Hellcat: Did you have any particular album theme?

Jay Farrar: I set out to write with no plan. I like to make it as organic as possible. The songs are about a number of different things.

HC: Tell me about some of them.

JF: “Wheels Don’t Move” is about gas prices getting high and making it hard to get started out as a musician. It was written about a year ago when gas was getting up to $4 and $5 a gallon. The song is about how tough it would be to start out as a band at that time, because it was too expensive to travel to your own shows, particularly if you were a new band.

HC: Yes, it was pretty expensive to breathe around that time.

JF: “Cocaine Ashes” is a tribute to Keith Richards, because in an interview a few years back, he was talking about his drug use, and the passing of his father and he said that he had mixed his father’s ashes with cocaine and snorted them, because he couldn’t resist such a tribute to his father. But I also thought it was very brave and honest that he would just come out and say it, so the song is my tribute to Keith.

HC: Wow, that’s pretty intense. What are you listening to right now?

JF: Well, Keith Richards inspired me to pick up the piano, when I heard him on piano on a bootleg recording, playing a song that I believe is called “Learning the Game”. Rolling Stones, more old stuff. I feel like there are a lot of pivotal moments in music and I am still trying to listen to all of them. I try to take it all in, as much as seems realistic. I like A A Bondy, with former members of Verbena.

HC: What’s your favorite song on this album and why?

JF: The first song, “Dynamite”, because I’ve always had this internal information saying not to use the words “love” and “heart” because they are overused, so I tried to stay away from that the whole time I’ve been writing songs. But I went back to it and used them both in this song. In a way, it was kind of liberating.

Now, on to The Nim Nims. I don’t have any problem saying that I love this album. It’s called Patten Towers, and as I was a fan of the first one, you might wonder why this one has me all riled up. The sound and the feel is a little more honed. It’s just good. The lyrics, the beats, and the layering are all pretty awesome, and I would have trouble finding a complaint about any of it. But I will let the boys give you their thoughts on it.

HC: How is this album different than the first?

Blake Defoor: The production guy, Steven Nichols, of As Elyzum really made it. The layers that he added to, like, every song, makes it much more pleasing to the ear.

Clay: I feel the album captures the essence of what we are trying to do as a band. The sound and tone of the album is what we try to impart.

HC: What about the songwriting process? Did it stay the same?

BD: Half of the songs are really old, like “Narcissistic Delight”, and half of them are really new, as in they were written in the studio, like we were writing them as we were recording them. “Pills” and “Vindicated” were actually written in the studio, and those would have to be my favorites.

HC: What makes them your favorite?

BD: I like the lyrics to them and they are about everyday things that actually happened.

HC: I love that about your songs. You had a few on the last album like that. I like the song “Pills”.

BD: Yeah, that’s just about the whole cliché of having a pill that fixes something and messes something else up. Like a pill for anxiety that gives you insomnia.

HC: How does it feel to have a new album out?

BD: It’s exciting. I can’t wait for people to hear it. I like the old album, but his one just sounds like we wanted it to sound.

Son Volt
Saturday, November 21
10 p.m.
Rhythm & Brews, 221 Market St.
(423) 267-4644.
www.rhythm-brews.com

The Nim Nims
Saturday, November 21
10 p.m.
JJ’s Bohemia, 231 E. MLK Blvd.
(423) 266-1400.
www.myspace.com/jjsbohemia

There are two distinct groups that, generally, every answer can be lumped into. The two groups are: Old-School Influenced and Changing the Face of Music Forever, One Badass Riff at a Time. Every musician will admit to influences. How could you not have influences, unless you’ve been living in a soundproof room and just happened to be a musical prodigy?

However, the Old-School Influenced group will pretty much craft its music to keep a particular familiar sound, as if paying homage to a hero. The Changing the Face of Music group is more based on the idea of originality. It’s “influenced” by several different genres, but is convinced that with its switching around of musical compounds, it has concocted a new formula for music that no one has figured out yet. There are a great number of musicians in this group who never succeed in that breakthrough, regardless of countless valiant efforts.

