#rockandroll

North Carolina Rock 'n' Roll Legends: A Playlist from by Eleanor Cook, East Carolina University’s Interim Head Music Librarian

Monday, November 4, 2019

During November and December 2019, the Music Library of East Carolina University will be featuring displays and exhibits that showcase legendary N.C. rock and roll bands and musicians. In advance of the exhibition, E.C.U. Interim Head Music Librarian Eleanor Cook created a playlist showcasing her favorite North Carolina rock and roll bands. Take a listen and read Eleanor’s listening notes below!

 

 

The songs chosen for this playlist represent a selection of my favorite North Carolina bands and vocalists. There are gaps since not all the songs I would have liked to include are available on Spotify. While some of the selections are from way back, others are more recent. These bands came out of the Chapel Hill/Durham/Raleigh and Charlotte music scenes from the 1960s through the 2000s. All these musicians were instrumental in putting N.C. rock ’n’ roll on the national map.  

Arrogance was one of the most influential rock bands in North Carolina, EVER. Founded at UNC-Chapel Hill in the late 60s, the original band was comprised of Robert Kirkland, Don Dixon, Mike Greer, and Jimmy Glasgow. They went on to add and/or change out several drummers and brought in guitarist Rod Abernethy, formerly of the band Glass Moon. Dixon and Kirkland’s vocals and Marty Stout’s keyboards are a signature part of their sound. Though the group broke up in the early 1980s, over the years they have come back together to do reunion concerts now and then, playing to packed venues of devoted fans. 

“Black Death” was the first song Arrogance recorded and is considered a classic by their fans. “Nights of Dreams” features Mike Greer’s incredible guitar work; this early cut is worth a listen. This particular tune is on a compilation album called Knight of Dreams which includes some pretty raw stuff, but you can’t find a lot of it anywhere else.

Additional Arrogance tunes selected for this playlist include “Open Window,” as it was always a huge hit with their fans. Interestingly, it is a song that they do not play any longer when they reunite due to the inevitable changes in their vocal ranges. The last time “Open Window” was performed in public was at a New Year’s Eve show at the Cat’s Cradle in 2011, where they called on several of their grown sons and daughters to hit the high notes.  It brought down the house! 

The other Arrogance selection here, “Why Do You Love Me?” showcases the keyboard talents of Marty Stout, as well as the versatility of percussionist Scott Davison.  Earlier drummers Steve Hebert and Ogie Shaw are not available on cuts found on Spotify. All Arrogance albums can be had on CD if you look hard enough. 

 

Next in this playlist, I include the most well-known selection, “Heartbreaker,” from the band Nantucket. Initially formed in Jacksonville, N.C., Nantucket was inducted into the N.C. Music Hall of Fame in 2012. They were a staple of the N.C. rock scene for many years. 

Several key selections are included from the Charlotte band The Spongetones. Heavily influenced by The Beatles and British invasion power pop, The Spongetones were originally thought of as a “tribute” band, but over time composed and performed their original music.  Selections here include “She Goes Out With Everybody” and “My Girl Maryanne.” The Spongetones were a regular act at both PB Scott’s and the Doubledoor Inn and still perform, on occasion, around the state. They are particularly popular in Charlotte but have fans as far away as Japan. 

Spinning off of both Arrogance and The Spongetones are selections from Glass Moon and Don Dixon and the Jump Rabbits.  Glass Moon’s “Cold Kid” features Dave Adams and Rod Abernethy (a.k.a Rod Dash), who, as previously mentioned,  played with Arrogance.  The Jump Rabbits came together in the late 2000s with Don Dixon, Jamie Hoover (of The Spongetones), and Charlotte percussionist, Jim Brock.  Jump Rabbits showcased tunes from a variety of artists, including songs by N.C. artists Don Dixon, Jamie Hoover (“Skinny”), Bland Simpson (“The Night that Otis Died”), Peter Holsapple (“Amplifier”), Matt Barrett (“Six Pack”), and Parthenon Huxley (“Sputnik”).  All these songs along with other great covers and originals are available on the album The Nu-Look

I also included a song by Parthenon Huxley (“Buddha Buddha”) on the playlist. He attended UNC-Chapel Hill and his music is wonderful!  

 

Peter Holsapple and his band The dBs, were formed in NYC but the founding members, Holsapple and Chris Stamey, are most definitely N.C. musicians.  I include their first hit “Amplifier” as they perform it, as well as the great cover by Don Dixon and the Jump Rabbits. I love both versions! Also included are two more of their most popular songs, “Neverland“ and "Black and White.”

