The Snow Camel materializes for the January 2010 cover. Cover photo by Jessica Stambach, Richmond. Cover design by Heather Mullican.
The Ripple Effect
On the Cover: Magazine33 Music Showcase
White Christmases in Richmond aren't common, but for Magazine33's Holiday Showcase, the snow flew. It was piling up by the inches when we got to The Camel, where the bar was full of people who braved the weather for a drink to warm up. While I watched the snow fall outside my office window earlier that day, I grew more and more apprehensive. We'd already had a few understandable cancellations, leaving us with two bands, but as Magazine33 Director of Events Matt Sthreshley said, the show must go on!
And it sure freakin' did! Rock-solid punk band T-Division crammed a bunch of people into an Escalade and braved the elements, getting stuck on the Willey Bridge on the way. Los Sanatamarias were slotted for the last sets of the evening and showed up a bit later, and by that time the snow has shut down most, if not all, other venues in the area. But with the help of the Camel, Magazine33's showcase persevered!
Festivities were pushed back while we waited for everyone to arrive, but don't think we sat around twiddling our thumbs. Staffers Robin Marschak, Mary Catherine Gaulding and Ben Cokeley stomped in from the snow where outside the bar patrons were constructing the largest snow-camel Richmond has ever seen. Along with near-constant snowball fights, the evening was a fun adventure.
When all the members of T-Division arrived, thankfully not having killed anyone on the way, we got the show started. They kicked 
it off in their usual fashion, loud, hard and in-your-face. I'm not incredibly familiar with the Richmond punk scene, but I do know this: T-Division is good. Real good. They're punk stripped down to its roots, Dead Kennedys style. Yes, they're loud, but they maintain the critical rhythmic structure characteristic of great music. It's punk before the genre became terminally ill with Hollywood produced "punk" boy bands (Good Charlotte anyone?). You'll find T-Division's strength in the talent of its members and the passionate, fueled melodies that pour from the stage.
They created a big set of shoes to fill for the next act. Fortunately, the three brothers of Los Santamarias are deceptively amazing musicians. With their young appearance and modest attitudes, many people seeing them for the first time aren't prepared for what this band delivers. As they took the stage, one of the members of the audience leaned over to me and said "...Really?" I only had one answer for him: wait and see. After their first song, the same man turned back around to me, saying,
"If I had just seen this one song, just that one, it'd have been worth the drive from Fredricksburg."
Yep. Deceptively amazing. They took the stage and made it their own. They played with a spunky attitude that matched well with T-Division's in-your-face approach. Each instrument has its own distinct identity that flourishes within the structure of each song. They are, simply put, an awesome act to catch.
As the night wound down to a close, as the Santamarias wrapped their set and T-Division collected their merchandise (including a terrific looking EP produced by Dan-O at Snake Oil). People paid their bar tabs and piled into taxis, the snow camel nearly covered by a new layer of snow. I am always excited by the camaraderie that heinous weather can create. For all of us in the bar, it was the fact that we were here, in front of two groups of amazing musicians, enjoying quite possibly the only live music available in Richmond. It was an amazing thing to see everyone in the bar truly appreciate the dedication these guys all showed by making it out. I think it exemplifies the spirit of the local Richmond music scene. It was cold outside, the snow (and snowballs) still flying, but I want to hope that we all left The Camel a bit warmer than when we arrived. Of course, that could be the pint of Legend's Chocolate Porter, but I like to think it's a bit more.
Be sure to check out the Holiday Show Reprise on January 9th,
also at The Camel! And let's hope the snow holds off until the show's over this time.
Thank you so much to everyone who made it out, to Rand at the Camel for not cancelling on us, and the BIGGEST thanks to T-Division and Los Santamarias!
Links:
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A Different Dimension: The Lost Satellites
Despite what Martians have to say, there's no place like earth. After all, not everything has to be "out of this world" in order to gain our worship, or even vague appreciation. Sometimes we welcome what lies within a familiar grasp--whether that means a favorite melody or hangout--more than what floats in the unimaginable distance. The Lost Satellites, a Petersburg based band, somehow manages to occupy both dimensions simultaneously. A self-described group of hippies, The Lost Satellites draw inspiration from well-known Classic and Alternative Rock acts like The Beatles and Radiohead. Yet they still write and produce most of their own groovy, edgy material, interpreting old genres with new (some might say extraterrestrial) flair.
During their December 12th performance at Cary Street Café (CaryStreetCafe.com), for instance, The Lost Satellites explored both the near and far. They delved into the 'near' by belting out sounds you may have heard before; just imagine psychedelically 
infused versions. Covers included songs by The Church, U2, The Rolling Stones, Radiohead, and The Beatles. Frank Scott, writer/singer/guitarist, stated that the band's choice in covers reflects their "really diverse tastes." These tastes range from "New Wave to Classic Rock...to the obscure." Their own songs for the evening included pieces from their current and upcoming albums, "Worlds Collide" and "Sound of Music." Original compositions by the only female member, Tina Marie, made it into the line-up, too. Overall, The Lost Satellites maintained an upbeat yet hypnotic sound throughout the evening. But in paying tribute to the age of flower children and tie-dye, The Lost Satellites never once came off like an outdated period ensemble. They balanced soul and fun, all while demonstrating a strong stage presence and superior knowledge of eclectic rock genres and styles.
Not that the band should have felt anything less than comfortable in the homey, Grateful Dead obsessed bar that December evening. Cary Street Café does, after all, "feel like home," in the words of Sam Giacco, one of the band's guitarists.
"I like this bar. It's like the land of misfit toys," Tina said of Cary Street Café. "Everybody's accepted here. It's relaxed, not snooty." With tacky decorations like a silver mirror disco ball and license plates reading "Arts Kid" and "Dead4" tacked to the wall, that statement could not have rang truer.
The band has regularly played at the Cary Street Café for about a year now. Sam said, "[The owner] knew us from other bands...The good thing about Richmond is it's a close-knit group of musicians to start--that's how we met. You know everyone around town. It's a big family around here."
Mark Henderson, the band's drummer, added, "If people don't really know what they're going to do on a Friday or Saturday night, they can always come here [because they know what to expect]."
That is not to say that The Lost Satellite's act is predictable, though--unless you mean in terms of consistently producing quality music. In that case, predictability is their specialty.
For their December 12 show, they played the span of "Worlds Collide," their only released album to date. "Worlds Collide" shows sophistication that never once verges on pretension. Stream of consciousness lyrics prevail, such as gems in the song "Nightmares": 'Tore out the pages of my book today/Couldn't see myself in the same way/Everything gets stuck behind the glass/I've got to set them free so they will pass.' Life lessons also shine through their songs without being preachy, either: 'No need to get hung up in the race' ("Moments of Clarity"), 'You don't know what you've got 'til you've got more' ("Hole"), 'You shouldn't teach what you don't understand' ("Nightmares"). The concepts of space, sleep, dreams, and personal identity appear throughout the album. Even when the lyrics do not explicitly mention these subjects, you feel their presence, like faint, ever-lingering memories.
Frank, who wrote all the songs on the album, personally recommends the 
songs, "You've Lost Your Mind" and "She Understands Me."
In an interview after the performance, Frank commented, "I really loved the flyers for the show and the opening act [Two Ton Tractor], and overall we had a great crowd out there... It was a fun show."