When I went in to interview another band, Thief, for this week’s article, I wasn’t expecting to get anything different from the norm. Thief is an idea started by Brennan Walsh and Matthew Tub. The two became friends around 10 years ago. While learning from mistakes and fads from their earlier bands together, the two built a taste for exactly what they wanted.

After a couple of different drummers and bassists, they found a bond between two long-time friends, Ryan Hart and Steve Janson. Hart took the role of bass, and Janson, percussion. After a few rough jam sessions and arranging old ideas, Thief fell into place. This Nashville band, Thief, had a nice little spin on the idea of music and their musical talents, which might prove to define a new group: Clever Little Thieves.

Hellcat: I have to ask: What gave you the idea for your band name?

Matthew Tub: We had got a show date before we had a name for our band, so we had to come up with something quick, and when we started talking about it, we came up with “thief”, because a good musician is just a clever thief.

HC: What do you mean? What exactly are you a thief of?

Ryan Hart: My favorite musicians are Jimi Hendrix, The Black Keys, Led Zeppelin, Tool, Kings of Leon, etc. It’s hard to say we didn’t get touched by it, or influenced by it.

MT: Everyone says they are influenced, but it’s a lie to say you didn’t take from them in some way. You’ve just heard it before and you take little pieces from all of it and mix it into something else.

HC: I see, I get it. Thieves. Interesting way to look at it…possibly more unusual to approach it so blatantly. I like it. So, how long have you been a band?

MT: In its current format, three years, but the idea for the band has been about ten years. Brennan and I are from the same hometown, same high school, same everything.

HC: What hometown?

MT: Raleigh, North Carolina.

HC: What is your idea of a perfect world in the next year?

MT: Playing for anyone willing to listen and loving it.

RH: Making people realize that some of the best musicians are in your backyard, so that they’d give local musicians a chance. There is a lot of really great music struggling in a failing industry. Maybe changing people’s mind about music, but more realistically just being able to live on what you do.
HC: Ah, yes, the American Musician Dream.

RH: In the next year it would be pretty awesome if we got a publishing deal and a touring deal, possibly taking over the world, but we aren’t being given the chance to. So, I would go with finding a good band to go on tour with and build support.

HC: A parent band. ALL right. Have you played in Chattanooga before?

MT: No, we’ve been to The Low Down and saw a pretty rocking show, where the crowd was really amped, but musically, no, we haven’t gotten the opportunity until now. We love Chattanooga though; we go there often.

HC: Really? Why?

MT: We’re mountain climbers, and we all go there to climb, kayak, hike, and camp. I mean, we’re all Tennessee boys.

HC: Anything else you feel like expressing?

RH: Just that we love to have a good time with music and rock and roll.

HC: Awesome.

Come out and see if these boys have put their little stolen nuggets in all the right places. They do sound a bit like Radiohead, but I like Radiohead—so good job. They will be at Riverhouse Pub this Saturday.

I couldn’t be happier to see Husky Burnette back in action. The band consists of Mark Merritt and Burma Shave on drums, and Robert Grier on upright bass and harp, with Husky on guitar and vocals. I am a fan of blues, particularly the funky rock spin Husky adds onto the bayou beats. If you’ve heard it, you know exactly what I mean.

Hellcat: So what’s your deal?

Husky Burnette: I bring older Mississippi delta blues sounds into the music in a new and different way. It’s by no means mainstream blues.

HC: What makes you different from other blues bands?

HB: I don’t think one certain thing makes me stand out from other bands in the genre and if it does I certainly don’t recognize it. I just do what I do, you know? I try to put my interpretation, my feel, my twist to that good ol’ Southern swampy blues boogie music that I love to play and love to listen to.

HC: What do you call your style?

