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October 2006

October 30, 2006

Bringing the Hill Country to The Bijou

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It’s getting to be that time in the semester for me where everything starts getting blurry. Study, practice, test, work, go to rehearsal, study, practice, testable study worka thing- oh man. I know everybody feels like this sometimes, and we all need to recognize it and take a break. Myself, I go listen to music.

This past Friday a couple friends and I took some down time to go to the Bijou Theatre and check out The North Mississippi All-Stars with Jamie McLean. We met at the Downtown Grill and Brewery, took down some app’s and micro brews and headed down a rainy Gay St. to the Bijou.

We entered and McLean’s set was already in progress. I had seen him as the guitarist in The Dirty Dozen Brass Band, but never fronting his own band. His music was pretty solid, song driven rock. At times it reminded of Bon Jovi (not a personal fav) but with better guitar work. The crowd was pretty modest in size, especially during McClean’s set, but he got them going. He even pulled out the, “ Any of you girls feel like dancing come get on stage” for his closer.

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North Mississippi took the stage next. I’m no stranger to their sound, I’ve seen them something like 6-8 times, but always as a four-piece. Friday NMA performed as a trio. With just the two brothers, Luther (guitar/vox) and Cody (drums/guitar) Dickenson and the large UT clad bassist Chris Chew their sound was lean and focused. Luther plays to crowd as a front man, soloing on the edge of the stage with a variety of guitars, one a homemade contraption consisting of a cigar box, a pipe, and two strings. His guitar vocabulary is reminiscent of Hendrix, true blues language fused with psychedelia and progressive slide playing. A lot of the material that night came from their latest album Electric Blue Watermelon, but as usual they employed some past favorites and folk standards.

NMA’s sound is part of a southern American tradition that seems to be somewhat forgotten in this modern time of relocation. They were born and raised in the same hill country of Northern Mississippi playing music together from childhood. The resulting sound mixes electric blues, country, rock and gospel. Luther himself states it best, “ (our music) holds to the folk tradition of oral history. Electric Blue Watermelon celebrates the lives and legends of the heroes in our community. If the traditions are kept alive, they can’t help but mutate and change.”

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In short, the All-Stars place tradition above virtuosity. Example, a ritual at every NMA show involves Cody stepping out from behind the drum kit, picking up a guitar and “dueling” with his brother. When you see this you know that it’s the same scene that was happening twenty years ago in their living room, with their dad, producer/musician Jim Dickenson, looking on. And with three Grammy nominations now under their belt, their family and community is surely proud.

The North Mississippi All-Star’s have become part of my music going tradition. I was there when Cody burned his washboard at Bonnaroo, witnessed Luther play in the improv/gospel group The Word, and I was most impressed by their “Hill Country Review” band that featured something like 15 musicians spanning four generations from their home town. They keep me coming back, not because they blow my mind musically, but to see what the next chapter in this fable from Northern Mississippi is going to entail.

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Halloween in the City

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On Saturday, October 28, many venues in Knoxville were hosting pre-Halloween parties. The Democrat Dynamic Duo, with me as Jackie Kennedy and my friend Laura as Eleanor Roosevelt, fulfilled our patriotic duty to you, our dear reader, by attending as many parties as possible. It wasn’t an easy job, but we love freedom, and we love polling the electorate, so we began our campaign at Coyote Joe’s on Clinton Highway.

Sure there were plenty of people at Coyote Joe’s dressed as bikers, but some of the best costumes of the evening appeared at this venue. When a mammoth, I mean just plain big, Gene Simmons entered the room I was frightened. When Michelangelo’s David walked in, I covered my eyes. This nude work of art was joined by his band mates who claimed to be Jenna & the Joneses. This motley blues crew consisted of an Elvis Pez dispenser, Indiana Jones, Luke Skywalker, Fred Flintstone, and Ms. Jenna as a stunning Tina Turner. Fearing an unexpected appearance by Ike, we fled to Gay Street.

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We were greeted at the Downtown Grill & Brewery by a very festive staff of Wild West saloon workers and cowboys. Next, we joined a very merry crowd at Barley’s, where Same

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as It Ever Was kept the revelers happy with their amazing Talking Heads’ covers and a special set of Beck’s music. There we ran into a beautiful swan, also known as Christa DeCicco. Scooby Doo and the Crocodile Hunter (with a nasty sting ray puncture wound) were also in attendance. We encouraged them all to vote, even the dead ones.

We First Ladies were not able to wait in the long, snaking line to the “Freakers’ Ball” at Blue Cat’s, but we glad-handed the crowd which included Hunter S. Thompson. Next, our junket took us through the streets of the Old City, where we saw a gang from a Clockwork Orange, a gang of Mafioso, and a Little House on the Prairie couple. (Don’t tell anyone, but underneath one of the bonnets, I saw quite a bit of facial hair. Also an ample amount of back hair was peeking at the top of her smock. I think maybe Pa had been into the shine again.)

Thank goodness the mood on Market Square wasn’t as terrifying. At Preservation Pub, we were greeted by a flurry of bubbles and Baby New Year (ok, his diaper was scary), Cupid, the Easter bunny, a firecracker and Santa Clause. On the dance floor, boogying to the danceable grooves of Phil Pollard and his Band of Humans was Gilligan, Mary Ann and

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Ginger. Sitting in on drums with the Band of Humans was beauty pageant winner Miss Oak Ridge, who was looking beautiful in her tiara, gown and numerous arms and legs. Over at the World Grotto, Bo Peep and her lamb and a beautiful Japanese geisha and her man were amongst the dreadlocked Rastas swaying to the tropic sounds of the Natti
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Love Joys.

Meanwhile, over at the Corner Lounge, a joyful gathering of freaks and head-bangers were grooving to Saviorself, Evil Twin and Speedshifter. Amongst all the ghouls, I ran into a woman dressed as the late great PBS paint instructor Bob Ross. I just about peed in my Dallas pink suit! By now, Eleanor had gone on home. She can be so square sometimes.

Finally, I returned to Preservation Pub to end the evening with the Band of Humans’

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rousing punk set which included “Vomit in My Sleep,” and “Insane in the Brain.” By now, my flip hairdo was flopped and my pillbox hat kept slipping off. It was time to go home. But the beauty part is - Halloween isn’t until Tuesday.


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October 26, 2006

We have a winner!

Congratulations to "Mr. Jason" for winning 2 tickets to see the North Mississippi Allstars at the Bijou Theatre this week!

Thanks to everyone for entering. We appreciate your support more than you know!

Stay tuned for more contests this fall!
The 520 Gang

Tour de macabre

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I've never been a mega-fan of the quasi-goth group, The Dresden Dolls. That is to say, I wasn't until I saw them on Monday night for their nearly sold-out show at the Bijou. To put it simply, the two-person tour de macabre left me in awe.

As usual, I prepared for the show and impending review by doing some research on the band: their history, their training, how they met, their influences, saw pictures of them as kids, blah blah blah. I listened to mp3s, watched video clips and bought their recent CD Yes, Virginia. Pretty much everywhere I clicked and every page I flipped had some reference to their "Punk Cabaret" style. There also seemed to be lots of references the band, themselves, made in response like: "Fuck Punk Cabaret".

It didn't take me long to gather that the Dresden Dolls despise being pigeon-holed into a specific genre. But nothing I read did a very good job of explaining just what the hell "Punk Cabaret" is and why they said, "fuck it"!

Being an actress, when I hear "cabaret", I think of the small, smoky, fleshy German nightclubs of the Weimar Republic, which Technicolored their way into American theatres behind Liza Minnelli and Joel Gray. Even after listening to their CD (which I was convinced had to be over-produced), I couldn't see how the Dresden Dolls could weave the dark and intimate performance style of Cabaret with the knock-you-on-your-ass force of Punk. Especially with a two-person band. Come on!

After the first number the Dresden Dolls played, however, not only did I see how they wove Punk Cabaret into beautiful fabric, but I saw how it was cut to fit every member of the audience in a perfect and unique way. It was clear that Punk Cabaret is whatever it means to the listener. I was watching and listening as a performer, I found it astounding.

Musically speaking, the bold & expressive style of Brian Viglione's drumming perfectly accompanies the text-based music of the band. Amanda Palmer's driving chords -both vocal and on the keyboard - infused even the more subdued numbers with a fluid, sophisticated energy typically reserved for the theatre. The words of their songs are important and Palmer not only uses them to tell her story, but she also wields them as a sort of lyrical percussion. I didn't want to miss a thing she was singing about, and her skillful vocal style made every image play on the Bijou stage like Brecht. My one criticism? Someone get that girl a real piano. The Kurzweil, although nice, didn't seem to suit her style. The presentation would have been even more effective with her pounding on some real ivories.

Nitpicking aside, it was refreshing to leave a performance completely inspired. (Did she say inspired?) Yeah, the music of the Dresden Dolls is dark and gritty...but it's also clever and entertaining. The musicians are smart, highly gifted and creating something that is completely their own with nods to the past thrown in for fun. It's inspiring to know that there are artists and audiences out there that value the clever and the gifted!

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Watch a video of the Dresden Dolls here!

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Photo-props to Virgile Biechy and Kelly Davidson.

