The Athfest 2017 Club Crawl - Cindy Wilson (of the B-52’s)
DAISY, Richard Lloyd (of Television), Reverend Tribble and the Deacons, The Orange Constant (on the rooftop), Lilly Hiatt (on the Rooftop), The Arcs (on the Rooftop)
Fri · June 23, 2017
Doors: 8:00 pm / Show: 9:00 pm
This event is 18 and over
$10 tickets available at the door for those that do not have wristbands.http://www.georgiatheatre.com/event/1476463/
Cindy Wilson is a vocalist, songwriter and a founding member of new wave rock band The B-52s. She is currently producing solo work and performing a new show called "Change".
The B-52's were formed in 1976. Cindy Wilson, her older brother and guitarist Ricky Wilson, organist and vocalist Kate Pierson, drummer and percussionist Keith Strickland, and vocalist Fred Schneider played an impromptu musical jam session after sharing a tropical Flaming Volcano drink at a local Chinese restaurant. They later played their first concert in 1977 at a Valentine's Day party for their friends. Cindy Wilson and the others broke into the music world with their campy, '60s retro band. Their 1979 debut album The B-52's, yielded the hit singles "Rock Lobster" and "Planet Claire" and launched the band into stardom.
The 1980s and 1990s
On April 21, 1985, Cindy Wilson married Keith Bennett, a successful advertiser who was a longtime friend of the band and Ricky's guitar tech on tour. Ricky Wilson died later that year, leaving her devastated. Cindy Wilson took a sabbatical from the band in 1990 to concentrate on raising a family. Wilson rejoined The B-52's in 1994. In 1998 she took part in recordings from which two new songs were selected to be included along with the band's hit singles on the album Time Capsule: Songs for a Future Generation. Wilson then took maternity leave in 1999, later rejoining the band in 2001 for regular touring of their greatest hits.
The B-52's completed the album Funplex in 2007 and it was released in March 2008. Wilson co-wrote every song on the album with the three other band members. In all, she has co-written much of the band's back catalogue, including "Dance This Mess Around", "Private Idaho" and all of the Cosmic Thing album including hit singles "Love Shack" and "Roam". Her vocal efforts include the typical B-52's "call-and-response" vocals with Schneider and/or Pierson, as well as her harmonies with Pierson on the band's all-female songs such as "Roam", "52 Girls", "Cake", "Legal Tender", "Summer of Love" and "Juliet of the Spirits". One of the band's signature elements is the setup between the three vocalists. However, Wilson sings the greatest number of solo performances in the band, especially on their earlier albums. Examples of Cindy's solo vocal performances in The B-52's include "Hero Worship", "Loveland", "Nip It in the Bud", "Girl from Ipanema Goes to Greenland", "Ain't It a Shame", "She Brakes for Rainbows" and the live favorite "Give Me Back My Man".
Cindy's Current Musical Work
In September 2016 Cindy Wilson released a limited edition "Sunrise" EP of newly produced material and announced an upcoming release of the already completed full-length "Change". Her group includes producer / engineer Suny Lyons (pacificUV, Dream Boat, Phosphorescent, Hope For Agoldensummer, Honeychild, Lovers), Ryan Monahan (Easter Island, Monahan), Lemuel Hayes (pacificUV) and Marie Davon (powerkompany). In Cindy's latest show, "Change" (also her upcoming album title), she swoons and whispers over swirls of subtle psychedelia, pulsing synths, disco strings and dance beats while video projections gyrate behind the band and lush ambience ties each song seamlessly to the next. As of Fall 2016 Cindy is performing "Change" in the continental USA.
Daisy released its first single “My Body is Falling Apart” in 1991 which Michael Stipe produced and provided back up vocals on. Michael Stipe also produced “The Hum of Life” and “Undoing”. The single “Brave Mr. Real” b/w “My Dog Died” was released in 1991 and produced by Dave Barbe (Mercyland and Sugar). In 1992 their only album The Hum of Daisy, produced by Michael Stipe and Dave Barbe, was released, winning them nominations and awards at the Coca Cola Music Awards in Atlanta. Daisy went on to receive many favorable reviews in numerous fanzines, and magazines, including write ups by David Fricke (senior editor of Rolling Stone), Fred Mills (The Bob), Flipside, Maximum Rock and Roll, and others. Michael Stipe called Daisy "a band of contradictions" mixing their noisy guitar pop with happy melodies and dark subject matter.