HB: Some people like to call it alt-blues or punk-blues, but it’s all just blues to me. As long as people are digging it, then I’m good to go—however it’s labeled.

HC: Why did you take a break? You’ve been gone a good minute or two.

HB: I’ve been on the road playing non-stop since 2007, up to 150 shows a year, touring, recording, etc, and needed a break physically and mentally. A vacation. Plus I was married back in January; so taking time for the family was much needed. It was time to slow down and recharge, so to speak. It was also a good time to write some tunes as well. I didn’t get a lot of down time in the past year to write very much. I wrote some here and there but nothing like when you’re sitting at home for two months straight, in peace and quiet. You end up pumping them out.

HC: What prompted you to come back? How did you know you were ready?

HB: Why I’m comin’ back? Because other than my family, music is my life. It’s all I know. Music is my trade, my career. It’s my job now. I would never give it up for a long period of time. I just needed some real time off to recharge the batteries and concentrate on my family and myself instead of being balls to the wall working, playing gigs, etc. But I can’t stay away for too long. I love getting out there and playing live. It’s one of the best rushes in the world.

HC: What do you have coming up for us?

HB: I’ve got a live album coming out in 2010 entitled Givin’ It Hell…Live!. No exact release date, other than mid-2010 as of yet. The editing is done, so all I need to do is seal the deal to distribute pressings in the U.S. and overseas. I’ll be selling CDs at shows pretty soon though, on my own.

HC: Any new stuff?

HB: I’ve got a full-length studio album coming out in 2010 as well, entitled Done Got Bad. Lots of new tracks, some people have heard, some that they haven’t. I’m pretty stoked about this one. We’re recording in Nashville at Fry Pharmacy Studios. Killer studio, great engineer, all classic analog equipment, two-inch tape reel, the works, some of which came from Chess Records studio. Very excited about this one! Just like “Givin’ It Hell”, I have to seal the deal to distribute.

HC: Considering you’ve toured with Roger Alan Wade and Hank Williams III, I’d say you will come up with something.

HB: If nothing comes along that I like for distribution, I’ll be putting both CDs out myself on Husky Burnette Music to get them out quicker. Either way, 2010 is the year they both come out.

HC: Where can we see and hear your backwoods basement blues?

HB: More dates are being worked out, but right now I play every other Thursday and one Saturday a month at Champy’s Chicken.

You can check out Husky Burnette’s comeback on November 5, 19, and 28 this month at Champy’s, and more in December.

With all the talent brimming over the edges of our little city, it’s a bit shocking to see the turnouts continue to dwindle. Whether it is a national act, an out-of-town band with a generally consistent draw, or a new face with all the potential to be the next big thing; attendance and numbers at the door are down.

Over the past few months, if you truly take a look, you’ll see venues going belly up left and right. We’ve seen The Low Down, Murphy’s Ale House (and then The Tin Can), slip quietly away into memory, replaced with a “For Lease” or “For Sale” sign. Some of the prominent venues in town are fighting to keep their heads above water, and a musician or band on the stage. It’s horrific. I see some of my friends and acquaintances, selling themselves short just to make a sale at all, as I watch door prices go from $10, to $7, then $5.

The incentives have gotten bigger, as we are promised prizes or drink specials, or free food just to attend, and yet the draft in the back of an empty place seems to have gotten colder, while you stand there hoping to use your Jedi powers to fill a room. I know money is tight. You don’t have to tell me. Most of the time, I end up working for free, just in an attempt to bring something to the city that people will possibly become a fan of or at least enjoy. The outlook is grim, people.

Music, in any city, is its own little economy. You’ve got venues that are saved by the fact they sell booze. Because let’s face it, when times are tough, people tend to self-medicate a little more. However, it seems, more so recently, that people are staying home. I can’t blame them. I’m broke, too. But it does break my little icy heart to watch.

