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.

Photo by Sharon Pye

by Melanie Crew
Managing Editor

Genre-bending Atlanta newcomers, Darcy Malone & The Tangle hail from the Big Easy, and plan to dish out rockin’ soul at Smith’s Olde Bar this Saturday, March 5! It’ll be a night of sizzlin’ rock ‘n’ roll chock full of New Orleans nostalgia twisted with a bit ‘o jazz, pop-rock and everything in between! Janglin’ it up with The Tangle will be indie folksy pop chanteuse Joanna Duff and Athens rock quartet, Southern Bred Co.! Doors at 9 pm.

Darcy Malone & The Tangle [Darcy Malone (lead vocals); Jagon Eldrige (sax-keys); Chris Boye (guitar-vocals); Glenn Newbauer (guitar); Craig Toomey (bass-vocals); and Billy Schell (drums)] began dishing out their brand of swampy rock ‘n’ soul in 2013. With a debut album releasing at the end of the month (STILL LIFE), produced by Rick Nelson (The Afghan Whigs), the sky seems to be the limit for this group of rockin’ riff-raff. Darcy, daughter of New Orleans’ own Dave Malone (The Radiators) has been peddlin’ tunes as long as she can remember and plans to take the world by storm, one gig at a time, she says.

ATLRetro caught up with Darcy for a quick interview about the history of The Tangle; the band’s rockin’ retro influences; and their debut album, STILL LIFE! And while you’re takin’ a gander at our little Q&A with Darcy, check out the band at Gasa Gasa here (June 27, 2015).

ATLRetro: With a band name like Darcy Malone & The Tangle, it sure sounds like you guys are up to no good, which of course we can’t help but like! Can you tell our readers about The Tangle and how you and your fellas got together as a group?

Darcy Malone: Well, there’s no fun unless you’re up to- a little bit of – no good right? But those are probably stories for another time. Ha! The name “The Tangle” actually refers to our backgrounds as musicians. We all hail from different backgrounds and influences making our sound become a “tangle of genres,” which I think is how we have such a unique style and sound especially for a band out of New Orleans. As for how we became a group, there are several stories behind that. Chris and I started playing music together in 2003 and that turned into a relationship, which turned into a marriage. We evacuated to Austin after Katrina and came back and gathered up these dudes, and it finally became what we’d been trying to create for years. Many of us had history together. And some we met over Craigslist. Believe it or not, that’s how we met Craig. Ha!

Photo by Sharon Pye (L-R: Glen Newbauer, Billy Schell, Craig Toomey, Darcy Malone, Chris Boye, Jagon Eldridge)

Hailing from the Big Easy and the land of jazz and “swamp rock,” it must have been amazing being surrounded by layers upon layers of musical history. Can you tell our readers about your musical upbringing and what stirred you to share your love of music?

Growing up in NOLA, you are around not only jazz and swamp rock but lots of funk, blues, jams, etc. I personally grew up right in the middle of it. I came from a musical family known for their contributions to the New Orleans music scene. My dad being from the Radiators [one of the most successful rock bands out of NOLA] influenced me very heavily. I was singing all the time. Went to many gigs at places where kids maybe shouldn’t be, with both my dad and mom. And music was just in our blood. There wasn’t a day we lived without it. There was no way in hell I wasn’t gonna be a musician of some sort. And as a result I met many different types of players and performers and got to perform in many different styles. I think this really shaped up the type of singer and songwriter I am today for sure. I got to be around some pretty amazing musicians. And I studied every move, every note, every style, EVERYTHING.

Being the child of a musician is an opportunity that most don’t get the chance to experience. What was it like growing up in a house full of music?