The Lost Satellites will be playing with Two Ton Tractor again in March at Capitol Ale House for a fundraiser. Learn more about The Lost Satellites and their projects at TheLostSatellites.com.
The Well
Spies Album Release Show
Spies Album Release Show
Hour 1
I arrive at The Triple, fashionably late. The show is not even close to set up. Everyone here is a redneck, trucker or...no, that's it. Me and a bunch of redneck/truckers.
I don't know anyone here, so I grab a drink and sit down by myself at a table, doing my best to project an image of "aggressively lonely".
One of the redneck/truckers winks at me and smiles. I'm not sure if he's hitting on me, or if this is some sort of trucker etiquette. Either way, it makes me uncomfortable.
Hour 2
The bands still haven't started to play, but an acquaintance of mine has shown up. We talk at length about comic books. For the first time in my life, someone else's knowledge on the subject dwarfs my own.
He also tells me that the lead singer of Spies is Joe Norris, another acquaintance of ours (HOORAY!) meaning that getting the interview should be easy. Unfortunately, I also learn that the band that was supposed to headline, Pedals on Our Pirate Ships, isn't playing.
I meet Joe Norris; he doesn't believe I really work for Magazine33. I gotta get a goddamn press-pass.
Hour 3
My liver gets into a drinking contest with my wallet. After two drinks, my wallet throws in the towel, and I'm forced to quit drinking. The jokes on it though: People keep buying me drinks throughout the night.
At about 12:30, the first band finally starts: "Wake of the Flood". They're three guys with acoustic guitars, sharing vocal duties, though one of them does the bulk of it. The main vocalist is really fantastic; he's got a really deep, rich voice, which reminds me of a less raspy Tom Gabel. They do a bunch of covers of really great old country songs about whiskey and running from the law, and all that jazz. I felt like the other two guys in the band were kind of superfluous, the lead singer really could have done all this by himself, and probably would have been better for it. Overall though, even though these guys are just getting started, they're already very good. I'm looking forward to a lot of great things from these guys.
The next band up was a solo act; a guy named Tom Woods. Another country act (a little disappointed and confused that 2/3 of the bands are country, when I was expecting a punk show). He's really good though, just him belting out great country songs on an acoustic/electric guitar. Like the previous band, he's embodies all the great elements of country without falling prey to any of the nationalistic "GO AMURIKA! -We'll put a boot in your ass! -Mainstream bullshit" that so many people think of when they think of Country music. His voice is great, really booming and great. If Saw Wheel had the songwriting ability of John Prine, he would sound a lot like this.
Hour 4
Finally, the headlining band, Spies, is up. They're a three-piece melodic punk band, sort of like Jinxed at 12 or NOFX. They've also got a little bit of a ska influence on some songs, although they're definitely not a ska band overall. They have a lot of great energy, with great lyrics and great stage presence, but they're just not my thing. I was really hoping for something much heavier and faster then what they delivered, but that having been said, I can see a lot of people really getting into this band. If you get a chance, check them out.
Links:
Will's Corner
On the Frontiers of Bluegrass Stands the Whiskey Rebellion
It's Friday night and the Cary Street Cafe is packed, and I have to say, I love this place for its character. The place has more Grateful Dead posters than southern California, and there's the front end of a VW bus leaned against one wall. Whiskey Rebellion piles onto a small stage at one end of the cafe, and the show gets started.
I immediately notice the fiddler, Mary Simpson. She's short, she has something to prove, and she plays like she means it. I learn that she's classically trained, has a sister who's a professional violinist, and a father who's a serious bluegrass banjo player. This girl has bluegrass in her blood, and the fiddle strokes to prove it. I ask her after the show if there's any tension between her classical training and her bluegrass performance. "No," she tells me that her classical background gives her a wider variety of tones and better control of her sound than she would have had she only studied bluegrass.
Mary and the mandolin player, Jared Pool, go way back. They met at a bluegrass festival when they were both about 12. She tells me that she remembers Jared beating her older brother in a guitar contest at the festival. They have occasionally crossed paths ever since, and are now delighted to be playing together. Though he's playing mandolin now, Jared also has a degree in guitar performance.
The versatility of Whiskey Rebellion is one of their major assets. They are so familiar with each other, their music, and their instruments that they can play anything. They take requests from the crowd, and do a fine job turning whatever anyone shouts out into a great bluegrass jam. They played the Talking Heads in perfect bluegrass, which I had not thought possible. The crowd loves it, and a fair number of people are dancing.
In between sets, I get the chance to talk to the band. I enjoy our conversations a great deal. The thing that sticks out in my mind is that these guys are really in it for the love of the music. "What made you choose Bluegrass?" I ask Ryan Phillips, the band's guitarist and primary songwriter, "It's more about the players," he says. He goes on to tell me that the big draw to Bluegrass, for him at least, is that the genre really allows musicians to explore their skills and to grow.
Ryan goes on to tell me about the festivals. Apparently, there is an entire subculture of Bluegrass festivals all around the country. For Bluegrass, the festivals really work, since everyone has a common body of songs, progressions, and forms to draw from, so it's easy to create an impromptu jam session. Everyone in Whiskey Rebellion grew up in this Bluegrass festival scene, improvising around campfires and getting to know the music and the scene. It's this broad familiarity with Bluegrass that gives Whiskey Rebellion their flexibility; they're on the frontier of Bluegrass, pushing traditional limits and making some great music.
Links:
WhiskeyRebellion.net - You can buy their cd, Whiskey Rebellion, here
Heavy
Cough
The old adage "if it isn't broke, don't fix it" is a motto often overlooked in music today. While a plethora of bands these days claim to be "the next big thing" in music with their allegedly progressive style that pushes the boundaries of genre, they more often than not are reinventing the wheel. Richmond doom metal band Cough, however, makes no such claims as they roll right along with their tried-and-true lurching sludge-laden sound in the same vein as predecessors such as Electric Wizard or Saint Vitus.
For those of you unfamiliar with the doom genre, think Black Sabbath riffs injected with tranquilizers and laid atop relentless Neanderthal drum beats that trudge along at a crawling pace, quite often for ten minutes or more. Although vastly different in aesthetic and sound from hardcore punk, the overall mindset of these types of bands is rather similar: keep it simple, stupid. No flashy masturbatory guitar or drum solos, no abrupt tempo shifts or superfluous synthesizer lead lines, no over-the-top or excessive vocal harmonies, just driving straightforward barebones songs. Where most punk outfits usually get in and out with their songs around or under the two-minute mark, doom metal outfits typically take the listener on an epic journey that can last as long as one hour for a single song (Sleep's Dopesmoker is a perfect example of this). 
Cough is no stranger to this long-winded and not altogether unlistenable mammoth-sized sonic cacophony, and their delivery of these droning gigantic sagas is as spot-on as anything you'd hear from bands of the same ilk, past or present. I had the pleasure of seeing these guys perform in the gloriously dingy, beer-soaked basement of Crayola House in Harrisonburg to a small crowd in leather and jean jackets, forties in hand, bobbing their heads to the unrelenting massive sound roaring from the wall of amplifiers stacked behind the band, sending guttural shockwaves through the tightly-packed space. Bassist Parker Chandlier and guitarist David Cisco's dual flayed-alive vocals fit well into the bellowing mix, and the frenzied intermittent wah-heavy lead lines of Cisco were a nice touch that served to break up the unyielding riffage every once in awhile as second guitarist Brandon Marcey continued to keep the rhythm locked in place with drummer Joseph Arcaro. Despite a few brief power failures, due no doubt to the amount of wattage being channeled through their huge stack of cabs and 
amplifiers, their set was exquisitely heavy and they didn't let up until the last rumbling chord was played. I left with my ears ringing and a smile on my face, which I always consider to be the mark of a great show. If slow, ruthless propulsive metal is what you crave, I suggest you feast your ears on this doom-riddled four-piece.