Beyond venues, you have the musicians, who are struggling to break even, the music stores and equipment rental places, who are probably seeing less and less business, plus the sound and lighting guys who are now forced to play a game of “cut-throat” with each other to land even the smallest of gigs. When attendance is down, the shows go down in quality because they have no choice. A light show becomes more of a dream than a reality, and a sound rig may be reduced to just a few monitors, or whatever you can get by on without hurting people’s ears.

Producers, sound engineers, distributors, and album artists all take a hit too. If a band that was used to pulling at least $500 a show, is settling for $250, the album that was set to be recorded in the spring and released in the fall has just been delayed another six months. The people that do come out are watching with a cautious eye as their tabs add up, and seem to be more preoccupied with the bill than dancing or shouting encouragements to their favorite band.

It bothers me so much, because I guess my biggest fear is having a music scene here for the taking but not being able to keep it supported, and aside from footing the bills myself (which I would if I could), we are running out of options. If you have any ideas, be sure and e-mail me. I would love to hear them.

I wrote on this topic because, in the spirit of Halloween, I wanted to address something that genuinely frightens me. The decline of show attendance is definitely my nightmare. I’m not saying all shows are suffering. Some are thriving like that little flower that found its way out through a crack in the concrete, but for the most part it’s bleak. So do me a favor, readers—trick yourself into thinking your bank account is unusually ample and treat yourself to some of the best acts our town has to offer! We’ve got a bunch going on this Halloween.

The Icons, River City Hustlers, and Planet will be kicking off the festivities at Parkway this Friday, followed by The Bohannons, Gringo Star, and Big Kitty on Saturday. The Unsatisfied will be at Champy’s with the Hustlers. Night of the Wolf, Kissfits, Bring the Witch, Capt. Black, and Rock Biter will be at JJ’s Bohemia. Eris and The Tammys will be rocking The Riverhouse Pub, among many others!

Happy Halloween!

I made it a point to attend the River City Hustlers’ next show at Midtown, to see exactly what I would be getting. When I did, the only disappointment of the evening was that I didn’t have a better time slot or a longer set time for them. If I had to sum it up in one word, that word would be “powerful”. The energy of the band is immense. I am not sure if it’s from the rocking beats or if it’s from the hot blonde fireball that bounces all over the stage with such fervor you can’t help but stare.

While eye candy is a definite bonus, this band isn’t a No Doubt situation, where a more fitting name would have been the Gwen Stefani Band. They radiate a collective familial vibe, and everyone gets their own spotlight. When I asked if there was any strangeness among the men folk in having a front woman instead of a front man, the band mates answered quickly and in unison that there was no such weirdness in the band; they were perfectly comfortable with it.

When I asked Bethany what it was like being a chick lead singer, she said, “My guys are awesome. But it is a little different because people assume that it’s going to be sweet or soft and not as hard rocking as it is because I’m a girl. I could barely get an audition to play for bands because they were looking for a guy. It has encouraged me to step it up a bit. But on stage I feel more like me than anywhere else in my life. It feels like home to me. It’s also kind of like having an out-of-body experience, where you are just in another world.” Well, whatever world that is, stay in it, because it sounds amazing from here.

The closeness and equality of the band members might lend a hand to the tightness of their music. They simply mesh well. Their sound makes you feel like you might be doing something bad by listening, followed by the immediate thrill that you might get caught. It’s dirty. Dirty in the best way. It’s rock and roll, for sure, with elements of backwoods bayou blues, basement punk, and a twist of classic badass.

It has the refreshing effect of making you think that the South might not rise again, but it will sure as hell drink you under the table. It’s almost like you become a fan by default, because there really isn’t any other option when faced with this melting pot of awesome. The many different levels of influence and full spectrum of genres that each member brings to the table make an original, yet familiar-sounding music.

