5 Cities Strong Baby! Hello Hampton Roads! Hi there Roanoke! Welcome to the fold!
Come on in and catch your local Virginia music online! The Nines, Raw Dawg, The Influence, Jackmove, The Jackal Tickets!, MacAwesome, Howie DeWitt, The Transmitters, Tattooed Brest, and so much more.
Cover credits:
See article.
All five cities on the cover. Hampton Roads and Roanoke's Premier Issues! The others are Richmond, Charlottesville, and Roanoke.
Cover Credits:
Top petal and then to the right in a circle:
The Nines, photo by Megan Wagner, Richmond
Bimini Road, photo by Lauren Nicolaus, Hampton Roads
DJ BeetKeeper, photo by Derek Kirkland, Fredericksburg
The Jackal Tickets!, photo by T.J. Wells, Roanoke
Mill Street Grill Jazz Musician, photo by Sherry Morris, Charlottesville
Overall design by Heather Mullican.
Before I get started, let me just say that this was my first interview for Magazine33 ever, and as such I was very nervous. I had gotten lost twice, but thanks to the helpful employees of 7-11 and Walgreens, I was able to make it to the show just in time. The venue was odd, to say the least - A cinema café, with the seats moved around to accent a tiny stage where the movie usually plays. It was cozy, though, and upon entering I was greeted by a Marine. Chris Smith, the bassist, lead me into the venue and I quietly took a seat in the back row after introducing myself to Chad Bailey, the lead guitarist and vocalist. Well, SiNN wasn't having any of that. They waved me over to come sit with them, and I quickly became more comfortable. The movie projector was being put to good use showing clips from Dimebag Darrells life, seeing as this was a tribute to the icon himself. The proceeds were also going to Toys for Tots, just to show that metal can be productive as well. After having a few laughs with Chad, Chris and Rusty, (The "Redneck Roadie") Trent finally showed up in all of his mohawked glory. It wasn't long before the show was on.
X-Legacy played first, and seemed to be the youngest band there. They had talented players, the singer was prone to screaming for most of his songs however and my ears just don't agree with that. I could see a lot of older influences in this band however, combined with the new and it seems to this writer that in today's market they could get somewhere with a bit of elbow grease and some help. Chad was certainly into the show, however, and he was the first one up on his feet to support them. His willingness to stand up when no one else was and the bands raw sound quickly got others up on their feet, but before long it was finally time for SiNN to take the stage.
From the very beginning you can tell you're in for an energetic show when SiNN busts out one of their signature tracks, "SiNNergy". The ground vibrates with the ferocity of a mere three people, bringing to your ears an almost malicious sound. The drummer, Trent, goes absolutely crazy, never letting up on complex drum rolls all while keeping perfect time for the rest of the band.
I mentioned earlier that the band only has three members total, but that doesn't hold them back in the least bit. In fact, if you had only heard them you might be convinced that they had at least four. The next song rolls in with a metal meets funk riff from Chris, the "Bass Ninja". At first I was worried that I wasn't going to be able to hear him clearly but each sound emanates with its own unique vibe and combines into a perfect collage. Even when he's following the guitar, which is a feat in its own right, he brings something to the band that would be dearly missed without.
Did I mention Chad's guitar? As they finish off "Will We Ever" he lets loose a vicious solo that threatens to rip apart your eardrums even as they are reeling in ecstasy. If he's held back by having no dedicated rhythm, he doesn't let it show for a second and plays effortless leads that never lack. His personality surfaces from the lyrics in every song as he belts out throat melting vocals while still playing his guitar. If he wasn't chained to the mic, I'm sure he'd be jumping around just as much as the people in the crowd, and if he gets the chance you can be sure he will.
The entire band obviously has played together for a long time, as the most subtle cue changes in the music are met and answered with no need for visuals. During the new albums title track "Wreckreation", they would jump from riff to riff with masterful precision. Every song has been meticulously crafted, never leaving you with a hollow feeling from missed opportunities. If there is supposed to be a solo, there is. If it feels time for a thousand note a minute breakdown, there will be. These people are obviously dedicated to their craft and worked hard to make sure they bring the SiNNers what they want.
A different tone is taken with "Everything for Nothing", another new track on the upcoming CD "Wreckreation". The usual roaring vocals are toned down just a bit and the music is downright apocalyptic. A sense of dread overwhelms your ears as you hear it, then mixes with lyrics speaking of lost opportunities and betrayal. He brings back in his trademark vocals at just the right times to produce the effect he wants. A person who seconds ago I thought was wildly crazy focused his sound into something so complete, it's a work of art.
As "Rise" begins the first thing that hits me is the incredible drumming. It carries the song and creates a template for the rest of the band to go crazy on, and leaves you wanting more. Chris brings back that deep bass sound, ripping his fingers to the bone to bring a downright ridiculous level of skill onto the stage. He's coordinated but also fast, and one look at his fret board and you can see that he's making full use of the 5 string bass he carries. Have you ever heard of a bassist tremolo picking with his fingers? Well, look no further.
Before the band rips into one of their new albums best tracks "196" Chad shows more of that slightly insane side. After plugging some of the upcoming bands and pumping the crowd up, he shouts out to one of his friends who came all the way from North Carolina just to be here. "Uhh, got to pick somebody random." "Are you ready, Eric? This ones just for you." He then proceeds to blow him a kiss and start the track, which by the way sounded almost exactly like the track itself. It just makes you want to thrash around, which is what they were going for, but it also brings you into the music by speaking of things that everyone had felt at sometime. They were singing your song, they were fueling their music with you. These are not rich kids with 20 years of formal training who decided to get even richer. These were normal everyday people like you and me, and they were doing it for you.
Even as the song ended the crowd was never left out, promptly raising his glass and calling them all to join. Chad brought up his story about the day Dimebag Darrel died, and you could see a wave wash across the crowd as feelings that had been buried were quickly risen. He was driving to work when he had heard the news, and was shattered. The entire day was miserable for him, as it was for every metal fan. Without him, most of these bands probably wouldn't have been on this stage today. He inspired and invigorated them, and brought something to music that has been lacking since that day.
They finished off the brutal set with a classic Dimebag cover. Pantera is not an easy band to cover but they did so with style. It wasn't just Pantera, it was every bit SiNN as well, and I think that if the man himself had seen it he would've approved. This entire thing was for him maybe even more so than the people.
Stay tuned for Part 2: SiNN - The Interview, by Ryan Mason appearing in Magazine33 on April 1st!
Find more SiNN at:
My first excursion to Chicho's Pizza & Pasta was an interesting one, to say the least. I was here to see one of Virginia Beache's premier ska bands, Jackmove, but upon arriving I horrifically realized that my voice recorder wasn't with me, and my notebook barely had any power left. I quickly scrambled to buy a recorder from a local K-Mart, and all they had was this crappy tape recorder. Beggars can't be choosers, so I made my way back with plenty of time to spare.
I recognized front man Dennis Spence almost instantly due to his jet black shirt and little red tie, slightly faded from countless hours of sweat and use. He plays his guitar while belting out blazing mile-a-minute lyrics. Duane Timely plays the bass with a distinct look of ease, always looking calm and collected. Keith Johnston and Travis Larsen are the master trumpeters of the band, the former sometimes being referred to as "The Hair" due to his always perfectly gelled cut, and the latter an intimidating looking man who is actually quite nice and loves to drink. Sean Patrick plays the trombone with upmost skill, while maintaining a constantly positive attitude and unmatchable energy. Scott Cumpston, otherwise known as Dr. Skankenstein, brings crazy keys to the table and constantly adds new depth to the sound. Dave Samson keeps the time with his drums and is the newest addition to the band. Together they form Jackmove, bringing you that unique style and sound.
There is a distinct shift in the crowd as Jackmove takes the floor. Many of these people go to most of their shows; they swiftly took to the front and began to pile up. After taking a bit to address them, the band bursts into playing and you are instantly hit by that primal blast of raw music and the roaring call of the trumpets. Then you hear the keys and the entire sound melts into itself to merge and combine into one vicious bit of music. They don't take kindly to letting up, either, and as Dennis starts singing the crowd shows a distinct sign of recognition. He sings fairly fast, showing an uncanny ability to fit tons of words into a single line. It's not something you can easily pick up on from first listen, so you know that the crowds singing the lines to the song are truly supporters of both Jackmove and the local scene.
