Years ago when the legendary James Brown sang “It’s a Man’s World” he could have easily been giving the world a statement on the next fifty years of Augusta music. While it’s true that years ago the accomplishments of female artists with Augusta ties such as Brenda Lee, Terri Gibbs, Amy Grant, and Etta Jones helped them stand alongside male counterparts Steve Morse, Leon Everette, and Mr. Brown, for the most part women in Augusta music have chosen to take more of a musicians part when it comes to their part in the Augusta music community. For every singer-songwriter like Kat Turner or Julia Easterlin there have been many more women choosing to strap on a bass guitar or pick up a pair of drumsticks and join a band. While that’s damn cool in itself, aside from the occasional glimmer of recent artists like Jessica King, Allison Foster, and Chelsea Loque, female singer-songwriters have been little more than a blip on the Augusta music community radar. After a listen to the CD Crimson Silence by Augusta duo She N She I can’t help but to hope that somewhere underneath the male dominated Augusta music scene that there’s a simmering pool of female created music waiting to blow the lid off our musical melting pot and lay claim to their own chunk of musical turf. Something so good in a city filled with so much talent can’t possibly be limited to just a couple gals. Could it?

Spawned out of the unexpected pairing of music vet Brandy Douglas, who seemed to come out of nowhere a few months back to take over the Wednesday open mic night host slot at the Playground, and Drea Suarez, a relative area newcomer who ironically chose those open mic nights to get her musical feet wet, She N She is a harmonious breath of fresh air on the Augusta music scene and debut offering Crimson Silence easily worthy of a place alongside other top area releases.

Before even getting through a quarter of opening track “Brand New” it’s clear that there’s a lot more going on here than just a couple gals strumming away on acoustics. Sure the average closed-minded listener could dismiss this as merely post Lilith Fair “chick” music but anyone with smarts to pay attention will not only find themselves privy to some incredible harmonies, but just as equally incredible songwriting as well. Engineer Morgan Parham has taken a group of lesser known talented musicians and a pair of incredible singer-songwriters and captured them on tape beautifully. “Falling Short” flat out rocks and it doesn’t take a female to relate to the subject matter of relationship frustration. Sure it’s a theme covered by so many songwriters over the years but every generation needs their own way of dealing with such emotions and Douglas and Suarez tackle it wonderfully.

Just when you figure it would be impossible to get any better than the first few tunes title track “Crimson Silence” gently creeps in and just completely kills. Rarely has such an emotional encounter been so eloquently described in song. If Extreme’s “More Than Words” was the 90’s poster song for voice-less expressions of love then “Crimson Silence” takes that same notion and delivers it with poetic yet still comprehensible flair. It doesn’t matter that Douglas and Suarez might be singing this duet to each other, the sentiment expressed is clear and universal. It is a sentiment that transcends the makeup of the couple sharing it.

Crimson Silence is built upon a varied mix of country, pop, folk, soul, and even jam band style grooves. While the poetic lyrical artistry may be a large reason behind the strength of She N She’s debut release, each and every word is driven home by the beautifully crafted music layer underneath especially in the album’s tender moments like “Brand New”, “Feel You Smile”, and the title track. Douglas and Suarez manage to get their points across poignantly and in a way that most any listener should get. Whether you’re a guy or gal and in love with a guy or gal…or both…you’ve probably felt every emotion expressed on this CD in one way or another.

www.reverbnation.com/shenshesounds

Some bands come firing out of the gate while others bide their time just waiting for what they perceive to be the perfect moment to strike. With just a small collection of shows in the past couple of years, and just now on the brink of releasing their official debut, Augusta modern hard rock band The Stain Remains appear to fall into the latter category.

Inspired by modern rock artists of the late nineties and first half of the Millennium The Stain Remains, made up of vocalist Jarrod Allison, guitarist Stanton Hayden, bassist Jarrod Saylor, and drummer Wade Walls, blend several influences into their own brand of modern heavy rock with obvious leanings towards bands like Tool and Korn. Such leanings could easily give a band in 2011 a “dated” sound but The Stain Remains step outside of direct comparisons with clever backing harmonies and a cool dynamic/hook combination rarely found in heavier modern rock bands.