It was definitely not your typical childhood. It was really nice to have holidays with guitars out and singing songs, but I also went to a lot of gigs at festivals, sometimes in clubs, and sometimes on the road. It was fun to get to stay in a hotel room and eat room service and see cool music and meet cool people. I remember going with my dad to Memphis when he was recording one of his albums and getting to go to Graceland and Sun Studios. For a kid who was my age at that time, it may not have been first choice to do, but I was beyond ecstatic. I think I learned a lot about good music early. I knew at 5 who the Beatles were and my first big concert at 8 was Elvis Costello and the Attractions. I feel really lucky to have been taught early on about the good stuff. It, of course, did have its downs, too. If I wasn’t able to go on the road, it meant I was home and dad wasn’t. So that part of it was a bit if a bummer. But he was young, single and living the rock star life. With me and Chris both being in this band, we hope to take our son to as much as we possibly can!

We read that you draw personal inspiration from soul singers and ‘60s girl groups. What is it exactly about them that inspire you?

There is something so raw about someone like Ronnie Spector, or Darlene Love. And for me, it’s not just the girl groups of the ‘60s, but a lot of the girls then like Tina Turner, Janis Joplin, Dusty Springfield, Bonnie Bramlett. They sang with effortless soul. And it was gut-wrenching and so amazing it could make you cry or get massive goosebumps. They didn’t do it with lots of vocal trills or 100% perfect pitch. They did it with flaws and guts. It was real raw emotion that came straight from the heart. That’s the type of singer I always want to be.

Who would you say are your top three most influential retro musicians/singers? And what is it about them that inspires you?

Only three???!! Tina Turner – she can out-sing any dude, moves like a tornado and is just one badass mama. Cyndi Lauper – Quirky, sings from the gut and doesn’t give a “you know what” what anyone thinks about it. Her voice is and will always be unbelievable. Ronnie Spector– had a distinctive voice that literally made a song, and did it effortlessly and with style. Honorable mentions of course are Janis Joplin, Bette Midler, Donny Hathaway and Elvis Costello.

Your sound has been described as being influenced by pop/rock, new wave, soul, R&B and more. How would you describe your sound to our readers?

You just did! It literally is a “tangle of genres”! We don’t conform to one standard genre. Music fulfills a mood. There’s something on our record for everyone.

Can you tell our readers a little about your debut album, STILL LIFE, produced by Rick Nelson (Afghan Whigs), which is set to be released on March 25? And how can we get our hands on it?

The title track is about being yourself. Don’t live the still and stale life of what people think you should be like or look like. Be yourself and you’ll always be happy and in control. This record really is a piece of work that we are very proud of. And we couldn’t have done it without Rick’s ear and guidance. I just simply cannot wait for everyone to hear it. The release is at legendary Tipitina’s in New Orleans on Saturday March 26.  Then it will be available in record stores, online via iTunes, Amazon etc., and of course on our website. We are also going to have vinyl soon! So be on the lookout for that!

The band has been around since 2013. Which venue would you say is your favorite so far, and if you could play anywhere you’d like, where would that be?

Favorite New Orleans venue so far has been Tipitina’s. It’s a classically wonderful place to play. Out of town, The Nick in Birmingham has been my fave – such great people and such a cool venue. I want to play everywhere! There’s no limitation to that!

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

Oh man…..such a great question. I’ve had so many fantasies about this. Combining both around and not? Well let’s say the obvious…The Beatles, along with the Ike and Tina Turner Revue, Blondie, The Pixies, Cyndi Lauper, Alabama Shakes and us. And that’s just one stage ’cause this is a festival right? Man, what a weird and awesome lineup!

Anything scandalous planned for your shakin’ shindig at Smith’s Olde Bar on March 5?

We’ve always got a fun bag of tricks involved, but you will just have to come to the show to see them!

Photo by Jerry Moran (L-R: Jagon Eldridge, Glen Newbauer, Billy Schell, Darcy Malone, Craig Toomey, Chris Boye)

What’s next for Darcy Malone & The Tangle?

More records? National tours? We are ready for it all! In the meantime we will keep playing and writing and trying to live the dream.

Anything else you’re dying to tell ATLRetro readers about yourself? The Tangle?

