INsite Atlanta November 2020 Issue

NOVEMBER 2020

C

9 YEARS! 2 G N I T ELEBRA

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VOL. 29, NO. 4 FREE

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CONTENTS • NOVEMBER 2020 • VOLUME 29, NO. 4

TV

Station Streaming

MUNDANE MADE MAGNIFICENT 29 R AT I N G CELEB

THE RIGHT STUFF (Disney Plus) The Gambit Boys The Queen’s

YEARS!

Atlanta’s

Entertainment Monthly

INTERVIEWS 04 Andrew Farriss 05 James Keach 10 Pylon 11 Rhonda Vincent 12 Jules Shear 13 Chris Hillman

04

BY BENJAMIN CARR

H

IGH DRAMA CAN BE AN escapist delight. Even if the issues are real the acting is intense and the stakes are high. Real life, as you know, can have too many boring parts. TV serves us better by cutting out the tedium or making it interesting.

Even if the topics are chess, Kansas City history or astrophysics, good shows can make it work.

Whether the latest classy dramas are based in real life or upon great fiction, the compelling shows draw audiences in by engaging their minds, as well as their hearts.

10

THE QUEEN’S GAMBIT (Netflix)

Chess requires mental gymnastics, a lot of quiet contemplation and long hours of study.

It is not, by design, a spectator sport. Yet competition, if staged properly is thrilling no matter the gameplay. And quirky geniuses make for fascinating television.

Anya Taylor-Joy, a scene-stealing actress who has starred in the movies The Witch and Split, gets a fantastic showcase for her weird magnetism in this Netflix period miniseries.

She stars as Beth Harmon, an orphan girl who battles addiction and psychological demons while pursuing her dream to be a chess grandmaster.

FEATURES 06 Best of Atlanta All-Stars 11

COLUMNS 02 Station Streaming

12

14 Albums

insiteatlanta.com Publisher Steve Miller steve@insiteatlanta.com Art Director / Web Design Nick Tipton nick@insiteatlanta.com Managing Editor Lee Valentine Smith lee@insiteatlanta.com Local Events Editor Marci Miller marci@insiteatlanta.com Music Editor John Moore john@insiteatlanta.com

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FARGO (FX)

The fourth season of this Noah Hawley anthology returned for the first time in three years with the tale of rival gangs in 1950 Kansas City, this story a marked improvement over Season Three.

Tied loosely to the Coen Brothers’ masterpiece, Fargo has traveled back and forth in history, but the tone wanders in much the same familiar beats. There’s humor matched with violence, oddball characters and left-field plot twists.

Chris Rock, doing career-best worst, plays smooth-talking mob boss Loy Cannon, who wants control of the city and makes a strategic deal with the Italian mob for power. He offers up his little son Satchel as a bargaining chip to keep the peace with gangster Josto Fadda (Jason Schwartzman). But a few inopportune murders soon lead to a full-scale mob war.

Also starring Jessie Buckley, Ben Whishaw, Jack Huston, Timothy Olyphant and Glynn Turman, this season is delicious. As it approaches its climax, Fargo remains must see.

The Right Stuff

03 Atlanta on a Dime

STAFF LISTING

Remaking the classic film based upon Tom Wolfe’s published history of early NASA, this miniseries developed by Nat Geo is a beautiful, well-cast bit of prestige TV. The Right Stuff tells the story of the Mercury astronauts, the first Americans in space, among them John Glenn and Alan Shepard. The drama in this show is life-or-death, and it’s a great ride, even if you think you know how it turns out.

Glenn, played by Suits’ Patrick J. Adams, is a wholesome, religious if cocky married man.

Shepard, played by Jake McDornan, steals focus in every room because he’s a beautiful jerk, handsome, drunk, tactless and unfaithful.

The clash between these men drives the series, with side plots devoted to telling the stories of all the guys who risked their lives. Colin O’Donoghue (Once Upon a Time) is particularly good as Gordo Cooper, another of the fly men.

Contributing Writers / Interns: Alex. S. Morrison, Dave Cohen, Benjamin Carr, Demarco Williams Advertising Sales Steve Miller (404) 308-5119 • ads@insiteatlanta.com MAILING ADDRESS P.O. Box 76483 Atlanta, GA 30358 WEBSITE • insiteatlanta.com Editorial content of INsite is the opinion of each writer and is not necessarily the opinion of INsite, its staff, or its advertisers. INsite does not knowingly accept false or misleading advertising or editorial content, nor do the publisher or editors of INsite assume responsibility should such advertising or editorial appear. No content, i.e., articles, graphics, designs and information (any and all) in this publication may be reproduced in any manner without written Over 20 Years of Winners! permission from publisher.

NOVEMBER 2020

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PG 2 • November 2020 • insiteatlanta.com

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Taylor-Joy’s background in horror films lends her a scary intensity in her chess battles and an awkward fierceness in other scenes. And The Queen’s Gambit, unlike other films about a child prodigy, is an aggressively weird, watchable show that feels as much like Valley of the Dolls as Queen of Katwe. It’s great stuff, more cerebral than Netflix’s solid and lush The Haunting of Bly Manor, but it’s just as satisfying.

EVENTS HAPPENING FOR SMALL CHANGE IN ATLANTA

Know of a low cost event happening? Event@AtlantaOnADime.com Friday, November 13 at 8 p.m.

SCHWARTZ CENTER FOR ARTS

Emory University; 1700 N. Decatur Rd. Schwartz.emory.edu 404.727.5050 As part of the Candler Concert Series, ird Coast Percussion will present a livestream concert from Chicago on Friday, November 13 at 8 pm featuring two arrangements of Phillip Glass compositions: Metamorphosis and Aguas da Amazonia, in addition to Perpetulum— a 2018 Glass composition developed specifically for ird Coast Percussion.

As part of their virtual residency with the Schwartz Center, the ensemble will also lead a master class for Emory Percussion Ensemble students and a session on Arts Entrepreneurship. e repetitive structures and meditative harmonies of Philip Glass’s music have allowed it to exist in many versions for different musical instruments. Selections from his piano etudes and the solo piano piece Metamorphosis were arranged in the late 1990’s for a project with Brazilian musical group Uakti. is version, for Uakti’s unique gamut of custom-made instruments, was part of a

By Marci Miller project called Aguas da Amazonia, in which all of the movements (except for Metamorphosis) were renamed after the Amazon River and its tributaries. Visit schwartz.emory.edu/events for tickets.

New Permanent Exhibit

WORLD OF COCA-COLA

Pemberton Place; Downtown Altanta

WorldofCocaCola.com 800.676.COKE Visit World of Coca-Cola this month and experience Scent Discovery, the attraction’s first new permanent exhibit since 2011. e experience gives guests a deep dive into the anatomy of smell, from reception to perception, and challenges visitors to identify a variety of sweet, fruity and spicy scents.

“Many people don’t realize that flavor actually has more to do with smell than taste,” said Joanna Hobday, Group Director, Retail Operations and Administration, e Coca-Cola Company. “As a brand whose people are passionate about creating and providing the besttasting drinks in the world, scent is at the core of what we do. rough Scent Discovery, we’re taking fans on an aromatic journey into the profiles they might find

in some of their favorite beverages.”

Inside the exhibit, guests learn about the science behind humans’ sense of smell and how it works with the brain to identify foods and recall memories.

World of Coca-Cola Ambassadors lead small groups of guests through a tour of aromas from sweet to fruity to spicy.

Guests individually smell the scents one by one, share what each reminds them of and attempt to identify the fragrances.

Following the guided experience, guests are invited to explore other mystery scents, grouped by flavor profile, along the outside wall of the room. As they learn each aroma’s origin, guests will also uncover related beverage recommendations. Guests leave the exhibit knowing more about why they choose the beverages they prefer and which Coca-Cola drinks to sample next.

December 4 - 23

A CHRISTMAS CAROL

Georgia State Stadium Lots Alliancetheatre.org/christmas Due to the effects of COVID-19, the Alliance will produce a new adaptation of the beloved Christmas Carol story that can be enjoyed safely from a car. e Summerhill Lots at Georgia State University’s Center Parc Credit Union Stadium will transform into a drive-in theater, with a stage for live actors and big screens providing an interactive, concert-style experience. Tickets for A Christmas Carol: e Live Radio Play are available now and space is limited.

Learn more and purchase tickets at alliancetheatre.org/christmas. e rest of the fall/winter 2020 schedule will be available exclusively on the theater’s new platform Alliance eatre Anywhere.

