By   Mon, Feb 01, 2010

Cover credits:

From left to right:

DJ Williams of The DJ Williams Projekt at The National.  Photo by Megan Wagner, Richmond.

A Good Natured Riot, at BotB.  Photo by Megan Wagner, Richmond.

Nude Photos of Celebrities at First Friday, Gallery 5.  Photo by Kimie James, Richmond.

Josh Rogan at Millers.  Photo by Michael Ponzini, Charlottesville.

Illville.  Photo by Chris Pecoraro, Charlottesville.

Julia Dooley of Blue Line Highway at Rapunzels.  Photo by Michael Ponzini.

A Good Natured Riot at BotB.  Photo by Megan Wagner, Richmond.

Mike Doyle, Drummer for Raw Dawg.  Photo by Michael Ponzini, Charlottesville.

Illville.  Photo by Chris Pecoraro, Charlottesville.

J O'Ferrell Band at BotB.  Photo by Megan Wagner, Richmond.

Ben Cokeley interviews The Dreamscapes Project.  Photo by Ryan Barsanti, Fredericksburg.

Buck Wilson Jr.  Photo by Ryan Barsanti, Fredericksburg.

Ben Guy of The Dreamscapes Projects.  Photo by Ryan Barsanti, Fredericksburg.

Overall cover design by Heather Mullican.

By   Mon, Feb 01, 2010

A heads up from Fundamental:

REACH FOR YOUR GOALS TALENT SHOWCASE 2010 MARCH 27TH TROPICAL SOUL CAFE 314 NORTH 2ND STREET 4PM-7PM $25 REGISTRATION, $75 TO BE FEATURED AND RECEIVE PROMO PACKAGE
$5 FOR REGULAR ADMISSION

THIS IS AN EVENT FOR UP AND COMING ARTISTS IN THE DMV AREA. BASICALLY YOU PAY $25 TO ENTER, YOU GET A 6 MINUTE SLOT. THERE WILL BE 20 CONTESTANTS. THE EVENT WILL BE HELD AT TROPICAL SOUL CAFE ON MARCH 27TH.

PRIZES: $150 CASH PRIZE, 2 WEEK MYSPACE PROMO*5000 HITS A DAY, 2 SLOTS ON PREMIER SHOWCASES IN THE CITY, 2 FREE BEATS ACCORDING TO YOUR GENRE OF MUSIC, 4 FREE HOURS OF STUDIO TIME, A FREE MIX/MASTERED SONG, 2 INTERVIEWS ON AM/BLOG TALK RADIO STATION, 2 MIXTAPE SLOTS.

FOR REGISTRATION, EMAIL TRACKS/MP3 TO FUNDAISHIPHOP@HOTMAIL.COM
MYSPACE.COM/3RDEYEUP
(804) 433-7598

By Editing Department, Regional Editor and Author: Robin Marschak   Mon, Feb 01, 2010

Richmond - Picture a clear night with temperatures in the mid to high teens.  Now picture a lone, bearded man trudging over a mile through downtown Richmond, quietly muttering to himself.  That would be me on my way to see the DJ Williams Projekt at the National.  Don't worry - I have an excuse to be talking to myself.  Actually, I don't, but holding a voice recorder up to your mouth sure makes it look like it.  Other than the cold, and a few strange looks, the hike went well, and I arrived in plenty of time to sit around and be bored while waiting for the opening band.  On the plus side, it was plenty warm inside.

After meeting up with my photographer and dealing with some confusion with security over where we were allowed to shoot photos, we settled in on the balcony.  As the opening band stepped out, I noticed that from my vantage point I could easily see most of the dancefloor and all of the stage.  I was positioned perfectly to both judge the music for myself and judge the crowd's reaction.  The opener was Beast Wellington, a local band who can be found every Wednesday night at Bogart's.  I would highly recommend checking these guys out, but we mustn't be sidetracked.  This night was the release party for Eleven, the DJ Williams Projekt's latest album.  No matter how good the opener and their funky stylings were, this article will be about the main event.

Once the festive atmosphere had been appropriately set, it was time for the big kahuna, the man himself, DJ Williams to take the stage along with the rest of his Projekt.  There is no understating the cohesion of this group in understanding why they are so good.  Each member brings very distinct elements that blend together into the amalgam that is the DJ Williams Projekt.  It's not just musicianship either.  They bring an energy to the stage that feeds and feeds off the energy of the audience.  The National is one of the bigger venues that they have played, but that didn't phase them at all.  They constantly kept the audience involved in the music and made it clear that this was not just another concert.  This was a party.

I'm a sucker for a good horn section, and this one, though small, was phenomenal.  Gordon Jones on saxophone and Mark Ingraham on trumpet were somehow able to give DJ the effect of having a full brass band backing him.  Not only did they add a horn sound reminiscent of early Tower of Power, but Gordon was the real key to the Projekt's intense stage presence.  Jumping around from his mic to the edge of the stage, he was the member that really solidified the bands connection with the audience.  Of course, no band of such complex musical stylings can survive long without an excellent rhythm section, and the Projekt is no exception.  Dusty Simmons on drums and Todd Herrington on bass truly kept the band afloat, with help from time to time from the horn section.