When I asked them what their two biggest influences were, it was no mystery where the diverse sound originated. Bethany “B” Stump, the sexpot singer, stated, “Guns N’ Roses and The Rolling Stones”. Cavin Helton, the bassist, chose Led Zeppelin and AC/DC. Chris “Jersey” Wiegand, on guitar, selected The Misfits and Teen Idols. Roland “Rolls” McCoy, the drummer, listed Kiss and The El Caminos, while Matt “Rowdy” Clark, picked Tony Iomi and The Melvins, as his favorites. This would explain the array of tastes being represented in their sound.

I was curious about their name, and asked “B” how they came up with it. The band basically started out making a list of around 20 names that everyone didn’t absolutely hate, and then from that list narrowed it down to five that everyone in the band could officially handle. They chose River City Hustlers because, for one, they identify with where they are from, and also because knowing the fair-weather nature of our Scenic City scene, they realized that you definitely have to “hustle” a bit to get people to come out and see shows with any sort of regularity or zeal. The band has gone through a line-up change, adding Chris Wiegand to their group, and everyone seems to think he is a great fit for them. They have obviously been doing something right because they’ve been added to many of the larger festivals and events in town, as well as bringing a reliable following to the local clubs.

If you haven’t seen them yet, then I suggest you come down next weekend and see them at Parkway Billiards with Planet and The Icons. We all know that the Parkway bash is a pretty big party, as Parkway only becomes a venue once a year, on account of the Great Pumpkin. So hustle down.

River City Hustlers
with Planet and The Icons
$7
9 p.m.
Monday, October 30
Parkway Billiards, 35 Patten Parkway.
(423) 265-7665.
www.parkwaybilliards.com

I hate to come across as someone who gushes, but with this band, I’ll risk it. They rule. Simply put. They haven’t been in this market for a few years, but are back and ready to rock your faces off, with a new album, Industry Giants. Check it out and see what all the fuss is about. And by fuss, I mean rock.
Hellcat: The last time I spoke to you guys was in March, right before the release of your new album. What all has happened since then?

John Davis: The record came out on March 17, then we left for SXSW the next say. We originally had six shows booked for the four days we were scheduled to be there, but we missed the first two because we had to sit on the runway in Nashville for four hours. Bummer. We got to see HR from Bad Brains, the Circle Jerks and Grant Hart from Husker Du the first night we were there. We were pretty stoked on that. Anyway, we went out and played D.C., Philly, New York, Brooklyn, Boston, Rock Island, Chicago and Charlotte, so far. Plus, we got to record another session at Daytrotter, which we really enjoyed doing. I’m a big fan of what they’ve got going on up there.

HC: How has the reception to the new album been?

JD: I’d say it’s been overwhelmingly positive. Overall, the press for this record is probably the best we’ve ever gotten.

HC: I can see why. The album is solid. Has it been what you expected? Why or why not?

JD: I tried not to have too many set expectations going in, honestly. In a situation like this, you kind of already know that anything you do is going to be constantly compared to what you did 10 years before. In some people’s minds, we’d never top Head Trip In Every Key no matter what we came back with. I’m all right with that.

HC: What is your personal favorite song on the album and why?

JD: Probably “Everything’ll Be Made Right.” I think that might be my favorite guitar solo I’ve ever put down on a Superdrag track. It was cut on a 1956 Fender Stratocaster. Frankly, playing that guitar made me feel proud to be an American. That’s a prime example of American ingenuity that changed the entire world and made it better, in my opinion. If you can’t pick that instrument up and feel moved to play your very best, you oughta just hang it up and go to the house.

HC: That’s actually my favorite song, as well. I dig the lyrics. Which song seems to get the most response live?

JD: “Aspartame”, probably.

HC: What do you see Superdrag doing in this upcoming year? And the next?

JD: We have plans to do a special Limited Edition release of Jokers With Tracers, the 20 Head Trip In Every Key demos we recorded up in Bearsville, NY in February of 1997. That stuff has been pretty sought-after among the hardcore fans, but all the versions that circulated online, etc. were pretty poor quality. These will be re-mastered from the original masters, and we’re putting a lot of thought into the packaging and extras. There’s even been some talk of going out and playing the “Head Trip…” record top-to-bottom at a handful of special gigs. I guess we’ll see where it goes.

