Athfest Lineup: Take One

Athfest released it's first draft of the Outdoor Stage lineup for 2009 today. It's shaping up to be a pretty interesting mix of bands with the previously announced headliners drawing tons of interest. Yes, I did copy/paste the list straight from Athfest.com but I added links to each band's myspace so you can get a feel for what they're like. You'll notice quite a few holes. That means updates will be made when more info is available.

2009 Lineup

Friday, June 26

(5:00-10:00 p.m.)
5:00-5:30 p.m.
5:30-6:10 p.m. The Empties
6:10-6:40 p.m. Tealvox
6:40-7:20 p.m. Twin Tigers
7:20-7:50 p.m. Those Darlins
7:50-8:30 p.m. Dead Confederate
8:30-9:00 p.m. Excali Brah
9:00-10:00 p.m. The Black Lips


Saturday, June 27

(11:00 a.m. - 10:00 p.m.)
11:00 a.m. - Noon Pam Blanchard & the Sunny-Side Up Band
Noon - 12:40 p.m. Farmer Jason
12:40-1:20 p.m.
1:20-2:00 p.m.
2:00-2:40 p.m.
2:40-3:10 p.m. The Warm Fuzzies
3:10-3:50 p.m. Venice is Sinking
3:50-4:20 p.m. Liz Durrett
4:20-5:00 p.m. The Ginger Envelope
5:00-5:30 p.m. The Starter Kits
5:30-6:10 p.m. The Corduroy Road
6:10-6:40 p.m. Gabriel Kelly & the Reigns
6:40-7:20 p.m. Don Chambers + GOAT
7:20-7:50 p.m. Jason Ringenberg
7:50-8:30 p.m. Bloodkin
8:30-9:00 p.m.
9:00-10:00 p.m. Patterson Hood & the Screwtopians


Sunday, June 28

(11:00 a.m. - 8:00 p.m.)
12:30-1:10 p.m.
1:10-1:50 p.m.
1:50-2:20 p.m.
2:20-3:00 p.m.
3:00-3:30 p.m.
3:30-4:10 p.m.

4:10-4:40 p.m. JazzChronic

4:40-5:20 p.m. Grogus
5:20-5:50 p.m. David Barbe & the Quick Hooks
5:50-6:30 p.m. Dreams So Real
6:30-7:00 p.m.
7:00-8:00 p.m. Randall Bramblett Band

30 Years of Normaltown Flyers

(Photo/Jordan Stepp)

When I was offered the chance to help Wes Delk at the Normaltown Flyer's 30th anniversary show, I jumped right at it. The Flyers have been an integral part of the Athens music scene since before the beginning. These are the kinds of things I had read about in "Party Out of Bounds," old newspapers, and had heard by word of mouth, usually from Wes himself. To say the least, these are the songs and people of legend.

The names and places are written into the psyche of anyone who was there for the shows. Tyrone's O.C., yes, but it was Allen's where the Flyers were based. The line-up has changed over the years but has always included Brian Burke. In order to pay tribute to each of the incarnations of the Flyers, it was decided that they would play three different sets at the Melting Point. Each would feature guests and members from a certain time period in the long Flyers career.

The first trio Burke, Mike Cronic, and Greg Veale kicked things off with several country songs that showed off the deep country roots of the group. It was very heartening to see the Point completely sold out. As usual, I was the youngest there, even asked at one point by a certain guitar tech who's kid I was. It didn't bother me a bit. When good music is in the mix, I have fun regardless.

While I was watching the pretty lights on the soundboard, one Mr. Peter Buck was watching the show from the hostess podium near the stairs. He sat back, seeming to enjoy the atmosphere, with the occasional interruption from a friend or fan. A short chat with him revealed that he had been in the studio all week, noodling around with the band for (hopefully!) a new record. He later walked downstairs to get ready for the second set featuring himself and John Keane. I couldn't help but grin when I saw him chatting up Bill Berry on the floor.