A CHRISTMAS CAROL

December 4-23 GA State Stadium Lots Alliancetheatre.org

RECEIVE UPDATED EVENTS WEEKLY. SIGN UP BY EMAILING SUBSCRIPTIONS@ATLANTAONADIME.COM ENTER ON THE SUBJECT LINE: SIGN ME UP INSITE!

insiteatlanta.com • November 2020 • PG 3

MUSIC

NEW SENSATION, NEW DIRECTION Andrew Farriss Finds Inspiration in the Old West

BY LEE VALENTINE SMITH

A

NDREW FARRISS IS BEST known as the co-founder, main songwriter, keyboardist and guitarist for Australian rock band INXS. He now splits his time between his home country and Nashville, Tennessee, playing his new hybrid country-rock and folk music, tinged with Old Western imagery.

His debut EP Love Makes The World is a taste of a full-length album scheduled to be released early next year. The extended play disc relies heavily on themes of current events as filtered through a sepia-toned lens. It’s a startlingly different approach than the soulinjected rock of his former band, but the gritty country metaphors are a suitable platform for the earthy rocker’s new compositions.

Farriss released a debut country single, “Come Midnight” late last year and followed it up the raucous “Good Momma Bad” in January, setting the tone for his rootsy new direction. Last month as the new EP launched, the multi-instrumentalist spoke with INsite from his farm down under.

Music in the time of pandemic is a strange thing to behold.

You’re right. I was working on some stuff in Nashville when the shutdown began and they said, ‘Hey Andrew you can keep working, but we’re all going home.’ It changed a lot of plans.

Then one day, I was working on my farm and I realized that some of the songs I’d already done were strangely appropriately perfect for these

times. I had a body of work that I’d recorded between Nashville, Australia and in London so now here we are talking about it.

Even though you have an album and a half of material now, a solo project has been a long time coming.

Well I’ve always been a songwriter but after Michael Hutchence passed away, we kept trying to do things and to be who we were but that group of people formed a nucleus of sound that was very hard to replace. No disrespect to anyone. People I admire have done that but for us it wasn’t the same. For us, we tried to make it work. But I’ve always been a songwriter so I’ve continued on.

Much of the material we both grew up on came from unsettled times and now here we are again.

Yeah, a lot of things I hear in pop music, for example, is about alcohol and party time and all that. I like to party, too. But that’s just not what’s going on right now. It’s time to sort of look at thing a bit more sober terms.

That’s especially understandable coming from you, because unlike a number of your peers, you don’t live the typical rock and roll lifestyle. You seem to be literally grounded.

Yeah, I’m a farmer. I have cattle and I’m very much a part of the farm operation. As a songwriter, I’m not afraid to say or talk about the big concepts. It’s kinda funny, I know. Here I am, I played with this huge, internationally

famous group called INXS and now I’m doing country-rock folk music. My subjects are of the moment. Things changed in March and April. There’s other stuff going on now.

That’s the essence of the folk tradition, to hold up a mirror to what’s going in the world at any given moment.

That’s exactly right. It’s actually a great time to find out the people who care enough, who have some grit, to want to talk about the world right now. Write songs about it.

The Beatles took that charge and went from yeah-yeah-yeah to “Revolution” in a relatively short period of time.

Absolutely. They’ve always been an influence because that was the first band I saw.

I read you were five years old when you had that moment.

Yeah, my dad took us to a variety show and the next thing you know, here are The Beatles.

My brothers and I, who were all in INXS, we saw them. We said later, ‘Dad did that really happen?’ He said, ‘Yeah and you went to talk to them afterwards, too.’ Boy I’d love to hear that conversation, all these years later!

PG 4 • November 2020 • insiteatlanta.com

Well it was a horse-riding trip with my wife at the Mexican border. It was a real education down there. We rode the old stagecoach roads and routes and we saw the abandoned forts and Tombstone and all that. Went back several times. We even took the kids down there.

Then when I went back to Nashville to write, somebody said, ‘What do you want to write about now?’ I said, ‘Well you’re probably not going to like this, but I’d like to write about the Old West, actually. That culture.’ I’m just not that interested in sounding like an ‘80s record, because I’ve been on ‘80s records.

I really want to talk about where country music came about in the first place.

The Old West is decidedly cinematic.

Yeah but it’s not Hollywood, it’s real. It’s dirty, it’s nasty. There are things out there that’ll bite ya. It’s dangerous. It’s all the things that modern country music isn’t.

It wasn’t until I’d been there a few times that I fully realized the real grittiness of that part of US culture. I developed a huge appreciation for it and it began to inspire me and direct my style of writing.

But thanks to INXS, you were able to meet just about everybody.

Probably the biggest, in my opinion, was Ray Charles. INXS was recording in Paris and in ’93 or ’94 and Mr. Charles was downstairs recording. Michael and I, because we’d written over 300 songs together, we had a couple of songs that we thought would be good for him. Somebody said, ‘Why don’t you send them down to him?’ But we were like, ‘Oh he’s not gonna want to do one of our songs, are you crazy?’ But we did it anyway. The message comes back, ‘Yeah, let’s do it.’ We did a video for “Please” and we even played it live on David Letterman with Mr. Charles. One of the spookiest moments of my life was playing live piano and singing in front of Ray Charles. Now that was interesting!

You mentioned being there in the ‘80s. The INXS catalog still doesn’t sound dated like so many of your colleagues’ output from back then.

I would agree with that. What’s weird is, I’ve had a few influential people who came along after us - Rob Thomas from Matchbox 20, Brandon Flowers from The Killers and Pat Monahan from Train - they all said to me, individually, that INXS does their heads in. They can’t believe how our music is still relative and still played on stations around the world. I told them all that I wish we knew what the magic formula was, but we just did what we wanted to do. I guess whatever we were doing, we got it right.

Now I’m still at it. Then somebody asked the other day for some advice. I said, ‘It’s pretty simple: be true to who you are, be true to what you believe in and don’t follow the train. It’s already left the station.’

What was the moment that inspired this current musical direction?

For more information and to order the EP and singles, visit andrewfarriss.com.

FILM

JOURNEY OF A LIFETIME

Director-Producer-Actor James Keach on the Fine Art of Humane Storytelling documentary on Glen. Of course, I was honored. It’s always about the character.

That’s the bottom line.

BY LEE VALENTINE SMITH

P

EDESTRIAN MOVIE FANS KNOW James Keach from his appearances as Jesse James in “The Long Riders” or “National Lampoon’s Vacation,” or his supporting roles in films “The Razor’s Edge” with Bill Murray or even “Wildcats” with Goldie Hawn.

Astute fans know him for his direction of television series and for writing and production of documentaries on Glen Campbell’s “I’ll Be Me” and the “The Sound Of My Voice” featuring Linda Ronstadt. But his musical connections can be prominently traced to his work with Johnny Cash and June Carter on the project that ultimately became “Walk The Line.”

His latest effort is the thoroughly entertaining “Linda and the Mockingbirds.”

Centered around Linda Ronstadt’s support of musical activists Los Cenzontles (“mockingbirds” in Nahuatl language), a band and a music academy for young people in the San Francisco Bay Area. Though ostensibly showcasing Ronstadt and singersongwriter Jackson Browne, the real stars of the film are the youthful musicians led

by Eugene Rodriguez, a third-generation Mexican-American musician who founded the Cenzontles to reconnect working-class kids with their ancestral music and culture.

After select film festival screenings, the feature is now available via streaming services from Shout! Factory. INsite spoke with busy filmmaker Keach by phone from his editing room in California.

I’m not sure if I’m getting older of if the world is more fragile, but music seems to speak to me in a very direct way these days.

I agree. I think it’s because the world is more fragile. As William Shakespeare said, ‘If music be the fruit of love, play on.’ I think it’s more true today than ever. We can be transported by music very quickly, in an emotional way. It’s an immediate feeling.

And in storytelling, it makes it easier to tell the story. There’s so much chatter going on all the time. So much divisiveness. It’s nice to tell a story about people and their joy, their love and their life. Sometimes music tells it better than mere words.

The film is intensely emotional. But your other recent documentaries were equally emotive.

I’m coming from a narrative film background. The musical docs sort of started with “Walk The Line.” Then Julian Raymond, the producer of Glen Campbell’s last few albums asked if I wanted to do a

want to do it in San Francisco but I am going to Mexico with Eugene Rodrigues and this group of musicians. It’s a group I support and it would be really nice if you filmed it, James. You’ll have a good time. I want you to see these musicians and I’ll do the interview for you there.’

So it becomes an emotional journey for the audience as well as the protagonist.

Exactly. Otherwise, it’s just a VH-1 thing.