Wasting little time, they go into another song called "Mother's Mantra". This band isn't trying to make the same song over and over again. There are differences in the timing, the composition, and more importantly the feel of every song has its own flavor and rhythm. One minute Dr. Skanky will play some mellow reggae tunes, and the next he could provide exhilaratingly complex melodies. The horn sections especially knows how to carry a song and still keep their sound fresh and focused, never choosing to repeat something that sounded too close to another song. I cannot honestly recall a single time that Duane decided to simply follow the guitar, and he consistently holds the songs down with his funky bass lines that are both complicated yet not overly convoluted.
After showings some love to the locals, they start the next song by telling us it's about their favorite place in Hampton. "Welcome to Norfolk" starts and you can soon tell that they indeed have had much experience with the streets and sidewalks of Norfolk. They produce a sound I think the city would be comfortable with, the experience with both the city and their individual instruments Dennis started to rap, and I believe it was a fully-fledged flow that he came up with on the spot. It was wildly impressive, he never stuttered or broke his flow once and really let his hip-hop influences shine through. Sean would chip in at the perfect time with some lyrics or hype of his own, some more of that great Jackmove unity. Dr. Skanky got a little insane with the keys, adding in positively trippy effects and lashing out with unorthodox sounds to tantalize your ears.
At this point the freestyle was getting absolutely ridiculous. The energy was at an all time high and the crowd responded accordingly, with mass amounts of cheering and dancing going on everywhere. Dennis throws in some Flo Rida lyrics in there, putting that unique Jackmove sound over the classic "Mind On My Money". Reaching a sort of lyrical crescendo, he continues showing his influences as he goes into Wyclef's "Sweetest Girl (Dollar Bill)" without abandon. To integrate those into their own song is an accomplishment on its own, but all of their originals also tell a story and has its own vibe. "Welcome to Norfolk" had amazing horns, and they refuse to conform to a typical verse-chorus-verse type deal, choosing rather to make you anticipate the choruses by putting them in at just the right moment.
The fun doesn't stop there. Black Sabbath's "War Pigs" is played for a few lines, and all around the band there is constant movement, even Skanky flays about as he bangs on his keyboard. Duane is the exception to this, focusing instead on his bass while keeping the song contained enough to give the horns enough room to get crazy outside of the bounds the song would usually allow. He is truly a master of his craft, and with his influence combined with Samson's drumming the song truly comes together. Samson in particular surprised me, at first I thought his drumming was a tad bit simple, but seeing as I know very little about drumming I gave him the benefit of the doubt and inspected close. It turns out he was actually doing a lot more than I had initially thought, not to mention that being a relatively new addition to the band at one and a half years he had to learn all of their songs quickly and create some of his own.
A smile spreads on my face as the horns play an instantly recognizable tune - the theme of the Empire from Star Wars. Shivers run down my spine as they flow into one of the Jackmove classics, "Hurricane Hunter". The masses of bodies sprawled in front of them lights up for this one, causing a bit of beer to hit the ground and skanking to erupt all over the place. This song in particular really shows the bands talents - the horns in the beginning aren't copying each other, they're layered over each other to create a full sound that you won't hear much in usual ska bands. Dennis' guitar brings in a highly energetic sound that's accented by the jazzy bass and upbeat drumming. The energetic song has a lots of fun moments and some truly original lyrics.
The insanity continues as the band shows off more of their musically original covers, this time with Bob Marley's "Stir it Up". An already rabid crowd totally ate this up, and to top it off the lead singer of Ballyhoo, the previous band and good friends with Jackmove, came up to sing the tune with them. They had played an amazing set, so this only added to the honey sweet tension in the room and spurred more dancing and sing along. After that they quickly went into what I believe to be John Dillon's "Walkin' Down the Road". It was inspired, to say the least, with Dennis singing it like it was his own.
As the set continues well past midnight, they break out the top crowd favorite: "Drunken Tiger". The perfect quintessential Jackmove hit, it seemed as if everyone in the crowded room knew the song word for word and offered their voices. The horns relax you and the song has an overall positive tone, giving you a warm feeling just like the alcohol that fueled it's creation. Even in these songs there is a fast punk riff though, and one riff in particular near the end fits all too well, showing why this simple yet effective song has captured so many hearts. After singing happy birthday to a fan, they give us a special treat in the form of a Sublime hit known as "Date Rape" - you may have heard of it. The articulated sound is on point, played with razor sharp skill and sounding exactly like the hit but with Dennis' vocals, which transfer well to Sublime. I believe there were even a couple of unique trumpets and trombones to greet your ears. The precision was impressive, and this was the only cover that didn't have a particular Jackmove flair. It was well played, don't get me wrong, but they knew what the crowd wanted and didn't feel a need to edit the song.
The set starts coming to a close as Skanky does a keyboard rendition of "Stairway to Heaven" of Led Zeppelin fame to calm the people down. Dennis starts eeking out the lyrics, but it turns out to be a giant tease and they stop after a bit. Now that they had our attention, Duane comes in with a saucy riff that would sound right at home in jazz. "Hitman Parade" stems from the amazing intro and quickly gets into an entirely different mood. This is a song with attitude, which most Jackmove songs have admittedly, but they never keep it similar and always integrate something new into their songs to keep it new. You can tell a lot of care goes into these songs, a lot of the members take of themselves and pour it into this. They end with a shockingly loud band, screaming into the mic while Skanky plays keys that are almost melodically malicious. They then playfully play a bit of "Du Hast" by Rammstein. The show comes to a screeching halt just like it started, but one look at the room and you'd think they found the hurricane they had hunted. Truly great times had by all.
Catch Part 2: The Jackmove Interview in next month's Hampton Roads Magazine33!!!
In the meantime, you can get more of Jackmove here:
For the past three years, The Influence has been intoxicating crowds all over the East Coast with their vibrant performances and innovative sound. With gigs at major spots such as Scotty Quixx, the Jewish Mother, and the NorVa (just to name a few), this indie rock quintet has made quite a name for themselves. On top of back to back performances to promote their previous self-titled release, they have diligently been hitting the studio to formulate their latest not-yet-titled album. The Influence is a compilation of various songs that have been tweaked here and there to achieve the closest possible measure of perfection. Although their sound has matured from the old days of playing alongside an ongoing beer pong game, their ethics as a band have stayed the same: consistently playing good music. Before hitting the stage at Scotty Quixx, which they play monthly, the guys sat down with Magazine33 to give us the lowdown.
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The Interview
33: So how did the name "The Influence" come about?
Tully (Bass): A lot of bands have a couple influences and they start to sound like other band with the exact same influences, but I really like the name The Influence because we all listen to so many types of music. Everyone [of us] has ten favorite bands and they're not all exactly the same. The name The Influence fit, even though it was decided over pizza and beer.
33: If you had to put yourself in a genre what you call yourself?
Will (Guitar): I would say progressive alternative.
33: Do you guys find a difference between playing the Virginia Beach scene vs. the Norfolk scene?
Matt (Lead Vocals): In the summer we hit up Virginia Beach up really hard - probably over-expose our self in the process. But in the winter you're hitting up the same locals every time.
Colin (Drums): A lot of the Norfolk kids are college kids. They don't have anything going on but hanging out and going to a show. Plus a lot of beach kids travel to Norfolk and not a lot of Norfolk kids travel to the beach.
33: What's your favorite song to perform?
Will: My favorite is a new song called "Falling Objects" or "Colorado". We have two new songs that aren't available to anybody that everyone's singing along to so it's kind of like a... it feels good to have people singing along to something that isn't even on a disc. People are connecting with those songs and that's what I like the most, I like to see people interacting with us because that's our job - to interact with people and have them reciprocate. That's a good feeling.
33: What does it take to have longevity in this business?
Colin: Patience. You enter a lot of roadblocks in this industry... I mean the record industry has been falling the last ten years. Guys at the top are trying to make money, we're trying to figure out how to make money, and I think a lot of people get frustrated along the way. We're one of those bands where our five guys are committed, and I think there needs to be genuine commitment to make it.