HC: Has keeping a clean lifestyle changed you or your music in any way? How so?

JD: It’s changed me in every way.

HC: How does having a family life and being a successful musician work out?

JD: You’ve got to maintain the proper balance between taking care of your family, spending time with your kids, and doing what the music requires. We established from the get-go that the new-school Superdrag thing was going to be strictly part-time. None of us have any interest in staying on the road indefinitely and missing our wives and kids. So the gigs are pretty sporadic and infrequent, but it’s just the way it’s got to be.

HC: That’s admirable. Do you have any free advice for the aspiring musicians out there?

JD: The world doesn’t owe you anything, so do as much as you possibly can for yourself. If you deal with a label, never let them tell you how the music should be done, and never go against your instinct for the possibility of some short-term advantage. You have to live with that record for the rest of your life, so make it the way you want to make it. Nobody knows more about how your music should sound than you do.

Superdrag with The Tammys
$10
9 p.m.
Saturday, October 17
JJ’s Bohemia, 231 E. MLK Blvd.
(423) 266-1400.
www.myspace.com/jjsbohemia

They tell you that life isn’t fair / Like it justifies things that they do /
That’s not good enough for me / Is it good enough for you?

The lyrics to “Good Enough”, The Waybacks’ fourth song on their new LP Loaded, seem to fit this band perfectly. Often pigeonholed into the category of bluegrass, the four members of The Waybacks are all independently multi-talented musicians in their own right. Bluegrass, while certainly an influential genre for the group, just simply isn’t enough to describe The Waybacks’ style. For lack of a better name, they play in a genre of music known as Americana.

Singer-songwriter-fiddler Warren Hood is the newest member of the group. He explains that Americana “means a blend of American music styles. It’s when you don’t know what to call it [the music]. It’s mostly original music based out of idioms; for us that can be playing Chick Correa and Grateful Dead in the same set.”
And that’s what they do. Depending on their performance venue, The Waybacks will pull any number of proverbial musical rabbits out of their hats. They have amassed a staggering arsenal of songs in their repertoire, ranging from Memphis soul, honky-tonk, and Parisian swing to classical music, bluegrass, and pop/rock. Hood attributes part of the band’s sound to years of playing on festival circuits.

“The festivals are my favorite part of what we do,” Hood enthuses. “They’re a chance to see new bands that turn you in a new direction. You see friends—you sit in on their set and they sit in on yours; a lot of players learn how to play in these campfire jams at festivals. I once found myself sitting in a hotel room jamming all night with Bella Fleck!”

After ten years of playing festival circuits, the band is enjoying the newfound freedom of launching their first album of entirely original material. Frontman James Nash and Hood penned the music and lyrics for the songs on Loaded.

“This band is the first full-time touring band I’ve been in where I’m also the front guy and writing,” says Hood. “I’ve also toured as a backup musician; I wasn’t under pressure to write and sing. It’s been a learning experience of how to conduct a show and having the constant pressure to have new material ready. I’m 26—the youngest by far—so I’m also watching the other guys to see how they deal with that.”

Loaded is a wealth of Americana. Simple storytelling lyrics combined with fierce virtuoso instrumentals in a variety of styles make it possible for any listener to find a song they like. Apparently, this kind of rule-breaking is what these musicians strive for.

“With iTunes and the Internet, lots more people are listening to a lot of different music. It’s almost expected that you can play every genre if you want to make a living out of it,” explains Hood.

The Waybacks are making a living out of their music, and, though it may not be what some would call success, they feel they are on the right track.
“Bands go on different circuits,” Hood says. “There are people who are going platinum, who have to go all-or-nothing to make that kind of success. We know we’re not going platinum, but we’re in the position to have complete artistic freedom to do what we want enough to sustain our lifestyles.
“The ultimate goal is to be happy, right? Find what it is that makes you happy, do that a lot and you are successful.”

