Written by terri sapp

Photographed by Leah Yetter

© Concert Sutra, All Rights Reserved

click photos for photo gallery

Since the day I started writing these things each month, I have patiently awaited focusing all of my attention on G Love and Special Sauce.  November 18, 2005 in Atlanta, Georgia, opening act Blackalicious joined G Love and Special Sauce at the Roxy for one of the highpoints of our time with the Concert Sutra.  G Love is Garrett Dutton (harmonica, vocals, and guitar), and the Special Sauce is comprised of Jimi Jazz (string bass) and Houseman (drums).  Most of the times I have seen these guys play, they seem to invite additional “special sauce” to add to the flava, and the Roxy show was no different.  G Love and Special Sauce have been touring through the Fall, and don’t seem to be slowing down any time soon.

The first notes of the night that come out of G Love are from his harmonica, which is why G Love has my heart!  When he plays the harmonica, I feel my world is complete.  “Get Ur Shit Together” is just G Love with his harmonica and guitar.  G is the funkiest, flyest, and freshest!  He makes my heart aflutter…  Houseman and Jimi Jazz join in on “Friday Night (Hundred Dollar Bill)” from Philadelphonic, making for the perfect opportunity for an Atlanta (or Hotlanta, as G likes to call it) freestyle.  These boys really know how to make ya shake it!  What a relief to get one of your favorite songs so early in the show, “Give It To You” from G’s album The Hustle hit the spot.  This is the best beat ever!  Houseman really rounds this song out with his backup vocals behind the drums.  Songs like “Give It To You” display the magnitude of which G Love and Special Sauce have been steadily consistent through the years with songs that you wanna hear over and over.  The heavy reggae beat is a sure fire way to my playlist!  Along the same lines, from The Hustle, “Booty Call” offers the crowd a fun sing along with a catchy tune.  And who wouldn’t want a “Booty Call” from G Love???  “Ain’t nothing wrong with a booty call…I can tell that we gon be friends.”  In cases like tonight, the booty call sometimes ends with a bit of the old “Hand Jive…”  Flashbacks rule!

I, too, get the blues from my “Garbage Man.”  This old school crowd favorite oozes with sex appeal and nasty grooves.   Jimi Jazz thumps my core with his bass line.  Another from the G Love and Special Sauce 1994 album, “Eyes Have Miles” stirs things up with its head bobbing beats and guitar, bass, and drum solos.  Houseman radiates from behind his kit on “Eyes Have Miles.”  Truly a skilled and smooth drummer.  Like butta!  G Love was on fire all night with his unrehearsed flows.  He busted a few minutes worth of a herbalicious Hotlanta G Love jam…freestyle!  I have such high regard for anyone who can write a great song, much less spit it on the spot!  Our brief time with G at the “after party” even entailed a group freestyle between G, Z, and some of the other boys from Augusta (that you’ll hear more about later).  Amazing abilities!  The Hustle’s “Don’t Drop It” keeps the show going in the right direction. Straight to the “Back of the Bus.”  “All the cool kids in the back of the bus…she got the salad, but I got the dressin”…good times. 

“Dreamin” of G Love sounds just like this Philadelphonic gem.  NOTHING beats the dance that this song inspires in G Love.  I could watch him play his instruments all day, I believe.  All this “Dreamin” evokes in me the desire for a “Cold Beverage!”  The first time I ever heard G Love play live, was the first time I ever heard G Love.  “Cold Beverage” was the melody that permeated my thoughts until I could get myself to my first G Love album.  “Stick it in the fridge. Stick it in the fridge.  Stick it in the fridge. Stick it in the fridge!”  To top off our “Cold Beverage” was a taste of G’s version of Kanye West’s “Gold Digger!”  “Get down girl, go on get down.  Get down girl, go on get down.  Boogey, boogey, boogey to the funky sound.”  Houseman delivers just that on his drum solo.  Add Jimi Jazz and G on guitar and harmonica, and it is Funky Jam City, my most beloved town.  What better to go with a “Cold Beverage” than some “Hot Cookin’” with G Love and Special Sauce?  The perfect recipe ends with a mean harmonica any day.  “This Ain’t Livin” has been nicely polished over the years.  This laid back ditty about life always welcomes the audience to join in.  Jimi Jazz and Houseman are quite a pair, chiefly when assisting each other on their respective solos.

“Honor and Harmony” from Philadelphonic is a dance provoking refrain with an immensely fetching tune.  And there goes the G dance again.  I adore the guitar riff throughout “Honor and Harmony.”  “Drop Bombs” is no doubt one of the most politically driven songs that G Love has played all night.  “I don’t wanna drop bombs on you…1, 2, 3, this is a song about unity…There’s enough money in the vault to buy World Peace, but instead of making peace, we bombing…”  All that protest, and still shaking it and keeping it funky fly fresh!  What a way to go out for a set break!  Although I feel confident that G Love will come back for a second set, I still feel myself suffering from a taste of separation anxiety!  I yearn for his Philadelphonic funk!  My body reacts with uncontrollable dancing anytime these fellas are in the room playing a song!

The second set was somewhat shorter than the first, but what it lacked in quantity, it made up in quality.  First off, G Love comes out alone again to share a couple of sweet love songs with the faithful Hotlanta crowd.  “I Love You” says it all…we love you, too, G Love!  The sentiment is mutual!  “I Love You” sounds like the type of blues song that would bring a lady to tears with stories of lost love.  On the contrary, love doesn’t leave G Love.  Instead, he has EVERY Georgia peach in the house screaming “Gimme Some Lovin’.”  Apparently, “Gimme Some Lovin’” woke G Love right up outta his bed, and forced him to spend the morning in the bathroom writing it.  “Give me some lovin early in the morning.  I just woke up with this appetite.  Come on give me lovin in the morning light…”  G Love strumming his guitar and softly singing this euphonic ballad feelingly touches my heart.  “Gimme Some Lovin’” is the type of song that makes the ladies close their eyes and sway with joy.

Still solo, G Love is joined by his handy harmonica for “Fixin’ To Die,” which revives memories of the Old West.  “Fixin’ To Die” is G Love style “Country” music.  Anytime during this number, you might expect to see one challenge another to a dual.  For sure the most weighty harmonica in the whole set!  “Superhero Brotha” is apparently a blues song about being in the South.  I really love it when G Love plays solo, sweet and slow.  However, I can’t get over all of the ASSHOLES in the building who can’t SHUT UP for twenty minutes to let the folks who are actually there to listen to the music be able to HEAR IT!  NOBODY PAYS (we paid parking, at least) TO GO TO A CONCERT TO HEAR ABOUT WHAT YOU PLAN TO DO AFTER THE SHOW, OR WHAT HAPPENED TO YOU AT WORK THAT DAY, OR HOW MUCH YOU’VE HAD TO DRINK!!!  I digress, sorry, I had to vent.  Nothing bugs me more than having to struggle to hear G Love over all of the chatty bitches around me (including, and especially you, muscle head)!  I think it was when I heard G Love and Special Sauce open up for 311 that G Love broke out “The Pussy Song” seemingly just so all the loud asshole guys would shut up and listen!!!  (Pet peeves are a bitch)

The Special Sauce joins G Love on a song usually played with Jack Johnson, “Rodeo Clowns.”   Unfortunately, no Jack.  On the other hand, we did get some hot rappers from Augusta, GA to help the Special Sauce entertain us.  The “First Born Jam” was another of the freestyle fests that broke out this evening.  The guys from the First Born Crew broke it down on the real.  My most cherished moments with G Love over the years always seem to occur when he pulls out the Chocolate Sauce!  “Street rappers” plus G Love and Special Sauce equals pure bliss!  Particularly when the rappers start belting out David Bowie’s “Fame!”  The First Born Crew guys were cool, and right on time.  “I-76” from Yeah, It’s That Easy has almost an Allman Brothers vibe.  Kind of like G Love’s version of Southern Rock. 

What a relief when Jimi Jazz hits the bass line to rock the box in “Baby’s Got Sauce.”  This qualifies as HOT SAUCE!  “Baby’s Got Sauce” is certifiably love making music, equipped with the swerve.  “And my baby’s got sauce…your baby ain’t sweet like mine…she does what she wants to, cause, ah, she’s my boss.  Please don’t tell my friends about the situation, cause, like, they think I’m on some extended vacation, cause I don’t get out and see my boys anymore.  Only time I leave my house is to go to the store for some more of what she wants…what she want me for…what could she want this time?  Yo, I’m all hers…”  Lucky bitch!  An extended “Sauce” jam stirs the crowd with G Love’s guitar and eventually ends with a blues inspired finale.

On the way out, G Love and Special Sauce take a moment to introduce the band and say goodbye to the fans the G Love way!  Jimi Jazz first gave a bit of bass, and then Houseman kicked it on the drums.  Subsequently, G Love takes the stage with ONLY his harmonica, which is just the formula to get the fire going!  G also finishes with a heartfelt salutation, “Yours truly, G Love and Special Sauce, since 1993, no additives, no preservatives…peace out to everybody up here in Atlanta…we love YOU…we’ll see you next time!”  For me, the climax of the night came when G Love broke loose with his harmonica, dancing and shaking his shoulders, running in place, and battling the drums and bass with his harmonica talents.  I KNOW I wasn’t the only one in the house completely drooling. 

Thanks to G Love’s peeps, Leah and I were excitingly privy to the after show festivities, which began with me bugging G to take some fun shots of our totally fresh Adidas hanging out together, and eventually ended with G Love, members of the First Born Crew, including Z (who was totally cool), and some other fellas impromptu free styling in a circle for the party people.  It was quite fitting, from the festivities, that G Love’s brown high top Adidas with orange stripes would read, “We are the superlative conspiracy.”  I LOVE IT!!  I have always been a big fan of G Love AND all of his Special Sauce, but after this most wonderful night on their latest tour, I’m a G-junkie for life!  The guys suddenly got an itch to start a song (this is probably what these guys do when they get together), so someone got the beat box going, and the wave began.  G Love even rapped about his son, and his son discovering his balls!  Hilarious!  Maybe one day, this off the cuff “hit” session will see the light of day…in the end, the guys were wishing they had captured their fun on tape, but no one had been recording…so we thought!  They agreed that the moment would live, because we all took it in.  We’ll see…

For more information on G Love and Special Sauce, visit their website at http://www.philadelphonic.com/.  For your chance to see what the hype is all about, go ahead and book your reservations to Aspen, Colorado on New Year’s Eve, or catch one of the following of their already booked shows in 2006:  January 12, 2006 at Newby’s in Memphis, Tennessee; January 13, 2006 at House of Blues in New Orleans, Louisiana; January 14, 2006 at Gypsy Ballroom in Dallas, Texas; February 3, 2006 at Sovereign of the Sea in Miami, Florida; and March 11, 2006 (311 Day) at Bicentennial Park in Miami, Florida.

Most importantly, make sure to catch the photo gallery from our fabulous night with G Love and Special Sauce courtesy of Leah Yetter, Photographer at:  http://www.leahyetter.com/glove111805/index.htm.

by terri sapp

Photographed by terri sapp

© Concert Sutra, All Rights Reserved

click photos for photo gallery

From the day I got my first taste of 311 from “Music” back in the very early 90’s, I was hooked.  Ever since, I never miss an opportunity to catch them doing what they do best…rockin the crowd!  They brought the usual bag of tricks with them, as well as a few new flares on their Summer Tour, 2005.  On August 27, 2005 at the Hi-Fi Buys Amphitheatre in Atlanta, Georgia, fans were faced with a wide range of 311’s musical history, as well as some rarities to celebrate the many years we have had to know and love this band.  These guys have an onstage finesse about them matched by few, as evidenced by any given show they play.  311 is always on point, so far as I am concerned!

On this special night in Atlanta, we were “Welcome”d by a very smooth intro fueled by the masterful guitar stylings of one Tim Mahoney (guitar, and one of my heroes, LOVE him).  P-Nut (bass), Chad Sexton (drums), and S.A. Martinez (vocals, effects) also contributed to the newly extended jam intro to the 311 Music classic “Welcome.”  Of course, we always know the party has started as soon as we hear the words out of Nick Hexum’s (vocals, some guitar) gorgeous mouth.  It’s always good to “Freak Out” at the very start of a 311 show, because who wouldn’t freak out on this one?  “To all my friends, it’s not the end.  The Earth has not swallowed me, yet.”  I really feel this one. 