It goes without saying that the true star of the show was DJ Williams.  He is a true genius on guitar, seamlessly transitioning between and blending many diverse styles of playing, from jazz to rock and blues to soul and funk.  It was clear from his playing that he has been influenced by a multitude of different artists.  He told me that one of the formative moments in his understanding of music came when he first heard James Brown, and there are definitely strong bonds between his sound and that of the Godfather of Soul.  But it was clear to me on hearing his music that he truly lives by the message that he conveyed to me in our interview: "If you can't see outside of your little box of whatever you think is hip, then you need to check your ears."  It would seem that nothing is outside of this man's "box," a truly admirable trait, not to mention a rare one.

Keep the name DJ Williams in your head.  You will be hearing it again, I'm sure of that, if only for the quality of the music he is creating.  But what is truly amazing about this man is his outlook on life.  It was clear to me from our interview, he is that oh-so-rare breed of musician who truly understands what he is doing.  He is acutely aware of the effects of every element of his environment on the music that he makes.  So I say to you - crank those speakers up to eleven and listen to the eleven tracks of his latest album Eleven, and it couldn't hurt to go see him at Cafe Diem where he plays every Tuesday or at any of his other gigs around town.

By Editing Department, Editor-In-Chief and Author: Andrew Lutwin   Mon, Feb 01, 2010

For this year's first "First Friday" event, Gallery 5 hosted Say Love, a LGBT art and awareness presentation that sought to redefine "love" and "hate" through visual and performance art. (Actually, it was the second Friday of the year, having been rescheduled due to the occurrence of the New Year). The upstairs gallery was devoted to photography by the LGBT community while a projector showed a video montage entitled "Hugs and Cowboys." Downstairs, a long table tended by various friendly volunteers lined the far wall. Among the sponsors of the event were the Gay Community Center of Richmond and WRIR's Rainbow Minute, as well as the crowd favorite Fan Free Clinic who donated a plethora of lubricants and condoms in all shapes, sizes, and flavors to those in attendance. The event's main attraction, however, was the Nude Photos of Celebrities.

No, this was not a photography exhibit dedicated to the coked-out exploits of Lindsay Lohan, but the eye-catching moniker of the night's featured band. Having only formed in May of 2009, Nude Photos are a self-proclaimed "baby band," although the members' dedication to the group's progression cannot be trivialized. Their first show was booked before the band was fully formed, and they practiced five hours a day for ten days straight in preparation for their four song, thirty-minute debut set. The group has become a nearly full-time job for its four members, who voluntarily spend 25 to 30 hours a week practicing and writing music. "Ideally, we want to make a living doing this," states bassist Sadie Powers. She continues, "One night we even got really drunk and told each other what we don't like about each other as musicians. It was really helpful...We don't want to force anything because we don't know exactly what we want to be just yet." She adds with a chuckle, "I also do it to get chicks." As the quartet is fifty percent queer, this night's performance has a slightly heightened importance. "We don't want to be a 'queer' band, but we also don't want to pretend we are something that we are not," says Sadie. "We just want to be completely honest about who we are," adds guitarist Curtis Park. He continues, "The band is all-inclusive and all about connecting to people. If they can't relate to the music regardless of orientation then why would they listen?" Daniel Medley, drummer, feels "an unspoken connection with the audience on a night like tonight. They care before they even know what we are about." Singer and keyboardist Andrew Owens sums up the night's message: "You have to love who you need to love." And with those sentiments in mind, the foursome hit the stage with a vengeance.

In speaking with the band prior to the show, I got the immediate sense that these guys (and gal) have something to prove, and that they truly believe in their craft. "We want to be unafraid without being self-indulgent," states Andrew as makeup is being applied to his face in preparation for the show. Intent on giving the audience the most bang for their buck, (or in this case, the most bang for their time spent at a free show), the members frequently hint at various spectacles they will be providing throughout the show, though they will not reveal any specifics. Each member takes the stage displaying some variation of facial makeup to complement their professional and slightly formal black suits that are offset by pink ties and scarves, a visual aesthetic that reminds me of Roxy Music. And nevermind their physical appearance - when Nude Photos takes the stage, they take the stage, showing off a level of stage presence that is extremely rare and virtually unheard of within local, independent scenes. They each acted as if they were the most important person in the room, and I mean that in the most flattering way possible.

