Posts Tagged ‘Athens GA’

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“Cosmic Thing” is the fifth studio album by American new wave band the B-52’s, released in 1989. It contains the singles ” Love Shack ” and ” Roam “. The success of the album served as a comeback after the death of guitarist Ricky Wilson in 1985. Once The B-52’s released their underrated fourth LP Bouncing Off The Satellites in the wake of the death of guitarist Ricky Wilson, the impact of losing such a key member on the frontlines of the AIDS epidemic made it difficult to think about recording new music. For a moment, “She Brakes For Rainbows” seemed like the last song we’d ever hear from the Athens, GA new wave heroes.

“After Ricky died, we felt that the band was finished,” admits Keith Strickland, who co-wrote “Rainbows” with Wilson and also took over his major role in the band as lead guitarist. “We couldn’t imagine going on without him.”

“When Ricky died, it was very uncertain if we would continue or if we could continue,” remembers Kate Pierson, who along with Ricky’s sister Cindy Wilson comprises the iconic vocal harmonies of the band. “We all just withdrew into our own worlds for a little while and then we began communicating again. So during that time Keith moved upstate and I also bought a house up here as well. We were neighbours across the pond.” Strickland, who was living in Manhattan at the time (as was singer Fred Schneider and Wilson and her husband), felt a need to relocate from his citified surroundings. And just as such greats as Bob Dylan and Sonny Rollins had done in the past, he chose to head to Woodstock, long before it became the go-to transplant for Metro area expats.

“After Ricky died, I just wanted to get out of New York City,” he says. “I was also studying Buddhism and had on occasion attended teachings and events at the Karma Triyana Dharmachakra Monastery in Woodstock. I had always wanted to live in the mountains, so I thought Woodstock would be an excellent place for me to live.”

As it turned out, Strickland was on to something. The town of Woodstock has long been a rustic getaway residence for such music icons as Bob Dylan, Todd Rundgren, Paul Butterfield and Jack DeJohnette. And for one of the B-52’s chief songwriters, who just lost the Lennon to his McCartney, living in such a holistic habitat indeed opened up his creative pores in short order, creating the roots of what would become Cosmic Thing, released 30 years ago on June 27th, 1989.

“I moved to Woodstock in the summer of 1986 and rented a little cabin on a pond off Wittenberg Road that was covered with lily pads and abundant with wildlife,” explains Strickland. “It was idyllic and very healing. I wrote the instrumental portion of the songs. I would record a multi-track of music, and Kate, Fred and Cindy would improvise over it, and together, we would arrange their lyrics and melodies with the music. I remember starting the track for ‘June Bug’ with wildlife sounds that I’d recorded on the pond.”

Keith is a very underrated musician,” Schneider comments . “The music he brought us for Cosmic Thing, we thought, was brilliant and inspiring. There was some trepidation about doing another record, but once we heard the music and got to jamming, everything fell into place really quickly.”

Pierson also moved to Woodstock, The singer also saw it as a place of catharsis in the wake of Ricky Wilson’s death.

“For Keith and me, it was a sense of peace we found up here,” she reveals. “Just being in this small town, it was the same as it was in Athens. They both have a similar spirit in that it’s very liberal and there’s a lot of interesting musicians who live here. Being in the country while working on Cosmic Thing gave us the easy going, porch swing life we had in Athens that we needed to make these songs.”

The songs on Cosmic Thing were a slight move away from the band’s previous four albums which had been perceived as more underground “new wave.” Their 1979 eponymous debut album was a hit, particularly in Australia where it achieved the number 3 spot on the charts along with all three singles achieving similar success. Both “Rock Lobster” and “Planet Claire” have become some of music’s most legendary songs in their own right and have also gone on to forever be synonymous with the band and the new wave era they epitomized throughout the ‘80s.

The band’s following three albums did moderately well, with many claiming that their sophomore LP Wild Planet (1980) is their best. Whammy! (1983) and Bouncing Off The Satellites (1986) did not go on to achieve the same success as the previous two and maybe because of this, the band felt the need in the making of the latter album to write separately and switch up instruments (Keith Strickland moved from drums to guitar and keyboard).