The Waybacks measure their success with the enthusiasm of each audience. What is the one predictable element in a live show? “Unpredictability,” Hood insists. From music that is appropriate for an Irish pub to the Grand Ole Opry to an outdoor folk festival to a late-night members-only jazz club, The Waybacks change their lineup to suit the crowd, guaranteeing that a good time will be had by all.

“We play in venues from bars to theatres and backyards and everything in between,” says Hood. “A lot of time and thought goes into order of songs we play—dictating when the audience is going to cry, to laugh, to dance—and then we try to save something for the end.” Hood laughs. “It’s a party and we’re controlling the party. Good times will be had. Come to a show and find out!”

That’s good enough for me.

The Waybacks
$15
8 p.m.
Friday, October 9
Barking Legs, 1307 Dodds Ave.
(423) 624-5347. www.barkinglegs.org

All of the members are fairly young, which also gives me hope that these headliners are only just beginning to pack venues. Justin Wilcox, the front man, does more than his fair share, as a good lead should. He expertly plays the keys, which he picked up when he was 17, and the guitar that he picked up when he was 14. The entire band ranges from 24 to 26 in age, which isn’t yet over the hill in rock-n-roll and offers a great deal of promise. The band’s name originated from Wes O’Dell’s short story. They came together and played their first show in October of 2007, so their upcoming CD release this month will be a two-year anniversary of sorts. The new album, entitled Myths, is the best thing they have done so far, according to the lead singer.

Hellcat: What can you tell us about the new album?

Justin Wilcox: This captures our live show better than anything else, plus, it’s our first recording with our guitar player, Justin Grasham. We have had trouble in the past filling that spot.

HC: So who did you use for the record?

JW: As Elyzum, with Stephen Nichols, and also Dave Mackey who helped record and produce the record.

HC: What’s your favorite song on the album?

JW: Wow. That’s a good question. Probably the last song that is instrumental, called “There You Are.” It has musical elements that I like.

HC: That’s interesting, considering it is an instrumental and you do vocals.

JW: (laughs) Yeah, well, I like it musically, and it is one of the newest so I am really happy to play it. I also like “Marlon”, the second-to-last song on the album. It is my favorite to play live right now, and it has vocals.

HC: OK, so what’s the deal with the vocal thing? I mean, you sing…I find that your sometimes high-pitched and haunting vocals draw a listener to the song before the music actually kicks in. So do you just have a hang-up?

JW: (laughs) No. I do sing, true. This is the first time I’ve actually been OK with my vocals. I don’t have any formal training or anything, and I used to cringe every time I heard my voice. It’s a learning process, and I think it was lacking on the EP, but is much better now.

HC: What are your influences? Or the band’s influences collectively?

JW: We are trying to move in the direction of Sonic Youth and early New Order, their post-punk stuff.

HC: Is this your first full-length?

JW: Yes, and three of the songs posted on MySpace are from it. The other is from the first demo we recorded.

HC: What about the EP stuff? Is that now vintage?

JW: Yeah, that’s all underground now.

HC: Ha. Awesome. So it will add to my street cool credit if I have it?

JW: (laughs) I guess it will, yeah.

HC: Good to know, I’ll need one of those. What difficulties have you come across being a band in Chattanooga?

JW: Mainly, just out-of-town shows. We struggle with that, just like most bands here do. If we were a band in a bigger city, we might have been exposed to more, because if you play a few good shows in Atlanta or Nashville you have someone looking at you immediately, as far as an agent or a manager, but we are a smaller town. It is an uphill battle, compared to a larger city.

HC: What do you have coming up?

JW: We have our CD release show at JJ’s Bohemia on October 9. We are then doing an 8 off 8 at the Mercy Lounge in Nashville on October 12.
HC: Who are you bringing to the CD release?

