By   Sun, Feb 28, 2010

All five cities on the cover. Hampton Roads and Roanoke's Premier Issues! The other cities are Richmond, Charlottesville, and Roanoke.

Cover Credits:
Top petal and then to the right in a circle:
The Nines, photo by Megan Wagner, Richmond
Bimini Road, photo by Lauren Nicolaus, Hampton Roads
DJ BeetKeeper, photo by Derek Kirkland, Fredericksburg
The Jackal Tickets!, photo by T.J. Wells, Roanoke
Mill Street Grill Jazz Musician, photo by Sherry Morris, Charlottesville

Overall design by Heather Mullican.

By Author: Adam Price   Mon, Mar 01, 2010

This article has been hard.  I've been sitting here staring at this blank screen for about two days.  It's not that there's nothing to say, more like there is too much.  How can I possibly describe the sound, the energy, the magic that exudes from this group?  Before the show, one of the opening acts asked Menya, "So are you guys like a techno-pop band?"  Angie Ripe replied, "No, we're like Menya."  I think that is both the easiest and the best way to describe it. 

In the way of introductions, Menya is a NYC-based band comprised of Good Goose (the DJ), Coco Dame (the rapper), and Angie RIpe (the singer).  They played the Blue Nile on Friday, January 22nd. 

The Blue Nile is one of my favorite venues.  It has a true "underground" vibe.  It's in the basement (below the restaurant) which just adds to the almost secretive feeling.  The entrance is off the street, behind the establishment, and not very well marked.  You almost feel like you should whisper to the bouncer "Big Joe sent me" as you hand him your cover.  It's very small and intimate, and yet very open for dancing, which made it a perfect place for Menya. 

An acoustic singer Thomas Leahy, and local band Malatese opened for Menya.  The crowd was certainly appreciative.  Then Menya got up on stage and started the show with the profane, powerful song "DTF"  (Down To Fuck).  The band threw it all at them, Coco Dame getting right up in everyone's face, dropping perfect rhymes.  At first, the audience had an almost stunned look, almost like everyone was thinking, "What am I supposed to do with this sound?  How do I act?"  It must be a culture shock for both the band and the audience when two expectations collide, the NYC vibe and the college town mentality.  But by the end of the song, people started to understand.  With the prompting of Coco Dame, the entire crowd began chanting "D . . . T . . . F . . ."

Menya continued slapping the crowd with their sound, but in a hot, sexy, dominatrix sort of way.  The temperature began to rise, the hearts began to race, the inhibitions began to crumble, the crowd began to strip and don their "more comfortable" mental attire.  Then Menya asked the house to turn the lights off, and it all went down.  The entire joint was on their feet and everyone was dancing.  Jumping, swaying, hands in the air, grinding everywhere . . .

The show continued with a cover of "White Houses."  While Coco went back to run the computer and bang on some mean bongos, the Goose came up and helped out Angie on the vocals.  Soon, he was sliding on his back into the middle of the crowd.  Angie stayed "hot all night" and was ripe with sex and seductiveness.  Her smooth, sensual voice created a beautiful contrast to the dirty, harsh lyrics she was singing. 

By the end of the last song, even before any applause, the crowd erupted into "ENCORE, ENCORE . . ."   Menya just smiled at each other and pulled out "Ripe."  "You strip!  uh uh . . ."  It was a dance party.  Half the audience was on stage with the band just dancing their heart out.  No one wanted it to end. 

I have heard it said that, after attending one of the Beatles' concerts, everyone in the audience is left in a state of euphoria and that all anyone wanted to do was love one another.  Some might think it blasphemy to compare anyone to the Beatles, especially a group such as Menya.  Say what you will, but now, two days after the fact, I am still dancing at work, I am still singing at the coffee shop (albeit rather uncolorfully), and I have a giddy sort of feeling that "nobody can do me no harm."  It is the longest lasting high I have ever had.  No, this group will never reach Beatles status with millions of air-play counts and concert venues that seat tens of thousands, and I hope they don't.  You need to experience Menya in a much more private, intimate way.  Although Menya might be something of a freak, you can't just have her whenever you want.  You need to give her the respect she deserves.  Go see one of the live shows in one of the small venues next time.  Only then will you understand and only then will she break out the hand-cuffs and whips.  And I bet she'll be the best you ever had . . .

You can find out more about Menya @

MySpace.com/MenyaMusic

Facebook.com/MenyaMusic

MenyaMusic.blogspot.com

You can see what's going on at the "Nile" @

BlueNileVA.com

By Author: John Bolfing   Sun, Feb 28, 2010

My first experience with Six Day Bender was years ago, back when Boylan Heights was called Orbit, also back when Six Day Bender had a five piece band that included a female fiddle player who has since then become estranged.  I was attending an all day party put on by the Charlottesville Music Showcase which, since, has moved to Rapture on the Downtown Mall.  It's funny I remember that day like it was yesterday... it's all so very clear.  I'm standing there, my girlfriend at the time by my side and we've just listened to this fantastic little string band that we had heard so much about.  It was then when the lead singer, Luke Nutting, grabs the whiskey, not the beer, that was sitting patiently beside him, then in a grizzled and heavy hillbilly-ridden vernacular, introduced the band, took the opportunity to thank the audience for their applause, and then, I'll be goddamned if he didn't down the large glass of whiskey, raise the glass above his head and then smash it on the floor of the bar.  I didn't move an inch I just watched all the broken glass ricochet off the floor and hit myself as well as my girl in the knees.  It was in that moment where my thoughts became very clear and I thought:

 "Holy shit, I'm a fan for life."  And still to this day will rally for the Bender, but at the same time I do watch them from the third row now and not the first... One of life's little lessons. 

I had been hearing a lot about them in the weeks prior, so when I approached the people who had told me about them, in order to congratulate them on being so right, I realized that the Bender already had more than a couple of die hard fans, because I was getting a lot of people saying "I told you so."  But then a couple of days later I was speaking about the subject at hand with a source that has asked to remain nameless.  Regardless, he patiently waited as I relayed my Six Day Bender story.  Then as he began to speak I knew that his story was going to dwarf mine, however the story is so good that I find it hard to vouch for its integrity even though I completely trust my source.  Maybe by the end of this article we can finally get to the bottom of it all.

Nevertheless, the story goes as follows:  One night Luke is bumming around the corner and is approached by two policemen, who appear to have been tipped off that he has a gun.  The two cops ask him is name and ask him if they can search him.  Story goes when they ask his name, Nutting chuckles and gives them the name of the famous beat writer William S. Burroughs and agrees to the search.  Whereas, they do not find a gun, and one can only speculate why they would have thought that.  But along the way they do find his wallet which alerts them to the fact that he is not who he has claimed to be.  And this happens to be illegal; even though I'm sure in Nutting's head it was nothing more than a joke and really couldn't even dream that it would result in actual trouble.  So, our story picks up a couple of months later when Nutting and my unnamed source ended up having court together.  My source explains that Nutting went to court to deliberate the ridiculous charge, he struts into court wearing a sear-sucker suit and a red bowtie.  I still think that's one of the funniest court stories I've ever heard but apparently the judge did not and just shook his head as Nutting approached the bench.  So, after adding these two anecdotes to my repertoire I've not been able to get them off my radar.  Unfortunately for your humble narrator as well as the entire city of Charlottesville, they've been doing extremely well for themselves which has resulted in spending a lot of time on the road.  Luckily they're playing a show this Friday at The Southern and I feel lucky that we are being graced with their presence.

