Athcast - Athens Music!

** Kill Gordon ** 11-9-06

Barefoot Hookers Listen closely and you can hear it. You'll feel the earth tremble as it approaches. And finally, when that whiskey-powered locomotive is upon you - you'd better jump in the passing boxcar quick - 'cause that's where the party is. The Bearfoot Hookers hail from Athens, GA, but they're really from smaller towns, like Waycross, where the trains roll through night and day. Their songs tell stories about good times and bad, empty bottles, aching heads, broken hearts, and demons that haunt you at the end of a long night of playing the blues. They're not the next big thing. They're not watching the trends. The Bearfoot Hookers are just four guys playing songs that come from their own experience, giving it all they've got every time they hit the stage, and ready to play 'til the audience goes home or collapses. When asked what kind of music they play, they'll answer "beer drinkin' gospel" and if you don't understand what that is, stick around 'cause the preacher is in the house! Johnny Cash knew what it meant. The Rolling Stones have been there a few times. And a little band of southern boys from Jacksonville, Florida damn sure knew what it was. The Bearfoot Hookers formed in 2003 and promptly produced their debut recording Sweet Pickle Grits as an attempt to capture the energy that was building from their live shows around Athens. An aggressive performance schedule followed and the audiences grew steadily in towns across Georgia. Atlanta's 96 Rock (WKLS FM) was quick to pick up on the track "Sister" and give it play on its Stage 96 show. The Hooker's traveling rock & roll show garnered the attention of New York film director John Nijhawan who followed the band filming 3 Day Drunk, a documentary of the raucous full-on show The Bearfoot Hookers were bringing to their audiences. After a year of playing smoky bars throughout the South and a year's worth of new stories that became songs, they went to Athens' famed Chase Park Transduction to record their second album Life at the Bar in the fall of 2004. Critical acclaim has followed. Just as Life at the Bar was being pressed, Flagpole Magazine selected The Bearfoot Hookers as one of their "Bands to Watch in 2005". Following the album's release, Ghostmeat Records of Athens, GA picked the soulful track "Beggar's Prayer" to be included on the 2005 Athfest Compilation disc. And tracks from both of the Hookers' CDs have been featured on radio stations throughout Georgia and on HoundogRadio.com. And most recently, "I'd Rather Two-Step (than twelve-step)", a new track that is slated for an upcoming third album, was selected to be included on the 2006 Athfest 10th Anniversary Compilation disc. The year 2006 will be a busy one for The Bearfoot Hookers. Now the train has left the station and the Hookers are on board brining "beer drinkin gospel" to those who inhabit the dingy bars that The Bearfoot Hookers call home. It's in those places that honest songs and showmanship still mean something. Here comes the train… get on board.

Manchester Orchestra The Atlanta-based Manchester Orchestra is a constantly changing line-up of musicians who enjoy creating captivating music, and an unforgettable live show. In just a few month’s time, the tightly-knit musical force has emerged as one of the most mesmerizing and dynamic young bands in the region, embracing the sweeping, melodic, emotional territory mined by such seminal artists as Dismemberment Plan, Grandaddy and The Weakerthans. With a strong musical foundation provided by bass player Jonathan Corley and drummer Jeremiah Edmond, the band's first release entitled You Brainstorm, I Brainstorm, But Brilliance Needs A Good Editor previews the content and story-line of their unreleased full-length Nobody Sings Anymore. Creator and leader of the band Andy Hull's insightful songwriting reveals a depth and maturity normally reserved for contemporaries twice his age. His compelling narratives tell harrowing tales of abuse, friendship, adultery, love, suicide and hope, all wrapped in the atmospheric glow of his hypnotic hooks.

Perpetual Groove This quartet from Savannah, GA has a long list of accolades -- named one of the top ten bands to watch in 2005 by Relix magazine, they performed to over 20,000 people at Bonnaroo, have made appearances at High Sierra, Wakarusa, 10,000 Lakes, The Blue Ridge Harvest Fest, Atlanta's Music Midtown, Xingolati and been have selling out the Georgia Theatre since New Year's Eve 04, and the list goes on and on. Perpetual Groove throws down a funky blend of reggae, tribal-style trance rhythms, heavy funk, jazzy improvisation and synth loops, intertwined with inspiring and sentimental lyrics. Their high energy and meticulous craftsmanship keep their songs fresh, danceable, and surprising. All This Everything (Harmonized Records 2004), produced and recorded by Robert Hannon (OutKast) launched the band out of their home in the dirty south and onto the National radar. And their first release, Sweet Oblivious Antidote (Harminized Records 2003), was voted the top fan pick by The Home Grown Music Network and remains a constant sellar. Through constant innovation, PGroove, as they are known to their fans everywhere, never fail to bring something new to the live concert experience, be it a retina blinding light show or their experimentations with live 5.1 surround sound, each show provides something for everyone. In just under four years, Perpetual Groove has taken the live music scene by storm and continues to add new fans to their already large base of converts. For More Infomation, make sure to visit www.pgroove.com Talking In Place - The Official PG Forum - www.pgroove.com/forum