This will be my first venture to Atlanta! I’m a crazy dancer, and I’m so ready to shake it with you guys. Come talk to us at the show! We love making new friends!

Photos provided by Darcy Malone & The Tangle and used with permission.

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.

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.

Photo courtesy of Cletis Reid.

By Torchy Taboo
Contributing Writer

When I first began frequenting the Star Community Bar in L5P in the early ’90s, like so many locals, I couldn’t get enough of the amazing selection of country and rockabilly bands that were being booked there. The excitement was consistent and palpable—we were starved for “it.” Late weekend nights, we clambered for more—even demanded more. Before long it came to my attention that a notable battle-cry had developed. “Alright God-damn-it!” would holler a couple of kids from up front. They clearly had a feel for the real thing ’cause if the show was good they were there and raisin’ a ruckus. “More!!!” Young Cletis Reid knew what he wanted to hear and had no compunctions about making it known.

Now Cletis has his own band, Cletis and his City Cousins, and since they just released a new CD, CITY COUSINS MOVIN’ IN, and are playing this Fri June 15, at The Earl, ATLRetro thought it was a great time to make him Kool Kat of the Week. Make sure you get out because the 9 p.m.-starting show is a mere $10 and they’re sharing the stage with three other ATLRetro favorites, Three Bad Jacks, Hot Rod Walt and The Psycho-DeVilles and Whiskey Dick. 

TORCHY TABOO: I know you grew up in M’retta…how’d you end up at the Star Bar yelling for encores from Redneck Underground greats?

CLETIS REID: In 1992, I saw The Blacktop Rockets play with a band called Donkey at The Roxy in Buckhead, and I basically hauled ass down this path of riches and fame. I had been listening to country music my whole life but never saw people only a little older than me play it before.

I remember The Hepburns with you and your brother Ryan—you were just kids. What was it like being a “child prodigy”? 

The Hepburns is kind of a blur simply because it went from an idea on one of those crazy Stein Club Mondays to kaput within a year, yet we recorded an EP, had heavy airplay on Album 88, did Live at WREK, had an article in The Loaf and Stomp and Stammer, and played a sold-out Point opening for Kelly Hogan. It was like being hit by a truck since, yeah, it was my first “normal” band. I thought it would always go that fast. It went out with a keg on Morgan Road in Marietta.

Photo courtesy of Cletis Reid.

So seeing bands like Backtop Rockets and The Vidalias put the country music of the 1960s and ’70s and earlier into a current and personal context for you. Was it easy to find like-minded people to play with before the Redneck Underground?

Always easy. It was easy when I started out because none of us knew what the hell we were trying to do anyway. I didn’t really develop that direction until Redneck Underground was already a term.  I never identified myself with the Redneck Underground name, just kinda got identified with it through association. I never went through the official hazing ritual with the Witches of the Ozarks. By the time the RU came around, I was surrounded by like minded people all the time. Still am.

I know what Hank III thinks of current mainstream “country'” music. I know what I think of it. What do you think of it?

First of all, I would never call it country. When you say you love country music in my circles, people know what you mean. If I say that out in the real world, people think you mean something totally different and will ask you what you think of the new Taylor Swift record. “I haven’t heard the [___], sir.” But to answer your question I think it should be “mainstreamed” up Toby Keith‘s …..[the terminology gets musically “technical” here…we’ll spare the reader.]

Who was your first rockabilly band, and don’t I recall you on stand-up bass?

The first “rockabilly” band I played with was Flathead Mike and the Mercurys, which was kind of a rockabilly turned up to 11. I was just starting out on upright bass. Definitely hard to keep up with those monkeys at that time. Soon after started playing upright with Caroline and the Ramblers which was a new experience. Already established, total professionals, and more traditional in their sound. I played with them for eight years and learned a lot. Caroline has a new CD out, by the way. I’m her agent. Starting now.

