ATLRetro

In late April, when THE NIGHTPORTERS: TELL IT LIKE IT IS premiered at The Plaza Theatre, it wasn’t your typical movie screening but a reunion. The crowd was mostly in their 40s and 50s. Many of these folks had families and didn’t stay out late any more. But that didn’t mean they never did and some still had the leather jackets to show for it. When they come out in Atlanta, you know you’re in for a special evening.

If you are old enough to have been part of the early ’80s nascent punk/new wave scene that revolved around the now-legendary 688 Club, you remember a handful of local bands that stood out. You never missed any of their shows, and they played all the time. Perhaps the coolest and most memorable of these bands was The Nightporters. That’s not to say they never had any crappy drunken gigs. They had plenty, but when they were at their best, they were as good as any band that topped the college alternative charts and many that made it big when real punk had faded into a careless memory.

Guitarist/singer/songwriter Ray Dafrico started with some raw found footage of the Nightporters performing, mostly at the Blue Rat Gallery, a notorious art space in the now-demolished Pershing Point Apartments which was ground zero for housing starving punk rockers back in the day. To that, he added interviews with band members and other key members of the scene such as Peter Buck (R.E.M.) and Rick Richards (Georgia Satellites). The end result is a time capsule not just of a band but of the clubs and people that made that period in Atlanta rock history so unique and a frozen moment in time when it seemed like music not just mattered but meant…well…everything.

With the movie now available on DVD, ATLRetro recently sat down with Ray to find out more about the genesis of this home-grown rockumentary, as well as what was so special, as the subtitle states, about “a time, a place and a band.”

ATLRetro: How did the idea of a Nightporters documentary get started?

Ray Dafrico: I got hold of some early footage a couple of years ago by a guy named James Farmer, who was one of the Blue Rat’s artists. There was footage of us that I had never seen. I thought it was really amazing and somebody should make a film and add some interviews. I didn’t know anyone else that would do it so I took it upon myself to start making it.

There really seemed to be a special quality about the early ‘80s music scene in Atlanta. What do you think made that time so special?

I just think it was creative and kind of more innocent in a way. Maybe it was because we were so young that it all seemed new and fresh. Punk rock was fairly new. I was into music, but it seemed inaccessible. With punk rock, you could prove you could do stuff yourself. Once we started doing that, we had a small circle of people that just started growing. Atlanta was really small at the time. There were maybe 10 bands and everyone knew each other. Everybody pulled for each other for the most part and would come to each other’s shows. There was some competition between bands that played in midtown and bands that mostly played like in Buckhead, but eventually we got friendly with most of the bands in town. Nowadays it seems so competitive. There are so many bands. It seems like everybody’s out for themselves.

The Nightporters definitely had that punk rock spirit, but you had other influences, too. 

We were influenced by punk rock, and we kind of sounded like punk rock, but the Sex Pistols just proved that you could go against the system and the corporate  music of the 1970s. But the thing that brought the Nightporters together was more the ‘60s punk bands. Originally the Rolling Stones, but we really liked the more obscure bands that had one-hit wonders like The Count Five. So you’re right, we weren’t directly the late ‘70s kind of punk rock. We were sort influenced by it, but it was an enabling thing than anything else. Our sound was sort of garage mod rock with elements of glam, folk, country, ska and reggae.

How important was 688?

Very important at the time. They just booked some amazing bands. At first, we were underage and we couldn’t get in. It was the same with the Agora Ballroom. It was like we would go down there every weekend and try to get in. There was this long-haired guy at the door. He would call us “weekend anarchists” and kick us out. We tried to see the Plasmatics and all these bands. Finally he let us in to see the Ramones. We had borrowed fake IDs from Marines that didn’t look anything like us. By coming down and trying to get in there for six months, we earned our way in. But yeah, there were [a few] other clubs to go to, like The Bistro, Moonshadow, Metroplex and Rumors, but 688 had the great bands, $1.50 beer  and a lot of cool diverse people would go there. We used to go to this place every Sunday called Margaritaville on Spring and 14th St. We were there so much we talked them into letting us play and turned it into our own club. It soon turned into its own little scene.

