Kool Kat of the Week: Joel Burkhart Plans on Doing Something With It; AM Gold Throws a CD Release Party at the Star Bar

Posted on: Sep 27th, 2012 By:

AM Gold at Oakland Cemetary. Photo credit: David Batterman.

By Torchy Taboo
Contributing Writer

My radio was my best friend from grade school all through college. I knew every word to every song and spent my teen years trying to stretch my tiny hands across the frets to eke out “Smoke on the Water” like the rest of my artsy friends. An Atlanta band has emerged called AM Gold that speaks to the growed-up heart looking for that “me and my radio” feeling. They will celebrate the release of their first CD, PLANNING ON DOING SOMETHING WITH IT, this Friday September 28 at the Star Bar with Higher Choir and My Rebel Episode.  A dream-team of an outfit, they’re fronted by this week’s Kool Kat guitarist Joel Burkhart, who was good enough to give ATLRetro the back-story on growing up in the glory days of AM radio, his past bands and Star Bar shenanigans.

Torchy/ATLRetro: Tell me about AM Gold.

Joel Burkhart: AM Gold started as a dream. Several nights in a row I had this dream of a band playing on the top of a hill. There was sunlight behind them so all I could see were the long shadows of the band cascading down the hill. The golden rays of the sun eclipsing any details other then the shadows of the people playing. The sound was a chorus of voices, not heavenly like a choir but more earthly and gritty. I heard them singing these lines:

“These are the songs we like to sing
Makes us forget most everything
This is the way that I want to feel
Soft as love and strong as steel.”

After the third or fourth night of this dream, I picked up the guitar and wrote that song. Then I started putting together the band. I knew it would possibly be the last band I ever put together so it had to be amazing. It had to have great players but this time it also had to have great singers. This was going to be all about the words and the melodies. If I wanted them to shine I had to get the right people to be in the chorus.

I have played with Jim [Stacy], Eric [Young] and Jeff [Langston] for years and knew what they were capable of. Jim Stacy has been a lead singer/frontman for many years with Greasepaint, LaBrea Stompers and Little Women and sings with me in The Downers. He was first on the list, but I asked him last because I didn’t think he’d want to be in another band with me. Jeff plays with me in Bully but has also fronted his own bands (Ledfoot Messiah, Ritual, Flathead Fuel) for years. He is quite possibly the best male vocalist in Atlanta that no one knows about. Eric has been my drummer through Mulberry Street, Bully, The Downer Brothers and now AM Gold. Along the way he started singing back-ups and is one of the best singing drummers around. He also makes playing drums look as easy as breathing. Musically I have never played with a better drummer. I have a hard time imagining my songs with anyone else playing drums on them.

When it came time to complete the rhythm section, there has always been a combination that I wanted to hear together. I had Eric and now I was lucky enough to get Blake [Parris] to say yes also. Blake is this town’s hidden treasure. Someday someone who can pay him properly for his services is going to come and take him on the road and we won’t ever see him again. Blake is an amazing bass player and singer – probably one of the best -but he can play almost anything: electric guitar, acoustic guitar, lead, rhythm, banjo, lap steel, pedal steel, keys… I really bet that you could give him a trombone, and in 15 minutes he would have a proper part written for a song. There is nothing that I can play or sing that won’t be made significantly better with Blake. He could just sit onstage with anyone and make then sound better. Seriously.

The final piece to the puzzel was a keyboard player. The only person that even crossed my mind was Jett [Bryant]. While he is not one given to the art of practice, he is one of the best damn singers in the game of rock and roll. He knocked’em dead in the Rock City Dropouts and kills it every night with Bigfoot. With AM Gold, he is pitch perfect and brings the pretty. I am sure that this is the most professional band I have ever played with. Practices and rehearsals are exciting and fun. We always have fun playing shows and hell, on top of all of that, we like each other. We all genuinely like being in the same room and shooting the shit. When the 6 of us are playing and singing together it is magic. There is no other word for it.

Joel, where are you from? Did you grow up listening to AM radio?

