INsite September 2020 Issue

SEPTEMBER 2020

C

8 YEARS! 2 G N I T ELEBRA

INSITEATLANTA.COM

VOL. 29, NO. 2 FREE

Joe Bonamassa John McCutcheon Heidi Newfield

Pizza

Guide

Atlanta's Hot Spots for Dine-in & Take-out

CONTENTS • SEPTEMBER 2020 • VOLUME 29, NO. 2

28 R AT I N G CELEB

YEARS!

Atlanta’s

Entertainment Monthly

INTERVIEWS

SIZE 3 FEET 4 FEET 6 FEET 8 FEET 10 FEET 12 FEET

FEEDS 6-12 People 8-16 People 10-20 People 16-32 People 20-40 People 24-48 People

PRICE $31.50 $42.00 $61.50 $82.00 $98.00 $117.00

08 Joe Bonamassa 09 William Bell 10 John McCutcheon 11 Heidi Newfield 12 Webb Wilder 13 Shehehe

09

10

FEATURES 06 Out On Film 07 Pizza Guide

Atlanta's BEST SUBS 14 Years Running!

COLUMNS

11

03 Atlanta on a Dime 04 New Releases 05 Station Streaming 06 Movie Reviews 12 14 Albums

insiteatlanta.com STAFF LISTING 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 Movie Editor Steve Warren s.warren@insiteatlanta.com Music Editor John Moore john@insiteatlanta.com

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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 Joe Bonamassa appear. No content, i.e., articles, graphics, John McCutcheon Heidi Newfield designs and information (any and all) in this publication may be reproduced in any manner without written permission from publisher.

SEPTEMBER 2020

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Please see our Pizza Guide on page 7!

PG 2 • September 2020 • insiteatlanta.com

INSITEATLANTA.COM

VOL. 29, NO. 2 FREE

S! TING 28 YEAR CELEBRA

Pizza

Guide

Atlant a's Hot Spots for Dine- in & Take- out

stations throughout Piedmont Park.

Seperate challenges will be online for those who want to do the Challenges in their own backyard or home.

EVENTS HAPPENING FOR SMALL CHANGE IN ATLANTA

Know of a low cost event happening? Event@AtlantaOnADime.com

By Marci Miller

2020/21 Season Announced

SCHWARTZ CENTER FOR ARTS Emory University; 1700 N. Decatur Rd. Schwartz.emory.edu 404.727.5050

Schwartz Center for Performing Arts.

Tickets are available through the Schwartz Center Box Office, on their website or by calling 404.727.5050 Monday–ursday, noon–6 p.m.

September 25-27; October 2-4

TASTE OF THE FAIR Marietta, GA

Jim R. Miller Park lot on Callaway Rd. 770.423.1330; Northgeorgiastatefair.com Taste of the Fair, is a drive through fair food event to benefit MUST Ministries.

Featuring all of your favorite fair foods, including corn dogs, caramel apples, pizza, cotton candy, Polish sausage, funnel cakes, turkey legs, deep fried Oreos, and more.

Participants enter the one-way fair food route and decide if they would like to do walk-up or in-car service. Admission and parking is free. List of vendors available online. Canned goods will be collected for benefit. Each person that donates 7 nonperishable can goods will receive a free ticket to the 2021 North Georgia State Fair.

Friday, September 11 & October 9

FERNBANK MUSEUM

767 Clifton Rd. 404.929.6300 Fernbankmuseum.org Fernbank’s popular adults-only program, Fernbank After Dark, is back. Offered the 2nd Friday of each month, Fernbank After Dark offers a variety of unique and physically distanced after-hours experiences for grown-ups, including outdoor explorations in WildWoods, museum exhibits, live music, bars, tapas menus, and special, themed science programs. Exclusively for ages 21+, Fernbank After Dark is a safe and ideal event for date night, a safe way to enjoy a night out with friends, or a special experience for first-time visitors. Each month’s theme is centered around a different area of science, with tailored and unique programming that is interactive and fun. Get tickets at FernbankMuseum.org/AfterDark.

e Schwartz Center for Performing Arts at Emory University has adjusted the fall September 1 - 30 concerts of its 2020–2021 Candler Con- THE GREAT DOG CHALLENGE cert Series to launch virtually in Septem- Piedmont Park or at Home ber, with the hope to return to live Thegreatdogchallenge.com performances in January 2021.

Due to some previously announced Challenge is a social distanced event in artists being unable to appear, the fall con- Piedmont Park or in your own backyard cert calendar has been revised to include a during the entire month of September for rescheduled performance by Jane Bunnett humans and their dogs. Enjoy a field day and Maquequeand a new performance by with challenges for you, your pup and your Junction Trio–with critically acclaimed pi- family to compete against other Atlantans.

Take on e Great Dog Challenge: Be anist and composer Conrad Tao joining visilly, playful and creative while you comolinist Stefan Jackiw and cellist Jay pete with other Atlantans. Join together as Campbell. e series will also feature a team with your dog and take on the ird Coast Percussion performing PerChallenge.

Choose the Challenge version petulum by Philip Glass; however, Glass’s that works for you.

Its free to participate. appearance will be rescheduled to a future Each Challenge version qualifies you for date. Spring 2021 concerts remain as prizes to be the Atlanta Top Dogs. Prizes scheduled, but are subject to change based include 100’s of dollars in Amazon gift on guidance from Emory University and cards and dog monthly treat boxes and public health officials.

All virtual concerts are presented online local business give a ways. at schwartz.emory.edu/virtual-stage. All e Piedmont Park Challenge is available in-person concerts are presented in the on their website revealing the Challenge RECEIVE UPDATED EVENTS WEEKLY. SIGN UP BY EMAILING SUBSCRIPTIONS@ATLANTAONADIME.COM ENTER ON THE SUBJECT LINE: SIGN ME UP INSITE!

SAY HELLO TO AUTUMN

WE’RE OPEN

Atlanta’s favorite adult science night, Fernbank After Dark, is back and taking place the 2nd Friday of each month. Info at FernbankMuseum.org/After Dark

A WORLD OF WOW Buy tickets at FernbankMuseum.org

Atlanta’s Science and Nature Experience insiteatlanta.com • September 2020 • PG 3

RESCUE DOG GAMES HAS GONE VIRTUAL!

HOME THEATER

NEW RELEASES

THE LATEST DVD, BLU RAY & VOD RELEASES

By John Moore

and tries to start her life again after his death. Thanks to a series of bizarre unexplained happenings, Cecilia begins to suspect that her ex is still alive and even more dangerous.

The latest version of this story is both remarkably contemporary and surprisingly believable making it that much more terrifying.

THE KING OF STATEN ISLAND

THE HUNT (Universal)

Taking place all month long...

PIEDMONT PARK OR IN YOUR OWN BACKYARD!

RescueDOGGames.com

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C E L E B R AT I N G

28 YEARS!

Check out our new website at insiteatlanta.com

The Hunt’s release was sabotaged in part because pro-Trump conservatives – who had not watched it – painted it as an example of “Liberal Hollywood” showing their contempt for Trump supporters by having them hunted for sport. Ironically, it’s the liberals in the movie who come off as the obvious villains here, led by a satisfyingly vicious Athena Stone (Hillary Swank). The plot does center on a group of wealthy, out of touch liberals who decide to kidnap Trump supporters, knock them out, fly them overseas and eventually hunt them. At the risk of giving too much away, one of the potential victims, Crystal Creasey quickly turns the tables on the NPR-quoting hunters. Along with an inspired story line that holds your attention to the very last moments, the movie is crammed with dark twisted humor.

EVIL – SEASON ONE (Paramount)

This little talked about series on CBS deserves a much wider audience. The show focuses on a skeptical forensic psychologist (Katja Herbes) who is paired with a former journalist studying to be a Catholic priest (Mike Colter) to investigate supernatural events that may or may not be tied to demons (think The X-Files in a religious setting). As simplistic as the synopsis sounds it works remarkably well thanks to strong writing and some legitimately thrilling moments. Thankfully, the show has been picked up for another season.

THE INVISIBLE MAN (Universal)

PG 4 • September 2020 • insiteatlanta.com

There have been countless attempts

by Universal to reboot the classic H.G. Wells story, but thanks to an inspired modern twist on the classic tale, the studio has finally turned in possibly the best and easily the scariest telling yet of this classic monster movie. Written and directed by Leigh Whannell, the movie focuses on Cecilia Kass (Elisabeth Moss) who flees her abusive, controlling tech genius boyfriend (Oliver Jackson-Cohen)

(Universal) Judd Apatow’s latest – released into the wild digitally when COVID shut down movie theaters – has a lot of the hallmarks of his other movies (Trainwreck being the only real exception): An immature man boy; humor wrapped around emotional drama; and about 20 mins. too long. The movie centers around Pete Davidson’s Scott, a 20-something slacker whose firefighter father died when Scott was 7.

He lives with his mom and spends his days getting high with his buddies and giving bad tattoos. His routine and life are knocked out of whack when his mom starts dating another firefighter. Davidson is flat, pretty much playing every character he does on SNL, but his co-stars, Marisa Tomei as his mom and Bill Burr as her new boyfriend do all the heavy lifting flawlessly and make up for Davidson’s one-dimensional character.

