Spotlight Artist of the Week – Ko-Lija


Tim Black

I had the pleasure of getting to see the band Ko-lija on September 9th, at the Government Street Grocery in Ocean Springs. I had never been to the Grocery before and was quite taken with the friendliness of the staff and shocked by how small the venue is. There was a benefit show going on that I never quite heard the reason for and several bands played before Ko-lija. When you first look at the guys in Ko-lija standing on the stage you can’t help but wonder what type of music they might play. These are guys that are more worried about comfort than impressing people with their fashion sense. As they kicked in to their first song you could hear the zeppelin-esque guitar lines and the southern influences pour from the music. The singer, Matt Hudnall, was quite entertaining to watch and listen to in between songs. His voice belied his age and size and his “dancing” during the songs was surprisingly rhythmic. The band itself ran the gamut of song variety from Clutch to The Charlie Daniels band and back again to their own original music. The song Big **** hat had a great feel and was indicative of the bands sense of humor and ability to enjoy their music without taking themselves too seriously. I enjoyed the dobro and harmonica and the guitar player had a decent grasp on the use of the wah pedal. While having a good time and enjoying themselves, Matt took a moment out to dedicate a song to a friend that was lost the day before. As he explained to the crowd what had happened with Stephanie Koll he was quite serious and obviously shaken. His choice of songs was quite appropriate; Live forever by Billy Joe Shively. Few people take the time out of their rock star lives to think of others and I was impressed with how open Matt was with his feelings. Ko-lija over all is not the band you want to go see if you want flash and the usual circus tricks you get from other bands. What you will get however, is a band that truly enjoys music, playing in front of people and has the ability to be themselves at all times. Be sure to request Long haired country boy and sing along…the song is a perfect example of how Ko-lija live and play.

Ko-Lija on Myspace

Thunder’s Tavern Welcomes Waitin’ On Jake

Thunder’s Tavern Welcomes Waitin’ On Jake

Jessica DePineuil

On Friday, August 7th, 2007, I made last-minute plans to catch Waitin’ On Jake at their first Thunder’s Tavern show. Days prior, I’d looked up the band’s Myspace page after Marc mentioned them coming to Pascagoula to play that weekend, and from the sound of the band’s music on their stand-alone player to the high energy easily displayed in their photos, I was eager to check them out.

I arrived at Thunder’s Tavern as Waitin’ on Jake were finishing their sound check. The first thing I noticed was the professionalism the band and crew demonstrated as they adjusted their sound with incredible diligence. What I didn’t expect from them was the volume intensity the sound check foretold. I was slightly hesitant about how loud they were, but being in a cheerful mood, I was forgiving and still anxious to see them start the show.

For a Friday night, the Tavern’s crowd was small, but the band assumed position on the stage with smiling faces, as if they were playing for hundreds. They introduced themselves and jumped right into their first set. I was taken aback at how clear and precise their covers were in both instrumentals and vocals. The guys of Waitin’ on Jake collectively bring forth a standout style of performance, and still every song they played was perfectly mastered. From modern rock chart-toppers such as Disturbed’s “Down with the Sickness” to Cameo’s “Word Up” hit from 1986, Waitin’ on Jake catered to every musical taste and gave us all songs to sing along to.

Front man Justin’s vocal power really made each song come alive, and with Ra’s strong drum performance, Dave’s vigorous guitar riffs, and Aubrey’s energetic bass lines, the band gave the crowd that night a reason to party. My previous apprehensiveness about the band’s volume had been drastically proven false. Waitin’ on Jake is one of the strongest, most energetic bands I’ve seen, and their intensity was very well complemented by powerful sound.

All in all, Waitin’ on Jake brought Thunder’s Tavern an exciting, electrifying experience. Thanks, guys, for putting on a true show for us, and please…

Play it LOUD!

From here, visit Waitin’ on Jake’s Myspace and the Waitin’ on Jake website . To view pictures from the show, click here.