Your band The Holy Smokes brought us the timeless and technical favorite “Hubble Space Telescope,” as I recall.

Hard to remember exact years, but around 2000, I started The Holy Smokes with my buddies Bill Quigley and Mark Griffiths, and a revolving door of drummers. I figured I was ready to front a band. We did a few originals and a number of covers of Sun Records-era rockabilly. That song was written for a Monday night songwriter thing at the Star Bar. I think we may have played it once with The Snakehandlers (another band I was in), but that’s about it. I didn’t have it written down and accidentally forgot it. I remember the relevant part. I guess I could always write some new crap around that.

Tell us about your current band, Cletis and his City Cousins?

After everybody moved away on me, after a couple of years I asked my buddy Johnny McGowan to help me out and it turned into Cletis and his City Cousins around 2002. It evolved into more of a ’60s or ’70s trucking vibe, which seemed like the natural order of things.

For the erudition of the general public, why truckin’ songs?

Truckers to me have always been the cool, loner guys. I would go on vacations with my grandparents as a young kid and we would roll into this truckstop diner around foggy sun-up, and I thought all these guys were living a real life Smokey and The Bandit or Tom T. Hall song, and in a way they were. Those old truck-driving songs have a way of painting a picture of that life that I could never do in sentences. Always felt I could relate to them in a sense. Plus, all my Trapper Keepers [Marietta-speak for school notebook] had some rigs with some sweet sleepers on them. Wanted to live in one.  I got a CB for Christmas one year. My handle was “Honkey See, Honkey Do.” I guess it still is if I ever get another one.  [if?!]

The Cousins frame the talents of Johnny McGowan, and the chemistry seems perfect.

Johnny and I were friends from his early days in the Blacktop Rockets when we raised a little hell at Sleazefest ’97. When I needed somebody to play with after the great Exodus of ’02, he was a no-brainer. Even then he had some of the craziest chops in town. We would set up for hours on end in his basement and record stuff until we were plain sick of each other, and eventually it became a natural working relationship. He and I actually plan on releasing some of those early basement recordings some day. He’s the best musical mind I know, and the only guy I know who can play a Jerry Reed-type run exactly the way we need it done. Turned out we wrote well together too. It hasn’t always been sunshine and teacups, but I’ve never had a second thought about calling him up. Throw in Blake and Hammer, and I can’t imagine a more perfect band for me.

It’s been predicted that “The Man Behind the Woman Behind the Man Behind the Wheel” will top the charts as a single. Say something about the new CD to entice the Fans.

First off, it’s very shiny. Secondly, it’s been in the works since the Vietnam era, and finally, $10 is a small price to pay for the most staggering achievement in the annals of human endeavor. CD is called CITY COUSINS MOVIN’ IN. [Buy it or they will. Ed’s note: Watch out for an ATLRetro review coming soon.]

To close, I asked Cletis the ubiquitous question, “where’d  the name ‘Cletis and the City Cousins’ come from?” But it was the top of the Ninth, and an answer nearly as dismissive as “Woman, get me a beer” told me my magic moment with the rising star was done. “I just came up with it off the top of my head as just something to call it and it ended up sticking,” he said. ” need to come up with a more exciting story for my next interview.”

Yes. Well, the truth is Cletis Reid sees himself as that guy all Southern people have in their family so the name is a straightforward description of sorts. That is, if they all had a notorious biting wit for remarks such as, “If there was any justice in this world, URBAN COWBOY would be thought of in the same way people think of CITIZEN KANE.”

Hot Rod Walt takes a ride on Paul "Stubbs" Diffin's bass. Photo courtesy of Hot Rod Walt.

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 Paul “Stubbs” Diffin (Blue Cats, Big Six) on bass and Steve “Burnout” Barnett on drums, have been racing ever since 2002 when they crashed OUT OF THE GARAGE AND ONTO THE STREET, the title of one of their four CDs. Their three other recordings have equally in-your-face titles: PSYCHO CADILLAC, SUPERCHARGER and NIGHT PROWLER. They’ve toured the US and Europe and shared the stage with some of the biggest names in the Retro Revival.