Kicking off with title track “Connect” The Stain Remains waste little time in showing what they have been simmering the past couple of years. Heavy, catchy, loaded with dynamic yet not overbearing changes, and topped with dark Alice in Chains style backing vocals, “Connect” is not only worthy of being an album opener, but would make for a great show kick-off tune as well.

While second track “Resist” is a bit droney for my personal tastes following track “Break My Fall” has just enough melody to make it perfect for modern rock radio yet at the same time deserving of a place better than merely alongside most of the schlock being played on modern rock radio while “Fold” is a barnburner of a tune that mixes the darkness of a band like Tool with smoking classic metal guitars. Fans of 80’s metal may find themselves drooling over the solo section.

“Connect” closes out with three tracks that jump all over the map. Starting with “The Line”, The Stain Remains’ attempt at creating a crowd chanting tune, things go from intense to straight up crazy. Musically the band possesses an ear for incredibly melodic hard rock hooks while steering clear of generic lyrics. With its rap sections and simplistic chorus The Stain Remains nearly undermines these strengths with a track such as “The Line.” Oddly enough the guys save themselves by widening the gap between themselves and their biggest strength on “Escape.” Perhaps the most “progressive” track on “Connect”, “Escape” is the type of track that makes it easy to forget just how comfy your seat is. A true stand up, pump your fist in the air, yell along song. But just as soon as it’s time to bounce off the walls, The Stain Remains suddenly do the unthinkable – the band close off their first official release with as stripped down a tune as you can get – gorgeous yet hauntingly beautiful acoustic tune “Call It Nothing.” Under most circumstances this would be called crazy but somehow The Stain Remains make it work.

“Connect” will probably never be confused with most of modern rocks classic releases, maybe not even similar area classic releases, but it is definitely a CD worth having and worth listening to. The production may be well below most tracks played on a station like 95Rock but in some ways it’s the “made from scratch” feel of “Connect” that gives it an overall nice charm. Besides, who needs radio when you can catch the band live, grab a copy of “Connect” and crank it as loud as you want?

The Stain Remains CD Release/Adler’s Appetite Afterparty
Friday June 17 at the Playground
Live music from:
The Stain Remains
G-City Rockers
Stillview
No cover

Recorded between January 18 and February 27, 2011 at TheDigitalGod Studio in Aiken, Riddle Me This? blends cool crisp originals with the combo’s own unique take on several covers including a cool version of “On the Stairs”, originally done by Frost mentor Martino. This is not your Dad’s, or even your Grandpa’s, jazz but purists needn’t fret…Mike Frost Jazz manage to breathe new life into a decades old musical genre while still showing complete respect to the roots of jazz. Point blank – this is jazz for all ages.

Frost flexes his bass muscles right off the bat leading the way into Riddle Me This? opener “Records-Me”, a Joe Henderson tune and the first of six standards given a fresh coat of paint by Frost and company. Yeah it may be that cool jazz that many of us know but there’s still a new freshness that adds a bit of mainstream palatability to even the “reheated” dishes found here. The band, which also includes on this recording Dave Brown (keyboards), Brendan Bull (drums), and Lauren Meccia (saxophone), do a mean job with interpretations of tunes by Martino, Henderson, Freddie Hubbard, Herbie Hancock, and Sonny Rollins but the real fun on Riddle Me This? can be found on the original compositions particularly the Bull penned “Dumplins”, which borders on funky, and the title track, co-written by the band and impossible to sit still to.