Part of it was the clubs, like 688, were more into promoting local music. They were as creative as the bands and at least more willing to experiment. I know [clubs] are about making money because they took a lot of ours, but it just seemed more laidback. They were having fun just like the bands were. It seemed that way anyway.

When did the Nightporters first get together and perform?

We were still in high school, I think, in 1981-82. I was going to say this in the movie, but it was a big deal for us to get from the suburbs to downtown Atlanta. We thought playing Tuesday nights at the Bistro was success. We had started at high school parties playing our punk rock/’60s songs. We would play to rednecks and jocks, and they were always trying to beat us up. Tim [Neilson] and Andy [Browne] and I were all transplanted Yankees, and there was still a lot of hostility towards outsiders in Atlanta especially in the suburbs.We got really tough because we were always having to mentally and physically fight with these people. We thought by the time we got to the cool new wave/punk clubs that we had made it. Anything beyond that was easy for us. I think that kind of shows because we were a really rough band. We earned that.

Can you talk a little about the Blue Rat?

Well, we all lived in the Pershing Point Apartments at 17th and Peachtree Street, that are all torn down now. Andy and I had an apartment there. We didn’t know anybody initially. It was across from the art school I was going to. I dropped out of art school like every good rock guitarist and pursue the Nightporters full time. We were so poor we lived off of hefty bags of popcorn because we knew someone that worked at a movie theatre. It was that and egg rolls from the Chinese grocery on the corner. We rehearsed in our kitchen which we didn’t dare eat in as there were giant cockroaches everywhere! It wasn’t a matter of time before we met two guys named Clark Brown and Chick Lockerman. They were the artists who set up the Blue Rat Gallery in their apartment. They asked us to play one of their openings. A huge crowd came out to see us of really crazy and eclectic people. Like Andy said in the movie, it was like Andy Warhol’s Factory. There were tons of drugs and everyone was just crazy and doing whatever they wanted.

So we became kind of the house band at the Blue Rat. We would rather play there than a club because it was more fun. We didn’t even charge any money.

How well, or should we say “shitty,” were you paid back in those days?

Once we got better known, we started playing colleges. That’s where the money was. We actually had contracts, not that that means a whole lot. Sometimes people would stiff us even with a contract, but we could get $1000 to play a college frat or something. Even when we were fairly well known, there was one incident in south Georgia where the club owner pulled a gun on us and refused to pay us. I had driven straight back from California to play that show! It showed my dedication, but maybe my stupidity, too. We never made any significant money, partly because we never got a record deal.

But the Nightporters toured a lot, including a lot of gigs in New York.

Yeah, we toured a lot. We went to the northeast a lot and played New York all the time and Boston. We opened for all kinds of people, like Bo Diddley.

Do you have a favorite performer or band you opened for?

We had some good times with Cheetah Chrome and the Dead Boys. Jason and the Scorchers were always fun. We played with The Replacements a lot, but there was a lot of tension there because we were so similar that it was like a competition. They were fun to watch, but they had their good nights and their drunken nights similar to us. Opening for The Clash was fun, even if Mick [Jones], my favorite in the band, wasn’t in the band at the time.

Was that the time when the Clash played the Fox Theatre and there was a riot on Peachtree?

That was actually the time before that the Clash played Atlanta. But I was in the riot. We were in the front row. When we came out, there was literally a riot starting. Chris Wood of The Restraints was in the front with an American flag protesting their communist views or some crap. Somehow a fight started and police cars came from every direction. Everyone was so amped up from the Clash show that they were literally fighting with the cops. It was a blast. It was kind of scary, but it didn’t last long.