Left to right: Paul, Walt and drummer Steve "Burnout" Barnett.

Speaking of speed, in just the past two weeks, Stubbs literally lit his stand-up bass on fire at Rockabilly Luau (June 18; see ATLRetro’s Kool Kat feature on founders Chris Mattox and Jessica Vega here), and the band also shook up the Dixie Tavern in Marietta last Saturday. This weekend, they’re playing the Star Bar with Los Meesfits, Whiskey Belt and singer/songwriter Gail Linda Lewis—yup that’s Jerry Lee Lewis’s younger sister though she’s not riding any coattails (just ask Van Morrison). On Sunday, acoustic side project The Hot Rod Walt Trio heads outside the perimeter to play Brookstock at Wings and Brews in Jackson. Then they’re in-town at The Five Spot with The Seranaders on Thurs. July 7, and on Sat. July 9, they swing back to the Jailhouse Brewing Company in Hampton.

Pink and Blue Cadillacs from Hot Rod Walt's collection.

When Hot Rod Walt isn’t singing and strumming, true to his name, he hand-stripes and rebuilds custom cars and motorcycles and has accumulated a fantastic fleet of vintage wheels. That talent has earned him TV spots on Discovery Channel’s AUCTION KINGS, auctioning off his 1960 pink Cadillac, and CAFÉ RACER, which also included a band profile, on Velocity.

ATLRetro asked Hot Rod Walt to slow down long enough for a quick interview about guitars, automobiles and this week’s Star Bar show…

How old were you when you first picked up a guitar and what mischief did you make?

I got my first guitar for Christmas when I was around 12 years old. 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).

Hot Rod Walt doesn't miss a beat while Paul sets his bass on fire again.

Then a friend of the family got me an old Teisco electric with a chrome pick guard and that was it………. I was a rock star !

Why rockabilly/psychobilly, and how did you get started singing songs about hot rod cars and mean women?

I have been writing songs since I was able to write. I still have my first song I wrote in pencil as a very small child. In high school, I had some bands and always did my original songs with them. But at about 23 years old, I had moved to Florida and started an acoustic duo called Acoustic Boulevard. We had 85 original songs, no covers. Put out a nice album that did pretty good. I did that for about eight years. Then we put those 85 songs on the shelf, put on electric guitars and wrote 50 or so new songs and started an alternative type band called Slick Riddle. We put out three albums and had a great following in Florida.

Now to finally answer your question—I always loved rockabilly. My parents had given me all their Elvis 45s when I was a kid and I played them on my Fisher Price record player. I about wore them out!! I still have those records today in my 1962 Seeburg Jukebox. When the Stray Cats came out, I was very excited. I used to follow a band out of New Jersey called the Razorbacks. However it wasn’t till years later that one of my customers introduced me to The Reverend Horton Heat and Social Distortion. This is when things started to really change for me. I started digging and found this huge underground of music I never knew existed.

So I started the Psycho-DeVilles as a side project. It shortly became my only band and it skyrocketed. I figured that you can age gracefully playing rockabilly and that I can play this music till I’m dead.

I do write about hot rod cars and mean women. I have had over 100 hot rod cars through the years and I have known a few real meanies. Bangin’ gears in a ’32 is inspirational. So is divorce…

Have you played with Linda Gail Lewis before? If yes, when and where, and what’s she like? If no, are you and the band excited about the opportunity?

The Psycho-DeVilles played the big [Viva Las Vegas] Rockabilly Weekender in Vegas this past April, and Linda Gail was on the bill as well with Jerry Lee. She really tore it up, a great performer and a very sweet lady. Turns out that my bass player Paul Diffin did some recording with her when he lived in San Diego and they are friends. In fact,  they now both live in Acworth, Ga. So I put her on this bill with us at the Star Bar July 2nd. It’s gonna be a blast!!