Two more of my favorite bands from N.C. included are The Connells (“Eyes on the Ground”) and Dillion Fence, (“Something for You”) both great groups from the Triangle music scene.  Both still play on occasion.

Lastly, I provide a nod to Mitch Easter’s band Let’s Active (“Every Word Means No”). Mitch Easter was inducted into the N.C. Music Hall of Fame last month. 

The threads of connection between artists are numerous and complex in the North Carolina music scene. Most of these musicians know each other and have worked together in various ways. There are others I do not have room to mention here that are also part of this landscape. We are so blessed to have so many wonderful rock ’n’ roll giants in our state! 

 


 

About the Author

Eleanor Cook is interim head of the Music Library at East Carolina University and a devoted fan of North Carolina music. Many thanks to these great musicians who paved the way for other independent artists in our great state. 

Governor Cooper Declares July 24 to 27, 2019, as "MRG30 Week"

Thursday, July 25, 2019

“I, ROY COOPER, Governor of the State of North Carolina, do hereby proclaim July 24–27, 2019, as ‘MRG30 WEEK’ in North Carolina, and commend its observance to all citizens.”

MRG30 is underway, with a North Carolina packed evening at the Carolina Theatre in Durham last night, featuring H.C McEntire, Hiss Golden Messenger, and the Mountain Goats. The rest of the festival will take place at the Cat's Cradle in Carrboro and highlight Merge Records artists from near and far. Even if you didn't get tickets to the sold out shows, that's no reason not to celebrate 30 years of groundbreaking indie rock from the North Carolina label.

Check out Merge Records co-founder and Superchunk frontman Mac McCaughan discussing the first 25 years of Merge Records below, and be sure to keep an eye on Come Hear North Carolina for coverage of their 30th birthday celebration!

Counting Down our Top 5 Tarheel Rockers

Saturday, July 20, 2019

The North Carolina Music Hall of Fame honors our state's greatest musicians across all genres. Today, we look at our 5 favorite rock and roll inductees!

Link Wray

Widely heralded as one of the greatest guitarists of all time, Link Wray—the Rock and Roll giant who influenced Jimmy Page, Iggy Pop, and the Who—was born in the small Harnett County town of Dunn, North Carolina. Wray’s eccentric playing techniques, which included distortion, feedback, and the power chord (now an indispensable tool in every rock and roll guitarist’s musical toolbox), are front and center in his 1958 instrumental hit, “Rumble.” Initially banned from radio in the United States, “Rumble” soon became a classic for musicians and music enthusiasts alike. Bob Dylan once remarked that “Rumble” was “the best instrumental ever.” Link Wray passed away in 2005. 

Arthur Smith

Born in 1921 in the town of Clinton, South Carolina, Arthur Smith tried to scrape out a living working in local textile mills. Acquiring a love for music from his father, the director of the town’s brass band, Smith left Clinton for greener pastures as a performer on Charlotte’s WBT radio station. During a stint in the navy during World War II, Smith wrote “Guitar Boogie.” Jokingly referred to as “the record that launched a million guitar lessons,” the 1948 recording of “Guitar Boogie” sold over four million copies and became one of the earliest crossover hits. Smith soon after opened the first commercial recording studio in the Southeast in Charlotte and hosted the “Arthur Smith Show,” the first nationally syndicated country music television show. A prolific songwriter, Smith turned out over 500 songs over the course of his lifetime, many of which were covered by the likes of Roy Orbison, Tommy Emmanuel, and Tom Petty. Smith’s flashy guitar style, featured in “Guitar Boogie,” influenced subsequent generations of rock and roll musicians. During his first concert with the Quarrymen in 1957, a young Paul McCartney “got sticky fingers,” as he put it and flubbed a rendition of “Guitar Boogie.” Although McCartney’s botched performance failed to get him booted from the band, another aspiring guitarist was brought in to pick up the slack. That guitarist was George Harrison. The Quarrymen were later renamed the Beatles. Rock and roll lovers have the late Arthur Smith to thank for that. 

Warren Haynes

Born in Asheville, North Carolina in 1960, Warren Haynes first musical memory is tied up in the soundscape of North Carolina. “The first sound that ever moved me was black gospel music coming over the radio in North Carolina, where I grew up. It kinda made the hair on my arms stand up.” An avid fan of motown, country, bluegrass, and eventually rock and roll music, Warren started playing guitar at age twelve and soon developed a reputation as a soulful soloist, handy with a slide. After a four-year stint playing guitar with the country cult icon David Allan Coe, Haynes gigged with the Dickey Betts Band and the Allman Brothers Band before founding the jam band Gov’t Mule in 1994. Following the death of Jerry Garcia in 1995, Haynes began appearing with surviving members of the Grateful Dead.