Joel: I am originally from Detroit. Lived there until the age of 5. Lived in farm country – Tecumseh,MI – for a few years before moving to Brighton, Michigan. I spent the 1980s as a mall rat in the suburbs. I moved to Atlanta when I turned 19 [in 1989].

Totally grew up listening to AM radio early on in Detroit – WJBK, WXYZ and CKLW. Later listened to commercial FM Radio – WRIF, WLLZ – and the college stations from University of Michigan and Eastern Michigan University.

Joel Burkhart. Photo Credit: John McNicholas.

Do you write much aside from lyrics and when did you first start writing songs?

You know, I used to write all the time. I have notebooks and notebooks of stuff. Poems, short stories, essays, laundry lists – actual and metaphysical – good, bad, everything,  As I have gotten older, I write less but the quality seems to be higher. I think that comes with being married and having kids, but also realizing who I am and what I want to say. When I do put pen to paper these days, there is probably a song there.

I started writing songs pretty late, I think. I was in my mid-teens when I first learned enough chords to have two different parts to a song. Unfortunately the first one sounds a lot like “Under The Milky Way Tonight” by The Church and the second one sounds a lot like “Boys Don’t Cry” by The Cure. It really wasn’t until a few years ago that I started to think I was writing my own songs that sounded like me. I think that’s part of the process: writing and writing and writing until you find your own voice.

Who were your earliest musical influences that stuck with you?

I think like most kids you listen to what is around you at the time, and my earliest influences were from my relatives. Whether it was my cousins listening to Elvis, Chicago, Kiss or Steve Miller; my grandfather listening to hits from the ’40s and ’50s; my grandmother playing WWII ballads on her Wurlitzer; or my uncle’s Rare Earth, Kansas and Yes records, it all influenced me. Some of the best memories I have are driving around singing “Afternoon Delight” [Starland Vocal Band] or “What’s Going On” [Marvin Gaye] along with my mother. Detroit radio was some of the best in the country in the ’70s, and my mother, in particular, was pretty influential in my early years. She loved music and loved singing; whether it was rock, soul or country, she listened to it all. Our record collection had Neil Diamond, Neil Sedaka, Paul Williams, Barbra Streisand and the Bee Gees. Another big record that stuck with me was Tom T. Hall record SONGS OF FOX HOLLOW – For Children of All Ages. My grandmother gave that to me. I wore that thing out.

Who’d you listen to that makes you ask, “What was I thinking?  and how’d you ‘take their sad song ‘n make it betta’? Even the questionable influences of childhood can positively shape budding creativity, right?

When I was a young child, we had one of those small Imperial portable record players and I would go from room to room when my parents had parties putting on my “show.” I would carry my record player, my yardstick – which doubled as microphone and guitar – and my favorite record, Helen Reddy’s “I Am Woman” b\w “Delta Dawn.” I would sing through side one, take my break and then sing through side two. Man, I could rock that shit.

While there was some questionable hair metal that I listened to in the ’80s – TnT, Krokus, Helix anyone? – I can’t really disavow it in good conscience. They are all colors in my crayon box so to speak. Some people are great at painting with one color; I’m not. All of the music that I have listened to tends to find its place in the songs that I write for my different bands.

Before the Star Bar sound booth days, what was your worst day job, and did I hear the residue of that angst in your band Bully?

I did death scene clean up for almost two years. It was miserable work, didn’t pay very well, boss was a dick. That was very influential in the Bully songwriting process. “Quitter,” “Spit,” “I Don’t Feel Well,” “2nd Drawer Down.” All from that period of time. I’d come home pissed off and beat, fire up the bong, hit the Jaeger and let it all out. Thankfully my work life is less stressful now, but I think that was what life is supposed to be like in your 20s, living hard and carefree.

What was it like working sound at the Star Bar? Favor us with a story of your days in the booth.

So much to tell – Jim Stacy and I once spent 30 minutes trying to get a G string on Hasil Adkins’ guitar while a nearly sold-out house waited impatiently. He had a box of old guitar strings he carried with him, every one of them old and rusty. Just looking at the box gave me tetanus. For some reason, none of them were the right one.