“You Wouldn’t Believe” from fan favorite 2001 album From Chaos is one that the boys have been pretty faithful to since its success.  Once the first three songs are over, and I am escorted out of the photo pit (pictures up front are only allowed for the first three songs…me being without my photographer is tough…especially because of my excitement level when they are near), I can finally relax and enjoy the “Homebrew” served up by my favorite group of boys onstage.  Many memories come along with hearing the Grassroots jewel “Homebrew,” which Atlanta was fortunate enough to take part in the shooting of this video back in the day at the Masquerade Music Park (Hexum always reminds the crowd of this when they play it).  On the brand new album, the title track, “Don’t Tread On Me” is open for making new memories, that’s for sure.  In true 311 “form,” they played this radio hit pretty soon in the show to make room for those that have not hit the waves so much.  Don’t Tread On Me is a heavy reggae album that translates wonderfully live. 

“It’s not ’95, but still go for the Hive!”  Truly a mantra worth listening to…  Like many of this powerhouse band’s original songs, “Hive” has lyrics that are worth hearing and digesting.  One of my favorite lines from this self-titled 311 album track that has especially come into play in my personal life lately are words to live by for all, “I don’t need friends who act like foes!”  So many times in life we experience things IN A WHIRLWIND and struggle to process everything surrounding our experiences.  That is, until our favorite artists speaks to us and lets us know that we are not alone…that even they (who seem untouchable) ride the “roller coaster.”  “Solar Flare” from 311’s new album is another example of this phenomenon of speaking to our common present state of things.  I don’t really know if musicians know how close they come to people’s inner feelings with the songs they put out there.  For example, I feel the lyrics of “Solar Flare” (with the exception of their extreme talents at word play) could have come directly from my journal (if I kept one). “When did our leaders become bottom feeders?  We’re shooting up flares. Does anyone care?  They’ve got this world locked down, bound and gagged, with constant fear and paranoia toxins in our head.  It’s just something they know how to do.  How to make everyone feel uncalm.  The masses just take it while they turn the screws.  Bring to a boil, add oil, then bomb.”  There were two new songs I really wanted to hear at this show.  “Solar Flare” was one of them.  They did not break it out at every show on this tour, so I feel very fortunate to have been able to hear them play the one song on their Don’t Tread On Me album that literally and deeply speaks to me.

How appropriate that they would follow “Solar Flare” up with “Uncalm” of From Chaos.  They only played this one twice on their Summer Tour.  Nice.  Then the “Garciaesque” guitar of Tim Mahoney plays over the speakers…I am taken back to 1996!  I haven’t heard “Let the Cards Fall” in a very long while.  Usually, if they are going to play from the first Enlarged to Show Detail video, it would end up being “Gap” or “Tribute.”  Short and sweet, but FULL of memories.  On that note, from Transistor, “Beautiful Disaster” has become a staple since that wonderfully experimental album (FROM WHICH I HAVE NEVER HEARD MY FAVORITE SONG, “RUNNING” DESPITE MY EFFORTS, including cross country trips, etc., SINCE 97 TO CATCH IT…).  From the new Don’t Tread On Me album, which I maintain is “SA’s album,” “Getting Through to Her” is one that he wrote, and is as sweet live as it is on the record.

Of course, what would a 311 show be without “Applied Science?”  This has been the “drum solo song” for as long as I can remember…”pump it…pump it…pump it…Chad Sexton!”  He proves every time to be THE “rythematic genius” of our generation.  I have not come across a drummer that can “beat” him.  Maybe it is his training over the years, combined with making such beat oriented music with his crew.  All I know is he is definitely one of the BEST around.  In the past five or six years, the guys have taken part in the drum “solo” by pulling out a drum line for the entire band to beat upon…still at it…crowd goes wild!  “I shove it in a battery and save it for later.”

I remember hearing the first notes of “Flowing” from Soundsystem in 1999.  Truly one that does not fit into any category.  Forever this song is the spaced out jam that landed my “too spaced out” friend in Grady Hospital (they didn’t even know what to do with him, he was so “spaced”) dressed as Pimp Daddy Devil on Halloween, 1999 at the Tabernacle.  Now, every time I hear those notes…aahhhh…memory lane.  Good memories for me…maybe not so much for that guy…  No matter, “Beyond the Gray Sky” is beautiful enough to bring anyone back to the light.  This 2003 Evolver gem is the best song on the album, and shows me that no matter what (even before I realized), the songs that Tim Mahoney writes the music for are going to be my favorites.  His very melodic strumming and slight reggae beat gets me every time!  I am not the only one feeling the love, the entire Hi-Fi Buys holds up their cell phones and lighters for this anthem.  “Lovely life I thank you for the reason to see the pain through…one day you’ll see the clear blue beyond the gray skies.”  Since 2003, I long for this song.  Don’t Tread On Me led me to another song I was really hoping to hear tonight.  Apparently I wasn’t the only one, because it was played “by special request.”  Thank you, Thank you, to whoever requested this and was special enough to make it happen.  SA’s voice is so passionate during this song.  The effects that Mahoney puts on his guitar sounds like steel drums, and adds to the already “island” feel.  I love it!  I believe this is their newest single, which makes sense, since it is definitely a highlight of the album.  You should request that it be played on your local radio stations!

Another 311 favorite, that rarely goes UNplayed, “All Mixed Up.”  Mos Definitely one to dance to, and get your groove going.  These moments are the ones that “keep me coming.”  However, even before the 311 craze, there were the Omaha Sessions, which yielded such songs as “Summer of Love.”  Even though this was the Summer Tour, they still saved this one for special occasions.  They know when to pull it out, though, don’t they?  I would bet they know that Atlanta is in a constant state of 311’s Summer of Love…Thanks guys!  I am in love with the reggae breakdown at the end of the song.  Another rarity that comes from Transistor that you won’t hear everyday, “Electricity.”  Nick Hexum previews by saying, “the meaning of it (the song) is that we are all equal, all connected by the same electrical life force that runs within all of us.”  The main thing I always loved about the Transistor album is that the songs were all very experimental as far as the standard 311 sound went up to that time.  Some appreciate it, some don’t.  To this day, when I hear something from Transistor, I hear how this album influenced and transformed their sound into what it is today.  Which brings us to “Amber.”  This soft, sweet lullaby from 2001’s From Chaos won so many more fans for 311, including my friend and co-worker, who has not really ever been into this type of rock music.  Since “Amber” hit the airwaves, I am amazed to hear her actually singing along, and attending 311 concerts!!  Good job, fellas!  Thank goodness they have played it both times she has attended…the ladies love this style.

The only other track we got from Soundsystem was “Freeze Time.”  This album was so monumental in my life when it came out.  So what if I may be biased, because ALL 311 albums have been monumental in my life, but I feel I must recognize Soundsystem, since they played “Freeze Time” for us.  Oddly enough, the lyrics sum up my love for this album, “Try to freeze time, try to freeze time for your mind.  Perfect snapshot to always rewind.”  This go around, they even had P-Nut include some crowd participation.  Fun for the whole family.  Of course, for all the “old school” 311 fans, “Down” is played.  They have gotten pretty regular at this.  I supposed since they blew up during the popularity of this album, it makes sense they would play the song from it for the “old schoolers.”  “Fuck the Bullshit” seems to be one they always love to play for the Atlanta crowd.  Contrary to what I would have thought, it is not a song they play all the time anymore.  I wonder if Atlanta has “Attitude” or something.  P-Nut always tears it up with his bass solo, although, I felt they should have turned his volume up a bit.  I could barely hear him, which is a shame.  Good thing I’ve heard it a few times.

For an encore, 311 came out with an old favorite, “Omaha Stylee” from 1994’s Grassroots, with the actual CD intro, which was cool.  The crowd was even singing along with the intro.  This song remains one of my top favs lyrically.  “In a minute everything you have can all be straight gone.  In a minute things you thought were tied can come straight undone.  How about some knocks on wood, some so far it’s so good.  Any day, what you think is solid Earth can jump up and spread out to the North and South that’s what plates are about.  Nature has no conscience, no kindness, or ill will…There’s much power in anger, but love’s a bigger banger.”  I feel that this song is even more appropriate now than it was in 1994 when they released it.  Well, I guess it’s just TIMELESS.  Another coincidence (maybe) that I love is that we always seem to get that ONE QUESTION in Atlanta, “Who’s Got The Herb?”  I’ll bet I know why we always get that question…  All that aside, I love this song for its lovely reggae flow, beautiful music and harmonies.  This Bad Brains cover was featured on the 1995 “Hempilation” cd when 311 was still with Capricorn.  When asked about writing this song, Bad Brains’ member told High Times Magazine that, “Marijuana isn’t an influence.  Marijuana is an herb that grows in the ground.  It’s good for digestion if you eat your food too fast, or if you can’t digest your food.  It’s good for people who are nearsighted.  We find it for medicinal purposes, and for spiritual and religious services, too.”  We can guess what was going on when they wrote this number…Finally, Nick Hexum gives mad love to Atlanta by saying, “Every time we play down here, I feel compelled to remind ya’ll that Atlanta was the first city to get off on 311.  We played a sold out show at that Masquerade…we were like…this is the SHIT!  So, we thank you.”  This truly brought a tear to my eye, because we have all grown together over the years.  So much has happened in our lives (the fans), as well as theirs (the band), and we’ve been together through it all.  No, Thank YOU, 311 (sniffle)!  Your music helps us (me, at least) to continue to be “Creatures (for a while).”  “It’s been a wild ride.  I wouldn’t change a minute.”

For a peak at another of my attempts to catch these speedy speedersons (not to imply they are on speed, just in a constant state of motion!) in a photo, visit the site that my wonderful partner in crime Leah Yetter, Photographer, has set up with my photos from this show at:  http://www.leahyetter.com/tsapp31105/.

311 has finished their Summer Tour in the time it has taken me to cover it…DAMNED VIRTAGO!!!  However, true to form, they are already back on the road with a fun filled Fall Tour, 2005.  For full details on their upcoming shows, go to their website, http://www.311.com/, or join them on MySpace at www.myspace.com/311.  Whatever you do, don’t miss out on a chance to see them play live!

Written by terri sapp

Photographed by terri sapp (from the Pit)

© Concert Sutra, All rights reserved

click photos for photo gallery

After I almost beat a bitch down in the vast crowd of a free concert in Downtown Atlanta last month, I decided I needed some quality Anger Management!  This year’s Anger Management Tour proved, once again, to be one of the most finely orchestrated tours to come around.  From the set construction and design to the line up and performances, the Anger Management Tour, 2005 rivals any tour I have been to in the past ten years.  Of course, most of that is due to the brilliance of Marshall Mathers a.k.a. Eminem a.k.a. Slim Shady.  This year he, along with D12, teamed up with 50 Cent and the G Unit, and Lil’ Jon and the East Side Boyz, among many other guest artists. 

I caught the show on July 31, 2005 in Atlanta, Georgia at the Hi-Fi Buys Amphitheatre toward the end of the U.S. leg of the tour.  Lil’ Jon and the East Side Boyz, Atlanta native, had the job of getting the crowd crunked up.  He even sported the “P. Diddy style” shirt that read “Crunk or Die!”  The East Side Boyz carried around gas cans full of Crunk Juice that they poured into fans’ cups in the crowd.  The stage work set the night off well, with a huge likeness of Lil’ Jon with a big hand sticking out that moved up and down.  I wasn’t sure what I would think of the Lil’ Jon show, since I have always been pretty much annoyed by his presence, much less his music.  However, I was pleasantly surprised that his portion of the show was actually quite enjoyable.  Out of nowhere Ice Cube even joined Lil’ Jon for a song during his set.  Everyone loved it!  Luckily, he saved the “WHAAAT?  WHAAAT?  YEEEEAAAAH! OOOOHKAAAAY!” for the very end. 