Ben Folds

Singer, songwriter, and multi-instrumentalist Ben Folds was born in 1966 in Winston-Salem, North Carolina. After a stint gigging in local high school bands as a pianist, bassist, and drummer, Folds attended the University of Miami’s Frost School of Music. Dropping out one credit short of his graduation requirements, Folds pursued a brief career in musical theater in New York before moving back to North Carolina. From 1995 to 2000, Folds was the frontman and pianist of the alternative rock band Ben Folds Five, which achieved commercial success with hits such as “Army,” “Brick,” and “Battle of Who Could Care Less.” As a solo artist, Folds has collaborated with musicians such as William Shatner and Regina Spektor, and he has performed with various orchestras including the Boston Pops and the North Carolina Symphony.

James Taylor

It may come as no surprise that James Taylor’s roots run deep in North Carolina (after all, his father was the dean of the school of medicine at the University of North Carolina). While Taylor’s affinity for the Tar Heel state is eloquently expressed in his 1968 hit, “Carolina in My Mind,” Taylor’s most profound memories of North Carolina take lyrical form in “Copperline,” a song Taylor cowrote with Reynolds Price in 1991. Set against the backdrop of Taylor’s childhood home in the Morgan Creek neighborhood of Chapel Hill, “Copperline” conjures up simple, compelling snapshots of a boy’s coming of age in North Carolina: Branch water and tomato wine, creosote and turpentine, sour mash and new moon shine, down on Copperline. Taylor’s introspective writing, mellow vocals, and virtuosic guitar style have earned the Grammy Award winner a place in the hearts and homes of music lovers around the world as well as a spot on our list of the best Tarheel rockers.

Link Wray - "Rumble"
Arthur Smith - "Guitar Boogie"

 

 

Gov't Mule - "Banks Of The Deep End"
Ben Folds - "Army"
James Taylor - "Fire and Rain"

Rock Sculptors: Dex Romweber and the Power of the Rock and Roll Duo

Friday, July 19, 2019

Throughout the month of July we will be celebrating the strides and achievements North Carolinians have made in the world of rock and roll music. This week we look into the one-of-a-kind blend of punk and rockabilly from Dex Romweber and the Flat Duo Jets.

By Sam Gerweck

Dex Romweber, and more notably his band the Flat Duo Jets, are a bit of a rock and roll anomaly. Formed in Carrboro, N.C. the group broke out at the height of the American punk movement with a strange brand of rockabilly, channeling Dex’s early musical loves of Buddy Holly, the Coasters and Eddie Cochran all through a southern-gothic lens. Dubbed “hardcore Americana” by Exene Cervenka of L.A. punk rock band X, the band managed to sound old-fashioned and futuristic at the same time, with song structures echoing their 50s rock and roll idols but played with the veracity of hardcore garage rock. Their image, dark and brooding party animal rock stars, is a stark contrast to their upbeat, old-school tunes. In the documentary Two Headed Cow, Romweber remarks how he is “fascinated what you can do with three chords,” and Flat Duo Jets audiences were as well.

The Flat Duo Jets original line-up consisted of Dex Romweber on guitar and Chris “Crow” Smith on drums. Their early band practices took place in the garage behind the Romweber household, dubbed “The Moz” (short for The Mausoleum and pictured on their eponymous debut album’s cover) due to its decrepit, haunted house appearance. MTV’s Cutting Edge even got an in depth tour of The Mausoleum. Deriving their name from the 1951 Gretsch Duo Jet guitar, made popular by George Harrison and Gene Vincent, the band’s general aesthetic mimicked their namesake – sleek and black, calling back to the old days, but still progressive. Dex chose a black and white Silvertone 1448 as his signature weapon of choice, a cheaply made beginner’s guitar originally sold in Sears-Roebuck catalogs that lent itself beautifully to his messy rockabilly-blues playing.

 

The simplistic approach of Dex Romweber and the Flat Duo jets, both in songwriting and in style, has been mimicked often since their inception, most notably by Jack White of the White Stripes fame, who calls Dex Romweber, “one of the best kept secrets of the rock and roll underground.” He turned that secret obsession into a worldwide phenomenon, with the White Stripes imitating the Flat Duo Jets monochromatic color schemes, affinity for cheap plastic guitars, and simple, old-school songwriting centered around only a drummer and a guitarist. In the years since the White Stripes formed and split, Jack White has celebrated and collaborated with Dex Romweber, notably recording a 7” record with him and his late sister Sara Romweber at his Nashville studio, Third Man Records.

