ATLRetro

The National Tour of MILLION DOLLAR QUARTET (Photo by Paul Natkin)

A fateful winter day when four of rock and country’s greatest sang together is recreated in MILLION DOLLAR QUARTET, the hit musical which plays the Fox Theatre from March 12-17 as part of the Broadway in Atlanta series. The extraordinary recording session on Dec. 4, 1956, included Elvis Presley, Jerry Lee Lewis, Carl Perkins and Johnny Cash and was presided over by legendary Sun Records owner/producer Sam Phillips. Among the rock hits recorded that night were “Blue Suede Shoes,” “Fever,” “That’s All Right,” “Sixteen Tons,” “Great Balls of Fire,” “Walk the Line,” “Whole Lotta Shakin’ Goin’ On,” “Who Do You Love?,” “Matchbox,” “Folsom Prison Blues,” “Hound Dog” and more.

The family of Johnny Cash, in a twist of fate and coincidence, moved to Memphis in the early 1950s. One day he worked up his gumption to show up at Sun and ask Sam for a recording contract. Sam wasn’t interested in the gospel songs that were Johnny’s first love and was rumored to suggest he “go home and sin, then come back with a song I can sell.” Johnny says that anecdote didn’t happen, but he did switch to rockabilly, Sam took him on, and he recorded early hits such as “Hey Porter,” “Folsom Prison Blues” and ‘Walk the Line” at Sun. He actually became Sun’s best selling artist and the first to complete an LP.

To find out more about MILLION DOLLAR QUARTET and Johnny Cash’s Sun years, we caught up with David Elkins, who plays Johnny in the national tour company.

David Elkins as Johnny Cash in The National Tour of MILLION DOLLAR QUARTET (Photo by Paul Natkin)

How did you get the part of Johnny Cash?

I answered an open call audition inNew York City. Yes, I was going in solely for the role of Johnny.  I couldn’t begin to do those other guys justice. But I knew what I sounded like when I sang, and I just thought, “I can do that.” I love Johnny and his story. I respect his life’s journey and what he stood for, so it’s a real honor to try and bring a glimpse of that, one slice of time in his life, and share that with people everyday.

Some people may be less familiar with Johnny Cash’s relationship with Sun Records than with Elvis Presley, Jerry Lee Lewis and Carl Perkins. What will audiences learn about him in MILLION DOLLAR QUARTET that they may not know?

Johnny Cash was there at Sun, but he left for Columbia Records, which is one of the dramatic story points in the show. He wanted to record a gospel album, and Mr. Phillips didn’t want to record it. He didn’t think the kids would buy it, but Columbia said they  would record it. It’s true that when most people think of Johnny, it’s more the “Man in Black” Johnny Cash of the ‘60s and ‘70s, and later AMERICAN RECORDINGS even, with [producer] Rick Rubin. That’s maybe why the Sun Records years don’t stick out as much today to some.

How did you approach playing Johnny Cash?

Instead of tackling the icon and trying to bring all that to the stage in less than two hours, I approached him as a 24-year-old kid from Arkansas who grew up picking cotton. My grandmother grew up 200 miles north of where Johnny was born [in Kingsland], so I heard all sorts of stories about picking cotton, working in the fields, and looking out for rattlesnakes. I thought of those folks who I have met. It made [Johnny’s early life] immediately tangible for me.

What are your favorite songs in the musical?

I really like our Quartet numbers. We do “Down By the Riverside” and “Peace in My Valley.” Those are pretty magical moments when we get to harmonize. And personally I love watching the other guys do their thing. I get to be on stage and watch them. Everybody I work with is so talented. I really love doing “Walk the Line,” too. People really open up to it. The first song I do is “Folsom Prison Blues,” and that song always gets a great reaction. After one show, I talked to a navy midshipman who used to listen to Johnny Cash all the time. He said, while I was singing, he closed his eyes and thought of his friends. I thought that was very genuine and from the heart. Things like that are very special.

