| Support: Madeline The Glands are an indie rock band from Athens, Georgia. Their first CD "Double Thriller," was released on Bar/None Records in 1998 and their latest self titled album was re-released in August 2001. They play through a series of set pieces that recall the Kinks, the Who, The Rolling Stones. The song "Livin' Was Easy" was featured in the DVD Let America Laugh by comedian David Cross. Their main hits are; "Straight down," "Lovetown," "Swim," and "Work it out."
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Support: SNAP! Chuck Leavell has been pleasing the ears of music fans for more than 30 years now. His piano and keyboard work has been heard on the works of Eric Clapton, The Rolling Stones, The Black Crowes, George Harrison, The Allman Brothers Band, The Indigo Girls, Blues Traveler, Train, Montgomery-Gentry, Lee Ann Womack and many, many more. In addition to being a well established pianist/artist in the music industry, Leavell is also a published author, tree farmer, and keeps busy with his advocacy work on behalf of the environment.
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Swing by to check out the "NEW" Georgia Theatre!!! My name is Dan Nettles and I am the bandleader, composer, and guitarist for Kenosha Kid. Forgive me for writing this in the first person, but when a convention interferes with getting the point across, perhaps it can be discarded? In fact, much the same could be said about the music I make, which others have described as "some kind of as yet unlabeled jazz" (All About Jazz), as music "played through an Andy Warhol filter and served up Thomas Pynchon style" (Savannah Now), and as "jazz as if Kenny G and Wynton Marsalis never came along to ruin the genre's mainstream" (Flagpole Magazine). I would agree with most of these clever descriptions, although I have point out that I do enjoy Wynton's music, if not all the things that he says. (We all should talk less and play more, in the end.)
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Atlanta-based Blackberry Smoke, comprised of bassist and vocalist Richard Turner, guitarist and vocalist Charlie Starr, keyboard player Brandon Still, drummer Brit Turner and guitarist and vocalist Paul Jackson, continues to grow into America's premiere southern rock band. During the last year they have shared the stage with ZZ Top, Lynyrd Skynyrd, Shooter Jennings, Cross Canadian Ragweed and many others.
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10 years! My god, that is a LIFETIME! I cant believe I have been making records on a national level for 10 years. In 1999, I was just making these little beats in my bedroom for release on an independent label. Fast forward to 2009, and I'm….making these little beats in my bedroom for release on an independent label. Ok, to be fair, some things have changed; a bigger studio, I OWN the studio, I OWN the independent label, and instead of driving 10 blocks to a gig in m hometown, I fly 10 hours to a gig in another country. But when it all comes down to its most base level, the goal is still the same: to make a piece of music that is going to hopefully rearrange your brain, or at least provide some relief from real life for a moment or two.
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Support: Don Chambers + GOAT Coming out of Baltimore, MD (via Cleveland, TN) the band has hit the road with such regularity that its recorded work can seem almost an afterthought. After all, rock and roll is foremost a live medium. But the artifact J Roddy Walston and The Business created is among the most collection-worthy albums of the past decade. The widely praised Hail Mega Boys (2007), although fine in its own right, can now be seen as a rough precursor to the ten tracks of lean-n-muscular, rollicking, unselfconscious celebration of the self-titled album due out in July 2010 via Fairfax Recordings/Vagrant.
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Groundbreaking banjoist/composer/bandleader Béla Fleck has reconvened the original Béla Fleck & The Flecktones, the extraordinary initial line-up of his incredible combo. Rocket Science marks the first recording by the first fab four Flecktones in almost two decades, with pianist/harmonica player Howard Levy back in the fold alongside Fleck, bassist Victor Wooten, and percussionist/ Drumitarist Roy "Futureman" Wooten. Far from being a wistful trip back in time, the album sees the Grammy Award-winning quartet creating some of the most forward thinking music of their long, storied career. While all manners of genres come into play – from classical and jazz to bluegrass and African music to electric blues and Eastern European folk dances – the result is an impossible to pigeonhole sound all their own, a meeting of musical minds that remains, as ever, utterly indescribable. Simply put, it is The Flecktones, the music made only when these four individuals come together.
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Antwan Andre Patton a.k.a BIG BOI is an American Hip-Hop artist and producer. He is also one half of the Hip-Hop Supergroup "OUTKAST" and one of the genre's prominent solo performers. His upcoming solo album is Sir Lucious Leftfoot: The Son of Chico Dusty.
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Far more than on any of the Drive-By Truckers' previous albums, Go-Go Boots rises like smoke from the old Muscle Shoals country-and-soul sound. Having recorded with Bettye LaVette and Booker T. Jones, and having spent a lifetime listening to classic soul albums by Bobby Womack, Tony Joe White, and especially Eddie Hinton, it was inevitable that the Truckers eventually produce this album. We knew they were pin-your-ears-back rock and roll. But here in Go-Go Boots, the Truckers are country, and here, too, the Truckers are soul and rhythm and blues. It looks funny, on paper - the words country/soul mashed up like that - but maybe in the end it comes down to this one shared ethos: the harder life gets, the more clamantly it calls for art, for music, for beauty - for the slow celebration of loss or pain that is mournfully, beautifully defiant.
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Far more than on any of the Drive-By Truckers' previous albums, Go-Go Boots rises like smoke from the old Muscle Shoals country-and-soul sound. Having recorded with Bettye LaVette and Booker T. Jones, and having spent a lifetime listening to classic soul albums by Bobby Womack, Tony Joe White, and especially Eddie Hinton, it was inevitable that the Truckers eventually produce this album. We knew they were pin-your-ears-back rock and roll. But here in Go-Go Boots, the Truckers are country, and here, too, the Truckers are soul and rhythm and blues. It looks funny, on paper - the words country/soul mashed up like that - but maybe in the end it comes down to this one shared ethos: the harder life gets, the more clamantly it calls for art, for music, for beauty - for the slow celebration of loss or pain that is mournfully, beautifully defiant.
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Before we go any further, before we address anything, I'd like you to forget. Maybe forget what Gillian Welch shows you've seen, the floorboards all sparking from the weight of these two souls, Gill and Dave, and their four collective cowboy-booted soles; maybe forget the years that have passed when last a new Gillian Welch record graced the hi-fi's of the music-listening world – forget the pop stars risen and erased in those years, the administrations and regimes born and gone in those years – forget, indeed, that there are eight of them, eight years, since Soul Journey arrived into the world. The Harrow & The Harvest, Gill and Dave's new record, is both a product of and is unrelated to those years in-between. What it is, indisputably, is the product of two people who have become so entwined in one another that the songs and the singing and the playing on this record seems to exude from a single voice.
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