Spotlight Artist of the Week – The Tiles

Band Members: Willis Garrett, Brad Lepik, Craig Ricci

According to Alternative Press, if you like THE PIXIES, SUPERCHUNK or THE WEDDING PRESENT, you’ll love the Tiles, while Rock Sound, out of London, boasts “NIRVANA and THE PIXIES influence every nuance of this fuzzy punk album… [the songs] bob along merrily, infused with enthusiastic melodies amid the roughly-hewn guitars.” Maximum Rock ‘N Roll drew comparisons to THE PIXIES, PAVEMENT, and ATOM AND HIS PACKAGE, hailing the Tiles as one of the best of 2005 and raving “A great blend of indie and post punky pop.” The critically acclaimed Exit Magazine out of London went so far as to name the Tiles’ debut, PLEASE, one of the best since 2000, beating out INTERPOL, BRIGHT EYES, and THE SHINS

Composing stripped down, rhythm driven songs layered with inventive, melodic pop hooks and evocative lyrics, the Tiles meld pop and punk to create the self described pseudo-pop sound that has established them not only as one of the best indie bands of today, but quite possibly of all time. At least thats what Craig Ricci, singer/guitarist of the Tiles, will tell you. But the Tiles are far more than masters of their own make-believe genre; the Tiles are an ambivalent post-modern love story put to music. Comprised of Craig Ricci, Willis Garrett, and Brad Lepik, the Tiles formed sometime during the middle of 2003 in Mobile, Alabama. Decidedly unaccomplished musicians, the three focused on writing edgy minimalist pop songs reminiscent of bands like the Jesus and Mary Chain, the Pixies, and Superchunk.. However, combined with the almost reluctant delivery of Riccis distinctive voice, the Tiles quickly realized a sound all their own, a sound they termed pseudo-pop. Ricci explains: pseudo-pop is anti-pop meets pure pop; non-mainstream pop music – in other words, pop music without the popularity. The Tiles first release, a five song, self-recorded E.P. entitled PROOF, however, proved to be anything but unpopular. On its face, PROOF might have been nothing more than a stylized and charismatic collection of five loosely connected songs. However, if the Tiles were a book, PROOF would have been its inspired introduction. The essential sound was all there Riccis reticent, strained whine of a voice and sparse but catchy guitaring, Garretts compelling, nearly addictive bass lines, and Lepiks persistent and driving rhythm but with only five songs, PROOF was merely a sampling of what was to come. Recorded over the summer of 2004 by the legendary Steve Albini (the Pixies, SURFER ROSA; Nirvana, IN UTERO), the Tiles first studio album, PLEASE, would fulfill PROOFs promise of what was to come. Boasting 13 songs, the album opens with the instant standout Release Me, a cryptic collection of pop cultural references and vague observations delivered, through the production of Steve Albini, with a supercharged edge not present on PROOF. Parking Lots follows, a strangely outdated and yet, at once, timeless hit remindful of Blondies one time single, Dreaming. As if recognizing this, Ricci unashamedly concedes in the opening verse, I stole another chord I heard Im sure. Still other highlights include A Better Way, a deceptively energetic and upbeat ride through the subtle misery of emotional confrontation, and Elisabeth Smile, perhaps the most uplifting song ever written about the despair of deaths inevitability. It is, however, the fourth track, It Ends This Way, that positively soars. An uncertain mix of romantic optimism and cynicism, It Ends This Way displays the Tiles at their very best, transitioning with ease between moments of nervous disconnection to an ending of almost epic proportions; clearly, It Ends This Way is the Tiles first single. Interestingly, however, what may be the albums most telling line comes from the tenth track, Rock Radio, with Ricci admitting, Id rather fall apart than have to fall in line. Of course, only time will tell whetherthe tiles will fall apart or fans will fall in line. But if the initial response is any indication, the line is forming fast.

GCB:.What are your thoughts on the Mobile music scene?

Willis Garrett: Are we still really using that word? The Mobile music scene consists of a number of bands (some good, many more that are bad) and a handful of supportive fans. But I don’t see anything that cohesive about it. There are some stalwart backers of local music who strive against the apathy to get things shaking, but they’re like life support; whenever they decide to stop I’m not sure the “scene” will be able to breathe on its own.