By Author: Adam Price   Sun, Feb 28, 2010

The towering flour mill loomed over the parking lot.  Were it not for the lights shining out from the basement, it could easily have been the haunt of ghosts rather than the haunt of locals.  As I walked in, I passed a sign that said "Jazz Every Wednesday."  I asked the hostess to seat me near the band, which was just getting ready to start playing.  There were only two tables left that were anywhere close to the makeshift bandstand.  (The waitress later told me that it was a "slow" night).  As I waited for my photographer, I perused the extensive menu and even bigger wine list.  When the waitress showed up, I asked her to bring me a pint of Star Hill's Amber Ale.  I have always had a love of wine, but my wallet doesn't quite share my appreciation. 

The band had begun, playing old standards like "Night and Day" and "The Girl from Ipanema."  It was a rather interesting group comprised of a trombone player who doubled on keyboard, a drummer who was using djembes and other African percussion, a guitarist who was using a hollow-body and a classical nylon string (for the Latin tunes) as well as doubling on the conga, and an upright bassist.  It was a very unique sound.  The djembes gave a very warm feeling to the combo. 

When Sherry came, we placed our orders and by the end of the set, they had arrived.  I had ordered a salad, trying to detox a bit from the weekend before.  It was the biggest salad I have ever seen, and it was delicious.  During the set break, the manager on duty came over and gave us some history on the restaurant and introduced us to "Lou." 

Lou Morrison is both the bassist and the brains behind this ongoing event.  He is the only one of the group who is there every week.  Everyone else in the band changes, giving it different feels and sounds - keeping it fresh.  According to Mr. Morrison, jazz at the Grill has been going on every Wednesday for the past fifteen years!  That says a lot about both the loyalty of the establishment and the dedication of Lou Morrison. 

After the set break, the band went back to playing and brought out some more classics:  "Black Orpheus," "All the Things You Are," "All of Me."  It was the first time since I've moved here that I have heard straight-ahead jazz, or jazz at all for that matter (unless you count some kids from JMU trying to keep each other afloat at the Artful Dodger).  It was so refreshing.  I never would have found out about it unless a guitarist friend of mine hadn't mentioned it to me last week.  Is this some kind of exclusive secret, or is jazz just that dead in the valley that no one thinks it worth mentioning?  How has it been over six months since I've moved here and I only just heard about this great venue and this amazing weekly event?  As frustrating as these questions are, I know about it now, and I can assure you that The Mill Street Grill will be seeing a lot more of me over the next couple of months, providing my credit card doesn't get maxed out .

The Mill Street Grill is located right off Rt. 250 in Stauton

Jazz at The Grill happens every Wednesday starting at 7 pm

By Author and Staff Coordinator: Helen Brown   Sun, Feb 28, 2010

January 22, Brian Patrick Band released their first full length compilation, Nowhere Left to Fall.  When I learned the Southern Café and Music Hall, formerly the Gravity Lounge, would be the site for the CD release party, it was fate I should attend.   Located on the Downtown Mall, The Southern formally opened in October 2009 and is currently owned by Andy Gems and Lauren McRaven.  It was a sweet space with a nice stage, bigger than some venues; yet, smaller than the JPJ and the Jefferson.  The Southern provided a comfortable arrangement for the listeners and the musicians, which in turn provided a cool scene for a memorable, music-filled, Saturday.

When the Gravity Lounge closed, I was disheartened along with many who felt the resonating effects of losing another crucial venue in town.  However, since the openings of both The Southern and The Jefferson, I had anxiously awaited my chance to check out these venues; each being such a precious asset to our musical community.  It was the icing on the cake that I had the opportunity to see the Brian Patrick Band perform on such a celebratory occasion.

The opening acts were noteworthy and included Andy Friedman, the duo Carl Anderson and Carleigh Nesbit, and the Rogan Brothers.  Most impressive was the performance by the Brian Patrick Band.  Their intricate web of sound, a blasting energy, an enriching stream of vocals and instrumentation, and a consistent rhythm section, held my attention the entire evening.  Members of the Brian Patrick Band executed extreme precision upon their instrumentation and in their vocal presentation.  Several influences I found within their sound were elements ranging from Jimi Hendrix, Stevie Ray Vaughn, Bruce Springsteen, and Dire Straits.  The Brian Patrick Band also exuded electric charged, smashing blues, Americana, with a rock and roll edge. 

Band members include Brian Patrick (Vocals, Harmonica, Electric/Acoustic Piano and Guitar), Steve Sutton (Electric Guitar, Pedal Steel Guitar), Brian "Boogie" Thomas (Bass), Matt Fortune (Acoustic Guitar, Vocals), and John Alietta (Drums).  There were also two guest appearances, Michael Bishop (Bass), and Cory Tietelbaum (Electric Guitar). 

With such a spectrum of abilities, I hardly know where to begin.  As a lead singer, Patrick has such an intense energy during his performance you know he sings from a deep place of experience and emotion.  Although lyrical compilations and rhythm are important to establishing a general mood to the performance, the manner of his performance is equally important. Patrick possesses a particular attitude in which his personality and his rendition are indicative to the tone of the show.  This is evident when he plays electric guitar, piano, and harmonica.  His skills upon the chords of the electric guitar amplified his energy, his fingers upon the piano keys were fluid and poised, and the harmonica along with the Sutton's pedal steel resonated sounds that were captivating and echoed in the very depth of my mind.  Sutton extracted a winding voice from the pedal steel guitar which accented all the other instruments exceptionally well.  It uttered a western, folk influence along with a hint of an electric guitar/ violin combination that was fondly familiar. 

Thomas on the bass along with Alietta on the drums were consistent and steadfast in their ability to enhance the energy from the electric guitars and keep the beat moving smoothly.  I really enjoyed watching the bass and the drums compliment each other.  If they made any mistakes, they were unknown to me and they made it look effortless, which is a clear sign of playing, playing, playing...

Thomas ignites a pulse that projects throughout the room.  He has such a relaxed composure in which it seems he was meant to be on stage, and his ability to maintain focus is undeniable.  This is also true of Alietta.  His entire body seemed buoyant with the beat.  As Patrick stated, "he's the one keeping us all together."

I witnessed not one beat that was out of place.  Guest bassist Michael Bishop was an unexpected compliment.  He had a similar expressive nature to that of Patrick.  Every movement he made was purposely ferocious, his fingers in unison, and every element of expression was in tune to those movements. 

Speaking of ferocity, the guitarists in the Brian Patrick Band were equally striking.  In fact, I thought the electrical guitarists were the most electrifying part of the entire show!  The guitarists, Patrick, Sutton, and Tietelbaum offered an array of riff changes that were like little sparks of attitude upon the beat creating a song that was very complex in its composition.  When  Tietelbaum accompanied Michael Bishop towards the end of the evening, their skill together was remarkable.  He played with an intensity that sped fast and furious.  As soon as he touched the strings, it was as if there was instant fire upon his guitar.  When the sounds broke through, it was like electric wheels on a screaming, train track. 

As Patrick stated, "it was an honor to have them play that night." 

He was right; it was indeed an honor for everyone.  When I saw the sunkissed lights shine down upon the electric guitars as their music surged through, they glazed red.  To see such a sweet sequence of rhythm, sound, and power emerge was intoxicating.  When one of Patrick's strings broke towards the end of one song, he stated perfectly, "you know you've had a good night, when the guitar strings break." 

When Patrick and Fortune sang together, the vocals were equally complimentary.  Patrick possesses a raw, edginess, whereas Fortune has a softer, harmonic quality.  When Fortune performed an original song, he stood out as a solo vocalist, also adding variety to a particular consistency of the previous songs and taking me in an unexpected direction.  There is always something that makes the ambiance of the band a little less predictable, within a performance, which Fortune exhibited.  His beautiful voice provided a fine undertone for the electric guitars, the pedal steel, and bass, and his acoustic guitar gave Brian's piano movements a crisp texture, inspiring an eloquent union with the drums. 

I'd recommend that anyone catch the Brian Patrick Band very soon, particularly if you like to dance. They bring diversity, intense energy, and a superb presentation and delivery.  You can let your hair down and rock out with them; I promise you will not be disappointed.  They are fine musicians and it was an honor talking with them. 