You could just watch a music video and feel whatever you could feel. But if you How could you resist an offer like that? understand the soul and the character of I couldn’t. so I went with them and Jackson the story, it works. Paddy Chayefsky used Browne also came along. I still had no idea to say, the formula for a good film is ‘Who I was going to make this movie when the is your hero, what do they want and what trip began. But I just couldn’t help myself. is preventing them from getting I started filming on the trip it?’ That works with any sort down to Mexico. I fell in love of storytelling. I use that as my WELL, AS I GET with the idea and the music. model. If it’s not a character I can politicians were saying these OLDER MYSELF, I The identify with, I don’t want to do it. are hateful, awful people, you It always teaches me something in REALIZE THAT IT’S know, the whole ‘murderers and the process.

ALL A JOURNEY. rapists’ thing and all of that. But THAT’S WHERE IT they weren’t. We started with The best way to learn is straight that scene at the border and I ALL STARTS AND just kept the cameras rolling. from the source and with Linda ULTIMATELY ENDS. Then Jackson was playing music, and Glen you had two lifetimes of lessons. we had great food, good times I’ll never sing like them, but and I did get that interview with I find it fascinating to learn about their Linda. But in the process, I got so much more. lives. The struggles they’ve had and how We got that seminal moment in “Sound of they handled it. From that, we can learn My Voice” where she sang for the first time how we might handle our own obstacles a in thirteen years. It all just evolved and I’m so little better. glad I made the journey.

There’s a gripping scene in the film where the little boy is facing separation from his dad.

It made me think about my own dad being taken from me. So it’s always about the emotional journey for me. It’s so relatable, even if you can’t relate to the core of the story, the raw emotion will still register.

All three of these documentaries could labor under a heavy veil of sadness, but in your hands they become uplifting and often humorous.

I want to be inspired but I want to uplift people at the same time. These people lift me. With both Linda and Glen, there was courage. They were trying to do good things.

In this film, I could have easily put in images of bad guys and guns and politicians. But I didn’t want to do that. That’s not what it’s about. It’s people, their lives and how we can all identify with them. It’s a walk in their shoes. From that, we see how people - from any walk of life – are actually very similar.

You delved into the backstories of many of the participants, too.

I did. I decided I wanted to interview their families and learn their stories. It all just moved me. I grew up in South Texas and I’ve wanted to make films about the border for most of life. It fascinates me to know that everyone is the same, even if we’re divided by a wall or a geographic line or our heritage.

The bus ride is a very unifying segment of the

film, it’s like the old Caravan of Stars Tour but very wholesome.

The bus is always interesting. With Glen or with Cash, it was different. It was like a rock and roll experience, but with this, it was a bus with all these kids. It was fun because we weren’t even officially filming yet, I was just shooting it with an iPhone. And the great thing is, they behaved like kids, not famous musicians. They were singing and playing music just for the joy of playing, not to show off for their hangers on or something. It wasn’t a performance at all, it was very real.

I think that genuine love they have for the music – and for each other – is the real star of the movie.

The real star of the film in many ways is also the journey itself, but as a storyteller it must be an incredible challenge to present larger than life figures as decidedly fragile human beings.

Well, as I get older myself, I realize that it’s all a journey. That’s where it all starts and ultimately ends. We each have a particular path to follow. In the case of Linda or Glen, it’s incredible to be able to give them a platform to reflect on their own lives. In the end it inspires us all. We can relate or we can learn to change our own path. These are authentic people. In the end, they’re not really stars, they’re just like us. Stars are in the sky, these are just people who’ve done some incredible things. Everybody suffers, everybody has something going on, even if we don’t know about it. But their stories help us to connect across the spectrum of a lifetime.

That’s how you develop the entire character and that’s how we develop as people. We’re all just telling our story.

Linda and the Mockingbirds is available via all major streaming services.

Speaking of imagery, there’s a very somber shot of the border wall that serves as an ominous background in one of the interview segments.

That was the first day of shooting. We’d crossed the border and I went down there before the bus arrived. It’s so bizarre that the cops drove through the shot, right at the perfect time. I didn’t stage that, it just happened. That wall says it all without saying a word.

In an interview segment with Linda, you say that this whole thing came about because of a good-natured “trick” she played on you.

When I was doing “Sound Of My Voice,” we all wanted to include an interview with Linda, otherwise it would have just been a collection of clips and other people’s recollections. I called her up and said, ‘We need to do the interview, we’re getting down to the wire here.’ She said, ‘Well I really don’t insiteatlanta.com • November 2020 • PG 5

BEST BURGER Farm Burger

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Announcing the 2020 Best of Atlanta All-Stars

DINING

Our most voted winners over the years. Online at INsiteAtlanta.com

BEST BAGELS Emerald City Bagels

Glenwood Ave. East Atlanta Ordering 404.343.3758 emeraldcitybagels.com

Mother & daughter duo Deanna & Jackie Halcrow, made a big splash when they started Emerald City Bagels in 2014. They began working out of a shared commercial kitchen and along with their bagel-making team, worked tirelessly creating and delivering the best bagels in the city. They opened their first store in East Atlanta Village in January 2018. It is modeled after their favorite bagel shops in lower Manhattan and Long Island, NY.

BEST BARBECUE Pig-N-Chik pignchik.net

Sandy Springs 404.255.6368 Brookhaven 770.451.1112 Emory Area 404.474.9444

Pig-N-Chik ribs are St. Louis cut and cooked showing a pink smoke ring. This makes them nice and tender with just the right smoky flavor. All barbecue is served naked to appreciate but there are homemade Pig-NChik sauces on the tables. You will also find great barbecue pork, turkey, beef brisket, chicken wings, smoked salmon along with a variety of sides, and salads.

BEST BREAKFAST The Flying Biscuit

Candler Park 404.687.8888 Midtown 404.874.8887 flyingbiscuit.com The Flying Biscuit serves great breakfast, brunch, lunch and dinner seven days a week starting at 7 am. They are known for their mouthwatering biscuits and affordable menu items. Their signature dish is The Flying Biscuit Breakfast served with two large farm-fresh eggs, freerange chicken and sage breakfast sausage. The Flying Biscuit offers an organic-friendly menu and bakery. You can’t go wrong with a famous Flying Biscuit Breakfast.

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BEST BURRITO Willy’s Mexicana Grill

31 Area Locations Catering 404.422.7107 willys.com Atlanta’s original burrito chain is still the best! At Willy’s you can see and taste the difference fresh ingredients and homemade salsas make with every bite.

Whether you are gluten-free, vegan or seeking comfort food, you can build-your-own menu item or choose from one of Willy’s recommended favorites. If you are staying home, let them do the cooking with a buildyour-own Taco Box that feeds 4-6 people – perfect for a small group of friends or family. For you next event, Willy’s Catering now offers individual Burrito Meals and Taco Kits to keep everyone safe. Order online for pick-up and delivery at willys.com. To speak with a Catering Consultant, call 404-422-7107.

BEST CHINESE Chin Chin 3887 Peachtree Rd. 404.816.2229 and other area locations chinchinGA.com

Atlanta’s favorite Chinese restaurant since 1998! Their menu offers standard favorites and many exotic dishes in Chinese cuisine at affordable prices. They also offer an assortment of vegetarian dishes, ramen and sushi.

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For more info and to place an order, visit www.emeraldcitybagels.com Order Online from our Website

eatsonponce.net New Hours 12-8 Take-Out Only

600 Ponce De Leon Ave • 404-888-9149 PG 6 • November 2020 • insiteatlanta.com

Chin Chin Brookhaven is currently offering carryout and delivery.

Please check their website for information on when the dining room will be opened safely for patrons.

BEST DINER Landmark Diner

3652 Roswell Rd. 404.816.9090 landmarkdiner.com A landmark of great meals 24 hours a day!

Whether you crave a 2 a.m. breakfast or an 8 a.m. steak, you can get it here. Find great sandwiches, salads, seafood along with Italian and Greek dishes. Visit their Buckhead restaurant (pictured) or downtown.

BEST GREEK Athens Pizza

1341 Clairmont Rd. 404.636.1100 athenspizzaatlanta.com Since 1966, Papadopoulos family at Athens Pizza has been serving the delicious Greek cuisine to the Emory / Decatur area.

Much more than pizza, enjoy authentic dishes including Veal, Roasted Lamb or the Oven Baked Chicken. Athens Pizza offers lunch and dinner and is popular for catering. Call to book your holiday party in one of their private rooms.

BEST INEXPENSIVE RESTAURANT Eats 600 Ponce de Leon Ave.

VOTED BEST NEIGHBORHOOD TAVERN

404.888.9149 eatsonponce.net

For over 25 years people all over Atlanta have been heading down to Ponce to experience their great jerk chicken and pasta dishes.

They are currently take out only and aren’t doing pasta, but they have kept their favorite lasagna. Check website for updates and online ordering.