Rocky Top, Rocky Horror

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What happened in Harriman isn’t staying in Harriman.

But nothing ever happens in Harriman, you say. Under normal circumstances, that might be true. A quick glance off the interstate reveals a Ruby Tuesday, two Mexican restaurants, a Cracker Barrel, and not much else. That’s about it for Roane County nightlife.


Something ominous, however, has been in the Harriman air of late. If you had been in that Cracker Barrel in September, you might have overheard rumors of something very dark happening at that community college. Something very sick, and immoral. Something just plain wrong. It could undermine our marriages, take God out of the Pledge of Allegiance, and force liberal Hollywood values on us and our families!

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I’m talking, of course, about Rocky Horror. The Roane State Playmakers opened The Rocky Horror Show on Friday the thirteenth of October, and ran it for two weekends at the Roane State Community College Theatre. You would have thought the world was coming to an end, the way people talked. Michael Golebiewski, the show’s director, became increasingly haggard in appearance as the production schedule wore on, and not because of his new twin babies or the rehearsals that dragged into the wee hours of the morning. He spent more time fielding questions from angry parents, nervous faculty, and concerned upstanding citizens than he did actually directing. Two student actors in the show were forced to quit when their mammas found out what their hapless children had gotten themselves into. Mysterious, important-looking people snuck in to watch rehearsals from the back row. There were rumors of protests, of waivers the actors would have to sign in case the audience got out of control with rage. One student whose theatre homework included watching the show and writing a paper on it showed up sheepishly at Michael’s office one day and said, “Sir…um…I just have to say that I don’t think my morals will allow for me to watch your Rocky Mountain Picture Show.”

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All this over a bunch of fishnets.

Harriman has had its collective panties in a wad ever since getting wind of the show sometime in early September, and they’re more than glad to send this show packing to that radical left-wing establishment called Knoxville. That’s right, Knoxville. The Rocky Top Mountain Horror Picture Show is coming to The Fairbanks this Halloween weekend to finish off its East Tennessee Tour of Offending Cracker Barrel Grandmas. No really, the Rocky Horror Show will be performed in its full splendor this Saturday, Sunday, Monday, and Tuesday at that hip, swank Fairbanks establishment over on Homberg Drive.

Don’t confuse this production with that Picture Show nonsense. This is the live, song-and-dance version with actual three-dimensional humans. And what humans they are! Jodie Manross as Janet, Sara Schwabe as Magenta, Phil Pollard as Eddie, with the incomparable Geol Greenlee leading the band – it’s like a who’s who of the local music scene. And I’m in it, dammit! And don’t forget the ensemble of sexy, nubile Harriman co-eds! (For you guys from knoxblab, this is closest you’re ever going to get to watching your lesbian cheerleader fantasy unfold live before you. Not that there’s anything wrong with that.)

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Maybe the Harriman Mammas were right to be concerned. I play a certain delicious cross-dresser in this production, and I received a very interesting message on Myspace a couple of days ago. It came from someone who just saw our production: An eighteen year-old jock and recent Harriman high school graduate, who, by the looks of his profile, has a career as an Abercombie model in his immediate future. After raving about the show, he timidly began to write of a deeper connection to what he saw: “I wished it was for real and I could’ve been in the castle. I fell in love with your character in the straightest way possible. I definitely doubted my sexuality. Not like in a serious manner, but yeah.”

Apparently we stirred the loins of Harriman. What can we do for you?

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What: The Rocky Horror Show
When: October 28, 29, 30, 31, at 8pm, and October 31 at Midnight
Where: The Fairbanks
How: $20, payable at knoxtix.com or at the door
Why: Because you want to do the Time Warp in your corset

Hellbilly fire

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Each of the past 3 generations has its Hank...one that represents the badass and reckless side of country music...one that lives fast by his own rules. We admire and venerate these Hanks, and lift them to legend status. Hell, we even have festivals in their honor!

It seems like just yesterday that the Old City ran amok with fans out celebrating not only Hank Williams, Sr., but also his lineage, at the very successful Hank Days. Well, tomorrow night that bloodline makes a beeline for Knoxville. This time, in the form of Hank III - the third in the line of rebellious country royalty.

Like Hank Williams, Jr., Hank III honors the "family tradition", but also chooses to forge new musical ground. He will be playing 2 sets at Blue Cats this Friday night, Oct. 27th. The first set will feature traditional country songs reminiscent of those by his granddaddy. The vocal and visual resemblance the two Hanks share is uncanny and makes one marvel at the laws of genetics. His oldschool set is tender and tearful - just like good country songs oughtta be. You might even feel as though you've been transported to another time, hearing songs sung by the ghost of an old soul.

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But, just when you thought you might be serenaded by none other than Hank, Sr., III rips you out of your nostalgic meloncholy with a hot and jagged blend of country, honky-tonk, punk and hardcore rock. The result is pure "hellbilly". According to Dale Watson, who records with Koch Records, Hank III's style is "a dose of Hard Core reality you won't find in today's candy assed country music".

Normally, I'd say that such a dramatic shift in styles would clear out the more traditional listeners, but I just learned that the show is entirely sold out. In fact the only place to get tickets at the moment is to win them on the air at 90.3 The Rock! If you're feeling lucky, tune in and try your hand at the ol' radio call in contest. If you don't have tickets yet, you'll want to do whatever you can to see the Hank of Our Age...the Grandson-Of-A-Gun...Hank III.

October 23, 2006

520's Allstar Ticket Contest!

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Knoxville520 and A.C. Entertainment have teamed up to offer you lucky folks a chance to win some 2-ticket packages for the North Mississippi Allstars - coming to the Bijou Theatre on Friday, Oct. 27th!

The North Mississippi Allstars began in 1996 and have since been pioneers in the world of blues-infused rock. Many of their songs have received Grammy nominations and they have appeared on prestigious stages all over the United States, Europe and Asia.

Now it's your chance to see these legends in the flesh and for free! (What could be better than that, we ask?) Here's how to do it:

Send an email to knoxville520@gmail.com. Write "I'm a 520 Allstar!" in the body of the text. Now, we'll be notifying the winners between 3 p.m and 5 p.m. on Thursday, October 26th, so be sure to let us know the best way to reach your lucky ass!

When we let you know you've got the golden ticket (insert Willy Wonka theme here), we'll also let you know where/how to you can pick them up.

Game on!

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NMA on the red carpet at the Grammy's


It wouldn't be a contest without some fine print, right?
If you're interested, grab your bifocals & follow us to the official rules.

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A Thumpin' Good Tribute to Cas Walker

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A Tribute to Cas Walker will be held on Friday, October 27 at 6:00 p.m. and 8:15 p.m. at the East Tennessee Historical Center located at 601 S. Gay Street, Knoxville, Tennessee. Special guests will include David West and his Cider Mountain Boys, a bluegrass band who performed on Cas Walker’s “Farm and Home Hour,” “The Jim Walter Jubilee Starring Bonnie Lou and Buster,” at the Grand Ole Opry, and for three U.S. presidents.

Orton Caswell “Cas” Walker (1903-1998) was a controversial politician, business and entertainment figure in East Tennessee. Well known in these parts for launching the career of Dolly Parton, he also featured Bill Monroe, the Osborne Brothers, Chet Atkins, the Everly Brothers, and hundreds of other musicians on his “Farm and Home Hour” televised musical variety show.

In Carroll Van West’s obituary of Walker, she says that Cas “glorified in his image as a hick, redneck, or just plain idiot.” Sure, he engaged in a public fist-fight with a fellow Knoxville City Councilman, he tried to close the Highland Center when it was located in Knoxville, and his “thumpin’ good” watermelon commercials for his chain of grocery stores might be considered racist, but this scrappy laborer turned flamboyant politician (Knoxville City Council, 1941, 1947; Knoxville Mayor, 1946), successful grocer, and radio, television and newspaper man (“Watchdog”), is “finally getting his due” this Friday at the East Tennessee Historical Society.

According to the East Tennessee Historical Society, “recently discovered film clips and rare video from Walker’s long-unavailable local television program give testimony as to why his legacy endures almost a decade after his death.” Also featured will be “vintage commercials and musical guest spots.”

Prior to attending this special event, you might want to mosey over to the Knoxville Visitor’s Center gift shop, on the corner of Gay Street and Summit Hill, to purchase a Cas Walker t-shirt, or to spend time touring the “Living On: Portraits of Tennessee Survivors & Liberators” exhibit, as well as the permanent historic Knoxville exhibit at the East Tennessee Historical Society.

This just in: Due to limited seating, the venue is requesting that reservations be made by calling (865) 215-8824. Reserved seats will be held until 5 minutes before the program begins.

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Mad Tea Party

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As writer Peggy Seeger said of Mad Tea Party, "Drop whatever you're doing when they are in your neighborhood and join in the fun."

On Thursday, October 26, 2006, the fun will be in our neighborhoon at two locations. Beginning noon, at WDVX's noon Blue Plate Special, Mad Tea Party will be sharing the bill with Larry Keel & Natural Bridge. At 10:00 p.m., on the same day, the fun continues at the Corner Lounge, as the band celebrates their new CD release Big Top Soda Pop. This follow-up to the band's wonderful CD Flying Saucers, a collection of 1920-1940 covers songs, shifts gears with original 1960's pop style influenced songs that are ukulele fried in Mad Tea Party's unique and special way.