The show opened and continued to build at a great pace, with the songs dynamically sequenced. The songs often possessed a bombastic theatricality that at times evoked Radiohead or the Arcade Fire. Nude Photos also has an affinity for creating walls of melodic noise that are locked into place by a tastefully minimal rhythm section (think Thurston Moore backed by the Gang of Four). The lighting, while spartan, was extremely effective, especially with the presence of a fog machine. At one point mid-song, the lights were cut completely, but through the shadows one could see the members pouring water onto the drum kit and a lone floor tom at the front of the stage. Sadie traded her bass for a pair of drum sticks and headed for the kit. When a lone spotlight was relit, three-quarters of the band began pounding a quasi-tribal beat, sending splashes of water into the air that were silhouetted against the backlight while Curtis let out some unearthly wails from his guitar. Later in the set, the band poured garbage bags full of balloons onto the audience before tearing into a fitting cover of the Smith's "This Charming Man," of which Andrew's soaring range was a perfect vocal fit. As the words of Morrissey got the crowd dancing, the balloons began popping to release glitter all over the inhabitants of Gallery 5. One could clearly tell that the band had put a lot of time and energy into making sure that their performance was a show in the entertaining and interactive sense and not simply a band playing through the motions.

The day after the show, the band was heading down to Durham for three days to have their seven-song EP mixed and produced by Jamie Stewart (of Xiu Xiu), which they hope to have completed by late March. Nude Photos worked initially with Alan Weatherhead (of Camper Van Beethoven and Sparklehorse fame) at Richmond's Sound of Music Studios, and have now enlisted Kramer (Butthole Surfers, Ween) to master the record. Andrew perfectly summarizes the band's enthusiasm, asserting, "I've got to do something creative and artistic, and this is the most beautiful thing I can find."

By Editing Department, Regional Editor and Author: Mary Catherine Gaulding   Mon, Feb 01, 2010

Anytime Brand New Groovement takes the stage it's a special occasion. If you've seen them, you get it. These guys are memorable, just like the Pope is Catholic and the sky is blue. Not only that, but there is a front man, a vocalist who plays rhythm guitar, a lead guitarist, a bass guitarist, a drummer, two auxiliary percussionists, a three part, sometimes four part horn section, and a partridge in a pear tree. If they're playing, it's more or less a given that I'm there because the music is quality and it's always a damn good time.

Percussionist Doug Spence said it best. "We are defined as neo-groove...it can be any genre but we do it in a groovy type of manner which is our own. We touch on everything."

The band has a collective goal to execute front man Percy Soul's vision, which is to be "funky and soulful," as saxophone player Roberto Curtis put it.

James Chalifoux laid it out for me this way. "We're a bunch of lighthearted guys having fun playing dirty, sexual R&B music."

In Percy's words, "Brand New Groovement is a group of good friends who love to get lost in the music. As people and as musicians, we all make unique and personal contributions to this movement that is different from anything else on this scene. Our individual styles come together in a way that is really marketable."

For the Thanksgiving weekend show at Emilio's, the band brought in DJ Stephen Burks of Hot Shot Entertainment. Not only did he absolutely nail his first attempt at running sound for a live band, he kept the crowd energized in between sets. Spence felt like this contribution solidified the show as an all around concert. "We were firing off all cylinders from all angles. It was a true party."

The party has yet to stop. Burks runs sound for the band as often as possible. But like Percy Soul says, "It always goes back to the music. Music is the love, the hate, the every emotion. It is the vibration that is all vibration."

These are some of the best musicians around. What's confounding is how well they work together. With at least nine people with this kind of talent, you would expect some sort of band drama or somebody trying to outshine somebody. Not the case with these guys. They want each other to do well. Aside from rehearsing as a group, the three percussion players might get together for their own, specific practice or sometimes they will get as many people as possible to come out so the horns can get a chance to play new material. Music plays a huge role in the lives of each and every one of these musicians.

You couldn't ask for a more solid rhythm section with Josh Santamaria on the drums and James Chalifoux "channeling his inner Bootsy Collins" playing bass guitar. Rahib Amin is easily one of the best guitarists on the local scene. I constantly say he plays the guitar like a hybrid of Slash and Vince Gill, and I think that may confuse people. In Chalifoux's words, "his guitar voicings add elements that might make listeners think there was a piano."

Showmanship is a big part of this band. As artists, they are talented beyond measure. Coincidentally, there is enough personality on stage to compete with their musical chops. Percy Soul is like a modern day Elvis onstage, making the ladies blush with his signature dance moves that incorporate plenty of pelvic thrusts. Joel Wright has the soul and charisma of a front man. Aside from playing rhythm guitar, he makes for a charming spokesman, lends his vocals to many songs even spitting original rhymes and rapping with exactness on covers. He is crucial to the song writing and rehearsing process, acting as a leader and unremitting source of positive energy. Brand New Groovement performances would be missing something without Joel on the mic.

Lucas Fritz (trumpet), Roberto Curtis (saxophone), and Alex Powers (trombone) make for a lively and charismatic horn section. All VCU Jazz students who have previously played together in bands like Southside Funk and Richmond Afrobeat Movement, these enrich the stage with their sound and add an element of excitement with their step design. The dance moves tend to get more elaborate and enjoyable to watch as the night progresses. Recently, these guys have been sharing the stage with saxophone player David Wise, a jazz major in the Conservatory of Music at Oberlin College, who plays with the Groovement whenever he's home from school. Wise plays a mean solo on the band's cover of Outkast's "Spottieoppiedopaliscious."