Once we had a kid who was trying to promote some shows – this particular one with Har Mar Superstar – have a breakdown on stage. He started calling out the booker of the club, the owners, the bartenders and finally me. He told the room filled with people I had stolen his guitar and amplifier – which I believe he had left in a friend’s car or sold for meth – and that he wasn’t a “fat, jaded motherfucker” like me. I, for sure, took the brunt of it, I guess because he was on stage staring right at me. I think most everyone thought I was going to kill his mic (or him), but I just let him keep going until he tuckered himself out. He ended up going to a mental hospital a week or so later. Pretty weird.

But I also had some great, amazing memories there. The Ex-Husbands blowing everyone away with an out of left field, dead-on cover of “War Pigs” [Black Sabbath], followed by “Beating around the Bush” by AC\DC.

I remember that!

Alejandro Escovedo bringing over 200 people to complete silence with the breathtaking-ness of his songs; The Drive-By Truckers playing an Atlantis Music Conference and just weeping over the song “Heathens,” knowing things would never be the same for them after that night. That stage is magic.

AM Gold. Photo credit: David Batterman.

As I was on the road last year, I heard a lot of BS about how listening to Johnny Cash was a hipster trait and therefore passe. What would you say to that labeling?

One of the bonuses of being older is that I don’t know if it’s hipster or not. I’ve been listening [to Cash] since the ’70s when I was a kid and never stopped. I don’t plan on stopping anytime soon.

With The Downer Bros, you and Jim Stacy pay homage to some of Johnny Cash’s most, for the lack of a better word,  “fierce” recordings. You recently rattled the walls at the 12th Annual Cash Bash at the Star Bar [Sept. 22]. How’d the idea for the Downer Bros come about?

Like most of our great ideas, it started off with drinking. During the rockabilly\country revival in the 1990s, there were a lot of bands that would throw in a Johnny Cash or George Jones [song] and do it in whatever style they played. There was no one really doing the slower, lost love, murder ballad stuff, and definitely no one doing it stripped down and acoustic. Jim and I loved that kind of stuff. So when we were waiting for bands to show up or when the night was over, we would play songs, just me and him. Acoustic guitar, harmonica and our two voices, harmonizing and trading songs. It was magic. The name came from trying to describe the music to our good friend Andy McDaniel. He asked what kind of music we were doing and we said “country music, but you know, the ‘downer’ stuff.” It stuck.

I’ve been paying attention and coming to see your bands for a bit now. Do I detect a progression of a happier and more fulfilled man through your musical timeline, having made so many people weep openly, inviting us to be healed and happy – or am I waxing fanciful?

I think there is a definite evolution. Mulberry Street was me getting my feet wet playing and performing but quickly became a little darker then I thought it would become. With Bully, I totally embraced that darkness and anger. When you are more or less penniless, living from day to day, broken-hearted and feeling alone, it is hard to find the light. The Downer Brothers are similar to Bully in that there is some frustration and  loneliness, but instead of being loud and in your face and angry, it was quiet and more thought-out and reserved.

AM Gold it is next logical extension of the realization that there is goodness all around you. Goodness in the things you do, the places you go and the people you meet. The trick, I think, is being open to it, being willing to let it chase away the darkness that has comforted you for so long. Don’t get me wrong, there is still a meanness out there, thriving and consuming, but you have the choice. You can live in fear with the darkness or live in the happiness of the light. Mostly now I choose the light. Some days it is really hard work to find it, but I think it is worth the struggle.

As a performer, what show stands out in your memory?

Probably one of the highlights for me personally was playing in Greasepaint and opening for Tenacious D. It was a sold-out crowd at The Tabernacle here in Atlanta. For AM Gold, it has to be playing The Dogwood Festival earlier this year. A few thousand people on a beautiful day in Piedmont Park. Nobody knew who we were or our songs, but they seemed to really appreciated them and we had a great response.