This past summer, I was fortunate enough to catch this band's standing room only evening performance at Preservation Pub and I fell in love instantly their "vaudeville rock" music and style. Multi-instrumentalist Jason Rakel's gutteral back up vocals on "L'il Liza Jane" will forever be imprinted in my memory. As The Laurel newspaper reports, "There is nothing else on the acoustic music scene quite like Mad Tea Party." Becki Carr excellently sums up the fun and intrigue of Mad Tea Party's music:

"Take an 1874 Arthur O’Shaughn's poem and turn it into a Spike Jones-inspired ditty? Why not?! Discover Ami Wort hen’s ukulele and Jason Rakel’s guitar dancing over the backdrop of Valarie Miller’s solid bass line, and you’ll soon want more of this modernized-yet-old-school folk group. Their harmonizing vocals highlight wickedly clever commentary on love, life, death and the music business. The result is the thought-provoking, smile-inducing Mad Tea Party.
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This year Mad Tea Party is releasing Big Top, Soda Pop, which showcases the group’s edgy-sweet retro sound. The title track bounces like a trapeze and rocks out at the same time, with lyrics that describe both the glitzy lure and underlying facade of the circus. Displaying their remarkable versatility, the song 'Berry-Bevin' brings listeners back to the era of 60s pop, while 'Whistle Pig' is a spooky fiddle tune with tongue-in-cheek lyrics. Big Top, Soda Pop is Mad Tea Party’s most ambitious project to date, a genuine display of refreshingly imaginative music.

Mad Tea Party began in 2000 as the solo project of Ami Wort hen (on vocals, ukulele and banjo), whose singing style has been described as 'the band’s greatest asset, instantly imparting a flirty, irresistible charm to anything she sings' (Max Price, The Beat). Within just two years, experienced multi-instrumentalist Rakel joined her on vocals, guitar, fiddle, kazoo and slide whistle. The duo caught the attention of the indie scene in their hometown of Ashe ville, NC. National Public Radio stations across the country began picking up the 2004 album 73% Post-Consumer Novelty, and Lora Pendelton joined the same year, contributing her skill in old-time and jazz bass. (Miss Pendelton has since left the band and has been replaced with Valorie Miller.)

While sharing the stage with such artists as Donna the Buffalo, Baby Gramps, The Avett Brothers, Larry Keel Experience, Malcom Holcolmbe, Reeltime Travelers and Peggy Seeger, Mad Tea Party began to charm festival audiences nationwide. The group plays a variety of venues and festivals, such as the Grassroots Festival, the Lake Eden Arts Festival, the Oregon Country Fair, Atlanta’s Who Fest, CBGB’s 313 in New York City, The Variety Playhouse in Atlanta, and the Tractor Tavern in Seattle. The trio released Flying Saucers in 2005 (recorded live), also to positive response at NPR and college stations.

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Because of their unique blend of influences and unorthodox song-writing, Mad Tea Party often find themselves in-between genres. They incorporate old-time jazz and early string band styles, as well as psychedelia and vintage rock ‘n’ roll. Their offbeat sense of humor and irony appeals to savvy listeners who appreciate the band’s cleverness and cheerful energy.

Jason Krekel is also a part of Hand-Cranked Letterpress Company, where he creates hand-made ephemera on an old printing press. He utilizes his artistic skills to create the graphic look for Mad Tea Party which perfectly compliments their 'Nutty, Naughty, Nostalgic' appeal.

Mad Tea Party’s amusing and sharp approach to an evolved brand of folk music makes them one-of-a-kind. Whether performing in front of a festival audience or the original New York City underground punk scene, this band carries its weight. The exotic harping of the ukulele, the familiar guitar and the plucking bass will transport audiences to a different time and place – both traditional and progressive, both comfortable and foreign."


When: Thursday, October 26, 2006
12:00 p.m. WDVX Blue Plate Special with Larry Keel & Natural Bridge
10:00 p.m. Corner Lounge

October 19, 2006

Murder By Death

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We Knoxville music lovers are a lucky bunch.

On any given night, one can find damn near any genre of music being played live in unique environments. This Saturday, for instance, there will be jazz in Bearden, hip hop on Gay St., bluegrass in North Knoxville and African world music on Market Square. I've lived many different places, and little Knoxville holds its own against any major city, as far as musical diversity goes! There are many venues in our fair city that are working hard to keep it that way.

One of the best places to consistantly hear local and visiting cutting-edge performers is the Pilot Light on Jackson Avenue in the Old City. One such group will be holding court on their stage this weekend - the brooding and theatrical Murder By Death.

This Indiana band is somewhat new on the scene, but already they've racked up quite a list of credentials that include playing the South By Southwest (SXSW) festival and opening for The Pogues. Their eclectic sound is earning them favor among those who desire a little intelligence mixed with their melodies.

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Murder By Death incorporates dark themes, long piano lines and wild cello solos into their always entertaining and melodramatic shows. Currently on a mega US tour to promote their latest release, In Bocca al Lupo, which was called "flawless, tragic and beautiful, audacious and ballsy from start to finish", by Outburn Magazine. The album features saloon songs, pirate anthems and haunting instrumental solos that will give you the willies. (Speaking of solos, on their first record, Like The Exorcist, But More Breakdancing, Murder By Death wowed listeners with an 8-minute instrumental solo that they claim was recorded entirely in darkness.)

Appearing with Murder By Death is Sam Lowry, who's voice and songwriting been compared to that of Tom Waits, Nick Cave and Leonard Cohen. Enough said.

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Don't miss your chance to see these up-and-coming musicians in then intimacy of the Pilot Light this Saturday at 9pm. Click here for more info.

Watch the video for "Brother" by Murder By Death.


Uncorking Mitch Rutman

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Last week at the Bijou Theatre I had the pleasure of hearing my first Mitch Rutman solo performance. Given the daunting task of opening for jazz giants Bill Frisell and Jack DeJohnette, Rutman seemed confident and energized as he sat delivering his stylishly precise guitar compositions. More than happy to engage the crowd, Rutman was personable and humorous remarking, “I can’t believe that’s Jack DeJohnette’s drum kit. I’m gonna touch it.” His set consisted mainly of original material from his Knoxville based quintet’s latest album and also a few Steely Dan covers.

Luckily for all those not in attendance that night, Mitch will be bringing his guitar down to Oodles Uncorked wine bar this Saturday night. Oodles, for the unacquainted, is located on market square and offers an extensive wine list and comfortable date atmosphere. The venue is a perfect match for the guitarist’s sound, which is a pleasing hybrid of jazz/blues/latin/reggae and seemingly anything else that inspires him.
Besides being able to carry a striking solo performance, Mitch also leads one of Knoxville’s tightest bands. Check out The Mitch Rutman Group website for a sampling of their self-titled release. Tracks like the jazzy PBR’s Rule and the reggae influenced Unexplained Subway Moisture are especially noteworthy. In addition to having some of Knoxville’s finest musicians, the album features Jeff Coffin of Bela Fleck and the Flecktones.

Mitch Rutman’s resume speaks for itself. Frequent guest appearances with The Dave Matthews Band (see the DMB Live in Chicago CD), opening for John Scofield , and playing at this year’s Bonnaroo Music Festival are all on the list. Mitch is a prime example of the wealth of talent that resides right here in Knoxville. Come to Oodles this Saturday at 10 p.m. and find out for yourself.

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The Mitch Rutman Group at Bonnaroo

Medford's Black Record Collection

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Medford’s Black Record Collection, a Knoxville-based duo consisting of Matt Foster and Michael Davis, is unique to the local music scene while simultaneously being known for their traditional-sounding, country/bluegrass/folk music. Often wearing dress pants, button-up shirts and ties, cowboy boots and cowboy hats on stage, the two also add a fascinating element to their performances by playing a large variety of instruments including guitar, dobro, banjo, mandolin, harmonica, and fiddle. Any permutation of these instruments is likely to be seen on any given song.

However, unlike many other bands around here, Medford’s has a concept album. Titled The Flattville Murder Album, the record features fictitious characters interacting in the same fictitious environment in the same style of Neil Young’s environmental-awareness album Greendale.

Talking to the band is always entertaining. I’ve seen them around town for months and talked to them a handful of times, but I finally got the chance to talk to them in-depth album their writing process and their album on a recent Monday night at Barley’s.

The two have a noticeable chemistry, which undoubtedly stems from the fact that they’ve been roommates for quite some time. Living together seems to have helped them write music, as Davis explained the very origin of their concept album: Davis and Foster were sitting around the apartment and Foster was playing a guitar part he described as sounding “like a shitty Goo Goo Dolls riff.” Davis chimed in, adding that it would be a great idea to take that guitar part and write the darkest, most disturbing murder ballad to accompany it lyrically. Davis proceeded to devise a concept for the murder ballad and began working out ideas in his head and ultimately realized the concept had gotten too large for one song. The duo concluded it could be a trilogy instead, but as they discussed it more and more, the concept grew ultimately leading to the 20-track Flattville Murder Album.