A TRIP TO GREECE (IFC)

The third part of a trilogy with the same characters, originally run as a TV show in the UK but edited into a movie, A Trip To Greece finds Steve Coogan and Rob Brydon essentially playing fictionalized versions of themselves. The two sort of friends spend almost a week in Greece visiting restaurants and Greek ruins and debating everything from history and democracy to relationships and just about everything in between.

The duo, though both pretty unlikable in character, make for compelling viewing. A solid end to this trilogy.

TV

Be st Of At lan ta

Station Streaming

SHOWS THAT DEFY CONVENTION TheCountry Boys Lovecraft

(20 01 -2 01 9)

NOW OPEN FOR DINE-IN!

BY BENJAMIN CARR

T

HESE DAYS WE’RE SPENDING less time with friends and zero time in crowds. We’ve coordinated masks to match our outfits. We’re working remotely, alongside our children and the world just feels like it’s gone nuts.

In these unprecedented times it’s fun that some new shows have also started by going completely bonkers as well. Episodes where anything can happen fit with the times and makes viewers feel less alone.

LOVECRAFT COUNTRY (HBO)

A beautiful series that goes crazier every minute, this new 1950s HBO horror drama has a variety of heroes fighting scary monsters, but none of the fanged, bloodthirsty creatures in it are scarier than the racism the characters face every episode.

World War II veteran Atticus Freeman (Jonathan Majors) returns home to Chicago after receiving a weird letter from his estranged father Montrose (Michael K. Williams). Upon arrival, his Uncle George (Courtney B. Vance) tells him that Montrose is missing. So the two of them, joined by their fiery friend Letitia (Jurnee Smollett), go on a journey into segregated America to find him. And then things get weird.

Warlocks, demons and magic prove threatening, and our heroes never want to get caught out after dark.

The series, produced by J.J. Abrams and Jordan Peele, is stunning and bizarre. As episodes continue, the show becomes more unpredictable and insane.

TEENAGE BOUNTY HUNTERS (Netflix)

Perhaps the best Atlanta-set series since Atlanta, this teen comedy is absolutely bananas in its premise and execution. It is also an exaggerated version of the city and people that many of us see every day in the megachurches, yogurt shops, country clubs and strip clubs in

the metro area.

Fraternal twins Sterling and Blair Wesley (Maddie Phillips and Anjelica Bette Fellini) are both “nice, good girls” who attend a private Christian high school. Thanks to their Republican upbringing, they are also armed badass sharpshooters and strong, witty personalities.

After a car accident leads them to nab a bounty hunter’s target, former cop Bowser (Kadeem Hardison) takes the two under his wing, teaching them how to track and nab escaped felons. Meanwhile, they also have to navigate adolescence in a conservative culture we don’t often see portrayed.

The leads have phenomenal chemistry, the writing is savvy. And it is excellent seeing Hardison on TV again. This was charming and addictive.

We have taken measures to ensure your dining experience is safe and enjoyable as always.

See list of new guidelines websit on our website.

THE GOES WRONG SHOW (Amazon Prime)

From Mischief Theater, the makers of the Broadway hit The Play that Goes Wrong, this BBC farce series, available on Prime, is an anthology of sorts. Each week, a college theater troupe from Cornley, England, stages a different half-hour play and broadcasts it to the nation.

And, each week, some aspect of the play from errors with the set, props or actors - goes chaotically awry to hilarious effect. But the show continues to go on.

One episode in particular - 90 Degrees - is a comedy masterpiece, one of the funniest things I have ever seen. The play performed is a Southern melodrama, in the style of Tennessee Williams, with its title a reference to the terrible heat. However, the set designer preparing the stage has accidentally built portions of the set sideways. And the director’s quick fix is to change the position of the cameras, making the cast perform full scenes in sideways rooms.

The result is a visually stunning bit of dangerous, gravity-defying comedy that absolutely must be seen.

Teenage Bounty Hunters

CANDLER SERIES

CONCERT SCHWARTZ.EMORY.EDU 404.727.5050

Camille Thomas, cello Performing April 9, 2021 Photo by Edouard Brane

insiteatlanta.com • September 2020 • PG 5

MOVIES

FILM

Movie Reviews

BY STEVE WARREN

NEW FILMS ON VOD AND STREAMING (AND IN SELECT THEATERS) MULAN (PG-13) (Disney+)  Like Yentl with a sword instead of songs, Hua Mulan (Yifei Liu) proves a woman can take the place of a man, as long as she looks like a man.

Not strictly a remake of Disney’s animated film of a generation ago, Mulan is based on the same Chinese legend. At 16 (though twice that age, the actress looks pretty convincing), Mulan is a skilled acrobat and martial artist. She doesn’t score as high with the local matchmaker as a potential bride. She has great chi, her father (Tzi Ma) says, but “Chi is for warriors, not daughters.”

Then, a disabled veteran, he gets drafted. Well, the Emperor (Jet Li), under threat from Northern invaders led by Böri Khan (Jason Scott Lee), decrees that each family must send one man to the army, and he only has daughters. To spare her father, Mulan sneaks off with the family sword and armor, dresses as a male and reports for duty.

Böri Khan is assisted by a witch (Gong Li), but they and their troops are no match for Mulan.

She may be a girl but she has the great balls of China. Directed by Niki Caro, who shot mostly in her home country of New Zealand, this Mulan is visually spectacular, though some effects are so obvious it might as well be animated. There’s too much about the exotic time and place for young viewers to absorb and the movie should have been tightened a bit. The climactic battle between Mulan and Böri Khan is less exciting than some of the earlier ones, and the anticlimax that follows is far too long. Still, it looks great, features almost every Chinese actor known to Americans, and tells a feminist tale that will resonate with contemporary audiences. All that makes Mulan welcome, even if it overstays its welcome a bit.

GET DUKED! (R) (Amazon Prime) 

Surprising is the word for this Scottish comedy that deserves a good-sized cult. Of course I’m in a bind because “surprise” is a 20thcentury word for “spoiler,” so I can’t give any away. Therefore I will have to make it sound boring and leave the more adventurous among you to discover the surprises for yourselves. I’d never heard of the Duke of Edinburgh Award but apparently it’s a real thing, even in the U.S., used to encourage teenagers to realize their dreams. Here it’s used that way for Ian (Samuel Bottomley), a friendless outsider; but it's used as punishment for Duncan (Lewis Gribben), Dean (Rian Gordon) and wannabe rapper DJ Beatroot (Viraj Juneja). The four are sent with their teacher on “a life-changing experience,” a three-day camping trip in the Scottish Highlands

where, a farmer they encounter warns them, “there’s danger everywhere.” They learn the truth of this when a man they call “The Duke” (Eddie Izzard) starts shooting at them. But they brought along some hash to put the “high” in Highlands, so things could be worse. Then they get worse.

And sometimes better. A couple of local cops get the impression something’s going on that will give them someone more exciting than a bread thief to pursue. The problem for most Americans is that the Scottish accents are so thick you can cut them with a fork (inside joke for those who have seen the movie). Subtitles would not have been out of order. You can follow the plot without understanding every word, but I’m sure I missed a lot. Anyway, writer-director Ninian Doff, previously known for music videos, has made an impressive feature debut.

THE PERSONAL HISTORY OF DAVID COPPERFIELD (PG-13)

1/2 With In the Loop, The Death of Stalin and the series Veep, Armando Iannucci has prepared us to expect the unexpected; but I wasn’t ready for this. Charles Dickens’ 624-page novel is turned into a two-hour movie without eliminating many characters or events, so it feels like a trailer for a longer work. I don’t know if Dickens’ characters went through so many drastic changes in their life circumstances, but what happens to these people contradicts everything we think we know about the class system in Britain. We can’t believe our eyes either, thanks to colorblind casting, starting at the top with Dev Patel, of Indian descent, as the all-English David. A few Black actors play characters who would obviously not be Black – a win for diversity but a distraction when you’re trying to follow the complex plot. In a framework scene David is telling the story of his life, which we also see him writing as a book, to an integrated audience in a posh theatre. David is born after his father dies. Years later his mother remarries and he’s sent to London to work in his nasty stepfather’s bottle factory.

He becomes a proctor, a lawyer-adjacent profession, falls in love twice, lives at various times with his Aunt Betsey (Tilda Swinton) and her cousin, Mr. Dick (Hugh Laurie); Mr. Micawber (Peter Capaldi) and others; and is betrayed by Uriah Heep (Ben Wishaw) and James Steerforth (Aneurin Barnard). And if you’re not confused yet, Iannucci turns the serious novel into a sort of comedy, mostly by having his cast overact. The period settings are great, especially the overturned boat the Peggottys live in, and there’s lots of terrific content; but you’ll be too busy trying to make sense of it all to enjoy it as much as you’d like.

See the rest of our movie reviews at insiteatlanta.com/movies.asp

YOU DON’T HAVE TO BE OUT TO BE OUT ON FILM W

BY STEVE WARREN

HEN THE 33RD EDITION OF Out on Film, Atlanta’s LGBTQ film festival, comes to town Sept.

24-Oct. 4, it will be mostly virtual. Yet again Out on Film has amassed dozens of features and even more shorts that appeal primarily to a niche audience.

