ATLRetro

A big part of ATLRetro’s mission is to make sure that you know about all the cool vintage-inspired activities happening in Atlanta. But equally important to us is providing a place where history can be preserved, including the impact of the talented people no longer with us but without whom this vibrant entertainment scene might not be so rich today. Both of these goals intersect in Blue Waltz: A Benefit for the Sean Costello Memorial Fund for Bipolar Disorder for two nights, Fri. Aug. 19 and Sat. Aug. 20 at Smith’s Olde Bar, when The Last Waltz Ensemble will headline accompanied by an amazing roster of the city’s finest blues and rock musicians taking the stage to celebrate the life of a blues prodigy tragically cut short and raise money to help others with a serious condition.

ATLRetro asked three of the performers to share a few words about Sean Costello, and we’ll be running one of these tributes every day between now and Friday. First up is pianist and harmonica player Dr. Paul Linden, who played with Sean from 1995 to 2002, opening for such greats as BB King, Buddy Guy, Dr. John, Delbert McClinton and Bonnie Raitt. He currently tours with Big Al and the Heavyweights, a contemporary blues, zydeco and rock n roll band out of Louisiana, and is an assistant professor in the University of Southern Mississippi’s Recording Industry Program.

Sean Costello’s legacy hangs over the Atlanta music scene in a loving embrace, bringing together young and old, black and white, traditional and contemporary music lovers in the same way his music did. Sean’s live performance came to a premature conclusion in the late winter of 2008, but in the 15 years that preceded that, friends, family and fellow musicians were treated to an astonishing artistic development.

His early years (from about 11-14 yrs old) were spent in the shed, playing along to traditional blues and jazz albums and sitting in with local blues players. He exploded onto the national scene in 1995 winning the international blues competition for solo acoustic act – a victory that garnered him his first record deal producing CALL THE COPS, a Memphis-based management deal and tour dates from the Mississippi Delta through the Florida panhandle. Sean expanded his horizons teaming up with New-Englander Susan Tedeschi at the Springing the Blues Fest in Jacksonville, FL. The dates became more plentiful, the rooms larger and cities further apart.

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Magician Chad Sanborn is one of the many talented local and regional performers in BURLESQUE WITH A HITCH Sat. Aug. 13 at Masquerade. Photo courtesy of Chad Sanborn.

Legendary film director Alfred Hitchcock has been dubbed the “Master of Suspense,” but suspense also is the key ingredient to a great burlesque act – the tantalizing tease which has you wondering when she’s going to take it off. Leave it to Mon Cherie to have the genius to put the two together for one of the more innovative burlesque pairings in the local scene this year. In BURLESQUE WITH A HITCH, the latest in her Va-Va-Voom series at Masquerade this Sat. Aug. 13 (doors at 9 p.m.), each act will be based on a different Hitchcock film. Alabaster JuJu stars, with master of suspense and mystery Miss Mason hosting, and the line-up of top local and regional performers includes aerialist extraordinaire Sadie Hawkins (Blast-Off Burlesque), Rebecca DeShon (Hoop Essence), Stormy Knight, Fonda Lingue, Evil Sarah, The Chameleon Queen, Katarina Laveaux (Birmingham, AL), Nicolette Tesla (Charlotte, NC), and Peachz de Vine (Greensboro, NC). Before and after, DJ 313 spins alternative dance, Allison Kellar offers body-painting, and there’s also the usual RAWKIN’ RAFFLE with lots of vintage-inspired vendors donating prizes. Cover is a bargain 5 bucks, and doors open at 9 p.m., with all proceeding helping cancer patient Shawn Brown.

Of course, suspense is also the key to a successful magic trick, and all great burlesque and vaudeville shows have to have a magician. For BURLESQUE WITH A HITCH, we think Mon Cherie couldn’t have picked less of a “Wrong Man” than Chad Sanborn, who, outfitted like a ’40s noir detective complete with fedora, sets up his tricks like a crime to be solved. ATLRetro caught up with Chad to find out why he adopted his signature style, as well as gather a few clues about his Sat. night act and his other projects, including movie and TV roles and HOUDINI: DOG MAGICIAN commercials for The Cartoon Network. And Just Added: Chad sent us a short rehearsal clip for his Saturday night trick. Watch it here.

ATLRetro: How old were you when you started performing magic, and is there any fun story about that?