Although, one of the best moments in Groovement history, for me, is Curtis soloing on "Shit, Damn, Motherfucker" Thanksgiving weekend. I'm a sucker for a classy rendition of any R. Kelly song. I hope the future brings more of these. Another favorite moment from the same show: a couple my parents' age who stuck around from the dinner crowd shag dancing to the band original "Pole Control." I think Percy Soul deserves a Grammy or an invitation to MENSA for writing that song. It never, ever gets old.

Auxiliary percussionists Doug Spence and Raymond Jarvis definitely add to the band's sound playing various types of hand drums and other instruments onstage. Spence contributes invaluably as the mastermind behind the visual art and video used to promote the Groovement, who has recently played shows at Emilio's, Cary Street Café, and The Republic.

The band's Facebook and MySpace pages are bursting with eye candy that should be all the incentive a person needs to come out and see this band perform. Check it out for yourselves.

By Photographer and Staff Coordinator: Megan Wagner   Mon, Feb 01, 2010

For those of you who did not read my Zinefest article, I will reiterate that I am neither a writer nor a music critic by trade. I am a photographer, and what I really wanted to do on the night of this show was curl up on the couch with my dog and watch The Lord of the Rings (special editions of course!). But when I found out that if I didn't do this then the whole project would be scrapped, for you Richmond, I drove to one of my least favorite places in the area, the West End. Now I will stumble through this article in an attempt to give you the coverage that the event deserves. As a very drunk girl would tell me later in the night, "You know this is the Battle of the Bands right? Like you know how fucking important this shit is?!" Yes, I am aware, and I can only hope my writing proves worthy.

When I arrived at The Playing Field, the front room was bathed in an orange light, offset by dark green walls. The pink-washed stage was set for The Velvet Nines, but it remained devoid of band members for quite sometime. Renee, director of public relations for Rockitz was busy running around looking for the 5^th judge and coordinating various other aspects of the show, so I set up shop behind the judges' table. Soon I discovered I was sitting next to some members of The Velvet Nines, so I asked one, "Is there anything you'd like me to know?"

"Nah, I'd rather you just hear it and find out," he told me. When they finally took the stage, I was delighted to see the singer strutting around, swinging his hips like Elvis, karate kicking, throwing his head back, and really working up a sweat under the pink lights. This guy was going to give me some interesting shots. His vocal style reminded me of Jim Breuer's AC/DC impressions, but maybe that's because I know more about comedy than music. The lyrics left a little to be desired, but the music held my interest, as well as the stage presence commanded by the singer and backed up by the guitarist. The bassist went pretty much unnoticed (not in a musical sense but physically on the stage) until he dropped his bass towards the end of their set. "Give it up for Mike dropping his bass!" the singer shouted to the crowd and everyone cheered in good humor. They debuted a new song, "Passerby", which ended up being my favorite song of their set. They finished off with a bang, the singer going down on his knees playing high on his guitar vis-a-vis Michael J Fox in Back to the Future, and after the final note the lead guitarist chucked his instrument to the floor.

My first thought when A Good Natured Riot mounted the stage was, "Holy shit that girl's got a washboard!" Harking back to my "Zinefest" article, nothing gets me going like novelty instruments! It turned out that this girl was a jack of all folk instruments, and showed skill on the washboard, a box drum, and a tambourine, as well as singing. On most songs she sang harmony with the stand-up bassist, as the main singer crooned sweet folksy tunes akin to the O Brother Where Art Thou soundtrack. Not that I disliked the main singer, but I enjoyed the vocals of the washboard girl a little more. Her voice sounded a bit deeper and thicker, with more resonance than her singing partner. The group also sported a fiddle and a banjo, with the main singer playing acoustic guitar. They actually got the crowd dancing, which none of the other bands really managed to achieve in such a dance-prohibiting space with the decidedly older west-end crowd. Their set ended with an enthusiastic send-off by the audience, which Renee noted to the judges.

59H20 played next, and as I eyed the double-decker keyboard, the photographer in me cringed, as usually these instruments prove difficult to photograph. Fortunately for me, the keyboardist was quite the character (and admitted to me later that he was once a photographer, so he knew about being seen). As I approached him from the side to get my shot, he flashed me his best "O" face, and proceeded to ham it up throughout the set. He squished heads in the crowd with his fingers, played air guitar with the actual guitarist, and sometimes stooped low between the keyboard decks, peering out at the crowd with an amusingly eerie expression. Instrumentally I really enjoyed this band, but my impression of the vocalist waxed and waned. It seemed she could do really well holding long notes, but when singing strings of words with shorter syllables, her voice got a little flat, and didn't hold the same power and attitude that her physical presence exuded on the stage.