I did a show in Durham, NC, and Johnny Cash’s nephew and his family met me after the show. He said that someone had told him he should go see the show. He said he figured that the other guys will be pretty good, but “nobody sounds like my uncle Johnny…but you nailed it.” That was such a blessing to me and a real confirmation of what we are trying to do.

Ben Goddard as Jerry Lee Lewis, James Barry as Carl Perkins, Cody Slaughter as Elvis Presley and David Elkins as Johnny Cash in The National Tour of MILLION DOLLAR QUARTET (Photo by Paul Natkin)

Do you have any ritual for getting in character?

My warm-up consists of singing along to the HYMNS BY JOHNNY CASH album that he recorded shortly after he left Sun. I also watched old videos of his appearances on TV shows such as TOWN HALL PARTY and THE TEX RITTER SHOW and other clips of that era. It is not an impersonation, but I try to channel the feel of those shows. I think about what makes Johnny such a dynamic performer, so earnest and direct with his delivery. He really made each song his own. He was a storyteller. When he covered other people’s songs, he attached an earnestness, just a storyteller’s sensibility to every song. And there’s always that danger, that unpredictability under the surface that I think people are drawn to.

What will audiences be most surprised by?

I think audiences will be surprised by the undeniable impact this one man, Sam Phillips, had on the birth of rock n roll. He really had a gift for pulling new sounds out of young artists, and he recognized the racial barriers in music and helped to knock those down. He’s one of the few people in the Rock and Roll Hall of Fame that wasn’t a musician. The show really is an ode to Sam Phillips. He really anchors the whole story. The script [by Colin Escott and Floyd Mutrux] was based on GOOD ROCKIN’ TONIGHT: SUN RECORDS AND THE BIRTH OF ROCK N ROLL by Colin Escott and Martin Hawkins. You can really feel the respect and love the authors have for Sam. It’s interesting to listen to the music of that time. If you listen to what they would have heard on the radio, then you can better understand why what they did at Sun was so revolutionary.

Vince Nappo as Sam Phillips in The National Tour of MILLION DOLLAR QUARTET (Photo by Jeremy Daniel)

In MILLION DOLLAR QUARTET, you’ve had the pleasure of performing in a lot of vintage theaters before getting to our Fabulous Fox. Any favorites?

A great part of the tour has been seeing beautiful old theaters. One of the cast members, Katie Barton, who is the understudy for Elvis’s girlfriend Dyanne, is from Atlanta and she told me the Fox is beautiful. There was Proctors Theatre in Schenectady, NY, where Duke Ellington performed and KING KONG played. I liked the Forrest Theatre in Philadelphia. It wasn’t the most beautiful and the boards were a bit creaky, but it takes you back in time a bit and it felt great to be right in the middle of the city. The [former] Hippodrome [ now the France-Merrick Performing Arts Center] in Baltimore was also very impressive and a lot of fun to play in.

We’re really excited about Rosie Flores’ and Marti Brom’s Tribute to Janis Martin Sun. Nov. 18 at 8 p.m. at Smith’s Olde Bar in celebration of the release of the female rockabilly legend’s long-awaited new CD, JANIS MARTIN – THE BLANCO SESSIONS. Torchy Taboo shares a sweet memory about how she discovered Janis and why you should be excited, too.

By Torchy Taboo
Contributing Writer

One beautiful spring afternoon in the early ‘90s, I went to visit my friend “Rockabilly Kim” on her horse farm in East Atlanta. Entering her home was like stepping back in time, and she always had a wonderful new find to show me or a great piece of vintage clothing she’d picked up to add to her vast collection. This afternoon the find was a clutch of 45 records which she immediately began playing for me. When she played a song called “My Boy Elvis” for me, I jumped up and chirped, “Who is this Kim?!” She quickly gave me one of her patented “don’t you know anything” glances and replied, “Janis Martin! You know, the female Elvis!” Embarrassed at my ignorance, I feigned in-the-know, “Oh yeah, right.”