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Living together also helped with the recording process, all of which the two did by themselves. Davis used a “simple computer program” to record and mix the album, which they say took “lots of Saturdays” to complete, spanning a year and a half total and two different houses.
The home-grown sound is prevalent. There isn’t an overuse of reverb and use of effects is limited to minimal vocal distortion, adding a creepy feel to certain tracks. For the most part, the album captures the sound of two guys playing music in the living room, which was exactly what they did. There is little overdubbing on the album. Songs usually feature two instruments and two part harmony. “We can recreate 90% of that album live,” Davis adds.

The large distinction of the album is the lyrics. The band feels that cohesive albums are passé and that the majority of what comes out these days are simply collections of singles. “If you’re going to write an album, make it fit together,” says Davis. With an album so highly based on telling a story, it begs the question of literary influences and how they come into play with Flattville. Foster said that the novelist Denise Giardina (West Virginian author of Storming Heaven and The Unquiet Earth) was an influence. Additionally, Foster read extensively about murder ballads so the two would more thoroughly understand the subgenre of folk music.

Despite the literary quality of the album, Davis says they are not novelists. “We’re not novel writers or else we would’ve already done it,” he says.

The band doesn’t seem so much influenced by other music, either. There is a lot of music of their same genre that they listen to (Gillian Welsh, Ryan Adams) but you get the impression that the genre isn’t even that important to them. Davis said that he grew up listening to some country, but doesn’t really think of himself as a Country/Western person. It’s obvious that the band writes the music they want to—the music that satisfies them—and it happens to sometimes fit into the genre of country, bluegrass, folk or rock. Regardless, the sincerity shines through in their lyrics, their music, their creation and recording of the concept album entirely by themselves.

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There’s nothing overwhelmingly commercial about this album. There are a few radio-friendly tunes. The UT radio station has been known to play the first full-track on the album (which follows an instrumental with a backdrop of rain sound effects that Davis recorded in their home), “Small Town”, a somewhat-dark guitar and dobro piece which introduces Flattville like the opening shot of a movie, setting the scene. It wouldn’t have been my guess for a single. The next two tracks, “Sue O’ Reilly” (a traditional, two-guitar bluegrass song) and “The Holler” (a slower, calmer track with guitar and banjo) seem more like singles. They’re two tracks that can stand alone.

Instrumental tracks are placed throughout the album and they’re usually excerpts from old murder ballads, as Davis pointed out. Over the course of the album, the music spans the entire spectrum of emotions. There are fast, upbeat songs. There are peaceful and beautiful songs. There are downright dark songs (although many feature dark lyrics). The album is an experience, and as it goes on the experience gets more and more heightened and the musical and story lines get intricate. One of the most memorable parts is when the album kicks into the home stretch, shifting abruptly (in the style of music) but smoothly and quickly (in the context of the album) from the fast, minor key bluegrass of “Abner’s Wrath” (ending intensely and climactically) to a slower, more droning “At the Railroad Bridge.”

“Some people aren’t going to get it,” Foster says of the concept album, “and some people do.” The two agree that if anyone takes the time to listen to the lyrics, they’ll most likely understand all that is The Flattville Murder Album.

The album is available at Disc Exchange and also at cdbaby.com.


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520 Contributer, Greg F. Kennedy (Wood), is a writer-about-town and humbly asks for your support in 2006.

October 18, 2006

Give us your bios, your photos, your mp3s!

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The Knoxville520 mission is simple - we wanna be the best resource for local music and musicians. We're well on our way, but we still need your help. You can do this by making sure we have the most current info about you and your badass band!

If you don't see your group listed with a photo under our "Bands" tab, email us your info at knoxville520@gmail.com. We'll gladly add you to our motley crew!

The same goes for your songs. If you don't have a link or an mp3 listed under the "Music" tab, shoot us an email and we'll make sure all of our visitors can hear the sound of your sweet refrains. (Please only send originals, though.)

Thanks for making Knoxville520 such a success, already!

The 520 Gang

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tell all your musician friends to do the same!

October 16, 2006

Chow down home-style!

If your culinary interests are playfully diverse—say, you enjoy your mamaw’s pork fat-soaked beans and buttery mashed taters as much as skinny lattes and tofu spinach salads—then you should check out Big Fatty’s in the heart of Bearden on Kingston Pike. Whatever your mood (or dietary restrictions), you’ll find something to satisfy.

Driving down Kingston, you’re liable to pass by Big Fatty’s without notice. Housed in a non-descript building, the restaurant is half-surrounded by a privacy fence, saving its patrons the embarrassing possibility of making eye contact with a West Knox News customer. But when you step inside, you’re greeted with brightly colored walls—mint green, pink, yellow—and eclectic art work ranging from jazz-era paintings to an ironic pop art image to an independent film festival photograph. When I walk into Big Fatty’s, I’m instantly happy.

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This Saturday as I happily sat down to lunch, I was yearning for some home cooking. I seriously considered the blue plate special, a BBQ pulled pork sandwich with slaw, but after perusing the diverse menu, I honed in on the veggie plate, featuring a choice of four side items from the long list of options. I chose pinto beans, mac and cheese, turnip greens, and green beans (corn bread comes on the side). Take note, meat-averse friends, that all side items are vegetarian-friendly. And as I found out, this lack of pork fat does not translate to bland food.

As I studied the menu, I couldn’t help but wonder about the folks behind Big Fatty’s. Who created this inventive commingling of healthy foods like the Happy Fatty Salad (wild greens, mangoes, blue cheese, pecans, chicken) and soul-satisfying southern meals like the Gangsta Breakfast (fried chicken, eggs, pancakes)?

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As luck would have it my server also happened to be a co-owner of the establishment, and she sat down with me for a chat to answer my burning questions. Ree (pictured left) and her business partner, Lisa, started Big Fatty’s as an on-location catering business for movies and commercials throughout Tennessee, Georgia, and North Carolina, and serve on the East Tennessee Film Commission. Ah-ha! So the menu was inspired both by the southern-style soul food of the region, and by body-conscious actors who demand healthy yet tasty options.

But “tasty” doesn’t quite do justice to my meal this weekend. Simply put, my meal was scrumptious. The pinto beans were served in a mug and sprinkled with chopped white onions, the seasoned concoction transporting me back to my grandma’s kitchen of my childhood. The mac and cheese was covered in creamy cheddar cheese (not cheese product) and the pasta was firm yet creamy, but not mushy. The green beans were not over-cooked and seasoned just right—not swimming in butter or grease. I sprinkled a bit of apple cider vinegar over my unremarkable turnip greens, providing just the right amount of pizzazz. The cornbread was white with a hint of sweetness and a pat of butter on top. Delightful! The only thing missing from my meal would be a pile of mashed taters, which were conspicuously absent from the menu.

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At the end of my meal, I was stuffed, but still feeling kind of healthy, so I let myself splurge on a bowl—nay, a trough—of banana pudding. And let me tell you, it was absolutely fabulous. The pudding itself was creamy and sweet with swirls of whipped cream running throughout. The bananas were ripe and the nilla wafers were in perfect proportion to the pudding and soft, but not soggy. I can safely say this was the best banana pudding I’ve ever had.

So the next time you’re in the mood for some down-home cookin’, head over to Big Fatty’s where carnivores and veg-heads can come together for a delicious southern-style meal and both leave blissfully satisfied.

Note: To our dismay, Big Fatty's does not have a website, so you'll have to call for more information. The number is (865)219-8317. Their address is 5005 Kingston Pike.

Me Have Free Time One Day

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Working in the theatre, having free evenings is a rare occurence. If you're not in rehearsal, then you're usually at the theatre watching your friend's show on the nights you have off. Unless those nights are Mondays, which in theatre-land are revered as the Holiest of Holy Days (which also include Oscar Night, Tony Night, and Opening Night). You don't ever have shows on Monday nights. And your friends don't ever have shows on Monday nights. So what's a theatre guy to do on this cold October day?

Well, if you're like me, you jump at the opportunity to go see David Frickin' Sedaris at the Tennessee Theatre. Being an NPR junkie, I first heard Sedaris when WUOT rebroadcast his infamous "The SantaLand Diaries" essay a couple of years ago. (By the way, it's a NPR lover's dream at the Tennessee this year. Terry Gross from Fresh Air is coming in Novemer, and Ira Glass of This American Life is scheduled for February. If they would only tape Wait, Wait, Don't Tell Me here, my life would be complete.) Lo and behold, I discovered that this Sedaris fellow also had a string of books to his name, many of which my friends had already consumed and gotten obsessed about.

Not that I've read any of them. I'm backlogged by about three years, by my reckoning. I'm still on Wicked, for pete's sake. Thank God that Million Little Pieces author was exposed as a fraud before I got to reading it next summer. But Sedaris' reputation and cultish following supercede my need to read his works in order to be completely stoked about him coming to Knoxville tonight.

I'll be there with bells on (the end of my Santa's Elf shoes).


Read what the News-Sentinel has to say.

Cutthroat Shamrock CD Review & Interview

Cutthroat Shamrock shows are always wild and wonderful occasions. While the music is frantic and joyful, there are so many distractions in the room. The people watching is fascinating. Sometimes I’m mopping up the beer soaked floor. Other times I’m dancing. Then there’s Guido’s hair and shoes and that spidery way he has of climbing onto his upright bass. There’s Derek’s scowl. Something good is always going on.