Second up was 50 Cent, the G-Unit, and the rest if their crew.  This was my first live encounter with 50 Cent, and it was everything I thought it would be and more.  He brought not only his chest to gaze at, but also an amazing stage set.  There was a busted up bridge with the head of the Statue of Liberty crashed down on it.  The most haunting visual was the look on Lady Liberty’s face, and the lights shining from her eyes.  During the course of his set, we shared such favorites as “What Up Gangsta?,” “I’m Supposed to Die Tonight,” “Heat,” “Magic Stick,” “Candy Shop” (featuring Olivia), “Just a Little Bit,” “P.I.M.P.,” “In da Club,” “Wangsta,” and “21 Questions.”  50 Cent even had outfit changes that kept the girls drooling, including a black leather bullet proof vest, all white suit for “P.I.M.P.,” a green camouflage bullet proof vest, and just plain SIX PACK CHEST (my favorite of all of his looks)!  Also part of his set were fellow rappers Tony Yayo, Young Buck, Lloyd Banks, M.O.P., Mobb Deep, and Olivia.  Between all the gorgeous boys and all the pyro, 50 Cent/G-Unit’s portion of the show was HOT!

Headlining the night was the father of the Tour, Eminem.  As always, he had his way with his fans and by the end of his show, everyone was satisfied.  Marshall Mathers is so dramatic; he even incorporated skits throughout his performance.  Before he even took that stage, he set us up with a video of him being harassed to come out, as he seemed to be struggling from backstage.  When he comes out wearing a suit, on “Evil Deeds,” the stage is revealed as a series of doors, three stories high that he uses to go in and out and also to set up different skits as well.  George W. Bush came out of one of the doors and made an appearance during “Mosh”!  It was so nice of him to show up in support of Em’s tour!  I love Eminem’s sense of humor.  He makes me laugh.  “Business” is a great example of why Dr. Dre and Eminem make such a great team!  Their beats are top notch, as well as the high quality rhymes. 

Eminem also addressed the rumors that he is retiring from the business by telling a story about the tabloids reporting that the moon was to explode in 6 months.  “They just lied…”  To this, he pulled his pants down (right in front of me) and mooned the crowd!  His ass is so pretty…like a baby’s bottom!  I wanted to spank him for being so naughty!  I digress.  “Rain man” was to be his new name in the event that he does ever retire.  What a kidder.  Appropriately enough, he then played “Ass like that,” and, Eminem, “I ain’t never seen a ass like that” and if I had a pee-pee, it woulda been going “ya doing doing doing!”  He is also great about tying one joke to the next.  At the end of “Ass Like That,” he made a comment about Mariah Carey, and then cut to a clip of her new hit, “We Belong Together.”  Then, from one of the third story doors came a toilet that he ran up to and ended up puking in as an intro into my favorite song on his newest album (not about Mariah), “Puke.”  “You don’t know how sick you make me.  You make me fucking sick to my stomach.  Every time I think of you I puke!”

Of course, I wouldn’t be satisfied at an Eminem concert without my all time favorite from the Marshall Mathers LP, “Kill You.”  I find it therapeutic to hear someone outside of my brain expressing feelings that I possess, but keep in for the most part.  I guess that is why this is called the Anger Management Tour.  On the contrary, “Like Toy Soldiers” speaks to Eminem NOT wanting people to die.  I suppose it depends on who the victim is set to be.  “Like Toy Soldiers” is one of those deeply emotional slow songs that Em has a knack for. 

Apparently, Eminem felt the need to test Atlanta on their Hip Hop knowledge, popping off his renditions of classics like “La Di Da Di,” “Just a Friend,” and (my ring tone) “Nuthin But a G Thang.”  Once he completed his pop quiz, he decided to tease us with about 15 seconds of “Hi, My Name Is.”  Then, Proof, Kon Artis, Kuniva, and Swift of D12 joined him for a few D12 favorites like “Git Up,” and “How Come.”  Eminem noted, “Speaking of “How Come,” how come Bizarre’s fat ass isn’t on the stage?”  As usual, they turned even this into a bit; with Bizarre saying he was waiting on all the rest of them to leave the stage, because he is a “Rockstar.”  Bizarre then performed his new single, “Rockstar.”  D12 all came together for a “40 Oz.”   The best D12 song of the night was by far “My Band.”  The guys all really got into acting it out, and seriously mimicked a boy band dancing in formation at the end during the singing breakdown (which broke into a bit of “Wild Thang”).  Watching these guys is like getting an Eminem/D12 video in person.

“Stan” is always a welcome performance from E, with everyone lighting up their cell phones and lighters.  “The Way I Am” was a perfect follow up, while the vibe was a bit mellow.  To kick it up a notch, an old favorite, “I Just Don’t Give a Fuck.”  And when we thought it couldn’t get any better, 50 Cent joins the crew onstage for a couple of songs, like “Patiently Waiting.”  50 Cent and Eminem together on one stage was more SEXY than I could handle…I wanted to look away to avoid the drool, but was physically unable to unfix my gaze. 

One of the native ATLians on this lineup, Stat Quo, was given a bit of time to showcase numbers from his upcoming debut album, “Statlanta.”  Stat Quo and Alchemist (DJ), were both affected by the bus crash that this tour suffered less than a couple weeks before this particular event.  Stat Quo was able to come out and demonstrate that these unfortunate events did not keep the show from going on!  Another noteworthy guest rapper was Obie Trice, who has been known to show up on some truly hot Eminem cuts, such as “Spend Some Time,” and “Drips.”  We didn’t get either of those, but were lucky enough for “Cleaning Out My Closet,” and “Mockingbird.”

One of the highlights of the night was definitely Eminem’s public apology to Michael Jackson, wherein he climbed the stairs to one of the higher levels in front of the doors (put a mask on), and proceeded to introduce his new baby, Biscuit (along with Quilty, Handkerchief, Pillowcase, and Tampon), to the crowd.  He ended up throwing them all out into the screaming fans with anti-Michael slurs written on them, like “don’t touch me.”  Just after a big “Psyche!” “Just Lose It” fills the air.  This song cracks me up, “Now, I’m gonna make you dance. It’s your chance. Yeah, boy, shake that ass!  Oops, I mean girl, girl, girl, girl.  Girl, you know you’re my world!” 

At curfew (11:00 p.m. at Hi-Fi Buys Amphitheatre), Eminem wasn’t finished with his Rap Opera, so he kept going, with an end video where he shot himself with a toy gun.  He made us work for another song!   As an encore, he broke out his Academy Award winning “Lose Yourself” from the 8 Mile Soundtrack.  He has such passion that spreads to all in his presence.  What a creatively genius mind…a visionary of my generation…a true raw talent with a style (nasty mind, filthy mouth, and murderous thoughts included) all his own.

To check out the photos I was able to grab from the Pit, go to Leah Yetter’s site, where she has a photo gallery set up for me at:  http://www.leahyetter.com/eminem0805/.  To find out more about the artists on the Anger Management Tour 2005, you have several website choices to visit, including http://www.eminem.com/, http://www.d12online.com/, http://www.d12world.com/, http://www.g-unitsoldier.com/, http://www.50cent.com/, or http://www.liljononline.com/.  Even though members of the crew were able to go on and perform after their accident, Em apparently had too much fun with the Vicodin he was getting off of the guys who got hurt (he admitted and joked on himself during our show about this…a cry for help?) and has had to cancel the last bit of the Anger Management Tour.  Too bad, because the ones that got cancelled really missed out on something special in this time of generic festival after generic festival…these guys brought a SHOW, fo’ rizzle!  Although there are no shows to see Eminem perform in right now (rehab…sounds like a potential future hit!), try not to miss any eventual opportunity.

by terri sapp

Photographed by Leah Yetter

© Concert Sutra, All rights reserved

click photos for photo gallery

In my teenage years in the late eighties, there were many acts that I longed to see, but never seemed to find the opportunity.  The Pixies were one of them.  Until recently, every time they were around, I could not seem to score tickets!  That is, until Music Midtown 2005 brought the best line up ever.  When I heard the Pixies were going to be playing Music Midtown 2005, I knew I had to be sure not to miss a moment!  Black Francis a.k.a. Frank Black, a.k.a. Charles Thompson (vocals, guitar), Kim Deal (bass, vocals), David Lovering (drums, some vocals), and Joey Santiago (lead guitar, vocals) serenaded the crowded 99x stage with the grace of no other, as they will in their upcoming tour of the world.

They kicked off their headlining performance Saturday Night with “Wave of Mutilation” from the 1989 Doolittle album.  It wasn’t until the start of “Debaser” from Doolittle that we truly heard from bassist, Kim Deal.  I think she must have really turned up the bass for this one.  I have always admired the chemistry between Black and Deal’s vocals.  They blend well.  This is quite evident in Doolitle’s “This Monkey’s Gone to Heaven.”   

Just when I thought that this was going to be the “Doolittle” show, they broke into my all time favorite Pixies song ever, “UMASS” from  the last album before the band’s first real break up, 1991’s Trompe le Monde.  I believe they played this one for me… “Oh let it rock!”  It is truly a joy for me to see this band touring together again.  I have been waiting for this moment for over fifteen years!  Pixies, please stay together forever, til you’re old and gray and can’t play another note!!!

“Cactus,” from the 1988 album Surfer Rosa, is one of many songs with terribly troubled lyrics.  “Bloody your hands on a cactus tree, wipe it on your dress and send it to me.”  On a bit lighter note, but from the same album, “Gigantic” gets “big, big love” from the crowd.  I am amazed at Kim Deal’s beautiful vocal quality after seeing that she actually smokes while performing!  Not the first time I’ve seen it, but her voice is so smooth, it is surprising.  Lovering’s drums are also gigantic in this unique love song, along with Santiago’s smoking guitar solo.  Judging from the crowd’s response, this was a favorite moment, thus far.

The bass line on “Tame” (from Doolittle) makes it impossible to be still.  Having such prominent bass is overlooked in too many rock bands.  Deal’s bass and vocal expression is for sure a major part of the Pixies sound.  Black’s vocal antics on “Broken Face” (from Surfer Rosa) are always welcome and help keep the high mood going.  One good cover song, or at least a tease, is a must at a great rock n roll show.  The Jesus and Mary Chain song, “Head On” (Pixies’ version from Trompe le Monde), must have really taken off after the Pixies covered it, because their version rocks HARD!  No denying the brutal familiarity of the lyrics, though, “And all I ever got from you was all I ever took from you.”  Of course, “Hey,” (from Doolittle) is one of the best songs all around, with unmatchable vocals, precise drums, impeccable strumming, and a tender melody.  “Hey” is a deeply emotional song, and commanded the complete attention of this very large festival crowd.  “Gouge Away” ANOTHER from Doolittle set us up to rock the “Subbacultcha” (from Trompe le Monde).  Reminiscent of the Goth scene back in the day… “I was all dressed in black, She was all dressed up in black…I was wearing eyeliner, She was wearing eyeliner.”  Once again, the mix of vocals is so in tune, they seem like one voice.  “Dead” (from Doolittle) is what Black calls a nursery rhyme!  This whole experience has been a “catharsis.”  I respect and crave the honesty of their lyrics, “My blood is working but my heart is dead.”

“Bone Machine” (from Surfer Rosa) is a fun concept.  Only to find out there are more issues revealed,  “I was talking to preachy preach about kissy kiss.  He bought me a soda, he bought me a soda, he bought me a soda.  And he tried to molest me in the parking lot.”  Damn!!  The most appropriate song of the evening, “Stormy Weather,” the one song pulled from the 1990 album Bossanova.  “It is time for stormy weather.”  As we stand the whole time in the rain to hear the Pixies play their beautiful music.  “Caribou” (from the 1987 EP Come on Pilgrim) seems like it is going to be one of those sweet feeling Pixies ballads, then hits you in the face with bass, drums, guitar, and that ever-popular scream.  As they put it in “I Bleed” (from Doolittle), it can get “as loud as hell.”  However, B-side “Into the White” must be the one about death, because Deal’s voice is like an angel’s welcoming you into the white.  I love the guitar on this one.  To change it up some, the drummer, David Lovering, took the mic to sing Doolittle’s “La La Love You.”  Gorgeous, darling.  His voice is dreamy.  Right into another Doolittle romantic classic, “Here Comes Your Man.”  So, this must be Doolittle night on the tour, as we got ten of the fifteen songs off of this whole album.  One twice (more on that later).  I believe they played this one for Leah.  “There is a wait so long, you’ll never wait so long.  Here comes your man.” 