Perpetual Groove This quartet from Savannah, GA has a long list of accolades -- named one of the top ten bands to watch in 2005 by Relix magazine, they performed to over 20,000 people at Bonnaroo, have made appearances at High Sierra, Wakarusa, 10,000 Lakes, The Blue Ridge Harvest Fest, Atlanta's Music Midtown, Xingolati and been have selling out the Georgia Theatre since New Year's Eve 04, and the list goes on and on. Perpetual Groove throws down a funky blend of reggae, tribal-style trance rhythms, heavy funk, jazzy improvisation and synth loops, intertwined with inspiring and sentimental lyrics. Their high energy and meticulous craftsmanship keep their songs fresh, danceable, and surprising. All This Everything (Harmonized Records 2004), produced and recorded by Robert Hannon (OutKast) launched the band out of their home in the dirty south and onto the National radar. And their first release, Sweet Oblivious Antidote (Harminized Records 2003), was voted the top fan pick by The Home Grown Music Network and remains a constant sellar. Through constant innovation, PGroove, as they are known to their fans everywhere, never fail to bring something new to the live concert experience, be it a retina blinding light show or their experimentations with live 5.1 surround sound, each show provides something for everyone. In just under four years, Perpetual Groove has taken the live music scene by storm and continues to add new fans to their already large base of converts. For More Infomation, make sure to visit www.pgroove.com Talking In Place - The Official PG Forum - www.pgroove.com/forum

The Winter Sounds The Winter Sounds are a team of traveling minstrels. We live in a van down by the river. Sometimes we live in Athens, sometimes Greenville, New Orleans, Pensacola... We have many homes. We play indie rock with some punk, prog, and new wave elements. We love to lay melodies all over the place and we spew chunks of rock and roll live. We are always on tour and we'd love to come to your town. For booking and other inquiries: thewintersounds@yahoo.com or call: (864) 630-3149

Spy For Hire "One of the best up-and-coming acts in the south." WVRK- Rock 103FM, Columbus, GA "...a group that has found a large, faithful following with it's alternative pop sensibilities and, decidedly, 1980's undercurrent." Brad Barnes- The Columbus Ledger Enquirer "Atmospheric, electro-rock is the name of the game for this moody and melodic rock band from Columbus, GA." Flagpole Magazine, Athens GA

Ghost Dad The Robot Ghost dad the robot is a quasi-sentient entity hailing from a remote reigon of the Delta Quadrant. Strange though it may seem, its current operators are four lesser beings claiming the planet 28647 (locally known as earth) for their point of origin. How these beings came into posession of Ghost dad the Robot is yet unknown. In fact very little is known these 28647-ese musicians. The facts I do have I will relate as they become available. -- Jarek the All Seeing Supreme Knower of Things - Terran year 2005 Record ..112423112-A Corrolary Report: A fifth operator of dubious origin is rumored to be in close contact with, if not directly involved in the criminal machinations of these ruffians. In attempting to confirm this little to no progress has been made by authorities. -------------------------------------- Ghost Dad the Robot...yes, that's what we've taken to calling this little bit of alien gadgetry that we nicke...er, reallocated, from some plush diggings out near Aliveius prime. Finders keepers, what I always say. And no, although it seems...hmm..imprudent..to give you all the w's on our treasure, I don't see the harm in feeding you a small bite of the truth about ourselves...I mean, you're no snitch, are you? Doesn't matter too much, we've got ways of finding you.