We played with them a year or two after that. I had gone to Nashville and met Joe Strummer and got us the show. I just gave them a demo tape because I knew they got local bands to open. We got the show a day or two later.

How close did the Nightporters come to cutting a full LP and getting a recording contract with a record label?

We did make a few records, but we never made a whole album. We did two singles on our own and an EP on Safety Net Records called OUTSIDE, LOOKING IN [1986]. We had a lot of material, but we didn’t have a vehicle to release stuff. Andy and I would go up to record company offices in Manhattan, and they would just look at our clothes like “you’re not Scritti Politti or Duran Duran or whatever was selling then.” They didn’t know what to make of us. We were just way too real for a big label to consider investing in us. That’s my theory anyway.

How hard was it to assemble everyone whom you interviewed in the movie?

The hardest person was our drummer, who I never did get in the movie. It was easier to get Peter Buck from R.E.M. than our drummer. Other than that, I just told people to come down to The Majestic [Diner]. I asked a series of five questions and listened to whatever anyone had to say. The idea for the movie was to try and make it a cross between a Jim Jarmusch-type film like CIGARETTES AND COFFEE or something and a little bit of Spinal Tap and The Rutles. I was trying to keep it real, but light-hearted and funny because that was the way the Nightporters were. On one hand, we really took things very seriously. On the other hand, we didn’t take it serious at all. It wasn’t too hard. The most difficult part for me was editing the four hours of footage.

Do you consider the cut you showed at The Plaza the final cut, or will you still be editing some more?

I wanted to tell the whole story. That’s why it’s two hours long, but some people said it could have been shorter. It’s hard for me because it’s so personal. I think I had to include certain parts, and I guess if I’m going to get it distributed, I am going to have to cut it to half the time. I’m kind of dreading that because by now I’ve seen it so many times.

Are there any outtakes or a blooper reel that could be extras for a commercial DVD?

Yes, there is enough for a blooper reel, which is way funnier than the movie.  I kept interrupting everyone during the interviews saying things like, “I remember that”! It took a long time to cut all that out of the film. So I learned to just keep my mouth shut. It’s my first movie, and I had a lot of fun just doing it. That’s the best part – trying to shoot things 10 times because you’re laughing so hard.

Do you have any regrets that the band didn’t go further on a national scale?

Yes, I definitely regret us not staying together longer. I think we could have been huge, seeing what happened with the Black Crowes after us. Our songs are a lot more original and catchier. They have a lot more hooks. Like I said, we were a real kind of band that fought a lot, and we had a lot of problems. It was extremely difficult to get through even the three or four years together that we were.

Any chance of another Nightporters reunion?

Oh, yeah. Maybe. Definitely maybe. But I don’t really know. That’s not up to me—one person out of the four—to say. Andy and I have talked about it. We both have our own lives now and live in different cities, which makes it all the more difficult. We had enough trouble agreeing on things when we lived in the same apartment. We’re working on it, but sometimes I think we have two different visions of what the band could be.

Plus we all have KIDS! Mine is 18 now so I have a bit of free time, but Andy has two little ones.

What else are you up to? 

I still write tons of songs. I don’t always do a lot with them, but I’m always writing them. I have been playing under my own name with different musicians—whoever is available. That’s the thing now. I’m 49. It’s not like I’m 20 anymore so it’s hard to pull people together for any reason, much less to do a show. All those years of rocking out have really done a number on us as well; we’re now paying the price. We survived but are not by any means very healthy!  I’ve been working on this movie for the past year. Actually I’d like to make more films. I like editing. It puts all the things I like such as art and photography—I do photography—all in one form. I’m trying to juggle all those things really and start playing out again soon.

DVD Copies of THE NIGHTPORTERS: TELL IT LIKE IT IS are available for purchase for $15, payable directly to Ray Dafrico’s PayPal account at Rockandrollray@yahoo.com and eventually also will be available through Ray’s ReverbNation store link.