BEST MEDITERRANEAN Mediterranean Grill

N. Decatur Plaza 404.320.0101; Midtown 404.917.1100; East Cobb 678.996.0045; Athens 706.543.5000; mediterraneangrill.com Mediterranean Grill is a perennial Best Of Atlanta winner. A family / chef-owned and operated restaurant for over 20 years.

They serve authentic regional dishes like gyros, falafel and kabob sandwiches made to perfection.

Plus try their spanakopita, dolmas, amazing humus and fall off the bone lamb shank. Mediterranean Grill's dining rooms are back open and observing social distancing in accordance with CDC guidelines. As always, they offer convenient online ordering and free delivery to the area. Individual packaging offered for catering and large orders.

See Page 8

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IRBY'S TAVERN Atlanta’s Hometown Sports Bar

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insiteatlanta.com • November 2020 • PG 7

BEST NEIGHBORHOOD TAVERN HOBNOB Town Brookhaven 404.464.8971;

Perimeter Place 470.395.7904; Alpharetta Halcyon 470.448.4572; Atlantic Station -Jan 2021 HOBNOB Neighborhood Tavern is a spirited scene for socializing, but the menu of classic, Southern-inspired comfort food, cozy environs and undeniably affable service are truly what account for the tavern’s popularity across Atlanta. Owner Sean Yeremyan opened HOBNOB’s first location in 2010 and has since expanded with three more locations and their fourth, Atlantic Station coming in January.

BEST NOODLE BOWL Jinya Ramen Bar Sandy Springs 5975 Roswell Rd. 404.600.6974 I Buckhead 3714 Roswell Rd. 404.549.2583 I Alpharetta 401 S. Broad St. 770.609.8238; jinya-ramenbar.com

JINYA Ramen Bar was founded by Tomonori Takahashi in 2010. The son of a successful restaurateur in Japan, Tomonori came to the states looking for a place where one could enjoy the traditional taste and flavor of ramen. Jinya is based on three values: Delicious food at reasonable prices that’s accessible to all. All three locations currently offering Dine-in seating with Poncey - Highland location coming soon.

BEST PATIO Park Tavern

500 10th Street NE 404.249.0001 parktavern.com Where better to dine than al fresco at Park Tavern.

They have one of the best views in the city overlooking Piedmont Park and the Midtown Skyline. This amazing

backdrop provides for a great atmosphere and is dogfriendly. The large climate controlled patio includes table seating, private cabanas, an oyster bar, fire pits, and TV's to catch your favorite teams in action. The Rink powered by Pepsi Zero opens Thanksgiving Day for ice skating and runs through Presidents Day. Park Tavern and The Rink are available for holiday parties and rentals.

BEST PIZZA Johnny’s Pizza

Multiple Area Locations johnnyspizza.com Johnny's Pizza has been synonymous with great pizza in Atlanta since 1977. They specialize in NY style, which is thin in the middle and thick around the edges. You can also choose from their hot oven-toasted subs, salads, calzones, starters and Italian dinners. All Johnny’s restaurants offer dine-in, take-out and delivery.

With 25 locations around Atlanta there is bound to be one near you.

BEST RIBS Fat Matt’s 1811 Piedmont Ave.

404.607.1622; fatmattsribshack.com Since 1990, Fat Matt’s Rib Shack on Piedmont Rd. in Buckhead, has been the place to go for barbecue and blues. Their ribs are smoked to perfection and literally falling off the bone. Order by the slab, half-slab, as a combo or chopped pork sandwich. Great barbecue chicken and sides as well. Open for take-out and delivery through UberEats, Postmates and Doordash. Call ahead for holiday catering at their hotline (678) 5215607. This holiday season also think of Fat Matt’s for gift cards, their famous bottled sauce and great t-shirts.

BEST SOUTHWESTERN BEST MARGARITAS

Your Neighborhood Pizzeria!

Agave 242 Boulevard SE 404.588.0006 agaverestaurant.com Agave’s unique blend of eclectic southwestern cuisine, extensive tequila bar and wine list coupled with exceptional service makes this one of Atlanta’s top restaurants.

Over the years they’ve won numerous awards for their inspired dining experience. Agave offers over 100 tequilas and 12 specialty margaritas on the menu. Their margaritas are made with blue agave tequilas and fresh squeezed lime juice. Agave is open for dine-in with responsible safety precautions implemented. The restaurant has two well vented, high ceiling dining rooms as well as covered patio. Make holiday dinner reservations now.

BEST SPORTS BAR Irby’s Tavern 322 East Paces Ferry Road

404.254.1333 irbystavern.com

Atlanta’s hometown sports bar, Irby’s Tavern is a celebration of our city’s history, sports and culture. It is a sanctuary for all those who are proud to call this place home.

Their menu offers great burgers, wings, sandwiches and salads. They have plenty of popular drafts on tap, wine and house cocktails. Enjoy $4 drafts on Wednesday and Thursdays. Trivia is back on their patio Wednesdays at 8pm. Online ordering available with delivery to the area. Follow on Instagram for events plus weekly and daily specials @irbystavern.

BEST SUB SANDWICH Baldinos Giant Jersey Subs

Marietta 770.321.1177; Doraville 770.455.8570; baldinos.us Baldinos is consistently voted as the Best Sub Sandwich in the Atlanta. Baldinos Giant Jersey Subs has been recognized as the only true New Jersey Style submarine in the South. They bake their bread fresh daily and every sub is made custom to order.

Ice Skating

Starting Thanksgiving Day!

Atlanta’s Favorite Patio!

1/2 priced bottles of wine on Wednesdays When It Rains We Pour $1 Drafts!

The Meadow on Piedmont Park • parktavern.com

Best Noodle Bowls!

Atlanta’s Favorite Pizza!

Multiple Atlanta Locations: JohnnysPizza.com PG 8 • November 2020 • insiteatlanta.com

jinya-ramenbar.com

Alpharetta: 401 S. Broad Street (770) 609-8238 Sandy Spring: 5975 Roswell Rd, Suite B217 (404) 600-6974 Buckhead: 3714B Roswell Rd NE, Suite 35 (404) 549-2583

When you eat a Baldinos sub you know the difference. Order one of their party subs which come in various sizes feeding up to 50 people. Pick up a Baldinos Giant Jersey Sub before the big game or order a Baldinos Family Sub online and enjoy the game with friends.

BEST TAPAS Eclipse di Luna

Dunwoody 678.205.5862; Buckhead 404.846.0449 eclipsediluna.com Eclipse di Luna has set the trend for tapas restaurants in Atlanta. With over two dozen tapas to choose from, there is something to please any taste. Their tapas are priced affordably to encourage multiple sampling. The menu offers a variety of glutton-free and vegetarian tapas. Popular with catering and for private parties.

RETAIL BEST ART SUPPLY STORE Sam Flax

1495 Northside Drive; Suites B & C 404.352.7200 samflaxatlanta.com Sam Flax Art & Design has been serving the creative community of Atlanta for over 50 years. From professional artists to beginners and everyone in-between, they are your source for fine art and graphic products, studio furniture, stationery and decorative papers, unique gifts, custom framing and fine art printing. Their knowledgeable and creative staff represent over 150 years of experience with art materials.

Shop Sam Flax this holiday season in-store and online.

BEST CD STORE CD Warehouse

Pleasant Hill Rd. Duluth 770.623-1552 Barrett Pkwy. Kennesaw 770.425.3472 cdwarehouseatl.com CD Warehouse has 10,000 used CD’S for buy, sell or trade plus all the new releases.

If you can’t find it they will special order it for you. They will pay cash for your CD, movie and vinyl collections. This is the best place in Atlanta to find vintage albums.

BEST MUSIC STORE Sam Ash Music samash.com

2999 Cobb Parkway 770.818.0042

Sam Ash Music has been serving musicians since 1924. Their legendary service, selection and guaranteed low prices is unmatched in the industry. Jaw-dropping inventory of the latest instruments, gear, and accessories will have you hooked.

BEST SHOE STORE Abbadabba’s Little 5 Points, Buckhead, East Cobb coolshoes.com

Becoming Atlanta’s premier source for innovative comfort footwear doesn’t happen overnight. It takes years of building relationships with the top suppliers, attention to customer service and a passion for footwear. Abbadabba’s has that in spades!

BEST VINTAGE CLOTHING Psycho Sisters 428 Moreland Ave 404.523.0100 Facebook: psychosistersatlanta

Psycho Sisters is famous for reinventing vintage, acces-

sories, costumes & festival wear and has been doing it for over three decades. Their store offers the best selection of every era in fashion and the best personal sales team to help you dress up for any occasion. Nestled in Little 5 Points, Atlanta, Psycho Sisters is never ever boring.