GCB: What was the methodology behind the name The Tiles for your band??

WG: Tiles get laid. It’s that simple. Well, no it’s not. We actually chose the name arbitrarily because it was not already a band name. It elucidates nothing of our character and should merely be enjoyed by its lack of meaning. It is very Dada-esque in that sense.

GCB: Who are your musical influences?

WG: I would say that when we started playing we had an idea of what we wanted to do, but we were utterly amazed at our complete lack of a knack for writing and playing the kind of music we intended to create. At the same time, there was always a gravitational pull towards the sound that we are now known for, and it has since proved futile to attempt to even budge the boundaries. I would say that by this point Craig influences my writing and I his, so we are bound to perpetuate this sound indefinitely.

GCB: Any advice on how to unite local music scenes along the gulf coast?

WG: With such disparate elements, a lack of venues conducive to this goal, and such an overall Je ne m’inquiète pas, I hardly believe it is practicable. However, I do not believe this is a problem for the bands. Promoters, fans, and zine editors should take the reins. We are merely the entertainment.

GCB: What processes do you go through to write songs?

WG: Every one of our songs begins as strictly music. A mere chord progression or bassline is played for the group which is then generally augmented with any number of variations until we have something firmly within our milieu. The lyrics are the final touch and are rarely ever structured or workshopped until we record them. Many of our shows feature newer songs in which the lyrics are ad-libbed or reworked on stage.

GCB: What can you expect from a live show?

WG: An anarchic deconstruction of the genres of Pop and Rock ‘N Roll as you may have come to understand them. And a lot of sweat. Regardless of the crowd there is always a dance party on stage.

GCB: Is there anything special you do to prepare for a show?

WG: When you get to the point that we have arrived at, things are fairly routine. We maintain a rigorous workout schedule to keep our bodies in peak performing condition. Besides running, lifting, and working the heavy bag, this also includes an increased alcohol intake during the week prior to any big show. A low tolerance can set a band up for failure.

GCB: How do you describe your music to people?

WG: We try not to. I feel much more comfortable letting someone else do that. When you wear the hat of musician and the hat of a critic you tend to fall to either the extreme of self-promotion or the extreme of self-deprecation. Plus you’ll have too many damn hats on and you look silly. In order to deal with this common issue we coined the term “pseudo-pop” to describe our sound. It is defined as the point of conjunction between pure-pop and anti-pop. Think of the shared section of a musical Vin diagram.?

GCB: What makes your music “good?”

WG: We are the local masters of great pop songwriting. That may sound hyperbolic, but as far as I can tell no one else is consciously utilizing about 50 years worth of really excellent, standard, pop/rock ‘n roll songwriting techniques in unique new ways. I like to think we achieve this end. Also these three handsome gentlemen are some of the smartest dressers about town and put an energetic show without any pretense or posturing.

GCB:. Who writes your songs, and what are they about?

WG: The band as a unit writes the music, but the lyrics to most of the material, and all of the newest material, are written by Craig. He is by far the most efficient and prolific lyricist and utilizing one voice has finally allowed us to maintain a great deal of unity within our catalog. The Tiles are very bureaucratic in our division of labor and this is but one example. In a post-modern world I’m still wondering what, if anything, our songs are about. Sometimes a fan will let me in on the secret.

The Pawnshop Roses

I want to introduce you guys to a band out of Philadephia that I am really starting to get into.

The Pawnshop Roses have been playing their brand of Americana rock in the Philadelphia area’s top venues for the past few years. In December, they got some national attention when they won the YouTube Underground Contest for Best Live Video and appeared on Good Morning America. Following the YouTube win, the band signed to Earvolution Records and hit the studio.

Their first full length record “Let it Roll” is an Americana rock gem produced by Pete Donnelly of the Figgs (Amos Lee/G-Love/Graham Parker) with a couple song co-arrangements by noted alt-country artist Tom Gillam. Donnelly adds some vocal, guitar and bass backing on a few tracks while Jonn Savannah (Van Morrison, Joe Cocker, Squeeze) sits in for piano on a two tracks as well. The record is being distributed by Home Grown Distribution and is available on all electronic outlets including iTunes. The band has quickly jumped into Home Grown’s top seller list alongside established acts like Spearhead, Phish, Derek Trucks, Xavier Rudd and more.