There will be livestreamed events, including the presentation of the ICON Award to Margaret Cho, a conversation with screenwriter Kevin Williamson, a celebration of the 20th anniversary of Del Shores’ Sordid Lives, and talks with directors and some cast members of more than a dozen festival films.

For more information, check the website at outonfilm.org.

L is for Lesbian SURVIVING THE SILENCE (Sept. 24)  Atlanta’s Cindy Abel profiles Army nurse Col. Pat Thompson, who presided over the military review board that dismissed Col. Margarethe (Grethe) Cammermeyer for admitting she was a lesbian. Spoiler alert: Pat’s a lesbian too.

AHEAD OF THE CURVE (Sept. 25)  From its start in 1990 as Deneuve, Curve has been a glossy magazine that celebrates lesbian life. Founder Franco Stevens is profiled by her wife in telling the magazine’s history and questioning its uture.

THE WHISTLE (Oct. 3) 1/2 Albuquerque lesbians reminisce about their high school days in the ‘70s and ‘80s, and a secret whistling code that helped them find each other in the days before social media.

ELLIE & ABBIE (& ELLIE’S DEAD AUNT) (Oct. 4)  Ellie, 17, can’t find the courage to ask her classmate, Abbie, to the prom, until her late lesbian Aunt Tara shows up as a “Fairy Godmother” to advise her. It’s a comedy, but heavy.

G is for Gay DRY WIND (Sept. 24) 1/2 A Brazilian factory worker doesn’t want more from his coworker-with-benefits until a hot guy comes to town who does, arousing jealousy in this colorful drama that makes it hard to celebrate fact from fantasy.

CICADA (Sept. 25) 1/2 Ben (writer-director Matt Fifer) gives up trying to be bisexual when he meets Sam (Sheldon D. Brown), but both men have emotional problems to overcome in a drama said to be “Based on true events.”

THE CAPOTE TAPES (Sept. 26)  Only three chapters of Truman Capote’s “Answered Prayers,” a gossipy look at New York’s glittering jet set, were ever published.

Capote’s friends and enemies, and the late author himself, discuss why.

MULAN PG 6 • September 2020 • insiteatlanta.com

BREAKING FAST (Sept. 26)  A romantic comedy set in West Hollywood finds a practicing Muslim (Haaz Sleiman) falling in love with an All-American guy

Breaking Fast

(Michael Cassidy) over a series of dinners during Ramadan.

MONSOON (Sept. 27)  Henry Golding (Crazy Rich Asians) returns to Vietnam for the first time since his family fled the country when he was a child. While exploring like a semi-tourist, he also finds a romantic possibility.

THE STRONG ONES (LOS FUERTES) (Sept. 27) 1/2 Visiting his sister in southern Chile, Lucas meets Antonio, a local fisherman. The romance that develops makes them both question their plans for the future. One will have to change if they’re to stay together.

GIVE OR TAKE (Sept. 29)  Without a will, do a gay man’s assets go to his partner or his family? That’s the issue faced by a New Yorker when he confronts the man living in his late father’s Cape Cod house.

DRAMARAMA (Oct. 4)  The final pre-college murder mystery slumber party of a group of drama nerds finds one boy still struggling to come out, at the risk of alienating his more religious friends.

B is for Bisexual TWILIGHT’S KISS (Sept. 28) 1/2 Gay life begins at 65 for Hoi and 70 for Pak, who have fooled around while raising families in Hong Kong; but neither has met a man he could get serious about, until now.

SHIVA BABY (Sept. 30) 1/2 Bisexual Jewish college senior Danielle (Rachel Sennott) runs into her current sugar daddy and her ex-girlfriend at a gathering after a funeral. It is too late to change places with the deceased?

T is for Transgender KEYBOARD FANTASIES: THE BEVERLY GLENNCOPELAND STORY (Oct. 3) 1/2 A charming musician who lived as a female for almost 60 years tells how he found worldwide acclaim when a 1986 recording of his folk-electronica music was discovered in 2015 by a Japanese record collector and successfully reissued.

Q is for Queer (i.e., all of the above) or Questioning CURED (Sept. 27)  This documentary about the LGBTQ movement concentrates on the strategy and tactics of the campaign that led the American Psychiatric Association to remove homosexuality from its list of mental illnesses in 1973.

Taste of the Month - Pizza!

Where to Go for the Best Pizza in Town Johnny’s NY Style Pizza

Over 50 Atlanta area locations: Order online @ JohnnysPizza.com Johnny’s Pizza is synonymous with great pizza and subs in Atlanta. The secret to their success is in the preparation. They always use the finest ingredients.

Johnny’s specializes in NY style pizza, They have several house specialties including the Johnny’s Deluxe, Italian Special, Veggie, Steak & Cheese, Pesto and Buffalo Chicken. There are plenty of individual toppings to create your own masterpiece. Also on the menu are subs, salads, sandwiches and other popular Italian dishes including calzones, strombolis, and lasagna.

Johnny’s restaurants offer dine-in, take-out and delivery. Please check with your local store to find out their latest hours and dining options. You may always call or order online for takeout, curbside pickup and contactless delivery. Go to JohnnysPizza.com to find the location nearest you.

Mo’s Pizza

3109 Briarcliff Rd. 404.320.1258 MosPizza.com Feel at home at Mo’s, your neighborhood eatery offering a wide variety of lunch and dinner specials to please any palate. Mo’s has been serving up great pizza in Clairmont / N. Druid Hills for over 30 years! Everything is made using the freshest ingredients including the dough built from scratch every day. Menu highlights include Mo's Special, Meat Lovers and BBQ Chicken pizzas and you will love Mo’s traditional American fare like hamburgers, salads, sandwiches and more. Mo’s Pizza is currently open for Dine-In, Take-out and Delivery. Inside tables have been removed and spaced out while they offer a huge dog friendly deck to hang out on and soak up the sun! Stop in Monday nights and get a Large Cheese Pizza for just $9.00.

Mo’s is one of the longest running pizza joints in Atlanta, come in and see why they are among the best.

Harry’s Pizza and Subs

2150 Powers Ferry Rd. 770.955.4413 harryspizzaandsubs.com Harry’s Pizza & Subs has been serving the north Atlanta community for over 30 years. This family owned and run restaurant specializes in New York style pizza but they are also known for their chicken wings, oversized salads, and mouthwatering sandwiches. Harry’s offers daily specials on menu items and always has a special on draft beers. Try their Chipotle Turkey burger which comes with fries or onion rings and drink $8.99. Come Wednesday nights and play a few rounds of BINGO or on a Thursday for some family fun weekly trivia.

Harry’s Pizza & Subs is committed to the health of their customers and staff. The restaurant recently underwent a heavy deep cleaning by well-respected virus cleaning service Enviro-Master and received their hygienic certification. They are open from 11am (noon on Sunday) to 9pm daily for dine-in and take-out. Delivery is offered after 5:30 pm. Check their Facebook page for updates. Stop by and visit Rich, Ilene, and the family and see for yourself why Harry’s is always filled with happy, pizza loving customers!

Fritti

309 N. Highland Ave. 404.880.9559 Frittiatl.com Located in the heart of historic Inman Park just walking distance from the Atlanta BeltLine, Fritti is nationally recognized for its pizza and state of the art wood-burning oven. This world class oven can maintain a temperature of 1,000 degrees and cooks pizza unlike anything you have ever experienced.

Fritti serves authentic Neapolitan Pizza that is prepared according to traditional artisan methods. The dough is made with Caputo flour and natural yeast, tomato sauce is hand milled and they use locally produced fior di latte mozzarella. Try their Salsiccia e Pepperoni (Italian sausage and roasted peppers), the Cotto e Funghi (Crimini and Portobello mushrooms with cotto ham) or the vegetarian Estiva (fresh tomato, red onion & arugula). Fritti offers a variety of antipasti dishes including offerings of funghi fritti (fried mushrooms), fried calamari, classic Sicilian arancini and bruschetta. Also find a bevy of delicious salads, Italian Skewers and pizza-bread Panozzi pizza-bread paninos. Their patio is among the hottest places to be in Inman Park as the entire dining room opens up to the lively street scene. Service staff are provided with brand new KN95 and surgical masks for every shift, as well as gloves, which they are required to wear. insiteatlanta.com • September 2020 • PG 7

MUSIC

FIT AS A FIDDLE

When it Comes to Rocking the Blues, Joe Bonamassa Doesn’t Fiddle Around

BY LEE VALENTINE SMITH

I

T’S NOT UNUSUAL FOR A JOE Bonamassa album to reach number one. His latest, A New Day Now recently achieved his usual goal scoring his 23rd number one chart smash. The latest accomplishment is especially notable because it’s a revisit to his first album, released twenty years ago next month.

A New Day Yesterday was the national introduction to the child prodigy who’d already opened for B.B. King and a jammed with a host of other luminaries. The debut record ignited a career that two decades later, presents the oft-lauded musician looking back on his earliest work.

Released just a month ago via J&R Adventures, the album isn’t just a stale reissue, the entire record is completely re-sung by Bonamassa and remastered by frequent collaborator, producer Kevin Shirley. In a press release, Shirley says: As time has gone by, Joe’s vocal style particularly, has changed enormously. He’s grown from an adolescent shouter to a very mature and soulful singer.

