and two daughters, Mauren and Molly Campbell, also known as the Campbell Family Band.  Coming into the afternoon, I had no real expectations about the band, but I was pleasantly surprised, not only by the individual musical talents of Mark's family, but by the cohesiveness with which the band played.  In retrospect I feel that this cohesiveness makes a good deal of sense.  They are, after all, a family band.  With the lovely view of the pond out the glass wall, it really did feel like we had been invited out to the Campbell family back porch for an afternoon of pickin' and bowin'.

I've already mentioned the many accolades that Mark has won over the years, so it hardly needs telling that he was the star of the show.  But his playing talents weren't the only thing he brought to the performance.  He is a veritable encyclopedia of information about old-time music from Virginia, West Virginia, North Carolina, and Kentucky.  The band played songs in sets of two or three, and before each set Mark would tell the story behind each of the tunes, or at least a story about the band to which the tune was attributed.  My favorite of these was a story about Edden Hammons of West Virginia who, while in jail for "revenuing," as Mark puts it, was offered five bucks by another inmate to escape.  The thought being that he would be caught, have time added to his sentence, and the jail would have a fiddler on hand well into the future.

Mark wasn't the only Campbell showcasing a good deal of talent.   Both of his daughters are fine musicians.   Molly can pick the banjo almost as well as her father, which is saying a lot.  And Mauren has the perfect voice for the style of music they were playing: very light and fair, but with a slight twang.  Marty also was in fine form, playing the churchbass, a cello played as a standup bass.  In addition to the family, the band was also joined on some songs by Jan Williamson on washtub bass and Glenn Amy replacing Marty on churchbass while she clogged.

This show was everything that I had hoped it would be, and proved my theory that live music is the best possible way to spend a Sunday afternoon.  So get out there and check out Mark Campbell, the Campbell Family Band, and the Richmond Folk Music Society.  You won't regret the drive down to the southside.

richmondfolkmusic.com

markcampbelloldtimefiddle.com

By Editing Department, Regional Editor and Author: Robin Marschak   Thu, Apr 01, 2010

Before beginning this article I feel obliged to inform you that it borders on blatant promotion for the band.  I typically write favorable reviews, but this is because I have been fortunate enough to be working with a music scene that features a plethora of extremely talented bands.  With that being said, this review is even more favorable than usual, and for good reason.  It is my opinion that the Honky Tonk Experience are, if not the best, then one of the best country bands playing in Richmond currently.  I began the venture of covering them with that opinion already in place, and when I saw them for the article I was not disappointed in the least.

The Honky Tonk Experience is not like any other band I've covered.  For starters, they don't play any original songs.  They only play tried and true classic country masterpieces.  Their setlist reads like a catalogue of the greatest country songs ever written - "Momma Tried," "You're Cheatin' Heart," "Folsom Prison Blues"...So why, you might ask, is yours truly covering a cover band?  That is a complicated question to answer, but the gist is that they are quite literally the best cover band I have ever seen.  The complications arise when you try to pinpoint why this is.    They're not the type of cover band that sounds exactly like the original.  On the other hand, they're not the type that puts their own spin on the songs they cover.  There's just something slightly off in the way they play their songs.  If you aren't paying especially close attention you might think that each number was performed by the original band, but as soon as you start listening carefully it's obvious that it wasn't.  They don't try to mimic the original version of the song.  In fact they don't seem to try to do anything with a song other than have fun playing it.

The key to why I like this band very much resembles the reason why I like country music in general, and it can be summed up in one word: simplicity.  It might not seem like that big of a deal, but as any fan of real country will tell you it's the heart and soul of the genre.  Country music is supposed to be straight forward, uncomplicated.  It's ruined when it's overthought, and so many bands today do exactly that, whether with their own songs or old standards.  The problem is that the beauty of a country girl lies in her simplicity.  It disappears when you try to dress her up, and the same is true for country music.  It's meant to be played in barns and honkytonks.

You can tell from the name that the Honky Tonk Experience know this.  They are dedicated fans of great country music.  They understand what makes country music great.  The songs they play aren't their own, but they may as well be.  As parts of country canon, they are not one band's songs.  They belong to all true fans of country music.  Of course with such great songs it's hard to mess things up.  With the same set-list even a mediocre band could get a good crowd response.  What makes this band special is that it's obvious that this sort of crowd pandering is not what they are doing.  They play these songs because they love them and they want to share that love with anyone who will listen.  This authenticity is readily apparent the minute they start playing, even to someone with no prior interest in country music.  Several audience members told me they had never even considered listening to country before hearing the Experience.  Taken in this light it is easier to understand why they only play old classics.  So many people nowadays, even among country music fans, have no exposure to some of the musicians that made the genre great in the first place, and the Honky Tonk Experience are doing a great service to the community by keeping this music in the environment where it was meant to be, not just on records and in music archives.