Listen to some of their music:

Here We Go

The Life We Lead

Pawnshop Roses Myspace

Top 20 Video Sharing Sites for Musicians

Google Video – This easy-to-use video sharing site, because it’s owned by Google, is recommended to help get traffic via search traffic on It is simple, well organized, and has a huge database of various videos from different categories like comedy, animation, music videos, TV shows, and sports. Look to these different niches and upload your video with related keywords to attract traffic.

YouTube – Also owned by Google, YouTube is the most popular video sharing website in the world. Its colossal database attracts millions of visitors everyday and sharing videos, either via email or web site, is easy. If you upload your content to only one web site, it should be YouTube. Videos may be rated and comments on videos are encouraged.

MySpace – As a musician, you’re probably already using MySpace to promote yourself. Videos uploaded to MySpace may be shared and posted to MySpace profiles other than your own, so take advantage of this by uploading your content and letting your circle of friends know. The majority of bands and musicians on MySpace are not using video, so take advantage of this by claiming your place on personal pages now.

Blip – A great site for video bloggers, users can set up your own “blog” quickly and drive traffic to it by posting videos from several different categories. Because of this, your video needs to be here.

AOL Video – The video section from contains a large variety of videos from both commercial and non-commercial providers. Very easy to use, due to the simplicity of its design and strong search options, AOL Video easily allows users to find the latest news about their your favorite musicians and bands.

Revver – A video-sharing platform built and committed to the artist, Revver has the best sound and video quality of any video sharing site on this list.

Vimeo – Another free and easy service for sharing videos with friends and family. Recently launched, this website unfortunately does not bring anything new to the table. Still, as part of a complete promotion, it’s a good idea that you post your video here.

MetaCafe – Metacafe is another popular media and video sharing community. Unlike other major video-sharing platforms, Metacafe offers a desktop application, mainly targeted at users who are downloading several videos per week.

Daily Motion – Nothing special here, but worth noting. The videos are sorted in groups, which make it easy to browse and find what you are looking for. Simple by design, Daily Motion contains a numerous variety of videos, from music videos, to non-entertainment topics such as science & technology.

EyeSpot – Not your average video sharing website. Besides a variety of videos EyeSpot offers its users the chance to play with copyrighted media, without having to download elaborate software or learn new skills. This platform will allows you to edit, mix, and remix your favorite videos, photos or music.

Grouper – Dedicated to video-sharing, this website is devoted to three things: watching, creating, and sharing. Just like all the other sites on this list…

JumpCut – Another video-sharing platform that allows you to edit and mix your videos. You can easily upload your videos, photos, and audios, but what’s more interesting is that you can make your own “movie” with Jumpcut editor.

VideoEgg – With a variety of video formats, VideoEgg contains a section where you can easily blog or share your Flash videos. VideoEgg currently has almost 20 million unique viewers each month.

BuzzNet – Primarily for music videos, BuzzNet also gives users access to the latest news in the world of music.

Vmix – This attractive, easy-to-navigate site has several options which are great for promoting independent music. If you like to create your own slide shows, you can get an easy-to-use creator, Photo Jockey 180. Uploading videos is very intuitive, as well.

Blinkx -Blinkx is a video search engine which allows users across the world to search through the entire Web for the videos they want. Users can also browse through a large variety of categories like world news, entertainment, business, sport, and user generated videos.

Veoh – Veoh offers free downloads of all videos posted. There is a section for music videos. is not that special from other video-sharing platforms, but it offers the chance to get the VeohPlayer, so users can download videos from thousands websites and watch them at anytime.