Honestly though every show is great in its own way. Any time I get to get on stage with my friends and we get to play our original songs, the ones we have practiced a hundred times, the ones we put our time and effort into writing and arranging and performing. That’s a good day.

Worst gig ever has to be the Chili Cook-Off at Stone Mountain last year.  It was the first time in over 20 years I set foot on stage for the sole purpose of making money by playing covers. While we had fun playing our Steve Miller Greatest Hits set at the Star Bar a couple months earlier, when it came to doing those songs again, there was no love for them. While I admire people that can get on stage and play three or four sets of somebody else’s material and are able to support a family doing it, I am not cut from that same cloth. I suppose that’s why I am not able to support a family doing that.

I’ve been the annoying fan begging for CDs forever. What was the AM Gold studio experience, was it documented on film and when will PLANNING ON DOING SOMETHING WITH IT be available? Joshin’, but seriously does being recorded affect your perspective? And by the way, thanks and eager to hear both the Bully and AM Gold disks!

The recording process was really fantastic. We recorded with a great guy named Jimmy Ether at his studio called Headphone Treats. For this recording we were all in the same room, playing together. We set up in the morning, recorded seven songs, and were pretty much done that night. We came back a couple times and overdubbed a few guitar parts, percussion and some vocals, but for the most part, what you hear is what we did that first day. It is a really great way to record. All of the recordings I have ever done previously were all with the drummer in his own room and the guitar amps in their own rooms and the rest of the band usually in the control room listening back through small, tiny speakers. It has always been frustrating for me. I like being able to feel the kick drum and bass, feeling the air move in the room with the music, the rise and fall of the conversation we are all having with one another through our instruments. There is no replacing it.

As for the Bully stuff, we’ve got over 40 songs that had very limited – me handing a homemade CDR to someone – release. I’m hoping to change that later this year. I think we are going to put out three EPs, each having five to seven studio cuts and two to three live recordings. I’m not really sure. We also started re-recording some Bully stuff a couple of years ago that has yet to see the light of day. When your bass player is in one of the biggest metal bands in the world, it gets hard to get everyone together in the same room and on the same page, but hopefully while Troy [Sanders] is home for a little bit between records, we can get some Bully time out of him.

What aspirations does the band muse about for the foreseeable future? Just sheerly hypothetically speaking, what’s next for you creatively?

The thing about us being in our 40s and doing this is that we don’t have the free time and lack of obligations that being 20 something has. Jett [Bryant, keyboards] has Bigfoot and a budding movie career [he was the star of DEAR GOD! NO! and is going to be in the follow up], Blake [Parrish, bass] and Eric [Young, percussion] are both in several bands and are in high demand as players, Jeff [Langston, guitars] has Ledfoot Messiah (they are doing the Kiss Kruise later this year) and he is in DRACULA: THE ROCK OPERA (ED note: Watch out for a Retro Review soon) at 7 Stages and Jim [Stacy, harmonica] has the Starlight Six Drive-In and Palookaville to run, as well as a successful TV show and the possibility of a opening a restaurant fairly soon.

And me, I’m not getting any younger. The thought of getting in a van and blowing with the wind down the road trying to find my rock and roll fortunes has long passed me by. The music I write and play isn’t fashionable. I have no hipster cred; my waist size has expanded. I’m not much to look at;  my head is shaped funny. At the end of the day I’m a 43-year-old IT nerd scraping by at a job I don’t care about, working for people who don’t care about me so I can earn money which is spent before I get it so I can keep a roof over my family’s heads and food and clothes in and on our bodies. I have a beautiful wife and family and a life like most people: spectacularly wonderful and exceedingly average. It just depends on what day of the week and how close we are to the next paycheck. Sometimes we have a little more than others, sometimes a little less. In my mind I’m doing all of this for them, hoping for the big pay-off someday. Rational Joel knows that is probably never going to happen.

But still, I have this need to make this music. I tell these stories and dream these dreams. That’s all good music really is. Stories and dreams. I’m going to keep writing and playing every chance I get for whoever will listen. When I have new stories, I write new songs. When I have new dreams, I write new songs.