“Hmm,” I thought, “a FEMALE Elvis? How’d I miss this fascinating bit of historical feminism?” Hold on, rewind. At the tender age of 9, I saw my first Elvis movie, KING CREOLE (1958) with Carolyn Jones and Walter Matthau. Of course, I was an instant fanatic. But at 9 years old, not yet sure why girls like boys, what really hooked me was Elvis’s character’s swagger – how he did as pleased and sang about it, how he waltzed into the five-and-dime, picked up a cheap guitar and got everybody’s attention. He was cool and fearless, and I wanted to be like that – to walk into the drug store on Main Street in Tucker, GA and sing my heart out!

Back to the horse farm. A few years after I’d first heard Janis Martin, I had started performing in a retro style and had an occasion to dance in a show built around celebrating Elvis’s birthday. I knew I needed a great rockabilly song but something different from the Elvis standards the rest of the show would be filled with, so I called Kim. “I’ve got the perfect thing for you!” She loaned me a mixed tape of the vintage female greats. I immediately zeroed in on Janis Martin’s song called “Drugstore Rock ‘n Roll.”

The Female Elvis singing “it’s real gone man!” about the Drugstore?! I flashed on the five-and-dime scene in KING CREOLE where he sang “Lover Doll” so sweet. But I wanted something revved-up, and the Janis Martin song had that in spades – released on the B-side of “Will You Willyum” in 1956 when Janis was a mere 15 years old. She had been billed as the female Elvis because of her onstage hip-shakin’. If that’s not fearless, I don’t know what is.

Janis’ career lost momentum in 1958 when her label, RCA dropped her because she’d gotten pregnant when her GI husband she’d eloped with was on leave. Pretty wild stuff in the ‘50s.  Like ‘50s pin-up icon Bettie Page, she lived by her own rules.

Since my introduction to her music in the ‘90s, Janis has come to be one my favorites. I was lucky enough to see Rosie Flores in the mid ‘90s as well as a rare Atlanta show with Marti Brom. I’ve added both to my list of female rockabilly greats. This pair performing a show to celebrate the new CD, JANIS MARTIN – THE BLANCO SESSIONS, that Rosie recorded with Janis Martin in 2007, should prove quite memorable.

Find out more about Janis Martin in her own words in THE JANIS MARTIN STORY, in full on Youtube here

Jake La Botz and Kylie Brown in the Alliance Theatre’s world premiere production of Ghost Brothers of Darkland County. Photo by Greg Mooney.

As the highly anticipated world premiere production of the Stephen King/John Mellencamp/T-Bone Burnett GHOST BROTHERS OF DARKLAND COUNTY hits its final week at the Alliance Theatre, there’s one thing critics and audiences seem to be able to agree on. Jake La Botz lights the stage on hellfire as The Shape, a supernatural trickster, tempter and Greek Chorus to the Southern Gothic Cain and Abel tale. Arms and chest riddled with tattoos with a slicked back pompadour that conjures images of Jerry Lee “The Killer” Lewis, La Botz looks like the older man your mama warned you to stay away from but who you were certain held the keys to Elvis’s “One Night of Sin.” His untamed bump, grind and sensuosity can’t help to remind one of the scandalous early days of rock ‘n’ roll when church moms sought to ban Elvis and THE ED SULLIVAN SHOW refused to shoot the future King of Rock ‘n’ Roll from the waist down.

All of which makes it a bit of a surprise that GHOST BROTHERS is Jake’s first go at musical theatre. But he’s a veteran musician who often plays tattoo parlors and a character actor in movies ranging from independent cult features like Terry Zwigoff‘s GHOST WORLD to major Hollywood pictures such as RAMBO. His vocals and lyrics reverberate with dark poetry and raw energy. He even sings a song called “The Devil’s Lives in My Throat.” He’s been compared to Tom Waits, Bob Dylan and a “modern day Hank Williams” by Steve Buscemi who has cast him in two of his movies, ANIMAL FACTORY and LONESOME JIM.