ClipShack – ClipShak is a video-sharing site that looks a lot like YouTube. Not as much popular as YouTube but with the same feedback options. Users can post videos, restrict the videos to a select group, post videos to their blogs, and lastly, have access to Google Maps so that you can map your content and search by location.

vSocial – vSocial enables content owners, site operators, and online marketing organizations to custom brand, target, virally distribute and monetize their message via video.

BigContact – This is a publishing and promotion platform where users may publish audio and video podcasts, customizable streaming mp3 and video sites, news feeds, shareable streaming radio channels, and more. A free FeedPlayer is available dow download, which can play, share, and promote podcasts immediately.

Juke Joint Jam Out @ The Shed 04/03/05

Juke Joint Jam Out @ The Shed 04/03/05
By Jimbo Sage

After the water went down, the sun came out and the music went up on a lazy Sunday afternoon and evening at The Shed barbecue restaurant in Ocean Springs. Three days earlier parts of The Shed House and Camp Journey’s End were swamped with liquid sunshine that overflowed from the banks of the bayou, and even swamped into The Shed Party Bus. “Never fear the ShedHeads are here” brought a successful rescue mission executed with the help from Rick the Mechanic.

So on this beautiful afternoon as it was, it was meant to be, we find Jimbo’s (thats me) Juke Joint Jam shining under a perfect blue sky accompanied by Butch on Bass, and Scott Rico on Guitfiddle. No drummer here today, so all rythmn and pulse is powered by my patent pending Salad Bowl Drum. What a blast! Some new cat came outa nowhere and played some really sweet SRV and classic oldies that jammed us all silly. His name was Robert Killen, and yea he was truly fashillon, with the eyebinez guit and peeevy sweetone amp, all bone, bringin it down home, in your face, lets do it again, he says yeah, see ya next week ! Loved Stevie”s “Tin Pan Alley” and Jimi’s “Hey Joe”, as did Butch, as did Rico!

Well who was next but good old friend, fresh from a long night at The Julep, Brad Jordan, who brought his flight case of harps and blew some serious Mississippi Saxophone. Hailing from the delta, Brad has got some serious blues chops and plays a mean piano and guitfiddle too! Look for him and his sweet lady Brenda at The Julep (Saturday’s) and The Tiki Room (Wednesday’s).

Next we were treated to local resident and new Vancleavian, Doc- Al, who sings to the seventies and really nails those timeless classics, he promises to bring out his band from N.O. and jam with us all. Sounds like fun Doc! ..Surprise for you, Surprise for me,… my favorite “Mississippi Hippie Chick” Ms. Rochelle Harper got caught in a blues,gospel,twostep,whirlwind and stomped on me salad bowl drum, luv ya Roe! See ya Saturday on the 23rd (twenty days aways) right here at The Shed. Don’t ya-all miss Her! Lastly Anthony Ainsworth got some stage time and brought us all back while strumming on his sweet Telecaster guitfiddle. I took a major time warp with Bob Seger’s “Turn the Page” made me feel sweet sixteen again!

Anything else? Well of course, I have only just hinted upon the fun and good vibes had by everyone present today! We all enjoy one another and I try to keep this gig as free and laid back as possible cause it’s only just three chords and the truth! It’s time for me to call it a night, I hope to see you all next Sunday!

Your Humble Bluesman,
Jimbo Sage

Marc’s Meet & Greet Was Sweet!