Buck had shown up for soundcheck earlier, finally giving me the hint that he was playing with the Flyers. I later learned that it had been announced on remhq.com. It figures that the day I don't check that site, something like this happens. At least I was there right?


The second group of Flyers took to the stage. These are the guys who got signed to Mercury Records in the 80s. Burke, Veale, David Blackmon, and Cal Hale stepped onstage along with John Keane for two country rock songs. Then Buck got up and started strumming on that twelve string and people were dancing even harder than before. The setup allowed for a much more country/alt rock sound than the trio could produce. It was my personal favorite sound-wise. Country music is a bit hit and miss with me though I do appreciate a good song.

A sunglassed Scott McCaughey appeared to my right, watching the show with a grin on his face and a drink in his hand. It took me about twenty minutes before I saw the white shock of hair behind my shoulder and recognized Bill Rieflin and, a little further back, Michael Stipe. Some outsiders, and for a long time, myself, don't understand that these guys were all friends waaaaaaaaaaaaaaaaaaaaay before anyone got famous, rich, or even got a decent haircut. When they go to a show, sure, heads turn (guilty, your honor) and whispering ensues. But it's generally understood that when in Athens, these are your neighbors, sometimes good friends. Maybe that's why they keep coming back. There will always be the starstruck fan (again, been there) but the level of respect and normalcy is amazing.

My ipod was taken hostage in between sets to use as background music. Being the good dj, I put on some Bill Mallonee and the Vigilantes of Love along with Love Tractor and Liz Durrett. The entire time, I took pictures and some video of the events.

The third group resembled what might happen if Strawberry Flats, Randall Bramblett Band and Normaltown Flyers got stuck in a blender. with Burke, Tom Ryan, Davis Causey,and Deane Quinter. Again, a bit heavier on the rock side but plenty of country as well and a few cover tunes.

People danced into the night or talked nonstop to their table mates spread across the Point. I couldn't help but just be in awe of how a group of friends and family can show up and support such a great band for so long. I'm loving that all these earlier bands are playing around more. I mean, I've seen Pylon, Strawberry Flats, Randall Bramblett, R.E.M.,Five Eight and have Dreams So Real coming up at Athfest. Truly incredible. I only hope that some of us can have that same kind of loyalty and friendship 30 years from now too.

Chris McKay & The Critical Darlings at WUOG

In a weak moment, I invited that no good slacker Chris McKay and his buddies to come dj with me at WUOG one Tuesday night. Mistake. I'm just kidding, we actually had a lot of fun while causing all sorts of mayhem.

Chris, Josh, and Frank came into the station quietly, passing by our two singer/songwriters in the lobby and leaping into the control room where I was happily typing away for this blog. We sat around just chatting for a bit, discussing the departure of their guitarist and listening to Young Goodman Brown. Through a flurry of mixed signals, I mistakenly cut off Mr. Brown's performance on the last song. My apologies. A brief talk about what was expected of my guests led to several cheeky looking eyes, especially from Chris.

As always, we started off with Pylon. I sent the boys from the room to go gather some local stuff for their shift. Imagine my surprise when they came back with roughly half the collection cradled in their arms. It shouldn't be a surprise that they had a bit of difficulty deciding what to play. I always try to make my guest djs comfortable but I insist that they read the promos, ads, and weather reports. It gives them a feel of being a real dj, having to read difficult names and announcements on air.

Josh was pretty quiet for most of the night. A bit shy and very much the strong, silent type, he drums for the Critical Darlings. Frank was probably most at ease with being a dj, picking out songs before time was up, checking on the playlist, etc. Chris...well, he's Chris. Every single time that microphone went on, it was a verbal sparring match.

"MY NAME IS NOT GORDON!" I yelled across the room as Chris was telling our lovely audience what songs we had just played. Gordon Steep. Really? I understand my last name is quite ripe for parody but sorry Chris, R.E.M. beat you to that punch a long time ago. This Gordon/Jordan thing ended up fueling most of our material with Chris' constant advertising for a guitarist filing up the rest of our banter.