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After the interview and a few gin and tonics later I sat back to see if the boys could indeed deliver the performance I was anticipating. They rocked the house with their original "Colorado" and ended the show with their Tool cover of "The Pot". I must say the perfo
rmance by The Influence was good, and the ability
to cover a Tool song well really said a lot about their musical ability and for that I tip my hat to them. The Influence is anticipating their latest album in March 2010 and will be out on the road promoting the previous album as well as their work in the progress. Whether you love or hate The Influence you
must give props when props are due, these guys are true musicians and they do their damnedest to put on a hell of a show. And what they lack in experience and possibly variety they make up for in their true dedication to music. If you have a chance to check these guys out I would recommend it, they will not disappoint.
For more on The Influence, visit their official site at TheInfluence.com.
The Seven Cities offer a variety of styles from the Peninsula to the South Side, and in my opinion Thin Air Rising is a true representation of the Virginia Beach music scene. The beach is known for their reggae or beach rock variations, and with the easy going lifestyle the message within the music is valid amongst fans. The name Thin Air Rising comes from the idea that this reggae-infused group literally appeared from thin air out of the beach music scene to spread fresh and positive vibes throughout the 757. The original band members came together in 2007 and started to formulate a style that they felt fit their diverse backgrounds. Their self-titled album has an assortment of six vibrant songs that go from a very traditional reggae to a more complex percussion sequences generally found in punk and hardcore music.
With a punk drummer and classically trained horn section, the dub/reggae scene was quite a change, but the ensemble was not afraid to take on the challenge. In meeting the group, I was pleased to see that they were older than I expected - regular Joes who find time to jam on the side and not Sublime-obsessed, out-of-work waiters with bongo drums. I sat down with the octet for drinks, a bit of dining, and more drinks, to discover who and what Thin Air Rising was all about.
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The Interview
33: With the reggae roots community being so big in Virginia Beach, have you all ever received any negative or positive perspective from them?
We've gotten positive responses so far. Nobody dislikes what we're doing...
there may be some frowners that say 'that no real reggae' but we haven't directly heard that. We're all tight knit.
33: Usually reggae is used to spread a political message. Are you all trying to spread a message in any way through your music?
Peace, love, and balance.
33: Music longevity is something that every band strives for; what does it take to achieve longevity?
I believe that you have to keep ideas fresh and new and always be on the cusp and not stale...grasping the attention (of fans) and at the same time sending the message to move...it's a vibration.
33: Where would you be if you weren't playing music?
Miserable.
33: What can we expect in the future for Thin Air Rising?
A lot! A new album out in March 2010 and doing a lot of shows in the spring...anticipating some out-of-town shows. Lots of exposure.
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I must say that I was pleasantly surprised at finally hearing the group play live. I was hesitant of the ensemble of eight, wondering if they would be able to co-mingle in a fashion to make their songs worth listening to live. With a sold-out show at the Norva and with Badfish as the headliner, Thin Air had no choice but to deliver, and they did exactly that. The live show was reminiscent of an old-school Caribbean rock-steady vibe because of the ever present horn section, but the fans seemed pleased with the modern ska fusion. The performance was entertaining. Thayer Davis (guitar) and Chris Brown (drums) were able to handle vocals and keep up the pace of the performance without missing a beat - very impressive. Unlike so many other groups throughout Hampton Roads, the dedication to their music and families of the members of Thin Air sticks out. With some in the group not even being members a full year yet, it seems logical that with time and experience they will bring their caliber of music to yet another level. I would like to thank Thin Air Rising and their Manager Jason Brunner for not only showing me a good time at the Norva, but also for making my day by spending it with serious and driven musicians. Looking forward to catching them this summer.
Find out more about Thin Air Rising:
It's 3:30 in the morning, and to most of the world the party is over - yet for DJ Karee the night is just beginning. Not only did this busy DJ just get done rocking Club Twist in Hampton, he also has to hurry to his radio station in Norfolk so he can pre-record his weekend show for one of the hottest hip-hop and R&B stations in Virginia, 103JAMZ.
Normally, DJ Karee is live on the air every weekend, but this weekend he has been requested to DJ in Maryland. And with all he has going on, Magazine33 has been given the chance to hang out with one of the most popular mix show DJs in Virginia.
Excited to observe what a day in the life is like for a DJ, I didn't realize just how late - or should I say how early - I would have to be up for this interview. As we walked outside I noticed how energized and alert this night owl was by just inhaling the nocturnal air. He takes in a deep breath and asks if I am ready to ride out. I respond with a slight yes and pull out my little recorder.
33: How old were you when you got your first set of turntables?
K: I was young, around 11 or 12. While most kids were playing outside, I was indoors practicing.
33: What made you want to get involved in the music industry?
K: I was always around it! My father was a DJ and I really looked up to him and what he did. I can remember being like six or seven sneaking on my dad's equipment, trying to mimic what I saw him do the day before.
33: Wow! So did your dad teach you the basics?
K: I observed him a lot and watched him, but he really never gave me a lesson you could say. My dad did teach me rhythm or blending like many call it. I also was blessed to be around a lot of other DJs at a really young age. DJ Law (with the Boodah Brothas Morning Show) and DJ Bee really gave me a lot of advice and inside tips.
33: So you grew up with the Boodah Brothers?
K: Yeah, I've known them for a long time. I can remember their show on Saturday nights; I think it was called "Live from the Hood." That's when hip-hop was still taboo.
33: Have things really changed in the world of hip-hop since then?
K: Definitely! It became more watered down. The message isn't the same or should I say the balance isn't there any more.
33: What do you mean?
K: Ok when I say the balance I mean there used to be as many lyrical records out as party records. Now the game is saturated with just party records, there really isn't a message anymore.
33: How old were you when you rocked your first party?
K: Wow, let me think... I was 13 years old, and it was a house party. If my memory serves me correctly it was '93 and I used a boom box to hook my turntables to. I didn't have a real sound system then so I used my LL Cool J Boom Box (he laughs) but it worked! The party was a success, you know, I did my thing!
33: At that time were there as many DJs spinning hip-hop or was the game pretty open?
K: I was probably the youngest DJ in this area for a minute. Back then to be a DJ it cost a lot more money, because you had to buy actual vinyl records. Whereas now days everyone has Serato or some other DJ program and can copy someone's hard drive for free.
33: How did you get on the radio?
K: DJ Law called me up on a Saturday because everyone was attending DJ HeartAttack's (previous music director for 103Jamz) wedding and they needed someone to fill in that Saturday night shift. I told him 'Hell Yeah' and I actually was suppose to DJ at this club called 1851 in Hampton that night and ended up calling to cancel. And then two weeks later K.J. Holiday - the program director at that time - called me up and asked me if I would like to work for Clear Channel every Saturday from 10PM to 2AM. I said definitely, and that's when the legend was born (he laughs extremely hard). No, I'm just playing! That's when I got my first shot!
33: Now ten years later and with more knowledge than most behind the turntables, do you see yourself doing anything else?
K: Oh yes! I've been making beats since 2002 and have been blessed to have some of my beats shopped to a few recording artists. I'm also on an internet station called World Wide Radio every Thursday and Friday. And I just opened up a recording studio called "Music Theory" that incorporates everything from production, to recording commercial spots for major agencies, to our latest venture adding a music appreciation program for at-risk youth.
33: Wow! You're a busy guy, how do you keep up with it all?
K: Basically, it's just prioritizing your time. I am a true night owl so I get a lot of work done when people are sleeping. And also I really love what I do, that's what keeps me hungry.
33: What advice would you give to an up coming DJ?
K: Practice, Practice, Practice. Go to clubs, listen to your local radio stations DJs. Open your ears and take in everything that you like and put your own style to it. And if this is something you truly want to do just keep at it, don't quit. Before you know it doors will start opening up and people will start calling you for help or advice or hopefully a paying gig.
This ten-year veteran has been on the radio since he was 19 years old, and shows no signs of retirement. If anything he has proven just how hungry and ready he is to take on new opportunities. Make sure you check out one of the freshest and most down-to-earth DJs in Virginia every Friday from 2AM-4AM and Saturday 10AM-2AM on 103Jamz, or go to WWRadio.net on Thursday from 10PM-Midnight and Friday from 11PM-1AM. Also if you are interested in recording, check out his website for his recording studio Music Theory at MusicTheoryStudios.com.