Benvento/Russo Duo The Benevento/Russo Duo formed in 2002 when Russo was offered a Thursday night residency at New York City’s Knitting Factory. The gig paid $100. Simple economics led Russo to conclude that a duo would be twice as nice as a quartet. He enlisted childhood chum Marco Benevento and the two performed as an organ and drum combo for $50 each. With hardly any written material at first, the band made a virtue out of necessity by converting loose sketches into 20-minute improvisations. From the very beginning, the group proved that they could also handle instrumental revisions of Led Zeppelin or Radiohead songs with equal skill and audacity. They were an indie-rock band that jammed. They were a jazz-combo that rocked. Once more and more fans began showing up regularly and more rabidly, the pair slowly realized they had stumbled onto something much bigger — and much more rewarding — than a weekly engagement and a $50 paycheck. “And it all happened by accident,” says Benevento. “We didn’t say, ‘Let’s start an organ and drum duo.’ Our fans kind of turned us into a band.” *http://www.beneventorussoduo.com

Benvento/Russo Duo The Benevento/Russo Duo formed in 2002 when Russo was offered a Thursday night residency at New York City’s Knitting Factory. The gig paid $100. Simple economics led Russo to conclude that a duo would be twice as nice as a quartet. He enlisted childhood chum Marco Benevento and the two performed as an organ and drum combo for $50 each. With hardly any written material at first, the band made a virtue out of necessity by converting loose sketches into 20-minute improvisations. From the very beginning, the group proved that they could also handle instrumental revisions of Led Zeppelin or Radiohead songs with equal skill and audacity. They were an indie-rock band that jammed. They were a jazz-combo that rocked. Once more and more fans began showing up regularly and more rabidly, the pair slowly realized they had stumbled onto something much bigger — and much more rewarding — than a weekly engagement and a $50 paycheck. “And it all happened by accident,” says Benevento. “We didn’t say, ‘Let’s start an organ and drum duo.’ Our fans kind of turned us into a band.” *http://www.beneventorussoduo.com

Moonshine Still Hip-Hop Halloween Moonshine Still was conceived in the summer of 1996 when lead singer/ guitarist Scott Baston and bass player Ray Petren teamed up with several other musicians in Macon, GA. Will Robinson (drums,vocals) joined up that fall and they began working on a soulful sound deep with roots that yearned to go some place new. With the original line up, Moonshine Still began touring the southeast and building a reputation as an up and coming band to see, opening for acts like Col.Bruce Hampton and Beanstalk and playing festivals such as The Summer Sun Fest. in Cochran, GA.In 1997, the band went in to record it's self titled studio album and everything seemed to be lining up for Moonshine Still. Shortly after their first studio release Moonshine Still began to go through personnel changes. First, they added Bill Jarrett (percussion), followed by David Shore (guitar). With the addition of these adept players Moonshine Still added another layer of musicality to an already strong songwriting/vocal foundation. With these additions, Moonshine Still began to expand their touring radius from Tallahasse, Florida to Knoxville, TN and managed to put out a second album entitled, "Circle Around the Sun". After releasing "Circle Around the Sun" the last musical piece fell into place with the addition of Trippe Wright on keyboards. Trippe's church organ wail and trippy synth parts immediately locked into place and finally the unit felt complete. With all of the pieces in place Moonshine Still's sound has really begun to come together. With a rock solid rhythm section, soaring guitars a! nd keyboards and powerful vocals, they can easily move from metal to soul to reggae to klesmer to techno and many other places on the musical map while maintaining a strong songwriting base that is always Moonshine Still. This is evident on the release of their live album "Moon Over Georgia" which showcases the band in it's element, on stage, moving effortlessly from style to style. Since the band has come together they have found themselves at the top of the food chain in the Southeast selling out the Georgia Theater in Athens, GA two New Years Eves in a row and playing a slew of festivals including Magnolia Fest, Harvest Fest, Smile Fest, and Langerado. They have also been moving west with invitations to the High Sierra Music Festival in Quincy, CA for three years running. In addition, Moonshine Still has received a nomination by Jambase.com as one of the Best Emerging Artists of 2002 and a Jammy nomination f! or "Best New Groove". Currently, Moonshine Still is on the go again with confirmed shows in CA, CO, ID,OR, UT, AZ, NM, TX, AK, KS, SC, NC, GA, FL, TN, and IN.