Take a talented jazz trio, arm them with some classic jazz covers and a couple classic rock era tunes, and toss them in front of a room full of diners and what you have is Live at the Blue Horse, Mike Frost Jazz’ live companion to in-studio platter Riddle Me This?. While the band are represented by several originals on the latter, they stick to covers on this cool live CD showing that they’re not scared to take on tunes by Miles Davis, Duke Ellington, Grover Washington, Jr. and others and even less afraid of stretching their jazz legs to tackle legendary mainstream songs made famous by the Beatles (Come Together) and Wilson Pickett (Mustang Sally). Even sans vocals “Mustang Sally” is catchy fun in the instrumental hands of Mike Frost Jazz and Ellington’s “It Don’t Mean a Thing” just shines MFJ style. On Live at the Blue Horse, you almost forget that the band is surrounded by an audience trying to decide whether to fill their mouths or ears with something delicious.

In addition to the great artistry found on both Live at the Blue Horse and Riddle Me This? listeners get the bonus of the band not putting a single same track on both discs, just twenty great tracks spread over a pair of great CDs. You can’t wrong with either disc but you’d be missing out on a whole other experience by choosing to pick up just one of the two. While it’s true that both are products of Mike Frost Jazz, each has a distinct flavor that makes it stand out.

All you gotta do is go to mcfrost.com to find out for yourself.

Since 2004 Atlanta rock trio The Issues have hit a ton of southeast stages and churned out almost a handful of hook-laden bubblicious rock albums and in the process chalked up some cool credentials like placing in the Southeast for the BMIs Independent Music World Series and in Billboard Magazine’s Annual Song Writing Contest and coming out on top in the Dave FM unsigned battle of the bands. The fact that The Issues are an Official Budweiser band and have Augusta native Patrick Turner bangin’ the drums only makes them cooler. Yeah Turner may be kinda new to the band (which also includes Wayne Vokovich on bass / vocals and Geoff Adams on guitar / vocals) but in transition the band hasn’t missed a step which is evident on The Issues’ latest (and fourth) release It Goes to 11.

Starting off with the super catchy “WTF” the band shake things up immediately by not sticking to this simple acronym making the album safe for public display but not for radio…but WTF…who needs the radio these days right? But the rock and roll lifestyle does not end there…”Saints” would fit great on an Irish pub drinking playlist and “How Do You Like Me Now” is about as happy as an FU (sorry…currently having acronym issues) song can get and “FMP’s?” Well that’s a whole other acronym altogether.

About the first two third’s of It Goes to 11 is catchy rock that shows off The Issues’ love for acts like Marvelous 3 and Green Day before kicking into overdrive with flat out rock down the final stretch. Kinda like that sweet librarian that turns out to have a closet full of whips once you get behind closed doors. OK…maybe not like THAT but you get the idea.

Overall It Goes to 11 is catchy fun but like previous releases pales in comparison to the band live, which is not unusual. Rarely do you find bands that kick it live AND on record. The Issues have done a great job in cranking out a good fourth release…but the eleven tracks on It Goes to 11 (get it?) hardly go to…well 11…maybe somewhere in the range of…oh WTF…I’ll let you decide for yourelf.

Check the band out online at www.theissuesrock.com

Oh yeah…and the guys are playing in Augusta May 13th at the Playground for the Carley Peace Rock for Peace Benefit and June 17th at Jessye Norman Ampitheater as part of the Adler’s Appetite show.

Stoney

Review By Daryl Addison

Though country music fans may just now be hearing about Josh Kelley, the 31-year-old singer/songwriter is no stranger to the recording industry. Originally signed to the pop-format Hollywood Records in 2002, Josh released two albums under the label’s banner before starting his own independent label and releasing four albums himself between 2006 and 2008. Now signed to MCA Nashville, Josh is using this opportunity to showcase his talent on Georgia Clay, a collection of country/pop songs that introduce Kelley’s skill as a writer and performer.

From the quick hook of the album’s opening track and nostalgic first single, “Georgia Clay,” it’s immediately apparent that Josh’s experience as a pop songsmith lends itself to tight production. A B-3 organ, acoustic guitars and bass move in unison to the up-tempo kick of a bass drum before Kelley’s voice effortlessly enters to carry the verse and radio-friendly chorus. Yes, this and a majority of the songs included skew toward the more pop stylings of today’s country format, but Kelley’s slight southern drawl is completely at home here and continually exhibits a knack for melody.