Chad Sanborn: I started performing, if you could call it that back then, when I was just a kid. I’d say about 8 years old. David Copperfield would do a yearly television special. Those have inspired me greatly. When you are starting in magic, your family and friends are your guinea pigs. Mostly they are cordial and say “that’s nice,” whether you fooled them or not. Then there is my grandmother…ugh. She would tell me the truth. And it hurt. “It’s in the other hand,” “there is a string on it,” etc. What’s worse is that she would holler it out right in the middle of the show! I hated that. Mostly because she was right. Now I see that honest criticism as a good thing. It lets me know what works and what doesn’t. Positive feedback is good for the ego, but honest feedback is good for the show. It’s been tough, but I have learned to set my ego aside and do what’s best for the magic.

Photo courtesy of Chad Sanborn.

You’ve adopted a noir ‘30s/’40s Humphrey Bogart/James Cagney look instead of the top hat, tux and cape that magicians traditionally have worn. How did that come about?

Well I learned magic from old books I got from the library. They would preach about bringing your own personality into each trick. Are you funny, clever, sexy, goofy? Whatever you were, they said you should inject that into the presentation of the tricks. So who was I? That’s tough to answer at 8 years old. Heck, its tough to answer at 38 years old. As I got older, I realized that I liked vintage things -1900s-1950s clothing, music, vaudeville, etc. Everything. So it was only natural to bring those elements into the magic. I emulated Bogart because he was tops in his field. So now I wear a vintage suit and tie with a fedora and spectator shoes, instead of a tux, top hat and cape. Though I do own a tux made in 1942!

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Dancing the night away inside The Limelight.

Ask anyone who lived in Atlanta in the late 1970s or ’80s what was the city’s most notorious dance club, and they’d tell you The Limelight. Like New York’s Studio 54, it was where you dressed your most outrageous to see and be seen, that is, if the door staff deigned to allow you in. Sharks swam and tigers stalked under the dance-floor for a while. And its fame stretched far beyond Atlanta, attracting Andy Warhol, Grace Jones, Mick Jagger and more. Located in the heart of Buckhead, it’s the reason Atlantans always will call that Kroger on Piedmont the “Disco Kroger.”

This Saturday night, some of the Limelight’s original DJs, set designers and club attendees are hoping to recapture the glittery over-the-top excitement with Deja Vu Discotheque, a one-night reunion dance party at Center Stage. The event not only promises the same over-the-top interior design and light show but also features original Limelight DJs Randy Easterling, Noel Aquirre and Aron Siegel, as well as Atlanta icon, DJ Lydia

From a Limelight brochure.

Prim and live performances by Pamela Stanley singing her ’80s hit singles such as “I Don’t Want to Talk About It” and “If Looks Could Kill.” Attendees will also get a sneak peek at the trailer for LIMELIGHT, a documentary about club founder Peter Gatien, a one-eyed Canadian entrepreneur who also created upscale discos in Miami and another incarnation of Limelight in New York. A silent auction benefits the Starlight Children’s Foundation of Georgia

To get you in the mood for some serious disco dancing, ATLRetro asked a few folks who experienced the original Limelight to share a few memories:

Scott Cloud: For those who weren’t lucky enough to experience Limelight, it is difficult to find the words to describe the magical spell that was cast over Atlanta’s nightlife. First off, there was never the guarantee you would make it past the throngs of hopefuls, waiting outside Limelight’s gilded doors. If you were one of the Chosen Ones, you would soon realize those weren’t ordinary doors you were being escorted through. They were actually portals that transported you into an alternate reality and universe constructed of glitter, glamour and a whole lot of creative energy.

When the sharks weren't swimming at Limelight, mermaids did. Photo credit: Arthur Usherson.

Everyone was a celebrity at Limelight, and you never knew who you might run into.  Andy Warhol… Grace Jones… Mick Jagger… The entire club was a VIP Room, and you were immersed in an environment never again recreated in a nightclub. You weren’t merely a guest at Limelight; you were a participant in a night-long theatrical experience. Nowhere else could you dance above a shark tank, tigers or mermaids… Or experience a blizzard one moment, and a sea of bubbles the next… It was a visual smorgasbord everywhere you looked – living art displays, human mannequins, performance art and dazzling shows. Every visit to Limelight would herald a different experience. You never knew what to expect.