Learning from the master himself, Jimi Hendrix, Richard was among the very few pioneers of the New York underground scene, headquartered at CBGB. With Tom Verlaine, a founding member of the seminal band, Television, Richard made some of the best rock and roll records of the all time–Marquee Moon and Adventure. Striking out on his own, Richard gave us Alchemy, Field of Fire, Radiant Monkey, The Cover Doesn't Matter, and more. Richard Lloyd was also the guitar master behind Matthew Sweet, John Doe, and Rocket From the Tombs.
In preparation for a new record, Richard Lloyd is touring again with his quartet, performing selections spanning his entire career. "It is still as exciting to play live as it was when I was 27, jumping up and down on hotel beds."
The Orange Constant draws influence from many different styles to create a musical experience that is new and unique. The Orange Constant thrives on creating songs that differ from one another and possess their own inspired character. Their songs follow no specific writing format, allowing the band to run with any ideas that bring the music to life. Fans are often drawn to their ability to meld progressive composition and improvisation with a pop-like sensibility. The band’s lyrics often include content that reveals personal values and experiences. This allows the band to groove with meaning and depth. Being influenced by bands such as My Morning Jacket, Widespread Panic, and Incubus, TOC focuses their energy on live performances that resonate deeply with the audience. The band consists of Andrew Brantley (guitar/vocal), Lee Guentert (drums), Nickalous Benson (guitar/vocal), and Tyler Walker (bass/vocal).
“The Orange Constant’s confident and polished debut album Time to Go is laden with connective riffs and melodious charm. Much of the album evokes a 70’s FM AOR vibe, without appearing self conscious” – Larson Sutton, Relix Magazine
“They have hit a home run on their first trip to the plate. From the first strains of “Emily” all the way through to the jammed-out coda to “Ask Me to Jump,” Time to Go is a pure delight. You will hear influences throughout the disk, but this is fresh and exciting.” – Scott Hopkins, Music Fest News
This is, in other words, not a well-behaved singer-songwriter album. Instead, it’s feisty and rough-around-the-edges, full of humor and bite and attitude from a woman who proclaims, “I’d rather throw a punch than bat my eye.” Royal Blue hints at autobiography without sounding self-absorbed, as Lilly transforms a rough patch of life into smart, sturdy, sometimes even hilarious songs that don’t sit squarely in any one genre. Instead, Royal Blue reaches out boldly and playfully into many different sounds and styles: Austin folk rock, Pacific Northwest indie, pre-Oasis Britpop, New York punk ca. 1977. There are ’90s alt guitars and ’00 indie synths, some twang and some Neko Case and Kim Deal.
In its almost spartan condition, this space speaks to the approach of this four piece band whose pop tendencies live in concert with their rock tendencies . "Ben and I will show up with these very pop-oriented songs that take on a whole new direction once we plug in,” guitarist Kevin Lane says. "To put it simply, pop songs, rock band.” The guys nod in agreement and then bassist Brandon Reynolds adds, "All of us have our own backgrounds and tendencies and they work really well together. Then you add an environment like this one, and you kind of add an edge to everything." When you take that edge, the hooks, and then add some time signature manipulations, it is easy to compare the band to their space: not too nice, not too pretty, not too comfortable.
Further evidence of the band's aesthetic can be found on the 7" single released by Analogue Records. The artwork is strictly black and white, which is certainly an indication of the no- nonsense approach taken for the song choice and recording of the single. Additionally, there is no A-side, or B-side, there isn't even a front or back cover. "We are very lucky to have two extremely strong songwriters in this band." Drummer Dave Gerow states. "As a result, we didn't want one guy to be put out in front of the other, so we decided to let the consumers decide which was side-A and which was side-B. The way we saw it, both songs were hits, so how could we lose?"
Since the single was released, the Arcs have been working on the development of new material that will be used for their first full length release. Will this full length tend more toward the pop or more towards the rock? The guys grumble (I'm pretty sure I heard a "harrumph!") and guitarist Ben Spraker states unequivocally, "That really isn't something we are going to try to plan out. As a band, we write songs that we like, and we all like different types of things. Being able to follow our inspirations without regard for genre is part of our original intent--to do what we want to do." "But like we said before," Lane chimes in, "how poppy and pretty can a song be after being worked up in a crapper without walls?”
215 N. Lumpkin St
Athens, GA, 30601