Eventually all four surviving members of the B-52’s would agree to find an apt studio location to begin fleshing out the cache of songs that would become Cosmic Thing. They chose two distinct locations: Sigma Sound Studios in New York City, where they would cut the majority of the material with Nile Rodgers of Chic. But for four songs, they went to Dreamland Studios in West Hurley, a little town in northern Ulster County not too far from Woodstock, and record with Don Was, who came in almost immediately on the back of his work on Bonnie Raitt’s Grammy-winning classic Nick of Time.

“I remember working on Cosmic Thing like I remember summer camp when I was a kid,” said Don Was . “I had just wrapped Nick of Time and headed to New York. And here I was at Dreamland, I remember sitting out back there at night. The nights were beautiful, and you could hear all the crickets. It was lovely, man. I don’t remember any stress. I recall driving one night we saw the Northern Lights at a Zen monastary up on a mountain. I remember it as a very moving and warm experience up there.”

“I remember one night up at the studio, we had a UFO sighting,” adds Wilson. “Fred and I were standing in the front yard and saw this light in the sky that was shaking and twirling around and around, kind of like in a unity pattern and jumping all around. We could not figure out what it was, but it stuck around for a little while and then left.”

Dreamland turned out to be the perfect studio for us,” recalls Strickland. “The big room sounds great. I remember when we were recording ‘Love Shack,’ a lightning storm knocked out the electricity in the middle of the song during the bass breakdown. So we took a dinner break, went to the Gypsy Wolf Mexican Restaurant in Woodstock. Then returned to the studio and listened to the last take, and realized how good it sounded, so we quickly went for another take and spliced to the two together.”

“I remember Don Was sitting in the kitchen and we all sat around the kitchen table and listened to cassettes on a portable cassette player,” adds Pierson. “Then we’d go and drive around in the car and listen on the car stereo, because that’s the way most people were listening to music at the time.”

The region would continue to serve as a harbinger of healing and salvation for the band when they found the location for what would trump “Rock Lobster” as the singular hit of their careers. The “Love Shack” was indeed a little ole place nestled in the deep woods of Plattekill, NY, in southern Ulster County, where their unwitting local fans had no idea some MTV video history was going down inside a wildly designed, multi-coloured house owned by ceramic artists Phillip Maberry and Scott Walker.

“Our friend Tommy and the famous hairdresser Danilo, they told us when they heard the song ‘Love Shack’ and we were gonna do a video they said ‘Oh my God, you have to do the video in this house. It literally is the Love Shack,” Pierson recalls. “So I went to the director and told him we have to shoot at this house. I had gone up there though I didn’t know Phillip and Scott lived in this house, which was a literal shack. And they had the checkerboard roof, and two goats named Kate and Cindy. There was an amazing garden and it was in this sorta grotto with stone all around.”

“It was actually already painted in those bright and fanciful colours,” Strickland remembers. “We invited friends from the city to join us. It was a beautiful summer’s day in the Hudson Valley.”

“It was a perfect place to film,” adds Wilson. “It was a glorious day, and all the colours in the house all popped. It was amazing.” “We all loved it, but the director wanted to do it in a studio in New York, not have to schlep upstate,” Pierson explains. “But once they saw it, they were like, ‘Oh yes, this is it.’ So they made these signs that say ‘Stay Away Fools’ and ‘Love Rules’ and put the goats in the video. And we invited all our friends and had a party. The video was just one big party. We started out really early in the morning and it turned into this rave. RuPaul got the dance line going, and it almost felt like we weren’t being videotaped.”

“It was indeed a party,” Strickland agrees. “We wanted to recreate the Soul Train dance line, but the video director didn’t get the process. So RuPaul, who was there, directed that scene.”

“It was great having RuPaul in it,” adds Schneider in regards to the drag legend’s public debut on the set of the video. “I had met him years before on the 14th St. bus. But the police, however, didn’t like us up there.” And given just how ubiquitous “Love Shack” remains 30 years later, especially as a wedding standard as essential to the night as the “Chicken Dance,” it’s hard to believe the song almost didn’t make the finished album.

“We finished all the songs we had to do a day early, so we had this extra day to do something,” remembers Was. “So they said, ‘We have this other thing, but its 15 minutes long and we haven’t figured it out.’ I remember sitting on the steps outside the studio and thinking about this thing they were improvising about a love shack and going, ‘Well maybe that’s the chorus.'”

“I remember how ‘Love Shack’ wasn’t put together yet, and Don said how it needed a chorus,” interjects Pierson. “It wasn’t even gonna make the album because it wasn’t solidified. But after we added that chorus, Bingo, here it is; it sounds like a hit. But we didn’t aim to write hits, we aimed to heal ourselves and channel Ricky’s spirit. That was the goal, and I knew his presence was there.”

