ATLRetro

by Melanie Crew
Managing Editor

Top to Bottom: Dave Watkins, Johnny McGowan, Dave Weil, Steve Stone. Photo by Sloan Carroll Rainwater.

Atlanta’s own Dave Weil, head honcho and lead vocals/guitar, along with his partners in crime, The Blacktop Rockets [Johnny McGowan (guitar/vocals); Dave Watkins (drums); and Steve Stone (Bass)] will be raisin’ a ruckus, Sun Records-style, at The Star Bar this Friday, April 8 at 9 p.m.! They’ll be peddlin’ their new full-length CD, “GO!” with fellow rockin’ revivalists, Rodeo Twister in tow! It’ll be a hootenanny you won’t want to miss!

Dave, raised on jazz and crooners like “Ol’ Blue Eyes” Frank Sinatra and Tony Bennett, got rebellious ‘n’ hell-bent falling head over heels for some good old rock ‘n’ roll. So in 1993, he began dishin’ out tunes and slingin’ guitar with The Blacktop Rockets, and they’ve been revvin’ it up ever since! They’ve stormed the stage with The Blasters, the late Ronnie Dawson, Southern Culture on the Skids, Reverend Horton Heat, Wanda Jackson and so many more influential hell raisers and foot stompers! BTR’s first full-length album, MAKE MINE A DOUBLE,” was released in 1999, preceded by the single “What Ya’ll Have,” in 1996. In other words, it’s high time for a new BTR release.

ATLRetro caught up with Dave Weil for a quick interview about BTR, his take on “American music,” and reviving that old-school R&B and hillbilly twang! While you’re takin’ a gander at our little Q&A with Dave, get an earful of The Blacktop Rockets live at The Star Bar (Nov. 7, 2015) with “Please Don’t Touch” (Nov. 7, 2015).

ATLRetro: The Blacktop Rockets swooped in on Atlanta’s rock revival scene like a bat out of hell during the ‘90s rockabilly resurgence; a rockin’ renaissance of sorts. Can you tell our readers what it is about that genre of music that keeps you coming back for more?

Dec Fest. L-R: Dave Watkins, Johnny McGowan, Dave Weil, Steve Stone. Photo by John Phillips.

Dave Weil: It’s the free-wheeling spirit of it all. The magical blending of black R&B with white hillbilly music that occurred beginning in the late ‘40s-early ‘50s, which led to what came to be called rockabilly and rock and roll. To me, it’s irresistible. When I hear it, I get a smile on my face and I just gotta move!

Any twisted tales on how you and The Blacktop Rockets get together and what’s kept you goin’ for so long?

Not really twisted, but it was a bit of a fluke. In 1993, I was doing this duo thing a la Flat Duo Jets called Sweatin’ Bullets and had a gig that the drummer couldn’t do. I had recently met David Watkins (drummer) at Frijoleros (old schoolers know) where we were both working, so I asked him to fill in and the rest is history as they say. Upright bass was added about a year later and then lead guitar. What’s kept us going is, well, all I can think is, we have to! Like Carl Perkins said, “The cat bug bit me and I’ll never be the same.”

Your sound has been described as being the “epitome of American music.” What does that mean to you? What exactly is “American music?”

“American music” is a lot of things and goes back much farther, but in terms of what I’m most familiar with and where BTR fits in, it goes back to what I said about the blending of black R&B with white hillbilly music. Twelve bar blues-based song structures with lyrics that include the tried and true themes of love and loss, regular folks telling stories, and just silly stuff like “Rock Around The Clock.” There were so many things changing in post-war America – culturally, economically, socially – and lots of those changes were reflected in the music being created then.

Even though the bulk of the retro rock ‘n’ roots revival pretty much died off in the late ‘90s, The Blacktop Rockets seem to have made a niche for themselves in Atlanta’s thriving sleaze-nitty-gritty redneck underground music scene. What draws you to the mischievous underbelly of Atlanta’s music scene?

That it’s the underbelly and we love underbelly. So juicy and sweet, mmm, can’t git enough of it.

Any interesting stories to tell our readers about your musical upbringing, or when you became interested in playing music?

My Dad was a musician – a damn good sax and clarinet player, but could find his way around any instrument. There was always music in the house. He was mostly a jazzer who listened to and played a lot of swing. He was also a big fan of crooners like Frank Sinatra and Tony Bennett. We didn’t exactly see eye to eye back when I got into rock and roll, but he rolled his eyes and tried to tolerate it. I got into guitar like lots of my peers, from listening to The Beatles and The Rolling Stones and other Brit bands. Through buying those bands’ records and reading the writing credits, I learned about the great American bluesmen like Muddy Waters, Howlin’ Wolf and Elmore James. Later on in the late ‘70s I did a similar thing when I heard the Robert Gordon/Link Wray records. I started digging deep into Rockabilly music and found Eddie Cochran, Gene Vincent and, of course, the legendary Sun Records material.