“In Heaven (Lady In The Radiator Song)” from Pixies at the BBC and Complete B Sides promises, “In Heaven, everything is fine.”  Another sweet song featuring Kim Deal.  On the other hand, “Nimrod’s Son” (from Come on Pilgrim) features Black with his recollections of people telling him disturbed things like, “You are the son of incestuous union.”  Hearing lyrics like these help me to understand more of where these people are coming from as lyricists, and why they ask questions like, “Where is my Mind?”  This Surfer Rosa anthem calls attention to a common problem in today’s society, “Your head will collapse if there’s nothing in it, and you’ll ask yourself, “Where is my mind?”  Likewise, I was about to lose my mind, knowing that the night was almost over, and the Pixies would go away, back into Pixie land.  What a note to end on.  You know, that high one that Deal hits behind Black’s wonderfully touching verses.  Everyone was signing along, Deal didn’t really even have to sing, but I’m glad she did, since we came to hear her, not the drunken bandana guy standing next to me…I digress.

I was so happy that they gave a quick encore, just a few more seconds, I’ll take what I can get!  They decided to end the night on the same song as they started, “Wave of Mutilation” only at half the speed.  Black and Deal singing together “Cease to resist, giving my goodbye.  Drive my car into the ocea-a-an.  You think I’m dead, but I sail away (ay, ay, ay, ay) on a wave of mutilation.”  I almost cried, it was so great.  Not even the stormy weather could keep the Pixies lovers away from this one of a kind Music Midtown performance.  Two of the band members were even celebrating birthdays (40 and 44).  What a way to show how a good thing ripens with age.  Even though my favorite Greatest Hits type of collection of Pixies music is called Death to the Pixies, they prove over and over again that they are indeed alive and well.

You have a limited amount of time to catch them in the U.S. before they take their act abroad.  July 7, 2005, they will be in Milwaukee, WI at the Marcus Amphitheatre co-headlining with Weezer, as well as July 9, 2005 in Toronto, Canada at the Molson Amphitheatre.  Of course, the festival not to miss if you can make it is Lollapalooza on July 23, 2005 in Chicago, Illinois.  On July 30, 2005 you can go to Street Scene in San Diego, California, and on August 6, 2005 they will be in Newport, RI for the Newport Folk Festival.  After that, you will have to hit Portugal, Belgium, Netherlands, Germany, Ireland, France, England, or Scotland to see the Pixies, at least until the end of August. 

To see how much fun it was to see the Pixies, scroll to the bottom half of the “day two” photos at: http://www.leahyetter.com/mmt61105/.

by terri sapp

Fabulous Photos by Leah Yetter

© Concert Sutra, All rights reserved

click photos for Sunday photo gallery

There’s no secret that some of my favorite events of the year happen on the weekend of Music Midtown every year.  A weekend full of so many different types of artists all coming together in the middle of the City of Atlanta to put up their best effort to draw the biggest crowd between six stages.  This year, hats off to 99x, the local “Everything Alternative” Radio Station, who managed to book the most impressive line up on one stage that I have ever experienced.

Out of all of the bands that I was overjoyed to see, I have to say that the most unexpected delight of the weekend was the grand finale headliner on the 99x stage, DEVO!  Even though it had been nearly 20 years since DEVO had played Atlanta, you wouldn’t have known it from the warm welcome they got from all the happy “spuds” and future “spuds” on Sunday evening.  The DEVO energy dome hats must have been working to keep the rain away, because Sunday ended up being the only dry day of the festival.  DEVO packed a high-energy punch with or without “flower pot” energy dome hats and radiation suits.  Their message is as politically charged as ever and complete with social commentary and fun.  Their set list was a balanced mix of their more popular songs and rarities.  We got to hear “That’s Good,” “Girl U Want,” “Whip It,” “Satisfaction,” (Rolling Stones cover) “Uncontrollable Urge,” “Mongoloid,” “Blockhead,” “Jocko Homo,” “Smart Patrol/Mr. DNA,” “Gut Feeling/Slap Your Mammy,” “Gates of Steel,” Encore:  “Freedom of Choice,” and “Beautiful World” with a special appearance by Booji Boy.  Booji Boy seems to be sort of the social voice of DEVO, with his stories and lessons.  My favorite ever Booji Boy moment was his role in the 1982 Neil Young movie, Human Highway.

click photos for Friday photo gallery

Another 99x headliner, The White Stripes, made quite an impression on the loyal fans, who stayed in the rain to hear the set that this awesome twosome picked out for us.  Their set included many hits from White Blood Cells, Elephant, and their latest release, Get Behind Me Satan.  Some highlights were “Dead Leaves and the Dirty Ground,”  “Sick of Love” (Bob Dylan cover), “The Hardest Button to Button,” “I Just Don’t What to do With Myself,” “Blue Orchid,” and “Seven Nation Army.”  The White Stripes are a brother/sister team with several drums, guitars, keys, and xylophone.  Their sound is so powerful to just have two members in the band.  Meg White’s drums are a force all their own.  Jack White’s soulful voice blends just right with his multi-genre guitar.

Joan Jett and the Blackhearts rocked the 96 Rock stage with vigor of a twenty-something with an attitude.  She is in better shape than ever, and doesn’t show a day over twenty-five.  Her energy was infectious, and her charisma with the audience proved the right formula for a hot performance on a hot summer day.  She played favorites like “Bad Reputation,” “Do You Wanna Touch Me?,” “Cherry Bomb,” “Crimson and Clover,” and “I Love Rock ‘n’ Roll,” as well as some of her new songs.  Overall, Joan Jett and the Blackhearts rock as hard as ever! 

click photos for Sunday photo gallery

The Lemonheads were another cool 99x group I haven’t heard out of in a while.  They definitely pleased with their classic hits like, “Into Your Arms,” and “It’s a Shame About Ray.” (for sure)  I was glad to have seen Evan Dando’s foxy haircut, and heard him sing and play guitar.  The Lemonheads go right along with the early 90’s crew 99x had going on this year.

On the 96 Rock stage Tom Petty and the Heartbreakers brought it with many of the songs you would want to hear them play.  “Listen To Her Heart,” and “You Don’t Know How It Feels” were two that we were able to catch before having to run off to catch another of the many worthwhile performances this year at Music Midtown.  Believe it or not, there was even a bit of crowd surfing going on in the Tom Petty crowd.  Luckily for the masses of people gathered to witness Tom Petty’s bedroom eyed, quirky smiled show, this year, the festival heads laid down some sort of flooring to help prevent massive mud piles. 

Every since The Velvet Underground album, folks have looked to Lou Reed, another act at this year’s Music Midtown, for innovative lyrics and Rock ‘n’ Roll music.  Reed also threatened “to put you in therapy” in his spirited 96 Rock stage show.  Even though Reed is one of the “fathers” of rock, he has aged well, and is sexy as ever!

Over at the Jermaine Dupri stage, Ciara shock down the house with her booty skills and her dancers.  My jaw was dragging the floor when her crew got down.  Many gems from her debut album, Goodies, were all welcome.  “Pick up the Phone” was kind of mellow, but allowed for her voice to shine.  “Oh” was also a very laid back beat with a sexy feel, which was really good for the dancers to strut their stuff!  Very impressive group of movers and shakers.  On the other hand, “One, Two Step” was CRUNK.  She was not even playing around, and this girl can go all the way down to the floor.  I would never want to be up against Ciara in a Limbo contest.  She must have felt extremely comfortable at this hometown show, because her voice was on point along with her pretty vigorous dancing.  I was impressed with her ability to hold it together vocally and still get down like nobody’s business.

click photos for Saturday photo gallery

Another surprise on this year’s Jermaine Dupri stage was Kanye West showing up to play with Common.  Kanye was able to perform some of his songs, like “All Falls Down,” and “Jesus Walks,” along with a little of his newer work including, “Gold Digger,” which was hilarious.  Of course, Common joined Kanye for a bit, then took over with some of his own flavor.  “Go!,” and “The Corner” were a couple of the songs we heard from Common’s newest album.  Then, he picked out a girl from the audience, and actually played a tease of R. Kelly’s “Bump and Grind” (I was so jealous) and gave her a little lap dance type deal before serenading her with his beauty on “Come Closer.”  Common says he has a banana for all the Georgia Peaches, and I saw very many Peaches ready for a snack!  Kanye West mixing it up with Common is definitely a sight for any eyes.  They have great chemistry together and come together nicely for a unique hip-hop experience.  Backing these guys up were a DJ, some Keyboards, and a Drummer.  Having live musicians always adds to the performance, especially in hip-hop.

An old school act that graced the Jermaine Dupri stage was Doug E. Fresh.  Slick Rick was around as well, but did not come right out as Doug E. Fresh did.  Slick Rick was to be the second half of the segment.  Doug E. Fresh had a wonderful DJ spinning many jams from back in the day.  During the Doug E. Fresh part of the show, I had the sudden urge to go boogey down at my local skating rink.

click photos for Friday photo gallery

Music Midtown 2005 had the best line up I have ever seen.  However, the crowds were overall the smallest I have been in for Music Midtown.  The competing festivals, such as the Vibe Musicfest across town at the Georgia Dome, and the Bonnaroo festival in Tennessee, which were all happening at the same time, obviously effected the numbers at Music Midtown 2005.  The unpredictably nasty weather also contributed to the lighter crowd.  For those of us who braved the weather, there was a treat waiting behind every corner.  The 2005 line up for Music Midtown proved, however, to be quite a competitor for the rest of those fests vying for attendees.

Below are some fun facts about this festival of festivals provided by the folks at Music Midtown:

• It takes approximately 10,500 hours to build all of the stages, platforms and gateways for the Music Midtown complex.  That’s about 5 years of work for 1 person.
• 20,000 feet of fencing is used throughout the 40-acre Music Midtown complex, which is equivalent to the length of approximately 66 football fields or 3.8 miles.
• Approximately 92.5 tons of ice is used over the course of the weekend, which equals the weight of almost 818 pandas from the Atlanta Zoo.
• It takes approximately 3500 hours of labor just to load in sound equipment, lights and bands for the festival.  Approximately 45 minutes of labor : 1 minute of music.
• More than 1,000 pages of information including applications, plans and calculations are turned into the City of Atlanta to procure the Music Midtown permit each year.  “War and Peace?” –how’s about just a festival!
• Moe’s rolled out approximately 1900 burritos last year, each measuring about 6 inches long.  If placed end to end, the burritos would measure close to 950 feet!  That’s more than twice the distance from home plate to the center field will at Turner Field (a long way).  Together, the burritos weighed 7.5 tons, or roughly an adult elephant!
• 7,200 pounds of fertilization is used to rehabilitate the parks in the Music Midtown complex, which is equivalent to the weight of 33.5 Michael Vicks, the 215 lb acclaimed Quarter Back for the Atlanta Falcons.
• The amount of electricity used at Music Midtown would have the ability to power Macon, Georgia for six months.
• 9,600 feet of bike rack is used by Music Midtown each year just for street closings and entry lanes.  You could park approximately 30,720 bikes with that amount of bike rack.
• The estimated economic impact Music Midtown has on Atlanta equals an estimated $23.5 million in just three days.
• The Music Midtown Festival generates a 50% higher demand at Marriott hotels over the weekend.
• News coverage from the 2004 Music Midtown Festival reached people all over the world including Turkey, Ireland, Spain, Russia, England and more.