Josh wrote or co-wrote all 11 songs on Georgia Clay. It’s his personal attachment to each song that really makes the collection work. On the slow, soulful “Two Cups of Coffee,” Kelley plays off the lonely feeling of always having a pair and no one to share it with before singing “I got too much of me and not enough of you.” His melodies move in and out, skillfully weaving through the music. Kelley’s ability to find the song’s natural flow is most apparent on “Ain’t Lettin’ Go” (co-written with Patrick Davis and Kelley’s brother Charles Kelley of Lady Antebellum), a passionate country/rock piece where his vocals move from restrained during the verse to fluid throughout the chorus as he sings, “Pouring through this pay phone line/ Just too hard to say goodbye/ I thought that you should know/ I still love you and I ain’t lettin’ go.”

The album’s best song is “Naleigh Moon,” a moving acoustic ballad dedicated to Kelley’s adopted daughter (he’s married to actress Katherine Heigl). Featuring Jerry Douglas on Dobro, Josh’s voice is rich and emotional as he sings “Halfway around my little world/ You had no idea that you were my girl/ You found my arms not a moment too soon/ I couldn’t see past me till I saw you.”

Josh does indeed know how to turn a lyric. He enlisted the help of some of Nashville’s top talent for this project. Co-writers include Music Row hit men Craig Wiseman, Lee Brice and brother Charles. Yet, even with a variety of co-writers throughout, it’s Josh’s voice and personal attachment to each song that carries the album and leaves little doubt that Georgia Clay serves as an honest introduction.

After being asked all week if I would be “coming to the show Friday” I actually didn’t make a formal decision until about 8:30 Friday night. Sure I was curious especially when hearing that Adler and co. would be mainly playing tunes from GNR classics “Appetite for Destruction” and from the live side of GNR “Lies” (this same live side was originally released before “Appetite” as “Live ?!*@ Like a Suicide”) and the chance to see Chip Z’Nuff on stage again was appealing, I couldn’t get the aguement out of my head that I would be forking over $20 to essentially see a GNR tribute band. After telling myself that a) $20 is a lot cheaper than the price I would pay to see that GNR tribute band touring arenas around the world, and b) I would be showing support to Jonathan Karow and all the peeps at Rock Bottom Music, I tossed on a hoodie and hit the road.

For anyone who has heard one or more episodes of “CONfederation of LOUDess” (if you haven’t, get your ass over to confederationofloudness.com) it is probably obvious by now that I love me some good ol’ 80′s in your face hair rock/metal. Yeah I picked up “Live ?!*@ Like a Suicide” on cassette right off the truck and blasted it out of the windows of my old green 4-door Impala. Well I blasted it until a friend of mine borrowed it…and it became lost forever. (thanks Pano) The 4-tune live ep featuring the first couple recorded GNR tunes (“Reckless Life” and “Move to the City” paired up with blistering covers of tunes by Rose Tattoo (“Nice Boys”) and Aerosmith (“Mama Kin”) was a breath of fresh air when it dropped. Even this fan of 80′s rock has to admit, things had started to get a bit stale after a while musically. Luckily, if even for a brief moment, GNR arrived to shake rock up again. But that was then. How would those tunes, played by a band featuring only a sole member of GNR, stand up in 2011. (OK so Adler’s Appetite may not be the only band around playing GNR tunes featuring only one member of GNR but at least ONE of them has the decency NOT to call his band “Guns N’ Roses”.)

One thing I noticed when I first walked into Sky City was that it kinda looked like what I imagine a Hollywood High School Class of 1985 25-year reunion would look like. Tons of denim, lots of leather, and more bleach-blond hair than I have seen in a LOOOONG time. Yeah OK…I gotta admit…kinda felt like home. (Sorry…all of a sudden I had flashbacks of seeing Warrant and Britny Fox at the old Dynasty club in the late 80′s.)