Links:
You can find Cough on MySpace here, and their CD is available directly from the page.
The Cypher
Millz
Jamil "Millz" Turner is moving weight. Not the euphemism for large quantities of narcotics that is so overly abused by some of today's most popular MCs, but rather the weight of real life issues and struggles, all the while remaining focused towards his final goal, which is to put Richmond Hip-Hop on the map. The Northside, Richmond representative carries the burden of several different responsibilities on his shoulders: Aspiring Hip-Hop artist. Record label entrepreneur. College Student. The list continues, yet Millz remains undeterred, resilient, and determined to create relatable, timeless music. Millz and his close circle of friends took their mutual passion for music and established their bourgeoning record label, 2AM (All About Music) and are using this vehicle, with Millz in the driver seat, to push their quality product past the unfortunate glass ceiling that is associated with Richmond Hip-Hop.
With his debut album, Mic Check, set to drop in early 2010, Millz took the time out to step into the Cypher and chop it up about growing up a student of Hip-Hop, the importance of unity amongst Richmond artists, and what the new year holds in store for the talented lyricist.
Rap fiends, come get your fix.
33: Who is Jamil "Millz" Turner?
JM: Well, the true answer to that question, I feel, rests wit the public at the end of the day. But as for my personal opinion, Jamil "Millz" Turner is just a nigga trying to be the best Jamil "Millz" Turner he can possibly be. And I think I found my niche with this rap shit. I'm just a squirrel, a squirrel with a sick ass flow! [Laughs]. [My album] "Mic Check" coming soon, by the way.
33: What is your earliest memory with Hip-Hop? What moment made you realize that this was the calling that you would pursue for the rest of your life?
JM: Shit, my earliest memory of Hip-Hop has to be.... Kris Kross' "Jump, Jump" [Laughs]. Yeah, I wore the backward pants, did the little lean-back pose with the arms out and the one leg up in all my pictures and all that shit. Yeah, it was real. But I didn't reach that "moment" til '06: [Friend and Co-Founder of 2 AM Records] J.R. basically told me, "Nigga, you nice as a bitch, so let's get off our asses and make something happen with this shit!" And from then to now that's what its been, simple and plain. 2AM, homie.
33: Who are some of your biggest musical influences and why?
JM: Hands down, the great Tupac Amaru Shakur, simply because of his diversity and his ability to move any crowd. In my opinion he's the best to ever do it. But other than that, I love Lauryn Hill; my favorite female artist of all time. She's the best. Presently, I think the illest nigga in the game happens to be Lupe Fiasco. Yeah, salutes [to him]. And of course, [The Notorious] B.I.G. Everyone of them: Jay, Eminem, Wayne, Kanye, 50, T.I., UGK, Scarface. I was a big Project Pat fan in middle school. Outkast... it's so many, man. So, yeah, sweet ass rappers influence me, man [laughs]. Just good music period. I love music!
33: Tell me about your crew, 2 AM (All About Music) and how you all came together. What was the motivation behind the movement and what are you aiming to accomplish?
JM: Ah man, the infamous 2AM crew [Laughs]. I like to think of us as a group of young, intelligent, resourceful, funny, entertaining, reckless, irresponsible, well-rounded, respected, hated on, powerful, genius, talented, stupid, beloved, great kids with a calling, man. Yeah, that's us, man, all the above. I love them niggas. JR, Killa Cam, Stacks, Corleone', Strong, and myself. You know we are All About Music. We came together like...me and J.R.was getting our shit together. I met [friend and 2 AM Co-Founder] Stacks at school, Virginia State University, who knew [Camden Moran, Manager and Co-Founder of 2 AM Records] at VCU, who had a little studio and what not. So niggas linked up like that. I was chillin' with [2 AM MC] Strong, who also could rap, so one day I took him with me and that was that. [Long-time friend and 2 AM manager] Corleone is my nigga, so of course he had to squeeze into the picture some how. And we just been moving ever since. With the motivation being the music and the people. And when that is your motivation, then you can only be aiming for greatness!
33: You are a student at Virginia State University. Is it hard to balance both the student and aspiring MC roles, or do they complement one another?
JM: Not at all, man. Music is my life. I just go to school to kill time until my next studio session, performance, interview, or photo shoot. Stay in school! [Laughs] I mean, I don't move weight, I don't like working for anybody, couldn't just sit at home after high school, but school is cool though. [This] shit sound like a 2AM PSA: Millz says, "School is cool, kids!" [Laughs].
33: You recently just opened up for Wiz Khalifa and Curren$y at the Higher Learning Concert at Rendezvous in Richmond. How was that experience, being a local artist blessing the stage before two major label acts?
JM: The experience was fucking great! Anytime I get to perform and display my talent is a great experience for me. But that was by far the biggest show i've done up to this point. Didn't get to meet [Wiz Khalifa or Curren$y] but, all in all, the show was a success and the crowd recieved everybody, you know? Shouts to everyone involved wit the Higher Learning show!. Big, big shout out to [VCU's Student Hip-Hop Organization] SHHO, our extended family, man. And to all the artist who showed up and performed. Yeah, we put on a great show.
33: Why do you feel Richmond isn't on the Hip-Hop "map" yet, when there is so much talent and culture here?
JM: Shit, man, Richmond is my home and I love it. But it's a lot of hate in Richmond, man. Like, over all, Richmond doesn't support Richmond. Now don't get it twisted; everybody here is not a hating ass nigga, [for example] me, but it's just so crazy trying to get on in Richmond, man. It's so divided. Like, if niggas can just unify and get on some "Richmond Movement" type shit, we would be in Hip-Hop in no time! They love a Virginia nigga, man. You always hear [other rappers] mention V-A in they raps. But nobody can rep V-A like V-A, so we just need to put the bullshit aside and make this music and make this money! For real, man.
33: Do you feel there is a strong unity between Richmond artists? Does Richmond radio play it's part, or are they neglecting their own? What needs to be done to change this?
JM: Like I said just a second ago, niggas gotta come together. We gotta make 'em feel us, feel our struggle, our pain, our joy, all that shit, man. They gotta be like, "Man, Richmond got some heat coming from down there!" And in order to do that, we need the radio stations to back niggas that's out here trying. Play us, man! We right here in the city, man, play our shit and let us start to build this empire. Niggas need to get with it. We need city wide showcases, endorsements, nothing major, but something. Goddamn, man [Laughs]. Salute to [fellow Richmond artist] Red Rum! I see you out there, man. My fingers crossed for you, brah. I hope you strike gold so the niggas can finally see what they been missing down here!
33: What does Millz have lined up for us for 2010?
JM: For 2010, I got Mic Check, the album, definitely some mixtapes. Hopefully this tour happens; we in the works with it right now. Plenty of performances, so check for me, man. Visit the site, too: www.thesecondhour.com. Follow me: "@MoneyMillz" on Twitter. Facebook me: Jamil Millz Turner. Myspace: northsidehannibal. Yeah, man, 2010 looks to be pretty productive for me, and I can't wait!