I did get to ask a few questions of the band, like where "Satisfactionista" came from. It's a good term for Chris. Frank and Chris also discussed the origin of "Rage On" since the song was requested by a listener. I had to ask the favorite magical creature question again. The answer? A foop.

Listening in via our webstream were two of my buddies from Murmurs. Needless to say, they were on Facebook chat cracking up the entire time and encouraging the abovementioned teasing and torture. I may have threatened to strangle Chris at one point. Or three.

All in all, it was a really fun night. I felt a little bad that I was still absolutely beat from staying up for the past 48 hours getting some work done. Regardless, I had fun and I hope they did too.

Comeback Watch: Tommy Valentine

Rappers, hip-hop, and R&B don't get a lot of coverage in Athens or honestly, on this blog. So when Mr. Valentine saw it fit to leave an email for us, we were intrigued and amused by the thought out responses to our questions. Valentine left the scene in order to try and gain some perspective on fame and music. Hearing the call to pic up the mic once more, he made the announcement that he's coming back to the scene after leaving for two years with a show at the 40 Watt. Valentine is also currently working on a full-fledged album. You can check his other stuff out here. Now for a look inside the comeback kid, T.K. Valentine.

What drew you to rap?
When I was in high school, here at Cedar Shoals in Athens, hip-hop was going through an era where freestyling and battling were a part of every day life. You still had your southern stars like Juvenile and Master P, but you also couldn't go a day without seeing kids banging on desks, bathroom stalls — whatever — to create beats to rhyme over. As someone that has always felt pulled by words, the competitive witty nature of the artform was very seductive. I used to sit and watch battles and pretend that I was the person that was about to rhyme, and imagine what I would say. Eventually, I began battling myself, and did so for almost five years before I felt ready to make my first recorded material.

What's your writing process like? Any time of day better than others?
As I said before, the key to my process is procrastination, procrastination, pressure . . . and more procrastination. I tend to work myself into a corner, and only then do my songs start flowing. This is one of the reasons I announce big shows BEFORE I start writing the songs — it forces me to work. As it is, I tend to compose my lyrics on computer, by playing a beat on repeat over and over again — sometimes dozens of times before I can write a single word. I usually start with a song concept, from there write a chorus, and from there establish the verses. Verses usually come about as I freestyle over the beat, writing down any interesting phrases I surprise myself with.


What are you hoping to gain from the comeback show?
The privilege of being able to share my words in front of an audience is probably the thing I am most excited about. As much as the things that follow the show are fun, such as recognition and applause, it is the thrilling risk of being able to share what you have written that it is really about. As anyone that has ever been on a stage can tell you — there is nothing like it.


What do you do when you're not performing/writing? Any hobbies?
I enjoy politics — currently I am involved with several local civic groups. I am, at the moment, trying to get more involved with the Athens Boys and Girls Club, which is an organization I believe a lot in. We are actually donating $1 from every ticket sold to benefit the AB&GC. I also try to keep up on my studies at UGA, and spend as much time as possible either reading or spending time with loved ones.

Who are your influences? Anyone you look up to locally?
I of course have tremendous respect for R.E.M. — their song, "Radio" with KRS-ONE was actually the first rap song I ever heard. Beyond that, I was lucky enough to work side by side with many of my local influences, including eLeMeN.O.P and Ishues. Outside of the local realm, I feel most influenced by Paul McCartney, Pharaohe Monch, Johnny Cash, Andre 3000, Eminem, Kanye West, 50 Cent, and Ben Folds. I was raised in a house with a large, strange record collection and I like to think that I — and my music — benefitted from it.

40 WATT - FRIDAY
The Return of Tommy Valentine
with beats by CollegeBoy & E.C.S.T.A.C.Y. Music
9:00 PM $5
Tickets on sale at School Kids Records in Athens and School Kids' Charge-By-Phone
at 706.353.1666

Athens Music Junkie: Youtube Junkie

So, in case you haven't noticed yet, we now have a youtube page up and running! It's only been up for a little over a month and we're already spreading the gospel that is Athens music to the world. And a little embed on this site did help.