ATLRetro recently caught up with Jake to find out more about how he approached the role of The Shape and what’s next for him after the curtain falls on this virgin run on Sunday May 13.

How did you land the role of The Shape and why did you personally want to play the part?

I got an email from Laura Stanczyk, a heavy-hitting New York casting director, a couple of years ago to come in and audition for a show called HARPS AND ANGELS that was set to Randy Newman’s music. At the time I was living in New Orleans, touring as a singer/songwriter, and occasionally acting in films… no background whatsoever in theatre. To this day I have no idea how Laura Stanczyk found me. After flying to New York to meet with Laura, Randy and director Jerry Zaks – and not getting the part – I thought ‘musical theatre… hmmm… what a fluke… but that was interesting.’ Laura must’ve kept me in her mental Rolodex because when GHOST BROTHERS came along, she sent me an email that said “Jake, I have something you are PERFECT for” She was right. I took the job because I wanted to work with an exciting group of people and explore new territory as an actor – both the role and the medium.

Jake La Botz as the malevolent character The Shape in Ghost Brothers of Darkland County. Photo by Greg Mooney.

Your performance can’t help but remind me of a time when rock n roll was down ‘n’ dirty and just emerging from blues and honkytonk, Elvis Presley was still scandalous with his hip grinds and Johnny Cash wore black. Which musical performers inspired you and why?

Thanks, I’ll take that as a compliment. That was an interesting time in music. It’s almost as if white people were able to touch back into their pre-Christian roots. The stuff Elvis was doing had been done for years by black blues and R ‘n’ B singers before him. Sex and music is primordial –  imagine a ‘pagan’ ritual, Greek god Dionysus.

I’m inspired by all the great roots-American music (blues, gospel, field hollers, hillbilly, ragtime, rock ‘n’ roll, soul, etc). My favorite singers are the ones that sound unique and otherworldly: Skip James, Hank Williams, Blind Willie Johnson, Bob Dylan, Tommy Johnson, Howling Wolf. I like to listen to music that sounds like it’s coming directly from “the source,” i.e. not manipulated too much by the entrepreneurial efforts of ego.

Seems like there could be quite a bit of Randall Flag (THE STAND) in The Shape, too—the manipulator, the trickster. Did Steve give you any background reading or direction in how to prep for the part?

No background or prep work from anyone particularly, although the entire cast was asked to watch Tennessee Williams films. The Shape I’m doing now is the same character I created for the audition, though he has filled out quite a bit since then. And I received quite a bit of good suggestions from John Mellencamp, director Susan Booth and choreographer Danny Pelzig along the way.

Your dialogue makes lots of intimations that The Shape might be The Devil. Is he?

Intimations? You mean like riding up from ‘below’ on an elevator? Wearing red? Talking about how I get bad reviews in church?

In the elevator down to the parking garage after the performance, two older blonde yuppie women told me they liked the show overall but that the language didn’t have to be so obscene, i.e. “tone it down.” Why are they wrong?

I’ve heard that a lot. I’m not sure they are wrong.

What was it like working with John Mellencamp and T-Bone Burnett? Did you collaborate with them at all on the music, or was it more just taking what they gave you and bringing the character to life?

What an honor to work with both of them. The direction I was given was to take the songs and make them my own… make them like The Shape. I’ve enjoyed doing that. I’m playing two of T-Bone’s guitars in the show… how cool is that?!?!

Have you heard anything about where GHOST BROTHERS OF DARKLAND COUNTY may be performed next and will you be reprising the part of The Shape?

There’s no telling at this point about the future of the show or the cast. I haven’t heard anything confirmed. Of course, I would love to be part of this if it goes to Broadway.

Have you had a chance to get out on the town at all while you’ve been in Atlanta? Any favorite hangout or local musician?