Though his days in "The Moz" are long behind him, Dex Romweber still calls North Carolina home and you can catch him performing his signature blend of rock and roll frequently around the Research Triangle.

Dex Romweber Duo featuring Jack White - "Last Kind Word Blues" (Recorded at Third Man Records in Nashville)
Flat Duo Jets performing "Wild Wild Lover" on David Letterman in 1990

 

 


 

About the Author:

Sam Gerweck works for the North Carolina Arts Council as a Program Administrator for the Come Hear North Carolina campaign. Performing as a solo artist and in garage bands since his pre-teens, he went on to study vocal performance and music theory at the University of Hawaii at Hilo. Settling in North Carolina, he has come to love the rich musical culture of the state, and you can likely find him at any number of music venues, record stores, or guitar shops around the region.

Rock Sculptors: Jangle Pop, College Rock, and North Carolina's Influence on R.E.M.

Wednesday, July 10, 2019

Throughout the month of July we will be celebrating the strides and achievements North Carolinians have made in the world of rock and roll music. This week we explore the world of Mitch Easter, the dB's, and their respective influences on R.E.M.

By Sam Gerweck

R.E.M. might be the most successful indie rock band in history, and for many folks they are the first band to come to mind when thinking of Southern college rock. With over 85 million albums sold worldwide, a few Grammys under their belts, and the acclaim of both casual listeners and critics alike, their combination of introspective lyrics, intricate guitar work, and a lively but succinct rhythm section helped define the Athens, Georgia sound of the ‘80s and ‘90s. Though synonymous with the Georgia college town, R.E.M. can credit North Carolina for shaping their sound.

Mitch Easter, Chris Stamey, and Peter Holsapple all grew up in Winston-Salem, N.C. As teenagers they formed a band called Rittenhouse Square. After one independent album release, the band split. Peter moved to New York City to further pursue a career in music. Stamey and Easter attended UNC-Chapel Hill, playing in multiple bands separately and together, most notably the short-lived but locally loved group Sneakers, who Easter recalled in a 2017 interview, “has played only ten times, I think, since 1976.” After the split of Sneakers, Stamey moved to New York City as well, and formed the seminal jangle-pop band, the dB’s, alongside fellow Winston-Salem native Will Rigby on drums and former bandmate Peter Holsapple. Their debut album, Stands for Decibels, is a perfect bridge between the power pop sound of Big Star and the folky jangle of The Byrds, and is a defining moment in the history of Southern indie rock.

The dB's - "Black and White" (First track off their debut album, Stands for Decibels)

While Stamey and Holsapple were off in the big city chasing rock and roll dreams, Easter returned to Winston-Salem and started Drive-In Studios, a professional recording studio in his parents’ garage. He also launched a band of his own, Let’s Active, with his then girlfriend Faye Hunter on bass and the late Sara Romweber on drums. One of his earliest clients at Drive-In Studios was an up-and-coming band from Athens, Georgia – R.E.M. By 1981, R.E.M. had established a decent live audience and had opened for some large acts including The Police. They set out to Winston-Salem to record for the first time together, a decision that would lead to years of collaboration between the band and Mitch Easter.

Their debut single, “Radio Free Europe,” quickly sold out of its first pressing of 400 copies, and another 6,000 were released. The band’s label arranged for them to record a full-length album, pairing them with an established producer, but the band did not like the direction the recording sessions were going. Despite push-back from management, R.E.M. opted to return to North Carolina and record again with Easter. The resulting album, Murmur, received universal acclaim, topping Rolling Stone’s 1983 Album of the Year list, cementing R.E.M. as college rock royalty and highlighting Mitch Easter’s significance in the recording booth. The follow-up album, Reckoning, also recorded in North Carolina and produced by Easter, garnered equal praise. By 1984, R.E.M., with the help of their North Carolina producer, had an established sound and fanbase. Around that time Easter and the band parted ways.