The rain was terrible as I pulled into the tiny little bar on the corner of Shore Drive, wading through nearly flood level waters to park in what seemed to be a safe place. The Half Shell has a reputation for hosting a variety of local bands, and once inside a quick glance at their calendar showed a new band almost every day from every genre imaginable, including an open mic night every week. The place had bands stickers plastered absolutely everywhere, and the people were friendly. I spent some time chatting with the band and their friends, but that was quickly interrupted by a very drunk man who came from the sports bar to the right. He kept mentioning how his loins were on fire and pulling his shirt up, and then began to matter-of-factly tell us important life lessons. He was an interesting guy, to say the least.
Buddy Mars leads the band with a strong sense for business, having many of them himself. His deceptively deep voice and raunchy rhythm guitar provides the musical support. Evan Martin is a classic rock enthusiast, and takes with him some of that flair, often wearing just a vest on stage and letting his exceedingly long hair cover himself. Peter Walker plays the bass, and provides some comic relief in between sets. He's a hilarious person that you have to see to understand. Ace Taylor enjoys everything punk rock and it shows in her drumming and attitude. All of them spend most of their days together in the city of Smithfield.
Under the Bridge wastes little time with introductions; in fact, after asking if people are ready and commenting on how every band playing today is amazing, they go right into one of their most well known songs, "Justus is Served". It starts with a demanding bass line and a few rowdy power chords that are arranged almost playfully. Buddy Mars' vocals nearly sound like Social Distortion's Mike Ness, keeping them just listless enough to convince the crowd that he does indeed not care, and moments later lead guitar Evan goes into a rippling guitar solo that sounds like it could have been in a Led Zeppelin song - unusual for a punk band, to say the least. They can actually play their instruments.
After a bit of shenanigans in between the songs, they play their next song, "Skeltic". It's guitar is arranged happily and the bassist, Peter, follows suit. He doesn't follow the guitar the entire time, preferring to put his own free-spirited, almost-jazzy-but-not-quite bass into it. The entire band speeds up with each other seamlessly and slows down of their own accord with telepathic timing. No words are heard, it was just an instrumental that shows off a bit of their fun side. If you bothered to take a look at the frontman's amp, however, you would notice that the "-hall" from Marshall has been taken off to give it a custom flair at an affordable price.
The next song is about a werewolf, as Mars calmly tells the crowd. The drummer bangs the drums zealously, keeping the entire band in time while the guitarists stop and let the bass carry the song, enthusiastically shouting out "Hey!" until the crowd is doing it back. At this point Evan is prancing around the tiny stage with a smile on his face before planting his foot on an amp and preparing another skilled bit of guitar work. He's good at conveying the emotion the song tries to bring through their song, while Mars lays down the rhythm he needs to go a little crazy.
Moving quickly into some of their new material, Evan and Mars tease the crowd with timed chords while Peter lays down a fast bass riff that builds up excitement, with Ace's drums complimenting them both at the same time rather nicely. The crowd is going insanely wild at this point, pushing each other around with goofy smiles and inconveniencing the people at the bar. Oh well, it's a punk show, you shouldn't be sitting down anyway. (Don't tell anyone I was too.) The band doesn't give you much chance to stand around either, constantly pummeling your ears with fast punk that makes your feet feel like they can't keep up if you stay still. The song ends abrupt and hard, and within seconds Mars is serenading the crowd once more with mischievous in between banter. "This is a special song...but this isn't about special people."
The next song "Moonshine" might sound self-explanatory from the introduction but it's actually mostly about how women are wrong. Sometimes. Ace shows off some impressive drum rolls, while the band provides yet another tasty hook that is sure to capture you if the verses don't. The songs themselves aren't particularly crafted like they spent hours slaving over them, but they keep it loose so anyone can get wild when they want to and it'll fit. It works well for this band and they don't make any apologies. The band enthusiastically moves with the time changes and seem to be in perfect rhythm with each other.
Peter's bass once again introduces the song while atmospheric guitars induce the song into a darker tone. Mars vocals drone over the room, singing of discontent and feelings of rebellion. This is truly the pinnacle of an Under the Bridge anthem, something that most people from the current youth generation of people can relate to easily. As they say in the chorus, they are the voice of a generation, and we aren't satisfied with the world in its current state. "What are you waiting for?!" they demand as Evan wails on his guitar, bringing that anger and rebellion into musical ecstasy and "Rebel Generation" to a powerful close.
They lighten up with the next song, a cover of Bob Marley's One Love. The song itself sounds pretty close to the source material, with just a bit of distortion. They go into an a cappella section, inviting the entire crowd to go with them. They end the cover too fast however, but quickly go into another one.
Gracing the crowd with his deep voice, Mars starts to sing "lalala, la lalala, I can tell that we are gonna be friends." This cover of the White Stripes song has been heavily altered to an Under the Bridge original cover, and also ends pretty fast... but not before Evan rips a solo that seems to be made up on the spot to me. The whole song is fast, really, and the tone is definitely a lot more punk than the original, especially when Mars gritty voice sings it.
Announcing their last song, they claim it's about not being able to get a job. "The economy sucks!" Mars says matter-of-factly, then goes into how he can't find a job with almost a hint of regret. This quickly is dissolved when his voice gets raspy as he goes "Too damn bad!" The chorus gets playful then, and you can tell the band enjoys their rock and roll lifestyle. Evan is once again strolling across the stage, moving to the drummer for a bit of lead/drum synergy. Slowing down into another UTB bass hook, they end the song in classic punk style by strumming as fast as they can and beating on the drums as fast as possible. A planned out ending, it seems, because as they say who they are the band does a riff that seems a bit too similar to each other for improvisation.
This entire time the crowd had been demanding that they play an old song of theirs, "Special Eddy." This one is more self explanatory than the "Moonshine" one, which is the song he played when they thought he was going to earlier, and while Mars insists that he plays it every show and doesn't want to, he quickly announces that he's going to play "Special Angus." I don't know if this has to do with the Sonic Angus Beef stickers they were slapping on everyone, or the former Rude Zombie member Angus. Either way, it shows a dedication and love for their fans that most local bands should incorporate. Altering the last verse to "Special Zombie", Evan excitedly jumps into the crowd and wildly strums his guitar while falling to the ground, caringly supported by band friend Taco.
33: Starting off, I know you guys come from Smithfield and there are a lot of bridges in Smithfield, so is that where the name was derived from?
Evan Martin: Yup.
Ace Taylor: A specific bridge actually.
EM: There's actually this big bridge, so.
33: What was the bridge?
Buddy Mars: Pagan River Bridge.
33: Is there a reason?
AT: Yes.
33: What's the reason?
AT: It's a secret.
EM: It's like 2 miles from my old house, we used to walk across there all the time and...one day I had to pee, and I went over the bridge, and under there, and there were like steps and crazy things over there. So, called them down there, went down there, and...we just came up with the band name Under the Bridge.
BM: It was our bassist at the time, and I said I didn't want to do it because it resembled other things.
33: Like Red Hot Chili Peppers?
BM: Well, actually that didn't come to mind first of all, it was Alter Bridge that came to mind, they were a new band, you know, and just had a single out. But, uhh...yeah.
Cheryl, Band Mom: I actually think Matt the Snake...
[Everyone laughs]
BM: Yeah, Matt the Snake was down there and he was like 'Y'all should name your band Under the Bridge' and we were like 'Sure!'. Never deny a talking snake.
C: It was really cool, they had a bunch of graffiti over there that said Under the Bridge, but the cops discovered it and they painted over it.
33: With bands like Paramore, Good Charlotte, and Sum 41 flooding the market with this generic droll, what do you guys do to make yourselves stand out?
BM: We pretty much, um, do whatever. We take their music, and then we take everything out of it, and then we put stuff in there. [Everyone laughs]
EM: No, we don't do that. Good Charlotte is actually related to us, we don't like to admit that, but yeah, pretty much. And um...