Bling The Children Back Home These days, people just want that bling. We’ve come to give them what they want. Serving up party-fueled, charismatic and subversive bling-bling, we come with one goal: to make hips gyrate. "Hip-hop not for the uptight traditionalist?" That's what one reviewer said. "Funkadelic party music?" There's another description. "White, medallion-wearing rappers," Yes, we got that one as well, but it's much more than that... First and foremost, Bling is a party band. We're not stiff performers looking bored and singing cliche songs with tired themes. We believe that people want entertainment when they come to a show, and when we get up on stage, we aim to please. Second, Bling is a social experiment of the most subversive nature. Listen to the lyrics, watch the moves, check the threads... We strive to be more than meets the eye. From starting out playing late night house parties around 4am, we've now rocked about every venue in Athens, GA multiple times. (40 Watt, Georgia Theatre, Caledonia, Tasty World, and more...) We’ve also hit Atlanta, St.Simon’s, Jacksonville, Chattanooga and just recently, played two shows with NYC's Peelander-Z. “What’s it sound like?” We mix it up like P-Funk hanging out with Ween and The Beastie Boys on a day that Beck and Outkast decide to show up unexpectedly. In our wildest dreams, we are Curtis Mayfield, Digable Planets, 50 Cent, and Frank Sinatra all rolled into one... What is "bling" really? It's the shiny, flashy stuff that everyone wants. We roll with new methods to satisfy both modern and ancient urges. We won't be pigeonholed, we refuse to bow down, and demand that you dance. Our homebase is in Athens, GA and everyone's all a buzz. Come find out why.

Classic City Breaks dj number five and dj personify

Ryan Montbleau My father gave me a guitar for Christmas when I was in the third grade. Little black Fender Squier and a Squier amp. Pretty sick little set up for a 9-year-old, actually. I tried to play a few things, some blues my uncle taught me, as I recall. Even took some lessons from an older kid a few years later. But all in all, by the time I graduated high school I couldn’t do a whole lot with a guitar. I could play the beginning of “Back in Black,” maybe a little “Crazy Train,” but that’s about it… I sold the Fender to my brother’s friend for so cheap that he gave me a crappy acoustic as a consolation prize. Then I went away to college. Villanova University, right in the suburbs of Philadelphia. I’m from north of Boston (Peabody, MA), and had never really been away from home for long. So here I am, young, far from home, got a girlfriend back home, woe is me, I’m pretty depressed. OK, I’m REALLY depressed. But hey, my roommate has this nice acoustic guitar that’s much nicer than my own. Hmm… I basically played nonstop in college. The bug bit me and I just played and played and played and played. Stevie Ray Vaughan and Jimi Hendrix were the masters. Played a strat in my dormroom, or later, my attic for hours at a time. Every day. Plus I was studying and writing a lot of poetry in the last few years. I remember the specific place on campus when it struck me that the music already in the world is all well and good, but sometimes YOU have to create your own. Played in a couple college bands, and it wasn’t until the last semester of my senior year (spring 1999) that I started to sing. I had sort of always had this voice inside my head, but never let it out to anyone, including myself. Never. Listening to all kinds of contemporary R&B as a kid (for a period of years growing up, my favorite groups were AC/DC and New Edition) really planted the seed of vocal melodies in my head. My singing voice slowly started seeping out in the car, alone, and then I finally got the gall to sing in front of people. From graduation until about six months later, my confidence and my vocals just grew and grew until, eventually, I loved to sing for a crowd. Now, four years later, there is no place I’d rather be than on a stage with a guitar and a microphone. I’ve been playing out as much as I can over the last few years. At first, that meant a couple of gigs a month, including open mics, sitting in with other bands, etc. Over time, that worked itself up to 15-18 gigs a month around Boston to pay the bills. Had to substitute teach during the day for about two years to get by, but it was well worth it. I even got a song out of that experience. Nowadays, I make a living off of making music. I am truly a lucky boy. But it has certainly been a lot of hard work to get to this point. In the beginning, I had the mentality that I would play anywhere at any time, for anyone, and that has made all the difference. I’ve opened for metal bands, played hippie juice-joints, coffeehouses, blues clubs, festivals, theatres, living rooms, played in the street, noisy bars (lots of noisy bars, actually), and have just tried to throw myself out there wherever I can. Now I have a new van and tour all over the northeast US (and beyond). I also have a booking agent, a great manager, and an ever-increasing team of amazing people who help me out. Word seems to be spreading fast now (thanks to people like yourself, reading this!) and I’m ready to go, go, go. But in this, there are no shortcuts, no way, no how. In all honesty, YOU are the reason I’m not just a bitter substitute teacher right now. I thank you for allowing me to keep doing this. People have responded, and continue to respond to the music I create. That gives me life. If my health holds up and people enjoy what I continue to do, I’ll be at this for a long time to come. And now, the van awaits. Is this a great country or what? See you down the road... http://www.ryanmontbleau.com

Bellyache The Black Diamond Train has just taken on a fresh load of brimstone and is pulling off for hell. SIN is the Engine, PLEASURE is the headlight, and the DEVIL is the conductor. First stop, the drinking halls. All you drunkards get on board cause you got to go to hell on the Black Diamond Train.