Set Designer K.P. Hendry: The outrageous theme parties had never happened before, even in my imagination!” says KP, referred to then as the club’s “promotional wizard, KP de Limelight.”  Fellini would have been proud” as the scenes unfolded at the first anniversary bash over 30 years ago. “LA DOLCE VITA by way of SATYRICON sets created a glittering, glamorous and mystifying party of epic proportion,” the press noted. Bare as You Dare, Jungle Fever, Wet & Wild and Sunday T-Dances kept the club packed back in those days, Andy Warhol’s Interview Magazine Party probably being the most notable. Everybody was a star at the see-and-be-seen disco of the decade. Custom costumes were provided for thousands of guests who checked not only their clothes but also their day-to-day personas at the door. Couple that with Limelight’s unprecedented

A promo for the Jungle Fever party at Limelight featuring sets by K.P. Hendry.

DJs spinning their dazzling disco beat, through a spectacular sound system with an electrifying light show and it is no wonder, everyone still loves Limelight.  The larger-than-life energetic experiences exploded every evening. It was amazing to see and feel the transformation. August 6, at Center Stage, we will honor Club Creator Peter Gatien whose brilliance brought together the dancers of the day who left their inhibitions at the door.

Deja Vu Discotheque: Limelight Revisited. Center Stage. Ages 21 and up only. Doors open at 8 p.m. for V.I.P. ticketholders ($60) and 9 p.m. for general admission ($35). Tickets are available at www.limelightatl.com.

Note: All photos courtesy of K.P. Hendry.

Burt and the Bandits, 8 p.m. Sat. July 30; $12 advance; $15 at the door; Earl Smith Strand Theatre, 117 North Park Square, Marietta.

When ATLRetro launched in January, we knew the first Kool Kat of the Month had to be Jon Waterhouse. In a city fortunate to have several strong contenders for its most Retro Renaissance Man (Or Woman), Waterhouse is an undisputed 20th Century Pop Culture King. And that’s not just because he hosts a radio show called THE POP CULTURE KING SHOW on AM 1690, though that show, along with a regular freelance gig with the Atlanta Journal-Constitution, allows him to interview many 20th century icons.

No, what’s so cool about Jon is the quantity and diversity of Retro culture that he’s tapped into. He’s done promo work for Van Halen and fronted Van Heineken, a Van Halen tribute band. He hosts all of Blast-Off Burlesque’s shows, transforming seemingly effortlessly into a succession of creative characters from a sci-fi nerd to Rip Taylor. For four years and over 100 Silver Scream Spookshows at the Plaza Theatre, he played Retch, Professor Morte’s lovable sidekick. He’s collaborating on a book related to the 1939 classic movie THE WIZARD OF OZ.

And just when you wonder what he could possibly do next, Jon’s latest adventure is Burt and the Bandits, which pays homage to the 1977 Burt Reynolds hit SMOKEY AND THE BANDIT. They’re playing the awesome art-deco Earl Smith Strand Theatre in Marietta on Sat. July 30, and after getting the lowdown from Jon, we can’t think of a better reason to dust off the old Trans Am, get loaded up and truckin’, never mind them brakes, put that hammer down and give it hell all the way to OTP…

Burt & The Bandits. From left to right: Jon Waterhouse, Barb Hays, Benny Boynton, Tim Price and Doug Williams.

ATLRETRO: How did you get the idea of a SMOKEY AND THE BANDIT tribute band?
JON WATERHOUSE: Well, as a child of the ’70s, I remember the days when Burt Reynolds was the biggest movie star going. There really hasn’t been another film celebrity like him since. He kind of cornered the market with a perfect mix of machismo and silliness. I have a special spot in my heart for his films, especially his earlier exploitation flicks like WHITE LIGHTNING and its sequel GATOR. Of course the original SMOKEY AND THE BANDIT is at the top of the heap. Anyway, many of his films featured great, fun music. You’ve got the Jerry Reed tunes from SMOKEY, and even the Ray Stevens title track from CANNONBALL RUN.

So about six or seven years ago I had the idea of a band that would play songs from Burt Reynolds movies dressed as the SMOKEY characters. And the set would be supplemented with what I call “classic country comfort food” from the same era, back when country was at its coolest. Willie Nelson, Waylon Jennings, Johnny Cash, Merle Haggard, Loretta Lynn, Dolly Parton. It would be a tongue-in-cheek, comedic presentation, while still showing respect for the music. Heck, they did it with HEE HAW. Even Jerry Reed, who was a Chet Atkins disciple and one of the greatest finger pickers of his day, laced his music with humor. So that was the basic idea.