L-R: Johnny McGowan, Dave Watkins, Dave Weil, Steve Stone. Photo by Jeff Shipman.

We see that you’ve shared the stage with The Blasters, the late Ronnie Dawson; opened for Southern Culture on the Skids and Reverend Horton Heat; and backed the “First Lady of Rockabilly” Wanda Jackson and so many more! Can you tell our readers what it’s like getting to fire it up with all those movers and shakers?

Those opening spots have been some really fun shows. I feel like BTR truly deserves to be on those stages and we can bring it as well as anyone. As far as being the backing band for the legends, it’s a tremendous honor and kind of like living a dream! It’s definitely a set where you really, really want to be on your “A” game and not make any clams! Sure don’t want to get a dirty look from Wanda, ha!

You released your first album (full-length) MAKE MINE A DOUBLE in 1999, making that one long 17-year itch! Why did it take so long to get to GO, and how can our readers get their grubby little hands on a copy?!

We actually put out “What’ll Ya’ll Have” in 1996, so this is our third album. We also did a Christmas 45rpm and recorded songs here and there for compilations, but 17 years between actual full length releases is a bit ridiculous, isn’t it? I’m not sure what took so long other than I suppose the time was finally right.  You can buy one at the show on Friday, of course, plus it’s on CD Baby, iTunes and perhaps other online places. The commerce section of our website <here> is under construction now, although it might be running by show time.

If you had to choose your top three musical influences, who would they be and why?

The Star Bar: Photo Credit by Sloan Carroll Rainwater (L-R: Johnny McGowan, Dave Watkins, Dave Weil, Steve Stone)

I think it’s really hard to pinpoint influences per se, but I can tell you who I am always happy to hear on my stereo or anyone else’s. No particular order and I’m leaving plenty of others off – Ray Charles, Willie Nelson, Johnny Cash, Carl Perkins, Howlin’ Wolf, Ronnie Dawson, Buddy Holly, Chuck Berry…you get the picture.

What can ATLRetro readers expect to experience at your honkytonkin’ hootenanny and CD Release Party, April 8, at The Star Bar?

The Blacktop Rockets still pack a punch in our live show like very few acts you will see. We have a great time doing what we do and it shows. The current BTR line up is sounding better than ever. Drummer David Watkins and I are into our third decade playing together so it’s a pretty special connection there. Anyone who has heard him play knows he’s one of the top drummers in Atlanta and beyond. He can bash ’em or lay back, but he always knows exactly the right part to play for our songs.

Many of your readers know lead guitarist Johnny McGowan from not just this band, but several other cool projects he’s involved with. Johnny plays with so much fire and creativity, plus amazing technical ability that he’s constantly blowing minds and making jaws drop, including mine! Johnny joined BTR around 1996, then left for a bit around 2000, but has been the guy now since around 2009. On stage, there is no one I’ve had this much fun with. It’s just a hoot because we have little musical inside jokes and he’ll play something goofy or weird and then shoot me a quick look like, “Did ya hear that one?” and then crack up laughing.

The new guy is Steve Stone on bass. He’s another very accomplished multi-instrument player who has been a lot of fun getting to know and assimilated into the band. I love playing music with these guys and I consider myself fortunate to share the stage with such outstanding players! Plus our pals, the excellent band Rodeo Twister are opening the show!

What’s next for The Blacktop Rockets?

A lot more gigs this year than we’ve done the past several and probably another album or at least EP in the fall.

Anything else you’d like to tell ATLRetro readers about you or the band?

I think you will really dig the new record! We’re still doing some straight-up rockabilly, but there’s more to it in terms of the songwriting. This was the first time Johnny and I collaborated and we figured out we can write really well together. We simply let the songs be what they were going to be and didn’t try to put them in a specific box like rockabilly or swing or country. If I had to say what that sounds like, I guess I’d have to nod towards The Blasters or Rockpile. We’ve added electric bass on stuff where we used to use upright only, and that gives it a feel that I think reflects well on the newer songs especially. In addition to playing guitars all over the recording, Johnny produced the album and did a knock-out job. One of the things he did that I’m most happy with was to bring in friends to play some different instruments on a few songs. There’s piano, sax, trumpet and steel guitar that are added here and there that are really nice touches.

And last, but not least, what question do you wish somebody would ask you and what’s the answer?