I highly recommend carefully looking over Leah’s pictures of Lou Reed, Ciara, and The White Stripes from Friday night here: http://www.leahyetter.com/mmt61005/ photos of Common and Kanye West, Tom Petty and the Heartbreakers, and Pixies from Saturday night here: http://www.leahyetter.com/mmt61105/ and the photos of Joan Jett and the Blackhearts, Doug E. Fresh, The Lemonheads, and DEVO from Sunday here: http://www.leahyetter.com/mmt61205/.  For a closer look at the Pixies’ set from Saturday night, check out this month’s “Concert Sutra.”  Evident in the photos, Music Midtown this year brought one of the most powerful lineups yet.  I, for one, am already looking forward to Music Midtown 2006!  I have felt from the first time I attended this festival, and still feel, that no matter who is set to play, and no matter the weather (except when you throw in thousands of dollars worth of equipment), Music Midtown is a blast…a must…and I can’t imagine my year without it.

 by terri sapp

Photographed by Leah Yetter

© Concert Sutra, All Rights Reserved

click photos for photo gallery

The summer is always the time for festivals to come through town.  Summer, 2005 offered many to choose from.  The weekend of June 10 through 12 proved a challenge for the indecisive.  Of course, everyone and their brother (except me and Leah) made the trek up to Tennessee for Bonnarroo.  Then there were those of us who remained faithful to Atlanta’s Music Midtown, which took place the same weekend.  If that weren’t enough, Atlanta also hosted the first annual VIBE MusicFest.  The VIBE MusicFest line-up rivaled the others from beginning to end.  From Ludacris to Faith Evans, Big Boi to Lauren Hill, even Common and Kanye West made an appearance.  For me, though, the group that got the least amount of “press” was the most uplifting and enjoyable.  The Marley Brothers’ celebration of their Father, Bob Marley’s Life of work touched me on the deepest part of my soul.  The actual sons of Bob featured in this particular event were Stephen Marley and Damian “Jr. Gong” Marley.

From the first note of the introduction of the Marley celebration, I knew that VIBE MusicFest was in for a Kingston-style treat!  The Marley Brothers were the first of the night on Saturday night, but brought the energy of a headliner.  We were first introduced to Bob’s youngest son’s 1996 “Mr. Marley,” which is obviously a shout out to his father and the music he left behind.  Damian Robert Nesta Marley a.k.a. “Junior Gong” started the show with high energy and a heavy reggae vibe on some of his solo material.  Stephen then joined Damian onstage for a “Marley Brothers” version of the classic “Kaya.”  Both of these boys have their own voice, unique to them only.  However, when Stephen hit the stage with one of Bob’s signature outfits, the jean shirt and jeans, I could have sworn there had just been a resurrection.  Stephen and Ziggy Marley are the spitting image of their Father, so every time I see them play music, I can’t help but wish Bob could walk out and join them for a few songs.  One day.

No matter where I am, or who is playing it, when “Jammin’” comes through the speakers, I can’t stop my body from moving and skankin.  Stephen and Damian perform with such spirit, the VIBE was definitely feeling the vibe.  Damian, my favorite of the boys, has the longest dreadlocks I have ever seen, and a big personality to match.  I feel like his neck muscles have to be extremely chiseled in order to support all the dread flipping and head swinging he does.  He is absolutely gorgeous…I wanna jam it with him!  During “Exodus,” Jr. Gong broke out in the fast paced rap/reggae he has been known for.  I love it when he does that.  It was really more of a rap number to the tune of “Exodus.”  Very cool.

Singing with the boys was a wonderful female powerhouse, who was featured during Damian’s “It Was Written” from his Halfway Tree album.  Stephen also joined in to sing this deep and meaningful ballad.  On “Could You Be Love?” the futuristic sound coming from the keyboards brought this vintage piece right into 2005.  In addition, as evidenced on the “Chant Down Babylon” album (where artists of today added their flare to the old school Bob tunes, and actually sang along with His recorded voice still there), Damian adds a modern style all his own.  The guy who played the drums for them also blew us away with his precise and intricate reggae beats.

During “Could You Be Love?” Stephen brought out his cute little boy to join in the reggae party.  Stephen’s voice is so similar to his Father’s, at times he could actually pass for Bob.  It is so nice to get Stephen and Damian’s interpretation of some of the most recognized songs their Dad left us with.  My favorite moment of this Marley party was Stephen singing and playing guitar in the Bob outfit (that we also saw Ziggy sporting on Valentine’s Day, 2004) while archived video of Bob footage played on the large screens on each side of the stage, wherein he sported the same outfit as Stephen.  I was overcome with emotion to see Bob up there playing guitar and singing.  The way they had it set up, the video footage actually seemed to fit, and that we were in the presence of Bob himself…in the flesh.  The greatest part of that is that we were…his spitting image, at least, and definitely his spirit.  I can’t express how happy it makes me to be in the same room with Bob Marley’s DNA!

When the Marley Brothers’ time was up, I yearned for more, and really wished they had played much longer.  Nonetheless, VIBE MusicFest was able to score a performance from Lauren Hill, as well as bring Big Boi from Outkast, Ludacris, T.I., and Faith Evans all on the same night as the fabulous Damian and Stephen Marley, so I guess I can just be happy with the little taste of Marley we got.  Even though we had to leave shortly after Faith Evans started (to make MARTA to Music Midtown) I believe that we got the best of the night!  As many times as I’ve seen Big Boi and Ludacris, they’ve never brought me to uncontrollable tears.  What can I say, the Marley Brothers rootsROCKreggaed the house down.

To take a gander at the most beautiful offspring ever to be created, go to Leah’s photo gallery at:  http://www.leahyetter.com/vibe05/index.htm.  You can also catch the different members of the Marley family play with the Melody Makers, Ghetto Youths, or Ziggy, Stephen, Julian, Damian, or Ky-Mani Marley as solo artists. 

Some upcoming dates featuring DAMIAN “JR GONG” MARLEY with special appearance by STEPHEN MARLEY include:
08/02/2005 Las Vegas, NV @ Skin Pool Lounge, Palms Hotel
08/05/2005 Lake Tahoe, NV @ Caesars Tahoe
08/06/2005 Piercy, CA @ Reggae On The River
08/07/2005 Sacramento, CA @ Harlow’s Nightclub
08/09/2005 Aspen, CO @ Belly Up
08/10/2005 Aspen, CO @ Belly Up
08/12/2005 Springfield, MO @ The Rockwell
08/13/2005 Columbia, MO @ The Blue Note
08/14/2005 Louisville, KY @ Waterfront Park / Reggae Splash
08/21/2005 San Francisco, CA KMEL Summer Jam
08/28/2005 Miami, FL @ MTV – Video Music Awards
09/02/2005 Manhattan, NY @ WQHT Hot 97 Reggae Concert
09/04/2005 Queens, NY Irie Jamboree
09/05/2005 Brooklyn, NY @ Labor Day Float Parade

I’d say if you ever had a chance to catch any sort of tribute to Bob Marley’s music, whether it’s from an actual member of his family, or from his former band, The Legendary Wailers, DO NOT HESITATE!  DO IT!

by terri sapp

Photographs by terri sapp (from the pit) and Leah Yetter (from the balcony)

© Concert Sutra, All Rights Reserved

click photos for photo gallery

In my wildest dreams, nothing sexier could be

Than Trent Reznor’s muscles glistening back at me

The intensity and message that comes from his song

Makes me wonder how before him I ever got along

Conjuring high energy and strong emotion never fails

Coming from the power that will always be Nine Inch Nails

Having waited for this night since the day “Pretty Hate Machine” boomed from the speakers of my high school cd player, I would have to say that spending the evening with Nine Inch Nails, no matter what the lineup, was monumental.  In support of their latest, long awaited, studio album, “With Teeth,” Nine Inch Nails has launched a club tour across the globe equipped to blow the roof off of these smaller venues.  Front man and only official member, Trent Reznor, along with his newest touring lineup of musicians, definitely left a mark on Atlanta, Georgia that will not soon be forgotten.  Atlanta was lucky enough to have had two opportunities to catch this rare intimate tour, both Saturday, May 21, 2005 and Sunday, May 22, 2005.  Although, only a handful of fans (comparatively) were able to score tickets, since both shows, and most shows on this tour, sold out within minutes.

Leah and I were overjoyed to have the chance to catch one of these jewels.  Sunday, May 22, 2005 in Atlanta, Georgia at (ironically enough an ex-Baptist church) the Tabernacle presented an experience matched by few.  On a majority of this leg of the “With Teeth” tour, Nine Inch Nails is joined by special guests, The Dresden Dolls, a punk cabaret duo from Boston, Massachusetts.  Amanda Palmer (Piano, Vocals) and Brian Viglione (Drums, Acoustic Guitar) were a perfect match for the Atlanta crowd, who lapped up every bit of what they laid out.  Their radio played, “Coin Operated Boy” got the night off to a wonderfully perverted start.  Followed by their covers of Black Sabbath’s “War Pigs,” and Radiohead’s “Karma Police” with Nine Inch Nails drummer.  These two had just the right energy to pump this crowd. 

Alessandro Cortini (keyboards, sample sounds), Jerome Dillon (drums), and Aaron North (guitar), previously with punk band “The Icarus Line,” have joined Jeordie White (bass, guitar), formerly infamous as Twiggy Ramirez of Marilyn Manson’s crew, to form the ideal touring band with Nine Inch Nails originator Trent Reznor.  The intimacy of the Tabernacle is a bit overwhelming when dealing with a group such as this who everyone in the house wants to be close to.  For the first half of the show, I lodged myself in the pit on the floor in hopes of catching a good long glimpse of Reznor at work.  When the notes of “Wish” began to ring out, every body in the house went wild.   For sure an indication of what they had in store for us.

From the newly released studio album, “With Teeth,” “You Know What You Are?”  kicks infectious drums and lyrics to match.  Another song from this new album, “The Line Begins to Blur” follows suit with great power.  White’s bass thumps throughout this little ditty, and Cortini’s sounds fill the place continuously.  These songs are proof that Trent Reznor rocks as hard as he ever did.  The first scare of actually being knocked to the ground, “March of the Pigs/All the Pigs, All Lined Up” from “The Downward Spiral,” added about a thousand knots to the energy level, especially in the sea of people on the front end of the pit.  Surfing the crowd, without even leaving the floor.  Waves take over as the band takes it down a little, but keeping the bacon theme, with “Piggy.”  “Nothing can stop me now ‘cause I just don’t care anymore” were my exact sentiments as I left the pit for a bit of breathing room with my buddy in the balcony!

Another old favorite of mine, “Terrible Lie” was a treat to hear.  I just love when artists open up their souls and direct songs to God.  “Hey God, there’s nothing left for me to hide.  I lost my ignorance, security and pride.  I’m all alone in a world you must despise.  Hey God, I believed the promises, the promises and lies.”  True intimacy.  From one of my favorite movies, “Burn” could not have come at a better time.  A real mix of true talent is what Reznor has found in Cortini, Dillon, North, and White, evidenced in their performance of this Nine Inch Nails classic.  “Flock of sheep all on display with all your lies piled up around you.”  There seems to be a general theme to the set list from what I can tell. 

Onto the more animalistic part of the show, one of my all time favorite Nine Inch Nails anthems, “Closer,” is always welcome to my ears.  I was hoping to be able to actually see Reznor utter those words.  It’s like he was reading my mind.  He definitely took the words right out of my mouth…  More from “The Downward Spiral,” “Reptile” gives me the distinct impression that somewhere along the way, Trent Reznor ran into some serious issues with some major deceit. 

From “The Fragile,” “The Big Come Down” shows cool vocal harmonies that sneak out through the hard industrial sounds of these instruments.  “Gave Up” also brings some interesting vocals on, “smashed up my sanity, smashed up my integrity…smashed up what’s left of me…gonna smash myself to pieces, I don’t know what else to do.”  Obviously, Reznor has never fully given up yet.  He still comes strong with full on hardcore.  Even on the “softer” songs, such as “The Day The World Went Away,” the drums are strong and bass still permeates the air.  The stage set up on this tour is also unbelievably notable.  In back of the band are planks of lights that are set up to look like stadium lights, as well as digital sound levels keeping the beat.  They go splendidly with the beat of “Suck.”  “Suck” really revealed the genius that is the bass of Jeordie White.  Something about this particular song spotlights his skills as a funky bass rocker.