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BEACH PARTY (1963); Dir: William Asher; Writer: Lou Rusoff; Starring Frankie Avalon, Annette Funicello, Robert Cummings, Dorothy Malone; Taboo-La-La Series hosted by Blast-Off  Burlesque at Plaza Theatre, Sat. July 23; 10 PM; pre-show antics include Twister in the lobby, live music by Grinder Nova, cupcakes by The Sugar Dolls, guest star The Chameleon Queen; age 18 & over only; trailer here.

Before Blast-Off Burlesque take off on their World Tour Sept. 9 and 10, these crazy kats are heading to the beach for some Twister, hula-hooping, surfing and flirting. Yes, it’s Taboo-La-La time once again Sat. night July 23 at the Plaza Theatre, and keeping in the summer spirit, the movie is BEACH PARTY (1963) starring Sixties America’s favorite surf couple Frankie Avalon and Annette Funicello. And per usual, it’s not just a rare chance to see a cult classic in 35 mm on the big screen, it’ll be a party like only Blast-Off can throw. We checked in with the sensational Sadie Hawkins for a sneak preview of the fun they have in store…

BEACH PARTY seems pretty tame for a Taboo-La-La after SHOWGIRLS and FASTER PUSSYCAT! KILL! KILL!, but I’m guessing you’re thinking behind all that semi-bare flesh and adolescent hormones, there’s some sexy behind-the-scenes actiongoing on. How did Blast-Off decide on this movie?

Well, it’s summertime, and what better time for a beach movie? And BEACH PARTY is the one that started the whole beach movie craze. It may seem tame, but really, it’s a pretty weird movie that spends a lot of time lingering on adolescent/post-adolescent sexuality.

When did you first see BEACH PARTY and what do you personally love about it?

I first saw it on teevee when I was a kid. I loved Frankie and Annette. Seeing it as an adult, though, I’ve come to love the completely strange fabricated world in BEACH PARTY. It’s a lot of fun. It’s totally goofy—I mean, the motorcycle gang is astoundingly white bread.

Without spoiling any surprises, what can you share about the pre-show and how did you pick this month’s guest stars?

The pre-show is kind of Blast-Off’s take on a Beach Party, only inside the Plaza. We’ve got a couple acts of our own and some fun contests in the theme of the movie—hula hooping, twisting. We’re really excited to have Grinder Nova back for another show—this time, they’ll be playing a larger part of the pre-show. And we’re absolutely delighted to welcome our good friend, The Chameleon Queen, who will be performing as A’Lotta Wood. That act is awesome.

There’ll also be beach party action in the lobby, right? Did I hear something about Twister?

Yep! We’ll have Twister in the lobby and cupcakes from The Sugar Dolls [Read a scrumptious sneak preview of the delicious delights they’ll be bringing here].

When should beach partiers arrive at the Plaza and what should they wear have maximum fun in the sun?

The show starts at 10, so if folks get there a bit before that, they’ll have time to play a little Twister and have some cupcakes and chat a bit. We always encourage people to dress to the theme—we’ve got our swimsuits ready, and I know there will be some Hawaiian shirts on display.

What can we tease out of you about Blast-Off’s WORLD TOUR?

It’s shaping up to be a totally insane trip. Seriously, there’s some kooky stuff in this show. I think this may be my favorite Blast-Off show so far. Well, every one is my favorite, but really: it’s going to be a lot of fun. So, we’re really excited to share it with people. It’s going to be September 9 and 10 at 7 Stages. Tickets are available at blastoffburlesque.com.

Finally, gotta ask what’s new with the lovely Miss Sadie Hawkins and where else can we see you hanging around this summer?

Well, I teach lyra classes four days a week and I’m performing quite a bit. After Taboo-La-La, the next burlesque event at which I’m performing is Bellissitease: Film Noir, July 29 at Bellissima. I tend to keep myself pretty busy, between private events and fundraisers, regular aerial/fire work at night clubs and myriad other stuff. Also, the second weekend in August, I’ll be at the Pinups for Pitbulls fundraiser at The Graveyard, Man Day at Twain’s and Mon Cherie’s Burlesque With A Hitch at Masquerade. I try to keep my Website (www.sadiehawkins.net) pretty up to date with what I’m up to.

By The Sugar Dolls
Contributing Bloggers

Beach Party! Who doesn’t wanna be at the beach?!  Who doesn’t want to “dissect those crazy kids” to figure out how we all relate or perform relations in a happening way? We have those conversations all the time in the kitchen. Who doesn’t love a good Rat [for the uninitiated: the baddies in 1960s beach party movies almost always were from biker gangs whose names had “Rat” in the title]!?  WE DO!!!