33: Any last words or shout outs?
JM: Anybody that's out here doing they thing, man. Don't stop. If you believe in it, well, goddamn it, it's gonna happen. Fuck what a hater think, let alone what they say. Shout out to my 2AM fam, SHHO, Prolific, the 804, the whole city of Richmond, G, Poke, Tony, Veed, Pedie Pedie, when you see me take it easy. All my niggas, man. R.I.P. Marqueis Tyrone Burgess. "Queis", I miss you and I love you, brah. Hope the Lord forgive me, gave my Jesus-piece a facelift! Hi, mom [Laughs].
33: Describe Hip-Hop in one word.
JM: POWERFUL.
King's Take
Music That Speaks For Itself: An Interview With Jonathan Vassar
When I moved back to Richmond last year, I was out of touch and clueless about the state of Richmond's music scene. I had been gone for four years and wondered how I would reacquaint myself with it when all I had were fragmented memories of inspiring bands that made a huge impact on me throughout college. It didn't take long to discover that Jonathan Vassar and The Speckled Bird was one of Richmond's most prominent folk groups, creating music that speaks for itself: rich, colorful lyrics complimented by warm, emotive arrangements, and vocals that invite the listener into the story. I was curious to meet the man behind the music, so I met with Jonathan to find out more about him and The Speckled Bird.
The Interview
33: How long have you been writing and performing in Richmond?
JV: I started performing songs in Richmond when I moved here for school in 1998. I dropped out of school in 2001 to focus on songwriting. In 2004, I had dropped off the scene, gotten married, moved into a cabin over the river, and gone back to finish school. I resurfaced in 2007 and have been playing with The Speckled Bird since.
33: When I listen to your songs, it feels like I'm opening a short story filled with colorful lyrics, locations, and characters. What inspires your creativity?
JV: When I started writing, inspiration came from urban folk and relationships. Eventually, I exhausted this song cycle. Since I've reentered the music scene, I've worked in a new song cycle that's taken cues from lines I've jotted down in my journals. Patching lyrics together has helped paint specific, expressionistic narratives.
33: Most of your lyrical content paints a fictional narrative. Are any of your songs autobiographical disguised as fiction?
JV: In my opinion, the artist is the coordinator of context. Most of my writing is autobiographical.
33: Who comprises The Speckled Bird? How long have you been performing together?
JV: It started out as a trio. My wife, Antonia, Chris Edwards, and myself. Josh Quarles joined in early 2009. Antonia plays the accordion and glockenspiel. Chris Edwards plays mandolin, banjo, and electric guitar. Josh Quarles plays cello, clarinet, and guitar. Everyone sings. We've been playing together for three years.
33: Do you write most of the songs or is the creative process collaborative with The Speckled Bird?
JV: Up until this point, I've introduced the songs and revisions. Everyone has added their input and ideas to touch them up. For our upcoming full length, "Science and Wonders" I'll write the lyrics and pass them to Chris and Josh to construct the music. It will be liberating not to worry about the music side of things and have a healthy input of creativity and collaboration from everyone. I'm excited!
33: How was it recording your last EP, The Fire Next Time?
JV: We recorded with Allen Bergendahl of Viking Recording Co. in my wife's and my log cabin. Additional tracking and mixing were done at Sound of Music. In some ways it was easy, in other ways it was hard. We wanted the EP to be indicative of the band's live sound. Recording songs and capturing live performances are two different monsters, so it was challenging.
33: When did you sign to Triple Stamp Records?
JV: In 2001, I began booking shows at Betsy's Coffee Shop. We'd have one show a month with regular performers that included Josh Small, Liza Kate, Anousheh Khalili, Chris Terry, Paul Watson, and myself. Wil Loyal founded Triple Stamp Records in response to the acoustic movement that was growing. By the time the record label was started, I had dropped off the scene. When I started writing music again in 2007, Wil found out and contacted me about putting out an EP on Triple Stamp Records. That became "The Hours and The Days" and turned out to be a wide collaboration between old and new friends. The lineup included Josh Small, David Shultz and The Skyline, Homemade Knives, and Anousheh Khalili. It was a great opportunity for me to become reacquainted with a much-changed music scene.
33: What is it like playing in Richmond? Do you find Richmond's music community supportive?
JV: Yes, Richmond's music scene is extremely supportive because the number of local acoustic, indie folk musicians is fairly small. Because of that support, there's a lot of collaboration and networking. The older musicians reach out to the younger musicians to help them get plugged in and book shows. A lot of this synergy stems from the punk scene with its shared networks, community emphasis, and house shows. The Camel has been a great venue to host acoustic, folk music like ours.
33: I noticed you're connected to a number of folk bands and artists. There seems to be camaraderie amongst musicians of similar genres. In music circles, do you ever feel a sense of competition with local bands or is it encouraging to be a part of a close-knit community?
JV: Now that I'm older, there's a wider perspective compared to my early days as a young performer. I am excited to see what other musicians are up to and what's being created in the community. The better we can do to support and promote others, the better it is for everyone. Every now and then I come across a musician with a standoffish front but it doesn't really bother me. It's their "persona" I guess.
33: Do you have a favorite city or venue to play? What has been your most memorable gig so far?
JV: Besides Richmond, we've had a lot of luck in Roanoke. One of our most memorable gigs was at Gallery 5 this past September. We played with one of our favorite bands Vandaveer and locals, The Low Branches, Nick Coward & The Last Battle, and Paul Watson. We haven't seen a show at Gallery 5, before or since, so packed and so quiet! Chairs were brought out and the entire audience sat down to give their undivided attention to the performers. A rare, quiet acoustic show hard to come by outside of small house shows. Everyone who performed really brought it. Nick Coward and The Low Branches really blew us away. For me, it brought back the salad days at Betsy's.
33: What's in the works for 2010?
JV: We're currently finishing up another EP, "Our Heritage is Unto Us." It's sort of an odds and ends compilation of songs that are leftover from the larger song cycle that umbrellas all of the Triple Stamp releases so far. Songs that didn't fit on anything else due to the fact that they're either too happy or too weird. It's also an exercise in home recording for our full length that will start in January. Hopefully, it'll come out on Triple Stamp late next year.
Thanks, Jonathan!
To find out more about Jonathan Vassar and The Speckled Bird, visit JonathanVassar.com
You can buy his CD, released through Triple Stamp Records, here
Rock
Make Phantoms Make Album
In his free time, Mortimer Skarsgaard enjoys taking solitary drives into the night to listen to music. The late 70's post-punk of Magazine provided the soundtrack for one particular moonlight drive, one in which Mortimer remembers seeing a nondescript... shape? figure? apparition? illusion? - out of the corner of his eye. As Howard Devoto sang "I used to make phantoms I could later chase," he seemed to be speaking directly to Mortimer's eerie vision, and Make Phantoms was solidified as the name of his latest musical endeavor.
Indeed, this name seems most appropriate for the project (especially considering the names that didn't make the cut, such as Ergo the Magnificent Fire), as there is something inherently mysterious floating around somewhere in between this band and the ether. Upon arriving at the address I had been given, I am met in the front yard by Barth Wooster, another Phantom. He leads me by penlight around to the side of the house and through a rickety gate. The backyard is half-flooded, and there is a very specific path we must take through this quasi-bog in order to avoid the mud and reach the recording space, located inside a shed behind the main house. Between the la
ck of lighting and the swamp-like terrain, I half-expect to see a specter lurking somewhere in the night's mist. I recall Pet Sematary and keep my eyes on Barth's heels.