Haven’t had much time to explore. Cast member and country music legend Dale Watson had a Monday night residency at Smith’s Olde Bar that many of us frequented and also performed at. That was a hoot.

What’s next for you after GHOST BROTHERS? I saw something on your Website about a European tour and we’ll be seeing you onscreen in a new movie version of Jack Kerouac’s ON THE ROAD (Directed by Walter Salles; Starring Kristen Stewart, Viggo Mortensen) and in ABRAHAM LINCOLN: VAMPIRE HUNTER?

From here I head to Cannes for the premiere of ON THE ROAD, followed by a European tour. Then back to NYC to look for a job! Yeah, both movies [are] coming out this year.

If you missed James Kelly’s Retro Review of GHOST BROTHERS OF DARKLAND COUNTY, you can catch up on it here. To purchase tickets for the final performances, click here.

By Philip Nutman
Contributing Blogger

Silver Scream Spookshow Presents THE HAUNTED PALACE (1963); Dir: Roger Corman; Screenplay by Charles Beaumont; Starring Vincent Price, Lon Chaney Jr., Debra Paget; Sat. Oct. 15;  kids matinee at 1 PM (kids under 12 free & adults $7) and adult show at 10 PM(all tickets $12); Plaza Theatre; Trailer here.

Vincent Price is back to haunt The Plaza in THE HAUNTED PALACE (1963) another H.P. Lovecraft adaptation, and Halloween’s on its way! Cthulhu bless The Silver Scream Spookshow! Yes, yet another chance to see classic AIP/Roger Corman cinematic madness on the big screen in 35mm this Sat. Oct. 15! More Professor Morte and his madcap gang of monsters and monster babes! Oh, and some old Spookshow family members may return, too. Yowza!

THE HAUNTED PALACE was promoted as another Corman-Price-Edgar Allan Poe film, but while the title comes from a line in a Poe poem, it’s actually a very loose adaptation of Lovecraft’s THE CASE OF CHARLES DEXTER WARD, one of his more famous novellas. If you’ve never read it, you should. But more importantly, you should make a date for seeing the film at The Plaza this weekend because it’s the fifth anniversary of the Spookshow, it’s a terrific print of the movie, and Professor Morte is promising a magical event (literally).

“THE HAUNTED PALACE has become a favorite movie here at Morte Manor,” the Professor cackled to ATLRetro from his crypt in his secret batcave. “I watch this movie once a week, and I listen to the soundtrack [composed by Ronald Stein], which is amazing, all the time.” Before laying back down in his coffin, Atlanta’s favorite master of the macabre whispered in ATLRetro’s ear that there will be some stunning legerdemain this weekend (that means magic tricks, as in sleight-of-hand, as in smoke and mirrors, gang), including a certain supernatural experience which, if we understood Morte’s whisper correctly, has never happened live on stage before…

Now, back to the movie. THE HAUNTED PALACE is one of the best Lovecraft adaptations to make it onto celluloid. Not only does it star Saint Vincent Price, it also features everyone’s favorite Wolfman, Lon Chaney, Jr., and hot babe, Debra Paget, from THE TEN COMMANDMENTS and who smooched with Elvis in LOVE ME TENDER (both 1956). The excellent script was written by the late, great Charles Beaumont, one of the finest short story writers of his generation, who penned over two dozen classic episodes of Rod Serling’s THE TWILIGHT ZONE TV show (He also wrote the screenplay for the Zsa Zsa Gabor turkey, QUEEN OF OUTER SPACE [1958], but, hey, no one’s perfect).

So, there’s only one place to be this Saturday: The Plaza Theatre! And as Professor Morte says, “be prepared to be scared!”

ATLRetro terrifying trivia:

• THE HAUNTED PALACE was Debra Paget’s last movie before she retired after marrying a Chinese millionaire and later became a devout Christian.
• Charles Beaumont is the subject of a terrific documentary by Jason V. Brock, CHARLES BEAUMONT: THE SHORT LIFE OF TWILIGHT ZONE’S MAGIC MAN (2010).
• Beaumont’s birth name was Charles Leroy Nutt.

