Orange Amps and Variety Playhouse Present
A Benefit For Criminal Records featuring Patterson Hood, Magnapop, Kelly Hogan and Friends, The Back Pockets and Carnivores
The Back Pockets, Kelly Hogan and Friends, Magnapop, Carnivores
Sat, October 15, 2011
Doors: 7:30 pm / Show: 8:30 pmVariety Playhouse
Become a Variety Playhouse member, enter code VARIETY to purchase and become a Ticket Club Member. $15 advance / $20 day of show. Set times are: Back Pockets 8:15pm, Kelly Hogan 8:50pm, Magnapop 9:40pm, Patterson Hood 10:40pm, Carnivores 11:40pm
Tickets for all shows also available at Ticketmaster.com and all Ticketmaster outlets. Charge by phone at 1-800-745-3000.
Earlier this month, we reported that Atlanta-based Criminal Records, which is owned by Record Store Day co-founder Eric Levin, looked like it would close. But the store isn’t going down without a fight.
“Save Criminal Records” t-shirts and stickers are up for sale at the store to raise money, but Orange Amplifiers has stepped up to organize a benefit show for the struggling store in Atlanta’s Little Five Points. The show will feature Magnapop, Kelly Hogan and Friends, The Back Pockets, and Carnivores. More artists will be named later.
The event will take place on Oct. 15 at The Variety Playhouse, which is on the same street as Criminal Records. All proceeds from the show will be split between Criminal Records and Sweet Relief, an organization that provides financial assistance to struggling musicians.
“Criminal Records plays an important role in Atlanta’s culture,” said Alex Auxier, who does marketing and artist relations for Orange. “I once saw Modest Mouse on the sidewalk at their old location. You can’t buy memories like that, and Eric and his store made it possible. No one else does what they do in Atlanta. For them to close would be a tragedy. Every city needs a record store like Criminal Records.”
Magnapop will appear as the band’s original lineup, which has not performed together since 1996. Their first album was produced by Michael Stipe and was released in 1991 — the same year Criminal Records opened. The group will be playing that first album, known as the “pumpkin or Halloween record” in its entirety.
“It was big deal to sell our record in Criminal Records since we all shopped there,” Magnapop bassist Shannon Mulvaney said. “It meant a lot to all of us to see our band name in light boxes and posters up in the Criminal window. So we thought if we’re going to (do) this thing, let’s play the first record in its entirety.”
Unfortunately, I didn't have any money for studio time, much less financing or support to actually release it. I also didn't have a band and didn't know any of the hundreds of musicians residing in my new hometown. Instead, I recorded all of the songs on a boom box in Brandon's bedroom (it had better acoustics than my room) and began dubbing cassette copies to give to anyone I met. I probably gave away about 500 of those suckers that year.
Those were crazy times for me. The news told stories of Kurt Cobain's suicide, River Phoenix' overdose, and OJ Simpson's bloody glove. I was still reeling from a divorce, the breakup of my beloved old band, and moving away from my family. My songs of this period reflected this turmoil, and I was fiercely proud of them.
Then, I moved on.
The next year, I began writing what became Southern Rock Opera. Also around that time, Cooley and I reunited and began working on forming what became Drive-By Truckers and writing the songs that became our first two albums. I got busy and left those older songs behind, occasionally pulling one or two out for a solo show or two, otherwise concentrating on other projects.
Ten years later, in late 2004, as the band was approaching some much needed time off and I approached the birth of my daughter, Ava Ruth, I began to think again about that old album and wondered how I would feel about those songs now. I began playing through some of the old cassettes from '94 and constructing potential lists of songs. I also started writing a bunch of new songs. When I started compiling the songs, old and new, together, I was surprised to see that the songs not only seemed to fit together, but they also seemed to work as a sort of point / counterpoint, as they almost seemed to stand in opposite points of view.
In January of 2005, a couple of weeks before Ava's arrival, I went into David Barbe's Chase Park Transduction Studios and recorded the majority of this album. I was fortunate to have some guests help in its creation. David Barbe and Brad Morgan both partnered this entire project. Most of my other DBT band mates appear, as did John Neff (who was at that time not playing in DBT) and Don Chambers. Neff and Don were both frequently playing with me at my solo shows. My friends Will Johnson and Scott Danbom from my favorite band, Centro-matic, happened into town and were drafted for a couple of days of recording.
Another reason for me wanting to do this album was to record with my Dad. David Hood has been a professional musician all of my life. His credits include playing bass on The Staple Singers' immortal "I'll Take You There" and trombone on James and Bobby Purify's "I'm Your Puppet". His bass playing has graced records by Aretha Franklin, Percy Sledge, Wilson Pickett, Willie Nelson, Jimmy Cliff, Levon Helm, Bob Seger, Paul Simon, Rod Stewart, and Etta James, among hundreds of others as a member of the Muscle Shoals Sound Rhythm Section. Ironically, other than a quick Christmas song for a benefit album once, this is the first time we ever get to record together. He came to town a few days before my daughter's birth, and we recorded three songs together and had a total blast.
My original plan was to put the album out later that year and, perhaps, even do a short tour to promote it, but fate and business concerns intervened, and I ended up having to shelve the near-finished project for four years. During that time, I was encouraged and supported by David Barbe, who had fronted me the studio time and graciously agreed to keep the tab running until we could eventually bring this project to a close. I cringe to think what would have happened to this album without his help and support. Every year or so I would go in and work a little on it, recording three more songs and, occasionally, re-doing a part or two, but overall keeping the album true to it's original vision.
Kelly was born and raised in Atlanta where her dad is a policeman and her mom can make a pickle out of anything. She's been singing as long as she can remember. Her brother used to punch her in the arm for constantly harmonizing with the radio, yet she could not put a sock in it. She got ants in her pants and moved to Chicago in 1997.
Hogan began to hone her mellifluously spooky welter of torch songs and honky tonk anthems when she fronted the legendary peg-legged cabaret quartet, The Jody Grind, and then fanned the flames of her bummer-rock fixation while playing guitar for Orbisonic southern gothic punks, The Rock*A*Teens. She has also kept her bad self busy with appearances on some clever and popular Bloodshot compilations, and she did a split single with fellow dirtybird Neko Case. (which is LOOONG out of print, but the songs can be found on the compilation Making Singles, Drinking Doubles.
The past few years has seen Kelly singing with fellow Georgians the Drive By Truckers, Mavis Staples, the kiddie-punk ensemble Wee Hairy Beasties, the hopped up jazz combo The Wooden Leg and recording and touring with Neko Case as her back up singer (a match made in heaven, let us tell you). There's prolly a lot more we're missing, but we can guarantee if Hogan is on it or with it, you're gonna love it.
"...this is as solid as playing it safe gets, and it doesn't actually play it all that safe-- who else in garage rock is doing this sort of breakdown?" - Pitchfork Media
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