One of our favorite pastimes is watching Retro movies with a beach or tropical theme. It relates you, connects you and creates memories that just can’t be let go. I remember watching BEACH PARTY (1963), or even half-naked Amazon ladies in the beginning of KING KONG (1933)with my Meme and my mom as a little girl, and oh, what fun we would have! Not to mention how cool is it to see the ol’ Mickey Mouse Club couple [Frankie Avalon and Annette Funicello] grabbing the surf and living and learning. It exudes our Sugar Dolls motto, “have a good time!” The Plaza Theatre and Blast-Off Burlesque really know how to bring back that charm in the best ways.

Annette Funicello & Frankie Avalon.

BEACH PARTY is such a good time, be it the music or the shakin’ or the fact that the old Mickey Mouse Club crew is there being nutty, and Blast-Off are just the folks to take this not just to the next level with a sensual exciting night full of burlesque, live music, games, contests and cupcakes!  When Blast-Off asked us to be a part of their last Taboo-La-La movie event FASTER PUSSYCAT KILL! KILL! starring and celebrating Ms. Tura Satana, we jumped at the chance to create the perfect cupcakes to match that movie’s action and sexuality. We had such a blast selling “boobalicious” cupcakes to accent the Taboo-La-La spirit and were so thrilled to hear that BEACH PARTY would be next flick that we clamored to bake for them again and they were sweet enough to oblige.

Wrestle cakes by The Sugar Dolls.

We dames at the Sugar Dolls love perfecting our combos for every event we attend. It was easy as cake to figure out how we were going to get people really glassy at this Saturday’s Taboo-La-La screening of BEACH PARTY at The Plaza. We knew we wanted to change your developmental taste buds, so we decided it was finally time to debut our zingy Lemon Drop! You’ll pucker up for this sweet and sour treat that will definitely be the most refreshing cupcake you’ve ever had.

Then we wanted finish it off with something really sensual and breezy. We wanted to make sure the chocolate lovers weren’t left out, so we also whipped up our Chocolate Coconut Cupcake, which will leave you shakin’! We would be lying if we said it wasn’t inspired by the mocha coconut [Starbucks] Frappuccino coffee that often keeps us going in a tasty kinda way.

Zingy Lemon Drop!  Chocolate Coconut! BEACH PARTY! So you can be ready to bring out the pendulum and start swinging!

Want the Sugar Dolls to bake some cupcakes for your beach party or other Retro-fantastic special event? You can reach ’em through their Website or Facebook page.

By Philip Nutman, Contributing Blogger

“If music be the food of love, play on…”
– Some old geezer named “Shakespeare.”

An Evening with the Psychedelic Furs; two sets, including TALK TALK TALK in its entirety; The Masquerade, Wed. July 6, 7 p.m.

For me, The Psychedelic Furs are one of the sexiest bands in the world.

No, I don’t have a decades long crush on Furs’s main man, Richard Butler, like so many of my gal pals, and no, I’m not a “groupie.” I’m just a hardcore lover of the body of music the band has produced since the late ‘70s (although taking gal pals to early Furs concerts has often resulted in interesting sensual experiences… [say no more]).

For mainstream American audiences, The Furs were largely off their radars until the late “Brat-Pack” writer/director, John Hughes, immortalized the band  by using the title of one of their songs, “Pretty In Pink” (from their second album, 1981’s TALK TALK TALK) as the title for one of his cotton candy bittersweet cinematic confections back in the mid-‘80s. Of course, the movie PRETTY IN PINK devolved the original metaphor of the song “Pretty In Pink.” According to singer/front man/chief lyricist Richard Butler, it was about being “naked” – not the message Hughes was trying to convey.

Promotional photo of lead singer Richard Butler for the TALK TALK TALK Tour.

THE PSYCHEDELIC FURS, the band’s first LP, was released in 1980 and became a cult album in the UK, but failed to score in the slow-to-catch-on US except among music rebels. Channeling The Velvet Underground, glam-era Bowie, heaps of mood and post punk, European-flavored sturm und drang, the lack of American mainstream love was not a surprise. In other words, there were no radio-friendly singles.