Upon reaching the recording space, I am introduced to Mortimer and the band's third member Alisander Borealis. The room is spartan, to say the least, and clearly functions as a storage space along with its studio duties. Boxes, stacked chairs, an exercise machine and a Razor scooter are dispersed throughout the space in between the microphone stands and a slew of tangled cords and power strips in the middle of the floor. An ancient, out-of-tune, upright piano sits against a back wall, a busted TV on top of that. Old carpets hang from every wall and holiday lights are strung across the ceiling. Just inside the door and past the first mass of cobwebs sits an old couch and a desk with a computer through which all of the recording and producing takes place. Mortimer, the band's resident ProTools guru, sits at his command center in front of the Mac. The goal for tonight's session is to nail down the lead vocal track for the near-complete "Come-Around Kids".
Make Phantoms' recording project began around August. Prior to forming, Barth had been playing in an acid-folk group called the Johnny Tremain Ultras, while Mortimer was in an Elvis-screamo cover band called the Rock Me Tenders. Through someone's twisted idea of a show, these bands were scheduled to play on the same bill, and after finding a shared affinity for the Moog synthesizer, Barth and Mortimer decided to begin their own group. While enjoying the First Friday festivities in downtown Richmond one evening, they were drawn to the sound of "thunder from the alleyway." There they found Alisander - busking as a street drummer in his spare time while completing his Masters in Prosthetics - and immediately recruited him for the band.
The members of Make Phantoms were tired of the confines of being in a typical, streamlined, gig-playing "band-band". Seeking the freedom to write music in any style or mood that they happened to be channeling at the moment, they devoted their energy to being a recording group as opposed to a live one. The band's focus would be on publishing songs, online releases, and the occasional show around town. This way, they are liberated to compose in a wide range of styles without having to worry about whether the songs fit in with the band's live sound or image. Make Phantoms' "image" is purely auditory and can appear in any number of forms depending on the listener. While this concept creates the potential for aimless style-jumping, Make Phantoms' sound remains fairly cohesive. Throughout the handful of completed songs that are available at the moment, one consistently finds shimmering synth arrangements, melancholy piano lines, and beautifully soaring vocal harmonies, as made evident in "Come-Around Kids".
The atmosphere in the recording session is simultaneously relaxed and enthusiastic. The members clearly believe in their craft, and there seems to be an almost conscious effort on behalf of the band to suppress their giddy excitement for the project in front of outsiders like myself, though at times I can see it bubble over. The final chorus has to be re-done at one point. 
Barth chuckles, "I got excited at hearing the bass come in and my voice cracked." He lays down his lead vocal track while conversing in between verses, throwing out a compliment of the photographer's shoes before punching back in for the chorus. On this particular performance, his vocal quality reminds me of M. Ward while the harmonies that open the song evoke classic Simon and Garfunkel sung over a dynamic, distorted guitar riff. The band has dozens of songs either half-written or in progress, but a completed "Come-Around Kids" will mark about the fifth or sixth song that is ready for mixing. The finished project will most likely contain about fourteen songs and has a self-imposed deadline for the end of March to prevent over-indulgence in the mesmerizing world of ProTools. Mortimer explains, "I have a tendency to be a perfectionist, so I could be tweaking knobs until the end of time."
Luckily for all of the eager listeners out there, this deadline also means a rare live performance for a CD release event, which will be covered in a future issue of Magazine33. Stay tuned for more updates on what promises to be one of the year's most exciting and ambitious local records.
Make Phantoms Links:
Let's Go Honky Tonkin'!
The Slack Family
I don't smoke. But on my four mile trek from Oregon Hill to Shenanigan's, the old Camel slogan kept running through my head. Of course, being a writer I had to revise it to fit my situation: 'I'd walk 4 miles for a bluegrass band.' It's not quite as catchy, but it's very accurate. I later found that my hike was completely unnecessary, as Andy Burns, the Slack Family's mandolin player, also lives in Oregon Hill, and was perfectly willing to give me a ride, a fact that I took advantage of on the way home.
The Slack Family Bluegrass Band has been around for about ten years. Their website has an interesting tall tale of how they were discovered by revenuers somewhere in the mountains of Virginia, but I hardly see why that is necessary. The real story is just as good. The Slack Family began its life sometime around the turn of the century. No one knows the exact date. I doubt anyone really cares, and I know the band doesn't. A couple of rock musicians, namely Joe Wharff and Andy Burns, decided they wanted to do something different. So they got together with some other rock musicians who felt like changing things up and set out down the road to bluegrass. This road was more of a back alley, literally. Their first gigs were not gigs at all, but rather impromptu performances for bar-hopping Richmonders in the alleys of downtown and Shockoe slip. They've come a long way since then, and 
are now playing rather less impromptu shows for bar-going Richmonders at a variety of local establishments as well as the occasional wedding. I saw them at Shenanigan's where they've been playing the first Friday of every month since before it was Shenanigan's. They like to say that they came with the building.
So what do they sound like? The simplest way to answer that is to say bluegrass. While I don't normally like to pigeonhole bands into one specific genre, these guys are just too quintessentially bluegrass to call them anything else. From the mandolin riffs to the banjo and guitar picking to the driving standup bass and even what I like to call the high lonesome singing everything about them screams bluegrass. Even their many original songs easily sound like they could be old Blue Grass Boys numbers. And while they may not be as talented as the aforementioned Blue Grass Boys, they bring just as much energy and enthusiasm for the music. This is definitely a band that is best enjoyed live. They have such an infectious energy that even the most awkward of bar patrons, and some of them were about as awkward as you can get, couldn't help but get up and do a bit of dancing.
The only real problem I had with their performance was that the fiddle player. Jim Skelding, was unable to make it. I seem to have that effect on fiddle players. This was the third show that I've covered in as many months in which the regular fiddle player couldn't make it. But despite this disappointing turn of events, all hope was not lost. Filling in on guest guitar was Dave Kuo. If you haven't heard this guy play, you need to do so as soon as possible. He was fantastic. I normally would pick hearing fiddle over guitar every time. I do love fiddle music. But this guy was something else. I don't think he normally plays bluegrass, but Dave, if you're reading this, you need to go out and find you a bluegrass band to play with on a regular basis, I want to hear some more. So I can't really complain about the fiddle player being absent, because it gave me a chance to hear a phenomenal bluegrass guitar flat-picker.
I guess I better quit extolling the quality of the guest musician and get back to reviewing the Slack Family. I not only had a chance to see them live but also listened to their second CD: Picking Up the Slack. Their recorded material, while still distinctly bluegrass in nature, is somewhat more varied. Despite being an above average album, there is something about their live performance that just can't be captured in a recording. It's that infectious energy that I mentioned earlier. I'm not quite sure how, but I think some of their songs could even get a paraplegic dancing. The CD has some very good music, some parts I would go so far as to call excellent, but it really is completely different from their live performance. That's why you need to get up from that computer, get out there, and go see them.
The Slack Family Links:
The Slack Family at CD Baby - You can buy their cd, Trains and Rain, here
Rock and a Hard Place
Rosyln: Pop or Not?