"Rain on My Window" was my favorite track off Nowhere Left to Fall, but they are all worth checking out.  You can find further information about the Brian Patrick Band's music, gig listings, photos, profiles, and much more on their website. 

BrianPatrickBand.com

TheSouthernCVille.com

By Author: Angela Bean   Sun, Feb 28, 2010

Representing an area that is often overlooked in discussions of hip hop hotbeds, Hard Life Records was started in 2003 to give a voice to Virginia's rawest emcees. We're always on the lookout for new talent and producers, and preparing to make '09 Virginia's year. Get familiar, the Hard Life Era has begun! He was gripped by the raw energy of the black kid with a fresh gold chain, red Kangol hat and well-defined biceps bulging out of a white tank top. As the beat thumped through the television, LL Cool J delivered intense rhymes bragging about himself. As Shaun Waters sat idolizing the soon-to-be rap legend in his classic 1987 video "I'm Bad," the impressionable youngster made up his mind. He, too, would be a rapper. Rap has changed a lot since then, but Waters, known as Shaun Jeas, has maintained his passion for hip-hop. The Staunton rapper just released his 23-track debut project, It's a Man's World, after two years of preparation. "I'm real comfortable with it," Waters said. "It's well-rounded. Its 77 minutes. Well-known rappers aren't even giving you that. The reactions have been mostly positive. People are showing me love out here." Home of the Statler Brothers the most-awarded country group of all time the Queen City of the Shenandoah Valley is not a hotbed for hip-hop culture. But Waters was determined not to let his surroundings stop him from living his dream, even though it meant he had to work that much harder. "Blood, sweat and tears, man," said Waters. "I put my own cheese into this. I put my own bread into it." According to Jim Ellis the rapper Jim Cat, who has several appearances on the project that type of dedication to the music is rare. "As far as I'm concerned, he's the only one doing it," Ellis said. "He worked really hard at putting all of his music together and getting references on how to put his stuff out there and all that." Ellis is on the title track, It's a Man's World. In that particular song, Waters talks about the necessity of street life, and Ellis combats Waters' arguments for promoting the hustling lifestyle. Carlton Melton, who produced some of Waters' album at Studio C Recording & Productions, can also vouch for Waters' dedication. "He's the most dedicated artist I know," Melton said. "He was calling me more than I was calling him." Waters covers the subject material you'd expect to hear from an emcee on Hard Life Records, in turn earning the project's parental advisory warning. One of his lines from "Hard Life Anthem" reads: "I had to tell my son, 'No, daddy ain't got that dough.' "So d*** broke, I had to heat the house with the stove." Local guest artists such as C Low, Dab, Kaomie, Lil Dame and Buck Whiskey help Waters illustrate the "Hard Life." Waters addresses personal beefs on songs like "Want it With Me," while he tells stories in songs like "Hold Up," "Lil Mama" and "I Used to Love Her." However, Waters cleans up his rap in a song dedicated to his father called "Pop's Song." Over an emotional, medium-paced beat, Waters raps about what his father, Terry Waters, means to him. "... those times you reached in the pocket to give me your last dollar. Those things meant a lot to me when coming from my father/ especially when my friends' fathers didn't bother/those cats could care less if their sons had a father. You was never like that though, you always put us first/ that's why I'm sitting here writing this verse." Ellis, who has rapped with Waters for years, said it's his favorite song on the disc. "It touches home," Ellis said. "It's a lot more personal as opposed to the lyrics most people put into hip-hop." Waters has been rapping for years. Over the past two years, however, his biggest growth has come in learning the business side of the music industry. When choosing songs for his project, he had to think broader than his own personal tastes. Sometimes mastering a song would mean listening to the same track 40 times in a row and fiddling with equalizer buttons until his fingers went numb. "It's a bunch of fun, but it's time-consuming," Waters said. "But there's nothing I like to do better. I'm already working on the second album."

Straight out of Virginia, the industry's next big thing has arrived. Mr. Sin has come to take control of the rap game, and the King Cobra spits venom like no other. One-half of a group called the Symphony (with B.E.Z.), and the newest member of VA's own Hard Life Records camp, Mr. Sin has come to wage unholy war on all wack rappers. THE GAME IS ABOUT TO CHANGE! The Mission Statement: Hip Hop music is in a state of decay, and true lyricists have become a dying breed. In today's industry, if you aren't talking about how many women you've got, how many people you've killed, or how much ice is in your watch, nobody wants to hear it. The time has come for a change, and Mr. Sin and the Symphony are dedicated to taking the rap game to the next level with music that actually talks about something. That time is finally here.

----------------------

The Interview

33:  What made you decide to make music?
Shaun Jeas: Probably like street influences you know what I'm saying. A lot of musical artists from the 80's like LL Cool J, Big Daddy Kane, Ghetto Boys; you know them types of dudes. I started free styling around the hood and that's where I'm at now.
Mr. Sin: Street influences. Many musical artists from the 80's including Big Daddy Kane, LL Cool J. Writing since I was younger also, it always came easy to me. It was something natural to do from the time I was little to start doing it.

33: How long have you been doing music?
Shaun Jeas: All my life basically you know what I'm saying. Basically I've been real hard at it for 8 years or so. I've been trying to take it real serious professionally.
Mr. Sin: I started music when I was about 12 or 13 or so.

33:  What made you choose your genre?
Shaun Jeas: Basically from being from the hood because you know all the little happy music and stuff like that, that kind of stuff wasn't going on in my hood. You know what I'm saying. I'm from Sears Hill the jungle in Staunton. Stafford Street area where you see a lot of violence, you see a lot of dope slinging. You see cats pimping women, you know things of that nature and it's like what caught my eye you know like, I remember every kid was a Michael Jackson fan. I can honestly remember the day I went from being a Michael Jackson fan to the hip hopping which is where I'm at now. You know it was just from my surroundings.
Mr. Sin: It was the easiest way to express myself.

33: What were some of your biggest influences and why?
Shaun Jeas: Big Daddy Kane and I would say because he was real smooth about his delivery and all his videos he had out, his jewelry, and all the fly women he had. LL Cool J because at that time you weren't really seeing a lot of hip hop videos. When "I'm bad" came out and "I Need Love" came out like back to back and they were on the top of the charts at the time you know what I'm saying, I just ran with it. I thought that's what hip hop was at the time so that kind of formed me a little bit. Groups like NWA and the Ghetto Boys from down south and the west coast and when I started hearing that stuff when it made its way around here and they were talking about that hard core street thing it's kind of like I took the Big Daddy Kane and LL Cool J thing with their smoothness you know and their delivery and the stuff NWA and Ghetto Boys and those cats were talking about was the stuff I was singing. So I kind of mashed them together and that's kind of how I came up with the style that I have.
Mr. Sin: For me it was Scarface, Ice Cube, and NWA you know groups like that.

33:  What other musicians have you worked with?
Shaun Jeas: Oh man, let me see. The first cat that put me on was my cousin. He had a big record in Pennsylvania in the early 90's. His name was MC Clayskee. He put me on in the studio and started getting me a little buzz when I was 14 in Pennsylvania. I've worked with Age, Mr. Blackston, Benevolent, Dj Select, Carlton Melton, Dab, and Dakota. I worked with Jim Cat and C-Lo. They got a group out in Staunton called Virginia Certified Hustlers. I've also worked with Frank Nitty who used to be a part of Hard Life Records. Realizm who is a local artist is another cat I worked with. I have basically worked with anyone who is around here. Also DJ Joe Pro, that's my man who is out of Norfolk and he does the adult entertainment kind of thing.
Mr. Sin: Not many people around here. I'm from Virginia but I was up in Maryland before I came down and hooked up with Shaun Jeas and I've been working with him since.