“So we started rearranging the lyrics like a puzzle, and we were able to get it down to three and a half minutes with a chorus and some semblance of a plot line and cut it,” explains Was. “The first take was killer except when we got to the tin roof rusted part. Cindy started with this exuberance that shocked everybody. I don’t know what that line means; I don’t think anybody knew what that line means (laughs). But she infused it with so much feeling, it threw everybody. I think she even choked up at the end of the line. It was really deep, and we tried to do it over and over and we couldn’t get the feeling we had in that first take. It took me all night to figure it out before I realized everything should be punched in right after the tin roof rusted line, because we never got that thing back again, that manic energy.”

“We had a hard time selling ‘Love Shack’ at first,” admits Schneider. “I remember our A&R guy taking me around while Kate and Cindy would do soundcheck and we would go to radio stations basically to beg them to play the song. Even the record company thought it was too weird. I thought it was the most accessible thing we had done. College radio embraced it immediately, but mainstream wouldn’t touch it until they saw how well it was doing. We went to No. 1 in several markets, though in America we were beat out by Milli Vanilli and Paula Abdul, both of whom were accused of not singing on their hit songs!”

It’s a wonder to look back on the roots of Cosmic Thing on its 30th anniversary, commemorated with the release of a deluxe edition of the album by Rhino Records that includes a killer live show from The Woodlands, TX, in 1990 as the bonus disc (along with an expanded version of the classic LP that includes remixes of the album’s triad of hits in “Love Shack,” “Channel Z” and “Roam”). It might not be as ubiquitous to the Woodstock region as, say, The Band’s Music From Big Pink, Bob Dylan’s The Basement Tapes orThe Muddy Waters Woodstock Albumbut the catharsis experienced during the creation of Cosmic Thing couldn’t have been achieved anywhere else.

Cosmic Thing wasn’t a plan to do this big comeback for Ricky,” Pierson explains. “It really was a healing thing. It was about doing it together as a means to heal, because after Ricky died we have this amazing, precious thing that was each other still. So we figured let’s get together and try this again. And the vibe of being at Dreamland in Ulster County to record this album was magic.

“Driver 8” kicks off the strongest two-song sequence on “Fables of the Reconstruction” with a bluesy guitar riff that mimics the forward thrust of a locomotive. Add in the insistent repetition of “Take a break, Driver 8/ Driver 8, take a break” that carries over from the first verse into the chorus, and you’re left with the distinct impression of a train barreling through a Southern landscape with no brakes and a crew strung-out on lack of sleep. But something about the song’s mood or urgency shifts as it arrives at the second verse, where all of a sudden Michael Stipe pauses to soak in the imagery that surrounds him: a tree house on a farm, church bells ringing, children playing in the field. But just as the driving riffs give way to arpeggiated chords, so do these pastoral relics of the South give way to images of power lines and other vaguely sinister representations of modernity. Like many of the best R.E.M. songs, “Driver 8” doesn’t pick sides. Not quite sad and not quite celebratory, it keeps its quiet revelations close to the chest.

Fables of the Reconstruction contains plenty of wisdom — including this song, inspired by the title of the book Life: How to Live written by a local Athens character named Brivs Mekis. The lyrics are whimsical — they detail Mekis’ eccentric habits — but suit the bustling music. In particular, Bill Berry’s drumming bristles with spring-loaded energy, which pushes the song forward and highlights the urgency inherent in Peter Buck’s circular riffs and the water-falling backing vocals. R.E.M. dusted off “Life and How to Live It” occasionally even during their final tour, and it became even more galvanizing as the years passed.

Rolling Stone wrote: “Listening to Fables of the Reconstruction is like waking up in a menacing yet wonderful world underneath the one we’re familiar with. R.E.M. undermines our certitude in reality and deposits us in a new place, filled with both serenity and doubt, where we’re forced to think for ourselves.”

The band’s fourth LP – A concept album with Southern Gothic themes and characters
Released: 10th June 1985 – 35 years ago

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The kings of country-rock and outspoken wisdom, Drive-By Truckers, are returning this year with their 12th studio album, following 2016’s American Band and the 2018 release of the long-lost Adam’s House Cat album Town Burned Down, which featured Patterson Hood and Mike Cooley before their Truckers days. “The Unraveling” arrives after a prolonged period of writer’s block for Hood and Cooley, easily one of the most impressive songwriting pairs in music’s recent history ). On The Unraveling, they pick up right where American Band left off, with searing political commentary and a sharp look at the harsh realities of modern American life.