Two of Georgia’s best-known artists, Howard Finster, the architect of Paradise Garden, REM/Talking Heads album covers and “Picasso of folk artists,”  and nihilistic punk painter Robert Sherer, also internationally acclaimed but known for his depictions of the male nude, seem like they would be unlikely friends. This unusual relationship between two of Georgia’s arguably greatest artists is the subject of THE HIDDEN MAN, the latest play performed by the always intriguing 7 Stages company, which opens Thursday March 8 (opening night celebration on Sat. March 10; details at story end) and runs through March 25. The play, which is a joint University of Georgia production and premiered a couple of weeks ago in Athens, drew criticism from Finster’s daughter, Beverly Finster-Guinn, who disputes that her devout Southern Baptist preacher father would be friends with a producer of “porn.”

ATLRetro recently caught up with Del Hamilton, 7 Stages’ Artistic Director, to find out more about the play, the controversy and a special sneak preview of more music from the rescheduled DRACULA: THE ROCK OPERA.

ATLRetro: How did THE HIDDEN MAN come about?

Del Hamilton: Russell Blackman, one of the co-authors, approached me several years ago with his rock and roll play about Finster. I told him I did not think it was ready for a production process and introduced him to Pamela Turner, and they decided to make this new play based on the partly fictional account of when Howard Finster and Robert Sherer met in the early ’80s. They are each arguably among Georgia’s most important visual artists, so this is an important story for that alone.

What drew you to it as a 7 Stages production and made you decide you wanted to direct it?

Even in these so-called enlightened times we live in, it’s still an incredible mystery to me that some people find fault with others based simply on what may be perceived as sexual inclination. This play directly addresses that significant cultural issue. How does a rabid anti-gay preacher look at a young, possibly atheist student? What do they see when they are with one another? How does Howard learn to forgive Robert for not being the person he wants him to be? When a person “hears” the call to be an artist, is it God? Is it an internal voice urging personal freedom?

How did Sherer and Finster meet and how much time did they spend together?

Don’t know how they met, although I heard stories, but can’t confirm. I believe they spent two summers together, more or less. Robert would travel to Paradise Gardens and stay over there for weeks at a time, helping Howard work on his art, being an apprentice.

What about your favorite aspect/scene?

I was hoping to create something beautiful – to look at, and to think about. I think there are many gorgeous scenes, even given our limited space and resources. I love the way scenes can be surprising and unexpected. I love the scene in the tub when the guys wash off the words SIN and LUST with Ivory Snow. And I love the shock of shooting the Tower of  Sodomy.

Paradise Gardens is a really unique location. What have you done at 7 Stages to recreate it?

Nothing.Paradise Gardens is a kind of sacred space, and we would not wish to do anything to disturb that, or to even try to recreate it. It’s truly unique, and dedicated to the full glory of God, something I don’t embrace intellectually. But I do respect that others hold this location with such high respect that it would be wrong to make it somehow secular by diminishing its beauty and stature. On the other hand, our scene designer has come up with a design that combines naive and sophisticated art concepts. The play is like a dream; in fact, it is a dream, alternating between the punk scene of Atlanta and Howard’s spiritual retreat in Summerville. As in dreams, locations, events, people get conflated, so we’re not sure if we are in dreams or reality from scene to scene. Sometimes the city and country locations are simultaneous.

A recent picture of Robert Sherer, Associate Professor of Art, Kennesaw State University. Photo courtesy of 7 Stages.

It’s partly his story, partly made up. He had nothing to do with the production, although he did lend early support to the writers, agreeing to interviews, and this formed the basis of the play. And he has stood up for 7 Stages as we were attacked by the religious folk who disagree that we should be allowed to do this play. In addition to being a great artist, Robert is one of the kindest, most sincere persons I have ever met.

Were you surprised at the derogatory response of Beverly Finster-Guinn?