It’s what I do, I don’t plan on stopping anytime soon.

Look for me up front and center.

AM Gold. Photo credit: David Batterman.

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Weekend Update, April 15-17, 2011

Posted on: Apr 15th, 2011 By:

Friday, April 15

The 75th annual Dogwood Festival begins at noon at Piedmont Park including a large juried fine arts market, continuous live music including New Orleans-style blues from Swamp Funk Quartet at 3:40-4:30 pm, kid’s village, food vendors, Friends of Dogwood tasting pavilion, rides on the vintage Seattle Wheel (read ATLRetro’s preview here), built for the 1963 Seattle World’s Fair, and a classic 1965 carousel, and more. Also happening this weekend is Sweetwater 420 Fest in Candler Park, also featuring an artists’ market and plenty of live music acts, including the Gimme Hendrix Band at 5:20 PM.

The Atlanta Braves celebrate Jackie Robinson Night in honor of the 64th anniversary of the legendary player’s debut in Major League Baseball, breaking the color barrier, with a pre-game reception and on-field ceremony featuring Hank Aaron before tonight’s game against the New York Mets. Rockabilly queen Wanda Jackson holds court at The Loft, while contemporary Atlanta rockabilly band Psycho Devilles descends into The Basement at 1245 Joseph Street. Danish duo The Raveonettes, at The Masquerade tonight, blend ’60s beat with ’80s alt-garage for a sound both Retro and original. Eighties alt-rockers Toad the Wet Sprocket hit Variety Playhouse. The Hollidays bring rhythm and soul to Sidelines in Marietta. Salsambo Dance Studio unleashes some Latin heat at Fernbank Museum of Natural History’s Martinis and IMAXJoe Gransden and Kenny Banks jazz up The Mansion on Peachtree. Saxophonist Brian Hogans headlines Friday Jazz at The High Museum of Art, including full gallery access (see ongoing for current exhibits) and a cash bar. Or go really retro with the Atlanta Opera‘s COSI FAN TUTTE at Cobb Energy Performing Arts Centre. In Mozart’s comedic masterpiece, two Italian officers boast of their fiancees’ faithfulness, only to have a clever friend put it to the test.

Saturday April 16

Vinyl-lovers rejoice! Today is Record Store Day so be sure and support your local indie record store, even if you decide to buy a CD! Decatur CD celebrates with sales, Community BBQ sliders, free beer, concert ticket giveaways, and Atlanta’s own King of Pops with scrumptious freshly made popsicles outside after 2 PM (weather permitting)! Other great Atlanta and Athens indie music shops will host their own celebrations, so get yourself to Fantasyland Records, Wax n’ Facts (live music), Wuxtry (live bands at the Athens location), Criminal Records (live music) and Full Moon Records.

The 75th annual Dogwood Festival continues all day at Piedmont Park including rockin’ blues from Lefty Williams at 5 PM and outrageous ragtime from Blair Crimmins & the Hookers at 6:30 PM. Read ATLRetro’s interview with Blair here. Meanwhile at Sweetwater 420 Fest, catch 7 Walkers featuring Bill Kreutzman of The Grateful Dead at 4:50-6:30 PM.

Mon Cherie’s The Chamber Reunion transports attendees back to Atlanta’s notorious ’90sGoth/Industrial/fetish club with live fetish performances, burlesque/Boi-Lesque,  aerial feats, go-go dancers, drag skits, body paint, a chocolate bar and more surprises to tickle your fancy tonight at The Masquerade from 9 AM late into the night. Mon Cherie provides an exclusive preview as this week’s Kool Kat.