The night was feeling long by the time The Jay O'Ferrell Band started their set. The crowd was dwindling and moving on to other sections of the venue, which sported fuse-ball, pool, and poker tables. Their choice of opening with a Pearl Jam cover might not have been the best as there was a sleepy feeling enveloping me, and from the looks of it, a few others in the crowd as well. Though the song seemed to mesh well with their style, it did nothing to get me excited for their set. None of the members really worked the stage much, which also discouraged me from re-energizing, though they did well to turn the bass up higher than any other band that night. The bassist looked a bit like he may have paddled up from a Louisiana swamp, which did interest me, but by the end of their set I was wondering if I would make it through the set break-down to the next band.

By the time Caught in the Rift finished their sound check, my excitement over the beautifully decorated saxophone was dying at the realization that the bongo-player who played with them earlier in the Battle of the Bands competition wasn't there. It seems some of the original members of the band are no longer with them. Though I missed the bongos, the band still played well. The singer gave his usual star performance, often closing his eyes as he sang what Meredith Ripple (one of our writers) refers to as very "human" songs.

The band scoring process was three-fold. Internet viewers cast votes for Youtube videos of the final bands, each paying audience member was given a ticket to cast in their favorite band's box, and the five judges scored the bands in areas ranging from technical proficiency to audience reaction. When all these areas were tallied together, the winner, and my favorite band of the night, was A Good Natured Riot. During their set they had mentioned that at first they thought this did not seem to be the competition for their style of music. Clearly proved wrong, they won the grand prize of a $1,000 Metro Sound gift certificate as well as a chance to be featured by us next month. Caught in the Rift came in second, winning a $500 Rocket Pop Media Music Video. After them came The Velvet Nines earning 5 hours of sound support by Amanda Sound for an evening. 59H20 came in fourth, winning 4 hours of recording time at Snake Oil Recording and a $100 gift certificate from Plan 9, and The Jay O'Ferrell Band rounded out the group winning 4 hours of recording time with Red Amp Audio and a photo shoot with celebrity photographer Wolfgang Jasper.

By Photographer: Kimie James   Mon, Feb 01, 2010

By Author: Michael King   Mon, Feb 01, 2010

Mastering an art can take a lifetime to achieve. Some choose to give up early in their pursuit, while a few forge ahead and stay true to their passion. Richmond guitar builder and luthier, Tom Rodriguez, is mastering his art and making a living at it. Soft spoken and humble, he welcomed me into his shop and introduced me to his world of guitar building. His workspace is surprisingly simple, yet filled with necessary templates, tools, and a highly impressive inventory of wood from around the world. I knew I was in for a valuable learning experience when I sat down to talk with Tom.

33: What sparked your interest in making guitars? How did you develop your skills and craftsmanship?

TR: My interest grew as I played in bands. I was always tinkering with sounds and ways to improve the sound and feel of my guitar. I'd take it apart, work on it, and learn how to fix it when it needed adjusting or repair. A lot of my learning came from repairing guitars and working as a luthier at a classical guitar shop. As I learned more, I got into making guitar bodies and necks. I was at a place in my life where I had few responsibilities and could afford to put my time and energy into learning how to build guitars.

33: When did you open for business? Did you network Rodriguez Guitars or did it spread by word of mouth?

TR: I officially opened for business in 1995. After the classical guitar store went out of business, I made my first classical guitar and got a great response. Today, a majority of sales comes from selling my classical guitars. As for marketing, it was a little networking and word of mouth. I'd go to one trade show a year to make connections with vendors and other guitar builders. The Alexandria Guitar Festival was the first show I went to. I networked there and spent the day talking to builders about the craft.

33: Take me through the guitar making process from start to finish. Do you continue to learn something new with each guitar you build?

TR: I start with the raw lumber and cut the backs and sides of the guitar to thickness. I let the wood sit. Some wood in my inventory has sat for fifteen years before I've used it. After I assemble, I add finish, and string it up. My experience comes from learning how to fix my mistakes. I'm still discovering new ways to make mistakes.

33: Describe your unique asymmetrical lattice bracing.

TR: Typically, classical guitars have symmetrical bracing. After hearing the needs of my clients, I did some experimenting. I built a fan-shaped bracing structure that allows more middle ground for the high and low tones to be heard evenly. The asymmetrical bracing brings tonal clarity and louder volume from the guitar.

33: Do you build guitars according to a client's specifications, your own, or both?

TR: Both. When clients come to me, I listen to what they're looking for in a guitar and try to help them pinpoint the exact sound and design they desire. Sometimes a client will enlighten me with an idea. A lot of my success is linked to listening and understanding the client's vision.

33: It must be inspiring to make a client's vision come true, right?

TR: Yeah, it is. The most inspirational thing is hearing my classical guitars played live on stage.

33: What determines the pricing of a Rodriguez guitar?

TR: Typically, it's based off of how labor intensive a project is. The rarity of the wood plays into it as well. Hunting down specific wood, chopping it up, and cutting it to size and thickness is quite a process. I pick out and select what is valuable by eye. The electrics are priced differently depending on the detail of the work. If a client wants a carved top, it will take some time because I shape it by hand.