For here or to go? The answer is always GO! 

Photos provided by Dave Weil/The Blacktop Rockets and used with permission.

by Melanie Crew
Managing Editor

Caleb Warren, ragtime rumble slingin’, guitar pickin’, Dixieland lovin’ purveyor of old-time dance hall tunes with a maniacal modern twist, along with his polite partners in crime, The Perfect Gentlemen (and lady) [Colt Bowen – percussion; Dave Aitken – lead guitar/banjo; Jenna Mobley – fiddle; Robert Green – trumpet; and Ian Blanton – upright bass] will be raisin’ a riotous ruckus at Mac McGee Irish Pub in historic Roswell this Saturday, August 15, at 9 pm! And if that isn’t enough, you’ll get a second and third hoppin’ helping of their juke joint jamboree at The Earl on Aug. 22, and a tail feather shakin’ good time with the band at the sensational ‘n’ seedy Clermont Lounge on Oct. 8!

Caleb hails from Chattanooga and has a hankerin’ for the tunes of yesteryear. Although heavily influenced by Western swing, gypsy jazz, ragtime and Dixieland blues, Caleb Warren and The Perfect Gentlemen (The Gents) have proven time and again their ability to tell relevant tales to the melodies of the past. The Gents have shared bills with Sharon Jones & the Dap Kings, “First Lady of Rockabilly” Wanda Jackson, Black Joe Lewis and the Honeybears, Billy Joe Shaver and more! Their self-recorded/self-released EP, “The River” was released in 2014, followed by their new single “Hoke Poole Stomp”/“Peach Pickin’ Time in Georgia.” And if you’re cravin’ a whole lot more from these rowdy folks, don’t fret! The Gents and are in the works on their first full-length album, so keep your ears peeled!

ATLRetro caught up with Caleb for a quick interview about whiskey ‘n’ women, The Gents’ flair for old-timey janglin’ jingles; his retro influences; and his love of Lefty Frizzell! And while you’re takin’ a gander at our little Q&A with Caleb, get an earful of Caleb Warren and the Perfect Gentlemen’s new single “Hoke Poole Stomp”/“Peach Pickin’ Time in Georgia.”

ATLRetro: Caleb Warren and the Perfect Gentlemen’s sound has been described as coming straight out of the land of vaudeville, speakeasies, juke joints – all spiced up with that janglin’ ragtime Dixieland ‘n’ western swing, while “finding a place for the past in the present.” How important is it to resurrect the past to tell the stories of today?

Caleb Warren: Absolutely! I think being able to pay homage to the music that we love and the music that inspires us while telling the stories of today and connecting with the folks who are listening is not only an extremely important aspect of what we do, but an honor as well. The music we’re making today is hopefully a modern representation of some of the most pure forms of American music with our own twist, and if it weren’t for the pioneers of Western swing, country blues, gypsy jazz, Dixieland, ragtime, and blues, we wouldn’t be able to do what we’re doing today.

Any interesting stories to tell our readers about your musical upbringing, or when you became interested in playing music?

Jenna Mobley

When I was just a wee lad (haha) my grandfather, “Pops” or “Papa” to me, owned an alternator repair shop near Atlanta. He loved his work. He also had a love of honkytonk and classic country. Some of his favorites were Lefty Frizzell, Hank Williams Sr. and George Jones. I can distinctly remember sitting at the kitchen table of my grandparents’ home (the same home my dad grew up in) as a 12-year-old who wanted to learn anything and everything that I could about music, playing guitar, classic country and old gospel hymns from my grandfather.

As a result, when I sit down at my kitchen table with a cup of coffee or a glass of whiskey (depending on the time of day), that’s where some of my most introspective and personal writing happens. In my late teens I strayed a bit from my roots as a musician and was in a few bands that were a little louder and a little heavier, but eventually found my way back to making the music that is, for lack of a better way to put it, “In my blood.” All that to say, I’ve always been interested in playing music. It just took me a little while to find and settle into what musically feels like “home”.

(L-R) Dave Aitken, Jenna Mobley, Caleb Warren

We see that you (Caleb) hail from Chattanooga, a once thriving ragtime, bluegrass ‘n’ Dixieland swingin’ musical haven. How much of an influence did Chattanooga have on your current musical endeavors?

I do live in Chattanooga and it’s a wonderful city, but I wrote the songs we’re playing today while living in and around Atlanta as well as the mountains of north Georgia. Chattanooga is an amazing city centered around the Tennessee River and for whatever reason, there’s something about rivers and bodies of water that are extremely inspiring and seem to almost pull songs out of me. The extremely rich musical history in Chattanooga as far as the blues are concerned is pretty amazing! It’s the home of Bessie Smith and the Chattanooga Choo Choo!