Marc’s Meet & Greet Was Sweet!
by Jimbo Sage

Thanks to everyone that came out under a beautiful blue sky Sunday to exchange positive vibes, share fellowship and love of music at the “First Ever Meet and Greet” for! Twenty five musicians representing nine great bands performed free of charge to raise money for a local little boy that died unexpectedly after eating a grape that became lodged into his windpipe. The boy Jonathan Batisse was only three years old and suffered from a cogenital defect that prevented him from eating normally. Jonathan was nourished through a stomach tube because the flap that covers his windpipe did not function properly and allowed a grape that he snuck into his mouth to be inhaled into his lungs. He suffocated and died. An account in his name was established at Keesler Credit Union and all money will go to his grieving mother to help cover burial expenses. A larger than expected crowd of music lovers, supporters, performers, and all around groovy good peoples showed up to provide support for this worthy cause. Bands donated free merchandise in addition to their time and music to help raise money, and one generous fan auctioned off his funky cool’ol’ felt Fedora hat right from the top of his funky cool’ol’ head. Got a hundred bucks for it! The music started with two bands from Hattiesburg (hey what a segue from Fedora hats too Hattiesburg) with HillCrest and C4 setting the groove bar quite high and getting some foottime from Mr Jim the Dancing Man, (see photos). In between these two rockin bands sets, Adam from the popular Too Far Gone, banged it out on a solo acoustic guitar (built buy CA right here in MS) proving the power of six strings and a voice are all thats required to lift the soul. I (Jimbo Sage) went up next and was accompanied by Butch on Bass and Charlie on Harp, had a great time and with Sam and Bert with “Magic Music DJ” providing an incredible sound system my Salad Bowl sounded as huge as the Hollywood Bowl! Thanks ya’all for singing “Mission Temple Fireworks Stand” with me! Next up, the greenglowinthedark guitar, percussion powder and low slung bad ass bass of Daliesque! Class act fella’s and shirly! Thanks for “Sedated”, always takes me back thinkin of my crazy aunt Donna and the visitations! The sun was down and the lights went up on a Sunday evening for this Friday night guy, David Lynn of the Friday Night Gigilos rocked and mocked on solo acoustic guitar. David your funtime is on time, and we all love your swagger and your smile! Completely original and sincere (as well as frigging intense) was the ghoula’s own Troubleshoot. You guys totally rocked and have a great friend in Marc, believe in him as well,and keep it up! (Jimbo wants to see your studio!) Mark Rogers a fresh face here on the coast cut some acoustic guittime till the headliner act was ready. Lookin forward till the next time Mark, come out next Sunday, I’ll hook ya up! Finally the “one” band that gets my and everyone’s complete love and admiration for believing and living the “cause”, Split6! Old school rock may be makin a comeback but I, (Jimbo Sage) lived it, and you all take me back; thanks for such a great spectacle and soundprint! Lookin forward to a whole evening of your exuberant performance,………Hey wait… whats this in my shirt pocket, no not that,…er.uh…what’s this? An invitation to The Edge? Friday night? To see Split6 in Gulfport and be a part of their DVD recording party! Hey I’ll be there!…….. Well getting back to the “day that was”, we can all feel a little bit lighter, knowing that our mutual love and regard for goodness will get us all through this day and the next! P.O.P.E.

Thank you Linda O for believing!
Jimbo Sage

On the Bus

On the Bus
by Jimbo Sage

“Jimbo, you’re gonna get your face melted off tonite, are you ready?” Thats what Brad O said to me as we loaded The Shed Party Bus and headed onward and ‘further’ to downtown Mobile to see the North Mississippi Allstars play the Soul Kitchen last Saturday night. “Was I ready?” I thought, hell, there’s no turning back now. “You’re either on the bus or you’re off the bus” Ken Casey reasoned 40 years before. Tonite Jimbo Sage was “on the bus!” With the cooler overflowing with spirits, the mirrored ball tripping the light fantastic and the pretty girls shaking to the righteous beat of Robert Randolph, our portable back-porch party arrived on time and in fashion. We were stylin alright, feeling good and anxiously excited, and it was only just beginning! Hanging out in the street for awhile along side the bus the buzz was getting buzzier, fellow freaks waved back and forth and giant smiles were exchanged. The North Mississippi Allstars bus pulled in just ahead in front of the Soul Kitchen and a standing crowd gave up a cheer, their show was about to begin, our little party from Ocean Springs was about to peak.