"Big Mike" Geier don't need no jumpsuit to celebrate Elvis. Serenading the audience during last year's ELVIS ROYALE. Photo Credit: Laura Newman.

Over the past 14 years, Kingsized’s Elvis Presley tribute show has grown from a family affair at the Star Bar into ELVIS ROYALE, an always sold-out Vegas-style multimedia Retro extravaganza with a 15-piece orchestra and glamorous glittery dancing girls, aka the Dames Aflame, at Variety Playhouse. Forget Elvis impersonators. “Big Mike” Geier don’t need no jumpsuit—his deep baritone voice, wide smile and signature charisma are more than enough to rival the stage presence of the undisputed King of Rock ‘n’ Roll, that is with that signature Geier twist. You’ll hear all the Presley hits with a sense of homage and humor, and some surprises along the way that Big Mike believes Elvis woulda sung had his life not been tragically cut short in 1977.

If you’re from Atlanta, skip on to the questions. If you’re new here or not from here, Big Mike has been big in Atlanta’s Retro revival scene since before we even knew we had one, and that’s not just because he’s six-foot-eight. He started performing in Richmond, Virginia, fronting the Useless Playboys, in 1989. That “swing noir” band attracted a national following and toured with Reverend Horton Heat, Southern Culture on the Skids and El Vez. But the Playboys also used to play here at the Star Bar so often it was hard to know he didn’t live here.

Mike Geier and wife Shannon Newton of the lovely Dames Aflame. Photo credit: David Stuart.

Then Big Mike came to Atlanta in 1995 to host the city’s first full neo-burlesque show, Go-Go and Torchy’s Taboo Revue, and he never left. Instead, he launched Kingsized—arguably Atlanta’s  best known and most popular swing band. In 2004, he started a Polynesian pop lounge band, Tongo Hiti, who are now Thurs. night regulars at Trader Vic’s downtown. Along the way he hooked up with burlesque troupe, Dames Aflame, led by his wife Shannon Newton. And that’s not to mention a slew of side projects, such as voiceover and music work for Cartoon Network and Puddles Pity Party, a cabaret clown act that recently toured with AQUA TEEN HUNGER FORCE LIVE.

So what do Big Mike, Kingsized and the Dames have in store at this year’s ELVIS ROYALE. Heck, let’s ask him…

You moved to Atlanta in 1995 at a very pivotal time for the Retro revival here. Obviously the opportunities have grown immensely here for performers who embrace a vintage style, but do you ever miss those more pioneering days? And do you have a favorite memory you’d like to share with those readers who were too young or moved here later?

I miss being able to fill up my 1960 Cadillac Coupe De Ville for $21. Gas was $1 a gallon! My favorite memory would be filling up my 1960 Cadillac Coupe De Ville for $21, then driving out past The Starlight Drive-In to Rio Vista for mountains of fried catfish and sweet tea with my super hot girlfriend who is now my super hot wife.

Can you talk a bit about the Elvis Royale’s humble origins and how it grew into the Vegas-style multimedia extravaganza it is today?

Imagine 350 people crammed in the Star Bar. It’s August and 80 degrees at 10 p.m. Everyone is chain-smoking and guzzling Rolling Rock. PBR’s ironic comeback is just beginning. The Grace Vault is where ya go to pay your respects to the King, among other things. Tim Lathrop used to perform the séance at midnight. The show didn’t even start until 11 o’clock. I had to move the show or else it would have killed me.