So far we've got two Pylon vids, an out of towner (RH&V3), Ken Will Morton, and the Modern Skirts. Not to mention our lovely Sofia giving you a personal welcome. If she could remember the name of the site..

Anywho, subscribe and rate if you want. Make sure to keep a look out for new videos and features. You never know who might pop up next...

New Addiction: Matt Kurz One

When you think of one man bands, you're usually thinking of Bert from Mary Poppins. You know, the cute little drum tied to him, the cymbals at his knees, the adorable fake accent...

Anyway, Matt Kurz One is not an adorable one man band. He is badass. The dude plays bass guitar with his left foot, snare and bass drums with his right, with his left hand he plays the guitar, hi hat, and the keyboard, with his right he plays guitar, rack toms, and crash. The dude is insane. And the music? It rocks.

I was introduced to Matt by a friend of mine (ironically also named Matt) who had seen this guy playing around and was just taken immediately. I'll have to say, I was a bit skeptical. Who does one man bands? So Friend Matt convinced me to help him record Band Matt at Tasty World one night. I kept forseeing the camera falling over on me and crushing me, giving me the death in Athens I had eventually hoped to suffer. Death by rock.

I didn't die and the camera didn't fall. We did, however, push together about three tables and set up a second camera on a tripod on top of the slightly unstable construct and proceeded to record the event. We hope to have the dvd circulating soon. Until then, enjoy a video. If you're struggling between seeing Dinosaur Jr./Dead Confederate or Wilco, make sure to catch Matt Kurz One at Go Bar on the 20th.

The Birds and the B's.

If you haven't heard of Birds and Wire then you're missing out on something great here. I'm not much for country sounding twang, as I've probably noted a few times, but I love the soft melodies and gentleness of their sound. The band has that rare ability to write these sorrowful songs and keep a happy outlook in the sound. Perfect for just a day like this, full of rain and wonder.


Birds and Wire are playing at the Caledonia on the 22nd. See you there?


I am currently re-reading "Party Out of Bounds" for the 18th time. Needless to say, it's my favorite book of all time. Since I didn't get to witness all the craziness that happened then, I have to settle for this well-written account. It's quite the mind-warp when you read through and go "Oh wow, I go there all the time!" or "Hey, I know that guy!". I'm falling more for the B-52s this go round. My own story is probably least like theirs but it's fascinating to look through. Anyway, "Private Idaho" is on repeat.

Get Outta Town: Robyn Hitchcock & the Venus 3 in ATL

ALL PHOTOS BY SOFIA PEREA

As I anxiously paced the floor of my room, wondering when my ride would arrive, I listened to my vinyl copy of Robyn Hitchcock's Ole! Tarantula. I blame my boss for getting me hooked and JJ for letting me buy it. I've played around with Hitchcock's music before but it took Goodnight Oslo to make me a real fan. So when I heard that the Venus 3 would be playing in Atlanta, I jumped at the chance to go. Knowing the history behind the Venus 3 and the connections to Athens, I'd have been a fool to miss it. Even though I'd never been to the Variety (I know, I know, let the stoning begin), I was excited at finally being able to hear some of the legendary rantings and ravings of one Mr. Hitchcock.

We loaded up the car and headed towards Atlanta, enjoying the sunshine and the slightly chilly air, flipping through radio stations as we went along. We were just discussing our favorite magical creatures and whether or not tunabunny's choice would qualify when It's the End of the World as We Know It (And I Feel Fine) came on. There was a few seconds of awkward silence then suddenly a sing along happened. *Mumble mumble motorcade..something something LEONARD BERNSTEIN!* Always a good sign. We laughed at our slight bought of insanity. Where else could something like that happen?

We pulled up to the Playhouse right at 8 p.m., with me slightly freaked because that's when the ticket said the show began. Silly me, I forgot that's just when doors open. Apparently Atlanta time is different from Athens time too. When a venue says a show will begin at 8:30, it starts at 8:30. In Athens, 8:30 means wait 45 more minutes. I was very happy to have actual physical tickets in hand. They always make nice reminders of awesome shows. Plus, if you lack anything for a band to sign, you've got a backup right in your back pocket.