Do you like pop music? Probably not. Because if you are like me, you instantly begin associating the term "pop" with nauseating acts like Britney Spears and the other 99 artists that are more than likely on the Billboard Hot 100 list at this very moment. Shameful sounds soaked with artificial pitch and squeaky-clean production, complements of Pro Tools and other computer software that take the "music" out of music. The kind of abomination, that when perseverated upon, "makes me want to puke in my soup," as George Carlin used to say.
Today's pop music makes it hard for young people to remember that the radio wasn't always trash. The Beatles and The Rolling Stones were known as pop bands in the sixties and they obviously made well-respected music. It was just "popular" music then, and that's all there was to it. But because of the corporate bullshit that ruined the mainstream canvas years ago, pop music is now controlled by "the man" and has lost all the freedom and soul that originally made it popular to begin with.
I could go on for hours articulating my disdain for corporate radio, but we've all heard this song before. You wouldn't want to read such tripe and I'd become redundant rather quickly if I haven't done so already. So instead, I'm going to tell you about a pop-rock band I saw the other night. I know what you're thinking, "After all that bitching about pop music, he went out and covered a pop band?" Read on, it will all make sense by the end of the article. [I hope, anyway. This is a rough draft.]
They call themselves Roslyn [Yes, after the neighborhood in Arlington]. It is a four-piece band consisting of Brooks Cullum [lead vocals, rhythm guitar], Pedro Aida [lead guitar, background vocals], Orice Collins [bass], and Greg Butler [drums]. They've been playing together a little over a year, although Pedro and Greg had some commercial success together with a previous band, River City High, winning the 2004 MTV Dew Circuit Breakout contest in Time's Square.
I met them at McCormack's, upstairs in the green room. After a few handshakes I did not hesitate to ask why they wanted to be a pop band, when so many pop bands suck.
As Pedro put it, "Well, I wouldn't say we are pop, like Brittany Spears pop. What people call "pop" has been taken wrongly over the years. When you first consider pop, the Beatles were a pop band, you know. Buddy Holly was pop, and was also rock and roll. Pop means "popular." So when we say "pop," it means we think something's "poppy." It's like a composite vibe, I guess, say radio friendly in a way. But that's not really the target."
I couldn't help but notice he said the word "pop" at least eight times in his response. I was already getting "popped" out and 
hadn't even heard a single note yet. But I have to say, their understanding of pop music seemed to fall in line with mine. But trust me, I wasn't sold yet. Who are these guys influenced by? Who should I expect them to sound like? He responded, "When I was growing up it was Green Day, The Clash, The Ramones. Very pop-punk... I've always been into The Beatles, so that always would drive me."
I like all of those bands, too. [Although Green Day lost me after Dookie.] Maybe these guys are more than a crappy pop band. Maybe they aren't looking to make bad music and sell their souls to a fat man in suspenders.
In fact, they were very humble in their approach to the business. I wondered why they didn't tour more often or move to a larger market where their success could be recognized on a greater scale.
Pedro explained, "We're not gonna drop our lives to do a 3 month tour when we're not going to know how it's going to go. We've gone on tours that are like 5-6 days at a time, but we're not going play where no one knows who we are. Why would Joe Schmo's bar book Roslyn in Birmingham when no one knows who we are there? The whole 'move to L.A. or N.Y. and make it' thing is great when you're 18 and have nothing to lose, but we're at the point, at least in my life, where I can't just move everything. I'm not saying we're not going to get anywhere. We just have to take different routes to be recognized, like internet, social networks, things like that to get our name out there. Licensing and publishing is the best way to do it. If someone wants to put us on a great tour, we won't turn it down, but we're not going to pack up my mom's minivan and go on tour with no money."
But to me, it seems it would be hard to grind it out in a small city like that, especially as a popular band that has already tapped into the commercial airwaves and has a great buzz around town.
"It is hard. We bought the band a trailer so now we have to play enough shows to cover that payment. Being in a band is hard, man. If you want to be in a real band, it's hard. All of us have jobs and lives and spouses or whatever. Between that, our careers, and playing a few bars every now and then just to make a payment, let alone, get ahead, it's hard. But we love playing music. We love playing in the club at night and being on stage and doing it. You have to love it to do it."
That made plenty of sense to me. And it didn't really sound like a pop band's response, either. It sounded more like a well-respected, blue-collar rock band that plays for the love of music. In fact, many songs are written about bands like that... by bands like that.
Brooks, low in his chair, quietly moved forward, "I write stuff about my life. My situations. That's really the only thing I think you can take anything seriously from."
"Brooks always writes about what's going on in his life. You can tell. When he goes through something, and comes to practice with a new song, you know already about his previous three weeks," Pedro added.
Interesting. The whole time, I was under the impression that Pedro was the frontman, with his extremely talkative and outgoing demeanor. I was taken by surprise to see Brooks, so reserved and lethargic, come forward as the lead singer/songwriter. But then again, never judge a book by its cover. Judge it by its... songs... right?
They kicked off the set with "Everything Changes," an upbeat tune that showed how well Pedro and Brooks harmonized together. They bounced around the stage effortlessly, and that once-lethargic frontman came to life.
"Everybody's Waiting" and "Ghost" came across very reminiscent of mid-90's pop-rock. Brooks really let go and became increasingly alive as a showman while Pedro did not miss an opportunity to dive into his guitar breaks. And Orice's stellar bass deserved much of the credit for allowing such on-stage freedom between Brooks and Pedro possible.
As the set moved on, I became somewhat unmoved by the lack of variety, I suppose. I began feeling those anti-pop thoughts creep back again. Although I was hearing their Beatles influence shine through, I was missing the Clash and Ramones vibe I was hoping to pick up on. I felt as though the novelty of live music was wearing off. I was getting sleepy and began feeling how Brooks looked when I was talking to him backstage.
If anything was going to wake me up, it was going to be six more PBR's. I went over to the bar for a few minutes, and upon returning to my table, I noticed a change of scenery. The previously empty dance floor was now completely packed with a Roslyn following. And I don't know if it was a coincidence or what, but as the crowd got going, the music seemed to get better.
Toward the end of the set, the crowd was packed with no shortage of young blond women, the target audience for any rock band. They belted out their song, "Last Call," to which Pedro prefaced, "This song is called 'Last Call', but it's not last call. Don't take it the wrong way." It was probably their strongest song, actually. Then, they finished with their hit, "Suicide Girl," the old fashioned and extremely catchy tune that has been hitting the local airwaves.
Personally, I can't say I needed to hear any more of Roslyn that night, but I can say that they are a very tight unit on stage and know how to entertain an audience once it shows up. It seems as though they became a reflection of the energy that was before them. Energy in, energy out. The songs are very catchy and contagious, and I see why they have a loyal following around town.
They came off as very musically mature and after chatting with them and watching the show, I began to understand the whole pop-rock thing a little differently. Perhaps it's not to be looked into so deeply or taken so seriously. Perhaps it's just about innocent fun. Roslyn doesn't consist of four puppets doing a song and dance so that a business man can get a promotion. They are business men. As well as husbands and fathers alike. And the people at their shows are all very happy and loose. They sing along and want more when it's over. Who knows, maybe if I wasn't such an uptight cynic, I'd be at all of their shows dancing and singing along, too.
Rosyln Links:
You can buy their CD here at CD Baby:
World
Beast Wellington
By Nedra Miller.
It was a warm rainy Wednesday night. Instead of being at home, forty to fifty brave souls including me headed out with a common goal in mind. We eagerly anticipated hearing the funky sophisticated sounds of Beast Wellington. Prior to the show, I spoke with band leader Mark Ingraham who told me, "I write for people to dance. It's my driving force. I want people to love my music the way I do." I understood what he was telling me, however I had no idea what I was really in for.