I am grateful the boys were able to capture so much of the vibrant energy of their live shows onto their newly released self-titled CD. Another advantage to the CD versus the live show is the crisp clear sound. Without the distractions of the bar room and the limitations of tavern sound equipment, all of the instrumentation and vocals are fierce and discernable. While I would not want to give up going to the live shows, this professionally recorded CD provides a much needed fix when one is between shows.

The exuberant Steady Rain kicks off the CD with its charming sing-a-long back up vocals and heartfelt reference to Tennessee whiskey. Next, the pace quickly revs up with the raucous pirate tune, S.S. Sorrows. This is the most musically complex song on the CD, with an operatic-style trio handling of the chorus, which includes a gruff and gravelly old sailor voice chanting, “the old bag of bones.” The musical changes add to the urgency of this tune, with things slowing down to a teasing bass solo from Guido and then revving back up into a fury of drumming with Suavo on drum kit, Johnny on congas and Ryan on djembe.

You can thank your lucky stars and garters that the tempo slows down a bit with Wages. This mournful lament about the difficulties of remaining sober features nice blended vocals and finger-picking guitar work. Tuesday Afternoon in not a Moody Blues cover! This song about drinking and death includes enjoyable galley pirate crew grunting on the chorus, with nice mandolin picking from Benjamin. This mid-tempo trio of songs is completed with a coal miner’s jeremiad in Deep Black Hole.

The frenzied rhythm returns with the rabble-rousing Rich Instead’ a Pretty. By far the most comical ditty of this CD, the boys take us on a whirlwind fantasy of spending their riches on alcohol, bail bonds, green bags to smoke with Jon Worley (one of Knoxville’s colorful blues/folk musicians) and buying gifts of amber for pretty lassies, but not for the “ones that stank and the ones that don’t come home with me.”

The mood takes a serious turn again with The Storm. With ferocious thundering drumming and lightening fast picking, this song is a tale of surviving a rough night “ride’ n out the storm/and crash’n with the waves.” Miles of Drink’n is a lovely and satisfying ballad of longing and reunion set to a backdrop of drinking. This song features nice upright bass bow-work from Guido. This song makes me wish I had someone to miss.

The final three tracks are a tour-de-force. If you dance like a dervish through Black Velvet Band, Drunk’n Pirate, and Last Cigarette, you’ll be able to recreate some of the fun and passion of a Cutthroat Shamrock concert. Black Velvet Band and Drunk’n Pirate are the only tunes not written by the band. Black Velvet Band is a wonderful pub sing-a-long about a thieving little she-devil, which includes a rousing chorus beginning with, “Her eyes they shine like the diamonds….” The band’s anthem, Drunk’n Pirate, based on the folk traditional “What Do You Do With a Drunken Sailor”, speaks for itself. (Fans usual beg for an encore of this song during a live performance.) The CD closes with the simple, crazed and euphoric Last Cigarette.

For die-hard fans and the newly initiated, Cutthroat Shamrock’s debut CD will shiver your timbers with its high spirited and unique Celtic-Pirate-Punk shanties.


Follow us this way for the exclusive 520 interview with these local favorites!

Cutthroat Shamrock (continued)

(this article began here)

Gatlinburg Irish Punk-rockers Cutthroat Shamrock’s self-titled CD is now available at shows and can be heard on the Preservation Pub’s jukebox in Knoxville. Within a month, the band hopes to have their CD available at Disc Exchange and Cat’s Music.

The CD is $10.00 when purchased at shows. As Benjamin says, “You’ll still be able to afford beer. Why go home and listen to a CD without a buzz? We also included the lyrics on our liner notes so you can understand what we are slurring about.”

520: Your live shows are very energetic. Do you feel you were able to catch that live spirit?

Benjamin: We were more sober when recording the CD, so it’s not as chaotic.

520: This is your first “official” CD, isn’t it?

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Benjamin: Yes. There are bootleg CDs of our St. Patty’s 2006 live performance, another bootleg called “Beer Soaked & Live”, and some studio cuts Derek and I cut before the band was formed.

520: What was the most difficult or unexpected aspect of recording the CD?

Benjamin: Recording one piece at a time and running out of beer.

Derek: We had to record our parts separately. It was strange not playing as a whole group.

Guido: I had to re-write several bass lines. When playing slap bass, it pops like percussion and recording the tracks separately, my slapping was not in sync with our percussionists’ tracks.

Johnny: It sounded so different because we weren’t playing off of each other. I missed jamming with everybody. I really enjoyed the experience, though, and I learned a lot.

520: How long did it take to record this CD?

Benjamin: It took five days. Thirteen hours each day.

520: Where did you record it?

Benjamin: Independent Records in Knoxville. A friend told us about them. We didn’t know them at all, but we clicked really good.

520: What do your parents think of your music?

Derek: I’ll plead the 5th.

Benjamin: They like it, but they wish it could be more gospel.

520: Any chance we could hear some gospel from Cutthroat?

Benjamin: I wouldn’t put it past us. Jesus said when you are thirsty you should drink. That was Jesus, right?

520: What do your co-workers think about your music?

Benjamin: They are surprised it’s not more punk with a heavier sound.

Derek: Hornswaggle. (That’s pirate speak for “to cheat or defraud out of money. – 520.)

520: What are your future goals for Cutthroat Shamrock?

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Derek: To put a tracking device on Papaw (percussionist Johnny Hyena), take over the world and get a malt liquor named after us.

520: So what do you do with a drunkin’ pirate?

Monica: Get him home safe and take his boots off.

Benjamin: Feed him more booze.

Derek: Lock the doors!

Benjamin: Don’t piss him off.

Derek: If he’s passed out in his car, turn the ignition off.

Guido: Leave him where he is. Where he lands is his fault.

Suavo: Punch him in the face.

Benjamin: Translate his mumbles.

Johnny: Kick him.

October 13, 2006

Foothills Fall Festival

Links to this weekend's Foothills Fall Festival madness in Maryville.

The lowdown on parking, street closures, free activities
The performers - all you need to know


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October 12, 2006

Brewer's Jam

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It's that time of year again, kids. Time to grab your camping chairs, some cash, the phone number of a cab company (just in case) and head down to World's Fair Park for Saturday's 10th Annual Knoxville Brewer's Jam. It's a day of sun (at least that's the forecast), fresh air (well, relatively), great local bands (really only one band is local this year) and enough beer to make you feel like a kid in a candy store.


The gates to the Jam open at 2pm for your listening and beer-sampling pleasure. From then until 8pm, you will have the opportunity to taste the products from 42 breweries from all over the world and a few from right here at home. Local experts from The Woodruff Brewing Co., The New Knoxville Brewing Co., The Downtown Grill & Brewery and Calhoun's Microbrewery will be showing 'em how we do it here in Knox Vegas.

Without a doubt, after a few sips of the awesome ales you'll be in the mood to dance to the sounds of 4 of the area's favorite bands. Cutthroat Shamrock, Todd Steed & the Suns of Phere, Trent Summar & the New Row Mob and the everybodyfields will be taking their turns onstage throughout the day. Surely with all that beer around, you can find the one that best compliments each band!

All this beer and musical fellowship can be yours for the low, low price of $20 in advance or $25 at the gate. You can get tix online until 5pm on Friday, Oct 13th. For more information and a complete list of the participating breweries visit the MetroPulse.


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Get Your Mozart On

GET YOUR MOZART ON!

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Not interested in brew or baklava? On Saturday, October 14, Knoxville Opera will be kicking off its 2006-2006 season with the Mainly Mozart Festival and A Mozart Opera Extravaganza! Both of these events will take place at the Cedar Springs Presbyterian Church at 9132 Kingston Pike.