Sure, especially the things she is saying that defame Robert. His reputation is on the line. He had nothing to do with the play, yet she is attacking him. She ought to go after 7 Stages and UGA, and in fact she tried this. But I guess she feels Robert is more vulnerable and an easier target. But my theatre has been marched on by the Klan, so it takes quite a lot to surprise me.

What was the reaction to the performances at UGA?

Well-received. I would say very positive reactions.

What do you hope audiences will walk away from THE HIDDEN MAN with?

That artists have to fight for a place in their culture. The fight involves personal goal assessment and a zest for life, including discovering ways to open doors to the imagination. Sometimes it’s drugs, sometimes it’s God, sometimes it’s how two artists interact that causes inspiration. If two distinct people such as Robert and Howard can be together, can’t others do it also? Can’t countries? Why can’t we all get along? How do artists find themselves, and the spark of inspiration? How are artists nurtured, and who does that in our society?

Rob Thompson as Count Dracula for HAUS VON DRACUL, the first act of DRACULA: A ROCK OPERA, performed at 7 Stages earlier this year.

Finally, many of our readers were disappointed to hear of the postponement of Rob Thompson‘s DRACULA: THE ROCK OPERA. How is the fundraising campaign for it going and when do you anticipate it will be ready to perform?

I am revealing here – you are first to know – that we will present songs from the second part of the show at the end of this month in a special concert-style presentation [date and time TBA] . The composers have now finished writing all the songs, and we have made a good cd of all songs from act 1. I love this music, and the second act is even better than the first act. And we are starting to organize the auditions and designs for a September Opening. So, lots of activity. WE ARE ALSO SEEKING PRODUCERS WHO WANT TO HELP US BY CONTRIBUTING MONEY; AND THEN THEY GET TO ATTEND REHEARSALS, SPECIAL EVENTS AND OPENING NIGHT. PLEASE TELL YOUR READERS.

I also add that we postponed DRACULA so we could do some needed facility renovation— a new roof, HVAC system and new bathrooms. It all came together and we decided to delay so we could do it better given more time, and raise enough money to pay people better than we often do. And we hope it won’t rain inside anymore.

Join 7 Stages for their Opening Night celebration of THE HIDDEN MAN Saturday, March 10. The festivities start at 7 p.m., and the evening will include food, wine and music by The Lamantations. Mix and mingle with the cast, playwright and Robert Sherer.

When a band named The Whiskey Gentry throws a Merry Y’All Tide Celebration for the holidays, you might be expecting the same old twangy country renditions of favorite carols. But this spirited band loves to defy expectations, and their seasonal shindig at the Variety Playhouse this Friday Dec. 2  is no exception to that raucous rule. It’s not that The Whiskey Gentry aren’t influenced by the kind of ballads that came down from the hills of Appalachia, but like a certain rebellious red-nosed reindeer, they’re bound and determined to be musical misfits with a diverse list of influences that spans from Patsy Cline to Bela Fleck to Social Distortion. Yeah, that Social Distortion. The accent is on the Whiskey in this Gentry who speed things up with some fiery, high-energy licks that suggest punk and old-time rock ‘n’ roll and even a touch of vaudeville in their stage shows.

The Whiskey Gentry’s 3rd annual Merry Y’All Tide also features The Packway Handle Band, Shovels and Rope and My Three Keanes, an act made up of veteran producer John Keane, who has produced CDs for R.E.M., the Indigo Girls and The Whiskey Gentry’s 2011 CD, PLEASE MAKE WELCOME, and his two daughters. All proceeds from the $15 in-advance/$17.50–at-the-door benefit the Atlanta Community Food Bank, and fans are encouraged to bring at least three cans for donation. As an extra incentive, the band will be giving our a specially designed poster to everyone who participates.