33:  What label are you with?
Shaun Jeas:  We are an independent label, Hard Life Records. It's just us for now.

33: How long have you been with your label?
Shaun Jeas: 5 years. I came up with it about 5 years ago. And we've been kind of tweaking it and we have a few groups underneath our belt and by the summer it's going to be crazy. By the summer like everywhere you go we're going to have projects constantly dropping. I'm going to work on my solo project, Mr. Sin's solo project, than our group stuff together. My son and my nephew, their 10 and their called Main Man and Lil Swag, they are sick with it and they are going to have a project coming out this summer. We got Dreamz; she's a female from Staunton. Tish Bell, she'll be coming out on our album and a solo project. Benita Anderson, she'll have a single coming out in a month or two as far as the R&B tip. My nephew Kashflow, he's actually in our group and in the actual Hard Life Shotter's group. He's at work right now and that's why he can't be here.
Mr. Sin: The best way to handle everything independently from a label standpoint is get your own control of what you want to do. You don't have someone telling you what to do, you don't have someone telling you we want you to sound like this, do things like this. Doing it on our own is the way to go.

33: How did creating the label come about?
Shaun Jeas: Basically to tell you the truth I was riding around one day and we used to be called Go Hard Entertainment. These cats in northern Virginia, it was like party promoters or something like that and they had already had the named copyrighted and all of that. So I was like all right what can I spin off on what's going to sound like it. And I happened to listen to that Tupac album Thug Life joint where they had that group. And you know I just took that from the Thug Life and I had the little go hard thing and I just switched it up to Hard Life Records.

33: Where did you guys come up with the logo for your record label?
Shaun Jeas: This dude named Bird that does tattoos in Staunton right. That's my man, he was doing a tattoo on me one night and he had me rhyming and so I was rapping. He asked if I had a logo for the record label and I was like nah. So he said he was going to draw me up one and so he drew it up and sent it to me in an e-mail and that's kind of how we got it. We just rolled with it.

33: Have you released any albums?
Shaun Jeas: Yeah I released an album what 3 years ago?
Mr. Sin: Yeah
Shaun Jeas: Yeah my first project, a solo project. It was a solo project called A Man's World. It did decent, you know it's still in stores and you can still get it off the internet.

33: Do you have any upcoming albums?
Shaun Jeas: Yeah. I got one that is due out in January, my solo project which is called Excuse My Back. Than we have the Hard Life Shotters album which will be myself, and Mr. Sin. Dreamz will be on there and Kashflow will be on that album. Than after that project like right back to back we're going to have the whole Hard Life collaboration album. Everybody on the label is going to come out and that's going to be twenty songs mixed up with everybody. Everyone on the whole label is going to do one song together and then picking and choosing, mixing and matching. So we've got those projects already in the mix of being out in January or February.

33: Do you have any performances coming up?
Shaun Jeas: That's just kind of touchy. You got to stay on my Myspace and things like that because I do a lot of in the spare of the moment type thing. I have been trying to stay away from it so I can focus on these projects but now it's about time with Christmas Eve coming and everybody ready to party so we're going to start doing some shows and more upcoming projects.
Mr. Sin: We spend most of the time in the studio.

33: Where can we listen to your music or do you have a website?
Shaun Jeas: Actually how long until the launch of the website?
Mr. Sin: It should hopefully be up by the end of the month. That's the thing I'm working on, Web Design. I handle all the Web Design and things like that. Hopefully by the end of the month it will be up and it will be HardLifeRecords.com.
Shaun Jeas: In between time you can get us at MySpace.com/ShaunJeas and What's Your Junk?
Mr. Sin: Myspace.com/MRSin
Shaun Jeas: And then of course our Hard Life page which is MySpace.com/HardLifeRecords07 which will bring you to our pages as well.
Mr. Sin: It's the place to be.

By Author: Adam Price   Mon, Mar 01, 2010

Sarah White and the Pearls were the opening act for the band The Birdlips.  They played at "The Southern" in Charlottesville last month on the 12th.  Sarah White is probably the most successful artist I have met through working with this magazine.  She has numerous albums out on indie labels, has a professional website up, and has gotten some very good press, but I hadn't heard of her before getting a call from photographer Chris Pecoraro about coming to Charlottesville to cover their show.  Chris and I met with Sarah and "the Pearls" before the show and held a brief interview.  The cast of characters: Me (33), Chris (33 Chris), Sarah White (SW), Ted Pitney (TP), Michael Bishop (MB), Jason "Swiss" Butler (S), and Stuart Gunter (SG). 

33:  So, this is the Pearls?

SW:  These are the Pearls, I'm Sarah White.

33:  And how long have you guys been together?

SW:  In this formation, lets say about . . . four or five months.  

S:  But in this one, like a week. 

SW:  This formation, just one week. 

MB:  Its pretty much brand-new. 

33:  That's pretty cool; get a whole set together in one week. 

SW:  Yea, well we'd all learned different sets at different times and different what-evers, but this set is one week long. 

33:  So do you have a bunch of "pearls" in like a big box and you just pick each one out for . . .

SW:  I always imagined the pearls to be whoever I was playing with at that moment.  And even when I was playing solo, or with one person, it would be Sarah White and the Pearl for instance.  People didn't get it, but that's what I meant. 

33:  So, now, Sarah White and the Pearls, how many albums do they have out?  Or is it just under the title "Sarah White"?

SW:  Yea, I have four.  "Sarah White" has four.  One with a band, one with Ted Pitney, two that were solo, So I guess I've always been the like, key, but there's been rotating people.  But, you know, I like this band.  So, you know, you can look for a "Pearls" record in the future. 

33:  Good to know.  You're based in Charlottesville, right? 

SW:  Yep. 

33:  So, did you guys all meet in Charlottesville? 

SW:  Yep. 

33:  Where did "Sarah White and the Pearls," where did this project come about?  

SW:  This one?  Well it gets complicated; I'm trying to keep it simple.  I mean, I've always been playing with different people.  You know there was this guy, and then this guy, and then this guy, and then, now its this guy.  And I don't even know, two or three years ago we played with a different bass player and then Ted and I did some stuff and I don't know where [Swiss] came from.  He just showed up one day when Ted was out of town . . .

MB:  You know, she had her stuff . . . and then her and Ted started playing and they did some stuff as a duo and recorded a record as a duo.  And then, you know, I started talking to Sarah when she played a show with . . . Stuart and I were the rhythm section for Tom Poloso's band, he's one of the instrumentalists in Modest Mouse.  He has a solo thing that he does.  W

ell she played a show with us and we were talking like "hey, let's do this, let's play music together."  And so that's kinda how it started.  And then Ted started playing with us again and then we got Swiss on guitar. 

33:  Well, how about the writing.  Are these all your songs?

SW:  Yea, they are.  Sometimes the band adds some things. 

 . . . This band right now has been rehearsing sort of some older songs, so this little unit has not yet "written" a whole new song yet.  Cause we just got together last week.  So you know, maybe next week.  But uh, there's always a little give and take.  I try to get something close.  Sometimes little turn-arounds and little changes happen, tighten it up, or someone has an idea . . . But its not like they have an idea like "oh lets change the chorus to being about a rainy day instead of a sunny day." No, its about a sunny day. 

33:  So have you always called Virginia home? 

SW:  I have.  And I always will, even when I move away.  I was born here, raised here.  I moved to San Francisco for about five years, a while back.  And now I've been back here for like thirty years or something, its like I never left. 

33:  Do you guys, well I guess not this group particularly, but do you go on tour often? 

SW:  Every couple years we seem to get it together. 

MB:  Its just starting to cycle . . .

SW:  . . . We're trying to get up to Boston and down this summer. 

33:  Can I get all yall's name's? 

SW:  So I'm Sarah White

S:  My real name is Jason.  Most people call me "Swiss."   Last name Butler.  I play guitar.  I play mainly rack & roll stuff, until now. 