From early on in our working relationship, Joe has mentioned that he would really like to have another shot at those vocals, and asked that if he did redo them, would I remix his first solo album.”

Now, with that project under his well-worn guitar strap and an instrumental sideproject from The Sleep Easys also available, he continues to release new music from marathon sessions at Abbey Road Studios in England. Next month, Royal Tea, an entire new album of material will be issued.

All of this work comes on the heels his recent production work on a new LP from Dion, weekly programming for Sirius XM’s Bluesville channel as well as artist interviews and performances on his own Facebook page.

Since his touring schedule has been derailed by the pandemic, he’s busy with a new way to play live. This month for an online performance benefitting his non-profit Keeping the Blues Alive Foundation (KTBA), Bonamassa his band will perform Royal Tea in its entirety a full month before its official release at the historic Ryman Auditorium in Nashville.

INsite spoke with the busy performer on his way to get a Covid test.

How’s it going?

I’m great, just busy as usual. Right now, I’m on my to get a virus test. We’re doing a livestream at the Ryman and in order to enter the building, we’ve got to be as fit as a fiddle.

So there’s that and I’m helping my producer Kevin Shirley. He’s moving out of his studio and totally to Australia and he’s got about fifty guitars that need to be sold, so I’m the guy.

Before you get to the doctor’s office, we should talk about Royal Tea. It’s a heavy one.

Thanks! Well, it’s a heavy English blues record.

I’ve read that was the vibe you were going for and you certainly succeeded.

Well the whole thing about working in England, working with Bernie Marsden, Pete Brown, that’s what I was hoping for and I’m glad it worked out that way.

Since you covered Free and Jethro Tull on your first album, featuring the British sound is a labor of love.

PG 8 • September 2020 • insiteatlanta.com

Absolutely. I’ve said it a number of times now, but it’s true - the whole adventure was a bucket-list thing for me. It’s the sound I basically grew up with in my head. Some of my first influences were heavy British bluesrock. I mean, artists like Jeff Beck, John Mayall and the Bluesbreakers, Eric Clapton and Cream. My father had a lot of those records and I loved them. I would have been about twelve years old when I first got into them.

And it was the sound I started hearing in my head. So once I heard Cream, it was like, ‘Okay, I’m in. This is it. That’s what I want to be.’

Since you mentioned Cream, tell us about working with [lyricist] Pete Brown. Obviously he means a lot to you as an influence.

Oh yeah. He’s 80 years old and he’s still got that biting, witty sense of abstract poetry going on. I met him ten or twelve years ago at a festival. He introduced himself to me and said, ‘Hi, I’m Pete Brown, you may not know me.’ I said, ‘Oh I know exactly who you are.’ We just became friends. It’s just an ideal situation because Bernie [Marsden] and I have been friends for twelve years, too. It’s really great because we all collaborate really well together.

You took the project to Abbey Road to record.

Was the album ready to go or did you write in the studio?

We actually wrote the record in 2019. We had the thing done by the end of June. Then [drummer Anton Fig] broke his ankle and he had to go home. So we pushed it back to January of this year. Thank God we were able to record it before the world exploded because we’d have had to go back home again. So we got it finished in the nick of time. Then we went on tour until March and then it was over.

What’s it like recording in such an historic studio? Is there a heavy vibe in that building?

Oh yeah, but the thing you have to remember, no matter where you record, you have to remember to play the studio. You can’t let it play you. It’s a well-maintained recording studio, like you’d have in Atlanta or Bearsville or anywhere. But the Beatles did record there and Jeff Beck and a billion other great things.

But you just want to make sure that your own songs are good.

As a music fan, it would be easy to get caught up in the history.

It’s definitely a hallowed hall. But there are a lot of them, all over the world. Whether it’s the Fox in Atlanta or the Royal Albert Hall, so you have to be kinda hip to that.

Most people would just reissue their first album, but for A New Day Now, you basically rerecorded it.

Yeah, it’s an interesting way to approach a reissue. Basically I resung the record. I wanted it to be able to listen to it myself and some of the master tapes were lost. In the process, some of the takes are different. We did include some rare demos but the difference is we basically stripped the house back down to the beams and the foundation and put up a new exterior. It’s a different take on the same record, remixed it, re-sang it and pulled from the masters. I never felt like I deserved a guy like [original producer] Tom Dowd to produce my first album. I was so young as far as being an artist.

But I think Tom saw a pebble in a stream, that could eventually become this nugget of gold, for lack of a better term. He had a vision for me that I didn’t see. I wanted to pay tribute to him as a man who believed mentored me through that process. So I guess the new version is a forty-year-old edition of my twenty-year-old self. I found that it was hard to sing because of my original lack of melody.

What was it like working with such a legendary producer, especially on your first album?

He was a master of everything. There was no second rate with him. No compromise. I don’t think I was developed enough as a musician to rise to his level. But like I said, he believed in me and I certainly gave it my best. When we decided to reissue it, I asked Kevin Shirley to help remix it as a tribute to him. So now I’ve been fortunate to have been surrounded by two of the best record producers anywhere.

Kevin produced Royal Tea and you’re presenting it in a new way, as well. You’ll be playing the whole record in an otherwise empty Ryman Auditorium. That’s a unique concept.

Yep. Well, I started off my career playing in empty halls and that’s how I can end it, too!

By livestreaming it, you’ll be playing to an audience many times the capacity of the Ryman.

Hopefully. They way we’re looking at it is, the livestream is a whole different business.

If where our projections are, sales-wise, by the time we get to the show on the 20th, it’ll at least be the equliivent of a stadium show. There could be forty or fifty thousand people watching it. That’ll be pretty cool.

We thought it’d be a good way to launch the record. For me personally, it’s a good way to get the band back together and playing, in some way, shape or form this year. The regulations have been changing every hour it seems. At first they said we could have maybe a hundred and twenty-five people there. But the Ryman holds 2,300 people.

So what we’re gonna do, for a donation to our charity to help musicians, we’ll actually print out your face, put it on a stick and sit in the pews there at the Ryman. So the audience will be there virtually and every “seat” will have a front-row view. We’ll be back on the road when it’s time. And really, playing to an empty house will time-stamp this show. Everybody’s gonna remember 2020, for good and bad. This show will be a snapshot of a particular moment in time.

For tickets to view the livestream and to pre-order Royal Tea, visit jbonamassa.com.

MUSIC

STAX EXPLOSION

Atlantan William Bell Looks Back on the Influential Memphis Music Empire

BY LEE VALENTINE SMITH

S

TAX RECORDS IS AN ICONIC ONEstop for the music and cultural history of southern soul. Besides Motown, no other label so thoroughly documented a sound and a movement. This year, the good folks at Concord, via their audiophile-fave division Craft Recordings, continue to present a series of collectible reissues and newly collected editions of the Stax catalog on all popular formats including digital and vinyl.

Many of the titles are available on vinyl for the first time since the late ‘60s and the deluxe sets span the many artists from the company roster. As part of the label’s “Made in Memphis” reissue series, the lacquers for most are cut and then pressed in Memphis, not far from the lovingly restored Stax Museum and studio.

With the spotlight on the label’s stars of the day – Otis Redding, Booker T and the MG’s, Eddie Floyd, the Mad Lads, the Staple Singers, Albert King and many more, it’s a good time to revisit the legacy of Stax hero William Bell.

An Atlanta resident since 1969, Bell - now 80 - was signed to Stax as a teen and wrote the soul standards “You Don’t Miss Your Water,” “Born Under A Bad Sign” and “Everyday Will Be Like A Holiday.” In 2016 his album on the revived label was released to international acclaim and ignited a new interest in the cultural zeitgeist of the popular Tennessee landmark.

INsite spoke with Bell recently as Craft continues to roll out new titles from the reissue series including the two-album Soul Explosion set last year and the full-length LPs vault on 180-gram vinyl. The new batch includes The Bar-Kays’ Gotta Groove, Melting Pot from Booker T. & The M.G.’s, Delaney & Bonnie’s Home, David Porter’s Victim of the Joke? An Opera, and Johnnie Taylor’s Who’s Making Love?

As usual, all the titles are cut from their original analog tapes by Jeff Powell at Take Out Vinyl and manufactured at Memphis Record Pressing. These reissues continue the lebel’s ongoing celebration of Stax, and of the fivedecade anniversary of the legendary company’s “Soul Explosion” - an era of rebuilding that followed a split from Atlantic Records. During this period, the newly independent label began to sign emerging talent while releasing an extraordinary collection of 27 albums and 30 singles in just a handful of months.

In honor of September’s Gospel Heritage Month, the music of The Gospel Truth Records is being featured. The campaign features the first-ever digital releases of 25 iconic albums from the label’s rich catalog. The titles will be released chronological order. In addition to the digital reissues, the promotion also includes a singles compilation set, set to drop September 17th on digital, and October 23rd on vinyl and CD formats, as well as several playlists and brand new video content.

The offerings include titles by the Rance Allen Group, Maceo Woods and the Christian Tabernacle Concert Choir, Rev. T.L. Barrett and the Howard Lemon Singers.

If that wasn’t enough, Stax will also be releasing an original content series focusing on the label’s pivotal influence on the city of Memphis and the world of music in general.