We sat in the second row and immediately noticed something a bit odd. Looking around, yeah, we're the youngest ones there. With my taste in music, that tends to be the case. Later on we spied some other people our age up in front. The playhouse's ceiling loomed overhead and the entire place just felt dusty, historic, special...

Tin Cup Prophette opened up at 8:30. I was really pleased to see them perform since the band has been kinda hard to find lately. TCP is deep and moving music, helped by looping violin parts and thundering drums. I was completely immersed and almost didn't notice Scott McCaughey come out front and linger on the left side of the stage, grinning ear to ear. TCP was almost done when I suddenly hear a lot of murmuring coming from the back of the theater. Then a loud "LOVE YOU BILL!" I spun around and I'm almost positive I saw Stipe, Mills, and Bill Berry walk in. It was dark and I can't confirm totally but I'd bet some money on it.

We jumped out of our seats to rush the stage after the set. When asked when TCP will play Athens again, all we got was a "sometime later." Seriously, if you get the chance, go see this band. Anyway, I didn't really know the layout of the V3, only that Robyn would be in the middle and Bill Rieflin behind the kit. I picked the right side of the stage thinking (mistakenly) that it would be Scott McCaughey's side. Sofia was looking around at the crowd, and possibly for Stipe, while I was just focused on the fact that there were three microphone stands onstage. Hm. Peter Buck doesn't sing...


When Robyn and the guys came out, it was just what I had hoped. I really like "Trains" and was even more pleased when they launched into "What You Is." One could imagine that Buck, Rieflin, and "McCoi" are probably the tightest trio you can find on the road. All those hours with R.E.M., V3, Minus 5, etc. pay off. Buck was a bit stoic onstage, just smiling gently and making eye contact with the crowd every once in a while. I couldn't see Rieflin at all, very sad. McCoi was laughing and just all over his side of the stage. Robyn, of course, was pontificating from his place in center stage.

I'd heard about Robyn's speeches before but it's another thing to experience them. Before "Saturday Groovers" there was a long thread about the Rolling Stones being shipped in dry ice, their skinny legs potentially snapping off. Another story about drugs, underwater cities and then came my favorite of the night. "Before I got to Georgia, you were all running around in the kudzu, nightswimming, doing interesting things with Mike Mills under the stars..." I nearly died laughing and, judging from the look on Peter's face, he was about to as well. Nicely played Mr. Hitchcock.


But amends were made when Mike Mills joined the band onstage for the very last song. Reprising his roll from the night before, the R.E.M. bassist strode onstage and proceeded to duke it out with McCoi and get insanely close to Robyn. Thank god I got it on film. What a great way to finish a show! Sofia grabbed the setlist for us and we proceeded to get it signed by Misters Buck and Hitchcock amid the cluster of fans outside. Thanks for taking the time to do that, it means a lot.

Flushed from the concert and the general excitement of having FINALLY met all the members of R.E.M., we hopped in the car and headed back to Athens, wondering if the V3 would soon be on our tail. About halfway back, we saw a shooting star. I'd never seen one before. I made my wish but in a way, a wish had already come true that night. We got thoroughly rocked and rolled by legends. Not bad for a Tuesday. Not bad at all.

-----------------Setlist---------------------------
I Often Dream of Trains
What You Is
Out of the Picture
NY Doll
Saturday Groovers
Element of Light
Tryptizol, Librium, Carbitol
She Doesn't Exist
Flesh Number One (Beatle Dennis)
Creeped Out
I'm Falling
Somewhere Apart
Madonna of the Wasps
Up to our Nex
Beautiful Queen
The Authority Box
--
Encore
--
One Long Pair of Eyes (solo, acoustic)
The Lizard
Kingdom of Love
Goodnight Oslo
Listening to the Higsons (Mike Mills guitar, Peter Buck drums, Scott McCaughey guitar, Bill Rieflin bass, Robyn on vox)

CD Review: Chris McKay and the Critical Darlings

(Scott Bullock / www.penumbrastudios.net)- artwork

The Critical Darlings' newest album sold out so fast that it was gone before it was officially released. Yup, no hard copies left in sight. A quick word about the artwork as per usual. While it's not the surreal flying fish thing from the last record, the lady in the water pretty much nails the album right on the head. Simple and refined, subversive and tricky lyrically...It's an early contender for Album Artwork of the Year in my book.