When TALK TALK TALK hit the following year, a sea change started. The atmosphere of the eponymous disc transformed into an aggressive post-punk fury which radiated more punk energy than “post.” This was a disc which burned up your turntable and could make your stylus melt. Take “I Just Want To Sleep With You,” a song filled with a manic passion that screamed, “I want to f*** you now!” backed by a propulsive Velvets’ discordant arrangement of clashing guitars, backbeat and Duncan Kilburn’s wailing sax. The opening rumble of “Dumb Waiters” blasts into the original incarnation of “Pretty In Pink” – the first song which proved THE FURS could create a real post-punk pop song with hooks that barbed the listener’s flesh and wouldn’t let go. “PIP” is/was, perhaps, the first true post punk pop song. In other words, John Hughes was hipper than his personal style indicated; he knew something great when he heard it.

Make no mistake about it: TALK TALK TALK is an album that takes no prisoners and is filled with an unrestrained passion. “Dumb Waiters” was the opening salvo, “Pretty In Pink” was the seduction before the no-holds barred growl of “I Just Want To Sleep With You,” followed by the powerful dismissive, “No Tears.” Then The Furs assault the listener with the obtuse, but Bob Dylan-inspired roar of “Mr. Jones.” And if you didn’t get the message, girls, The Furs wanted *YOU* as they plowed “Into You Like A Train.” The rest of the album just keeps hitting you with an emotional brick and never lets up: “It Goes On,” “So Run Down” keep moving the listener through an aural photo album of lust misspent, of hearts broken and the bad guy trying to be good but incapable of escaping his basic instinct – it goes on, indeed. Guitars chime against Tim Butler’s powerful bass line as original drummer Vince Ely’s back beat pounds you into submission making you feel “So Run Down,” culminating with Butler seemingly remorseful about the emotional damage inflicted with the still soaring but more plaintive “All Of This And Nothing.” (N.B. Track listing refers to the original UK record release which was totally resequenced by the A & R idiots at CBS records  for the US release.).

There’s so much that could be written about how terrific this transitional, second LP is, but tomorrow night, July 6, at The Masquerade, you can discover just how intense the album was/is when the current line-up of the band (core, founder members Richard and brother Tim Butler minus former long-term guitarist, John Ashton, who joined the band for the sophomore disc and has been replaced by Rich Good) will perform the entire disc before playing a second set of songs spanning the group’s 32-year recording career. If you’ve never listened to TALK TALK TALK – shame on you! Go buy it now and prepare for a concert that if it lives up to the original will – like the recent Echo and the Bunnymen tour recapping their first two albums – remind you of the raw visceral energy of those early days. This is a passionate record, and it’ll be interesting to see what the band do with it live.

Be at The Masquerade Wednesday night or take a musical vow of celibacy. This is one sexy show you don’t want to miss.

Photo courtesy of Guadalcanal Diary.

I see life like a mirror
And I see life so much clearer

We move so quickly
Who knows where the time goes
Where does this road lead?
No one knows, no one knows

-Excerpted lyrics from “Litany” by Guadalcanal Diary (2 x 4, 1987)

Back in the early ‘80s when alt-rock was still called post-punk or new wave and relegated to the ghetto of college radio, Athens seemed to grab all the cutting edge music glory in Georgia. While many music critics liked to insist Guadalcanal Diary came from that scene (their first LP was on Danny Beard’s DB Records, which while based in Atlanta, was known for breaking out The B-52s), the band actually hailed from Marietta, proving something much more innovative than the Big Chicken could hatch out of what’s often thought of as Atlanta’s most white-bread suburb.

It doesn’t seem like it could possibly have been three decades ago when they first got together to play a friend’s backyard wedding, but it’s mighty good to hear that Guadalcanal Diary, who broke up in 1987, are back and performing live, if only for two shows. The first was at AthFest last weekend, and rumor has it that the second at Smith’s Olde Bar is already sold out. Yeah, it seems like there are plenty of folks who miss hearing the voodoo jangly twang with an offbeat sense of humor of “Watusi Rodeo”—the name of their first EP released in 1983 (Entertainment on Disk) and later a song on the WALKING IN THE SHADOW OF THE BIG MAN LP (1984) released on DB Records and produced by Don Dixon (REM, Smithereens). Back then MTV’s CUTTING EDGE, the go-to late night show for progressive content, named the video for “Watusi Rodeo” its video of the year. They’d go on to cut three more albums, and even after they broke up, thankfully they’d occasionally reunite every once in a while for a show and even cut a live CD, GUADALCANAL DIARY AT YOUR BIRTHDAY PARTY, in 1998.