What is it about whiskey, women and woeful misfortune that influence musicians, especially those of the old-time variety, to pour out their soul in front of the masses?

I feel like there’s a certain simple honesty and light-heartedness in a lot of the music we make that affords us the opportunity to write and

Robert Green

play songs that are fitting for the nights when you just want to have a good time, dance and forget about your troubles. On the other hand, this music lends itself really well to being able to tell some of the most heart-wrenching and deeply personal stories. Stories that might be autobiographical, might be about my best friend, or could be a declaration of love for a certain someone. I definitely feel like that’s one of the most beautiful and amazing things about this type of music. It’s made for telling stories. Good, bad, or otherwise.

We see that you’ve shared a bill with rock ‘n’ roll pioneer and “First Lady of Rockabilly” Wanda Jackson. How exciting! Can you tell our readers a little about that experience?

It was a great experience! We got to see so much great music and share a bill with some pretty amazing names like Jim Lauderdale, Strung Like a Horse, Reverend Horton Heat, Lindi Ortega and Hot Club of Cowtown. It’s humbling to have our name on the same bill as those folks, Wanda Jackson included!

Who would you say are your top three old-timey musical influences and why?

Oh man! This is a tough one! Geez! I would have to say that Milton Brown and his Musical Brownies is a band that never ceases to inspire me. The swing that they have as a band just blows my mind, the rhythm section is so solid, and the lead players are top notch. Those fellas along with Bob Wills and his Texas Playboys were instrumental (no pun intended) in making Western swing and country blues a form of popular music fifty years ago and the fact that those tunes are relatable and relevant today is, I think, a testament to how much fun that music is and how well-written those songs are.

Colt Bowen

Lefty Frizzell is one of my absolute favorites. I’m a bit partial to Lefty because my grandfather was a huge fan, but that doesn’t take away from the fact that Lefty Frizzell had one of the most amazing voices in the history of country music. You immediately know when you’re listening to one of his songs. I’m not sure there’s much more to say about that one.

Also, Preservation Hall Jazz Band from New Orleans is one of the first bands that really opened the door to all of this wonderful music for me. I can’t go a day without getting at least one Pres. Hall tune stuck in my head. The folks in that band are, to this day, teaching the newest generation of young musicians the traditions of New Orleans music and to me that is wildly inspirational!

Your newly-released single, “Hoke Poole Stomp”/”Peach Pickin’ Time in Georgia,” was recorded live at the home of your fiddler, Jenna Shea Mobley. Can you tell our readers why you chose to record live and what sets this single apart from your EP, “The River”, self-recorded/released in 2014?

Of course! With the single, we really wanted to capture the feel and energy of a live performance and instead of going the route of tracking

live in a studio, we decided to do something a little bit different and track the whole thing like one of the Alan Lomax field recordings of the ‘40s where they would set up in a hotel room or a living room and just put songs to tape. It was kind of a way of paying homage to the folks who paved the way for bands like us. We had our good friend, Mr. Tony Terrebonne engineer and mix those tunes. Our lovely Ms. Mobley was kind enough to let us take over her (entire) house for the day and track those tunes as well.

(L-R) Caleb Warren, Dave Aitken, Ian Blanton

Our EP, “The River” was recorded and mixed by our drummer, Mr. Colt Bowen at his home studio in Adairsville, Ga. We spent quite a good bit of time recording that one and making sure it was exactly what we wanted to give folks as a first impression of The Gents and we couldn’t be happier with the way it turned out.

That’s a bit of a round-about way of telling you that the two recordings are totally different from one another, they represent two very different times in our progression as a band, and we are extremely happy to have been able to put our name on two completely different, but stellar recordings. Colt and Tony are both wizards when it comes to engineering. We’re lucky to have those fellas around, and even more lucky to be able to call them our friends.

If you could put together a dream line-up of musicians to play with [still around or not], who would it be and why?

Freddy Mercury, Ray Charles and Robert Plant sharing vocal duties;  Big Bill Broonzy and Merle Travis on guitar; Willie Dixon on upright bass; Bix Beiderbecke on coronet; Fats Waller on piano; guest appearance by Django Reinhardt on lead guitar and “La Pompe” for a song or two. Why? Because, seriously. Think about that band for just a second. I wouldn’t play in that band. I’d sit down at the table right in front of the stage with all The Gents and a glass of great whiskey. I’d smile, laugh, chuckle, give a thumbs up, make a joke that wasn’t all that funny, buy a round for everyone in the bar, and then I’d enjoy the show! My dream lineup of musicians to play some tunes with? The fellas (and gal) in our band.