33 (Chris):  So how did you get the nickname "Swiss?" 

S:  Well you know, there's no real good story there.  I had some dumb friends that just made up nicknames for everyone and I don't know why or how but that became my nickname. 

TP:  Like the cheese. 

JB:  Yea that's what someone said last week at our show.   Cause I was so cheesy.  The whole room laughed they thought it was great. 

TP:  I'm Ted Pitney.  Guitar as well. 

MB:  I'm Michael Bishop.  I play bass guitar. 

SG:  I'm Stuart Gunter and I play drums. 

TP:  Sarah's got a full pallet behind her.  If you think about like, Stuart playing with the "Wrinkle Neck Mules," Michael Bishop was in "Gwar" for a few years, I'm from like a blue grass background, Jason is like southern-rock. 

SW:  You have any last desperate interesting questions?

33:  Well, if someone was so intrigued by this interview and desperately wanted to get an album by you or your group, where could they find that?  

SW:  They could go to my website which is sarah-white.com.  Most of my records are on ITunes and either buying from the label or buying on-line.  Locally, Side Tracks, Plan 9.  Yea I would start with my website and click the links or MySpace. 

33:  Well thanks guys a ton. 

---------------------

After the interview, Chris and I got another beer and enjoyed the show. 

As all good music should be, Sarah's sound is hard to describe.  I could say she is Country senza twang and slide guitar, but that wouldn't be quite right.  Southern Rock, maybe Southern Indie Rock?  Like Ted Pitney mentioned in the interview, Miss White has quite a large range of influences backing her up.  Every song I heard changed my impression of her.  The bitterness of too many broken hearts can be heard in her voice.  I would almost compare her to a female version of Bob Dylan, but again, that's not quite right.  Some of the songs sounded like they might be better suited for a soloist sitting alone in a next-to-empty cafe.  They had that lonely, longing sound to them.  On the other hand, some were perfect for the dark club and large crowd.  Sarah White certainly has a sound all her own.  Whatever "Sarah White and the Pearls" are, the crowd loved it.  I can't remember the last time I've seen a venue so packed.  Between the fans of Sarah White and the fans of "The Birdlips," there was hardly room to move. 

The first time I heard Radiohead's album "In Rainbows" I hated it.  It was my first introduction to the band and I'd gotten it because a friend of mine gave it such a good review.  At first listen, to me, it sounded like a bunch of random words with strange chord progressions and weird effects.  I kept listening to it though because I wanted to see what my friend was so excited over.  It took me a few weeks of serious listening before I got it:  all the different, subtle parts that are hidden in the texture, the ambience the music creates . . . It is now one of my favorite albums and way up there on my ITunes play count.  Now, in no way am I comparing Radiohead's sound with that of Sarah White's, but I feel like I missed a lot when I heard her music the first time around.  It is true, I did not fall head-over-heels in love with her music, but that is not to say that it won't happen.  There is certainly much more to her music than what meets the ear.  I need to give Sarah's music some concentrated listening, and the loud club didn't give me a chance to do that.  I look forward to hearing Sarah White again sometime soon, and hopefully I'll "get it" the second time around. 

Not to steal any thunder from Sarah White and the Pearls, but I would be remiss if I neglected mentioning "The Birdlips," seeing as it was their farewell show.  "The Birdlips" are two skinny, young looking kids who took me completely by surprise.  When they got on stage, they took me to a different time and place.  A mod party on a beach with bonfires, flying into a sunset, taking a nap on a thunderhead, then smoking a bowl in a hot tub in a snow storm . . . I've never heard any music like it.  I hate to admit it, but it is probably a good thing they are moving to California.  Their sound belongs on the West Coast.  I don't think Virginia can really dig it properly.  I only wish I could have found out about them earlier.  Birdlips, you will be missed.  Best of luck on your journey.  Come back and visit soon. 

You can find Sarah White @

www.sarah-white.com

www.myspace.com/sarahwhitepearls

You can find The Birdlips @

www.birdlipsmusic.com

www.myspace.com/birdlipsmusic

You can see what's going on at The Southern @

www.thesoutherncville.com

By Author and Staff Coordinator: Helen Brown   Sun, Feb 28, 2010

I was talking with a friend of mine, enjoying a concoction at Fardowners, when I noticed a band had started playing.  When they started their first set, I was deep into my conversation.  However, I slowly found myself drifting away from the conversation toward the beats of the music I heard in the background.  There were only two people who watched the entire show, and I was one of those people.  I was impressed with their willingness to play with the same intensity for only two people that you would see performed at a concert for hundreds!  It was a special night for me.  I felt as if I was receiving a private performance!  They even granted song requests until the very last song!  Their rocking energy, a diverse sound integration, and a natural easement within their instrumentation left me mystified. This "natural ease," is a result from their cohesive understanding as a three-piece unit that produces a very polished result.  It is harder to play in a trio because flaws seem more visible.  There are not as many instruments or sounds to mask potential mistakes.  However, Sun Dried Opossum really excelled in their ability to feed off one another and play together in harmony, which establishes their position as one of the most magnetic trios I've seen in the Charlottesville area!

The band members are Steve Sutton (lead vocals, electric guitarist), Brian "Boogie" Thomas (bass), and Torrey Patterson (drums).  From the interview, I learned that they have actually been playing in this area for almost twenty years!  After watching them, I can imagine Sun Dried Opossum as a basement-bred band that has since transformed into a commanding entity.  When I watched Steve's finger placement upon the chords of his guitar, his fingers were calculated and just plain mean.  "Mean" is indeed the theme for how well each member of Sun Dried Opossum performs.  In terms of categorizing a band, they are noticeably distinctive from other rock bands.  They are neither flashy nor flamboyant, but musicians who are concentrated solely on their skill level and a desire to produce exceptionally tight music.  A staple observation I have been pondering for weeks now is the dissimilarity between the style of music that come from Steve Sutton's Fender Big Apple Strat and the style of his vocal renditions.  While Steve Sutton's meticulousness upon his guitar is the epitome of edgy rock and roll, his vocals are accented with a slight alternative feel.  It's like seeing how opposite elements attract; yet, seeing how different elements mesh together brilliantly.  His voice resonates with rustic emotion that echoes awesome!  In regards to his instrumentation, when he stretches his fingers around the neck of his guitar, forcing the sound he wants in the manner in which he wants, it is apparent that he possesses a striking gift for the electric guitar.  His energy shines forth when he bends his entire body to the electric movements of the guitar, eventually bending the energy of the guitar itself, producing electric paradise.  I felt the reverberations rise from beneath the floors that gave everyone a surge of power. 

The bassist, Brian "Boogie," Thomas is a consistent rock that is focused and powerful, yet relaxed and confident.  As he plays with his shoes off, he makes it seem effortless.  As I have seen him play several times now, it is apparent that he possesses a natural talent for the bass.  It is not a simple thing to keep up the groove and maintain it for the duration of the song.  However, Boogie performs this task well.  I have seen him talk and play at the same time, while never getting off track.  It seems that the human ear gravitates towards the bass and how it bumps the rhythm along, tempting you to become a part of the beat and taunting you to dance.  It is something you feel.  If you are lucky enough to hear a good bassist, then there are no interruptions or inconsistencies within the rhythm's groove, and I have never detected any of that watching Boogie play.  Boogie's personality also seems perfectly suited for the bass.  He is mellow and contained on stage, in complete control.  As his fingers take swing across the chords, the sounds that result are sounds that mimic something dark and sinister.  This is crucial for a rock band like Sun Dried Opossum.  Boogie holds the down the beat quite effortlessly, and I am always impressed how he continues to surprise me with a string of steadfast accuracy. 