In more recent years, lead singer/guitarist Murray Attaway recorded a memorable solo album, IN THRALL, and lately he’s been performing again with Guadalcanal Diary guitarist and oft co-composer Jeff Walls in Bomber City. Walls has popped up in a variety of bands including Hillbilly Frankenstein, Dash Rip Rock, Southern Culture on the Skids, Man or Astro-Man? and The Woggles. ATLRetro caught up with Murray to find out why Guadalcanal Diary decided to regroup this summer and what’s ahead for him, Walls and the band…

You were one of the bands that converted me to a whole different way of looking at music, listening to WRAS in the early 1980s. It’s great to hear you guys playing again. What inspired you to bring the band back this summer?

That is very kind of you. The advent of social networking had a hand in the reunion. I had quite a number of music people, promoters and such contact me over the last few years asking if I had plans to do any more music. This led directly to Jeff and I starting Bomber City. As 2011 drew near, Jeff, Rhett, John and I began to discuss the possibility of doing a few Guadal shows to commemorate our 30th anniversary. And here we are.

Is it the whole original line-up—you, Jeff Walls, John Poe, Rhett Crowe?

Yes, we’d never consider it otherwise.

For those too young to remember, briefly how did Guadalcanal Diary get started and why the name?

Jeff and I had been writing songs together on and off for years, and we wanted to play them live. We both had been in a band called Strictly American with Rhett’s brother Curtis Crowe of Pylon, and John and Jeff were in a couple of bands together as well, The Motive and The Rooms. Rhett and I were a couple at the time and she wanted to learn to play bass, which Jeff taught her. The original idea involved doing a number of Civil War ballads all rocked up, but, thankfully, our originals sunk that idea. The name, taken from the Richard Tregaskis novel, seemed ambiguous enough to work creatively under. Plus, it sounds like water.

Who were your early influences? In an old Spin interview, you mention XTC, Bowie, Velvet Underground, Roxy Music but also old country like George Jones?

Yes, there are quite a few older country artists I like: Hank Sr., Johnny Horton, Buck Owens. Big list. Also Yes, Tull, Eno, Beatles, Stones, Miles Davis, Wynonie Harris. This could take days…

“Watusi Rodeo” is your best-known song, but what’s your personal favorite and why?

I like that song. I also like “Litany,” “Trail of Tears,” “Ghost on the Road,” “Vista” and “Pretty Is As Pretty Does.” “Litany” came along at a very happy time in my life, and I think the song reflects it. I hope.

In an interview from 1993, you were asked whether you had any regrets about breaking up in 1989 but you said that while you were possibly poised for the kind of mainstream success that Soul Asylum had, you were happy the band didn’t push it until you were burnt out and no longer friends. How do you feel about that now, or are you sick of answering that question?

Did the interviewer ask me specifically about Soul Asylum? I was only peripherally aware of them, so I’d be surprised to know that I compared Guadal to them. I am still happy that things turned out the way that they did. I don’t like the idea of comparing one group’s success to another’s. Guadalcanal Diary’s original goal was to be able to headline 688 on a Friday night. We went a little further, happily. I’m pleased with the body of work we left. I’m even more pleased that we are still good friends.

You’re often more associated with Athens than Marietta. Was the gig at AthFest a bit of a coming home?

Yes indeed. No matter how much we may have bitched early on about differentiating between us and Athens, Athens became Guadalcanal Diary’s home. So Athfest was great, certainly a homecoming.

Any special plans for the Smith’s Olde Bar show?

Yes, to top the performance at Athfest.

When will we hear Guadalcanal Diary live again or a new recording?

No plans, but either is possible.

What’s up with Bomber City and are you collaborating with Jeff on anything else?

After a personnel change last year, we’ve been rehearsing steadily and are ready to play live again. First show is July 30 at The Melting Point in Athens.

Are you up to any more solo work or anything else musically right now?

Between Guadal and Bomber City, and a startup company that I’m a partner in, my hands are full. Jeff’s the one who’s in four bands at a time, plus producing. I think he takes lots of vitamins.

What’s your favorite Atlanta used record store and why?

Wax n’ Facts.  Danny Beard put out our first LP, and he’s also a relative by marriage. Plus great selection.

What question do you wish someone would ask you but they never do, and what’s the answer?

I wish someone would ask me why I like peanut butter and dill pickle sandwiches. Because they’re crunchy, sweet and sour.

Oh, our stars and garters! ATLRetro just got some swell praise from Scoutmob Atlanta. Apparently we’re “the cat’s pajamas in blog form”! Thanks, Scoutmob, and you can read their entire post here.