What can ATLReaders expect to experience at your upcoming shows at Mac McGee (Aug. 15), The Earl (Aug. 22) and The Clermont Lounge (Oct. 8)? Should they bring their dancin’ shoes? Anything special planned?

You can definitely expect to have a hell of a time and, yes, dancing shoes are a requirement for every show. I might even get off the stage and cut a rug with you! Special plans? There’s a possibility that you might see a singer playing an upright bass solo at The Earl…Also, isn’t any time spent at the Clermont special?

What’s next for Caleb Warren and the Perfect Gentlemen?

Definitely more shows, new cities, more writing and starting work on our first full-length album. We have some great things to look forward to in the next six months or so!

Anything else you’d like to tell ATLRetro readers about Caleb Warren and the Perfect Gentlemen?

Thank you! Thank you for listening to our music, coming out to shows and for supporting this band of ours. You folks are one of the main reasons we do what we do and you make all the work we put into these songs so worth it.

What question do you wish somebody would ask you and what’s the answer?

Q: What is the band’s favorite food?
A: Dude! Avocado (Guacamole counts), grilled chicken, bacon, bell peppers, pizza with all of the aforementioned foods as toppings, and if you really want to find the way to Uncle Buttermilk’s (Dave) heart, a damn good cheeseburger should do the trick.

(L-R) Robert Green, Dave Aitken, Caleb Warren, Colt Bowen, Jenna Mobley, Ian Blanton

Hawaiiana Tiki Culture and Rockabilly music are two of our favorite things here at ATLRetro, so you can bet we’re looking forward to the 3rd Annual Rockabilly Luau this weekend at Atlanta-Northlake Holiday Inn.  This year, it’s expanded to two days of feativities with a kick-off night on Friday Aug. 2 starting at 6 p.m. and then a full day of fun on Sat. Aug. 3 kicking off at noon hosted by Jim Stacy and mermaid Medusirena the Fire-Eating Mermaid, with bands, vendors, tropical cocktails, a classic car show, a pin-up swimsuit contest, Hawaiian fire performers and even a mermaid! The killer line-up includes a treasure chest of ATLRetro Kool Kats of weeks past, so we thought it would be fun to reprint some highlights from their interviews to give you a taste of the fun to come.

Rockabilly Luau Founder Chris Mattox

Chris told us that he grew up on rockabilly and surf music and that the Rockabilly Luau is a labor of love. “One of my fondest childhood memories was my dad taking me to see Dick Dale at the Variety Playhouse,” he says. “A love for Polynesian culture was inevitable.” At every turn, he reminded us of his passion for fair treatment of animals and that all proceeds from the Rockabilly Luau benefit dog rescue efforts. This year the designated nonprofit is Friends To The Forlorn Pitbull Rescue. Read Chris’s full Kool Kat interview here.

Hot Rod Walt of The Psychio-Devilles (Saturday 7 p.m.)

Hot Rod Walt, aka Walt Richards, may have roots in Jersey and Florida, but since parking in Atlanta in 2006, he’s quickly become one of Atlanta’s hardest working rockabilly/psychobilly singer/guitarists. He has 200 original songs, and his main band, the Psycho-Devilles, which also features Buford T. Ogletree on bass and Steve “Burnout” Barnett on drums, have generated multiple CDs, toured the US and Europe and shared the stage with some of the biggest names in the Retro Revival, not to mention lighting a bass on fire at the first Rockabilly Luau in 2011.

“I got my first guitar for Christmas when I was around 12 years old,” Walt recalled. “I will never forget being so stoked about it and I can still smell the smell of the wood and glue and paint it was made of. I didn’t come from a musical family so having an instrument seemed very exotic as a kid. I also remember my little brother and I fighting that day and my father threatening to smash my new prized possession !! He would have done it too.”

As for his fantastic rockabilly wardrobe: “I make all my show clothes myself,” Walt said. “I have some vintage stuff that I find randomly. But I usually find a halfways cool suit at Goodwill and then customize it to a Western style or ’50s style coat. Since I am an upholstery guy, I have industrial sewing equipment and just make whatever I want. I have quite a huge collection of suits. I always want to make a new one for every show!”

Read Hot Rod Walt’s full Kool Kat interview here.

Caroline Hull-Engel of Caroline and the Ramblers (Friday 7:15 p.m.)