A gem coming from “With Teeth,” “Getting Smaller” is not at all where Trent Reznor or Nine Inch Nails seem to be going.  Reznor is actually far from “just a face in the crowd.”  His chiseled facial features, coupled with fully filled out, ripped arms was enough for Reznor to never ever “fade away,” from my memories at least.  Slowing the mood with “Even Deeper” keeps a balance to the flow of the show, which is important when rocking out with this style of music.  Otherwise, the audience wears down for an anticlimactic end.  The slower songs give everyone in the pit a chance to determine “just how damaged have I become?”  Also on “With Teeth,” Reznor says “Love is Not Enough,” but judging by the sacrifices of the people in pit ocean down front, I would have to disagree.  With that in mind, Reznor breaks out a keyboard and attempts to dedicate a “nice song” to a “special friend,” some guy named Tiffany with some bands that were in the house, who had seen his first NIN show the night before, but then Reznor realized he has “not written any nice songs,” so “Hurt” was “as close as it gets.”  This very touching rendition of what has become a classic Nine Inch Nails ballad, especially after Johnny Cash made a haunting cover of it before his death, was one of the most heartfelt moments of the show, “I hurt myself today to see if I still feel.  I focus on the pain, the only thing that’s real.”

Once the soft side has been revealed, controversial “With Teeth” track, “The Hand That Feeds” booms out “What if this whole crusade’s a charade and behind it all there’s a price to be paid for the blood on which we dine, justified in the name of the holy and the divine.  Just how deep do you believe?  Will you bite the hand that feeds?  Will you chew until it bleeds?  Can you get up off your knees?  Are you brave enough to see?  Do you want to change it?”  I love this new album, and feel that it is right up there with previous powerhouse records.  Just when we thought it couldn’t get any better, they end the show with my first favorite Nine Inch Nails songs ever, from “Pretty Hate Machine,” “Head Like A Hole.”  Trent is playing along on his guitar, making for a very strong guitar sound.  “Head like a hole, black as your soul.  I’d rather die than give you control.”  The balcony actually dances along with this one.  I believe that for the few minutes this song lasted, the entire building was moving, literally. 

Nine Inch Nails will be touring throughout the rest of the Summer, but if you haven’t seen them by now, you will have to go overseas to catch a show, if you can get tickets.  The rest of the Summer, they will be all over the globe.  Their United States leg was more than successful, selling out every night.  Experience the fun that we had on this “With Teeth” tour for yourself by visiting our wonderful photo gallery at http://www.leahyetter.com/nin052205/.  For a look at the opening act, The Dresden Dolls, check out their website at http://www.dresdendolls.com/main1.htm.  Of course, for more information on upcoming Nine Inch Nails not to be missed tours, etc. and for access into the wonderfully dark wit of Trent Reznor’s fan interaction blog, go to www.nin.com.

by terri sapp

Photographs by Leah Yetter

© Concert Sutra, All rights reserved

click photos for photo gallery

Every time Tori Amos (pianist, singer, songwriter) puts out an album, the buzz gets going surrounding what that tour will bring.  Tori’s new album, The Beekeeper, is no different.  The Original Sinsuality Tour offers Tori at the essence of her best, just her and her instruments: the Bosendorfer Piano, two Hammond Organs, a Rhodes Keyboard, and that hefty set of vocal pipes.  Although her band mates Matt Chamberlain (drums) and Jon Evans (bass) are missed terribly when they are not around, it is something special to experience the one woman show that is Tori Amos in the midst of a sea of keys!

Even though Tori’s boys aren’t around to entertain her, Mark Hawley (Husband, sound) is always there to make sure she is taken care of on tour and sounding great.  It’s a family affair.  On the “Original Sinsuality Tour” Tori is wearing the flowing feminine clothes tailored from Bora Aksu’s Spring/Summer 2005 collection.  For a glimpse of the clothing line, go to: http://www.boraaksu.com/ss05/index.html

In Clearwater, FL on Friday, April 1, 2005 at Ruth Eckard Hall, Leah was able to kick off the tour at the big opening.  The Clearwater, Florida set included:

Original Sinsuality, Angels, Happy Phantom, Jamaica Inn, Seaside, Winter, Playboy Mommy, God Bless The Child (Billie Holliday cover), Candle in the Wind (Elton John cover), Marys of the Sea, Sister Janet, Marianne, Pretty Good Year, Rattlesnakes, The Beekeeper

1st Encore: The Power Orange Knickers, Putting The Damage On

2nd Encore: Another Girl’s Paradise, 1000 Oceans (DAMNIT! I wish I was there for this song)

Luckily, Leah and I were able to catch this tour in Atlanta, GA on Monday, April 4, 2005 at Symphony Hall. The show was simply stunning.  Just before the tickets to this show went on sale, my Mother caught Tori on one of the Late night type shows performing “Sleeps with Butterflies.”  She came to me and asked about that woman we are always going to see.  When she found out she was playing soon, she decided to go.  From the set list, I would have thought Tori knew Mom was going to be there.  She played several covers, and even played the one song Mama wanted to hear!  If only she’d played “Ireland” it would have been unbeatable.

No surprise that the opener ended up being the namesake of the tour, “Original Sinsuality.”  Next, with one of the two Hammond organs, “Blood Roses.”  Very passionate.  Tori greets the South with the news that the South makes her feel “willing and alive.”  From the improv that she gave before “Past The Mission,” Atlanta gets Tori a little worked up, if you know what I mean…  “Past the Mission” was perfect.  She played both the piano and the Hammond organ at the same time, and with such grace.  That is so impressive. 

When  “Sleeps With Butterflies” followed “Past the Mission,” I knew we were in for it this evening.  Even though she has been playing this one around town, she hasn’t really played it a lot on the road.  I believe that she played it just for my Mama’s first Tori show, since that was the song that reeled her in.  Old skool, “Cooling” was cool as ever.  Tori’s vocal range really shines on this one.  But the catchy, yet politically charged, “The Power Of Orange Knickers” came alive like no other.  This song has continually grown on me since the release of “The Beekeeper,” to the point where it is one of my favorites to hear.  I prefer her live version of this song to the version on the album.  There is something very powerful about just her and the piano, belting out such lyrics and beats.  “Doughnut Song,” had a sweet and sexy melody, and very personal lyrics, which is always a good combination.

In honor of her recently deceased brother, Michael, Tori played Elton John’s “Rocket Man,” which oddly enough seemed to fit perfectly.  Especially with the “Georgia On My Mind” tease on piano, along with her cute story about their connection with the song and smoky bars, when she played bars…and when she smoked…”not that I ever smoked…cigarettes…(giggles).”  Her version was haunting and beautiful.  Just when I thought she wouldn’t play a better cover song than “Rocket Man,” she went right into Roberta Flack’s “Killing Me Softly.” 

”Carbon,” pulled from Scarlet’s closet, was nice to hear.  “Jamaica Inn” brought out the Hammond again.  Tori switches between the piano and the Hammond with ease, which makes for an interesting sounding change in the feel of the song.  To play piano, organ, AND sing at the same time…I can’t imagine anyone being able to say that is anything but GENIUS!  A hard one to follow up, Fleetwood Mac’s “Landslide” helps the transition.  The best part, though, was Tori’s reaction to an obnoxious (now infamous among anyone in the crowd that night) girl who couldn’t seem to grasp when the best time was to scream at the top of her lungs, “OK, the Motley Crew show is across the fucking way!”  Even then, she went immediately back into her song with a wink, kiss, and a smile without missing a beat.  What a Pro!  From the looks of it, we were all having a case of the “Mondays.”  Tori must have picked up on that, since she pulled out the Rhodes and Robert Geldof’s “I Don’t Like Mondays.”  I always love hearing this song when she comes and plays on a Monday night.  I, too, don’t like Mondays.  Above all, I wished and prayed to hear the next song…title track from her newest album, “The Beekeeper.”  There is always that song that reaches into your soul and tugs at your inner core.  For me, right now, that song is “The Beekeeper.”  On the Hammond, Tori wails and pleads to the beekeeper.  This was for sure a highlight for my night.  I found myself reaching for the tissues I brought in case she played this one.

For the first encore, old favorites “Tear In Your Hand” and “Josephine,” both on the piano.  Both of these songs have very rich vocals and melodies.  Quite a satisfying encore.

After a short break, we got a sweet second encore that had a twist, “Merman,” which referenced “the priests are dead” just when the pope died.  At the end of the road, Tori left Atlanta with a “Twinkle.”  I thoroughly enjoyed this venue and set list, and can’t wait to see Tori again this Summer.

On April 15, 2005, Leah was also lucky enough to catch the Chicago, IL show at the Auditorium Theatre.  The Chicago set was as follows:  Original Sinsuality, Father Lucifer, Mother Revolution, Yes, Anastasia, Apollo’s Frock, Parasol, Mother, Operator (Jim Croce cover), Circle Game (Joni Mitchell cover), Cars and Guitars, Space Dog, Marianne, Barons Of Suburbia, Cool On Your Island, The Beekeeper

1st Encore: Honey, Sweet The Sting
2nd Encore: Cloud On My Tongue, Ribbons Undone

Don’t miss a look into our Atlanta and Chicago experiences, check out Leah’s photo gallery at: http://www.leahyetter.com/cstamos0405/

Tori is heading out in the United States again this August and September for a nationwide tour, “Summer of Sin.”   You can find more updates at http://www.thedent.com/, but so far, the “Summer of Sin” can be found at:

* Jones Beach Theater, Wantagh, NY – WED AUGUST 17th
* PNC Bank Arts Center, Holmdel , NJ – FRI AUGUST 19^th

In the meantime, enjoy her newest album, “The Beekeeper,” which will keep you satisfied until she comes to your town again.  As always, check http://www.toriamos.com/ for more information.

by terri sapp

Photographed by Leah Yetter

© Concert Sutra, All Rights Reserved

click photos for photo gallery

Oh…to be monkeying around in one of Atlanta’s most respected Recording Studios with Producer/Engineer extraordinaire, Robert Hannon!! This Grammy Award winner (for his work on Outkast’s “Hey Ya!”) has recorded and engineered many highly respected artists from Ludacris to Marvelous 3 to Bone Thugs ‘n’ Harmony to Snake Oil Medicine Show.  Leah and I were able to spend some time at the largest, highest quality Studio in the Southeast United States.  For some of Leah’s pictures of our time in the Studio, visit: http://www.leahyetter.com/cstree32005/.  To check out more on Tree Sound Studios, go to: http://www.treesoundstudios.com/.  Read on for an in depth interview with Robert Hannon.

Concert Sutra:                      Can you give us a little background to start out with on Tree Sound Studios and how it came to be so great?

Robert Hannon:  (laughs)  Well, it all started in Paul’s (Diaz, owner) basement…Paul’s parents’ basement, actually.  With a four track tape recorder.  He was doing bands in his parents’ basement, and he ended up…this wasn’t the first spot Tree was in…he had another place down the road.  He built this one in ’97, and actually some of the first clients were TLC, Collective Soul, and R.E.M.  Then, I came along. 

Concert Sutra:                      So, it started with a four-tack tape recorder!

Robert Hannon:  In his parents’ basement, which I am sure they were thrilled about!

Concert Sutra:                      So, when did you guys move over to this location?

Robert Hannon:  I think he actually bought the building in ’95, but it took him like two years to build this A Room.

Concert Sutra:                      Wow!  Did he just come in and say, “this is what I envision, this is what I want” then make it happen?  Or did he have guidance?  How do just make this (referring to the legendary Studio A)?

Robert Hannon:  (laughing)  Well, first, you need a lot of money!  So you either gotta beg, borrow, or steal it!  But, the old Studio was in the same building as AIM, Atlanta Institute of Music, it was a recording kind of school, and so he had some deal where the school would use his Studio for the students, and he was having some problems with the school, I guess, so he decided he wanted his own building that he owned, so he wouldn’t have to deal with, you know, landlords, or tenants…

Concert Sutra:                      Parents…

Robert Hannon:  Yeah!  The guys that designed this place basically charges a million bucks to design your studio.

Concert Sutra:                      So, he did have a designer.