On any other night, The Chamber Reunion would win hands down the most exotic extravaganza in town, but tonight isn’t any other night. Creative competition comes from The Artifice Club, which presents The Clockwork Carnival, a steampunk circus featuring a night full of gypsies, fire eaters and other curiosities at The Goat Farm. Featured acts include The Imperial OpaHot Toddies Flaming Cabaret, the amazing aerial feats of Blast-Off Burlesque‘s Sadie Hawkins, Thimblerig CircusPyro Salto of Birmingham, AL, music by DJs Doctor Q and The Davenport Sisters, and more. Also featured is a Vendor’s Market Caravan, photography sessions, The Circus Contraption Contest with prizes awarded for the most creative device you would need to work at a carnival, and a steampunk costume contest to crown the King and Queen of the Carnival. Festivities start at 4 PM and also last into the very wee hours of the night, we suspect. For ATLRetro’s sneak preview with Doctor Q himself, click here.

In Atlanta Rollergirls action at the Yaarab Shrine Center, the Dirty South Derby Girls take on the Tampa Tantrums at 5 PM, followed by a whole lotta shaking going on as the Denim Demons and the Toxic Shocks skate it out for a chance at a first win of the season. The Psycho Devilles rockabilly it up at Dixie Tavern in Marietta. Variety Playhouse turns the clock back and invites you to dig out the shoulder pads for The Reagan Rock Prom featuring “The Greatest ’80s Soundtrack Songs of all Time.” Music, dancing, a prom king and queen contest and refreshments. Better Than The Beatles pays tribute to the Fab Four at Jerry Farber’s Side Door. DJ Romeo Cologne transforms the sensationally seedy Clermont Lounge into a ’70s disco/funk inferno.

Sunday April 17

Spend a lazy Sunday at the Dogwood Festival at Piedmont Park, catching bands such as easy-going, all-American Jackson County Line (2 PM). Or Sweetwater 420 Festival winds down with several bluegrass acts. Gentleman Jesse serves up the blues “dunch” between 1 and 4 PM at The Earl. Catch the final matinee performance at 3 PM of the Atlanta Opera‘s COSI FAN TUTTE at Cobb Energy Performing Arts Centre. At night, legendary blues musician Taj Mahal plays Variety Playhouse.

Ongoing

Leave it to the mad geniuses at Dad’s Garage to transform a beloved children’s classic into a bloody puppet musical. SCARLETT’S WEB features all your favorite characters from Wilbur the pig to Templeton the rat but adds some splattery special effects. Never mind, it’s all in fun though, they say, and definitely recommended only for anyone old enough to appreciate adult humor. Opened April 14 and runs Thurs., Fri. and Sat. nights at 8 p.m. through May 7.

Henri de Toulouse-Lautrec died in 1901, but it’s not a stretch to say that his vibrant posters and prints of showgirls, nightclub stars and the café culture influenced the 20thcentury romantic view of Paris and still inspire today’s burlesque performers. The High Museum of Art’s dynamic new special exhibition, TOULOUSE-LAUTREC AND FRIENDS: THE IRENE AND HOWARD STEIN COLLECTION, runs through May 1. Also at the High through May 29 is the MOMA-organized HENRI CARTIER-BRESSON: THE MODERN CENTURY, another blockbuster exhibit showcasing a photographer and photojournalist who captured on film many of the seminal moments  of the 20th century from World War II to the assassination of Ghandi, China’s cultural revolution to civil rights and consumer culture in America.

Tune back in on Monday for This Week in Retro Atlanta. If you know of a cool happening coming up, send suggestions to ATLRetro@gmail.com.


 

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Retro Rides Add Magic to 75th Annual Dogwood Festival

Posted on: Apr 13th, 2011 By:

Atlanta’s quintessential weekend in the park, the Dogwood Festival at Piedmont Park has always been a crowded but laidback affair with bands, art vendors, food, kids’ activities and dogs who chase Frisbees. So when organizers looked for something to make its 75th anniversary year even more memorable, ATLRetro is jazzed that they decided to think backwards to a ride that has been the signature of world’s fairs, expositions and festivals of bygone days—a Ferris wheel.