“The past three-and-a-half years were among the most tumultuous our country has ever seen,” Hood said in a press statement, “and the duality between the generally positive state of affairs within our band while watching so many things we care about being decimated and destroyed all around us informed the writing of this album to the core.” And there you have it. It’s a new decade, but the Truckers remain dedicated to the same cause: relaying the truth—no matter how difficult it is to speak—by way of deep-rooted, multifaceted and, perhaps most importantly, southern rock ‘n’ roll.

From “The Unraveling” out January 31st, 2020

Band Members
Patterson Hood,
Mike Cooley,
Brad Morgan,
Jay Gonzalez,
Matt Patton,

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There was only one show performed in support of the 1992 release of “Automatic For The People”, that was on 19th November at the group’s old haunt, the 40 Watt Club in Athens GA. (almost 25 years to the day) Here is the recently discovered complete film of this performance. Special thanks to Dan Aguar & Todd Ploharsky for film restoration. The audio is available on all versions of the new 25th Anniversary Reissue of Automatic For The People. The Set includes four tunes from their recently released album including “Drive” (which was played twice), “Man on the Moon,” “Everybody Hurts” and “Monty Got a Raw Deal,” proving it wasn’t always bad to hear “and now here’s a new song.”

SETLIST:

01 – Drive (0:00) 02 – Monty Got A Raw Deal (4:35) 03 – Everybody Hurts (8:49) 04 – [Greenpeace Speech] (14:42) 05 – Man On The Moon (16:07) 06 – [‘Oh Life’ Story] (21:25) 07 – Losing My Religion (22:35) 08 – Country Feedback (27:56) 09 – Begin The Begin (33:04) 10 – Fall On Me (37:05) 11 – Me In Honey (41:39) 12 – Finest Worksong (46:00) 13 – Drive (54:34) 14 – Love Is All Around (1:00:20) 15 – Funtime (1:04:47) 16 – Radio Free Europe (1:07:26)

In the summer of 2007, R.E.M. set up camp for five nights at Dublin, Ireland’s venerable Olympia Theatre to explore new material, test out arrangements, and rehearse songs for their 14th studio album, Accelerate, later released in 2008.

The 39 tracks on the 2-disc set, recorded over the course of the 5-night stint, cover a wide range of material from R.E.M’s back catalogue including deep cuts and fan favorites not performed live in years. In a moment of candor upon entering into unchartered territory, vocalist Michael Stipe dubbed it “an experiment in terror,” but “the terror was for nothing “Live at the Olympia” one of the best non-studio records released this year.”

Select songs from the performances would later be on the 2009 live album Live at The Olympia. The album is a two-CD release, and contains a total of 39 songs. In addition, a DVD with a documentary entitled This Is Not a Show directed by Vincent Moon is included.

All this is to say that if you missed a chance to pick up a copy in 2007, here’s your second opportunity to get what’s been called “the best R.E.M. record you never heard.” This must-have release has just been reissued on Craft Recordings and should suit the tastes of both longtime fans and the uninitiated alike.

The 39 tracks on the 2-disc set, recorded over the course of the residency, cover a wide range of material – digging deep into the band’s earliest tracks, and eschewing the obvious hits. This is a must-have for fans of R.E.M.: Aside from the thrill of hearing a legendary band working through raw material, Live at the Olympia offers the chance to re-live a wealth of deep cuts that R.E.M. rarely performed over the course of their career.

Rock and Roll Hall of Fame inductee and Award-winning band R.E.M. is one of the most revered bands to emerge from the American underground. Singer Michael Stipe, guitarist Peter Buck, bassist Mike Mills and drummer Bill Berry helped originate college rock during the post-punk scene of the ’80s. The Athens, GA-based group toured relentlessly for the first decade of their career, refining their idiosyncratic blend of brash tunefulness, poetic lyrics, chiming guitars and evocative vocals. By the early ’90s, R.E.M. had become one of the most popular and critically acclaimed bands in the world. With an extraordinary three-decade-long run of creative vitality, R.E.M. have established a powerful legacy as one of the most enduring and essential rock bands in popular music history.