33: Your recent projects involve salvaged wood from 100-year-old pianos. How did you come across these?

TR: A friend called me and asked if I'd be interested in salvaging wood from old pianos he had come across. I checked them out and learned of their age. I didn't know how good the wood was until I cut into it. Most of it is in amazing shape. As I chopped up one of the pianos, I saw lines that were left by a saw originally used to cut the wood. I found notes written on the inside of the piano, probably meant for no one to ever find. It will be cool to see what kind of instrument and sound will be made out of high quality wood that has endured this amount of time. It's also neat to see how an old, historical piano will be given life again as a newly crafted instrument.

33: How many guitars do you build a year?

TR: Usually, I build 12 to 15 classical guitars a year. This year will be a little different. I'm going to build electric guitars and ukuleles with the salvaged piano wood. I've started work on my first ukulele and hope to find out the response once it's finished and go from there. I'm not sure how many ukulele players are in Richmond, though [laughs].

33: What advice can you give an aspiring guitar builder?

TR: It's a long process. Make sure you really want to do it. Don't go to any guitar colleges. There's not much you can absorb in a three-month program. With ten thousand dollars, you can buy some of the tools you'll need. The more you tinker around, the more you'll learn the art. I've found books and the Internet to be helpful resources.

Thanks, Tom!

To find out more about Tom Rodriguez and his guitars, visit www.rodriguezguitars.com and www.dreamguitars.com

By Author: Ratso   Mon, Feb 01, 2010

I don't really know how to describe this album.  They've got a lot of distortion, and there are some parts where it feels like a punk album, but some songs have more of an emo or ska influence, or even a little jazz at times.  I hate to call something Indie, because it's such a broad genre that it doesn't tell you anything about what you're hearing, but that's the best way I can describe this.

It's good though.

Admittedly, it's not really my thing.  They sound like a band I would have seen at Warped Tour when I was 15, and gone nuts over, but it's just not the kind of thing I'm interested in these days. 

I'm really have to stretch the limits of my iTunes to find anything that I can compare this too.  They remind me little of Autumn Picture, with a bit of NOFX thrown in.  The best analogy I can come up with, is that if NFG grew up and stopped sucking, they would sound a lot like this. 

Unfortunately, the copies they're selling now don't come with artwork, so I don't know the names of any of the songs, which is kind of frustrating, and it makes it harder to get into these songs, or to review them.

If you like melodic/poppy/Indie-punk rock, this is worth checking out.  This is their first (official) release, and I think it shows a lot of promise: I'd be surprised if we're not watching these guys on MTV in 5 years. 

By Author: Meredith Ripple   Tue, Feb 02, 2010

Well, after the month of January, we're pretty sure we should change the name to Magazine33 Snow-cases. We had another successful showcase Thursday, January 21^st at Emilio's on Broad Street.

Blue Line Highway opened with a feel-good bluegrass jam right at 10 pm. As they belted out their resounding melodies, customers and Magazine33 staff poured into the bar and piled up at a table near the door.

Wylie of Richmond's reggae sensation Antero played an amazing acoustic set of soul and feeling. His songs were heartfelt and succinctly captured the mood of the night: a benefit for disaster-wracked Haiti. Emotional melodies coupled with his powerful voice reminded us all of why we were there and how lucky we were to be sitting in a warm bar.

Following this powerful act, Magazine33 veterans LarJar Trio took the stage and took the music toward a turn to the funky side. Check out my article from October for a more in-depth glance, but anyone there knows that this is a band you gotta move to. And move we did (myself included!)

Another solo acoustic act followed LarJar by Ryan Weaver, guitarist and vocalist from Richmond's Wake of the Flood (an acoustic Grateful Dead cover-band). With a phenomenal sense of humor on and off stage, Ryan Weaver is a terrific guitarist who continues to amaze his audience with his heart and versatility.

To wrap up a remarkable night of music, DJ Chenchilla (of Silo Effect) commanded the stage spinning records and closing the evening at high energy. It was the perfect way to end an evening dedicated to generosity and awareness. DJ Chenchilla spun until around 1:30 and kept Emilio's guests on their feet enjoying the some of the finest of Richmond's music.

By   Mon, Feb 01, 2010

Visit FunMusicGift.com for Funny Music T-Shirts, Bumper Stickers, Mugs and More. (http://www.funmusicgift.com)

By Editing Department, Regional Editor and Author: Robin Marschak   Mon, Feb 01, 2010

Happy New Year! Happy New Year! They were the first moments of a new year, of a new decade in fact, and I was mildly interested. What, to me, was much more interesting than the new decade was the music being played to usher in that new decade. On one level you could say that it was traditional. After all, 'Auld Lang Syne' is the first song that comes to mind when you think of music for the new year. But when the No BS Brass Band gets their hands, or horns in this case, on a song, they truly make it their own. I'm not much of a new year's celebrator. To me it seems like just another day. What I celebrate is good music, no matter why it's played. For that reason I give thanks that No BS celebrates the turn of the new year, because it gave them inspiration to play some damn fine music, and that, to me, is worth celebrating.