As interviewer James Kelly noted, “Red Hot Mama” [the title of the Ramblers’ CD] Caroline Hull Engel is well known to the folks who frequent the Redneck Underground and rockabilly shows in town as one of the best singers around. She was even selected as Creative Loafing’s “Best Female Vocalist” in 2009. Keeping the spirit of the classic ’50s and early ’60s alive is her goal, and with an amazing mix of terrific original tunes and classy covers, Caroline & the Ramblers never disappoint.”

Caroline herself said The Ramblers, her current band, is “geared more towards a combination of originals and obscure covers and [is] heavier on the rockabilly stylings of Wanda Jackson, Janis Martin and Gene Vincent with some torchy stuff mixed in. I had gone through a tumultuous relationship and breakup which gave me a lot of inspiration to write some songs that are finally ending up on my new record. Probably the best example of this time in my life is the song “Wasn’t Ready for the Heartache,” which is on the new record. Of course, a little time passing and meeting the love of my life – my husband Robert – helped a lot, too! In 1999 at the first Drive Invasion, I changed the name of the band to Caroline & the Ramblers. We’ve been playing as C&R ever since. There have been some lineup changes over the past 15 years, but I have been very fortunate to play with some of the best players in Atlanta.”

Read Caroline’s full Kool Kat interview here.

Julea Thomerson at The Star Bar's Bubbapalooza.

Julea Thomerson of Julea and Her Dear Johns (Saturday 1 p.m.)

When we caught up with lovely Julea, she was singing and strumming (she plays banjo, acoustic guitar and rubboard) with some of the best male blues and roots musicians in the city, including Bill Sheffield, Charlie Wooton, Nathan Nelson and Danny “Mudcat” Dudeck, and her main gig was with the Bareknuckle Betties. Now she’s got her own band, Julea and Her Dear Johns.

When asked why she plays country and honky tonk in the 21st century, Julea retorted, “Why not? Every form of music we listen to today is, to some extent, derivative of some sort of sound that is not from the 21st century. There is not one song you can listen to that is completely unique, not one style or genre of music that hasn’t already been reinvented hundreds of times. And that’s true for every genre, not just honky tonk. So if you’re looking at music from that angle, why play anything at all? As for me personally, I play what I play because those are the kind of songs that I write. I write those kind of songs because that’s what I listen to. And I listen to what I listen to because it’s what I connect with and enjoy. I guess you could say that country western honky tonk music is not a 21st century sound. But in my opinion, I think it’s silly to try to assign a time period to something that is timeless.”

Read Julea’s full Kool Kat interview here.

Rev. Andy Hawley. Photo courtesy of Andy Hawley.

The Right Reverend Andy of Garage 71 (Friday Kick-Off Party, 10:30 p.m.)

For almost a decade, the Right Reverend Andy Hawley has been at the pulpit of Atlanta’s rockabilly revival as the DJ of Psychobilly Freakout (now airing Mondays from 8-10 p.m. on Garage 71 Internet radio and live at area events) and also for the many ‘billy events he has organized. Andy said he became the Right Reverend a bit by accident. “It began as something fun I decided to do one afternoon,” he added.  “I came in to do my show at Album 88 (88.5FM) and told the DJ before my show went on I had become ordained through the Universal Life Church. Without prompting her, she ended her shift by saying, “Coming up next is Psychobilly Freakout with Reverend Andy!” Years later, Sully from daveFM would add the “Right” part to add some flourish. Now, I’m active outside the studio with my role as the high priest of rock ‘n’ roll getting folks deep fried and sanctified with the help of roots music!”

As for the origins of “Psychobilly Freakout,” he told us “This name (and song) encapsulated the theme for what I wanted my show to become. Honestly, it came down to naming it this or “Rockabilly Rebel,” after a Hillbilly Hellcats song. The program director for Album 88 wanted to differentiate my show from the country show, so I went with the Freakout. The first time I interviewed Jim Heath (Reverend Horton Heat), I told him I had named my show after one of his songs. He told me, “You better make it live up to the name,” and I think I have, eight years going.”

Mon Cherie. Photo credit: Chris Buxbaum.

Mon Cherie (Hostess, Friday Night Kick-Off Party)

Chris Hamer. Photo courtesy of Chris Hamer.