Robert Hannon:  Oh, yeah, but he didn’t end up having to pay the guy a million bucks!  He, along with the help of some of the other “studio people” in town that have been around here a lot longer, kind of convinced this dude to design the studio, because he (Paul) will build it how you design it.  That’s why the designer charges a million bucks, because he doesn’t want to put his name on something, unless he KNOWS it is going to be build it right and not cut corners on his design.  So, Paul got around that and got him to design this Studio, and so he built it!

Concert Sutra:                      Awesome!

Robert Hannon:  (laughs)  And now the bank owns it all!!!  (laughs)

Concert Sutra:                      So, what about the mural?  What’s the story on that?

Robert Hannon:  Paul knew this couple, Amy and Patrick, that used to live here…they live in Asheville now…they’re friends…they do all the Mellow Mushroom art.  If you have been in a Mellow Mushroom around Georgia, you’ve seen their painting.  So, when we built out that side, you know, we had this big atrium…this giant blank wall!  It was like, we gotta put something there!  It took ‘em about six months to finish the whole thing.

Concert Sutra:                      It’s awesome!  So, what do you think, in your opinion, are the top five biggest accomplishments of Tree Sound Studios (aside from this amazing building)?

Robert Hannon:  Number one, that we’re still open for business…(laughs)…given the current state of the industry where recording devices are so cheap now, and with computers people doing stuff in their bedrooms, it has really cut into the big studio business.  They think they are saving money by not paying for a room like this, but the results speak for themselves.

Concert Sutra:                      You can’t beat a room like this!

Robert Hannon:  Also, just building up the client base that we have!  Outkast,  Goodie Mob, Ludacris, Nappy Roots, Beastie Boys, and on the “rock side,” Collective Soul, Sevendust, Live, Matchbox 20, you know, all the “platinums” on the walls…

Concert Sutra:                      I think if good hip hop when I think of Tree Sound Studios.  There’s definitely evidence of that all over your walls!  That’s definitely more than five major accomplishments!  How did you end up at Tree Sound Studios?

Robert Hannon:  I was living down in Orlando, Florida.  I went to school down there for Engineering, and I didn’t want to live down there anymore, and didn’t want to move to New York or Miami or L.A. or Nashville, so Atlanta was a place I was familiar with.  A buddy of mine that I went to school with down there had come back up to Atlanta about two weeks before I did, and he had been going to studios around town, and he told me about this place, so I came here and started as an intern.  Cleaning toilets, cleaning the kitchen, taking out the trash, vacuuming…

Concert Sutra:      The toilets around here are beautiful even!  I have been eyeing that steam room in the bathroom across the hall!  So, in your transition from interning to engineering, what was your first break?

Robert Hannon:  Well, I got my first break to actually get in the studio and work on a sessions an assistant, because the assistant that was supposed to be on the session didn’t show up!

Concert Sutra:      Praise Bob!

Robert Hannon:  So, it’s like, one minute I’m cleaning a toilet, the next minute I’m hooking stuff up for a session.  I guess the first session I got paid to assist on was with Marvelous 3, on the first Marvelous 3 record.  They actually did both of their records here.  I worked on both of them.

Concert Sutra:      Then, from being an assistant to being THE MAN…tell me how that happened…

Robert Hannon:  (laughing)  I guess I had been assisting for about three months, and the Studio Manager at the time called me in the office and he just said, “Robert, can you engineer?”  And I said, “Sure.”  It was for Sam Salter, an R&B artist from Atlanta that was on LeFace.  Sam came in to do some demos of some tracks, so that was kinda my “test.”  The Studio Manager at the time, Jim, ended up leaving, and he was also Chief Engineer as well, so I guess once I demonstrated that I had some knowledge and wasn’t a dumbass.  He was kinda planning I guess for his departure, and so he started “grooming” me for the task, I suppose.

Concert Sutra:  OK, well, you know it’s coming…

Robert Hannon:  I didn’t do it, nobody saw me do it, nobody can prove anything…

Concert Sutra:      Yes they can, actually, because you got a Grammy for it…Tell me about working with Andre 3000 a.k.a. “Yummylicious!”  (laughs)  How did you end up working with him?

Robert Hannon:  Well, they do have a place of their own now here in town that they bought after their “Aquemini” record.  So, their “Stankonia” album was actually named after the studio.  The studio is actually called Stankonia.  But it’s a one room facility, and since Speakerboxx/The Love Below was pretty much two solo records put together, plus they have other artists that they are developing, so Stankonia wasn’t available and Dre needed to finish his side of the record.  He was only about half way done with it, and they were at Tree for their first three records, so he came over here and decided to stick here and finish the record.  I was Chief Engineer at the time, and he needed an Engineer, so I got the job!  He decided to stay here for a month and a half!  But as far as what you see on stage, it’s not what you get off stage.  He’s completely different.

Concert Sutra:      What do you mean?

Robert Hannon:  He’s very quiet, soft spoken, really reserved, you know, he’s got his stage persona.  Yeah, he’s come in every day with a new toy, whether it was like some new synth module, or guitar pedal, or whatever, and spend hours going through sounds for a certain part or something.  But it’s weird, because we did that record back in April and May of 2003, well, when he was here recording, and the record came out around October or whatever.  But at first, “Hey Ya!” wasn’t going to be the first single.  I can’t remember, it was going to be either “Happy Valentine’s Day” or “She Lives in my Lap.”  But “Hey Ya!”  ended up being the one that was released as a single.  I don’t know how that came about, but I know when he was here working, he wasn’t thinking that “Hey Ya!” was going to be the one.

Concert Sutra:      Isn’t it funny how that works out!  You’ve also worked with some other of my favorites, Snake Oil Medicine Show.  Tell me about some of this music that has just been released that you guys have been working on.

Robert Hannon:  Actually, Andy Pond has a solo record coming out soon, too!

Concert Sutra:      Did you work with him on that one, too?

Robert Hannon:  Yeah.  I mixed it and mastered it.  He tracked it at another studio…

Concert Sutra:      We can’t believe him!  I love his banjo!

Robert Hannon:  I met Snake Oil on their “Love” record, which was basically like a live show type thing.  I don’t remember how they got hooked up with Paul.  I wish I did.  And, I didn’t do the “Bluegrasstafari” record, but that’s they only one I haven’t worked on.  I either tracked or mixed all the others, including this newest, “We Make It Nice.”

Concert Sutra:      So, those guys are crazy on stage, even off stage from what I can tell.  At High Sierra this past year they were a walking carnival!  Is it just mad when they are in the studio?

Robert Hannon:  Them damn hippies!  (all laugh)  Nah…it’s not that crazy, but George is still George

Concert Sutra:      We LOVE George!

Robert Hannon:  They’re just so much about the good vibes and the love and there’s no stress or conflict.  There might be some discussion or argument over something, but that’s pretty rare.  It’s a lot of fun with them in the studio!  They’re all just incredible musicians, so that makes my job a lot easier!  When musicians can actually play and sing and perform and write…We did this thing…George and Andy and Billy went down to Jamaica and tracked a bunch of stuff with the Overtakers, who were like, you know, Bob Marley era, but never got too far out of Jamaica, so not many here know about them.   They’re some of the originators, innovators.  Paul went and recorded it, and I mixed it back here.  George keeps telling me I need to go to Jamaica.  Yeah, they recorded this stuff on somebody’s front porch, or something.  This one (referring to the Overtakers’ cd) is the Overtakers’ “Pon Scenic Isle,” but if you say Scenic Isle and put a little Jamaican accent on it, that’s how they say “Snake Oil.” 

Concert Sutra:      AAAWWW!  Awesome!  So, how is it different from working with bands like Snake Oil  Medicine Show, to working with Ludacris and the DTP (Disturbing Tha Peace), and Nappy Roots and more hip hop groups?  I know it must differ, even in the process of recording.

Robert Hannon:  Yeah, the actual recording process is a lot different from hip-hop to rock or anything else.  Technically, there’s stuff that’s different, that you approach differently as far as how you maybe record, or actually make certain things sound.  Hip Hop sounds a certain way, you know, it’s all about the bass and the kick, and the vocals poppin,’ you know, everything’s very much the beat, the beat, the beat.  Whereas Rock music, even though drums are a big part of it, has so much more going on than there is in a Hip Hop track.  So, yeah, technically it’s a very different approach, but there’s not much difference as far as the artists in the studio.  Like, how they behave, so to speak.

Concert Sutra:      So, they all like to party in the studio is pretty much what you’re telling me.

Robert Hannon:  Yeah!  Well, there’s a keg of Sweetwater on tap in the kitchen…

Concert Sutra:      Living or dead, who would you want to get into the studio with?

Robert Hannon:  Pink Floyd.  Or, the big three would be Floyd, Zeppelin, and the Beatles.  Really, Beatles and Floyd or any of their associated members.  That’s just stuff I grew up listening to and still listen to.

Concert Sutra:      Actually, I was about to ask, who did you grow up listening to?

Robert Hannon:  I listened to a lot of classic rock growing up on the radio.  Then stuff they didn’t play on the radio like Kiss.  I think it was Queen’s “Dragon Attack” and Gene Simmons are why I wanted to become a bass player.  Cause I was a musician playing in bands for years before I actually got into recording anything.  As I grew up, it became the mid-eighties, High School came around, and I did my share of the metal…there was “The Metal Years.”

Concert Sutra:      What does THAT mean, because in the Eighties, that could mean anyone!

Robert Hannon:  Iron Maiden, Black Sabbath, Judas Priest, you know, there was also some Motley Crew, and Ratt. 

Concert Sutra:      “Hair Bands!?”

Robert Hannon:  I didn’t care for the cheese metal like Poison, Cinderella, and Winger, all those MTV kinda metal bands…they weren’t REALLY metal bands, they were pop bands.  That music wasn’t METAL, not like Black Sabbath metal.  Deep Purple is metal, not Poison.  But, I did have to endure that when it was “the shit.”  It sickens me that it’s now coming back!

Concert Sutra:      Is it, you think?

Robert Hannon:  Everything goes in twenty-year cycles.  All you gotta do is think of what was popular twenty years ago, and it’s gonna be the next thing.  In the 70’s, it was the 50’s.  In the 80’s, it was the 60’s.  In the 90’s, it was the 70’s.  Now, the early 80’s synths stuff is starting to come back.  And bands like the Darkness…

Concert Sutra:      Next thing you know, we will already be throwing back to the 90’s!!!

Robert Hannon:  In a lot of ways, the 90’s never left.  As far as Rock goes, cause I don’t know what it was, but the grunge thing with Nirvana and all, kinda set a trend as far as rock radio goes that has lasted beyond the grunge era.  I would say “grunge” ended in 1994, which was when Soundgarden’s Superunknown came out with “Black Hole Sun,” which is probably the pinnacle of their career.  After that, of course, Kurt killed himself or was killed or…

Concert Sutra and Robert Hannon:                                Whatever happened there!

Robert Hannon:  And Alice in Chains pretty much stopped playing, because, you know, whatever.  Then Stone Temple Pilots came along, and even though they got unfairly compared to Pearl Jam, because of one song.  They put out one this one song, and all of a sudden he is being compared to Eddie Vedder.   But then you had, you know, all the innovators going away, and then all these imitators for like, the next five years, like Bush…and…

Concert Sutra:      Creed…(evil laugh)

Robert Hannon:  So, for me, the mid-90’s kind of sucked as far as music went.  Then, come the late 90’s all this new metal came in.  The rap-rock thing started to get hot again, so to speak.  You have your Incubus’s, and, uh, what’s their names…

Concert Sutra:      (whispers) 311…

Robert Hannon:  Yeah, but 311’s been around awhile.

Concert Sutra:      So, what about your parents, what did they listen to when you were growing up?

Robert Hannon:  It’s kind of strange, I guess they stopped really playing music around the house when they had me and my brother.  I don’t know, because I remember the stereo being there, and I remember finding all my Dad’s old records, but they never really just played music around the house.  My Dad played piano, so he would play piano.  They’re children of the fifties.  Elvis for my Mom.  You know, the do wop kind of thing.  My Dad was really into Jazz and Big Band kind of stuff.  You know, they grew up in the forties and the fifties.