In all honesty it just feels wrong to call the Honky Tonk Experience a cover band.  They aren't.  They're more of a tribute band.  A tribute, not to any one other band, but to what country music should have been.  It's just that simple.

Find them on the web at honkytonkexperience.com.

By Editing Department, Editor-In-Chief and Author: Andrew Lutwin   Thu, Apr 01, 2010

Punk rock icon, writer, actor, and spoken word performer Henry Rollins paid a visit to the National on his seemingly endless string of spoken word dates.  A self-described troublemaker in the vein of Thomas Jefferson and Joe Strummer, Rollins regaled a packed house with nearly three hours of stories, observations and commentary without so much as taking a breath, nevermind even a sip of water.  His vast array of material covered the new Michelle Obama wax statue, working on the set of Sons of Anarchy, giving a commencement speech for a California university, visiting a Saudi Arabian palace, introducing a young Sri Lankan to Fun House, and being a judge on RuPaul's drag show, not to mention having Thanksgiving dinner with William Shatner.  Somehow, it all fit together, and even more amazingly, never lost your attention, not even for a second.  Henry took some time from his masochistically busy schedule to exchange a few emails, and for that we are all very grateful.

33: Do you still maintain contact with the West Memphis Three?  How has your involvement in their cause affected the course of their legal proceedings?  Is it difficult to remain hopeful given how much of a struggle it has already been?  Do you envision even a quasi-happy ending for those guys?
HR: I keep in touch with Damien.  I don't know if anything I did has affected their cause.  I know that we were able to give them a lot of money that was used for their DNA research.  I remain hopeful, as I believe in their innocence.  I think that they will eventually be released.

33: What factors influenced your decision to leave music behind to focus on spoken word and acting?  What makes those mediums of performance preferable to leading a band on stage?  At this point in your career, do you have any interest in fronting a touring band again?
HR: I don't want to go out and play old music to a small audience.  There's nothing wrong with it, but it's a bell I have rung very hard and very often and I don't see what good could come of more of it.  The talking shows correspond more with how I live these days.  I am able to go out into the world, see things, and then bring back the stories to the stage.

33: Who were some of your favorite guests/interviews that you had on the Henry Rollins Show?
HR: Gore Vidal, Werner Herzog.  Interviewing them was a blast.

33: Was your role in Sons of Anarchy influenced by previous personal experiences that you had in dealing with skinheads at hardcore shows?
HR: Not really.  It was just a character.  The guy was very emotion free so it was easy to figure him out.

33: In your television career, have you developed a preference between scripted roles (likes Sons) or interview-based, non-acting duties (like the HRS)?
HR: It's work and I'll take it.  That's about it for me.  I am happy to do either and grateful for the work.

33: When speaking to U.S. troops in the Middle East, were you ever censored by the military's higher-ups?  How did you strike a balance between your overwhelming support of the soldiers and your blatant aversion to our country's (previous) administration and foreign policies?
HR: I have never been censored by the military, but when in a place like a base, I don't bring up political issues.  It's tough enough in these places.  There's no balance to be struck.  I like the soldiers, not the war.  Soldiers don't start war - they only fight them.

33: Have you witnessed any significant change in morale in the Middle East that would be a result of our change in administration in the U.S.?
HR: I have not spent enough time in the Middle East post-Bush.  I have only been in Jordan and Saudi Arabia recently.  I don't know how much things will change.  I think the president's speech in Cairo was a good thing.

33: Have you had the good fortune of meeting your political soulmate Ann Coulter face-to-face?  If so, did sparks fly?
HR: No.  I have never met her.

33: Are you planning any future trips overseas to entertain the troops at this time?
HR: Nothing is planned.

33: Given your extensive travels, is there any country that stands out as having consistently good (or bad) audiences?  If you had to choose a country outside the U.S. to relocate to, which would you choose?
HR: I can't think of a consistently bad audience anywhere.  I am lucky in that respect.  I have a great audience.  I would perhaps move to England.