Now that you've read about the end of the night, I'll fill you in on the rest of the evening. The venue was Artspace at Plant Zero, a simple gallery well hidden at the end of several winding corridors. I arrived unusually early (on time) and found myself with plenty of time to inspect the remnants of the Think Small exhibit the gallery had featured in December. Some of the works, all smaller than a three inch cube, turned out to be quite intriguing, but I had journeyed out on this dreary night for music, and despite the extremely eclectic selections of Rattan DJ, I was anxious for the first band to start playing.

As they set up, I began to realize why Fuzzy Baby dubs themselves as Richmond's two member, one man band. Both Giustino Pastino and Molly Berg had at least three or four instruments within arms reach. A tuba, clarinet, guitar, at least three different types of drums, and a set of crystal glasses were only a small portion of the tools at this band's disposal. Unfortunately the audience, though still only beginning to form, was somewhat rude and lacked the manners to shut up and listen to the music. Due to these circumstances I will have to reserve judgement on this band, but what I was able to hear warranted another listen, hopefully at a quieter venue.

The next band up, Rattlemouth, was much better suited for the environment. With a full drum kit, saxophone, and both electric bass and electric guitar they were able to quickly drown out the idle chatter of the audience with their own blend of sounds from around the world. Their music might best be described as hypnotic. And it did appear as though some of the folks filling up the dance floor were in some sort of dance trance. I noticed several bodies twisting and contorting in some sort of trippy music induced motion. As the music began to take ahold of my brain I quickly gave up any hope of conventional reporting. These are not the kind of grooves under the influence of which you can think rationally. Even going back over my recording of the night I find myself becoming lost in the rhythmic nature of the music. With Robbie Kinter and Marc Langelier forcefully driving the beat along on drums and bass, it is easy for Danny Finney's haunting saxophone to carry you away to another existence entirely. And when George Lowe takes the lead on guitar it is equally as mesmerizing. Through all of this, every song that they performed was ultimately not on Home Fed And Full Grown, the CD for which the show was a release party. This may well have been the only CD release show ever in which none of the songs from the CD were played. But that didn't matter. All that mattered was the music, and the music was intoxicating. Rattlemouth finished up shortly before midnight. Just in time for the No BS Brass Band to take the stage and salute the new decade, bringing us back around to the beginning, and end, of this article. 

Thanks very much to Charles Sugg for providing photographs.

By Editing Department, Regional Editor and Author: Robin Marschak   Mon, Feb 01, 2010

If you've lived in Richmond for any extended amount of time, and especially if you grew up here, you know about the Watermelon Festival in Carytown. As a kid it was one of my favorite times of the year. I had an insatiable appetite for the wonderfully delicious fruit. Best of all were the seeds. I had this notion that if I ate enough of the seeds one of them would grow into a watermelon plant and supply me with endless amounts of watermelon for the rest of my life. Well, that plan never played out, but I did get to hear the raucous rantings of a band that calls themselves Dogs New Clothes.

'Where is he going with this?' you might be asking yourself. To be honest, I'm not all that certain myself. This article is supposed to be about a songwriter showcase that I went to back in December, just before Christmas. Put on by an group that calls itself VOCAL or Virginia Organization of Composers and Lyricists, I couldn't help but think that maybe I was being thrown into some sort of old spy movie where cheesy acronyms abound and every fight scene is extremely over-stylized. But that was not to be. Instead I was in for a night of good music and lots of door prizes.

There were too many good performances for me to enumerate them individually, so I'll just mention a couple that really caught my interest. The third act was a two piece, father son combo in Don and Robbie Pinkleton. They really got the energy of the thing going with an electrified country song and lots of good stage banter. In a barroom setting it's always hard to get the patrons to really quiet down so that the music can compete with the dull roar of idle conversation, but it was obvious that the crowd liked these two as that roar dropped to slightly more than a whisper. We'll skip ahead now to the headliner band, The Taters. If you haven't heard of them then you're really missing out. They call themselves roots pop, which based on the music they play I take to mean light hearted music that's enjoyable listening.

The last act that I will mention is Norman Roscher. He's the lead singer for the band I referenced at the beginning, Dog's New Clothes, and he's an amazing entertainer. He ascended to the stage with a group of four backup singers whom he dubbed the Norman Tabernacle Choir. This was the highlight of the night for me. It's not that I didn't enjoy the other musicians, but Norman is not just a good musician. With the background he has in kids music it is no surprise that he is an excellent entertainer as well. Of all the acts, the crowd was most engaged with Norman. From avid listening to singing along with his song 'Humbug Christmas Time,' there was a palpable rapport between performer and audience. 'This,' I thought to myself, 'is what local music is all about: feeling an intense connection between musicians and music lovers.'