There we were, discussing how we felt about our first non-smoking night at the bar, when out of seemingly nowhere the trumpet 
hailed. With just the first note, they captured our attention. Mark Ingraham on trumpet along with the Femme Fatale Horns: Mary Lawrence Hicks on trumpet, Suzi Fischer on saxophone and Maureen Wisniewski on trombone were producing awe inspiring harmonies. Guitarist Chris Ryan exuded electricity from beginning to end. When asked to describe what he feels during a performance Chris said only this: "I just tend to play with my heart on my sleeve. I really don't know any other way!" If Chris' heart was beating similar to mine, we were both in sync with the pulse of the band bass guitarist, Derrick Englert, drummer, Devonne Harris and percussionist, Jeff Morris. These three gentlemen kept us all on beat and Mr. Morris even mystified us from time to time with chimes. Already pleasantly surprised by the sounds being produced by this band, I see Margaux LeSourd, vocalist, making her way to 
the stage. Hearing Ms. LeSourd's powerfully enchanting soulful voice was the moment I had been anticipating most. With style and grace she approached the microphone. As the words from "Its Love" by Jill Scott poured from her lips I could do nothing more than watch with admiration. We were all getting started dancing, when lo and behold, it was time for a set break.
The second set opened with a song Mr. Ingraham wrote entitled "Brown Chicken Brown Cow." If you are anything like me you are wondering, what could that possibly sound like? My advice, don't even try to imagine. This one you just have to hear for yourself. Not only was this a cohesively composed piece, it was also a chance for Mr. Ingraham to engage the crowd by tossing them balloons and gracing us with his presence on the microphone. "Mark is good at producing counter and interlocking points. We are both growing and changing with this band," explains Ms. LeSourd during our evening interview. Though many of the members have known each other for years, playing for other local bands such as Bungalo 6 and Oregon Hill Funk All-Stars, it is almost unfathomable to believe this band has only been practicing together since August of this past summer. Mr. Ingraham already proclaims," I feel lucky. I feel I got it right." I wholeheartedly agree.
If you enjoy dancing, laughing or even just tapping your feet Bogart's on Wednesday night is the place to be. Show starts at 10 but I recommend getting there by 9:30 for a good seat! Great music, great atmosphere, did I mention the show is free? Thought that would get your attention! I'll see you all there!
Links:
The Well
The Spies Interview
Interview with Joe Norris of SPIES
Ratso: First of all...you've got some cool tattoos; let's talk about that. Joe: [Laughs] Oh...Oh my God. This one is the Spies logo. Which is a question of time...um, I read a book when I was really into Zen, in...I guess sophomore year.
Ratso: College or High School? Joe: High School. Oh no no, College, sorry. I was in a college class here from Cliff Edwards, who's a really good Professor here at VCU, and he gave me a book called "The Wisdom of Insecurity", and that's all about being ok with...not being ok with yourself. Which is just...such a Zen thing to say.
Ratso: Yeah. Joe: At the time I was really committed to it, and I'm not so much anymore. I was really committed to it at the time, and I was just getting started in music, I've only been playing guitar since 2004...one of my friends got me a guitar and I was like "Oh that's cool, I like it. I love music, so let me try playing guitar." That...it's just a question of time. And that goes for like, troubles, it goes for "when are we going to make it", it goes for "when am I going to graduate", it goes for "what does that mean?" so it's two question marks wrapped together.
Ratso: So what's on your right arm? Joe: Umm...This is...embarrassingly enough, a "Get Up Kids" tattoo. It's a dude who's, a stick figure, and he's walking around on a wire around the city, because life is a balancing act.
Ratso: Don't be ashamed of that. That's who you are.
Joe: Ah, I'm ashamed of it.
Ratso: Laughs.
Joe: It's a cheesy "Get Up Kids" tattoo.
Some Random Drunk Guy: Where'd you record your LP at? Joe: We went to Whiskey Bear Studios down in VA beach...
Ratso: I can cross off a question here...
SRDG: What medium did you record on? Joe: He's got Protools. He uses that, and he's a really good friend of ours and he kind of hooked us up with $20 an hour.
SRDG: How much editing did y'all do? Joe: Not a whole lot. The whole instrumentation on it is all live. The biggest difference between live and recorded music, of course, is compression. So everything is clear. And not being drunk. But that was it. I added in a second guitar for some songs. We have some horns, and a lot of cello and female background vocals...but this is...this is it.
SRDG: How many tracks? Joe: 12 songs. We went in there over a three-day weekend and knocked out 12 songs. A lot of these songs-well not a lot- but some of these songs are from like 2005 so-
SRDG: [To Ratso] How much tape do you have on there? You got enough time?
Ratso: I got like 180 hours, so you can go ahead and do my interview for me.
SRDG: Uhhhhh...who pressed them for you? Joe: Another friend of ours named Paul, who overcharged us 200 for 200.
SRDG: See that's...were they blank or were they printed on? Joe: No, we had this software, where we went and designed it. We actually have the album artwork and everything done but we can't afford to print that out because-
SRDG: When this is done, I'll show you how to do it yourself. Joe: A lot of people are saying that. Just, online or cutting it yourself.
SRDG; I'll draw you a little diagram and show you, and go to Kinko's and do it that way because its that cheap. Joe: They were asking- what we were saying was, we wanted a hundred copies of two albums, on a sheet, because we've got two hundred-
SRDG: Are you guys from Richmond? Joe: Yeah, yeah we are.
SRDG: I can also give you...I know a dude who does duplication, so I can hook you up with that too. Joe: Oh, that'd be nice.
SRDG: It's a real book, it's not like CD-R, it's a real CD. It's for like a buck a CD. Joe: Yeah, he just used verbatim cheap stuff, and we're ok with that.
SRDG: It's not top of the line, but it's good.
Ratso: If you don't mind, I'd like to get back to MY interview. [Drunk leaves.] So how long have you guys been playing together now? Joe: Um...well, Spies has been an acoustic thing of mine since, I guess 2004, and every time I play I find different people because I can never hold a band together.
Ratso: So how long have you been doing it with THIS band?
Joe: This particular band...this particular formation has been...Josh the bassist has been in for a year, and Jarred just came in at the beginning of the semester, so what was that, August?
Ratso: Yeah. Joe: He needed a place to stay, and we knew him very well, so we let him in, and its just been going from there.
Ratso: So is this a set formation now, or is it- Joe: No, actually, which is a really big bummer, the uber bummer about it is that he...before he moved in, had plans to move to Colorado to pursue a more full time career in music before we even planned an album or anything like that. So he was committed to that, and then we recorded the album, but like I said, if anything were to ever happen with this, because we feel this is a really good thing now, after this was already made...he had the decision made to move out to Colorado with his brothers. These aren't like friends he can bail on, this is family. So that's fine. I totally respect that. He's an amazing musician and he totally deserves to make it.
Ratso: So if he doesn't come back, do you think you're going to keep doing Spies stuff with a different- Joe: Spies is always going to be me. That's just me being selfish, but I could just do an acoustic show and I would use that name. But it's been really difficult to find people to play with us...or play with me, because I go everywhere, and everybody's so pretentious. They're like "Oh I like Hardcore" or "I like this or that"...I like you so much because you're just who you are.