Inside the Soul Kitchen, I was instantly immersed, kinda like drowning like in a dream but breathing and exhaling the ageless memories that live and thrive in this historic dance hall room. I could only imagine to know the stories but I could feel their presence, and as I’d look up from street level below, or down from the balcony overhead, the vibe of an era long gone but not forgotten, remained. And so true to that parlor room etiquette the North Mississippi Allstars filled the evening vapors with their old timey hill country electrified blues. The brothers Luther and Cody Dickison along with bassist Chris Chew combined the best styles of delta blues, gospel, R&B and modern psychedelia that their namesake and native state could offer. What more to say,…. well their “shakin on down” two step numbers, RL Burnside covers, hypno-trance-dance and a wild solo excursion by percussionist Cody on the electric washboard left this old/young bluesman next ta dyin for more. It was after 3:00 am when the band called it a night to remember at The Soul Kitchen and we all fumbled out onto Dauphin street. “Well the clock says it’s time to close now,.. know I have to go now,… really want to stay here all night,…. all night,… all night!”…. No,.. not really but I had to throw in those mojo risen lyrics to end my story/journey. Special thanks go out to “Brian the bus driver” that got us all home safely (even with a broken water pump) and to Butch and Elsie Johnson my new friends. And of course thanks to Brad Orrison and all the fellow Shed Heads.

Analog Missionary Review

Analog Missionary
By Marc Ramey

The ethereal music of Analog Missionary portrays the ectophilic (a wide subgenre of music featuring predominantly female vocals–) influences of this ambient-progressive, art-rock style band. The band consists of Anstrom, Tony, Kevin, and Mark. This band crosses a wide variety of genres throughout their music. Sometimes they can be calm and mind-blowing while pulling off a deceitfully earth-shattering, unpredictable style that leaves the listener begging for more.

Anstrom’s powerful voice can lead the imagination into a journey on one of her body language-based stage performances. One eye catching aspect of this singer is that she also plays a theremin. The theremin contributes to Analog Missionary’s unusual and often encircling sounds that grab the attention of their fans. Package her voice with the meshing feel of Tony’s magical surrounding transitions of the keyboard, and you have another portrayal of their unique sound along the Gulf Coast.

Tony plays both the keyboard and bass. Tony wields himself with quite an arsenal when it comes to his playing abilities. One of Tony’s focuses is his creative playing style on the Chapman Stick. This “stick” is a 12-string instrument that is played by tapping the strings with both hands. He uses his abilities with this Chapman Stick to simultaneously play bass lines, lead melodies, chords, and rhythm parts. He utilizes it in conjunction with bass guitar, keyboards, and bass peddles to produce a real presence in each song and to keep it fresh for those listening. His playing style is very adept while he adds his own unique touch to the ambient-progressive style of Analog Missionary.

Kevin seems to quietly sit back and deliver his powerful performance on guitar. While layering his style into their sound, Kevin is constantly complementing the tone and mood of the particular piece he is working on rather than trying to impose riffs and licks within the piece. Kevin looks for a subdued way to support the flow of the piece while adding his rhythmic and lethal style into their ambient-progressive sound.

Mark’s diverse playing style on drums kicks off the psychedelic feel which leads into a powerful transition of all band members. These transitions combined will give you that deceitfully earth-shattering, unpredictable style that will have you asking for a cd at the end of their show.

Analog Missionary has two great cd’s that you can purchase from Transmitter and Voyage of the Demeter are some of the best examples of ambient-progressive style music. Both cd’s are self released at their own Mars Hill Recording studio. If you are an aspiring artist looking for a studio, this is one to check out. You can get more information on this studio at

Overall, Analog Missionary has developed a unique sound here on the Gulf Coast. Their ambient-progressive style is considered by many fans in the area to be one of the best kept secrets here on the coast. Analog Missionary will not be a secret for long as they are setting the stage for more fans to join the masses of this unpredictable style of ethereal music.

Working boys: Gigolos release second album

Courtesy of the Mobile Register
Mobile Register

Working boys: Gigolos release second album
Friday, December 17, 2004
Entertainment Reporter
The Gigolos are making it look easy.

A year and a half ago, not long after releasing their debut CD, “25th and Holloway,” the Friday Night Gigolos already were talking about their plans for a more accomplished second album. And here it is.

The disc, “For a Good Time Call …”, should arrive any day now. The official CD release event is an open party Dec. 23 at Club Z in Biloxi’s Palace Casino Resort; band members say there’s “a good possibility” they’ll have copies in hand for tonight’s show at Soul Kitchen.