Torrey Patterson, the drummer, also maintains the beat and rhythm giftedly.  He remains focused with intensity and dedication throughout the entire performance that it appears that nothing could break his concentration.  However, when you see him crack a smile it is such an exhilarating feeling to see the joy, release, and satisfaction on his face.  His emotion comes through upon drum beats and the sounds that drive you to start dancing and loosening up, like the bass.  He rolls along the drums surface with grace and simplicity, as if his hands and the drumsticks were skating on ice.  At one point in the show, Patterson's hands were bouncing on the drums like a hot heartbeat.  His direction within the song structure was deliberate; yet, unforeseen, as if we were all in for a wild, rollercoaster ride.  It crossed my mind throughout the evening how his style might have originated.  He possesses a blues/funk influence that requires flexibility, pointed timing, and the ability to keep moving straightforward until the finale of the song.  I also noticed how Patterson has the ability to adjust the speed of the beat quite well.  The song would be going at a high, rocking speed but then in one swift change, the song would drop down slower, changing the song from powerful rock and roll feel to a psychedelic, blues beat.  The entire song being cohesively complex, yet groovy and natural, as well. 

Sun Dried Opossum is definitely one to add to your list of bands to see in the area.  Their energy is rad, the instrumental paths they take are complex, yet still fluid, and the music is slightly heavier rock and roll that energizes you.  They were very courteous to interview, and I really enjoyed discussing music with them.  For anyone who craves listening to groovy rock and roll, it would be well worth your time to see these local guys.  Also, look for The Brian Patrick Band to see Steve Sutton on the pedal steel and Earl Knox, in which he plays the bass. Brian "Boogie" Thomas is also in The Brian Patrick Band as well as Book Of Job, in which Torrey Patterson plays drums.  These bands really showcase the many skills that Steve, "Boogie," and Torrey possess. 

You can find more information about the band, including when they are playing next, at Sundriedmusic.com.  Be sure to check out their latest CD Back Up.  As always, if you have any questions or comments for me, you can reach me at hbrown@magazine33.com.  I hope you enjoy the interview and please do not hesitate to return some feedback about the reviews, the bands, the venues or Magazine33.  Take care!

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33:  How would you describe your sound as a band/and or what does your music represent?

SDO:   We like to say that we're a power trio, makers of rock.  We represent rock music. It's still alive and small town local bands like us should keep writing and performing original music.

33:  What have you learned as a musician playing in Charlottesville?

SDO:  Not only in Charlottesville, but everywhere we play we see that there are tons of great musicians and music lovers that appreciate original music.

33:  Can you tell me why your band works well together? 

SDO:  All of us are pretty laid back.  We speak the same musical language, which makes it easier to mesh while performing.  Also, we have great senses of humor.

33:  How did you know you wanted to become a musician? 

SDO:  It's just something you know, something you feel. 

33:  What are the advantages and disadvantages of being a musician?  SDO:  It's healthy and fun to be creative. Also, we've met a lot of great people over the years and been to some cool places. When you're young, no mortgage, no wife or kids it's easy to stay out until 4am or not come home at all.  Now that we're older with full time jobs and families, it can be tough to coordinate time for rehearsals and gigs, but we still make it happen.

33:  How did the band start? 

SDO:  Here's the short history: SDO has been around since 1992.  Just friends wanting to make music and have fun.  In 1996, we had some member changes and picked up Torrey as our new drummer.  In 2006, we became trio and in 2008, Boogie joined us as our new bass player.

33: When rehearsing, how does everything eventually come to a point where you develop material that you would lead to a c.d.? 

SDO:  Usually we'll start with an idea, work at it until everyone's pleased and then play it live a handful of times.  If we've got something that we like it will probably end up on a recording.  Although, I can't tell you how many times I've (Steve) grown to dislike so many of the songs that I've written and nixed them from list, never to be played again. Ever.

33:  What instruments do you play, what exact model, and why?

SDO:  Steve -Guitar: Fender Big Apple Strat. I like it because it has humbuckers yet still sounds like a Strat. Amp: 1983 Marshall JCM 800.  I like it because it just oozes rock-n-roll.  I also use various pedals.  Boogie- Bass:78 Fender Precision, fat rich tone. Amp:  Ampeg SVT-AV, all tube bass deliciousness.  Torrey - Drums: 60's reissue Ludwigs, great rock drums.

33:  What are some musical influences that come through your music? 

SDO: I think mostly you'll hear classic rock influences like lots of riffs, guitar driven songs, thundering bass and badass drums.

33:  How hard is it for a musician to be original and not sound like anyone else; while, still taking other musical elements into account and applying those your music? 

SDO:  It's easy and it's hard.  We don't intentionally rip off other musicians, but we don't really say, "let's try not to sound like Band of Gypsies".

33:  Are there any times or any places when you play better? 

SDO:  When the crowd is paying attention and enjoying the show everything is good.

33:  What distinguishes this band from other bands in Charlottesville?  What do you bring to the table that is unique from other bands? 

SDO:  Well, I think it's easy to say that we've been around longer than a lot of local bands.  Torrey and I have been playing together for 14 years, since '96.  With that you get experience and maturity and the ability to pretty much read each other's mind when we're playing.

33:  How do you manage being musicians while having "bread and butter" jobs and being involved with other bands? 

SDO:  Each of us just has to manage our time wisely.  Also, we have very understanding wives!

33:  What do you think you convey to the crowd when you perform? 

SDO:  Hopefully, we convey good energy and good music.  Also, we like for people to know that we mostly play original music with the occasional cover song thrown in there for good measure.

33:  What are your goals for this band, whether it is short term or long term? 

SDO:  Several years ago we really made a push for SDO to become a little bigger than just a local band.  We hired a professional producer from L.A., recorded a great sounding record, played a lot of music throughout Virginia, North Carolina, Maryland, DC, Ohio and West Virginia.  We did a whole lot of promo stuff, we really gave it a shot.  Now we're just playing to have fun and to keep the SDO tradition of making good music alive.  I think we'll be around for years to come.  In 2012, the band Sun-Dried Opossum will have been around for 20 years.  Wow.

33:  Do you get nervous? 

SDO:  Sometimes, but just a little and not that often.  We're very comfortable being together on stage making noise.

33:  What would you say to someone who was thinking about becoming a musician? 

SDO:  Do it!  At least give it a shot.  It takes time and a lot of practice and can be very frustrating.  One of the things I love the most about being a musician is that when it comes to creating music, there are no rules.

By   Sun, Feb 28, 2010

Since the New Year began, I have been eagerly anticipating my next band to interview.  The first band I interviewed in 2010 was Raw Dawg, a six-piece band that has been playing together since 2006.  Raw Dawg is composed of Dave French (Lead Guitar and Vocals), Chase Rannigan (Rhythm Guitar and Vocals), Richard Jones (Keyboards), Will Faulconer (Percussion and Vocals), Mike Doyle (Drums), and James Fretwell (Bass).  There was also a guest appearance made by co-owner of the venue, Fardowners, who played the mandolin.  Fardowners, a restaurant in Crozet,  provides a cool, laid back atmosphere where our evening begins...  I have been there many times and it is simply just a great venue to hang out with your friends, listen to great local music, and where you can have any night, you want to have!  It can be enjoying the Tachos, a local food favorite..., with friends, having a couple of beers on the weekend, or rocking to the beats of the local talent in the Crozet and Charlottesville area.  Pick your poison, and be sure to check out Fardowners.  The owners are inviting and so are the people who work there, such as the bartenders Scotty and Andy! 