BEST SMOKE SHOP This That and the Other

Smyrna I Woodstock I Calhoun I Acworth shopthisthatandtheother.webs.com The place to go for all your smoking needs: cigars, pipes, vapes, Ecigs, juices, scales, tobacco, incense and more! Now four metro Atlanta locations with new Acworth store!

BEST ADULT STORE Starship 22 Metro Area Locations 404.766.6993 shopstarship.com

An Atlanta favorite for those into the erotic.

Thousands of videos, dvd’s, adult toys, condoms, candles and novelties to meet whatever your desire. Their 22 locations make Starship a convenient one stop shop!

BEST ADULT MOVIES Southern Nights

2205 Cheshire Bridge Rd. 404.728.0701 snvonline.com With over 10,000 DVD’s for sale or rent, Southern Nights has Atlanta’s widest selection and at great prices! View films on-site in their 62 channel hi-def video arcade. They sell a variety of products and are open 7 days a week, 24 hours a day.

Coming

December 4!

y a d i l o Issue H

Space Closes on Monday, November 30

insiteatlanta.com • November 2020 • PG 9

MUSIC

TOURISTS IN ROCK AND ROLL

Legendary Athens Band Pylon Finally Gets the Deluxe Treatment

BY LEE VALENTINE SMITH

2

the collection, it’s the return of Pylon music.

People can finally get it on vinyl again, or online or in the box set. I think eventually they’ll all be gone because it’s a pretty limited edition. It’s pretty expensive, but there’s a lot of information inside.

020 HAS BEEN AN HISTORIC year in many ways and in the Athens Music Community it’s also a time a celebration of Pylon, not only one of the classic bands of the Georgia Music Scene but of the entire new wave movement.

The book contains some extremely rare The influential band of UGA art students stuff. I saw pictures I’d never seen before. played their first live show in Michael: It was a big effort, to 1979 and by 1980 were getting try to dig a little deeper in the YOU’RE RIGHT, noticed nationally, thanks to WHEN WE MADE images and to find some stuff support from The B-52’s and THAT FIRST SINGLE, that hadn’t been used over the interest in the nascent Classic WE HAD NO IDEA years, much or in some cases, at City art-music-party landscape.

Some of the pictures hadn’t Fast forward four decades and IT WOULD EVEN all. been seen by anybody other than the early music and artifacts BE AROUND THIS the photographer all these years of the group are getting LONG. IT’S PRETTY later. international attention again, EXHILARATING, due to an incredible new box set REALLY. How long has this project been and reissue campaign from New in the works? It’s obviously not West Records. In addition to a something that happened in a few months massive box set which includes an albumor probably even this calendar year. sized book and four remastered LPs, their Vanessa: It’s been percolating in my mind first two albums are finally back in print and for quite a while. After Randy died and then the band even has its own signature blend of DFA reissued some of the stuff. The first two coffee from Jittery Joe’s in Athens. albums. I kept having people come up to me The quartet comprised of Vanessa Briscoeand say, I’d really like to get a copy of Gyrate Hay, bass guitarist Michael Lachowski, or Chomp but I can’t find one. Or I can drummer Curtis Crowe and the late Randy find one and it’s seventy-five or a hundred Bewley remain one of the most-lauded and dollars on the internet.’ I started seeing that referenced of their generation. In a press there was some interest in the band and I release Crowe marvels: “We fully intended started getting the business side of things Pylon to be an almost seasonal thing that back together. You know, the unglamourous we were gonna do for a minute and then side of things that nobody really wants to get on with our lives. But it just never went talk about or deal with. But it’s important. away. It still doesn’t go away. There’s a new We were a young band and when we subterranean class of kids that are coming started, we didn’t have a lot of things in into this kind of music, and they’re just now place. We didn’t do it correctly but we were discovering Pylon. That blows my mind. We kids and we didn’t really care about all of didn’t see that coming.” that. I knew if we were going to move to a INsite recently spoke with Briscoe-Hay label that had any business side in place, and Lachowski by phone from Athens. we’d have to get organized. Phillip Walden, Junior helped us at first before he passed Who would have thought, when you away very tragically. We got our publishing released that first single [“Cool” backed rights back, set up a publishing company with “Dub”] in 1979, one day you’d have a and set up an LLC. We knew we’d need all $150 box set on the market? of this stuff in place.

Vanessa: (Laughs) I know! But it’s been a lot of work.

The very necessary part of a working band.

Michael: It’s quite a testament. But when Vanessa: Exactly. It’s stuff that nobody you add in a book and four records, it’s a really wants to do but it has to be done. lot of stuff. Part of the fun is the box set After all that was in place, a couple of but part two is the first two zalbum are years ago, we started gathering up all the finally being reissued on vinyl. And just as tapes and masters that we could find. Stuff important to that, everything from the box that was probably used a doorstop, just will be available on streaming platforms gathering dust in a studio somewhere. So again. A lot is already on there now. Aside we rounded up all of that. We got some from our third album, which isn’t a part of

stuff from Mitch Easter in North Carolina, Jeff Calder in Atlanta brought some stuff from Southern Tracks, I had some, Randy had some. Then it all had to be baked and digitized. It took a long time.

Did you pitch the project to labels once all the pieces were in place?

Vanessa: We got a business plan together and David Barbe helped us get a lawyer.

Once we had the pieces all together, we saw that we had quite a bit of stuff. At first we thought it might make a double album set with all the outtakes and singles. We would’ve never even considered doing that in the old days. We proposed it to several people and got three offers back. The one that really stood out was New West. Not because of how big it was or how much money they had, it was just a good fit for us. They have an office in Athens and roots here. They put out the Glands’ box set a while back and it was very well done.

Jason Nesmith was so helpful with the heavy lifting. But almost everybody that heard about the project wanted to help us.

And they really did! But then we needed graphics. Of course, Michael is our graphics guru. I’d been contacting photographers for years, looking for stuff. Michael is also a photographer and he had a lot of stuff that he’d never printed. So it turns out that most of us had saved stuff except for Curtis who really didn’t have much due to all of his travelling around.

Then you actually donated the Pylon archives to the library at UGA. How did it feel to let go of stuff that you’d saved for forty years?

Vanessa: It actually feels good to let go of stuff. We had boxes of stuff to sort through.

Then for the book, Brady Brock at New West, the executive producer of it all, he had an idea to show a lot of these items in book form, to really make it comprehensive collection and a little bit of a behind-thescenes look at the band and what it was like to be a young touring band in those days.

Every now and then I’d look at all the stuff

PG 10 • November 2020 • insiteatlanta.com

I’d saved but it wasn’t often. I asked my girls several times if they wanted any of it. They love Pylon and they love me but I don’t think they have any interest in inheriting twenty boxes of magazines, clippings and flyers. Old clothes and whatever. It should be somewhere where people can have access to it and maybe get a picture of what it was like to be a band in those days. It’s so different than now. Those were very exciting days. Now some of it is in the exhibit and that’s pretty exciting to know that what we did will live on in some way. There’s an exhibit at UGA of some of it, named after a line that I used to say about the band. I said we were “tourists in rock and roll” because we were geeks just having a good time.

How did the book evolve?

Michael: [Chunklet Magazine founder] Henry Owings helped a lot. He’d done a book for New West before and any idea I had, he ran with. I had in mind that it’d be a sixteen or even thirty-two pages. Just a little fun thing to flip through as you listened to the music. But Brady had in mind that we should include a history of the band in sizable detail and he was really fond of including images of ephemera, like the expense book or reels of tape and clothing. So that all ended up in the book and it kept expanding. Now its 200 pages and the whole thing, the whole campaign really is a way to provide something new and exciting for existing fans of Pylon and new fans, too. It tells the story in full for someone who might be completely new to Pylon and it’s been exciting to see the whole project come alive. You’re right, when we made that first single, we had no idea it would even be around this long. It’s pretty exhilarating, really.

Pylon Box and individual reissues will drop Friday, November 6. Visit newwestrecords.com for more information.

Additionally, the exhibit Pylon: Tourists In Rock and Roll runs through May 31, 2021 at the Richard B. Russell Special Collections Libraries, Brown Media Archives Gallery, located at 300 South Hull Street in Athens.

MUSIC

POSITIVELY RAGING

Rhonda Vincent and Her High-Energy Bluegrass Band are on the Road Again

BY LEE VALENTINE SMITH

W

HILE MOST TOURING ACTS are off the road until 2021, Rhonda Vincent and the Rage have been back on the road since September. The award-winning musician began her before most kids go to kindergarten, playing drums with her family’s band, the Sally Mountain Show. She picked up mandolin at eight, the fiddle by ten, performing with the family at festivals and churches on weekends.