With the college rock magic happening in Winston-Salem, the dB’s continued to establish their brand of Southern-tinted jangle-pop in New York City, releasing four full-length records between 1981 and 1987. Chris Stamey left the band after their second release to pursue a solo career, and in 1988, Peter Holsapple departed, effectively disbanding the group. Holsapple set out as a “hired gun,” ready to act as an auxiliary musician for a touring band, and what group did he land with but R.E.M. After the success of their first two Mitch Easter produced albums, R.E.M. was by far the most successful college rock act in the nation and needed to expand their personnel. Peter Holsapple was considered a fifth member of the band from 1988 to 1991, playing guitar, keyboards, and bass, and lending his acute songwriting abilities in the studio. With Holsapple, R.E.M. saw themselves go from college radio darlings to international superstars with their multi-platinum 1991 album Out of Time, which features the timeless classic, “Losing My Religion.” The acoustic guitar heard on that song was performed by Peter Holsapple.

R.E.M. - "Radio Free Europe" (Original 1981 Mitch Easter cassette tape version)
R.E.M.'s Grammy winning hit, "Losing My Religion" featuring Peter Holsapple on acoustic guitar

In the years since these North Carolina jangle-pop greats crossed paths with R.E.M., the dB’s have reunited for several records and benefit shows, and Mitch Easter has opened a new studio in Kernersville, N.C., Fidelitorium Recordings. Chris Stamey has had a prolific career as a solo musician and producer, working with everyone from the alt-country group Whiskeytown to the dance-punk band Le Tigre. Peter Holsapple has continued his work as a “hired gun,” serving as a multi-instrumentalist for Hootie and the Blowfish, as well as starting his own band, the Continental Drifters. Mitch Easter remains one of the most prolific producers and studio men in rock and roll, working on albums with Pavement, Ben Folds Five, Ex Hex, and the Drive-By Truckers as well as continuing to play with Let’s Active. He will be inducted into the North Carolina Music Hall of Fame on October 17th in Kannapolis, N.C.


 

About the Author:

Sam Gerweck works for the North Carolina Arts Council as a Program Administrator for the Come Hear North Carolina campaign. Performing as a solo artist and in garage bands since his pre-teens, he went on to study vocal performance and music theory at the University of Hawaii at Hilo. Settling in North Carolina, he has come to love the rich musical culture of the state, and you can likely find him at any number of music venues, record stores, or guitar shops around the region.

Rock Sculptors: North Carolinians who Changed the Sound of Rock and Roll

Wednesday, July 3, 2019

Throughout the month of July we will be celebrating the strides and achievements North Carolinians have made in the world of rock and roll music. We kick off the weekly series, Rock Sculptors, with Link Wray – the father of the power chord.

Rock Sculptors: North Carolinians who Changed the Sound of Rock and Roll

By: Sam Gerweck

“My Generation” by the Who. “Whole Lotta Love” by Led Zeppelin. “Search and Destroy” by Iggy Pop and The Stooges. Pillars of the first wave of hard rock and punk music. While groundbreaking in their own right, the true innovation is credited by all the aforementioned artists to a Shawnee Indian man from Dunn, North Carolina – Frederick Lincoln “Link” Wray, Jr.

Born on May 2, 1929, Link Wray spent his childhood in Dunn, a small city in Harnett County, about an hour south of Raleigh. A childhood bout of measles left Wray hard of hearing, a diagnosis that might seem like a death sentence for a hopeful musician. After a short stint in the army, serving in Germany and Korea from 1951-1953, Link Wray returned home and ordered himself a Gibson Les Paul electric guitar. As a child he was exposed to some travelling blues men and learned a few chords, but started seriously pursuing music after his time in the army was up. His first group was called Lucky Wray and the Palomino Ranch Hands , formed by Link and his two brothers, Doug and Vernon, but they disbanded quickly when his bandmates left to find steady work in Washington D.C. Link kept at his music though, and in an effort to establish his own sound, made some unique changes to his playing. Link would prod holes with pencils in his guitar amplifier’s speakers to distort the sound being projected. Instead of relying on open-chords like most guitarists of that era (think Bob Dylan strumming “Mr. Tambourine Man”), he would play barred-chords up and down the entire length of the fretboard, a technique that would come to be known as the “power chord,” and to this day remains the most important tool in any rock and roll guitarists arsenal. And that childhood battle with measles that effected his hearing? Well, that just meant he had to turn his amp way up and play his guitar louder than anyone else.