While The Whiskey Gentry prefer not to nail down their sound into any one genre, ATLRetro managed to corral lead singer Lauren Staley and guitarist Jason Morrow—a couple both musically and in real life—into a sneak preview of Merry Y’All Tide. While sitting an spell, they also opened up more than a bit about the band’s origins, why they love the holidays and their favorite whiskey. And when you’re done reading, check out this this nifty little video they made about this Friday’s show.

ATLRetro: How did Whiskey Gentry get started?
Lauren: Jason and I met around Christmas 2007, and we were both in separate bands at the time. Once we started dating, we decided to join forces and begin writing tunes together. We both came from different musical backgrounds, but we immediately found a niche together with this style of music.

For those who haven’t heard the band before, how do you describe your sound, how did it come about and how does it relate to what’s come before musically?
Jason: Describing our sound is probably the hardest thing we have to do in this band. We’re not country. We’re not bluegrass. We’re not punk or rock or old-timey. Yet we ARE all of these things at the same time. I think we take the formula of an old country tune, turn it up to 11, give it some punch, add pretty vocals, and top it off with a few of the best pickers in the southeast. This came about from all of our shared love for country and bluegrass, but we wanted to really dig in and add the fire behind it.

The Whiskey Gentry. Photo courtesy of The Whiskey Gentry.

Many contemporary bands couldn’t rush further away from the sentimentality of Christmas, but you’ve become known for an annual live holiday show, which is even bigger this year. What’s the origin story behind the Merry Y’All Tide Celebration?
Jason: We love everything about the holiday season – anything from cinnamon broomsticks to watching our nephews and nieces open gifts. It’s a festive time of year, and we’re a festive type of band. We love this season whether it’s “cool” or not.
Lauren: I think people love to get in the holiday spirit in general. People go bananas over it. Did you see the Black Friday riots? I mean, come on.

At Merry Y’All Tide, will you be playing your own takes on traditional carols or original songs? Is it all Christmas music or will you be playing non-holiday fare, too?
Lauren: Back in the day, any artist who was somebody cut a Christmas record. Those tunes are classics, and we like to do our own takes on those as well as newer Christmas tunes. The majority of our set will be non-holiday fare, but we’ve got some awesome holiday songs picked out to cover. But we can’t tell you which ones they are – it’s a surprise.

What other shenangans are planned? Is Santa gonna be there, tapping his feet, clapping his hands and swigging a PBR?
Jason: We hired the crappyist Santa we could fine, and he’s going to be there chugging whiskey and PBR and trying to get pretty girls to sit on his lap.

Much merriment was had at last year's Merry Y'All. Photo Courtesy of The Whiskey Gentry.

Why We Three Keanes, Packway Handle Band and Shovels and Rope?
Jason: Shovels and Rope because they are our new favorite band, also a husband and wife duo. Packway Handle Band because Josh and the boys are some of our good friends and were part of our Christmas show last year. We Three Keanes because John Keane helped us make the best record of our career thus far, and he and his twin daughters will be doing a 20-minute, all-holiday song set promoting their Christmas record. He will also be sitting in on pedal steel with us.

Why did you want to partner with the Atlanta Community Food Bank and the Georgia Conservancy?
Lauren: We think the holidays are about giving, and we wanted to do our part to help out.

Why does your CD, PLEASE MAKE WELCOME, make the perfect Christmas present, and will there ever be a MERRY Y’ALL TIDE CD?
Lauren: Because it fits easily into a stocking and is also super easy to wrap—if you suck at wrapping like I do. And who knows—maybe we will have a Merry Y’all Tide CD for next year’s show!

What’s next for the Whiskey Gentry? You’re about to embark on a Southeast tour, right?
Jason: We are basically on tour every weekend, Thursday to Sunday. We already have 36 dates booked in 2012, so yes, we will be busy.

Finally, got to ask, what’s the band’s favorite whiskey, why and how do you drink it­- straight up or with ice?
Lauren: Ironically, I hate whiskey, so I’m a terrible person to answer this question.
Jason: If I had to speak for everyone, probably Jameson. In shots!