Monsterific Comics Artist Chris Hamer (Vendors Row)

The Rockabilly Luau’s vendors’ alley is always full of fantastic finds from carved tikis to floral hair styling accessories to carved Cthulhu tiki mugs, but one of our favorites has to be the man who put a monster in your thrift store painting, Chris Hamer of Urbnpop Studio. When we caught up with him, he was about to do a Tom Waits-themed art show, and this is what he said about his approach to using found pieces in his works: “This show was a bit how I do my thrift store pieces, but I did the shopping at antique stores instead. I would travel around to different stores with a song in mind, walk around, do a lot of staring at stuff, and buy it [if I had] the feeling that I could make it work. When you listen to Tom Waits, or even see a photo of him, there is this nostalgic, romantic quality to him. I feel that with his music, he does not fit into this new polished sound that is on the radio or popular with a wide audience. It’s almost like his fans are antiques or vintage themselves. By no means am I calling them old, but you just do not hear people talking about him as much as you do a mainstream band or singer. I did not want to just simply make a wooden box or buy some canvas for the art, I wanted to take the vintage old soul approach with the art. So each piece has some sort of lost antique or discarded feel to it. One piece that will stand out the most in the show is for the song “Old 55.” I used an original pre-‘50s Ford truck door for my canvas to paint on. It’s all rusty and looks like time forgot all about it. I love it.”

Read Chris Hamer’s full Kool Kat interview here.

Medusirena. Photo courtesy of Medusirena.

Medusirena (Saturday, 8:15 p.m.)

And last but not least it’s true, there will be a mermaid and she knows how to play with fire! One of the last luau’s most alluring acts was aquatic dance by Medusirena, also known as Marina the Fire-Eating Mermaid, from Fort Lauderdale, FL., and we’re happy to say she’s back. She wasn’t an official ATLRetro Kool Kat, but we did interview her for last year’s preview to find out a little more about this self-described “zany Uncanny Exoticat-Aquaticat,” whose passion is to recreate vintage aquatic dance for today’s audiences.

“Well, there was never a time I “became” a “mermaid,” to tell you the truth,” Marina told ATLRetro. “I can say that  I learned how to free dive at a very early age – 3 – in the West Indies and have always maintained a strong connection with aquatic movement art. That, together with training in Polynesian and Eastern dances, it was a natural fit.  I was inspired by marine animal movement and performers and showpeople ranging from Esther Williams, Eartha Kitt, Ricou Browning, Annette Kellerman, Iris Chacón and even Freddie Mercury, with a touch of Bruce Lee. My goal is to not only to return aquatic performances to people’s consciousness, but to help educate and encourage the art form for future generations. Retro-tainment if you will.”

Read our full interview with Medusirena here.

And that’s just our Kool Kats sos far. Everyone on the Rockabilly Luau playlist is a sure-fire contender for a future Kool Kat. Here’s the full performance schedule, but keep in mind, as we said, they’ll be a lot more going, especially on Saturday, including vendors, classic cars, cocktails and food.

Friday Night Line-up:

6:00-7:00 The Monterreys
7:00-7:15 Daisy Day
7:15-8:00 Caroline & The Ramblers
8:15-9:00 Bikini Tiki Luau Pin-up Swimsuit Pre-Qualifier
9:00-9:45 The Mystery Men?
9:45-10:30 Forged Creations Fire Performers
10:30 -? Hotel guests only kickoff party! Hosted by Mon Cherie, Garage 71 and Bachelor Pad Magazine!

Saturday Line-up:
12:00 Gates open!
1:00-2:00 Julea and her Dear Johns
2:00-3:00 Gemini 13
2:30-3:30 “Taste of the Islands” part 1
3:00-4:00 Davina & the Harlots
4:15:-5:15  The Intoxicators
5:30-6:00  Hawaiian Performance by Aloha Islanders
6:00-6:45  Bikini Tiki Luau Pin-up Swimsuit Contest Finals “Taste of the Islands” part 2
7:00-8:00  Hot Rod Walt & The Psycho Devilles
8:15-8:45 Medusirena
9:00-9:30 Hawaiian Performance by Aloha Islanders, Fire Knife dancer
9:30 Kat Chaffin & Woven Pines

For almost a decade, the Right Reverend Andy Hawley has been at the pulpit of Atlanta’s rockabilly revival as the DJ of Psychobilly Freakout (now airing Mondays from 8-10 p.m. on Garage 71 Internet radio and live at area events) and also for the many ‘billy events he has organized. This Saturday August 10, he’s hosting a Rumble in Little 5 Points at the Star Bar, long the temple of Atlanta’s rockabilly/psychobilly scene, with a great line-up headlined by Hi-Test and including Sonoramic Commando, Atomic Boogie, Junior, Dolan & Cash and Grim Rooster, so we thought it’s high time we declare the minister of one of our favorite Retro musical styles Kool Kat of the Week…

ATLRetro: What’s so special about Hi-Test and why does their return warrant a Rumble?

Rev Andy: Hi-Test is one of those bands that any other band would have a hard time following. Their music is in-your-face and when you listen it goes straight to your core. They put on one hell of a stage show and all four guys are incredibly talented musicians! If you’ve never seen Hi-Test, then you’re truly missing out.