In 1958, his new group Link Wray and the Wray Men released a single that changed the world of music forever. “Rumble” clocks in at a little over two minutes, doesn’t have any words, and was banned by radio stations across the country out of fear it would incite riots. Give it a listen above. It sounds mean. It sounds tough. It was recorded 20 years before punk rock became a household name. Iggy Pop, often referred to as the Godfather of Punk Rock, recounts in the documentary Rumble: Indians Who Rocked the World, “'Rumble' had the power to help me say ‘F--- it, I’m gonna be a musician.’” Jimmy Page of Led Zeppelin talks about his first time hearing Link Wray to Jack White and U2’s The Edge in the documentary It Might Get Loud: “The first time I heard ‘Rumble’, I was like, ‘that’s something that has profound attitude.’” The other two nod in agreement. In the years following the release of “Rumble,” Link Wray put out countless other singles and albums with the Wray Men, as a solo act, and with punk-rockabilly legend Robert Gordon, with genres ranging from hard rock to gospel to country.

Beyond his breakthroughs in the sound of rock and roll music, his influence on the style might be even greater. A slicked-back black pompadour with sideburns, a leather jacket, black pants and boots, chains and rings, and a prototypical rock star scowl, Link Wray looked cool. He played pointy electric guitars with glasses on. He’d pop his collar. He’d march around the stage like he owned the place, because he did. Pete Townsend of The Who once said of him, “He is the king. If it hadn’t been for Link Wray…I would have never picked up a guitar.”

Link Wray passed away in Denmark in 2005 at the age of 76, but his profound influence lives on with every kid who picks up an electric guitar and turns the volume knob all the way up.

 


 

About the Author

Sam Gerweck works for the North Carolina Arts Council as a Program Administrator for the Come Hear North Carolina campaign. Performing as a solo artist and in garage bands since his pre-teens, he went on to study vocal performance and music theory at the University of Hawaii at Hilo. Settling in North Carolina, he has come to love the rich musical culture of the state, and you can likely find him at any number of music venues, record stores, or guitar shops around the region.

Happy Birthday, Link Wray!

Thursday, May 2, 2019

Happy Birthday to a North Carolina Rock and Roll legend!

Born in Dunn, NC on this day in 1929, Fred Lincoln "Link" Wray would go on to change the way the world heard the guitar. Popularizing the power-chord and distorted guitar, Neil Young, Iggy Pop, and Jimmy Page all credit Link Wray as a musical hero.

Warren Haynes Talks Asheville Roots

Wednesday, March 13, 2019

Warren Haynes is a rock and roll legend.  He is also a North Carolinian. 

Lauded as one of the most formidable guitarists and vocalists in music today, Warren Haynes is a prolific songwriter and producer known for genre-blending, his work with three of the greatest live groups in rock history – Allman Brothers Band, Gov’t Mule and the Dead – and an ongoing acclaimed career as a solo artist. Haynes grew up in Asheville, N.C. and lives there today. An internationally beloved musician, his artistry has led to thousands of memorable performances, multiple GRAMMY nominations, and millions of album and track sales. He is slated to play two shows in his hometown with the Asheville Symphony on March 16 and 17, and in anticipation of the shows, we asked him to speak about his feelings for North Carolina in an exclusive for Come Hear NC. 

 

 

Warren Haynes performs the Allman Brothers Band's "Melissa" at the annual Christmas Jam in Asheville, NC

You were born and raised in Asheville. What made it a good place for a musician to grow up?

Asheville was always a great place to grow up and always had a very cool underground music scene which included everything from rock to bluegrass, but now it has grown way beyond that. There are so many genres of music being represented in Asheville today. That diversity makes it even more appealing for local musicians to explore their musical dreams and also for musicians from other places to be inspired by that vibe and want to join the scene.

Tell us about your relationship with the Asheville Symphony – what should people know about their role in Asheville’s community?

As Asheville’s music scene is expanding, conceptually speaking, across the board - so is the Asheville Symphony. They are looking to the future and embracing Asheville’s growing music and art scene. I think more non-traditional music fans will climb on board which is a very positive and healthy thing.

Who is your North Carolina music hero and how have they shaped your sound?

I love so many types of music. Jazz musicians like John Coltrane and Thelonious Monk, who are both North Carolinians, have been very big influences as well as people like Doc Watson. I tend to approach all music from a jazz philosophy meaning I take an improvisational approach, even to more structured music. I sort of mix all my influences together in hopes of being able to create something new and fresh.

For more details and ticket information, visit Warren Haynes' website!

Throwback Thursday - Debra DeMilo and The Fabulous Knobs

Thursday, January 17, 2019

Debra DeMilo fronted the popular ‘80s Raleigh rock band, The Fabulous Knobs. Her style and vocals have been likened to Mick Jagger and Tina Turner's, and after 30 years The Fabulous Knobs have since reunited.

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