When conducting my research prior to their gig, it surprised me that Raw Dawg had played alongside The Radiators, The Bridge, and traveled to Floydfest 8: Revival, and Camp Barefoot 3!  These bands are familiar, and it is not surprising Raw Dawg would be of the same caliber.  I did not have specific expectations prior to their show; however, after the show, the photographer for Magazine33, Michael Ponzini, nailed what my expectations were.  He said, "I didn't expect these guys to be as polished for being a younger band."   I felt the same way and they far exceeded my expectations of the night.  After offering a melting pot full of unique sounds, groovy textures, and varied styles of music, Raw Dawg captivated the audience that night and gave us all an awesome, full-bodied, experience.  They offered a variety of different sounds and exuded many influences, from Blues, Rock, Funk, and Reggae.  Raw Dawg brought an intensity that not only provided a heavier Rock and Roll edge, but also a heightened sense of energy and enthusiasm.  Everyone was dancing and rocking the house; no one was sitting down that evening.  It was truly a record night, one for the books...

Listening to their CD a week before their gig at Fardowners, I thought their songs were very different from each other, but shared a common link.  That common link was this:  each song possessed a string of riff changes, style, and sound variations that led to multiple strands of musical highways.  However, they would always permeate back into a common rhythmic sequence of melody, much like a chorus, tying the song together and giving it have a natural flow.  In essence, despite the differences in sound and structure, the songs would always possess consistencies.  They were not merely jamming; their songs had purpose.  To be able to do this well requires a significant amount of time and practice.  They were obviously very comfortable playing with one another and that consequently provided a good foundation for them to play confidently together. 

While listening to Dave French's vocals, he brought something out in me that gave me goose bumps.  French's delivery had this soulful, sexy, gritty, effect when he uttered his lyrics.  When I was listening to him sing, for instance, I knew it was coming from his heart.  It was indeed inspirational to witness!  His guitar chops, along with Chase Rannigan's, were also something inspirational to watch.  Each electric guitars fueled the other, adding comprehensive guitar sounds.  When Chase and Dave were singing together, Chase provided an interesting Jerry Garcia influence, while Dave would compliment Chase with a gritty, blues influence.  Rannigan possesses a focus that radiated through his voice when he was performing that struck me as soulfully deep.  Both he and French captured me and left me mesmerized with their vocal capabilities and their skills upon the guitar that resonated through me entirely. 

Will Faulconer and Mark Cosgrove also graced us with beautiful vocals that night.  Both sets were smooth and easy to understand.  Their voices also complimented the instruments they were playing.  Will, who played the congas and bongos, had an easy, groovy, demeanor that seemed perfect for both his vocals and his instrument.  When he was performing, it was interesting to see how his method for beating the congas complimented his voice, so well.  His hands gently and assertively beat out an array of sounds that took me to an exotic place, such as Cuba or Brazil.  I agreed with Will when he said, "To me it seems that there is something carnal about the congas..."  His congas added an intense spice to the other instruments within the music, especially the drums and bass enhancing the beat further. 

In trying to think of the hook within a song, it is especially hard for me to state if there was merely one in Raw Dawg.  Every member was the hook...  For instance, the mandolin and harmonica have always provided such a beautiful voice and ambiance to any song.  Every time I hear it, along with the harmonica, something inside of me melts away.  That religious, arguably a feminine sound added; yet, another flavor that enriched the soulful, bluegrass elements of Raw Dawg.  When Dave started to play his harmonica, it was as if I was in heaven.  Two of my favorite instruments, back to back!  It blew me away!  Richard Jones upon on the keyboards also added a harmonizing, religious quality to the band's eclectic sound base.  His finger placement was pointed, his sound delicious, and his timing impeccable.  I also liked his demeanor, especially when I saw that he played with his is shoes off!  He, along with everyone else in the band had his own personality.  This added flair to their instrumentation, producing a unique, individualistic sound they can call their own and gave everyone a surge of energy.

When I start listening to a song, the beat is usually the first element I notice.  My ears seek out both the drums and the bass and how they compliment one another.  As Mike Doyle and James Fretwell played together, Doyle said it best when he described the drums as "the constant variable...," within a song.  The beat is indeed the underlying factor within a song.  It is the backbone.  Raw Dawg brought out every beat the body would love.  However, I have a similar opinion about the bass in many ways, as well.  The bass is also a constant factor within the sound structure, and a mighty force to be reckoned with.  I noticed how Fretwell's finger placement, just like Jones, were both precise and swift and how they would make a chord or note changes that would added sparks to the general beat of the song and spice it up!  I simply adore the bass and drums; it digs deep down into the soul, pounding and beating like a heartbeat.  All of the instruments complimented each other, thus providing an eclectic sound that made everyone feel the music in their feet and start dancing without reservation.     

My final thoughts are that you need to witness Raw Dawg for yourself.  I found new elements of skill that drew me in, making me realize why I fall in love with music.  The chance to witness musicians such as Raw Dawg sparked my attention immensely.  The instrumentals are top notch, and I enjoyed their raw energy.  Each band member brought their own uniqueness, and I only hope I have given credence to their limitless talent.  I appreciate their openness during the interview, and hope you find their interview as interesting as it was for me to conduct it.  Be sure to check out their CD Raw Dawg and their webpage at http://www.myspace.com/rawdogmusic.  Be sure to check out the Magazine33 Events page, C-ville Weekly, The Hook, Fardowners, and other local venues in the area to see the where they play, their show listings, and interesting biographical information about the band members.  Here is the interview I conducted that dives into their experiences as musicians.  Enjoy!

---------------------

33:  How did Raw Dawg start?

Mike: The band started with me and Dave teaching James how to play bass cuz we needed a bass player.  About a year later, we met up with chase at my house at Yule Farm just off Garth road, and started playing mutual favorites song wise, and then we started writing our own music.  Soon after that dickey joined with his piano skills and we started playing gigs at Uncle Charlie's Smokehouse in Crozet.  Throughout those years we would come home from school and sit in occasionally.  Once he graduated and moved back, he was in like flynt and the six-piece was born. 

33:  How would you describe your sound as a band and what does your music represent?

Mike: I would describe our music as dirty southern rock with heavy blues and funk influences.  Although it's hard to try and label something, especially when you create it without a set idea in mind.  For me, I want each song to sound different musically and lyrically but at the same time have the same vibe and feel.  Cuz there is nothing more boring to me than a band whose songs all sound the same. 

33:  What have you learned as a musician playing in Charlottesville?

Will: I have learned that this town has a wonderful community of quality musicians who all care about the scene and are passionate about their trade.  The story I told you on Friday about the '3^rd Annual Funky Christmas Getdown' put on by Tucker Rogers and the Charlottesville Music Showcase at Rapture on December 18 was a fine representation of this belief.  I never thought a night of completely 100% improvised music with local musicians who have never played with one another and most who had never met, would sound that good.  It was a magical night with some very inspired playing that said a lot about the talent in this town.

33:  Can you tell me why your band works well together?  Ex:  Personalities, attitudes, uniqueness in sound variations, skill level...

Chase:  I think that the combination of similar yet different tastes in music helps us keep our material fresh. In addition to that, our similar lifestyles, likes, and dislikes help us as well. The fact that we have been friends for about ten years doesn't hurt either.

33:  How did you know you wanted to become a musician?

Will:  I knew I wanted to be a musician when I had just started high school.  I began playing the drums and guitar and played in every open mic night that the school I went to would put on monthly.  I went through several musical genre phases throughout high school, but when I was exposed to jam music, that's when I had an awakening, so to speak.  Music has always moved me, but I really fell in love when I began playing it.

33:  What are the advantages and disadvantages of being a musician?

Chase:  Advantages are that you give joy to others by expressing yourself in your purest form. Disadvantages are that I find myself second-guessing myself on performances, and that is something that you have to get over as a performer. The difficulty of having to deal with watching other performers that you personally think are less deserving of their success is also hard.

33:  What instrument do you play, what exact model, and why?

Dave:  Fender Strat Old Mexican; I love it.  I know every nick, burn, and stain.

33:  What are some musical influences that come through your music?

James: I like to keep things simple and let the others guys shine.  I feel like a consistent bass line or groove can do much more for a song than trying to do too much.  It gives others more freedom.