Concert Sutra:  Glenn Miller fan?

Robert Hannon:  Exactly.

Concert Sutra:      So, you had an early taste of the piano!

Robert Hannon:  Exactly.

Concert Sutra:      Do you have a favorite band or musician right now?  What’s hot, Robert?

Robert Hannon:  What’s HOT ‘s what I’m working on!!  That’s what’s HOT!!  Really, I’m always working, so pretty much whatever I’m working on is what’s in my car stereo.  I listen to the radio.  I flip the station to see what’s going on, but right now I’m hard pressed to name a current band that I really like.  I don’t know what to think about some of this stuff like the Hives, and Jett, and that kind of stuff.  They rip off so many…you can either call them influences or you can call it rippin it off.  Then, there’s the Donnas, who is clearly AC/DC meets Cheap Trick, but chicks.

Concert Sutra:      I love the Donnas.

Robert Hannon:  I am not saying it’s a bad thing.  I like the influences they draw from.  Some of this stuff is just a little too much…like…

Concert Sutra:      Walk the line…

Robert Hannon:  It’s a fine line.  Like they said on Spinal Tap, “It’s a very fine line between stupid and cleva.” (laughs)

Concert Sutra:      How do you go about getting into different “modes” for recording and making the records that you work on?

Robert Hannon:  Well, you know, there are your bands and artists that like certain chemical enhancements, I suppose you could say.  For me, though, I’m at the point where I can kind of work on stuff I wanna work on, because I like the artist or like the music, but sometimes there’s also being professional and even if you don’t really care for it you gotta putcha thing down…But like to, I mean if you got the time before the project to get to kind of know the people before you get in the room and start putting stuff on tape, that helps.

Concert Sutra:      One of your latest project is about to be released in the beginning of April, and we’re all real excited about it.

Robert Hannon:  The record’s done.  At the time that this interview is being done, it’s being pressed as we speak.

Concert Sutra:      So, this is it, right? (picking up Robert’s copy, laughing the evil laugh)  I love the “Tori Mix” you did on the piano.  I love it when you isolate the tracks!

Robert Hannon:  I think people will be pleased.  

Concert Sutra:      This place is amazing, and I think that anyone who records here must get the best possible result…

Robert Hannon:  Not only that, but I have to remind some of these bands, like I did with P Groove, is that you can’t approach this like it’s a set list for a show.  You’re in the studio making a record, which means you have license, as far as I’m concerned, to go beyond what you can do live.  I think is SHOULD go beyond, otherwise it’s just a live record.  The studio’s where you can do magic!

Concert Sutra:      Magic in Studio A!!  So, what are you working on now, Robert?

Robert Hannon:  Nappy Roots.

Concert Sutra:      So, their putting together a new album.  We like that.  I saw that you guys worked on their  last one, “Chicken…”

Robert Hannon:  “Watermelon, Chicken, and Grits.”

Concert Sutra:      There you go!  I saw them on that tour!  They’re a lot of fun!  I’ll bet their a lot of fun in the studio.

Robert Hannon:  Yeah!  But just like anytime you are dealing with a band with six members, it can be…

Concert Sutra:      A task?

Robert Hannon:  That’s a lot of people to please!  Who all have almost an equally valid say in everything.  But, yeah, we’re mixing some new tracks for them.  Those guys, though, it’s so easy to work on material, cause you can get your m-box (?) and a laptop and microphone and you can lay down raps anywhere.  So, they’re like always working on stuff.  That’s one thing that I do notice is that Hip-Hop people seem generate a lot more material.  Going back to your other question of different approaches, with Hip-Hop, one guy can take the beat and go work on a rap or something, whereas, when you’re working on a song in the setting of a band…Well, in Hip-Hop, one guy can create an entire track that’s everything…the drums, any instrumentation and whatnot, whereas with a band, you know, you write a song on guitar, then you gotta go get your bass player, then your drummer and singer, and get them all together to work out parts…if you’re Democratic like that…there are bands where there’s one person who writes the songs, pretty much it’s not really a band…

Concert Sutra:      Like a Billy Corgan type thing.

Robert Hannon:  Yeah, Smashing Pumpkins was all Billy Corgan!

Concert Sutra:      I heard you have a trip to New York coming up soon, what do you have going on in New York?

Robert Hannon:  I’m going to record some Levon Helm, the lead singer of the band “the Band.”

Concert Sutra:      I love them!  They played with Joni Mitchell some back in the day!

Robert Hannon:  Well, you know they got their name…they call themselves the band, because they were Bob Dylan’s band. when he went electric.  They were “the band” that backed up Dylan when he went electric!

Concert Sutra:      They’ve been “the band” for a lot of cool artists, evidently. 

Robert Hannon:  Yeah, Levon played on a few track on the last Norah Jones record.  He’s out doing stuff with other people.  He’s got his place up in Woodstock, and so once a month, you never know who’s going to show up, people get together and jam.  So, Paul and I are going to go up and record some stuff with them.  You never know how’s going to show!  I mean, “the Band” is the band Eric Clapton wanted to be in!  He’s on record as saying that he wanted to be in “the Band.” 

Concert Sutra:      You’ll have to update me when you get back.  So, what kind of advice would you give to an “up and coming” bands, in other words broke bands that haven’t made it yet, who are looking to be in such a cool and stacked studio like this, working with talent like you guys! 

Robert Hannon:  As far as actually coming in to record, you gotta have your shit together.  Especially if you’re on NO budget.  What I mean by have your shit together, like have your songs all worked out.  Know what you want to do beforehand.  But, there are so many things you need…I say this term half ironically…you need honest management.  In the sense that you don’t get your brother to go manage you!  You don’t get your cousin!  You need an objective member who can have an outside opinion, because a lot of bands…you know, it’s your shit, it’s your baby, and there is such a thing as being too close to something…to see the forest for the trees kind of stuff.  Mainly, though, just practice, practice, practice.  Rehearse together.  And if you have the money, anyone can book the studio.  You don’t have to be a signed band.  Booking the studio is one thing, though, it’s what you do with that time that really counts.  And being productive, but that’s where I come in. 

Concert Sutra:      How do people get hooked up with you, though? 

Robert Hannon:  It’s the whole network thing.  Somebody who knows somebody who knows somebody who says, hey, check out this band.  There’s no one answer to that one.

by terri sapp

Photographs by Leah Yetter

© Concert Sutra, All Rights Reserved

click photos for photo gallery

I have heard about the Toasters quite a bit on my local favorite radio station here in Atlanta, 99X.  One of the radio personalities, Fred Toucher, loves them so much that he has hired them to play his wedding!  After hearing this authentic Ska band’s music on Toucher’s show, I knew I had to check them out.  January 31, 2005, I got my chance at Smith’s Olde Bar here in Atlanta, Georgia.  What a show!

The Toasters, true Ska pioneers, having been around since the eighties, are still going strong with the Ska beats and Bucket’s sweet vocals.  The “SKA BRAWL” features the veteran Toasters Robert “Bucket” Hingley (vocals and guitar), Jack Ruby, Jr. (vocals), and Larry “Ace” Snell (drums), teamed up with Dan Jesselsohn (bass) and Jeff Richey (sax and some vocals) as well as the addition of cult trombonist (and some vocals) Chris Rhodes.

On January 31^st, the Toasters played an early, all ages show, and another later “adult” show.  They started out with “I Wasn’t Going To Call You Anyway.”  I immediately fell in love with the saxophone and trombone.  I AM an admitted SUCKER for HORNS!  Jack Ruby, good with the onstage antics and well-placed “Yeah’s!,” gives good advice, “don’t mix up your urine sample with your bottle of water.”  While Bucket keeps it real with the words of wisdom of the next song that shows that you don’t have to have a lot of money to be happy in life.  “Sittin’ on Top of the World” spotlights the reggae bass and guitar, as well as the highly poignant lyrics you can expect to find in a Toasters’ song.  The fun harmonies of Bucket and Ruby blend so well with the precise horn work and drumming.  Man, “Baby face Ace” is a kickin’ drummer! Jeff and Chris blew me away with their horns all night, especially in “Sittin’ On Top Of The World.”  “You don’t need no money, don’t need no fast car, when you’re sittin on top of the world.” 

“Shebeen” is a song about drinking.  Reminiscent of a Ska version of “Low Rider” (mainly because of the heavy tease) meets Fishbone’s “Alcoholic.”  Ruby’s vocals on this one are boisterous enough to support that this is a drinking song.  Bucket’s vocals, however, are so smooth and sensuous that it is hard to believe he heads up a Ska band!  His voice is so gorgeous.  Classic!  A less raspy Reverend Horton Heat quality vocal sound.

How appropriate that in Georgia they would play a song for the rednecks!  “Sweet Home Town Jamaica” sports the reggaefied “Sweet Home Alabama” feel.  Even though I have never been big on Skynyrd, the best part of this song to me was the crazy Ruby breakdown where everything sped up and the bunch went wild! These are the moments that keep me loving Ska music.

I have always maintained that Reggae is my favorite genre of music.  With this in mind, everything about “East Side Beat” made me happy.  At one point, they even threw in a little Big Band sound with the East Side beat.  Jesselsohn worked hard on this one.  “History Book” is another fun piece that features Bucket’s amazing voice, and how Ruby rounds him out perfectly with his hard-Ska.

The next song used to be Ruby’s song of protest, but after the election, he just said, “Fuck It.”  However, he sends this one out to all the fucked up politicians that we all love to hate.  Man!  Chris and Jeff really tear this one up!  These guys are the real deal when it comes to shakin asses.  Jesselsohn even busts out a reggae style rap flow in the middle of this gem.  Everyone had time to shine here on their different instruments.  What fun to hear such talented musicians let loose!

“Talk Is Cheap” is one to live by in my opinion.  You’ve got a great beat, and an even better message!  We even got a new song this night probably called, “You’re Gonna Pay” dedicated to an asshole, booking agent from Germany named Ozzy Munich.  From the sounds of it, they weren’t real happy with his services…

“Weekend in L.A.” is a song true to the style associated with Long Beach, Anaheim, and all those Ska guys and gals down there.  I love the guitar in this song.  Bucket amazes me with his ability to sing so well, and at the same time keep some of the most intricate guitar work going through the whole song!  Obviously a PRO of the greatest magnitude!

“Modern World America” is another social commentary from the Toasters about how we watch too much t.v. and buy too much crap from the grocery store, etc.  TOTALLY!  All that wrapped up in a wonderfully fun package!  The Toasters are one of the most talented Ska bands that I’ve ever seen live, and I’ve made it a goal to see as many as possible.  On the streets, they might be called “tight” or “sick.”  Either way, I love them, and on this night have become one of their newest, number one fans.

“Decision At Midnight” is a shout out to Atlanta, New York, or wherever it is that you come from.  I hated to see them go, and so did everyone else that attended this exciting evening at Smith’s Olde Bar.  I have to give it to them, Smith’s is becoming the place where all the great bands come to play.

The last song of the evening was quite the climax, and another with a positive message hidden in the Ska guitar beat, hard-hittin drums, Skankin, horns, and all the chaos on the stage.  “Don’t Let The Bastards Grind You Down” was sent out to the opening band, The Super Villains, particularly the saxophone player, Smally.  Stay tuned next month for more on The Super Villains! 

The encore that started with a song that one of the guys in the band called “I’m Gonna Rock Your Body (Til The Break Of Dawn)” was out of this nation, and went straight back to Jamaica.  My favorite part of the whole evening, though, was the spank-fest at the end, because the guys from The Super Villains played along!  During the course of the song, Ruby started pulling the audience on the stage.  CRAZINESS!!!  SKAOTIC!!!

For a glimpse of the fabulous Leah Yetter’s photo gallery from this Skarific evening with the Toasters, visit: http://www.leahyetter.com/toast13005/

Take a look at the Toasters’ website for updated tour information and more information at: http://www.toasters.org/. To purchase music, t-shirts, and any other Toasters gear, go to: http://megalithrecords.com/Shop2/.   Most importantly, make a concerted effort to see the Toasters live, the way they were meant to be seen.  The high energy and music is something to be shared by all.