You certainly play with an energy that rivals Jerry Lee Lewis, though he’s burning up a keyboard and you a guitar. Did Jerry Lee Lewis influence your sound and staging?

I love playing with energy !! I was heavily influenced by all the Sun Records performers. But I really do it because I want people to be entertained and come back for more and wait to see what we might do next. Give people something to look at “and” something to listen to. I don’t like to go out to see a motionless band so I refuse to be one.

Do you and the band have anything special planned for this Saturday’s show?

We have nothing super special that we will be doing but I think the entire event will be very special. The Los Meesfits are from Athens, Ga.. They are a salsa-styled Misfits cover band and lots of fun. Whiskey Belt is a guy/girl honky tonk duo with one of Atlanta best guitar players, Rich DeSantis. Of course, Linda Gail with a special appearance by her daughter Annie Marie Dolan. And then us… and you never know what might happen at the Star Bar!!

What did you think about the Rockabilly Luau and how’d you like to see that evolve? Other than Bubbapalooza, I don’t think I’d heard such a great line-up of so many quality local and regional Retro-inspired musicians in Atlanta this year—that is, before the monsoon hit.

The Luau was a great event. The folks that put it together really did a top notch job organizing and running it. Real pros for sure. We are really looking forward to next year’s event and we are already booked!! And yes, there were some great bands on the bill. I think that next year there are some real big surprises in store for us. Stay tuned.

You certainly play a diverse selection of locations—both in and out of the perimeter. What’s different between playing the Star Bar or the Five Spot and those suburban and out of the big city locations?

We do play a lot of shows—75-100 shows a year all over the country and beyond!! We even played Luxembourg, Germany, Belgium and Holland in 2010. I am now booking a Euro tour for Sept. 2012. We love playing all gigs, the concert type venues where there is a rockabilly scene, and the honkytonk biker bars outside the perimeter. We just do our best to keep the people there all night till the bitter end. I would rather play music than do anything else. I’m pretty sure my bandmates feel the same way.

How many vintage hot rods do you own now, what are they, and what are you working on right now?

I have always kept many cars on the road, usually 10-15. I currently have a ’32 Ford Roadster, ’32 Ford 3 window, ’34 Ford 5 window, ’51 Merc coupe, ’51 Merc Convertible, ’36 Plymouth coupe, ’64 Falcon convertible to name a few—and several more and motorcycles, too! I am currently doing the upholstery in a ’51 Plymouth Slantback that I chopped the top on last year for a customer. Red and black tuck and roll.

I seem to recall that you customize your guitars, too?

Yes. I am a Pinstriper. I pinstripe cars, guitars and bikes almost every single day. I am flying to California to the Fender Custom Shop and hand striping 10 special edition Hot Rod Walt Pinstriped Gretsch Guitars. Pretty cool !!

You have one fantastic rockabilly wardrobe—especially your jackets. What’s your favorite place to shop for clothes in Atlanta?

I make all my show clothes myself. 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!

Any other news you’d like to share about you or the Psycho-DeVilles—more upcoming gigs? Next new recording?

The Psycho-DeVilles are very busy and are always adding shows to our schedule. I also have a side project called the Hot Rod Walt Trio, where I play mostly acoustic stuff. Be sure and go to our official Website to keep up to date on all the latest: https://www.psychodevilles.com

We are also going back in the studio again to make our fifth Psycho-DeVille record. I have written 15 new songs for it. Actually a few of them are some tunes that I wrote many years ago that never got recorded. We hope to have a new album out by fall. We also have some more TV shows coming out this year. Stay tuned to CAFE RACER TV for my “haircut episode” on Discovery HDTheater.

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

I just want to say thanks to all our loyal friends out there. And want to thank Atlanta for being such a great place to play music ! I especially want to thank Steve and Paul and Roland for their great musicianship and loyalty.