There will be free back-to-back music and continous free screenings of the movie Amadeus from 11:00 a.m. until 4:30 p.m. The schedule includes:

11:00 a.m. Pearls of Strings Mozart String Ensemble Brian Salesky, conductor

12:00 p.m. Cedar Springs Presbyterian Church Choir and Organists present selections from Mozart's Requiem with Knoxville Children's Choir Jill Lagerberg, conductor

1:00 p.m. A Whirlwind of Winds Selections for wind and chamber ensembles, Brian Salesky, conductor

2:00 p.m. Mozart's Grand Mass in C Minor (excerpts) The Knoxville Opera Chorus and soloists Brian Salesky, conductor Theresa Pepin, organist

3:00 p.m. Vocal Gems Mozart Concert Arias for voice and piano Edlyn de Oliveira, soprano Gran Wilson, tenor Brian Salesky, pianist

4:30 p.m. Organ Recital Cheryl Baddorf, Tim Mynatt, organists

At 5:00 p.m., the Mozart Opera Extravganza, a ticketed event ($40.00 adult/$22 ages 17 & under) will continue at the Church with excerts from all 20 of Mozart's operas with soloists, orchestra, and chorus conducted by Maestro Brian Salesky. The program includes:

5:00 p.m. Mozart Opera Extravaganza Act I Overture and Duet from Don Giovanni Ms. Nickell and Mr. Wentzel

Soprano Aria from Il Re Pastore Ms. de Oliveira

Baritone Aria from La Finta Giardiniera Mr. Gaertner

Soprano Aria from Zaide Ms. Dials

Tenor Aria from Lucio Silla Mr. Wilson

Bass Aria from The Magic Flute Mr. Rodescu

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Soprano Aria from Mitridate Ms. Rogers

Quartet and Chorus from Idomeneo Ms. de Oliveira, Ms. Nickell, Mr. Wilson, Mr. Wentzel, and Chorus

Intermission Apollo et Hyacinthus Orchestra

Trio from L'oca del Cairo Ms. Wiseman, Mr. Gaertner, Mr. Webb

Bass Aria from Bastien und Bastienne Mr. Rodescu

Bass Aria from La Finta Semplice Mr. Wentzel

Mezzo soprano Aria from La Clemenza di Tito Ms. Nickell

Bass Aria from Abduction from the Seraglio Mr. Rodescu

Quartet from Lo Sposa Deluso Ms. Dials, Mr. Wilson, Mr. Freeman, Mr. Gaertner

Choruses from Il Sogno di Scipione and Ascanio in Alba The Knoxville Opera Chorus

Finale from The Impressario Ms. Rogers, Ms. Dials, Mr. Freeman, Mr. Wentzel
Trio from Cosi fan Tutte Ms. de Oliveira, Ms. Nickell, Mr. Wentzel
Finale from Le Nozze di Figaro Company

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The Knoxville Opera's 2006-2007 season will also include performances of Giacomo Puccini's La Boheme on February 9 & 11, 2007, the Rossini Street Fair on May 5, 2007, and the Rossinni Festival production of Georges Bizet's Carmen on May 4 & 6, 2007.
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Can you resist?

Me Greek, You Greek

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If you are a wallflower during the weekend of October 13, there is no hope for you. There are so many fun events to choose from this weekend, you have no excuse to stay home. This year, the 27th Annual Greek Fest will return to its original location at St. George Greek Orthodox Church at 4070 Kingston Pike, on Friday, October 13 and Saturday, October 14. The Greek Fest will be open from 11:00 a.m. until 10:00 p.m. both days. Admission is $2.00. Children are admitted free.
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Parking will be available at The Weston Building at 4823 Old Kingston Pike, the lower level at The Shoppes at Western Plaza located at 4315-4591 Kingston Pike, and at the Food City (formerly Bi-Lo) at 130 N. Forest Park Boulevard. Free shuttle buses will be available to transport you to the festival. (Please do not park on the side streets surrounding the Church!) When you think of Greek Fest, of course you think of food! All pastries and bread will be homemade by members of St. George's Greek Orthodox Church. Other menu items include, roast lamb, Greek pizza, gyros, Greek salad, and other native Greek dishes like Souvlaki, Pastichio, Saganaki, Spanakopita. Special desserts include a Baklava sundae and Loukoumades and many, many other tempting treats. Also, don't forget to try Greek coffee! You owe it to yourself to step outside of your comfort zone! New this year is a Greek Food market. Plenty of shopping will be available, including fine jewelry, imported gifts, cookbooks, travelogues, religious books and Byzantine Iconography. A special Kid's Corner will be available as will tours of the beautiful St. George Orthodox Church.
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Music will be provided by the Greek Tycoons, whose instruments include the Greek Bouzouki. Traditional Greek dancing will also be performed. For more information, please call 525-5043.


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Image from Ancient Greek sacrificial cup. Sorry...only Solo cups at this festival!

October 09, 2006

Gorey Gorey Hallelujah

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I am all about themed parties. In the last two years, I have attended soirees with names that pretty much sum up the expected attire (Polyester, Superheroes, Trailer Trash, Toga, Pirate, Tie-and-Underwear), as well as more ambiguous affairs that require a little imagination (Heaven & Hell, Come As You're Not, outdoor October weddings), and one that I certainly hope there are no pictures from ([Name changed to protect the guilty]'s 23rd Birthday Porn Party).

Imagine my joy at the news that the Actors Co-op, everyone's favorite Knoxville theatre troupe, is putting on a darkly themed fete of their own, just in time for Halloween. This Saturday, the Co-op is proudly hosting "A Gorey Masquerade Ball" at 8 pm at the World Grotto. This is the cream of the crop of costume parties, folks. A masquerade ball by itself would have been exciting, but throwing in the Edward Gorey modifier ensures that this will be a creepy affair.

Gorey can be readily Googled, so I will forego a biography here. His artwork has been seen in over 100 books (mostly his own), so even Gorey virgins have probably seen his stuff somewhere, maybe even PBS. This MYSTERY! intro sufficiently gave me the willies as a kid:

I hope the Gorey Ball has that sort of ambiance. If only the Grotto looked more like a Victorian country estate...

Amy Hubbard, artistic director of the Co-op, is busying herself with preparations for the Ball. Her costume, I'm informed, will be that of Edna from Gorey's The Willowdale Handcar or The Return of the Black Doll. Furthermore, an autographed copy of Handcar will be up for auction, as well as some other items, including work by local artist Cynthia Markert. Door prizes, live music, and tarot and palm readings should keep the Ball crowd entertained, even if their stiff Edwardian collars and head scarves start to get uncomfortable.

What: A Gorey Masquerade Ball
When: Saturday, October 14th
Where: The World Grotto
How Much: $25
Why: Why not?

Bill Frisell at the Bijou

You know you're good when the most respected names in music are knocking down your door to get a chance to collaborate with you. Since he tiptoed onto the jazz scene in the late 1970's, guitarist Bill Frisell has steadily been rounding up admirers inside and outside the whole music industry--not just the jazz world.

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Known for his musical versatility, Frisell deftly combines many genres to create a unique and passionate sound. The result is a seamless blend of jazz, blues, country and rock. Spin Magazine describes his music this way: "Bill Frisell is the Clark Kent of the electric guitar. Soft-spoken and self-effacing in conversation, he apparently breathes in lungfuls of raw fire when he straps on his (guitar)...His music is not what is typically called jazz, though it turns on improvisation; it's not rock'n roll; and it sure ain't that tired dinosaur called fusion. In one of the biggest leaps of imagination since the Yardbirds and Jimi Hendrix, Frisell coaxes and slams his hovering split-toned ax into shapes of things to come...But besides being a guitar genius, he's turned into a terrific songwriter. Like Monk, Frisell's harmonic and melodic ideas form a succinct, seamless mesh with outer sonic and rhythmic ideas about his ax."

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Because of his talent, power and incategorizable style, Frisell has often been compared to Miles Davis, who also made a habit of chartering new jazz territory. Each of Frisell's 30+ recordings explores a different shade of the musical spectrum. He has worked with such diverse musicians as Chet Baker, Ravi Shankar, Elvis Costello, Marianne Faithful, Suzanne Vega, Jim Keltner, Elvin Jones, Renee Fleming and Christos Govetas on collaborations that reflect country, jazz, reggae, classical, Malian and heavy-metal sounds. Bill Frisell was even selected to score the music for the animated version of Gary Larson's "Tales From The Far Side", as well as other films.

Frisell lists Bob Dylan, Aaron Copeland, Miles Davis, Thelonious Monk, Dale Bruning and Paul Motian among his main influences. "I suppose I play the kind of harmonic things Jim (Hall) would play but with a sound that comes from Jimi Hendrix", Frisell told Wire Magazine.

For those not familiar with Bill Frisell, his 1992 release "Have A Little Faith" is a great place to start. It's a brilliant representation of how he takes the music that influences him and makes it his own. On this record, Frisell re-works pieces by Muddy Waters, John Hiatt, Sonny Rollins, Madonna and even Charles Ives.

Bill Frisell brings his unique talents to the Bijou Theatre this Wednesday night at 8 p.m. Also on stage with him will be drummer Jack DeJohnette and bassist Jerome Harris. Opening for them will be the very gifted Mitch Rutman on solo guitar.

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Mitch Rutman

October 05, 2006

Have a Wild Thyme tonight!

"Knoxville's newest theatre collective, the Wild Thyme Players, is at it again, this time with Frank Langella's chamber adaptation of CYRANO DE BERGERAC, taking the stage the first weekend in October at Theatre Knoxville Downtown.

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The name "wild thyme" is taken from A MIDSUMMER NIGHT'S DREAM and holds true to the company's devotion to rebirthing Shakespearean theatre in modern times. Earlier this summer, they performed OTHELLO in a limited run at the Bishop Center at Webb School.

Led by Brandon Daughtry Slocum, the company has a mentor-based method of bringing in new individuals with an interest in theatre and providing a supportive environment for learning. In addition, they host a salle which provides instruction in unarmed stage combat, rapier & dagger, broadsword, epee, and other weaponry.

In July, Daughtry Slocum attended a three-week course in Las Vegas to train and become certified with The Society of American Fight Directors, and won a scholarship to study abroad with The British National Stage Combat Workshop. After closing CYRANO, she will be offering classes in both acting and stage combat that are open to the general public.

The Wild Thyme Players will round out their first season with productions of TITUS ANDRONICUS in February and ROMEO & JULIET in June, 2007."