BM: Okay, that has nothing to do with music. On the music side of the things, uh, that's a huge question that we could debate for hours, but overall we just...I get tired of what's on the TV and on the radio every day, I rarely listen to it. So that's probably why we're not so much like those bands, because I don't listen to them enough.
C: I'm sorry to keep chiming in, but I think it has a lot to do with what they were taught, the roots of music. Old rock 'n' roll.
EM: Reggae.
BM: We're into a lot of, even outlaw country, you know.
C: A lot of the old surfing music, the beach music, the rockabilly, and all of that because they were taught that you've got to go back to the roots to come up with a different sound which was still popular.
BM: It's basically why we don't listen to TV and the radio, and why we don't flood the music scene with, how did you put it, more generic droll.
33: Alright, that's good. This one's kind of for everybody, what bands inspire and influence you?
AT: Um, I kinda like, I mean Green Day's like my favorate band since I was a little kid, but...mostly like...I like Waylon Jennings, and Johnny Cash, and stuff.
BM: Is that really what influences you?
AT: Pretty much.
BM: Johnny Cash influences your drum ability?
33: Well, inspires...
AT: Well not really...
EM: Inspires.
AT: Yeah, he said an inspiration. Like The Clash. Does that satisfy you?
BM: I'm sorry, I'm sorry. Peter, what inspires you man?
Peter Walker: Well, I mean, on playing my instruments...Probably more of like...Rammstein and Bad Religion. I like, I mean like, everything that inspires me has always been life, you know? Like wow. Honestly I have no favorite band.
EM: With me, music that inspires me is...everything they said, Rancid, Green Day, all that, but my actual guitar playing? What inspires me to do that is more like Angus Young, Chuck Berry, Slash, uh...what's his name?
33: Jimmy Page?
EM: Jimmy Page! That's my influence. Jimmy Page, uh, pretty much that kind of stuff.
BM: I gotta say, my main influence in music would probably be Britney Spears. [Everybody laughs] I mean, her vocals, they just hit me every time.
33: I saw a lot of that in the music.
BM: Yeah, thank you. That's what we were going for. But really though, what influenced me, as far as what we are doing now, it influenced me most the first time I heard Dookie from Green Day. [Everybody laughs] I felt like I had to do something like that, it mattered to me but...I don't know. And obviously you can almost see it in me a lot, Mike Ness from Social Distortion, Joe Strummer from the Clash, I mean, huge influence. They make me really really happy I'm doing this, actually.
33: Most of your shows lately have been out of the state. How has the rest of the world not in our local scene responded to you?
EM: A lot better than here!
AT: Especially Maryland.
EM: Actually a lot. You go up to Maryland, we went down to Florida, and it wasn't like a million people or anything but the people that were there appreciated it and respected us a lot more. But I'd say we got more respect.
BM: I just wanted to say actually one thing, one thing from touring and being out what we've discovered is...basically nobody likes a band in their hometown, almost.
EM: Not almost.
BM: I mean there's cases, but we went to Gainesville, Florida and in Smithfield where we are originally from, Against Me at the time was the biggest band, you know, but it was all providence. So, they're from Gainesville, and they hated us in Smithfield, we could not walk down the street without being hassled. So we go to Gainesville, and all they do is talk crap about Against Me, and talk about how much they love us. So we had some stories to share when we got home, you know?
33: There's all these local bands that are over thirty, would you still be satisfied with that, ten years down the line, playing local shows and doing what you do now?
BM: We kind of all decided that music is life, here. There's no two ways about it, we're going to play music for the rest of our lives. And if the band does not pay, you know, it doesn't pay our bills, then we're going to have to get other jobs and look into other careers, but it will always be a huge part of our lives. Even if we are 30 and we're playing local shows, that's better than not at all. But, will I be happy with that? Honestly, no. I want to tour the rest of my life, we all love to tour, be on the road, be writing music, and be completely consumed by the band.
EM: I'm pretty sure all of our main goals, it's not like to get a billion dollars or anything, but if I can make a steady income from the band, basically support myself. If I'm losing money, then we can't do it. But if we're making enough money to get by, pay for gas and stuff like that, I'll do it until I'm 80.
33: Anyone have anything else to add?
AT: I agree!
33: Is each song a separate entity, or do you have a message that you're trying to convey through the whole thing?
BM: I would go more with the song is a different entity, because in some situations we sit down, if it's something that we feel is worthy to write about, a song like "Rebel Generation", you know? That has our overall message, and overall that's what we try to incorporate into our music, mostly in our albums and stuff. But song-by-song basis? We basically write whatever we feel at the time, which sometimes ends up being...like a song we're playing tonight, 'Walk down my front door and on the 460, cars flying by'...uh...
EM&AT: The whole gang is with me.
AT: Please remember the lyrics on the stage.
33: Ghetto Whistler.
EM: Ghetto Whistler, that was literally on the spot.
BM: I think that was our best lyrical work though.
EM: Ghetto Whistler was done at home, just like, playing an acoustic guitar...on the spot literally.
33: This will be easy, what can you tell us about your future? Do you have any planned albums, tours, anything like that?
BM: You can pretty much go ahead and assume we have about fifty albums coming out, another eighty years of touring...but on a serious note , uh, we're trying to do something this spring to tour, uh, I guess back down to Florida, and then this summer, we're doing an almost US widespread tour, we're trying to go up to Maine, down to Florida, through Texas, and even California, Nevada, and we're really trying to get to California. So yes, there's touring in our near future. And albums, Stick Figure is still on its way, for, what, three years now it's on its way?
AT: Yeah, something like that. [Everyone laughs]
BM: It'll be out soon, we have it recorded soon, at home, it's just funding is such an issue that-
EM: I'm not really worried about albums, because like he said, we have one waiting to get out. All the songs are written, and while we're waiting for that to get out we already have one whole album written.
AT: And we're still writing for our third.
BM: We have one sitting at home, recorded, done, waiting for a budget and another one we're just finishing up now song by song basis, and probably won't be ready for another three years.
C: So therefore you can put in your article that they're perfectly willing to accept donations.
EM: Yeah, we'll accept donations.
BM: Oh yeah, we can finally get...going. And we have music for probably another five albums no problem.
33: I know you guys sort of had a dispute early on about where your sound was going, so on that note how have you guys evolved over the years?
BM: Do you want the evolutionary process or just what has evolved over the years?
33: Either or, sounds like the same thing to me.
BM: I want to let Ace go through how we evolved.
AT: Okay. They wanted to be like Shinedown, I mean I like Shinedown but not...as much and that's not what I wanted to play. And pretty much I brainwashed them into playing good music. [laughs]
BM: Yeah, okay, that's real good shit.
AT: That's what you get for letting me talk! [laughs]
33: You're like the Hitler of the band, then?
EM: Yeah, Hitler.
AT: Kind of.
EM: Except without the moustache.
[Ace points to Buddy]
BM: I am not the Hitler of my band.
AT: No, he's more Hitler.
BM: Aw, how am I Hitler?
AT: Well, you have more of a moustache than I do, so.
BM: More? That is beautiful right there. On a real note, since she won't be serious, I mean yeah early on, originally the majority of us were influenced and got into music basically on 'N Sync and Backstreet Boys.
EM: Wayyy, way back.
BM: It was a long time ago.
AT: Yeah.
BM: That's what made me start wanting to perform at all, then we got 3 Doors Down, you know.
33: I'm not sure...
BM: It's true.
33: It is?!
C: This is all when they were little kids.
33: I'm not sure you guys want me to publish this anymore.
[Everyone laughs]
BM: But, you know, the evolutionary process, so we were into 3 Doors Down, Nickleback, Shinedown, you know whatever was on rock radio at the time.
EM: Papa Roach and all that stuff.
BM: And that's what we wanted to do, and Ace basically said 'Here, listen to Dookie from Green Day' and we said 'Okay' and we were like 'We gotta play that!' Not play that, but that's what switched us-
EM: Inspired us, and from that Ramones-
BM: We realized mostly from listening to Green Day what we needed to do was play a lot faster. That's basically what that meant, so she made us play faster and now we love it. And through the years this family has evolved and more into our own I believe. We have such wide influences from everywhere really.
33: On that note, have you guys had any attention from record labels?
EM: Uhm, minor. Minor labels.