Shot in in and around the city, a variety of guests are slated to share their career and life experiences – as seen through the multicultural lens of Stax Records. Each segment is scheduled to feature a different artist and a number of specific vinyl reissues. Featured artists include The Bar-Kays, Johnnie Taylor,

Delaney & Bonnie, and David Porter. Details regarding the series title and launch dates soon to be announced at the label’s website www. staxrecords.com.

First, congrats on all the praise and awards for This Is Where I Live. It’s much deserved.

Thank you, man. It’s amazing that after all these years, to be still in the game. It’s a good feeling.

There’s been a number of good Stax reissue campaigns over the years, but since Concord took over it’s been a completists dream come true. Soul Explosion has been out of print for years, for just one example. The upcoming boxsets will surely make a lot of music fans happy this coming holiday season. It’s music for any occasion or mood.

It’s a good series. There are a lot of gems in every one. You know, as kids we didn’t think any of us would have this kind of longevity. Now when you look back on it, it’s like, ‘Wow, we were pretty good back in those days.’ I’m so happy they are keeping the music alive and available for another generation to enjoy.

Concord has been active with the material for around a decade, but they’re really upping their game this year.

Oh yeah, they’ve been great and we couldn’t be happier about it. So many of us have gone on now, it’s good to have somebody to really work hard and incorporate it into a legacy for not only Stax but the artists and the listeners too.

I think it’s a testament to the music. The songs we did and the times that we did them in. Back then we were going through the struggles and the freedom things. All of those records and performances were kind of like a time capsule of all of that.

Soul Explosion alone is like a scrapbook of those times and a good place to start for anyone who may not be familiar with the story of the turbulent times that literally surrounded the studio.

That’s true. And now, looking back, we’ve come a long way since then. But we’ve got a long way to go, too. It’s amazing to me that the songs have withstood the test of time. Some of them have been used in movies and TV and a lot of people can relate to them, even if you don’t know the history. We were writing about our truth and when you do that, everybody can relate to it, no matter what generation you’re from.

There’s a soulful truth in the music and definite honesty in the actual performances.

Right. Well, we were all coming out of the church, so that in itself helped to learn to be true to what we were singing. We were able to then convey that in lyrical content and in the performance. We could feel the truth of it and all of it remains our true expression. You can get lost for two or three minutes in any one of these songs and come back out, feeling better. We told it like it was but we were kinda positive at the same time. There was always the light at the proverbial end of the tunnel in our songs. People could get something special from the message that way. There was a hope that tomorrow things could be a lot better.

How does it feel for your first major release in 30 years to be on the revived Stax label?

Can you believe that? I was the first male solo act they signed and to be able and go back to

IT’S AMAZING TO ME THAT THE SONGS HAVE WITHSTOOD THE TEST OF TIME. SOME OF THEM HAVE BEEN USED IN MOVIES AND TV AND A LOT OF PEOPLE CAN RELATE TO THEM, EVEN IF YOU DON’T KNOW THE HISTORY.

it after so long away was just unbelievable. My single “You Don’t Miss your Water” kicked things off for Stax on a national level, so it’s a good full circle. To come back so many years later is just phenomenal.

You were just a teenager when that single was released.

Yeah, I was 19 or so. I wrote it when I was 17. It’s amazing that so many iconic artists have covered it. Even in the Stax era, Otis and several different people cut it. But people from

every genre have covered not only my material but all of the Stax artists. So that really speaks to the universal legacy of what we did back then. We just didn’t know how long it would be around. Now I’m 80 and people still love it.

Even the rappers have sampled some of it. It’s extremely rewarding to know that something that was created by some kids back in the ‘60s is still around.

For more information or to order individual titles, visit staxrecords.com.

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MUSIC

GOING (REALLY) SOLO

Multi-Instrumentalist John McCutcheon Creates 41st Album without Distraction

BY LEE VALENTINE SMITH

F

OR CABIN FEVER: SONGS FROM the Quarantine, singer-songwritermulti-instrumentalist John McCutcheon made the most of a selfimposed three-week seclusion. While sheltered at his rustic cottage in the North Georgia mountains, the prolific songsmith penned a plethora of tunes.

The inspirations for his 41st album in a 45-year-career run the gamut from “Front Line,” a touching salute to emergency workers, a tip of the hat to fellow songwriter John Prine, current events (“Sheltered in Place”) and the gentle humor of “My Dog Talking Blues.”

The formerly globe-trotting musician is currently limited to live streaming his clever theme concerts via Facebook Live as he readies yet another album of original tunes. While taking a break from reading Dumas Malone’s monumental Thomas Jefferson biography, McCutcheon spoke to INsite by phone from his home in DeKalb’s Smoke Rise community.

You are one of the most prolific songwriters I’ve had the pleasure of knowing. Last year when we talked, you were releasing your fortieth album. Your prolific output is inspiring.

This is my job. I write songs and record albums and I used to play live shows. It’s all part of it. Maybe the roots of it can be found in the wisdom of my brother. I sent him a link to my new album and he said, ‘God, you’re just like our mom, popping out a new one every year!’ Because I am the oldest of nine and my mother had her first eight in nine years. So I guess the lesson took - but I do take it seriously.

In a world of tracks and playlists, you continue to embrace the album format.

I always have. Even though it seems kind of passé now you can still do the whole Sgt. Pepper’s thing and make it bigger than the sum of its parts. I love the fact that you can do a theme. You can do an all-baseball album if you want.

Or an all Pete Seeger album, as you released just last year.

Right, you can do anything within the album format. I love being the in the studio and I love my engineer and co-producer Bob Dawson. He’s one of my best friends but somehow he makes me sound good.

As a songwriter are you continually saving moments and phrases or does it all tend to come as a structured thought at this point?

I don’t write songs to keep a journal.

I’m a utilitarian songwriter. I’m definitely not an art-for-art’s-sake kinda guy. It’s for the listener. Until I can get it out there to be heard, I feel that the song just isn’t done. As I frequently tell my songwriting students, you can have all these conversations with yourself. You may resolve all kinds of little peas under the mattress but the listener hasn’t been a party to any of it. You can take monumental leaps that might satisfy you but that might just confuse the listener.

You really do discover a lot about the songs once they’re done. I’ve had songs of mine that I wrote for one specific reason and PG 10 • September 2020 • insiteatlanta.com

then somebody will send me a note saying, ‘I used this for my daughter’s wedding.’

I go, ‘Oh! I guess that works. But I never thought of it that way.’

own sort of subconscious sabotage would make me say, ‘Ok, I’m not gonna write today.’

Did you just freeform it or did you stick to That’s a sign of great art - the a schedule? consumer can form their own personal You know, with some of the early stuff I interpretation of it. found I was in a pattern. I’d use language I I don’t know if it’s great was hearing in the news or from art but there are doorways I DON’T KNOW friends of mine who were also through which people can in place. But then all IF IT’S GREAT sheltered enter their own rooms. That’s kinds of things came up that ART BUT THERE had nothing to do with the all you can hope for.

ARE DOORWAYS quarantine or world events or For Cabin Fever was your current. I started to THROUGH WHICH anything writing process the same be influenced by poetry I’d read PEOPLE CAN as usual? The events or conversations that sparked surrounding it were certainly ENTER THEIR OWN an idea or just - good heavens, different. you think of things ROOMS. THAT’S sometimes Right, I’d been in Australia all by yourself. Image that!

ALL YOU CAN for three and a half weeks. The HOPE FOR. whole virus thing just started No outside influences? That’s crazy! Seriously though, I’ve to occur to everybody while read that you were determined to produce I was there. But I’ve been many times and at least one song a day. Was that an I have lots of friends there. I was at this festival - which I’ve been to ten times now early prerequisite or did it just naturally - so there were plenty of old friends I’d happen? see. There were embraces and kisses and That’s how it turned out. The times when I’ve done these ass-in-chair-everyday you know, after a show, someone would challenges, I’ve predicated the notion that I sling their arm around me, ‘Hey let’s take wasn’t going to have a goal. I was just going a selfie.’ So there I was in a tent, playing for 3,000 people at a festival. God knows to write. But at this stage in my songwriting - if I wasn’t exposed I might have been life, I can hit a pretty clear idea of what the arc of the story will be. Most importantly, inoculated! Then I got on two different I know how to finish stuff. Granted, I went airplanes for twenty-four hours for the back and looked at it but in general stuff ride home. I came home to my wife and happened pretty fast. It was like: this is my 89-year-old mother-in-law. I thought, ‘Well the only responsible thing to do here the songwriting gym, you can get stronger is to go off by myself and make sure I’m not as you go along. Things that might seem difficult at first, got easier as time went on. going to kill all my loved ones.’

Some songs just flopped out without much editing. Then toward the end of my stay, it Fortunately you have a cabin, so you can isolate yourself in style. turned into a couple of songs a day.