The group, which hails from “Pass-Point” area of the Mississippi Gulf Coast (that’s the Pascagoula-Pass Christian metropolitan statistical area, for those puzzling over maps), appears to have pulled off the kind of sophomore album bands dream of.

“For A Good Time” maintains the group’s strengths — a happy-go-lucky vibe, clear lyrics and accessible, straight-ahead rock arrangements in cluding saxophone — and wraps them in a tighter, better integrated, more professional package.

Any second album should sound like the work of a group that’s had more time to find its groove, get focused about what it’s trying to do, and apply its skills to that goal. This one does.

It’s hard to apply the word “mature” to a band that used to seem one fluke hit away from being the Gulf Coast’s answer to the Spin Doctors. And in fact, the Gigolos seem to be enjoying themselves as much as ever. They’ll only hint about the extracurricular goings-on at the Thunder Sound studio in Ocean Springs, where most of the disc was recorded.

But there’s plenty of reason to think that there’s a lot of hard work, and careful thought, behind the feel-good appearances. Perhaps most notably, “For a Good Time” never sounds like the work of a rock band with some saxophone tacked on, or a sax-driven band with a guitarist dueling for spotlight time.

Instead, saxophonist Damon Garcia’s playing is woven into the Gigolos sound. Sometimes he takes the lead, sometimes he adds color while the guitars come to the foreground with a bigger sound than on “25th and Holloway,” but either way, his instrument always is a fundamental part of the mix.

Lead guitarist Charley Cook is relatively new to the band; in February, with recording already begun, he replaced longtime member Joseph Felts, who now is attending the Mississippi College School of Law, band members said. Felts can be heard on four tracks, members said, with Cook on the rest.

The rest of the group, as before, consists of vocalist and rhythm guitarist David Lynn, bassist Jay McIlwain, drummer Benji Alford and Garcia. Cook said he didn’t come in cold, having known members of the group since their high school days.

One other significant change is that, one way or another, all the members of the group are done with college studies for the time being. In addition to giving them more time for the music, it’s allowed them to expand their touring range throughout the South. They’re playing as far away as Arkansas, North Carolina and Texas; they’ve played the House of Blues in New Orleans and done shows with Galactic.

Lynn and McIlwain both classed “For A Good Time” as being “a lot more personal” than their previous album.

“It’s still got a lot of fun stuff,” Lynn said. “But it touches on some serious topics.”

One example would be a song inspired by a friend’s drug overdose. But if the heavier material shows the band in a more serious mode, it’s still a long way from somber. The same with “Gold Digger,” a song that turns around some negative energy, putting it in a slinky, catchy number worthy of the Mighty Mighty Bosstones.

Another hint that the band is approaching its job as a craft is that “For a Good Time” features two songs that appeared on the previous album, “She’s in My Head” and “25th and Holloway.” The new recordings compare so favorably with the old ones that there shouldn’t be any question about the group’s decision to repeat itself.

“We beefed ’em up a little,” said McIlwain.

Lynn is the principal writer, the Gigolos say. If pressed, he will use terms like the “craft” of songwriting, but he’s quick to say the songs are a band product.

“I just make the skeleton, you know,” he said.

The band appears to be capitalizing on its opportunities. After “25th and Holloway,” the group earned the attention of 3 Doors Down guitarist Chris Henderson. One song produced by Henderson, “Don’t Say,” yielded a video that played on College Television Network and MTV2 after making the Top 10 of a national contest.

The group seems to have no shortage of energy or material. In fact, McIlwain said the group already has enough material for its third album.

On Dec. 21 they’ll play a going-away concert for troops at Mississippi’s Camp Shelby. (Mobile’s Phar Fletcher also is on the bill for that show.)

It’s all part of keeping it rolling, Gigolo style, and keeping it building.

“We haven’t started going backward yet,” Lynn said. “We understand that we are entertainers. That’s what we do.”


“For A Good Time Call …” can be ordered at Band members said it should be available soon at Satori Coffee in Mobile. For more information on the band, visit