I first met the band when they played "Terry Tunes" last fall. When you've got a singer that looks like Mick Jagger and bounces around like he's Freddie Mercury, you pay attention. They impressed me with their professionalism and their sense of humor. It wasn't their best gig but they stayed pretty optimistic. I keep crossing paths with these guys. I highly recommend you see them live. As hard as you try, you just can't get the same experience from a recorded version. You need Frank, Joe, Chris, and Joshua in your face and wearing their stylish/retro rock clothes. Welcome to the circus ladies and gentlemen.

An Uncertain Flight kicks off the rock and roll. I'd heard this song a long time before on an advance disc we got at WUOG. I was impressed then and am still fond of it now. Probably the first thing you'll notice are the harmonies, both vocally and in the arrangement. There are a lot of layers of instruments here but it only sounds like a few. This sounds like a Beatles bootleg in places with its unusual melodic structure and pensive lyrics.

The Only Way is the song you need to hear live. A serious heavy hitter of classic rock sound, the recording doesn't quite do it justice. McKay's vocal delivery is superb but a little too perfect for such a ballsy song. Catch it live. Also, I dare you not to try and hit that quick 16th note McKay does on "the only way" in the chorus.

Waiting for the Siren DISCO. Holy cow. Put it on to dance to.

Sadder Day Remember when the Stones did "Beast of Burden"? This sounds a lot like it. Based on some personal tragedies in the band, "Sadder Day" is a interesting look into how you cope with the loss of someone you hold dear. Take it as "never be a sadder day" or "Saturday". If there's no Saturday, there's no end of the week, meaning no weekend or breaks. Heavy with a side of awesome.

Rage On is my favorite track from the album and my favorite for the single. This is how vocals should be treated. The guitar work on here is the type that will pull you in and remind you what rock should be. Great harmonies between McKay and Joe Orr on the tail end.

Sorry Joe lol. Don't you just love studio mishaps?

From Now Til Then. My other favorite mainly because of the sentiments in the song. "I wish I knew your name/so I could say it to myself when noone's around." Aww! Now who hasn't passed by their love at first sight and just wondered what their name is? Again, nice guitar work with a bit of a twang every once in a while. Lovely ballad.

Tonight Never Happened continues our trip though different classic rock styles. We've moved from the Beatles and Stones to more of a dark, almost Ziggy vibe. This might've gone well in that Labyrinth movie. Interesting thought process. Never to tonight and Saturday...

Happy Here and Now is the one that I will recommend to anyone who wants to hear exactly what CM&tCD are about. Lots of cymbal work and guitar with straight ahead, in your face vocals.

Worms on the Pavement is a favorite at WUOG even though I can't quite pin why. Really doesn't matter all that much. It's your typical pop/rock song about worms. What's not to like? That said, the album could probably do without it and be just as strong.

Give Up Town is a by the numbers tune. Uptempo with a good guitar lick and steady drumming. The bass is the real standout but overall, it's another track that just seems more like a b-side.

Scared of Myself sounds like another disco-esque tune at first listen but then drifts into a showcase for McKay's vocal acrobatics. You'll enjoy the sick bass and good dynamic control that the band employs here. Awesome guitar riffing in the middle of two soft Red Hot Chili Pepper like sections. Rock and roll is more than just being loud, it's about knowing what can get your message across.

Track 13. Random rain/gravel/noise.