So yeah…I’m cruising through Sky City trading devil-horn signs with peeps, many who have been saving that classic looking rock tee they had on for just such an occasion, and nodding to the sounds of AC/DC and Joan Jett and other great old rock tunes when Augusta’s own False Flag hit the stage. Being tired, a bit under the weather, and having just seen them a week earlier, I’ll have to admit to at first being only mildly interested, but I also have to admit that not only did I enjoy the band for a second consecutive Friday night, the crowd at Sky City seemed to dig ‘em as well. Good thing as False Flag ended up pulling out a longer set to make up for the last-minute drop of Lucky 13 from the lineup.

To kick things off Karow, along with “Red-Headed Stepchild” Cliff Bennett, led the Sky City crowd in a rousing rendition of “Happy Birthday” which in turn brought out a smiling Steven Adler, the night’s birthday boy (along with Big Troy…Happy B-Day brother!). The guy genuinely seems to appreciate his second chance at life and took the opportunity to greet the audience before kicking into opening number “Reckless Life.” It only took a couple of seconds to pick out that Adler drum style that made all the GNR tracks he played on so great. Second GNR drummer Matt Sorum may have some chops, but when it came to playing tunes from “Appetite” live, he just couldn’t get Adler’s feel. Easy to see why, Adler’s still got a firm hold on ‘em and on classic GNR tunes like “Nightrain”, “Out Ta Get Me”, and “My Michelle” Adler kicked it old school, showing the backbone that helped make “Appetite” such a great album and a rock classic. If that wasn’t badass enough, Adler and the boys kept the hits coming stopping on only three occasions to play new tunes, a pair of rockers that sounded very much like “Appetite” era GNR and the band’s latest single power ballad “Alive.” The rest of the night the audience was rocked by mostly “Appetite” tunes like “Mr. Brownstone”, and crowd fave “Sweet Child of Mine.” Truly a rocking set culminating with a blistering version of “Paradise City” before closing with encore tune “Welcome to the Jungle.”

It seems that Adler has finally exorcised the demons that caused him to topple from the highest point of the rock and roll mountain and in the process managed to pull in a band of musicians who not only rock but also bring with them the rock cred of doing time in bands like Enuff Z’Nuff, Faster Pussycat, and Quiet Riot. There was also no need to be a rocket scientist to see how and happy and better Adler is these days.

That big ass smile on his mug all night was more than enough.

Adler’s Appetite Set Sky City 1/21/11
Reckless Life
Nightrain
Out Ta Get Me
My Michelle
New Tune
Civil War
Mr. Brownstone
Rocket Queen
New Tune
Sweet Child of Mine
New Tune – Alive
Paradise City

Encore:
Welcome to the Jungle

It now seems like ages ago since singer-songwriter Steven Jackson graced Augusta stages on a regular basis.  With a twisted style that merged old westerns and Norman Rockwell-esque imagery, Jackson’s performances has always made use of his pounding boot, eager vocals, and energetic playing to build a decent roadmap to take the listener on a journey.  The same care was taken over three CDs Jackson released since. (Two during his time in Augusta, one afterwards.)  Jackson has always been just as much storyteller as balladeer.  This has never shown to be as true as on his latest release “Before We Land”, this one under the moniker Brighter Things.” 

On ”Before We Land” Jackson has taken all the elements that made Augusta releases “Gathering Rust” (1999) and “Boxfan” (2001), as well as post Augusta release “Home from the Fight” (2004)  such great visual albums and added just that extra bit of modern flair to give it that extra omph. 

Songs like “Wide Awake” and “Not a Bird” show Jackson’s soft romantic side without coming off schmaltzy.  On the other end Jackson delivers on his romantic look of America with tunes such as “Bigger, Brighter” and “Florida.”  Along the way Jackson finds a way to set the scenes…somehow he manages to set scenes that anyone can make their own.  This is perhaps Jackson’s greatest quality.  The ability to stray from simplicity without losing the listener. 