33: Do you ever face resistance from countries or regions that you are scheduled to perform in?
HR: America.

33: Are there any other spoken word (or even comedic) performers that you find particularly inspiring or influential to your own craft?
HR: No.  I am a fan of comedians but get no influence from them.

33: How has your approach to writing changed or evolved since your earlier works like High Adventures in the Great Outdoors and Pissing in the Gene Pool?
HR: It has gotten flatter and more journalistic.

33: What has been your most recent soundtrack of choice for traveling on this tour?
HR: I listen to a lot of different stuff on tour.  As far as a single new album, the new Slayer album is really good.

Check out henryrollins.com.

By Author: Meredith Ripple   Thu, Apr 01, 2010

The first time I heard Aquafuture was entirely by accident. Seriously. I had gone to Emilio's to check out Silo Effect and Aqufuture was opening for them. In fact, the flyer is still hanging at my desk at work after so many months, the show was that good. All I knew about Aquafuture from that flyer was that they used to be called Robert von Rhombus. Which is kinda funny because at one point a few months ago I told someone I was going to an Aquafuture show, and they said,

"Ohhh you mean RVR?"

"No.  Aquafuture."

"RVR?"

And I guess the funny part about that is the fact that naming was a big theme when I talked to these guys before their show at City Dogs.  Identity.  What your name says about you, and why bands sometimes flip-flop names.

Don't let me mince words, though.  Evan (keys), Nathan (sax), Randy (percussion) and Adam (bass) supremely transcend the "let's change names" style of band.  In fact, I most definitely respect their reasoning behind the name change.  While talking to them at City Dogs, I asked,

"Why the change? Robert von Rhombus seems like a fine name."

Randy gave me the best answer.  The fact that having your name turned into a tossed-around acronym wasn't what he was searching for in terms of band identity.  The letters R-V-R didn't really mean anything as a whole to this dynamic group, and when you hear them play, it's more than obvious that a distinct identity is a big part of their culture.

And Magazine33 is all about culture.  We want the story of a band, what's really behind them, their honest identity.  Not just what venue they played last week, but how their music speaks to our audience.  And Aquafuture really exemplifies that attitude of accessibility.  I asked them the one thing they'd want their fans to know (my trademark question), and the first thing I heard was:

"All our music is available for download."

Which is a huge thing for me.  I love when bands allow their music to be accessible.  I'm so more likely to follow them and have faith in their creations if I can listen to them for more than a 30-second iTunes clip.  So Randy, Evan, Adam and Nathan have done a great job of waltzing into this writer's heart, even before they started playing.

What they discussed with me about their identity is so wonderfully reflected in the way they play as well.  Their set-up is unusually and originally perfect, and you guys know I'm a sucker for brass in a jam band.  Especially the sax.  Brass and such aside, this is a local band that's dedicated to developing a vibrant and thriving identity while supporting Richmond's extraordinary and colorful music scene.

I asked the group how they ended up together.  And Evan Howard did a great job of breaking it down for me.  Two bands.  Shared practice space.

Competitive and maybe friendly rivalry?

Catfights?

No.  RVR and soon to be Aquafuture.  Collaboration that really reinforces the community attitude that Evan, Adam, Nathan and Randy really seem to support through their effort of shared music and accessible shows.  And it fits.  They have a chemistry on stage rare in many bands.  I noticed it at Emilio's at the Silo Effect show and was fortunate enough to get a recap at City Dogs in March.

So let's talk about their music.  As the name Aquafuture implies, they have a jam-based, nearly futuristic, psychedelic aspect that could nearly let you float away and lose yourself.  And good lord, this is where I love the brass.  Nothing brings me back to earth in the best way than a well-played sax.  It's an amalgamation of soul and beautiful electronics.  It's the desire to lose yourself in the notes, and welcoming rush accompanied by the earthy blast of the sax.

As I said, identity and culture are important to Magazine33, as well as to Aquafuture.  We're asked to find a story behind a band.  To learn and discover their culture.  I don't always know if I succeed, but I do know that a band like the one created by Evan, Randy, Adam and Nathan is one that continues to develop a culture over time.  So their identity may change, but even if it does that's okay.  Because we, as their dedicated audience, know that they are dedicated to our enjoyment and our energy in front of them on stage, and our appreciation of their artistic endeavors is what really matters here.

Find them online at slammercentral.com/aquafuture.