After stints on several major labels, Vincent now has her own label and tours the country with her bandmates and husband, who also books the act and helps run the label.

The band’s contemporary bluegrass shows appeal to wide variety of fans including superstar fans like Elton John. Her hard work has paid off with 19 IBMA Awards, seven Grammy nominations and the Grammy Award for Best Bluegrass Album of 2017.

Her enduring positive attitude is contagious and should translate well to her upcoming residency in Branson for a month of Christmas shows. Before she takes over Andy Williams’ former theater in the tourist mecca, she has two shows scheduled for Georgia audiences this month - one in Dublin and one in the suburb of Buford. INsite spoke with Missouri-native Vincent by phone from her home near Lake of the Ozarks.

It’s been a difficult year for everyone and the last few months have been the longest down-time of your career, right?

You know, I grew up in a musical family. I joined the show when I was three and we were always performing. A weekly television show, a weekly radio show and then we were doing performances everywhere including churches. So my whole life has been about live performance. Then we had all this downtime. My husband said, ‘Maybe you just should retire now.’ I said, ‘What? Are you crazy?’ He’s been loving having me here to cook his meals and clean but I’ve missed playing and touring.

Unlike most artists, you’re actually playing live shows – with audiences – this year.

We actually started back, pretty much full-time, in September and it’s been great.

How did it feel to get back out there in front of living, breathing people? You must’ve been doing Springsteen-length shows for a while, out of sheer joy.

(Laughs) Yes! It was such a feeling of rejuvenation because we’d all been stuck at home. There was a new feeling of excitement about it. Then we booked some studio time to record and I think you can hear it in the new music. My fiddle player said, ‘We haven’t even been playing and now you want to record?’ We did and it’s turned out great. I hope we can have it ready before the end of the year, but we’ll have to see how it goes. I’ve been working 12-hours days on it, just to get it all done.

The audiences must be very responsive too, because people haven’t seen real live music in months.

It’s been incredible and now it’s right back to business as usual for us. There was the fear factor at first, I think. Our first show was outside and we had people who’d travelled a long way just to see people playing live music again. Then after the show, we’ve been signing autographs and taking pictures and everything we used to do - with no ill effects so far. And if we do, well we have to keep on living. People can wear masks if they want and we’re fine with that.

Do you and the Rage wear masks?

No and no one in the band has any fear of not wearing them.

Aaron [McDaris] our banjo player, his parents had the virus. His father is a preacher and has some pre-existing illness, but they made it through fine. A little fever. One of the Georgia shows is already sold out and we’ve had sell outs all over. People are coming out and just enjoying themselves. It’s exciting to see.

You’re quickly making your quarantine song “I Ain’t Been Nowhere” obsolete.

It’s going on the new record, though. And we have another one going on there that I think is perfect for the times. It’s called “(What Is To Be Will Be) What Aint To Be Just Might Happen.”

Since you have your own label, you can release the record on your own schedule.

There are always so many compromises you have to make when you’re on a major label. Sound or budget or something. But with Upper Management, I can release the music the way I hear it in my head. It’s all about the music and I can make everything come right from my heart to the record. We won a Grammy with a live album that we just recorded one night. You never know where it’s going to go. Like working with Dolly Parton. I’m on her new “Christmas On The Square.” It’s also the title of her movie and I assume we’re on the soundtrack, too. But if I’d written that down as a goal, I would have thought it was impossible.

You’ve worked with some of the best in country music.

I’m so blessed. It’s just the Lord’s will. I’m led to it and I trust Him. Gene Watson and [Cairo, Georgia-born] Daryle Singletary, Keith Urban, so many wonderful talents and I’m on the Elton John album Restoration with Dolly.

Is anyone left on your dream collaborations list?

There’s one and I’m such a fan of his. James Taylor. I’m his number one fan and I think it would cross the genres and be great.

I know he has a love for country music.

That seems doable. Have you floated the idea to his camp?

I do have a contact. When we did Restoration, I mentioned the idea to Bernie Taupin. He said, ‘Well let’s call him!’ I said, ‘You have James Taylor’s telephone number?’ He said whenever I want to talk to him, he’d make the call.

Why not do a duo record with Elton?

How about this? Maybe a trio with me, Elton and James Taylor!

Me on mandolin, Elton on piano and James on guitar. What do you think?

That would be phenomenal. You might have to coin a new term for how that would sound. But it seems like most of the things you’ve done is organic, so this could happen with ease.

Maybe I should be more targeted and organized, but I just don’t think that way. Like with songwriting, I have to be inspired. I can’t just ‘go write’ to write. During the pandemic, people would say, ‘Let’s go write,’ but I wasn’t inspired to do that just then. Or maybe I’m really good at starting projects and never finishing them. But sometimes I’ll just come up with a title and I’m inspired to write the whole song around it.

Just before everything shut down, you had a really good night at the Grand Ole Opry.

Oh, I know what you mean. Yes, on February 28. It was my 215th appearance on the Opry and Jeannie Seely came out on stage and invited me to be the next member of the Opry. Now it’s been historical in that I’m the artist who has gone the longest between being invited to join and actually being inducted. I was supposed to be inducted on March 24th and they shut down right before that. So maybe sometime next year I’ll finally be inducted. It’s like I was saying, that was never something I’d planned, it just happened. But it was a lifelong dream. I’m just a girl from a small town called Greentop, Missouri. 350 people. We still don’t have an interstate within a hundred miles of there. And now I’m working with all these people, touring all over the country and I’m going into the Opry. I’m proof that dreams really do come true.

Was it a dream to have a residency in Branson?

It really was. I grew up not too far from there and I have so many friends in Branson. It’s like a community of families. So we’ll be doing 37 shows by the end of the Christmas season and it’s my first residency there. To show you what kind of community it is, when the shows were announced the first message I got was from the Massingale Family who perform at Grand Country, inviting me to go to church with them. What a wonderful welcome! It’s like you were saying, it’s organic. I just look to God and I say, ‘What’s your will? What’s your plan for me?’ I just pray and wait for those opportunities.

As soon as we hang up, your phone will probably ring with some great new superstar project.

I think it will, too!

It’ll probably be James Taylor.

Give me a call James, I’m ready!

Rhonda Vincent and The Rage play at 8 p.m. Saturday, November 7 at the Sylvia Beard Theater in Buford’s Community Center. Visit bufordcommunitycenter.com for information and tickets. insiteatlanta.com • November 2020 • PG 11

MUSIC

GET “SMART,” GO SLOWER

Jules Shear (Sort of) Dissects His Songwriting Technique

BY LEE VALENTINE SMITH

A

GREAT SONG SHOULD BE enjoyed and not dissected under a critical microscope. But when you have a legendary singer-songwriter like Jules Shear available and willing to speak on the subject, the temptation is to probe the artist a bit, just to see how it’s done. But with Shear, the affable musician seems to enjoy the result for what it is - much more than the laborious task of explaining his craft.

A cult figure with a steady base of dedicated diehards, his songs have been massive hits for a diverse slate of artists including Cyndi Lauper (“All Through the Night”), The Bangles (“If She Knew What She Wants”) and Alison Moyet (“Whispering Your Name”.) With a career that spans back to the late ‘70s, Shear has an incredible catalog of incredibly catchy, often deceptively simple pop masterpieces.

Hailed by critics and peers as one of the best songwriters in modern music, the Woodstock based musician takes it all stride with a decidedly detached shrug and a coy dismissal.

Slower, his latest release, is available this month and finds the reluctant hero balancing the best of his past with an observational eye to the future. Thought-provoking tracks like “Hell and Hello,” and the celebratory “Sugar All Day” are bookended with fresh takes on love and relationships with “Feels Like Fall,” “It Came Down From Heaven,” “Call It Love.”

INsite spoke with the prolific performer via a crackly cell connection from his writing studio in the woods of Woodstock, New York.

How have you been dealing with the pandemic?

Well I’ve been making a lot of CD compilations of songs. Stuff that maybe I’ve heard in the past or maybe I’ll hear today for the first time. If I find something I like, I’ll just stick it on a CD so I have all these discs full of stuff to listen to, mostly stuff that I like for some reason. That’s keeping me sane through all this stuff. I’ve not been able to go anywhere.

So I just stray here. It’s not really a recording studio, but more of a rehearsal place. It’s been great for me because I go out here and just sit and play CDs. I do that for a large part of the day, just to keep myself sane.

Woodstock has been home for a long time now. Have you seen that it has changed as a mecca for creativity?

I guess it has changed some, but I stay by myself a lot anyway, even when there’s no pandemic going on. I don’t really know what’s going on in Woodstock, really. But I like just about five minutes from town, so I guess I probably should know, shouldn’t I? I’ve spoken with a number of artists who moved to the area to be close to the mystique, whatever that is, and they enjoy the artistic camaraderie. What brought you to the area?