Sure Jackson’s latest is also chock full of name musicians including Jeff Coffin (Dave Matthews Band), Eric Heywood (Ray LaMontagne), Sean Hurley (John Mayer band), Sam Kassirer (Josh Ritter), and Rob Seals but it is Jackson’s compositions that are the true stars of “Before We Land.”

http://www.stevenjackson.net

Dealing with several starts and stops before being recorded, produced and mixed at Chase Park Transduction in Athens, Georgia by artist/producer David Barbe, this latest release by the band has not been without obstacles.  Even this past Saturday’s CD release show was dealt a bit of last-minute drama when CD’s were held up by snow, arriving the day of the show.

As a CD, “When the Stars Fall” is everything fans of the Shaun Piazza Band expect and a a whole lot more.  Sure the mellow flowing tunes are there but this time out there are moments of uptempo pleasure that arrive just in time shake things up.   In a recent Pop Rocks article for the Augusta Chronicle, entertainment writer Steven Uhles wrote “The record falters in its sequencing.” to which I personally would have to disagree.  Perhaps some of the more “uptempo” tunes could have been spread out more but after a few listens I have to say that an “uptempo” Shaun Piazza song is not really too far removed from what Uhles refers to as a “mid-tempo tune” just maybe a bit more of an energetic.  “When the Stars Fall” flows pretty well picking up the energy just enough to break up the monotony but not so much to put off faithful Shaun Piazza fans.

If there’s one thing that most listeners seem to agree on with this latest disc is that “When the Stars Fall” proves why “Band” follows Shaun Piazza’s name more than in previous releases.  While earlier work could have merely been labeled ”Shaun Piazza and the…” or simply “Shaun Piazza”, the collaborative effort on “When the Stars Fall” clearly shines through.  Sure his name is in the bands’ moniker but it’s evident now the value of each and every member of the group when it comes to the songs.

Speaking of songs, “When the Stars Fall” is chock full of some tasty tunes in particular jangly rocker Scarlett, which is a unique twist on a love song, and beautiful Americana style ballad Pale Moon Light, which would appeal to fans of modern country as well as classic 70′s country rock acts like the Eagles.  Fans of good fun sing-a-long tunes will definitely enjoy See the Light, a tune which got a great reaction from those in attendance at Sky City when Piazza sang “We got friends who drink all day…”

Speaking of the Sky City show, this was a different type a show than I have been used to as of late.  Not sure whether it’s just me not getting out as much as in my early days or being more used to the wild genre mixups that have been taking place on Augusta stages recently, but this show was very much like experiencing an Ivy League frat party where everyone knows each other, including the bands.  Now this is not a bad thing and my first exposure to opening bands Bayou Bleu and The Favors left my foot tapping for the most part, but as the night wore on I found myself on the edge of boredom.  The good part here is that no one band really overstayed their welcome on stage and just when I was beginning to feel as if I had my fill of one act, another one jumped on the stage…the one exception being the Shaun Piazza Band who in the past seemed very monotone to me but as of late  has turned me into a fan.  That’s not saying that I couldn’t be a fan of either or both of the opening bands because they were both fun to groove to and uniquely different in their own right, I just don’t think my foot would be interested anymore after about 40 minutes.  That being said, I would go see both Bayou Bleu and the Favors again.

In contrast to previous sets I have seen by the Shaun Piazza Band, Saturday night’s set was much looser and saw the band noticeably having fun on stage.  Not saying that the guys don’t normally enjoy playing out just that there seemed to be more of a fun cameraderie between the band on stage than usual.  Songs past and present were presented beautifully and intertwined with a playful stage banter that connected each tune perfectly.  If I were to have one drawback on the Shaun Piazza Band’s set it would be that it could have concluded with a bit of a bigger bang.  Not a big enough drawback to dismiss a great set by an incredible band.       

So there it is…after a long long wait the Shaun Piazza Band has FINALLY released their long-awaited new CD and the release party is now history.  I’m sure there will be plenty of debate on whether the wait was worth it because in any musical circle such debates always occur.  I for one believe that this is easily the best release the group has put out and if the wait had anything to do with it, it was worth it.

My only question is – after all the talk about it being a group, why was the word “band” left off of the CD.  Not a dig…just curious.