The performance schedule for CYRANO is as follows:

Thursday 5 October at 8pm.
Friday 6 October at 8 pm.
Saturday 7 October at 8 pm.
Sunday 8 October at 3 pm Matinee

For more info, visit the troupe's website, or email them at michelle@wildthymeplayers.org.

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Explosions on Gay Street

THE KNOXVILLE WRITERS’ GUILD RELEASES NEW ANTHOLOGY

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The Knoxville Writers’ Guild’s launch party for its 7th Anthology, Low Explosions: Writing on the Body, was held on Saturday, October 1 at the Body Sacred art exhibit at 128 South Gay Street in downtown Knoxville. Anthology editor, Casie Fedukovich, said all of the Knoxville Writers’ Guild anthologies are funded entirely by donations. The Guild’s President, Rip Lydick, stated that “each anthology has its own tale to tell,” and Casie followed up by declaring that “people are a little weirded-out by the body.” “We received over 500 submissions.” While some recurring themes in this anthology include self-hatred, competition, fear, aging, injury and illness, other selections celebrate the sensory pleasures of body heat, sex, food, and nature. This anthology, designed by Travis Gray of Robin Easter Design, located in the Old City, is also enhanced by the photography and art work of Richard Remine and Karley J. Sullivan.
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Rip Lydick said the pairing of the launch party with the Body Sacred art exhibit was a coincidence. This wonderful art exhibit focused on the body, and two ironic pieces by Denise Sanabria were particularly popular. In the booklet accompanying the exhibit, Ms. Sanabria states that when she appropriates “images of individuals represented in historical works of art, I like to use them in a way that contrasts what they represented at that time with the cultural distortions and absurdities of present day American values and norms.” In her piece entitled “The Neo-Classical Time-Warp Apollo, this beau ideal of manhood is outlined with the following words: Sedentary, Cholesterol, Pump, Steroids, Six Pack, Height, Prozac, Alpha, Stress, Strength, Viagra, Inches, Testosterone, Training, and Fitness. We ladies don’t escape scrutiny either. Sanabria’s “The Mutilation of Venus” is surrounded by: Liposuction, Starve, Lift, Implant, Shave, Wax, Bleach, Prozac, Diet, Pill, and Dumb. We humans are very harsh on our selves. While the marathon reading from this new anthology covered many topics, in the spirit of Ms. Sanabria’s art, below is a brief review of our “cultural distortions” regarding the aging and attitudes toward different body types.

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At the standing room only reading from Low Explosions: Writing on the Body, the first immediate theme to emerge was aging. While an unpleasant topic for those of us getting on in years, thankfully, we had Julie Auer, Rhonda Redden Reitz and Kay Newton to provide some comical relief to this inevitable, unstoppable natural phenomenon. Julie Auers’ “creative non-fiction” prose piece, “The Corner of Freud & Gay” (p. 22), which she disclaims as “not being entirely true” is a marvelously hilarious journey of a 40 year old woman’s frustration while making her way through a Santa parade crowd while observing youthful women. “They’re so pretty. So young. So unaware of the horror of their future.” Rhonda Redden Reitz’s “Lamentation” (p. 33) brilliantly describes the “beautiful ruin of our faces,” “the sweet slippage of our skin/like frosting on a cake to warm,” and “the gentle corporate merger taking place between our jawlines and our necks.” She goes on to define the three types of aged necks. None of it is pretty. While Kay Newton, in her “Sonnet to My Self” (p. 139) also tallies a hit list of less than enchanting aging wonders, she is clever to remind us that “Still, what a privilege we count it to endure/our problems - they won’t last long, that’s for sure.” I was delighted when Julie Auer’s surreal December journey through the Santa parade triumphantly concludes, “Fuck age; let’s live.”

So many times, many of us aren’t living due to what we perceive as our physical imperfections. Lucy Sieger gently takes us into the world of body self-consciousness and competition in her prose piece “The Woman in the Red Bikini.” (p. 14) Our somewhat physically fit narrator is initially mortified by an obese bikini clad woman frolicking on the beach. Eventually our uptight narrator, who admits to spending decades commiserating about her own weight and “flawed figure,” begins to see the free and cavorting Renoir-like woman as sexy. While the narrator admits this experience did not liberate her from her own exercise routines and scale watching, she did come away from this beach occurrence with “a glimpse of possibilities.” “Like a tiny sapling piercing the shell of its seed, this radical concept is taking root inside of me.”

Other pieces of note regarding nature and the passage of time are Jesse Graves’ “River Gods” (p.4) and Rebekah Goemaat’s “The Scent of Prairie Air” (p. 63). Both of these poems are beautiful in their descriptions of particular places and time. Also of note is Laura McCoy’s “Parts” (p. 17). Casie Fedukovich described this poem as “the most passionate 4 lines written.” I’ll leave it to you, dear reader, to determine what this poem is about.

Parts

That your eyes were my blue ocean
And your lips my tallest ship;
happily would I sail you
eastern tongue to western hip.

Writing poetry and prose is not easy; neither is reading it aloud. There is a particular art to reading aloud and three of Saturday’s presenters were phenomenal. First, actress Christine Omodi-Engola’s reading of her very rhythmical and comical poem “Ripe Blackness” (p.41) stunned us all. Her reading was angry, ironic and thrilling. Kali Meister’s reading of her wrenching non-fiction incest recovery piece “Nice Day” (p. 175) was striking due to its content and Ms. Meister’s voice and delivery. University of Tennessee’s distinguished English Professor, Marilyn Kallet, woke us up with her dramatic and engaging reading of her kinky catholic creed “Father Trey Makes an Offer.” I marvel at this woman’s imagination and delivery.

On November 14, at 8:00 p.m., you can experience these great writer/readers, and several others, at a spoken word show the Turkey Creek location of Stir Fry Café. This reading will include art, music and movement. Other readings from this anthology will be held on the following dates and locations in Knoxville:

October 19 Barnes & Noble at 6:30 p.m.

October 28 Carpe Librum Booksellers at 2:00 p.m.

November 9 Lawson McGhee Library (downtown) Time to be announced at a later date

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Members of the Knoxville Writer's Guild

October 03, 2006

Actors Co-op Kids' Show!

Just passing this along to you folks with wee (and not-so-wee) ones...


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October 02, 2006

Son of a gun, we had big fun!

Only one hour into the festivities at the 4th annual Hank Days celebration, as Labron Lazenby and his band left the stage at Patrick Sullivan’s, emcee Jack Rentfro declared, “You people are getting too much bang for your bucks! I’m jealous.” For a mere $10.00 donation to the Terry Hill Memorial Children’s Music Fund, festival goers had the option to go honky-tonkin’ amongst four Old City venues participating in this celebration of Hank Williams‘ music. Even though Rentfro tried to tempt the Patrick Sullivan‘s crowd into sticking around because he said he would be making as ass of himself later, it was the incredible line up of musicians and other fun activities that kept the happy revelers traveling back and forth between Patrick Sullivan‘s, the Urban Bar, the Pilot Light and Manhattan’s.

In the early cool evening, Hank Williams impersonator Joe Wampler was strolling the streets, there were festive Hank decorations, street musicians, and the smell of Jambalaya in the air. Doc, the French-Cajun doorman from Manhattan’s won the Jambalaya cook-off. Doc’s secret seemed to be using fresh ingredients, including generous helpings of deep-Gulf Shrimp. Labron Lazenby, looking like a rock-a-billy hipster, performed a scorching blues and boogie show, while the Pilot Light offered a large screen viewing of a sweet and quaint Grand Old Opry video that included the lanky Hank singing “Hey Good Lookin’”.

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Two dancers settin' the woods on fire

While Beecher O’Quinn, Jr. was available for questions about his successful efforts to get a Hank Williams’ stamp into circulation, Jacqui and the Tumblekings were were beginning to attract a large crowd across the street at Manhattan’s. Robert Earl Keen’s song “The Great Hank” depicts a dream wherein Hank Williams is sitting in a bar, drinking a “double shot of whatever you got,” and complaining that country music “was now full of freaks.” Hank would have felt at home with the vintage styling of Jacqui & the Tumblekings. The Tumblekings‘ solid accompaniment with Jacqui Wadsworth’s passionate and throaty vocals evoked the pure and simple era of classic country music from the early 1950’s. Their covers of Hank’s “I Can’t Help it if I’m Still in Love with You,” and Buck Owens' “Together Again” were a big hit with the crowd.

Their set was followed by the much anticipated performance of Hank impersonator Joe Wampler. Looking very much the part, in his skinny white suit covered with musical notes, white cowboy hat and boots, Mr. Wampler appeared to be experiencing technical difficulties while trying to get his performance underway. He and his accompanying vocalist improvised by performing an unplugged show off-stage amidst the crowd. From where I was standing, Wampler’s accompanist’s vocals of David Allen Coe’s “The Ride”, a ghostly ode to Hank Williams, was barely audible.

Later in the evening, at that same venue, Todd Steed & the Sons of Phere were not experiencing technical difficulties and attempted to “wow” the crowd with their knowledge about Hank Williams. Todd reported that “a lot of people don’t know this, but Hank Williams was a pre-curser to John Coltrane. And they both wore white hats.” He also led the crowd in cheers for Knoxville grocer, former mayor and crotchety character, Cas Walker, and Uncle Charlie from “My Three Sons.”