Yeah we have a little cabin just north We both know that some creative of Ellijay, near Cherry Log. So my dog people, left to their own devices, may not and I went up there and we stayed for accomplish anything. three weeks. It was the first time in my Oh yeah! When I get comments from my professional life that I had no distractions songwriting friends saying, ‘God, you’re to interfere with my job. I didn’t have anything that - either by fiat or by my prolific,’ I think some of it is spawned of

guilt. It’s like, ‘You asshole, you’re spoiling it for the rest of us.’ There’s a great book by Steven Pressfield, called The War Of Art. It’s a really quick one. You can read it in about an hour. It’s just about how we sabotage our work by creating all these reasons not to settle down to do it. Even though once we do it, it is – at once – the most painful and the most satisfying thing you can possibly do.

Exactly. It’s fun once you’ve finished it.

Especially if the eventual outcome is something really public, like a recording.

When you began the cabin project, did you originally envision it to become your next album?

No! Before this, I had thirty songs already in the hopper, planned for an album. Those would probably end up as fifteen at most.

I was ready to go. I had the studio time booked, musicians all set up but when I got home from Australia, I pretty quickly saw that it wasn’t gonna happen anytime soon.

I thought maybe I could do it this summer.

Nobody knew in March that people were going to do essentially nothing to contain the pandemic. So yeah, I have a whole ‘nother album ready to go. Then I found that I had twenty or thirty new songs.

Most solo albums are a team effort, but this is truly a solo project.

I was the only person there. When I sent the files to my producer, I realized how much I missed the whole process of making a record and being in a room with my friends. That was part of my original trepidation about this album, that it was so naked. No overdubs. No harmonies. I didn’t add bass parts. It’s all about being isolated so I wanted to make it sound that way. This is a guy, by himself, playing songs he’s just written. Hopefully they’re a decent way for people to pass the time. If I’m lucky, it might even say something if they’ll listen to what I’m saying.

Cabin Fever is available directly from the artist at folkmusic.com.

MUSIC

SESSION PLAYER

Heidi Newfield’s New Album is a Fresh Start From a Familiar Hitmaker

BY LEE VALENTINE SMITH

S

INGER-SONGWRITER-HARPIST Heidi Newfield may be best known as a founding member of country hitmakers Trick Pony. But her new solo album The Barfly Sessions Volume 1 is destined to change her direction from major-label favorite to soulful indie artist.

Released last month, the genre-defying album, co-produced with Jim “Moose” Brown of Bob Seger’s Silver Bullet Band takes traditional country, Texas swing, roadhouse blues and Memphis soul and filters them through her distinctive style.

Just before the album dropped, Newfield spoke with INsite by phone from her Heidaway studio in Nashville.

Releasing an album is always a hectic time, but now that you’re an independent artist, your to-do list must be twice as long as usual.

I’m a list person and in the past I’ve always been on a major label. It’s busy enough then, but since this is my first album as an indie artist, it’s been a blessing and a curse. It’s a wonderful experience on so many levels and then there are sometimes I just wanna tear my hair out! So I made this list and it is intense. I finally had to step back and go, ‘You know what, this is supposed to be fun.’

Now I’m trying to take things as they go but it’s still intense. We’re trying to get this record out to over 200 roots and Americana stations. It’s all a new thing for me but I’m trying to embrace it and I’m certainly learning a lot as we go along.

But with all that work comes complete artistic freedom.

That definitely comes under the blessing category. I’ve worked for the major labels with some wonderful people who are still my friends. But when you’re on a major, they do tend to sort of put their fingers in the pie.

Especially when there’s been some success.

You have some sales and things start to fly.

Sometimes they may mean well but they’ll come in with a song that is so hideous it’s like, ‘Do you even know what I do?’ So now it’s my turn. It’s like emancipation in some ways and to jump into the co-producing seat, it’s just been very intense.

Tell us a little bit about working with Moose.

He’s just such a nice guy and he’s been a friend for a long time so we have such a great chemistry together. I never felt stifled and delegating who will do what has been a

WE’RE TRYING TO GET THIS RECORD OUT TO OVER 200 ROOTS AND AMERICANA STATIONS. IT’S ALL A NEW THING FOR ME BUT I’M TRYING TO EMBRACE IT AND I’M CERTAINLY LEARNING A LOT AS WE GO ALONG. lot of fun. Like when we cut the track “Blues Is My Business,” I said, ‘Wouldn’t it be great if we could get Delbert McClinton on this?’

So it was fun to be able to just make a call and make those kind of things happen. He’s a busy guy - or he was I should say, back when there was a music business, he was on the road with Bob Seger as his bandleader.

Until this pandemic started, he was really heavy on the road with Bob doing that long farewell tour as we were making the record.

He’s one of those guys that no idea is too weird. With him it’s like the weirder the better, let’s try it!

Going back to the first Trick Pony record, you’re always surrounded by heavy hitters.

Well thank you and it’s always such a pleasure to work with phenomenal musicians and to get to know them. You know, when you’re making a record like this one of the challenges is to find just the right player for just the right song. I wanted to be surrounded by great musicians who could swing and have that intuitive knowledge of the blues. For some songs I really needed that twang sensibility as well. We had a lot of fun just surrounding the songs with all these great players. Like, there’s probably no style of music that [bassist and Joe Bonamassa bandmember] Michael Rhodes for example hasn’t played. Everybody on this record knows where to play and where not to play and it turned into a real band. When we first started the project, the idea was to create this as a band and find our place within the music.

Some artists have a great batch of tunes and a great batch of players but the whole thing seems forced.

Right! I didn’t want it to sound canned.

I didn’t want that over-polished sound I just wanted to sound like a tight band and I think we did it. Some of the songs come to such a together point that at the end it sounds like the perfect train-wreck, you know what I mean? I love playing with guys that really get it.

You mentioned sending this album out to Americana and roots stations but the overall impression you get when you listen

to the entire album, is that it’s a really heavy-hitting roadhouse blues band.

Well thank you. It makes me feel good and that’s one of the things about a successful record, one person can hear more of the honkytonk stuff or the Bakersfield sound and then another person can really pick up on the blues and the Texas feeling. For me, I kind of look at it as a little bit of all of the above. I had really been wanting to make a more bluesy record and so I incorporated that into this one as well. The good thing about Americana is that it welcomes so many different types of music. One thing I really like about putting out a record these days is that in the old days you’d put out one single and then you’d work your ass off on that one song. You could spend a whole year promoting one song and that was the life or death of the entire record. But now, with all these formats you can release one song to each format. That way everybody gets a taste of the album and you can have several songs to appeal to really different audiences.

Some formats might not play “Wrong Side Of The Bottle,” but they would totally play “Three Things” or “Blues Is My Business” so I’m really excited about all the possibilities.

I think the record will have several different lives because of it. It’s a big ol’ huge record and I think it’ll make more people excited about the whole project this way.

In a way, this big step is almost like starting over.

That is exactly true! You know, Americana doesn’t care that I’ve had any sort of success in country and sometimes it can even be a mark against you. I’ve had people ask me right off the bat, ‘Are you prepared to go back to square one and kind of be a new artist again?’ I think it’s exciting because I want longevity. I wanna get better and better. I wanna career like Lucinda Williams or Emmylou Harris. I think back on the Guy Clarks of the world or the John Prines and it reminds me that really is all about the song.

I mean whether you’re Willie Nelson or Ray Charles it’s not about what label they were on our how their music was labeled. It’s all about the song. I’m super excited about the songwriting to come as I am about this album. It’s so thrilling to be thinking

forward to the next one and the next one after that. To put out these songs that hopefully will speak to people. It’s just about finding the song the song that connects and then after you’ve made that connection, then you have to keep the music coming.

You’ve worked with and interviewed a ton of legendary people over the years. Is there ever a point where they become peers and not legends anymore?

When you’re working with people it does sort of even the playing field a bit but I’ve had my nervous moments. It all depends.

Like working with Willie Nelson, he’s just so engaging, we were like peas and carrots.

But these people, these legends, they’ve been everywhere they’ve done everything and to be included by them and then to find them so chill, it’s amazing. They don’t act any different around you, so why should you be scared? There’s just a feeling of being welcomed. So it’s more a feeling of family and camaraderie then being nervous or apprehensive. But you know, in the back of your mind, you’re still going, ‘Wow this is cool.’

Were you nervous when you first worked with Johnny Cash?

I was young and I was nervous that time.

When he walked into the studio, I was sitting with my back to the door just reading a book. It’s funny, they say you could feel Johnny Cash before you saw him, that you could feel his presence before you actually laid eyes on him. Well I was sitting there and I could feel him. It was this aura that he was in the room. I turned around and there he stood by himself in normal clothes! He was just reaching over grabbing some M&Ms from a bowl on the table and popping them in his mouth. He stretched out his hand. He almost said, ‘Hello, I’m Johnny Cash.’ I shook his hand and said, ‘I’m Heidi Newfield and it’s a pleasure to finally meet and work with you.’ He pulled me in and gave me a big hug. I was like, ‘Ok, I’ve got this. I’m good.’

The Barfly Sessions Vol. 1 is available from most music retailers and directly from the artist at heidinewfield.com. insiteatlanta.com • September 2020 • PG 11

MUSIC

THE ECLECTIC WEBB WILDER

The Rockin’ Iconoclast Returns with a Brand-New Album and the Same Old Habits

BY LEE VALENTINE SMITH

F

I started making records that wasn’t the thing they wanted you to do anymore. That was the era where they wanted you to have one certain sound. There’s a lot to be said for being one of those artists that have an instantly identifiable sound or an indelible trademark. Johnny Cash always managed to sound like Johnny Cash. Same with ZZ Top or The Ramones - they could still do different things within their framework.