Stoney

Continuing a partnership that began in 2003 with the band Ragdoll, vocalist Chris Robinson, guitarist Dean Massaro, drummer Bobby Henderson, and purcussionist/sampler Jonathan “Fugi” Richards have returned with new bassist Brent “Brick” Bragg under the name Twice Removed and it would appear that the time away has done little to soften the edges.  If anything, the break as well as addition of Bragg has made this long aquainted group of musicians more lethal.

Following a highly talked about Thursday night gig at Coyote’s for the first night of the Metro Spirit/Rock Bottom Band Aide contest, Twice Removed hit downtown Augusta the very next evening to rock out new venue Hoe Downs and while all the elements that originally made their previous incarnation a great band are still in place, Twice Removed is a whole other animal all together.  While the band is undoubtedly a product of modern hard rock influences,  many of the classic rock qualities that arise in many a southern band can be found as well particularly when it comes to drums, some of the guitar, and a good bit of the vocals.  Twice Removed is far from a bunch of guys chomping away on a drop D chord topped with impossible to understand growling.  Yes, a large part of the music is aggressive but at the same time filled with infectious grooves, addictive hooks, and powerful vocals. 

From the beginning of their opening set at Hoe Downs last night, Twice Removed were direct and to the point.  Some may have TRIED to sit or stand still but even the stiffest of indivuals soon found themselves bobbing their heads and just as soon as it looked as if a break had arrived, the band would be well into the next tune running through their set with all the precision of a well maintained muscle car.  Songs such as Winner, and For Example are perhaps as good as anything ever to come out of the CSRA yet just as soon as I thought that maybe I had heard it all…Twice Removed ripped out a lethal version of Michael Jackson’s Thriller  that made Alian Ant Farm’s take on Smooth Criminal sound like a nursery rhyme.  

The other side of  Twice Removed is the energy with which the band presents its music.     Bragg and Massaro worked the audience while Robinson somehow managed to draw listeners in with solely his vocals and intense facial expressions.  In the rear Henderson feversihly pounded away while Richards swayed and feigned exhaustion back and forth between a set of congas and his turntable.  As I looked around I was made aware that even trips to the restroom were rushed so as to try and miss as little as possible.

It is obvious (as not just to myself) that Twice Removed is about as complete an area band as there is.  Even as someone who rarely listens to such music, I found myself highly enjoying the band’s performance. After seeing the band live I can understand why.  Twice Removed not only has many heavy elements but overtones of melody topped with catchy vocal lines as well, neither of which take away from the power in Twice Removed’s songs.  Such a combination has been attempted by many a band with less than impressive results.  Twice Removed has managed to succeed on all points.

With a small amounts of dates under their collective belts it will be interesting to see how far Twice Removed goes, not just in the CSRA but surrounding cities as well.  I would venture to say, if the band continues to move forward without losing their attention ot musical detail they will certainly become one of the areas top hard rock bands.

Stoney

Lead by lead vocalist/guitarist Pete Boyzuick and rounded out by guitar whiz JohnJohn Berret and new percussionist  Mike Dansevicus (yeah I couldn’t pronounce 2/3 of the last names either), Paraphernalia is an oddity on the Augusta music scene.  Not quite rock, not quite blues, not quite jazz, and even not quite avante garde, Paraphernalia is a unique bastardized conglomeration of all that and more.  With original songs featuring lyrics along the lines  of “faded like watercolors in the rain” tossed about with covers by the likes of Bob Dylan and Frank Zappa Paraphernalia is definitely not your same old band.  Even the classic rock instrumental “Pipeline” takes an out of this world turn in the grasp of the band.    Perhaps the band’s “out of Augusta” roots could have a bit to do with their different musical flavor.  Boyzuick hails from New York while Berret spent his formative years in Maryland.  Wild eyed southern boys these guys ain’t!  Even new addition Dansevicus speaks with an accent that hints of northern origin.

No matter the location of the band’s roots, Paraphernalia is a unique group on the Augusta scene and one well worth checking out.  If you find yourself in the mood for a band that will take you on a musical journey, then Paraphernalia is that band.