33:  How hard is it for a musician to be original and not sound like anyone else while still taking other musical elements into account and applying those your music?

Dave:  It's impossible to sound completely different from any style; that would be like inventing a word or a new chord.  What makes music original is you and you that comes out in it. 

33:  What distinguishes this band from other bands in Charlottesville and/or What do you bring to the table that is unique from other bands?

Richard:  Dave French shredding guitar behind his back and plucking strings with his tongue. 

33:  What are your goals for this band, whether it is short term or long term?

Richard:  Sounding better each and every day.  As long as we never stop improving, there's really no limit to what we could accomplish. 

33:  What would you say to someone who was thinking about becoming a musician?

James:  There's no reason not to.

33:  What does music mean to you?

Mark:  To me, it's speaking to other people.  It's a whole other language.  I've walked on stage with people I do not know at all and picked up the mandolin and then all the sudden that's the language that your speaking.  It's a language all in itself.  It's the best language out there.  Music means so much to so many people.  It can take you places, it can be there when your really bummed out or when your really happy.  Music is simply there for you. 

By Author: Angela Bean   Mon, Mar 01, 2010

Tom Goss is a singer-songwriter whose muscular style and sensitive spirit has earned him a growing national following. With an acoustic guitar (and sometimes piano), Tom moves from powerful pop to beautiful ballads as he sings of love, loss and longing. The Washington, DC-based, former Catholic priest in training, has released three albums since 2006; he is just back from a 58-city US tour in support of his latest, Back to Love. The video for 2008's "Rise" soared to #2 on MTV's LOGO and the video for 2009's "Till the End" created an instant buzz, generating more than 100,000 views on YouTube and Facebook and eventually reaching #1 on MTV's LOGO.

Tom is a gay singer-songwriter whose muscular style and sensitive spirit has earned him a national following.  The Washington, DC-based, former Catholic priest in training, has released three albums since 2006; the video for 2009's "Till the End" created an instant buzz, generating more than 100,000 views online and eventually reaching #1 on MTV's LOGO.

33: You grew up in Kenosha, Wisconsin. What was that like?
TG: I love Kenosha! It's a very family friendly place to live. Lots of cheese lots of snow. I spent my summers playing baseball in the park and running through the graveyard. Nothing more freeing than that.

33: What bought you to Washington DC?
TG: I moved to DC to go to graduate school. I was training to become a Catholic priest. Bad idea...

33: What made you switch to wrestling since your parents were gymnasts?
TG: Hmm, well to make a long story short, I was very angry. I started fighting with my gymnastics teammates and wrestling just was a much more appropriate outlet. I mean, that's the point of wrestling right? My parents have always wanted me to be happy so it wasn't like it was a disappointment.

33: What are some of your musical influences?
TG: Dave Matthews, David Gray, Seal, Damien Rice and Ben Harper.

33: What made you decide to become a singer? I know you got a guitar as your high school graduation present but what made you decide to go into music?
Tom Goss: Well music wasn't the main focus for a long time. I was doing it in the periphery, eventually the other things I was focusing on fell to the wayside. Music didn't. Like most of my generation I'm a little ADD, the longevity of my interest had a lot to do with me realizing it was a big part of my life.

33: What are some other artists you've worked with?
TG: Matt Alber, Catie Curtis, Jake Walden, Mike Ofca, Stewart Lewis

33: What made you want to study to be a teacher?  Why teaching?
TG: HA! I didn't really care. I went to college to wrestle. Eventually you have to pick a major. I went to a guidance counselor when I was picking my junior year classes and she told me I should do SS Edu. I said OK, simple as that.

33: Why did you decide to become a priest? Did you think it was your calling?
TG:  I did, I really did. That being said, I don't think my mission has changed that much. I wanted to focus on reconciliation, ecumenism and inter-religious dialogue. I wanted to help facilitate a dialogue between people to create positive. That is still what I aim to do, I just have a different platform.

33: When you decided to be a priest were you openly gay?
TG:  No, I wasn't. I was more asexual than anything. I fell in love in the seminary and that was a beautiful thing. In all honesty it was a relief, it's much more isolating to be asexual than gay. I was happy to self-identify as gay, it was a great discovery.

33: How did you like working with the homeless while running the breakfast program?
TG:  Actually, I still help run the Charlie's Place (www.charliesplacedc.org). At this point I do mostly development work, writing grants and dealing with donors. I'm lucky to be able to work from the road and follow my passions while still focusing on the homeless.

33: Where did you meet your partner Mike and how long have you two been together?
TG: We've been together 4 years now. We met on Yahoo during a time when we both really needed each other. I'm extremely lucky.

33: Can you tell me about your self-produced album, Naked Without?
TG: Naked Without was a very emotional journey for me and you can hear it. It's raw and real, emotional and intimate. I wrote it while in the seminary, while leaving and after I left. That was a very hard time for me. The album is pretty much in chronological order, the waves of emotion are obvious and real. I'm not sure I could do that album again.

33: What festivals have you played at?
TG: I don't play many festivals outside of pride festivals. I play a lot of those!

33: Tell me about your second CD Rise. What was it like to make that album?
TG: That was quite a learning experience. With Naked Without I learned that I shouldn't be recording my own stuff, that was a valuable lesson. With Rise I enlisted some professionals and learned a lot about arranging, recording and writing. It was a long process but the result was a great EP, full of big acoustic sounds.

33: You seem to be very involved with the Gay Community, what are some things you have coming up involving the Gay Community.
TG: I'm putting out a marriage equality EP in April that I'm working with Marriage Equality USA and Freedom to Marry on. It's going to be fantastic!

33: Will you be performing at any of the Gay Pride's in Virginia this year or the one in Washington DC?
TG: Maybe both! Last year I did Chesapeake and Roanoke, not DC. But I've done DC as well and I'm happy to do them all.

33: Tell me about your new album, Back To Love. I listened to the song Back To Arkansas and I have to say I listened to it over and over again, it's such a great song. What was it like making the album and where did the name for the album and the song Back To Love come from?
TG: Thank you. BTL was the best experience I've ever had musically. I write a lot and as we (my producer Mike Ofca and I) started pairing down what made sense for the new album I realized that all the songs had to do with love. Not all romantic love but loss of love and love of family etc... Then I wrote Back To Arkansas and the last line of the song (Back To Love) just stuck with me. I thought it was an appropriate title and so that's what I named it.The whole album was done front to back in 11 days. It was such a whirlwind.  Every now and again things just match up, this was one of those times. You can really hear my emotions on this album. You hear the realness of Naked Without but in a refined and mature voice. I'm very proud of the sound we created on BTL.

33: I heard they made Gay Marriage legal in Washington DC, what do you think about that?
TG: It rocks!

33: I read somewhere that you were on the Logo Channel. How did that go? Were you excited?
TG: LOGO is great. My latest video "Till The End" was #1 for 6 weeks, my first video for "Rise" went to #2. It's great to have a channel that focuses on LGBT media, I'm very grateful for that.

33: Have you ever been on OUT magazine or in OUT magazine or ever thought about being in the magazine?
TG: Hm, I think so but I'm not sure. I'd have to check. I did a tour with 2 other LGBT artists and it was sponsored by Regent Media (who owns Out Magazine). They were very generous and helped promote the tour through the magazine and their other outlets.

33: What do you think about being an advocate for the gay community?
TG: I'm honored to be one. I hope that I represent the gay community in a positive light.

M33: What can we see from you in the future?
TG:  I've got the marriage equality EP coming out in April as well as a live DVD/CD. In addition I'll be hitting the road immediately afterward for a 50 city national tour in April and May. I'm psyched.

M33: Where will you be playing in Virginia if anywhere?

TG: You know it! June 3rd at The Camel in Richmond!

Photos courtesy of Tom Goss' management.