Chickasaw Mudd Puppies, May 1, 2011, at Devil's Pond. Left to right: Alan "Lumpy" Cowart, Brant Slay, Ben Reynolds. Photo Credit: Jason Thrasher.

Sometimes you don’t realize how much you miss a band until you hear they’re back together again. About a month ago we caught up with Guadalcanal Diary, who reunited for two shows at AthFest and Smith’s Olde Bar. But this year’s AthFest was also notable for the triumphant return of the Chickasaw Mudd Puppies, another Georgia band that skated national fame in the late ‘80s and early ‘90s and won the hearts of many—including Michael Stipe, Willie Dixon and John Keane, who produced their two albums WHITE DIRT and 8-TRACK STOMP. That affection was earned by a truly unique sound—oft dubbed “swamp rock”—that had its roots in both alt-rock and country as Ben Reynolds’ fast-paced blues guitar riffs mixed with an arsenal of home-grown and found percussion instruments played by Brant Slay including the rockin’ chair, stomp board (their invention), washboard, harmonica, cowbells and tin cans. Like so many great bands, though, the Mudd Puppies slipped away quietly and way too soon.

The rumors started back last spring with the seemingly unlikely proposition that the Mudd Puppies were suddenly back in the studio recording a song for the Jason Statham action movie THE MECHANIC. Then they showed up at South by Southwest in Austin, expanded from a duo to a trio with Alan “Lumpy” Cowart on drums. Cowart had performed with The Beggar Weeds from Jacksonville, Fla., another legendary alt-rock band also with a Stipe-produced record. Soon the Mudd Puppies were playing hometown venues such as The Melting Point and ATHFest, and we knew we weren’t hallucinating in wistful thinking any more. Thankfully they’re finally getting around to playing in Atlanta in the Buckhead Music Festival this Saturday July 30 at the 1930 Buckhead Theatre.

Brant Slay at AthFest 2011. Photo credit: Daniel Pieken.

ATLRetro caught up with Brant recently and he was kind enough to fill us all in on the band’s back story (for those of you who missed the Mudd Puppies the first time around), what he and Ben were up to when they went away, what brought the duo back to playing together, how Lumpy got involved, and miscellaneous other tasty tidbits from Mudd Puppies mythology.

For the young’uns, how did you, Ben and Lumpy get together and start the Chickasaw Mudd Puppies?
Well, Ben and I met in Athens back in the mid-’80s. We were both in art school and looking to vent a little creative energy. We had parties at my house on Barber Street, and everyone invited had to either bring an instrument or play the pots and pans. It sounded horrible, but we had a great time. Ben was learning the guitar, and I was singing and stomping. The harmonicas, found percussion and actual stomp board came later. We simply clicked and usually were the last two at the party still playing. That’s pretty much the inception of The Chickasaw Mudd Puppies.

Chickasaw Mudd Puppies at South By Southwest.

We later met the greatest band to ever come out of Florida, The Beggar Weeds, and Alan “Lumpy” Cowart was their drummer. We toured with the Weeds quite a bit, and Alan was gracious enough to sit in and play with us for an occasional tour. We all hit it off, and the coolest thing that came from that meeting of the bands was that we made some incredible lifelong pals. Many years later, we crawled out of the ground like some 19-year cicada ready to make music again, and it was truly fate that Lumpy become the third member of the Mudd Pups. It’s evolution.