Wide Bicycle: Featuring a lot of piano towards the end and a chorus of children yelling "BOO!" in the middle, the track is a bit disjointed. It will start flowing into a groove then another random change

Something Unseen: I LOVE the piano on this song. It may have to do with the special guest but this is a great ballad.The song continues on to feature a few more tempo changes, showcasing everything the record is with guitar solos, drumrolls, bass riffs and all. I thought it was a bit odd at first that such an upbeat record ended on such a note. Thinking a bit more, only the tempo is upbeat. In all seriousness, this is one sad record. It has very happy points but the difference from "C'Mon Except Your Joy" is pretty obvious. Great end.

I give it an 7/10. The songs on here are really solid stuff, better than most you'll hear coming from indie bands and certainly better than any "rock" albums lately. This is how rock used to sound and where it's headed. The main problems are the experimental touches that go awry. Props for reaching out and trying new things but sometimes it's best just to let it be. A few songs could be taken out to make the runtime a bit shorter without the feel suffering one bit. I do like them all and you will be humming some of them while waiting for your ride from Five Points. The album is best for those days when the sky is bright and sunny, you've got your All-Stars on, a soft drink in one hand and a skateboard in the other.

29 Years Ago Today...

New Addiction: Derrick Southerland

Derrick Southerland

The first time I met Derrick, I asked myself, "Who IS that guy?" He looked like he stepped out of a romance novel, complete with guitar in hand. Turns out that he's quite the songwriter. After dropping out of college to train with producers in Atlanta, he passed on a bogus record deal. Now he's back at UGA and in the Music Business program. He brought all his talent with him. Southerland has the smooth voice most singers would kill for and the songwriting chops that most lack. His tunes are tailor made for you, like a favorite jacket, just your size. I emailed a quick Q & A to Derrick before his show today at the Melting Point. Check it out.


What got you into music and writing songs?

I went to a John Mayer concert when I was 16 in Centennial Olympic Park in Atlanta. That was when the radio station Star 94 put on the free concerts called "On the Bricks", and I'm pretty sure there were 100,000 people there. I was amazed at how John Mayer could play and sing and at how much I related to his songs, so I decided that night that I was going to teach myself how to play guitar. I went home and grabbed my Dad's guitar and taught myself how to play. Songwriting came as an outlet to what happened to me day to day. I wrote a lot of songs about crushes, prom, homecoming, relationships, and relationshits. Now writing is just necessary. Sometimes I get the feeling that I need to drop everything and leave town, and I've realized that feeling just means that a song is about to come out. Usually the song will be pretty enlightening and let me see exactly what I'm feeling and why. It's cool.

What's your process for writing songs? Any particular time of day better than others?

When I write a song, I sit down with my guitar or at my piano and just start playing. Whatever mood I'm in is instantly reflected in the music, so I just open my mouth and start singing. I usually keep repeating the same lines as they come out over and over to get the wording right. Occasionally I grab my notebook and write down what it was I was singing, but I usually go to bed and see if I can remember it the next day. If I can play the song the next day, I write it down; If not, it obviously wasn't that good so I just forget it. I guess that's my test to see if a song is worth anything or not. I usually always write at night. It's like my brain switches on after midnight and I get very creative. Late at night is more conducive to my style of writing probably because I'm less distracted and it's easier to tap into what I'm subconsciously thinking.

Where do you draw inspiration from for your songs?

My inspiration comes from my own experiences mainly. There is not much if anything that I make up in songs; I may exaggerate some details, but it usually all happened the way I sing it.

Any plans for an album?

I definitely have plans for an album! I have a small studio in my house that I have been using to record. The stuff that I have on myspace was all recorded at my house with me playing all of the instruments excluding the horns that appear on a few songs,but I feel like I have outgrown my home studio at this point. I want to go ahead and do a full album with equipment better than what I have at home. I have done some tracking at John Keane's studio and I'm trying to decide now whether I should invest more money into my own equipment or just pay for recording time. It takes a little while with me playing the majority of the instruments, so I will try to do as much at home as I can.