BM: Nothing major. Uh, and I don't mean major as opposed an indie label, I mean, you know, opposed to a huge label. You know, Warner Brothers hasn't approached us yet.
AT: Yet, hahaha.
BM: There's a bunch of smaller labels that we've talked to and just feel like we're not in a position yet where we might want to do that. It seems like even an indie label kind of wants to take us over a little bit right now.
33: Another thing about that is, once you make that first album with the label and you're dead broke, you're not in any position to argue when they want you to change your second album.
BM: Exactly.
EM: Exactly, that's what happened to...uh, this one band that I can't remember, I'm not even going to try to think of the name, but I saw them I was like 'Dude, I love this band'. Next time I saw them on MTV and they were all like, completely dressed different, voice, his voice changed. Everything.
33: What, did they make him take estrogen?
BM: Yeah, probably.
EM: Lostprophets, it was Lostprophets. They were pretty good, then they came back and were all [Evan begins to sing in a whiny, high pitched voice].
BM: I don't like to speak names because I love all kinds of music, but some of them I have a hard time listening to. We're getting off topic.
33: It's all good, we get off topic all the time in Magazine33. But if Lostprophets comes to your house and starts trying to beat you up, I don't take any...
EM: Good, they're old.
AT: Off the record.
BM: Off the record, we could whoop them.
33: Can you guys recall any times where the tension in the band was sort of at a breaking point? Where there might be a couple of...incidents?
EM: Oh yeah.
BM: There's been some accidents to...to we're at the point of 'Man, I'm about to leave practice' and the occasional, uhh, I leave practice. Which, I mean, the majority of-
AT: It's really just childish arguments.
BM: It is childish, and never to the point of 'Hey, I don't want to do this band anymore.' That, that will never happen. The music is more important that us to anything, and we basically live together. So walking out of practice is not that big of a deal...It's not like we have a truck to get anywhere.
C: Ace has thrown drumsticks at Buddy's head.
BM: Well, hey, how many times has that happen?
AT: Well you always say...He says dumb things on stage, like this joke. He, he has this joke. That is not funny. And he says it on stage sometimes, and he just doesn't shut up so sometimes I have to like throw a drumstick at him because I can't just get up and walk over and tap him on the shoulder, and it's funnier if I throw a drumstick at him.
BM: That's a low blow, because who's to say that joke not funny, you just say that-
AT: Tell the joke, tell the joke and see if he thinks it's funny.
BM: I'm not gonna tell the joke.
EM: It's a bad joke.
BM: Alright! I know it's a bad joke, but that's what makes it funny, because everybody gets mad at me and so it's funny.
EM: But yeah, fights and stuff, just random stuff. Baby stuff.
BM: It hasn't been brought to fists yet.
EM: I can't recall anything that we've gotten in a fight about that had anything to do with the band. It's just 'Oh man, you're annoying me' but as a band we just kinda jam at home.
33: Is there anything you want to say to your fans?
PW: [In a smooth voice] We love you!
EM: Wait for the new album, it's going to be a lot better.
AT: Don't take us serious.
BM: I do really actually want to say something a little heartfelt right now.
EM: Oh my god.
BM: Actually the fact, we do not have any huge amount of fans that just follow us around every minute, you know, paparazzi none of that, but we do have some extremely faithful fans that have been our fans for years now. I mean, we're going on four years this summer as a band, and some of the people have been there since the beginning and I really...people who have stuck with us and hadn't listened to us live yet, they just heard our music on myspace in California and stuff, I really appreciate these people more than they know. It actually means a lot to us to know that these people actually care about what we're trying to do so much, and also the fans up in Maryland.
AT: They were amazing.
BM: All the kids up in Park Rock last year. Those were cool kids. I just want to say that, in case they hear us because I love you people.
C: And don't forget the kids in Gainesville.
BM: We've got people all over the world, we love you all. Even you, Hitler.
-----------------------
If you've been yearning for that punk rock sound that's slowly become more diluted with copious loads of utter crap, then be sure to take a trip Under the Bridge. They have enthusiasm up to their ears and never fail to put the extra effort in for a fan. Let's show these guys that a hometown can show some love, too. Otherwise we'll all be listening to Paramore while these young kids grow into obscurity and talk about the days when people still liked punk.
MysSace.com/MusicUndertheBridge
It was an unusually wintery night on the streets of Virginia Beach, where naught a single trace of warmth was to be found easily and the icy roads threatened to throw you off course. However, one place and its collective residents defiantly worked together to warm the mood up in the halls of the Jewish Mother. On a night when few others dared traverse the treacherous highways, this restaurant was packed to the brim with lovers of ska everywhere. Where else could you find fedora wearing slicksters in checkered shirts? Where else would you see horns played with the respect and admiration they deserve? Where else would a sun composed of willing bodies and electronic rhythm illuminate the weary souls of Virginia?
Don't mistake the Jewish Mother for a normal restaurant, however. A quick inspection revealed a somewhat intricate, if somewhat old sound system in the back and row upon row of pictures of people who had performed here. Not just your typical famous person, either; this venue truly supports the local scene and shows it with the countless faces of bands popular in the area. The back area didn't seem like a restaurant at all, and the stage was very low to the ground so you could get a good look at who happened to be playing. Rude Zombie was set to break in the stage for the night and start the show.
First, let me introduce the band members. The lead singer, Jessica Abbott, briskly leads the band with her sharp business sense and finely tuned vocals. Matthew Cheatham is the original ska lover of the band, and that influence is clear anytime you see him take to his fretless bass. Ryan "Johnny" Richards brings a distinct classical tinge to the table with his guitar, consolidating the bands departure from typical ska bands. Shawn Atkins adds in incredibly fine tuned drums, being in a former Tool cover band. He has a nasty habit of losing his keys during every concert however. Brian Russel was a band geek in a past life, but now he brings amazing tenor sax with his experience and is one of the nicest people you'll ever meet. Justin Norman, alto sax, is also a former band geek, and constantly has his eyes on the prize. He won't settle for anything less, and strives to meet his goals both within and outside of the band. Jeff McLaughlin is the band's keyboardist, this being his first gig with the band. He's also a part of a four piece band known as the Gloom, which is his main squeeze.
Rude Zombie shows off how comfortable they are with each other by bursting right into their first song. As I was unable to listen to any of their songs except the single, "Prince of Ska", I was elated by their initial sound. They mix up punk style chords with a professional sounding alto and tenor sax. They mix it in with a funky bass solo in the middle of the song and instantly the crowd begins to start clapping. The entire band exudes spirit by rhythmically moving to the song.
The next tune starts off with a jazzy bass, and then quickly settles into a relaxed tone by way of the very clean guitar and just enough horn to give it that feeling of the sun. I almost feel as if I should be in the sun rather than some dark hole in the wall at the back of the Jewish Mother, but I didn't see anyone else in the crowd complaining. They have a fan base that has followed them for most of their two year life span, but also get the others in the crowd shaking their head and on their feet. Jessica sings at a mile a minute, much like the band plays. She manages to fit a lot into each line while still keeping beat, much like another famous 'almost' ska band you might have heard of.
Ultimately the bass carries the song and keeps it down along with the strong drummer. You won't hear a standard drum beat from Shawn, the band's drummer. He likes to mix it up and although drumming is based on repetition it doesn't always have to feel that way. He proves that. Jeff's first excursion into the live world of Rude Zombie seemed to be going good. He seems to meld into the band well, and he definitely knows the songs, but his sound is somewhat overpowered by the rest of the band. I later found out that he asked them to do this, because he was making up the keys as he goes.
They don't stop to rest before going into their third song, "Prince of Ska". By now there is a particularly rabid fan who is skanking across the dance floor all by himself, which everyone knows is a lot harder to do when nobody else is. I believe this alone says something about the quality of the band. This song shows off all the aspects of the band - from a powerful female lead, a talented fretless bassist, and two saxophones that refrain from being overly obnoxious topped off by the always in time drums and subtle keyboard.
The band takes a different turn for their fourth song, slowing it down a bit to let everyone understand what's going on. The whole world can't move at Rude Zombie's speed. They throw in another fast riff in the middle of the song and bring it back down to the almost addictive slow tune that gives a strong sense of fun wrong doing. The bassist chimes in for powerful backing vocals, his surprisingly gritty voice carrying much weight.