And what a Ferris wheel they found—the Seattle Wheel. The largest traveling Ferris wheel in the nation at nine stories high, it seats four abreast in each car and was built in 1963 for the Seattle World’s Fair. That’s big for most Ferris wheels of today with the exception of stationary giants such as the London Eye. To put it into perspective, the first Big Wheel, designed to rival the Eiffel Tower in its mechanical wonder, was built for the legendary Chicago World’s Fair in 1893. Its cars were 24 feet wide and carried up to 60 people!

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This Week in Retro Atlanta, April 11-17, 2011

Posted on: Apr 12th, 2011 By:

Last week was fairly quiet when it came to Retro-inspired activities in Atlanta, So ATLRetro took a bit of a rest. This week starts slowly, too, but once Saturday hits, even I’m not sure what to do. Let’s just say EVERYTHING happens all at once and ATLRetro revs back up, too, with a bunch of special features including a bedazzling look back at last month’s Southern Fried Burlesque courtesy of the tantalizing Talloolah Love, an exclusive preview of Saturday night’s The Chamber Reunion courtesy of Kool Kat of the Week Mon Cherie, the Dogwood Festival celebrates its 75th anniversary with two vintage amusement rides, and more.

Monday April 11

An acclaimed musician whom B.B. King says has “soul,” D.B. Rielly takes rock and country back to its roots at Smith’s Olde Bar, with back-to-the-basics, ’70s-rock-inspired Saturn 5 and alt-folk Little Brave also on the bill. Northside Tavern hosts its weekly Blues Jam.

Tuesday April 12

Splatter Cinema travels back to 1985 with A NIGHTMARE ON ELM STREET 2: FREDDY’S REVENGE at 9:30 PM at the Plaza Theatre. While ATLRetro reviewer Mark Arson admits the first sequel may not be the most creative of the Krueger movies, it still features a lot of fun scares, and you know the Splatter gang will dream up a photo op that will haunt your sleep.

Grab your horn and head to Twain’s in Decatur for a Joe Gransden jazz jam session starting at 9 PM. J.T. Speed plays the blues at Fat Matt’s Rib Shack. Notorious DJ Romeo Cologne spins the best ‘70s funk and disco at 10 High in Virginia-Highland. Catch Tuesday Retro in the Metro nights at Midtown’s Deadwood Saloon, featuring live video mixes of ’80s, ’90s, and 2Ks hits. Or go really retro with the Atlanta Opera‘s COSI FAN TUTTE at Cobb Energy Performing Arts Centre. In Mozart’s comedic masterpiece, two Italian officers boast of their fiancees’ faithfulness, only to have a clever friend put it to the test.

Wednesday April 13

Get ready to rumba, cha-cha and jitterbug at the weekly Swing Night at Graveyard Tavern. Deacon Brandon Reeves and Danny “Mudcat” Dudeck bring on the blues at Fat Matt’s Rib Shack and Northside Tavern respectively. Dance to ‘70s, ‘80s and ‘90s hits during Retro in the Metro Wednesdays presented by Godiva Vodka, at Pub 71 in Brookhaven, starting at 8 PM.

Thursday April 14

ATHENS BURNING, a documentary about the history of the historic Georgia Theatre, a key venue in the college town’s famous music scene, screens at The Plaza Theatre at 7:30 PM. Cowboy Envy strums up some mighty fine traditional and original Western tunes at Atlanta’s tastiest new concert venue, Kathmandu Kitchen and Grill, formerly Pho Truc, in Clarkston from 8-10 PM. Listen to Tongo Hiti’s luxurious live lounge sounds, as well as some trippy takes on iconic pop songs, just about every Thursday night at Trader Vic’s. Watch the classic Gregory PeckAudrey Hepburn romance-on-a-motorscooter movie ROMAN HOLIDAY (1953), drink some wine, hear Free Poems on Demand, and check out PASSIONE ITALIANA: DESIGN OF THE ITALIAN MOTORCYCLE during MODA‘s Thursday night Drink in Design from 6-8 PM. Party ‘70s style with DJ Romeo Cologne at Aurum Lounge.  Breeze Kings and Chickenshack bring on the blues respectively at Northside Tavern and Fat Matt’s Rib Shack.

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