Who are your influences? Anyone you really look up to locally?

I grew up listening to Billy Joel and Elton John, and they definitely had a huge impact on my music. In high school I listened to a ton of John Mayer and Jason Mraz. Learning all those John Mayer songs shaped my guitar playing, and Jason Mraz influenced me to have fun songs with crazy, fast singing, and plenty of innuendo... As far as people that are local, does Atlanta count? Because I am a big Butch Walker fan. He writes, plays, and produces, which is exactly what I want to do. And he does them all very well.

Besides music, what else do you like to do with your time? Any hobbies?

Well I got my real estate license a few years ago and got a house that I've done a lot of work on; it can be very time consuming. I've found I'm not bad at renovating houses... Oh, and I always love to play Mariokart on Nintendo 64, but that gets pretty competitive...

How did you get involved with the Songwriters in the Round show?

Taylor Lindsey is a good friend of mine, and she was in charge of booking people to play. She asked me if I would be interested in playing the Songwriters in the round show and I jumped at the chance to support such a good cause with such talented artists.

Do you have any pre-show rituals?

I always get a little nervous before I go on stage, so I usually pee like 5 times right before I hop up to the mic. Maybe I'm scared that I will have to go once I get on stage... I mean what happens if you are in the middle of a set and you have to pee? Can you just say "I will be right back" and hop off stage??


Derrick will be playing with Hillary Lindsey, Ashley Ray, Jedd Hughes, Matt Moore, Gabriel Kelley, Rachel Farley, and Hannah Dasher. Tonight's show will have theatre seating on the floor. Doors open at 6:00 p.m. for dinner and drinks.

In Search of Lost Time

Well, yesterday was April Fools at WUOG, meaning we played whatever we wanted, however we wanted. You think that one Patti Smith record is awesome? Try TWO. At the same time! Or chanting Zimbabwian poetry over the collected works of Hanson while having a computer read the menu of the GRIT. Yeah, we do some pretty messed up stuff.

Personally, I sought revenge on one blonde headed bassist for getting "Kinky Boots" stuck in my head for months and in sorta tribute of a few anniversaries. I played several remixes of his band alongside such memorable numbers as "The Eagle Song." I also had some fun playing the B-52s at the wrong speed, but it still sounded awesome. After all was said and done, I still had a few things I needed to write so I stuck around the station with my laptop and typed.

Maybe it was the rain or maybe the music, but I started to get really nostalgic and a bit sad. As the lights of Tate shut off one by one, I began to remember the nights I spent up in Memorial Hall, when it was dark as the midnight sky with no moon. The only light came from the glowing buttons of the dj board and what starlight could fight its way through the clouds into the windows.

Some nights I went there because my roommate had brought the significant other over for "fun." It was no fun for me of course, so I left. Usually it was such short notice that I wouldn't have any time to call a friend for a place to stay. I went to my other place at WUOG. The nighttime djs knew the deal. I would often catch a bus to Memorial and take the elevator up on nights when I couldn't sleep or had too much to do.

Looking around at Tate, I realized that I probably couldn't do that now. We have windows into the foyer but no skylight, no back windows. You turn out the lights, you end up tripping over a wire and knocking yourself out on a coffee table. But it's not all bad. We had our first Live in the Lobby on Tuesday and suddenly it was a bit like old times. I still miss Ethan and Kelly terribly and sometimes wonder whatever happened to Kevan. Turns out I'm the old one now, watching the new kids start mixing and setting up. I suddenly feel like a shadow, always there but rarely noticed. Not that I mind. I'm not much for attention grabbing.

Still, I looked around at the walls of the new WUOG and saw the beginnings of home. Pictures are starting to appear on the walls, along with scribbles. There's gonna be a few strands of Christmas lights and, if I can rig it right, a glowing pylon in the corner. I may not be here to see the station finally become the place I knew it as, but I'm not worried. The people who need WUOG will find it. The people WUOG needs will come. And I, like so many others, will fade into history. Maybe one day someone will write a book. I hope I make the footnotes.