JW: Fire Zuave, which toured with Of Montreal, and then took us on the road for a few dates out of town. They are from Athens. We are having The Middlemen open for us.

HC: With the demise of Coral Castles, your band is going to have to step up as our consistent local indie draw. You realize that, right? It’s going to be a little bit of added responsibility.

JW: I hate that they are over. I really do. I’ve stepped in and played with them on some dates and it just sucks they are done. But yeah, we’re ready for a challenge.

Last week, I discussed how certain people only go to their favorite hangouts and will avoid a show entirely based on a preconceived notion of the venue, regardless of what bands are playing. This hurts the venue, the band, and our local scene. This week, I have yet another topic to broach with my readers. It is the getting in free or, “Hey, can you put me on the list?” move.

I understand that you know a guy in the band. I understand that you used to work with the bassist. I get that you probably do know someone inside and maybe they did tell you to come out and support the show. I am sure they are stoked that you made it out. However, let me note a few things that most people might not know.

Most venues only give their musicians a set number they can add to their guest list, even if they are headliners. If they aren’t the headlining act, then odds are, their slots for the guest list are even less. The promoter, booking agent, sound guy, and anyone else involved shouldn’t even have a guest slot, unless it has some involvement with the show. So—don’t look to them to get you in.

I am going to go ahead and assume that most people don’t know that. I am also going to assume that most people don’t know that the local artist has to pay for the sound, the room, or the security, or all of the aforementioned before they even get paid, at some venues. Then, unless it is a one-man show, the money is taken and split between members. At times, this means the band members of your favorite band only get 20 or 30 bucks. For a couple hours of sweat and the constant practice leading up to their show, that’s not a big pay out. In fact, they are probably in the red for all the gas money they’ve put out for trips to the practice space and the maintenance of their equipment. Not to mention the extra-cool threads or neat little highlights they acquired just to rock out for you in style.

I say all this to let the most casual of music lovers know that asking for a favor at the door is like asking for money out of the band’s pocket you came to see, because they end up paying for your entry. You may feel special for a minute or super cool in front of that girl you like, but is it really worth it?

Do people come to your place of work and ask you to give them things for free? Do your buddies show up at your house and ask to take some of your stuff home with them? Oh, and is it cool if my wife takes your cat home, too? Or hey, I have a friend from out of town and he rarely gets out, can you go ahead and give us 20 bucks? Would you go into Wal-Mart, pick out the one thing you came for and walk out with it for free? No…wait, that’s stealing. It’s basically the same thing.

I’m not saying that people are trying to take away from the band, because I am sure they are not. But I don’t think that people really pay attention or know any better. This is why I am writing this piece, so that now, everyone will know exactly what their “favor” at the door costs the band. Coming out to “support” your friends’ band, if you want to get in free, isn’t supporting them at all. I get that everyone is broke sometimes. Hell, in this economy we’re broke most of the time—but save your money at the bar, not at the door. Drink a cheaper drink, or have one less than you usually would to support a good sound. That way, everyone is happy and everyone still has a good night. But it is doubly insulting to let someone come in for free and then watch them slam shots all night and think nothing of signing on a $40-$50 tab. If you can afford it, then you are one of the fortunate people, and should cough it up at the door. Seriously.

Now, most press and media get in for free if they are doing a write-up or have done a write-up on the band. Or if a person has done some work for a venue, and if the venue chooses to put them on the list of the establishment, then that is up to the venue, provided they are not charging the band for those that they have put on their own business list. I pay to get in shows I have nothing to do with at venues I have nothing to do with, and am happy to do so. I’ve gone to the door plenty of times to pay to have my friends let in, when I probably could have slid them through, but I know how hard all of our musicians work, so I don’t. I suggest that you don’t either—that’s the decent thing to do especially, if that really is your friend in there playing their heart out.