What brought me here was when I was going to make my first solo record [1983’s Watch Dog], the guy that signed me to the label said he thought I should work with Todd Rundgren. He thought it would be an ideal match-up. He wasn’t correct, but still. I came up here to do that. I liked Todd and so it was fine.

Why do you think the label guy wasn’t correct in pairing you with Todd?

I think we did it too quickly. We did the whole thing within a couple of weeks. But PG 12 • November 2020 • insiteatlanta.com

I DON’T THINK WE’LL EVER GET TO THE POINT WHEN A SONG IS JUST ANOTHER LOVE SONG. I HOPE WE DON’T, AT LEAST.

during the sessions at Todd’s studio, I got to know Woodstock a little bit. Finally I was like, ‘Wow, I think I wanna live here.’ I hadn’t really considered it before then. We had been living in Boston but we sort of didn’t feel at home there. Todd let us stay at his place as we were doing the record.

A number of artists have had varying success working with him. He’s obviously a genius, but he can be a little, shall we say, abrasive.

What was your take on his production style?

Well, with Todd… oh I don’t wanna go dishin’ on Todd. He did fine. I just thought he wasn’t maybe totally interested in doing the album. He was having to do producerly things, but it seemed to be not his top priority. But I found myself here, doing that record.

He’s known to be a hands-on type of producer.

(Laughs) Yeah, I’ve heard that, too. But I guess in my case, I wanted him to be more hands on.

But some good things came from it. A couple of hits hit and a house. You can’t argue with that.

True.

You seem to enjoy the CD format, but do you plan to issue slower on vinyl at some point?

I do think there’s a plan to put it on vinyl right now. I think it’s a good idea but I’m not the record company.

don’t know how they’re marketing it. I just write, you know. What does the website look like? I have no idea. That’s not my department.

As an artist, is it a challenge to release an album during a pandemic?

It is a challenge, but in some ways it doesn’t affect me. The CD I made, we did it before all this craziness. If it does well ok.

But then if it doesn’t do well, that’s ok too. You know? It comes out and I’m on to writing about something else by then anyway.

But I enjoyed making it and all that stuff. SO for me, it’s already been worthwhile because I dug making it.

Sort of an ‘art of the moment’ kind of thing?

I hope so, yeah.

Your attitude about your music has always been sort of here it is, like it or not.

Yeah, I’m afraid that is my attitude. I think that’s probably just to maintain my own health about making a record. My thing is to make ‘em. If some people dig ‘em, then great.

I could sweat it, I could worry about it, but why? It just doesn’t make sense to me to worry about it.

The early single, or featured track, “Smart” is another hit. It’s instantly memorable - like most of your best stuff.

I didn’t even think of that one to be a featured track or whatever they call it now. I don’t even know what they call it. They said they wanted to feature it and I said, ok. I didn’t think of it as a single when I was recording it.

Maybe I’m too close to it, I don’t know. They had a theory on it and I said, ‘Ok, go ahead with it.’

You’ve revisited that familiar theme of songwriting, love. In some hands it can be a tired old cliché, but you always seem to make something fresh from the idea.

I don’t think we’ll ever get to the point when a song is just another love song. I hope we don’t, at least. If you’re writing about anything, there’s always different aspects to consider.

And something as big as love, there’s so much to say about it. So it just becomes fresh every time, buy nature of how big it is. That’s the beauty of it, it’s simple subject on the surface, but deceptively so.

Was the album crowdfunded? There’s a band camp site for it.

I don’t know. I haven’t seen it. So I really

When you begin a project, do you plan the overall concept or do the songs exist as separate vignettes?

I’m not really thinking about writing songs till I sit down to write. I hear it in my head, first. These days, I’ll have some words I’ve written down, then after I have those, I’ll start making up music and fill in the gaps. I get up in the morning and I go to the studio and I try to write, that’s the whole process. I can usually do it, apparently. Thank goodness I can still do it. I can still come up with something that I like. Then I go, ‘Ok, that’s done.’ Then tomorrow I’ll get up and do the same thing again. I start with words. I’ll have some lines written down, six or maybe ten. I’ll start with those words then I’ll fill in the gaps. Soon it becomes a song. That’s my day’s work. Jules has done a day’s work if he can take some words and make a song that he likes. That’s pretty much it.

That’s a hard day’s work.

I guess. I don’t know how it looks from the outside but I’ll still do it.

After writing so many great tunes, you make the process seem effortless.

Well that’s the thing. It’s not effortless for me but it’s good that it seems easy. I’ve actually tired it a bunch of different ways and this is the only way it seems to really work. I just write some words, write some music and, like I say, then I fill in the gaps.

Slower is available from all major music retailers and via a link on julesshearshow.com.

MUSIC

BYRDS, BURRITOS AND BEYOND

Chris Hillman Remembers His Life and Faith in a New Memoir

BY LEE VALENTINE SMITH

I

N ADDITION TO HIS PLACE IN the Rock and Roll Hall of Fame, Chris Hillman is also credited as a cornerstone of the country-rock and Americana movements. As co-founder of The Byrds, The Flying Burrito Brothers and the Desert Rose Band, Hillman helped create a unique hybrid of roots and rock.

His career and life are the subjects of Time Between, a new memoir to be published this month by BMG. In the enthralling and inspirational journey, he candidly recounts the major victories and heartbreaking tragedies of his seventy-five years of existence.

Music fans of several generations will appreciate his insights on his time with The Byrds, his difficult relationship with Gram Parsons in the Burritos and encounters with many of the architects of modern songcraft. But music is only a portion of the story. The singer-songwriter also offers a rare look at his childhood and family and details how his spiritual journey opened his mind to forgiveness.

INsite spoke with the legendary musician by phone from his home in Ventura, California.

You mentioned God. Your faith plays a major role in your life story.

I do address it and I hope it can be helpful. I hope everybody likes it, but I don’t know. All I know is it was a great experience to tell the story. It was cathartic and there were some things I had to leave out because it was a seven-year labor of love.

Take us through the process.

Well it started out just as a fun idea and then it got serious. When you get a legitimate deal on the table to publish it, you have to get real serious. I had too much stuff initially and I had to actually leave stuff out. But I had a great editor and it was his idea to open the book with the fire we had out here in 2017. That was a bad Fall. I was in Nashville and Tom Petty died, then my house almost burned up. But the thing is, we survived it all - because we always do. At this point in my life, I’m praying that my children and grandchildren can make it to 75 and have their own story to tell.

After touring for most of your life, how does it feel to be off the road for a while?

I’ve got a few shows planned for January, but who knows? I’m not sure what will happen. But I’m staying busy here. My wife hands me a list of things to do every day and I do them. Right now, I sort of enjoy not leaving the house. But I see my grandchildren a couple of times a week because they live about fifteen or twenty minutes away, so that’s good.

You created classic music during some of the most unsettled times of the ‘60s. Now here we are in the middle of another time of upheaval. Do you think great art will come from this era like what happened during the Vietnam era for example?

It’s such a different world now, but we’ve had crises all along. In the book I address 1969 for example and Altamont and the Manson murders and all the horrible things that happened in that period and so much came from that time. As for now, I’m sure it will - but we might not even know about it for a while. Somebody may be in their house writing a beautiful symphony, but no one will hear it for a while, until there’s a way to market it. But I’m sure we’ll be able to see it or hear it or enjoy it at some point in the future.

In the ‘60s, people could rally around a song nationally or even internationally.

The Byrds’ version of “Turn, Turn, Turn” is a good example. With everything being so segmented now, is it possible to have a unifying anthem anymore?

People have changed and gotten so far apart. When you see the news, it’s like God isn’t in the mix anymore. But for me, I’ve had a redemption, coming from darkness into a path of light. So I hope everyone can have that sort of unity. But the human condition and technology is all very different too, so it’s interesting to see if we could ever have an anthem for a generation at this point.

inspiration she was to me. I didn’t need to There’s a lot of joy in the book but also write ‘Gram Parsons was a drug addict’ and a lot of pain. You had to relive a lot of so on. I didn’t need to do that and I didn’t emotional highs and lows to tell this story. even want to do that. He was an incredible Some people might have glossed over some talent who was seduced by dark things. of the more wrenching moments.