Once again they refuse to stop in between songs and go right into the next song with the drummer laying down a commanding set of drum rolls. The band just seems to be getting a little crazy at this point. The bass definitely shows a different tune for this one, giving the crowd shivers as they are pulled in by the temptation of RZ. The guitarist throws in a small solo without distortion, which was just loud enough to be heard and add to the song in a good way.
They actually stop to take a break this time, just long enough to thank the Jewish Mother and the Slackers. They reveal that they are playing a fresh song called "Staircase" and seconds later the crowd is captivated by an atmospheric guitar you would expect from someone like Tool instead of a ska band. The band playfully brings it back down to a funky interlude and lays down another relaxing tune before the first word is even sung. You can definitely tell there are a lot of influences in this band, all mixing around and trying vehemently to break the genre we know as ska, in a way that would make you second-guess it while also knowing deep down that there is no way that this ISN'T ska. Then they throw in an ear cringingly fast punk riff that brings the song into the outro, which is a barebones slow down. The guitar throws in a clean riff every once in awhile along with the bass, and the horn slow down a bit to bring you down gently.
The next song has the horns still slow, but in long, ringing notes that could tell a story all on their own. The guitarist goes into a John Frusciante-like riff while the bassist continues to show us that funk is something anyone can feel. With a gritty "One-two-three-four" they force their timing to do what they want rather than the other way around, and show the power to create music that would absolutely topple with just one instrument and make it sound wonderful. They go into a blisteringly fast sax solo that titillates the ears, the best effort from the horns so far. They finish with the timing breaking riff along with more "too many cigarettes" vocals from the bassist and instantly move into the next one.
This song has a very reggae bass, mixed with a little jazz and funk from the guitarist. The thing that makes it unique is the horns, which makes me question the use that effects can't be used on them. It was almost like they faded out and came back up before it was humanly possible. It was then that I noticed a swastika on the lead vocals jacket, which was crossed out. I thought it was kind of amusing for her to choose to wear that at a place called the Jewish Mother. I then get distracted by another classical solo from the guitarist, who kicks up the distortion for the chorus, which has the whole band throwing their vocals into a moving anthem.
Their set finishes too fast as they announce that they'll be playing the song titled after their band name, "Rude Zombie." All of the fans get up and start skanking all over the place, obviously having their minds taken over by the ridiculously good sax coming from Brian, a tenor master. Immediately followed by Justin, a blind man could see why this song embodies the band. Everyone has a chance to show off, and everyone is having a good time. The thing about this band is that their music fits the mood set by them perfectly. The music IS the mood set by them, but even if you couldn't understand the mile a minute lyrics you would still subconsciously understand the thing they are trying to convey just by being an avid listener. They're all happy to be there and playing music they spent countless hours crafting together. You can really see the experience shine. Did I mention that Jeff makes an amazing finish for this song? His keyboards mix into the swing with style now, giving it a synth finish that fits perfectly with the rest. He is definitely a worthy addition to the band. The song finishes with guitarist Ryan (Jhonny) departing from his classical roots to show he knows how to throw down, showing the world blisteringly fast fingers and bringing the song to an amazing fast finish, albeit a slightly sloppy one.
33: So, how long has Rude Zombie been around?
Jessica Abbott: It'll be 2 years June 9th.
33: That's not bad, pretty cool playing for only 2 years.
JA: [laughs] I guess so, I mean we've played a couple big shows, done two tours, uhhh...gotten screwed.
33: Gotten what?
JA: Screwed. Like every band gets screwed by the music industry. Had a record label for awhile, then they kinda dicked us over. Uh, you know.
Shawn Atkins: Before our tour.
JA: Yeah, right before our tour.
33: So are you in one of those things where you can't join another record label for a while because of that?
JA: Oh no, it was a, um, very new label who didn't know what the hell they were doing and said they had more money than they actually did. Promises promises kind of thing.
33: What drew you to ska music? I'm not, you know, against ska music but it isn't exactly the most popular genre of music.
JA: Well, none of the band aside from Matt, the bass player, he had been listening to ska since he was in diapers basically. I had mostly a jazz swing influence, that's where I was trained vocally. Shawn has been a Tool nut since the beginning, and Brian's a Christian rock kid, and Justin's Avenged Sevenfold, and Ryan, our guitarist, is our classic rock guy. We all had different ideas but Matt and I started the band in June, and we decided that's what we wanted to go with. You know, we both liked it, I had recently gotten into it.
33: So nobody else had any problems with that?
JA: Well, everybody, everyone we picked up after that kind of, they didn't really have a say. I mean, what do you think, Shawn did you have a problem with it initially?
SA: No, not at all.
JA: We had already started playing gigs, you know?
33: What's your opinion on the local ska scene?
JA: Um...
SA: Love hate.
JA: Yeah. I think any scene's gonna be love hate. We've made a lot of really good friends and there's a lot of people that can't stand us. I think that just comes with anything, I think if we were in the cover band scene, or the classic rock scene, or, you know, emo, I think there would always be people who hated us and always be people that loved us. And then there will be the people that are indifferent. So, any scene's a good or bad thing I think.
33: I was just saying, when you think of ska in Virginia Beach, it's really only two people that come to mind, which is you guys and Jackmove basically.
JA: There's a couple of 'em sprouting out, I mean we've got, um, Man Eating Camels, which I think recently broke up, they were in the scene for awhile. There's a new band called Ultra Panic coming around, I have yet to see them play but they're friends with us, so...you know. But they're supposedly a ska band. And then there's Thin Air Rising.
33: So it's kinda rising more.
JA: I think since the last couple of years it's starting to grow a little bit, which is probably a good thing.
33: You already answered this a little, but have you had any attention from record labels?
JA: Yeah, we actually are being 'shopped' at the moment.
33: Shopped?
JA: Uh, that's the name in the biz, when a record label starts looking and you and they tell you they are shopping you, that just means they're showing interest in you and throwing numbers at you. Mostly trying to build you up so you want to do it, um, and they can make money off of you. But we're being currently shopped right now, we have an offer to go to South Africa in the summer, to do a tour. We don't know if we're going to do it yet, it's going to cost a lot of money on our end.
33: So what keeps you guys playing at the end of the day?
JA: [long pause] I hate everybody in the band. [laughs] No, I don't know, no I love all of them, they're good guys.
33: At least sometimes.
JA: Yeah, I don't know, what about you, Shawn? What keeps you going?
SA: Ehhh...Life.
JA: Justin, if you wanna jump in on this interview?
Justin Norman: No thanks.
JA: That's our saxophone player, Justin.
33: So life, and...what did you say again? Hating everybody?
JA: Yeah no I, uh yeah, there's a moment where I hated everybody in the band. Um. [pause] Shawn doesn't know how to control his drums. And Ryan can't...can't operate without having a guitar in his hand and Matt, same with the bass. Really only Justin and Brian know how to put their instruments down.
33: That should be a good thing, though.
JA: No, it is. But...they all have their own things that annoy us, but I pretty much love...I love the band. It's really just knowing that what we're doing is the world to us. Every one of us has such a passion about music, that...I think I could be in a band with a bunch of people I hated and still want to do it. But I don't hate the band!
33: So how was touring with the Ska is Dead tour?
JA: We didn't actually tour, we played one show with them. It was when they came here. It was insane, actually Mustard Plug approached us and asked us where we were playing next. And I, uh, I said 'Uh, Virginia Beach,' [laughs] 'because we live here' and they were like 'No way!' so that was a really cool compliment. Voodoo Glow Skulls had a bunch of things to say, actually in general we got excellent feedback from that show. And, uh, you know, I have the lead singer of Mustard Plug's phone number, sooo, umm...call him every now and then. [laughs] No no no, I think I've only called him twice and it was only because of the show, so...but if I ever wanted to.
33: I know you have a full length album you're working on now. Is that your first one?
JA: We did an EP when we initially started, we didn't have the record quality that we wanted, so we didn't continue with it. But we're working on the full one right now, hopefully we'll be in Nashville in a couple weeks, to be doing it.
33: Is that where you're going to record it?