Ratso: Thank you. So do you consider yourself a particular genre or are you just- Joe: No...which is unfair to even ask me because I know how artists like to make themselves bigger than they are.
Ratso: [Laughs] Well- Joe: No, it is what it is. I always say, whenever people ask me to classify us, I just say Indie, because Indie covers everything, and we like horns, we like cellos, we like punk, we like Hardcore, we like ska...and that's just all of us reflected in the music. I LOVE country. I listen to Nico Case...
Ratso: I noticed, the first two artists were kind of country. Joe: I love that! I love that a lot. I get down with that.
Another Drunk: Hey, great show!
Joe: Thanks! Thanks for coming out! [Back to Ratso] And a lot of stuff like that is actually really discouraging for me, because...this is just me being really conceited but, I feel like we have a legitimate shot at making it on...not a super commercial level but just like a mid-level. Like, I feel we deserve distribution because we want it so much, and we work...we DIYed an album, you know, professional recording-or as professional as we could afford, an album, and we're able to put shows on...
Ratso: Is this your first album? The one you're releasing tonight? Joe: This is...this is our first formal, professional album. Other than that, everything's been DIY. I have Pro-tools at home and we recorded it and-it didn't sound super good but that's just what we have. And no ones ever really attached themselves to it, its just like "Hey, listen to our music." And like...Kevin Devine or some stuff.
Ratso: [Indistinguishable] Joe: Right. It hasn't really been anything super awesome.
Ratso: So do you have any future plans for the band? Any tours coming up or anything? Joe: As far as this particular incarnation it would go as far as the 18th and 19th [of December]. We have our family show. We've been really close to a lot of bands-
Ratso: What do you mean by "family show"? Joe: I went to High School with a bunch of kids down at the beach...that's where I'm from. And they kind of branched out and did their own thing, and I went to college, and they're like "Oh, we gotta band,"...so since I've been playing music, they've been putting me on. So now that I've got a full band for the...third time now...our first show was at the Norva, all these guys call them "family shows" because we pull all the same crowd, so it's just kinda like...if you know all three bands, then why wouldn't you come out. The special thing about the 18th is that the 18th is our...double CD release, it's Razorkings releasing, and us releasing. And that's the reason why we have so many CD releases. But that's it, 18th and 19th. If anything would ever happen then...we'll take it from there, but for now it's pretty loose.
Links:
More
The DropZone
Harley's Place has the atmosphere for those of you who love the music scene with DJ Clayton Fitzgerald. I had the nachos with chicken and grilled cheese and fries and the food was great. So if you're looking to listen to some music, have a few beers or take a shot, than Harley's Place is the place for you. Bob and Mike are the owners, and Scott is the bartender, stop in and see them. Drop Zone has been rocking, starting and crashing parties since 2003, with Adam Preganz on guitar and Frank Crum on drums and in 2009, Mike Stevens completed the line-up. They know how to get the big response and they're doing it in clubs from the Shenandoah Valley to Petersburg. They love to have a good time, and love playing music. They would love to see you at their shows because they love playing music for their fans. Some influences include Judas Priest, Guns 'N Roses, Motley Crue, Black Sabbath, Kiss, Iron Maiden, Thin Lizzy, Scorpions, AC/DC, and Def Leppard. The band much sounds like Stone Temple Pilots meet Guns 'N Roses with a twist of AC/DC and a side of Judas Priest. The guys from Drop Zone can be seen playing at DogWood Café in Palmyra, Virginia and at the Oasis Lounge in Waynesboro.
The Interview
33: What made you decide to make music?
Adam: I've been doing this since I was 12. Since my teens I've been playing music and always loved it.
Frank: I can't speak for Adam and Mike, but for me, I was a wallflower at the high school dances, and rock music was a way for me to be a center of attention. I'm otherwise a little shy in group settings.
33: What made you decide to be in a band?
Frank: See above!!! I think the prospect of partying and girls appeals to a lot of young guys. As we get older, it's more the enjoyment of playing music and the brotherhood of the band. Adam and Mike are two of my closest friends and I think they can say the same about me.
33: How did Drop Zone form together?
Adam: I started the band Drop Zone and had a few members that dropped out of the band because they moved away. So I recruited new members for the band and along came Frank and Mike as the new addition to Drop Zone.
33: Where did you come up with the name Drop Zone?
Adam: Originally we played at a friend's house. The place was called Parachute Lounge. When we performed we had a parachute over top of us so the name Drop Zone stuck with us.
33: Do you guys have any albums out and if so where can they be bought?
Frank: None & None. Not currently, but in the future you will see some original work from us.
33: What has been your favorite place to perform?
Adam: Azalea Flea Market. It was a campsite outside of the NASCAR speedway in Richmond. It was a lot of fun.
33: Why was Azalea Flea Market you guys favorite place to play at?
Frank: The Azalea Flea Market is a big parking area outside Richmond Int'l Raceway where campers park for four days during the NASCAR events. We set up impromptu and played on a Friday night after the Nationwide series race, about 10:00 at night. We played until well after midnight, drawing a big crowd of partiers/onlookers. If we had to pick a bar that's our favorite, it's probably the Dogwood Cafe in our hometown of Palmyra, where we consistently draw a crowd of around 80-100 people.
33: What other musicians have you worked with?
Drop Zone: As far as local shows, we've played with SP511, Sin City, and Reawaken. We play a lot with SP511; they are great and a lot of fun.
33: Do you guys plan on playing with any other local bands in the area?
Frank: We're always open to being on a double bill if our needs are served (i.e., exposure, breaking into a new club). The double bills generally don't pay well, so it's not something we do in established venues. We are happy to have opening acts if a band needs a break, as long as the music is complimentary.
33: I saw on your MySpace that your fans can purchase Drop Zone merchandise. Are they able to purchase it from your website? And what kind of Drop Zone merchandise do you sell?
Adam: We sell our merchandise on our website which is DropZoneRocks.com and at our shows. We forgot to bring our t-shirts tonight however. We sell t-shirts, key chains, mugs, and bumper stickers.
33: Where can we see you perform?
Drop Zone: We will be playing more around the Shenandoah Valley. We've played a lot in the Richmond and Petersburg areas. Drop Zone: January 5th we will be playing at Mulligan's in Staunton. January 30th we will be playing at the Dogwood Café in Palmyra, VA. February 6th we will be playing at the Oasis Lounge in Waynesboro, VA. March 13th we will be playing at the Dogwood Café again in Palmyra, Virginia. March 20th we will be playing at the Oasis Lounge again in Waynesboro, Virginia. And on May 8th we will be playing at the Oasis Lounge.
33: What can we see from you in the future?
Frank: New songs, new original songs. You will see us playing in the Shenandoah Valley more. Some of the places that we used to play were in the Richmond and Petersburg area but like I said, we are going to play in the Shenandoah Valley area more.
33: Anything you'd like to say to your fans?
Frank: We used to be egotistical & be at other people's shows and say we could play better than them but we've changed. We just want to make music. We love to hang out with our fans. We just want to have a good time. So come out and listen to us.
33: What can you tell your fans who would also like to be musicians?
Frank: PRACTICE. I couldn't carry a tune in a bucket or keep time if my life depended on it when I was 16. I just kept singing to songs in the car, practicing drums day in and out, and LISTENING to musicians and bands that already had it down. If you have a little bit of a gift for music, a lot of patience and bury your ego, you can succeed.
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