He made great music so why condemn or Well I had to come to grips with it. My judge him? father’s suicide is a good example. I was so angry with The high road is always best. him for half of my life. But I DO LOVE TO PLAY I think so. But some people forgave him. I firmly believe say, ‘Oh what a wimpy MUSIC BUT I’M might God had a hand in that, too. book, you didn’t tell the real So it wasn’t that hard to talk NOT CHASING A story. He doesn’t tell about about it for the book. I’d CAREER ANYMORE. being this or that.’ But I wasn’t forgiven him, so I was able to I wasn’t the kind of I’M JUST A VERY that. talk about it honestly. He was person who followed the whole BLESSED MAN. rock and roll lifestyle thing. really a good guy but in 1961 he wasn’t able to embrace God or his roots in Judaism.

Exactly. And speaking of Therapy wasn’t as popular then, either. threads, a thread of country music winds throughout your entire musical history.

A surprising thread in the book is the lack Yeah, that was what I loved, even as a of sensationalism. Everyone gets a firm kid. I’ve never lost it. But I do have some and fair treatment. regrets, who doesn’t? When I was in The That was intentional. I don’t make a habit Byrds, from ’64 until 1969, I didn’t even of reading autobiographies, but I did read own a mandolin. So I had to play catch-up Linda Ronstadt’s book. I loved how she when we did the Sweetheart of the Rodeo wrote it. She never denigrated anyone; she album. I really had to play catch-up on that talked about the music. I said, ‘Now there’s thing. Still am! I love blues too. But I’m not the pathway!’ I wrote her a note prior a blues guy, I’m within my comfort zone to editing my book, telling her what an with country music.

It must have been a shock to you, as a country fan, when the decidedly countrytinged Sweetheart album was met with resistance from some fans and peers.

Well yeah. There were a lot of inconsistencies in the way people accepted it. It wasn’t my favorite record, but we had a great time doing it. We weren’t trying to cross over or anything. The Byrds weren’t saying, ‘Ok we’re going to Nashville to be a country band now.’ We were The Byrds and we were gonna make a country album and still be The Byrds. I had no idea that it eventually generated such acceptance. It didn’t sell that well back then. It does now but people really glommed onto it. When we did the reunion tour a while back to celebrate the 50th anniversary of it, we had sell-out crowds. I could not believe it! So again, you just never know how things will be perceived until some time has passed. It works that way every time so who knows what will come from what we’re all doing now. In a few years, I think we’ll be hearing and seeing something truly incredible.

What is your plan for next year - or whenever things may be back to normal?

I don’t know! I don’t have any songs right at this minute. I’m not really thinking about that. I think I’m still on Rounder Records.

My wife says that yes I am still on Rounder.

But I’ll tell ya, the last conversation I had with Tom Petty, I told him I really appreciated him producing my last record.

He said, ‘What are you talking about?’ I said, ‘You know.’ He said, ‘No, I don’t know.

What do you mean by your last record?’

He said, ‘I’m not done with you. I want to do a rock record, a country record. We’re not done here.’ I said, ‘Well ok.’ He thought I still had music to do, so I guess we’ll see what happens. I do love to play music but I’m not chasing a career anymore. I’m just a very blessed man.

Time Between is available from major book and music retailers on November 17. insiteatlanta.com • November 2020 • PG 13

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(Soundly Music) Gasoline Lollipops front man Clay Rose spent his timing shuffling between Colorado, living with his weed dealing/truck driving dad and Nashville, where his mom wrote country songs for Willie Nelson, among others.

Coincidentally his dad sold a fair amount of pot to Willie as well, so that connection is pretty strong.

That unorthodox upbringing can be heard all over Gasoline Lollipops’ latest, All the Misery Money Can Buy. It’s a powerful mix of Americana, Outlaw Country and just enough punk rock swagger to appeal to those who won’t admit to liking those other two genres.

The album serves more as a soundtrack to tearin-my=beer reflective moments than to bar fights, but there are some rousing moments to be sure, like “Lady Liberty” and the addictive “Get Up”. The down and out “Gypsy” coming toward the end of the album is a stunning song made that more powerful by Rose’s distinct raspy delivery.

The title track, starting off the record, with its funk-heavy bass lines, swamp organ, Bluesy guitar and church-worthy backing vocals is the first sign that the band is not penned in by a specific sound.

What follows is a distinctly American record, a melting pot of styles borrowed from just about everywhere and lyrics that keep the politics and social commentary front and center.

Bob Mould

Blue Hearts (Merge)

Bob Mould is anything but predictable. Across an impressively influential career that goes back four decades, Mould put midwestern punk on the map with Husker Du before segueing into a quieter solo run and then pivoting to a madly addictive distortion-bathed power pop with Sugar. For the past 20 years or so, he’s back to being a solo artist, but forging an unpredictable path that draws both from the immediacy and fury of Husker Du and the hook-filled, melodic moments that made Sugar such a fun listen.

While last year’s Sunshine Rock, true it its title, was definitely drawing from the music that defined Sugar-era Mould, with Blue Hearts Mould is certainly calling on his Husker Du bona fides. The album, absolutely pitch perfect for our current reality, is pure piss and vinegar Mould aiming his vitriol at those responsible for the shitstorm our country is currently trying to weather. A flag waving narcissist using Evangelicals as a shield as he oppresses just about anyone who is not a straight white Christian male; Reagan Redux with even an even stronger sociopathic streak.

The song “American Crisis,” coming in under three minutes is pretty much the thesis for the record: “I never thought I’d see this bullshit again/ To come of age in the ’80s was bad enough/We were marginalized and demonized/I watched a lot of my generation die/Welcome back to American crisis.” What follows is a frantic burst of fury, with Mould’s whip smart, insightful lyrics shielded behind a barrage of machine gun drumming and a layer of distortion so powerful that the last time he played Letterman he literally shook the dust from the rafters.

Despite the heavy Husker Du punk vibes that cover Blue Hearts, there is still a powerful catchiness to these songs unlike anything he put out in the ‘80s.

Songs like “When You Left” and “Baby Needs A cookie” would fit right in on Sugar’s Copper Blue or File Under: Easy Listening.

Coming in at 14 tracks, but still just a few moments over 30 minutes, Blue Hearts is over while you’re still trying to catch your breath. It’s sad Mould needed to pull together and album’s worthy of angry protest songs, but it serves as the perfect to soundtrack to our march to the voting booth in November.

Bonnie Whitmore

Last Will & Testament (Aviatrix)

Bonnie Whitmore may have spent a bulk of her music career just out of the spotlight - having played bass and sung with everyone from Hayes Carll and John Moreland to Jimmie Dale Gilmore - but Last Will & Testament proves she clearly belongs at the front of the stage.

An even more compelling album than 2016’s F*** With Sad Girls (which was a pretty damn fine album) her latest finds her mixing Americana, rock, blues and pop for a strong blend that wouldn’t sound out of place on a playlist beside Stevie Nicks and Tom Petty.

The emotionally affecting opening title track is about suicide, while “Asked For It” deals with rape culture and “None Of My Business” was written after the tragic 2015 Paris attacks at a concert hall, stadium and restaurants – all topics that are heavy as fuck – but all manage to go down smoothly thanks to Whitmore’s powerfully moving vocals.

“None Of My Business,” in particular, with its slow tempo build, subtle strings and Whitmore’s arresting vocals, keeps drawing you back for repeated listens. She even draws on current political divides with “Right/Wrong.”

Not every track is heavy; “Love Worth Remembering” is a mixtape-worthy love song (you know, if this were the ‘90s) and “Fine,” also about relationships, serves as a bit of levity between heavier topics.

On her last record, Whitmore proved she’s not one afraid to keep her opinions to herself for fear of alienating future fans. Thankfully, she leans into that mindset on Last Will & Testament.

Cold Years

Paradise (Eone Music)

The Scottish band Cold Years may be based in Aberdeen, but it’s clear from their sound that they were raised on Jersey rock. On their debut, Paradise, you can see a straight line connecting Cold Years with Springsteen, the Gaslight Anthem, and Jersey-adjacent, Philly native Dave Hause.

From the driving rhythms, weighty guitars, and the underdog lyrics delivered with an almost “come at me” defiance, the band have managed to recreate the regional uniqueness of the Garden State sound without sounding like they are simply borrowing someone else’s grievances.

Songs like the triumphant “Burn the House Down,” with its powerful, harmonizing vocals and the opening salvo “31” with its slow-build, acoustic intro turning into a full-on sonic blast with the chorus “There’s blood on the streets tonight/I want to drink ‘til I die,” the band turns in a remarkably passionate debut clearly driven by the angst that Brexit, Trump, and his nationalist ilk across the globe have brought onto everyone with a conscious.

There are a few stumbles along the way, like on the mediocre “Breathe” or the lyrically simplistic “Too Far Gone,” but those moments are few and far between. Taken as a whole, Paradise is an impressive, passionate love letter to Springsteen and his punk rock acolytes and a damn fine album to start a career on.

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