What else is happening at The Rumble?

A: We’re also having an unofficial CD release for Sonoramic Commando’s new album HANG AROUND [Ed. note: Read Slim’s Retro Review here], and you need to come early to catch the new punk country band Grim Rooster!

How did you discover rockabilly/psychobilly? And was there a key turning point when you decided to devote your life to keeping these Retro music styles alive?

I grew up with parents who listened to Elvis, Cash and all those old cats from the Sun Records days. When I hit high school, I stopped listening and began buying heavy metal albums. Toward my late twenties, I migrated back to what I grew up on and eventually went to my first local rockabilly show, which featured Sonoramic Commando. When I had the chance to start a ‘billy radio show, I grabbed the bull by the horns.

How did you become a Right Reverend?

It began as something fun I decided to do one afternoon. I came in to do my show at Album 88 (88.5FM) and told the DJ before my show went on I had become ordained through the Universal Life Church. Without prompting her, she ended her shift by saying, “Coming up next is Psychobilly Freakout with Reverend Andy!” Years later, Sully from daveFM would add the “Right” part to add some flourish. Now, I’m active outside the studio with my role as the high priest of rock ‘n’ roll getting folks deep fried and sanctified with the help of roots music!

Why Psychobilly Freakout?

This name (and song) encapsulated the theme for what I wanted my show to become. Honestly, it came down to naming it this or “Rockabilly Rebel,” after a Hillbilly Hellcats song. The program director for Album 88 wanted to differentiate my show from the country show, so I went with the Freakout. The first time I interviewed Jim Heath (Reverend Horton Heat), I told him I had named my show after one of his songs. He told me, “You better make it live up to the name,” and I think I have, eight years going.

For the uninitiated, what makes a great rockabilly and/or psychobilly band?

The band should capture your attention with their sound and stage presence. It may add to the stereotype, but they need to be dressed the part – no loafers on stage! A great rockabilly band should be sonically sound, know and love their songs, and avoid being “shoegazers” on stage. If someone wants to start a band, go watch and listen to Gene Vincent, Elvis Presley, Billy Lee Riley, and figure out how their music speaks to you. Turn that sound into your own. Little Richard once told me, “Everything has already been done. You just have to pick something up and figure out how to make it your own.”

How long have you been doing your Monday night shows on Garage 71?

Last month marks three years on Garage 71, but my show has been around much longer. I started it on Album 88 in August of 2004, so the show has now been around 8 years! It had a brief stint on WREK (91.1FM) and as a podcast. No matter what, this is my show and I’m sure the name will be associated with me for years to come.

What are a few bands and performers who are exciting you now?

I’m really digging the sound of JD McPherson [Ed. note: Read our Retro Review of JD’s latest album here]. Holy crap, this guy has captured the classic essence of rockabilly and jump blues, and he’s very exciting to watch perform! Check out King Sickabilly & His Full Moon Boys if you’re into Johnny Cash. His songs, even toned down, speak volumes. Exploring the past I’ve recently acquired a love for The Queers and The Cult. I don’t know how I let those two bands stay under my radar for so long. And if you don’t own any, go buy some Lone Wolf OMB and Ronnie Dawson right now!

You DJ regularly at Mon Cherie’s Rockabilly Lounge (bimonthly at Masquerade), her new Mad Lib-Ations (Thursdays at Corner Tavern in L5P)and many other of her events. How did you both meet each other and why do you enjoy working with her so much?

I believe a mutual friend had us meet a few years ago. When she began working on her first Rockabilly Lounge, said friend told her her event wouldn’t be complete without getting me involved. Since then, she and I have worked together on many events and you’re guaranteed a good time! If you can’t enjoy yourself at one of our shows, then you should be flogged.

What’s next for the Right Reverend Andy, i.e. what should our readers mark their calendars for?

I have a few more events in the works before the end of the year. I’m working on bringing Hillbilly Casino back to Atlanta, a Rocket 350 reunion, and one of the musicians I mentioned in this article will be playing Atlanta in November (his manager asked I not discuss details). I’m also collaborating on a book about rockabilly lifestyle from the past 60 years – this is in the very early stages. I’m lending my voice to the Left 4 Dead 2 video game – you’ll find me voicing multiple characters in some upcoming downloadable content! I’m a geek at heart, so hearing my voice in a video game is pretty darn cool! You’ll also find my own Website launching in the next couple of weeks so people can keep track of my new and ongoing projects.

Until the Website launches, keep up with Reverend Andy at rightrevandy.blogspot.com and twitter.com/revandy. All photos are courtesy of Andy Hawley.

"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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