JA: We're going to be recording at Sound Emporium Records, so hopefully that'll pan out. That's actually part of the record label that we're being shopped by. But it'll cost the greenbacks, so people need to come out to our shows. [laughs]
33: Is there anything you can tell me about the album itself?
JA: It's gonna...it's gonna be mostly our older songs, um, we're going to incorporate some of the new ones. We're hoping to kind of take a, uh, a authentic view from it, kind of make it sound like an old record rather than, um, something more modern. Which is generally our take on music anyway, we don't...we're not trying to sound perfect, we kind of revel in our flaws if you wanna think of it that way. So it's not a concept album and it certainly doesn't have a huge message, but I think that the overall message would be, you know, we're different. We've had a lot of animosity in the ska scene because we're not strictly ska. We have a lot of punk influences, a lot of jazz influences.
33: Punk's kind of normal in the 3rd wave anyway.
JA: Right, well, and really our goal is not to fit in between the lines, we kind of want to expand them and make it socially acceptable for anybody who loves a specific genre to be able to wave in between those lines and not feel pressured by the music scene that they're not doing it right.
33: Would you say this album is your best effort to date?
JA: Um...I don't know, what do you mean?
33: I'm not saying effort as in strictly how hard you're playing, but in the time you put into crafting your songs and making them as good as possible.
JA: Well, I think our biggest effort is to put on the best show that we can, we put a lot of effort into making sure that our music is not only... the sound is appeasing but everything that goes into it makes sense and in a subconscious way clicks. I'll give you an example, in our song "Staircase", we, um, I don't know if you know anything about music, but we put a note that's not in a scale at one part of the song, but it's at a negative part in the song so it's supposed to make you go 'That didn't sound right' but it's more so to trigger the feeling that it didn't feel right because the song is talking about not feeling right. So it's really about, our biggest effort is making the music talk as much as the words are. And I think that'll reflect on our album simply because it's a reflection of our upbringing.
33: So what do you see in ska's future, do you think it's dead? Do you think that there will be a "fourth wave" if you will?
JA: Um. The guys're going to kill me for saying this. I think that there will be a fourth wave. I think there can be a fourth wave because of how far the genre has gone out from the original version. Honestly, I think waves are mostly marked by time, you know, I think that...the fourth wave is going to be...
33: Rude Zombie?
JA: Well, let's hope so. I mean, I would love for it to be us, I would be okay with it being us, but, um, I think the fourth wave is going to incorporate a lot of different things. The crazy thing about ska is you hear it every day. You know, it's not a hidden thing, everyone says ska is dead, turn on your TV and listen to 90% of the commercials that play, and you'll hear the offbeat, and you'll hear the walking bass line, and you'll hear the horns, and the reason people dismiss it is because they write it off as reggae or they just don't notice it. Ska is far from being dead, it's used in modern marketing, so I think there will be a fourth wave, and I think there will be a lot more ska over the years.
33: Do you have any last words for your fans?
JA: Um, come to shows. [laughs] No, um, you know, we can't be any more than the people following us. We write music because we love people, we want them to hear what we have to say, and the whole idea behind music is relating. I went to a concert once and someone said this is the biggest group therapy session you will ever be in. So, our goal is to make this show the biggest group therapy session you will ever be at, because it's the only moment in your life that you relate to everybody in the room. Everybody in one room at the same time. So...come to our group therapy sessions. Experience what we experience with you.
33: Can you give me one sentence to describe yourselves?
JA: Well. [long pause] If you say that ska is dead, then you must be Rude Zombie.
33: [laughs] I don't know if you thought I was talking about the band, but I was trying to get something from each of you.
JA: Oh, like me individually? Oh, okay! Well, that's for Rude Zombie. Um, me in a sentence, oh.
33: You can use a comma.
JA: [laughs] Awesome, comma. Amazing, comma. No, um. [pause] I don't know...I don't know. How about, umm...Proud to have flaws, that's a good one for me.
SA: Oh, jeez. Um, quiet, I'm well known. I've got a good side and a bad side. I love to play drums.
Ryan "Johnny" Richards: I love music.
Justin Norman: Determination. Willingness to succeed. And a strong motivator. An inspiring musician.
Brian Russel: Like for the band? Just me? Um, yeah, yeah. I'm 20 years old, and I go to TCC studying computer science. That's pretty much the way I heard of Rude Zombie, I saw a flyer at TCC actually, and it was an ad. They needed a horn line for a ska band, and I was like 'That sounds really awesome', so I gave them a call and they had me come out the same day, and, uh, played for them, had a lot of fun, so... Since then I've been in Rude Zombie.
Matthew Cheatham: Um, fretless bass, um. I like to walk a lot.
33: Long walks on the beach?
MC: Yeah, long walks on the beach, long walks on the bass neck, I try to play as originally as possible, um. Yeah, I really like development of major/minor stuff, going to the fifth and third, all that good stuff.
Jeff McLaughlin: What are you looking for? I don't know, man. I play a lot of different styles. Classically trained, some violin skills, some piano skills. Um, yeah.
Ska will live as long as Rude Zombie does, so be sure to check them out as soon as possible if your fedora is collecting dust. They're young guns but the bullets are loaded, so hopefully the future is bright for them. There is a lot of untapped potential here, and I can definitely see them going places due to their fierce determination, if they have the opportunity and business sense to carry them through. There are ways you can revive the dead.
The Interview...
33: So how long have you been performing?
DC: Seven years.
33: Why acoustic music?
DC: I don't know why I love acoustic music so much. I remember when I was young listening to Neil Young so I got a Neil Young songbook and a guitar.
33: So are you musically trained?
DC: Not formally, I don't know music theory or anything like that. My mother used to teach piano up until five years ago. She taught me a little bit, but I rely mostly on my ear.
33: I've heard it's hard to get gigs in Hampton Roads unless you do covers. Is that true?
DC: It's hard to get work in Hampton Roads unless you do covers. It's almost impossible if you want to get paid. The venues want people to come to their business have a good time, spend money, and they figure people want to hear something they know. If you want to get work you need to know a good size chunk of covers.
33: So do you have any creative outlet to try out your own music?
DC: I'll throw in one of my song every now and again. I have a couple of Irish themed songs I've written, and if I'm at an Irish pub I'll play one and people don't usually know any better, but they seem to like them. I like writing my own music, it's challenging.
33: How is the community of musicians here on the Peninsula?
DC: Everyone I've met has been pretty cool. There's a few competitive people, but for the most part they aren't. I mean how many gigs can you do in a night? One. How many venues are there? Hundreds. There's not really a point to be competitive.
33: What kind of places do you like performing at?
DC: I like small, cozy places, like here (Weekend Pub). I know all the people that work at the places I perform so I'll give shout outs to them while I'm on. I also like to incorporate the crowd. I don't even have a set list. People will write down something on a sheet of paper or shout something out, and if I know it I'll play it. I'm just trying to make sure everyone has a good time. It's in my best interest to keep people coming back to these places because if they go out of business, I won't have a place to perform.
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Dave Crumpler sat on an old wooden stool and tuned his guitar, getting ready for his performance at the head of the dimly lit Weekend Pub. It's a fairly small bar, but it was a Friday night and the room was packed. As soon as the show began, Crumpler's love for acoustic guitar was conveyed through each song he performed. Eyes shut, body swaying; it was clear that he loved what he was doing, and so did everyone else.
Shouts, cheers, and whistles rang seconds into the onset of each song as Crumpler performed acoustic versions of Third Eye Blind, Modern English, Tom Petty & The Heartbreakers, U2, and the Crash Test Dummies. People were passing pieces of paper with their request written on it, other shouted out the name of songs they wanted to hear, and if Super Dave knew it, he played it (which was often the case). The crowd was clapping, whistling, and singing along with each song Crumpler sang. It was clear that everyone there was having a good time.
When most people think of an artist, most of the time they don't put a "cover" in front of the term. Sometimes they are not even considered to be true musicians because they don't write their own music. Almost as soon as the set begins it's obvious that Crumpler thoroughly enjoys the music and performing it for people willing to listen, those people listening enjoy themselves immensely, and you can see that a Dave Crumpler performance couldn't prove the false idea of a cover artist more wrong.
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