I like to think I was that guy, too. I think I always sound like me.

OR HIS ELEVENTH ALBUM, ROOTS ROCK stalwart Webb Wilder continues to examine rock and roll’s favorite subjects under a big ol’ magnifying glass.

Night Without Love, released by Atlanta-based Landslide Records, is a sprawling soundscape of love, loss, longing and levity that finds the good-natured troubadour in fine form.

The tracks are a mixture of co-writes with members of his own band (“Illusion Of You,” “Ache and Flake”), Muscle Shoals songwriting legend Dan Penn (“Sweetheart Deal”) For that same reason. You sound like you because you’re and a choice selection of covers, including contributions eclectic. from his old pal R.S. Field (“Night Without Love”) and an I like to quote that Ian Hunter album title, You’re Never obscure nugget from British pub rockers The Inmates (“Tell Alone with a Schizophrenic, you know?

Me What’s Wrong.”)

INsite recently spoke with Wilder by this album, the cover and some of ONCE YOU’VE DONE A For phone from his home in Nashville. the song titles suggest it’s a concept piece SONG LIKE “HUMAN about love. Was that your original intent?

As usual, you’re all over the map of styles ago - was it five? When you CANNONBALL,” THE getA tofewmyyears and topics. The old rock’n’roll staple “Hiage, if you think it’s been one Heel Sneakers” is a fun finale for a really QUESTION IS - WILL year, it’s been three. Whenever it was, enjoyable listening experience. a show one night, me and a group of THEY LISTEN WHILE after You know, sequencing - they say in the friends were just hanging around. We were modern world people don’t pay much YOU TRY TO TURN talking about my old friend [and frequent attention to that kind of thing with Spotify collaborator] R.S. Field. I said, ‘I’ll tell ya IT AROUND AND and downloads and all that. They say radio thing, he’s got this one song that I programmers aren’t gonna finish the whole CONTEMPLATE LIFE one really feel like I’m gonna record for my album anyway but people like you and me, AND STUFF? I THINK next album.’ So I felt like I’d just made a we do! With albums like mine, it’s always to do it. That’s when the title track kinda hard to get the sequencing right IF YOU DO IT RIGHT, promise came in. We used to do it in an old band I because it really is all over the place. was in called The Drapes.

THEY WILL! A good record should be an ‘album’ of different ideas and sounds.

Well that’s what I’ve always thought. There was a band you may have heard of, called The Beatles. They did that. I’m a broken record about it because it means a lot to me. I was in the fourth grade when they took the world by storm and I was already a budding musical snob. Their records were eclectic. They’d do a Chuck Berry song, a showtune and then an original and somehow they’d manage to incorporate all these different kinds of influences.

So you took that Beatle mindset and started making your own records.

Yeah, but I wasn’t anywhere near as adorable. By the time

When did the comic book imagery come into play?

To me, it kinda sounded like the title of one of those comic books that I never knew much about. When I was a kid and I’d buy comics, I used to see these romance-kinda comic books in the rack. I never paid much attention to them because I thought they were probably more geared for girls.

But I thought with that title, to use imagery like that would be the perfect album cover.

Flournoy Holmes did a great job on the art.

He’s a world-class artist. He did my Doo Dad album cover but he also did the Allman’s Eat A Peach and so many great ones. He’s an old friend of Michael Rothchild, the guy who owns the label. He got my concept and just ran with it. I’m knocked out by it - even all the little gag stuff and funny ads he put on the back.

Your Facebook CD release show proved that once again you’re using technology to your advantage.

It’s out of necessity! It’s really been a learning curve - or a learning curveball. I still do a weekly radio show but back at the dawn of satellite radio, I was contacted about doing a show to anchor the Americana programming. Now this was before satellite radio was a thing so basically I got hired by XM before they ever went on the air. Time passed and WMOT was going to an all-Americana format, so radio called again. When this pandemic thing happened, I had to learn how to record it from home. So I just did the CD release show in the same spot, in my basement.

Releasing an album in the middle of a pandemic obviously presents a number of challenges.

Is there ever a good time to release a record anymore?

I mean, I think about my mother and father. They went through the depression and World War II. As time goes on, I think about how unbelievably heavy that was. They were denied a lot of culture and pretty much denied a childhood. Then we come along as these post-warprosperity baby-boomers. In my case, as an old child - a dreamer and spoiled brat. I never thought we’d see these Biblical, horrible things. But my mother used to say, ‘Hard times can come again.’ Now here we are. No matter what happens, there’ll be some ugly scars from it.

Do current events ever inspire your songwriting process?

I’ve tended to dwell on my own inner stuff but I think as I get older, they probably do. I think these times have given me a little bit of a deeper appreciation of things. I feel like

PG 12 • September 2020 • insiteatlanta.com

I finally started growing up just a few years ago and now I’m growing old! But for this one, all these were written before the pandemic and they’ve been around a while.

There’s a kind of a little backstory to every song on the record. I have one on there called “The Big Deal.” It’s about my inner things, but it was also a reaction to outer things.

I’d been asked to sing at the funeral of a dear friend. I’ve sung at one wedding and one funeral and I forgot the words both times! But that particular song is a reaction to a highly charged period. My mother was wasting away in a bed in a nursing home and then I saw all these people from my past at the funeral home. When I came back to Nashville I was just overwhelmed. I thought, ‘Man, I don’t even know how to process all this information.’ Then I thought, ‘Well, I’m not supposed to understand it all. I’m just a human being.’ Because life is a big deal. Whoever told you they know the answer to life is definitely lyin.’

Life is certainly a big deal as we see more and more each day. At this point in your life, do you ever look back and wonder, ‘Should I’ve done things differently?’

Oh, I look back at my life and I always beat myself up. I’m reminded of that song “Coulda Shoulda Woulda.” But I’ve stumbled on one bit of relief for that bad habit: ‘Oh yeah, I coulda done a lot of things different, if I hadn’t been me in the first place.’ You know, you have your own childhood traumas and shortcomings and nobody’s perfect. Everybody has a different trajectory and everybody makes different decisions and mistakes. So it’s like, ‘Maybe it coulda been done better, but maybe not by me.’

Historically you’ve taken those self-effacing-type of mantras and used those powers for the greater good.

People get it, they roll with it and it serves you well.

Well, the trick is - getting back to the Beatles and wanting to do all this different kinda stuff - once you start people laughin,’ how do you make ‘em stop? It’s not easy, but if you can balance it all, it works. I think this album manages to pull it off. Once you’ve done a song like “Human Cannonball,” the question is - will they listen while you try to turn it around and contemplate life and stuff? I think if you do it right, they will!

Night Without Love is available from most retail outlets and via LandslideRecords.Com.

MUSIC

PET PROJECT

Athens Trio Shehehe Release Seventh Album with a Subtle Nod to the Beach Boys

BY LEE VALENTINE SMITH

S

INCE FORMING IN 2011, ATHENS band Shehehe has been an active ingredient in the music and art communities of the famously creative town.

This summer they are releasing Pet Songs, a kinetic collection of bristling anthems, issued by the punk-centric Say-10 Record and Skateboard company in Richmond, Virginia.

While not quite a punk band, Shehehe are definitely not pop but a perfect mixture of the two worlds, equaling a tight approach to energetic rock delivered with gritty, call-andresponse vocals, bookended with surprisingly gentle harmonies. Nicole Bechill sings and plays bass, Jason Fusco sings and plays drums and Noelle Shuck sings and plays guitar.

INsite spoke with guitarist-songwriter Shuck by phone from Athens.

Congratulations on your latest album.

Some bands only have one or two good records in them, but now here you are on number seven.

Thank you! We’re really proud of it. Our record label is run by our pal Adam, a good friend of the band from over the years. He’s cool because he never presses black vinyl, he always presses color, so it kinda came as part of the deal which is nice.

But this isn’t your first vinyl release is it?

No, we have a ten-inch split and it’ll actually be our fourth vinyl pressing. Some of the titles are also on CD and some are on cassette, so as we’ve been touring around we’ve seen what the need is for our medium and we’ll kinda fill it as we go.

As with any release during this crazy time, it’s unusual to issue a record during a pandemic. But there are a lot of upsides to it because people may have more time to pay attention to it.

Yeah, on the digital side of things for sure.

That is a real positive. And on the physical side too, in some cases but it’s like, ‘Well who has money and who feels comfortable spending money on music right now?’

But art is essential. Especially these days.

True and I do consider music to be art. We have a very supportive base and a lot of them are collectors. People will buy every version because they want to have the whole set. So it’s nice to have fans who are supportive in that way and are passionate about collecting.

You’ve definitely lucky to be in a community that is historically very supportive of music and art.

Absolutely! Athens has always been such a good place to be supported within the community. Whether it’s R.E.M. or Widespread Panic or whatever. For me, I grew up after that era and I loved a lot of bands that nobody will ever hear of. But still, to be part of that zeitgeist is cool.

It feels strange in a way, but it also feels like home and totally normal. It’s a weird juxtaposition for me. To have Cindy Wilson read your name at an awards ceremony is pretty surreal.