By Author: Meredith Ripple   Tue, Feb 02, 2010

When I first heard that The Congress was coming to Richmond for the holidays, I immediately called dibs. This was my show. And good thing it was the day after Christmas, too, since I might have had to fight another staff member for it. They were back from Denver, and I'd been excited since I'd first heard about the show back in early November.

Now you might be wondering why I'm covering a band from Denver, if we're a Richmond publication. Fair enough. I first heard of Jonathan Meadows (guitar and vocals) and Scott Lane (guitar) from the popular Monday open-mic night at Emilio's on W. Broad, and they (plus keyboardist Daniel Clark - who also plays with Modern Groove Syndicate) are both Richmond guys through and through.

Unfortunately, due to travel complications, I didn't get a chance to meet the "actual" Congress. Despite this understandable setback, I was delighted to hear that Todd Herrington and Joel Denunzio of Modern Groove Syndicate would be joining Scott, Jonathan and Daniel at Emilio's for the December 26 show.

Also, please forgive my lack of photos. The day after Christmas does not lend itself well to people's schedules, but this was a show I could not miss.

Richmond was abuzz when this was announced. For weeks beforehand, regulars at Emilio's were coming up to each other saying, "Holy shit, I can't wait for this show." So I hope you can see why I'm pulling in a Denver band for this month's edition. They're Richmond homegrown and absolutely phenomenal. Plus, this was their CD pre-release party, and I couldn't miss sharing this with you guys.

The Richmond-based band People's Blues of Richmond (PBR) opened with a loud, driving set that perfectly matched the energy of the crowd pouring in the doors. For the day after Christmas, this was a crowd Emilio's wouldn't soon forget. (Oh! And stay tuned for a feature on PBR, people. These guys are good, loud, in your face and not-to-be-missed. Check them out ASAP).

When the Congress took the stage, it all made sense. Why I had been so excited for their show. Why the crowd was pulsing with anticipation. Why this show had been talked about for months. And it made sense why I was covering a band from Denver. Even though they're playing based out of a city nowhere near Virginia, they take the spirit and soul from our state with them. Daniel Clark's keys are reminiscent of that old-time gospel that stirs your soul down to it's quick. They might not be playing here, but the soul is right.

I talked to Daniel and Jonathan briefly the next night, when they played a show at Europa with the talented guys from Emilio's house band (Kai Eason, Andrew Rapisarda, Raphael Katchinoff and Chris Ryan). I asked Jonathan why he'd left for Colorado and what was so different about the music scene out there. It was a hard difference to describe. While he acknowledged the energy and dedication of the Richmond scene where he'd been so active over the years, he brought up a good point. The Colorado scene was more conscious of the music. While many people here go to their favorite bar to grab a beer and think, "Hey, if there's a band - awesome!" In Denver, people seek the music. They delve into the scene and look for the venues where their favorite bands are playing. While many of us here in Richmond definitely subscribe to that ideal, in Colorado it's a standard. Plus, as Jonathan said, "You can make a living from your music." It's not hard. It's what I hope most for our thriving Richmond scene, to be honest.

One thing I wish I could convey to you in better words, is the feeling you experience in front of these talented musicians. I can tell you that Daniel Clark's keys hit a note in your soul that you didn't think existed (and they do). I can describe how articulate Scott Lane's guitar work is or how awe-inspiring Jonathan Meadow's voice is, and I'd be telling the truth one hundred percent. But you can't really understand until you see them live.

Their self-titled CD is phenomenal (with cover-art by the talented Dave Klemencic of LarJar Trio), and each track blows me away. From Long Way to Go to Queen Mary. As Daniel Clark so beautifully put it "The spirit is on the music." Take it how you like, but it is. And that feeling was conveyed even through just their first set at Emilio's. As they covered "Kids" by MGMT to wrap up their 1^st set, I don't think there was a soul in that bar not on their feet. Yes, the spirit is on that music, and the energy is in the crowd.

Given that this was their pre-release party, I had to ask them about their CD. Recorded by the amazing John Macy (who also accompanies them on pedal steel), it's a 6-track masterpiece that showcases the soul and spirit of this group. They told me that the several days they spent in the studio with John Macy were some of the most fun of their lives, with the only "roadblocks" coming when a song turned out differently than they'd anticipated or when these different approaches dictated different needs. Not roadblocks, really, Jonathan and Daniel said. More like challenges to the way they had first imagined their music, and ways in which they could make it work.

I've never sat with two people who believed in their music more, and their conviction reminded me again why this group is so critical to any music scene they frequent. Halfway through their second set, I realized that the best way to describe Scott Lane, Jonathan Meadows and Daniel Clark (accompanied by Herrington and Denunzio) is that hearing their music, the soul that winds through their Appalachian influence, brightens your day. I stand in front of them and smile because to hear art this good, to experience such a series of incredible moments is not something you forget. It's a few hours that makes a normal day the day of your life.