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At Bubbapalooza at the Star Bar back in May, Torchy Taboo told me that she was really digging this new rockabilly band called The Stumblers. Now I know Torchy well enough to know she doesn’t mess around with her rockabilly, but when this quartet hit the stage in those ace cowboy shirts and started playing, let’s just say they weren’t stumblin’. Not that would expect anything klutzy coming from a line-up like vocalist/rhythm guitarist Keith Martin (Brandy, Car Thieves, Pickman’s Model), David Stuart (Hallows Eve) on lead guitar, veteran drummer Robbie Whelan and prolific English bassist Paul Diffin (recently The Psycho-DeVilles and Linda Gail Lewis, but also London acts The Big Six, Sugar Ray Ford and The Hotshots, and The Blue Cats).

While Keith and David have punk and metal band roots, sometimes your first love is your greatest one and for them, it was the southern roots music of the ‘50s and the ‘60s. Ask the boys what they play, and they’ll tell you that they are a four-piece traditional country band. Later that night I cornered Keith in the stairwell heading down to The Little Vinyl Lounge to ask when he’d be up for an interview, and he suggested a downstairs gig Friday July 22 with Vermont country-Goddamned-music band JP Harris & the Tough Choices at The Basement underneath Graveyard Tavern.

The Stumblers front man Keith Martin. Photo Credit: Scott Lowden.

Needless to say, it’s two months later and that show is now this week. Lucky for ATLRetro readers, Keith still was more than happy to take a break from honkytonkin’ to divulge the origin story of The Stumblers, give a crash lesson in the history of “hillbilly jump,” talk about their pronounced predilection for dive bars and share some shopping tips on finding cowboy shirts as cool as theirs.

How and when did you fine fellas get together?

Robbie and I have been friends for years but had never played together. We started back in 2007 to work on what would become The Stumblers. The first go at it was great, but soon life began to kickus in the teeth with a series of personnel issues. Our bassist took a job in Florida, our lead player had to quit for personal reasons, and to top it off, Robbie was called up and deployed to Iraq. The night he shipped out, I promised Robbie that I wasn’t giving up, and that by the time he came back I would have the players we needed to keep the band alive.

During this time my other old friend David Stuart decided to come out of semi-retirement and try his formidable hand at country music. I gave him a few reference songs and he took off like a bat out of hell. My friend Mike Bourne of Atlanta Boogie told me I should “Call Paul Diffin; he lives and breathes the stuff you’re doing.” After looking up Paul on the Internet, and realizing that he was the bassist for some of my favorite English bands, I immediately called him. Two minutes into our first get-together with this new line up, I knew we had a magical combination.

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OK, lovers, it’s back to the grind. It’s too late to check out ATLRetro’s top 3 picks for Valentine’s night, so let’s get right to the rest of the week.

Tuesday Feb. 15

Joe Gransden is back at Twain’s in Decatur for a jazz jam session starting at 9 PM. Or head back in time and over there to A NOVEMBER DAY: A WAR STORY, a timeless fable about friendship set against the backdrop of World War I, presented today by Thingumajig Theatre of West Yorskshire, England, today through Sun. at The Center for Puppetry Arts. Performers use hand, rod and shadow puppets, live music and a transforming set to tell the tale of a British soldier in WWI and his unexpected friendship with a stray dog. Suitable for ages 10 and up, with a teen and adult workshop on Sat. Feb. 19.

Wednesday Feb. 16

THE RED BALLOON takes flight at Theatre du Reve in 7 Stages’ Backstage Theater from Feb. 16-27. The stage adaptation uses puppetry and live original music to bring to life the classic 1956 French movie about a boy who befriends a shiny red balloon. Suitable for ages 4 and up.

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. Alice Cooper meets Kiss Southern-fried in Red Rocket Deluxe, headlining at Star Bar. 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.

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Ghost Riders Car Club guitarist Spike Fullerton agrees that Pho Truc, a Vietnamese restaurant in Clarkston, may seem like an unlikely place to find live rockabilly and honkytonk, but don’t let appearance deceive you Thursday nights this month. With their characteristic sense of humor, the band, which features some of Atlanta’s top professional musicians, has dubbed these gigs “Tet 2011: A Guaranteed Nguyen,” a pun on the common Vietnamese surname which is pronounced “win.”

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