You mentioned the zeitgeist of Athens. Being a band from Athens brings a lot of baggage or gravitas. You have a lot to live up to because the past is so historic and vital.

I guess any town with a rich history of

music will have that but it is sort of like a chip on your shoulder sometimes. But at the same time, my band has always been about making our own rules. We don’t really feel like we have to meet any sort of expectations of any scene. We just make music that we like, and other people seem to like it. So it seems to work for us. We’re not going to ever be the B-52’s for example. You cant live by any one else’s set of metrics.

That’s the beauty of the whole Athens “thing.” If you like it, fine. If not, there are a ton of other bands to follow.

Exactly! On any night, well, not during a pandemic, but on a regular night there are ten shows happening and they’re all different and they’re all in walking distance. That’s definitely one of the charms of living in Athens. If you want, you can walk from show to show to show and get something totally different each time. And most of it will be pretty good. Some might not be, but most will be pretty good.

But you know, even the bad shows are fun.

Some of them I remember more than the socalled good ones.

Oh yeah, we’ve had that! We were between lead players once. We are a three-piece now, but we had a guy come practice with us and he did ok, but we had a show and he showed up just completely blasted. Playing nothing in the key of what we were doing.

It was horrifying. Some of our friends were throwing stuff at him to get him off the stage, and Jason even threw a stick at him. But then it seemed like people started paying attention to us after that! It was like, ‘Oh this band is all right!’ I think we sounded even better once we got him off the stage.

I was active in Athens scene years ago, but I haven’t been back for a while. How is it now?

I think it’s fantastic. We have a lot of new bands coming up and one of my favorite things about bands in general is who is in them and we have such a cool variety of players right now. That’s why I really love a mixed bill when it works. A show with all one genre can be stale, but I really like it when it comes together and you can see all the different kinds of people who play music.

You’ll have the fans who might not come out normally.

That’s something I really love about Athens. The Hip-Hop scene is really blowing up right now.

Where does Shehehe fit into the Athens music scene?

I’m so bad about this because I’m looking down into it. But I can tell you what we try to be - just a band that works really hard and makes good music and has a relationship with our community. Not just music but our entire city. We’ve played the Girls Rock Camp before and stuff like that, I’ve done a couple of workshops there. But as far as Athens in general, I think people do know who we are within the scene. I mean the people who go to country shows may not know who we are, but you have to maintain a sense of humility about it all and not worry about too much else.

Shehehe has been going for a while now.

Yeah, it’s almost double digits at this point.

Next year will be ten years! We’ve changed the lineups a bit, but Nicole, Jason and I are original members and we’re still doing it.

How’d you get together?

I knew Jason from a bar that he worked at. He saw me working on a graphic design project – that’s my day-job – and he was looking for a guitar player. At the time I was more of a bass player. I showed up at a practice and we started writing songs. Nicole who is his wife, grew up in the Florida punk scene, so she loved punk. She started out just on vocals and evolved from there. She learned how to play bass within a year so we could do some shows.

Nicole and Jason are married, right?

Yeah, they’ve been married for five years now and we have a band baby now and she’s four.

Does playing in a band with a married couple change the dynamic?

I don’t know. But when we take Ramona on tour with us, we have an honorary fourth member now. So we can’t just sleep on floors or in the van anymore. And we have a band nanny, so that’s different. We have to plan things out a little more than we used to, so we’ve evolved not only musically but functionally.

You’ve had other players, but does the three-piece set-up seem to work best?

Being a three-piece is very efficient.

There’s just something about a power trio that feels good to us. There’s no outside force to wonder about. Are they too loud, or whatever. With a guitar, bass and drums you are really listening to each other and that’s all we have to worry about.

The title of the new record obviously evokes the Beach Boys’ Pet Sounds album.

It does and it was sort of an evolutionary idea at first. We’ve referenced Endless Summer, the surf documentary, a while back and then Pet Sounds was playing in the delivery room when Ramona was born.

Then there are three or four songs on the record that actually reference pets. Then to really make the point, we included pictures of our pets and our friends’ pets on the inside artwork.

Pet Songs is available from say-10.com. insiteatlanta.com • September 2020 • PG 13

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(Rum Bar Records) Boston punk/garage rocker Jay Allen and his band are keeping The Ramones flame burning bright on their latest effort as they carry that “1, 2, 3, 4” pop punk torch into another decade. Fun Is Fun, The Trilogy Is Done, manages to be even catchier than their debut, Fun Is Fun, But You’ve Got To be F*%kin’ Kidding Me. Across eight songs, each hovering around the three-minute mark, Allen’s gruff vocals – backed by a thick layer of distorted guitar and solid drumming – deliver singalong choruses that stay with you like a homemade stick and poke tattoo. The rambling unpolished charm of the music is simply undeniable. The record’s opening track, “Cry A Little Tear,” is a punk rock doo wop sob story with Boston’s Emily Grogan guesting on vocals. Elsewhere, “Grew Some Stones” is the album’s zenith, as ridiculously fun as it is immature.

The whiplash speed and intensity of Fun Is Fun, The Trilogy Is Done and the memorable goofiness of the lyrics serve as an ideal diversion to the shit show that 2020 has become; The perfect distraction to a world in flames. Sadly, it’s over after just 30 minutes after it starts, so definitely worth listening to this one repeat for a few times.

Ryan Allen

Song Snacks Vol. 1 (Self-Released)

Ryan Allen’s brilliant and brilliantly massive 20-track surprise album, Song Snacks Vol. 1 was recorded at home with little more than an amp, a few guitars and some software, captures Allen during a particular prolific peak of creativity. He references some of the indie home recording classics like The Wrens’ The Meadowlands and Guided By Voices’ Alien Lanes, and like those albums there is a lot of music to wade through. Impressively, despite its size there is still a cohesive vibe to this collection. The sound is not that far removed from the power pop, punk slathered music he puts out with his full band Extra Arms. And the bulk of the tracks here are around one-to-two minutes long, so it’s not nearly as intimidating as it looks.

The opening song, “Inventing Sports,” with its ringing guitars and Allen’s soaring vocals is pretty indicative of what follows. And surprisingly given the uncertainty of what’s happening in the world right now, from societal strife to global health concerns, the record manages to be void of fear and gloom and serves as a welcoming distraction with songs about wizards, ghosts and psychics.

Coming less than a year after Extra Arms’ last record, this album was certainly unexpected, but now that it’s here I couldn’t imagine getting through the summer without it.

NOFX/Frank Turner

West Coast Vs. Wessex (Fat Wreck Chords)

West Coast Vs. Wessex finds California’s NOFX covering five songs from Turner’s catalogue and the beloved English folk punk

playing five from NOFX’s stash. Fat Mike and his boys cover two of Turner’s best known songs, “Thatcher Fucked The Kids,” “Ballad Of Me And My Friends,” along with “Substitute,” “Worse Things Happen At Sea,” and the brilliant atheist anthem “Glory Hallelujah” and manage to completely remake every track thanks to distorted guitars and Mike’s remarkably endearing monotone whine.

In particular, the political “Thatcher Fucked The Kids,” is reinvented into a stellar two-tone ska number, complete with a faux Britishaccented backup vocal.

And it should come as no surprise to anybody that’s been following Turner’s career that he does a remarkable job covering NOFX, given his previous life fronting the hardcore band Million Dead. He also covered NOFX’s “Linoleum” several years ago on his rarities album The Second Three Years. Turner flawlessly tackles “Scavenger Type,” “Bob,” “Eat The Meek,” “Perfect Government,” and a dark version of “Falling In Love,” (the only track here that doesn’t really live up to the rest). Like NOFX, Turner’s take on his tracks is impressively original, painting them with his own identity. “Bob,” for example, slowed down slightly and propped up with acoustic guitars, piano, subtle drumming and harmonica is almost unrecognizable.

West Coast Vs. Wessex works, in part, because both NOFX and Turner have strong identifiable sounds that are hard to replicate without coming off as rip offs. So, handing over their songs to someone as strongly unique makes this split so wildly compelling.

The Psychedelic Furs

Made of Rain (Cooking Vinyl)

It seems almost unreal that it’s been 29 years since The Psychedelic Furs last put out an albumsworth of all new material.

Perhaps it’s because the band has been almost ubiquitous over the past decade. After sitting out a big chunk of the ‘90s the band reformed in the early aughts and have been touring every few years ever since – playing some of their best shows in their decades-long career. Or maybe it’s because a slew of younger bands took liberal amounts of inspiration from them and have managed to make careers out of sounding like The Psychedelic Furs. Regardless, for the first time since 1991’s The World Outside, the band has put out a new studio LP and Made of Rain is their best album since the seminal Talk, Talk, Talk in the early ‘80s.

Across a dozen tracks the band reaffirms why they were one of the most important post-punk British bands to conquer America (thanks in big part to John Hughes). From the opening track, “The Boy Who Invented Rock & Roll,” with Richard Butler’s emotionally-charged vocals competing over a scrum of distorted guitar, synth lines and squawking horns, it’s clear the band is not trying to reinvent themselves for a newer audience, rather they are simply reclaiming their status as musical innovators, pioneers of alternative rock, long before the genre had a name.

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