So many of Atlanta’s best bands got their start when musicians known for other ventures just happened to get together and jam. That synergy has happened again with Nat King Coal Miners to the good fortune of the Atlanta music scene who will get to enjoy one of their first public performances at the Star Bar this Wed. June 22.

The recently formed jazz trio sports three musicians well known locally for years for their involvement in many iconic jazz, swing and blues groups. Spike Fullerton (guitar) most recently has been playing with Ghost Riders Car Club (see ATLRetro’s Feb. 2 Kool Kat piece on him and that band here), but his many other credits include being a founding member of Kingsized. Matt Wauchope (piano) is now with Blair Crimmins and the Hookers toured and recorded with the late, great blues guitarist Sean Costello, giving him the chance to perform with music legends such as Jody Williams, Hubert Sumlin, Pinetop Perkins, James Cotton and Elvis Costello. Veteran blues bassist Dave Roth is now with Burnt Bacon, but also performed with Sean Costello.

ATLRetro caught up with Spike to get the scoop on how the new venture got started, the Nat King Cole connection, what Ray Charles has to do with it, and why he’s bringing out the Big Girl…

Spike Fullerton playing with Ghost Riders Car Club. Photo courtesy of Spike Fullerton.

All three of you are seasoned musicians well-known in Atlanta for your previous misadventures? Why/how did you decide to get together to form a 1940s/’50s jazz trio?
The late lamented Glenwood in EAV had a terrific Sunday night jam session. I had played with Dave there a couple of times, and Matt turned up one night. We knocked out a couple of standards on the spot and that was it. Both of those guys are so good, you know it in about 16 bars. Dave Roth has both perfect pitch and relative pitch, and big-time chops to go with it; Matt Wauchope, who also plays piano with Blair Crimmins and the Hookers can just knock that Harlem stride style out as well. It’s both humbling and a real pleasure to play with such enormously talented musicians

Why the name Nat King Coal Miners and do you play Nat King Cole classics?
I happened to mention (original King Cole Trio guitarist) Oscar Moore as a big influence on me, and it turned out Matt and Dave already had this project going. Matt and I had both done long stints in Kingsized—I was a founding member years ago—so we had a large pool of common standards to choose from, as well as a shared sense of humor about the material. The language of jazz is pretty similar across genres—it’s just deciding which accent you want to speak with. The King Cole sensibility of strong rhythm, heavy swing, and clever lyrical and musical interplay was a natural.

Who are some other influences on the band’s sound and will you be playing just covers of jazz greats or originals, too?
The three of us are huge fans of the ’50s R&B style of Ray Charles—we do a lot of things in that genre as well. It can go from utter melancholy to swingin’ like mad, and just has the most delightful sense of rhythm. We’ll do the odd original, perhaps a Waits cover, all sorts of stuff. Source material is important, but I think we are more concerned with the articulation rather than recreating the original records. So some things may sound more original than they really are and vice versa.

Spike's Big Girl.

Any special plans for the Star Bar gig this week?
Our good friend the Rockin’ Gator, legendary friend to the Atlanta music scene, will be on hand to tape some of the proceedings so everyone who turns up gets a little digital immortality as a side dish. For you guitar geeks out there, I’ll be bringing out a very special instrument from my collection to play for the evening. I had retired it for over a decade, but I love this style, and this group so much, I’m going to bring out The Big Girl (an extremely rare 1949 Gibson archtop), along with a period amplifier for the show.

Where else will the Nat King Coal Miners be playing soon and any plans for a recording?
We are booked for the Summer Shade Fest [Aug 27-28] in Grant Park and have recurring gigs at Blind Willie’s and hopefully the Star Bar going forward.

The Ghost Riders Car Club set had the most heartwarming moment at Bubbapalooza when you guys started pulling Mama Smalley and other Star Bar regulars onstage for an audience singalong to The Diggers‘ “She’s Breakin’ My Heart (While I’m Drinkin’ Her Beer)” Can you share some of the specialness of that moment with anyone who missed the show.
As you may know, I was on the bill at Bubbapalooza I. [Founder] Greg [Smalley] was a colleague of mine on the scene, and we played many a show at many a forgotten venue. It speaks to his impact on the community that after all this time. We should all be remembered so long, and so fondly.

Love your band logo – what’s the story on that?
It’s actually a real King Cole Trio album cover from the ’ 40s. The postmodern sense of motion and optimism, and use of negative space and color, sort of dovetail with what we try to do as a group.