Read the rest of this entry »

Wow, there’s a lot flying and frying this week Retro-wise in Atlanta from Phoenix Flies to Southern Fried Burlesque Fest to a host of pop and rock performers who got their start in the ’80s. Here’s your weekly guide to where and why to get out…

Monday March 7

Atlanta Preservation Center continues its annual The Phoenix Flies: A Celebration of Living Landmarks, so-named after the iconic symbol of Atlanta—the mythical bird that burns and is reborn similar to the city post-Civil War. The event which runs through March 20 offers a chance to take its neighborhood historical walking tours for free, as well as experience additional behind-the-scenes peeks inside Atlanta’s most famous buildings of eras gone by. Today’s tours include The Temple synagogue (1930), designed by legendary Atlanta architect Philip Trammel Shutze at 10:30 AM; the Gothic revival Peachtree Christian Church (1925) at noon; and Grant Park at 5 PM. Reservations are recommended. After dark, Joe Gransden & his smokin’ 16-piece orchestra present another Big Band Night of jazz at Café 290, featuring Sinatra, Bennett, Basie and Joe’s originals. Blues chanteuse Francine Reed is back at Cafe Circa. Northside Tavern hosts a Blues Jam.

Tuesday March 8

Phoenix Flies features the Swan House at the Atlanta History Center (AHC), site of lavish parties in the 1920s and ’30s; other AHC facilities such as the 1840 Tullie Smith Farm and Cherokee Garden Library and Kenan Research Center, which both house rare photos and documents of Atlanta history; neoclassic First Church of Christ, Scientist (cornerstone laid 1903); Hinman Home (1896), now Stonehurst Place Bed & Breakfast; Midtown’s The Castle; a general Historic Midtown tour; and Wimbish House (1906), one of the last remaining homes on Peachtree Street’s once posh Mansion Row now the headquarters of Atlanta Women’s Club.

Splatter Cinema presents 1980s vampire classic NEAR DARK at 9:30 PM. Read Mark Arson’s Retro Revue to see why you shouldn’t miss this hard-edged horror Western directed by Oscar winner Kathryn Bigelow and starring Lance Henriksen and Bill Paxton. Grab your horn and head to Twain’s in Decatur for a Joe Gransden jazz jam session starting at 9 PM. Fedora Blues plays Fatt Matt’s Rib Shack. Atlanta’s notorious DJ Romeo Cologne spins the best ‘70s funk and disco at 10 High in Virginia-Highland.

Wednesday March 9

Phoenix Flies tours the Fabulous Fox Theatre and offers a rare peek inside The Herndon Home, a beautiful 1910 mansion built by Atlanta’s first African-American millionaire Alonzo Herndon which has many eclectic aspects thanks also to his drama teacher wife Adrienne who would put on theater productions occasionally on the roof.

Get ready to rumba, cha-cha and jitterbug at the weekly Swing Night at The Glenwood. Catch Joe Gransden every Wednesday night at 8:30 PM at Jerry Farber’s Side Door. The Hollidays bring on the blues at Fatt Matt’s Rib Shack. 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. Cover band ’80s Band of Destiny is in the Atlanta Room at Smith’s Olde Bar.

Thursday March 10

Stonehenge Mansion, one of today's Phoenix Flies tours.

Another busy day for Phoenix Flies including tours of Fox Theatre; early Edgewood-Candler Park; Unseen Underground exploring parts of the old railway lines and viaduct system not usually open to public view; Burns Club (1910), a replica of Scottish poet Robert Burns’ birth home with Burns poetry reading; City Hall; Stonehenge Mansion & Sanctuary, a Gothic mansion in Druid Hills built as a residence but now houses St. John’s Lutheran Church; and the Georgia Capitol.

The first annual Southern Fried Burlesque Fest kicks off with the Atlanta premiere of award-winning documentary DIRTY MARTINI & THE NEW BURLESQUE, with a Q&A afterwards with director Gary Beeber and Neo-Burlesque Revival superstar Dirty Martini, at the Holiday Inn & Conference Center in Decatur. Be sure to read our fest preview here. Chickens and Pigs play 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. Party ‘70s style with DJ Romeo Cologne at Aurum Lounge.  Breeze Kings and Chicken Shack bring on the blues respectively at Northside Tavern and Fat Matt’s Rib Shack.

Read the rest of this entry »