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Bess Newton

February 01, 2007

The psych-folk of deek hoi

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If you weren't at the deek hoi show on Friday night, you should have been. Christa (of Christabel and the Jons) even made it after their swanky perfomance at the Laurel Theatre. "And why the effort on such a cold night?" you may ask.


Well, I'll tell you. deek hoi rolled out their new disc "the golden country." And opening for them was Eyes and Arms of Smoke--all we really needed was some poi from Gypsy Hands (and a bonfire). Eyes and Arms of Smoke lent itself, with its clarinet and hypnotic variations, to snakes emerging from baskets, belly dancers, and throwin' some fire around. It was the perfect beginning to a very chilly evening. If you weren't at the show and you believe in second chances, you may want to keep reading.

deek hoi takes you to mystical summer evenings under the stars...Knoxville evenings...where both kisses and ideas can be stolen in backyards with good friends. Even if it is January, and you can't feel your buns any longer while sitting in the den of the Pilot Light, you can still imagine. deek hoi is the dream that you don't want to end--then suddenly those few seconds after you wake up, when everything is so clear--but only the best parts of that dream rise to the surface of recollection. With Jen Rock, Jennifer Bradley, Josh Sidman, Daniel Coy, and John Ferguson, the dream was delicious and only too short. But there are no worries in deek hoi-land, they will play again--this Saturday actually.

deek hoi opens for Dixie Dirt, hallelujah, Saturday Feb. 3 at Barley's.

And February is short, can I get an amen?

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photo credit: Bran Rogers

January 25, 2007

In good company

Sometimes, you just feel like somebody's watchin' out for ya. In the middle of doing Saturday morning errands, I got a call that Michelle Malone and Garrison Starr would be playing that night at the Corner Lounge. That is like telling someone who likes classic rock that the Eagles would be playing at the Tennessee Theatre, and that the cover charge was $10. Apparently others' guardian angels weren't lookin' after them as closely as mine were, as there were probably only thirty people there. These are musicians that have a strong undercurrent of followers and pack venues like the Grey Eagle in Asheville, and Eddie's Attic in Atlanta. Lucky for us, we live in Knoxville, and we sometimes get front row because everyone else is hunkered down with their gallon of milk and their loaf of bread--just hoping, waiting, and wishing for that storm to hit.

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Sometimes, here in Knoxville, we get a little complacent. We get comfortable with our music scene, our football, our market square, and we forget--we forget that a woman, and a guitar, and a cause--or a good story, is missing from our lives. And we got two of them last night. I'd heard of Garrisonn Starr, but I'd never heard her. She (and a drummer named Jesus) filled that room with sound and story-tellin' that just needed to happen. She has a new album, Garrison Starr's Fans' Greatest Hits, Volume 1--selections that her fans chose. And because just picking ten songs was rather impossible, there will be a Volume 2 at some point, so don't you worry. I just kept wondering if that was her real name, and if so, I'd like to meet her parents--even if they apparently give her a hard time about not enough church-going, the red Vans and her jeans that drop just a little too low. Regardless, she's got to be thanking them for the voice she's got and the guitar that she can play.


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Michelle Malone. This was the third time I'd seen her. The first was rockin' the you-know-what out of a private party in downtown Knoxville, the second time she was getting some coffee at my favorite grocery store in Atlanta, the third was playing at the Corner Lounge last night. I think she's been out West for a while--the real out West--not West Town Mall. See, if you thought I meant West Town Mall, it's time to get out of Knoxville for a bit.

This woman is both nonchalant and fierce. Michelle Malone probably tops the scales out at about 105. But one look, and though she's beautiful--her eyes tell you that she has chosen her battles. You decide early that you want her on your team--and you want her playin' her guitar. There were a few guys in the back who looked like they just dropped in for a beer after riding their motorcycles across the country collecting tattoos. A few songs in, a few riffs from her collection of electric beauties...and they dropped their jaws in surprise and then joined in the fray of those that appreciated a woman who could sing and play. With influences like the Rolling Stones, Bonnie Rait, Muddy Waters, and Billie Holiday...you want to be at the front table. Fortunately for Knoxville, you could have been--and fortunately for the world, she can also write a song or two, and she has a new album out, "Sugarfoot."

If you're ever feeling sick and tired of being part of the American Idol society--in her observation, that we're become something more of the American Idle society. If you know deep down that families could do better if minimum wage wasn't so minimum, if you're lonely and you think that everybody (but you) has found their someone, if you appreciate a good southern river and a good southern whiskey--then you would be in good company with Michelle Malone. And although the Corner Lounge doesn't serve liquor, they can certainly bring in women and guitars that can hold their own.


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Garrison Starr photos by Jeffry Fasano

January 02, 2007

David Rawlings Machine

Editors note: Due to overwhelming local contributions to our site, Ms. Newton's piece has been in the hopper for a couple of weeks, but it's still very much worth the read!

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The Tuesday after the Monday after the...

It's taken this long to recover from the double shot that was Gillian Welch and David Rawlings' recent show. The first shot rang at the World Grotto and was billed, rather last minute, as "David Rawlings Machine." Once you got used to the idea of a velvet-roped entrance on Market Square, the feeling that a frisking was entirely possible, and a $15.00 cover charge, the show began.

From that point on, it was easy to fathom paying twice that, enjoying a frisking, or the standing-room only that was created by a crowd thrilled to be a part of what felt like David Rawlings' living room. Everyone thought that the "Machine" would be Gillian Welch. She was present, very accounted for, and provided the gracious harmonies that Rawlings often gives her. But the real Machine was Rawlings' 1935 Epiphone Olympic, with an arch top, and f-holes on the face, like a violin. Any woman in that room, and undoubtedly a fair amount of the guys present, would love to be reincarnated as his guitar. It's as if he was dancing alone with his beauty, whispering to her, making sweet love which happened to result in sound that shook you in some deep and almost frightening place.

Continue reading "David Rawlings Machine" »

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