Strolling back to Patrick Sullivan’s, we enjoyed a mesmerizing variety of western swing, honky-tonk and country music from the Lonesome Coyotes. Guitarist and vocalist Maggie Longmire took the lead on Fred Eaglesmith’s “Alcohol & Pills,” a song that chronicles the demise of various famous musicians, including - you guessed it - Hank Williams. The Lonesome Coyotes, as always, performed an exciting and endearing set.

Later, at the Urban Bar, we walked in while R.B. Morris & the Hector Qirko Band were performing Hank’s “Jambalaya”. It had been approximately 20 years since I had seen R.B. Morris in concert. I remember his shows from the much beloved Ella Guru’s night club, where he infused his set with the very entertaining original “Local Man” poems. Last November, honky-tonk artist and Hank Williams channeler, Greg Garing, was performing at the Preservation Pub and he called R.B. Morris up on stage for a very drunken and boisterous version of “Jambalaya.” Until Hank Days 2006, that was the extent of my experience with R.B. Morris. But this past Saturday night, I saw the light. I was amazed and delighted by his performance. His showmanship and musicianship were excellent. But, by the time he began reading about Hank from the book “The World According to Whiskey,” I started experiencing Hank Daze. I was also surprised when the band was playing “I Touch Myself,” but later realized they were singing “Don’t Touch My Still.”

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After heading back to Pat Sullivan’s to catch the end of John Paul Keith’s show, I noticed many festival goers were experiencing Hank Daze. Vocalist and Hank Days 2006 Chairperson, Jacqui Wadsworth, was repeatedly falling out of her shoes. “Whiskey and shoes. What are you gonna do?”, she said. An empty beer bottle was wearing a paper hat. Even though fatigue was kicking in, when I left the Old City, I capped my evening off with a walk to the Andrew Johnson Hotel. It seemed only fitting to visit the place Hank was last seen alive. Knoxville is special in that kind of way.

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Beecher O'Keefe, Jr. with the notorious Jack Rentfro

Wine on the Water - Details!

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Okay – I usually like to write with some clever banter. But given the absolute coolness of the information I have to offer – let’s just skip the fifty-cent words and get to the goods.

Below is a partial list of the wines that will be poured at Wine on the Water. The event is Friday, October 6th and as far as I know, this is the first publication of any such list, so I think SCOOP is a good word.

This event represents a good showing of wine – definitely worth a visit and absolutely worth more than the price of admission. There are wines of all calibers here, so visit every tent (remember to spit, so you can make the rounds). Keep in mind that this is only a partial list – there are more wines on the slate.

Nevertheless, here’s a little guide to help you get to the best of the show. I offer this because it doesn’t take long for the really good stuff to evaporate.

RUN, don’t walk, to the wines of Titarelli. This Argentine winery offers terrific value for what I think are seriously under-priced wines (about $14). Do not miss tasting the Reserve Bonarda. Did I mention that you should not miss the Reserve Bonarda?

Looking for classic California character? Treat your glass to Beringer’s Napa Valley chardonnay and Knight’s Valley cabernet.

If you like good value – take a real quick stroll to the Crane Lake table. Try them all, but make sure you get a taste of their Petite Sirah: this one retails for only about $6. Your budget will thank you: for the asking price, this is damned fine budget wine, plus the label looks pretty classy on a table.

Also look for Domaine du Pouy – it’s an odd wine (a blend of Ugni Blanc and Colombard) that will appeal to lovers of crisp, dry wines that love seafood.

Got a sweet tooth? Make sure to swill a sample of Robertson’s Late Harvest Gewürztraminer. This is a wine that cries out for vanilla ice cream, lychee syrup and ginger snaps – or a nice autumn evening when “sweets for the sweet” is the order of the day.

Feeling a little sweet, but not too sweet? Track down Folonari’s Pink Pinot Grigio. Sure the label is silly, but the wine works.


You know what – there are many great wines to try; I suggest you grab a spit cup and taste everything.

So here's the list, the partial list of wines that await your palate:


· Banfi Chianti Classico Riserva
· Barefoot Cellars: Brut, Extra Dry, Cabernet Sauvignon, Chardonnay, Merlot, Sauvignon Blanc, Pinot Grigio and Syrah
· Benjamin Port
· Beringer Napa Valley chardonnay, Knights Valley cabernet
· Black Opal Shiraz
· Chateau Souverain Merlot
· Clean Slate Riesling
· Clos du Bois Cab
· Clos du Bois Pinot Grigio
· Crane Lake Cellars: Sauvignon Blanc, Petite Sirah and Pinot Grigio
· Crios rose of Malbec, Torrontes
· Cycles Gladiator
· Dancing Bull Zinfandel
· Danfield's 10 Year Canadian
· DogFish Head Craft Brewing: 60 Minute IPA, 90 Minute IPA, Indian Brown Ale, Raison Etre
· Domaine du Pouy,
· Fernleaf Sauvignon Blanc
· Folonari Pink Pinot Grigio
· Forest Glen: Forest Fire White Zinfandel and White Merlot
· Gabbiano Chianti Classico
· Gallo Family Reserve: Chardonnay
· Guenoc sauvignon blanc
· Hahn
· Jake's Fault Shiraz
· Jerry Garcia Chardonnay
· Lindemans South Africa sauvignon blanc and merlot
· Los Cardos malbec
· Lunetta Prosecco
· Mad Dogs & Englishmen
· Matua sauvignon blanc
· Mondavi Private Select Pinot Grigio
· Napa Creek: Cabernet Sauvignon, Chardonnay, Merlot, Sauvignon Blanc
· Paringa shiraz
· Penfolds Koonunga shiraz/ cab
· Placido pinot grigio
· Quail Ridge: Cabernet Sauvignon, Chardonnay, Merlot
· Red Bicyclette: Pinot Noir and Rose
· Ridge 3 Valleys
· Robertson: Prospect Cabernet, Wolfkloof Shiraz, Phanto Ridge Pinotage, Kings River Chardonnay, Late Harvest Gewürztraminer and Retreat Sauvignon Blanc
· Root 1
· St. Meyland Brut
· Stoli Blueberry
· Tittarelli Reserve Malbec, Bonarda, Tempranillo, and Torrontes
· Trapiche Oak Cask Pinot Noir
· Villa Maria sauvignon blanc
· Villa Mt. Eden Grand Reserve cabernet
· Wishing Tree shiraz
· Wild Horse Pinot Noir
· Yalumba Y Series: Cabernet Sauvignon, Chardonnay, Merlot, Pinot Grigio, Riesling, Sangiovese Rose, Sauvignon Blanc, Shiraz-Viognier and Viognier

The great masked guitarist!

Who is Buckethead? The question has been in the air for fifteen
years now. He's become one of the most innovative heavy metal artists of his
time, but still no photos exist and no interview requests are granted. We
know his real name is Brian Carroll, or is it?

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This mystique has gained him an international cult following and Tuesday at the Bijou Theatre will be Knoxville concert goers' chance see something that they've definitely never seen before.

It was fall 2003 when bandmate Chris Peck and I attended our first
Buckethead show. As we passed through the door of Nashville's Mercy Lounge,
the music was already in progress. Our view of the stage was blocked by the
crowd, but the initial aural picture was that of a three or four-piece
progressive metal band. We moved in and the picture came into focus. It was
one man. One man with a KFC bucket on his head and a white mask on his face,
his left hand tapping a rabidly ferocious guitar melody while his right hand
gripped the hair of a dangling severed head. This is an average night for
the persona known as Buckethead.

I know what you're thinking, but if you grew up in a chicken coop
watching silent drive-in movies you might have some issues too. You'll have
to take a trip to www.bucketheadland.com to
see what I mean. Here you will find an amusement park inspired by his
cooped up childhood. You can go on the graverobbing adventure, ride the
cattle prod, or snack on some delectable Kadbury Kream Eyes. Complete with a
staff of bucketbots to do the maintenance and a terror tram, Bucketheadland
is like Dollywood's gothic sibling.

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Don't let any his fiction fool you. He's a serious musician and
those in attendance Tuesday should expect to see guitar chops on a
disturbingly new level displayed over tasteful compositions. On recent
releases, like 2005's Enter the Chicken, you'll find elements of funk,
hip-hop and even some softer sounds. This keeps the record from getting
monotonous while letting his signature metal compositions shine.

Buckethead arrived at his present musical conclusion due to a number
of influences, some actually grounded in reality. He has studied under
guitar shred master Paul Gilbert (some initially thought Gilbert to be
Buckethead¹s true identity), participated in dozens of musical projects and
even composed movie scores. His recent boost in popularity is due to his
role as lead guitarist in the last incarnation of Guns and Roses, as well as
taking part in the jamband scene through collaborations with Les Claypool
(Primus) and Bernie Worrell (Parliament Funkadelic).

Tuesday's performance will also include another intriguing solo
artist- That One Guy. With what appears to be a homemade instrument, That
One Guy simultaneously plays bass, drums and other sound patches while
delivering vocal hooks that are known to move the crowd.

For tickets, visit www.knoxbijou.com.

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