Atlanta 9/29-9/30

[Jonicont]

Here's the Saturday night show. 9/30/2017

https://www.dropbox.com/sh/4c4xg1s9lmrd ... xvgWa?dl=0

[ledward2]

I transcribed PH's comments that preceded "The Southern Thing." Let me know if I blundered something. That's certainly possible. Likely, actually. I hope y'all enjoy reading them as much as I enjoyed transcribing them. And if you were fortunate enough to hear them in person, then I'm happy for you. But just a little jealous too.

"I wrote this song on a Thursday evening in Birmingham, Alabama downtown about a day before we finished making an album that we were calling Betamax Guillotine, that is known better as Southern Rock Opera. And I was trying to articulate something that I wasn’t even quite sure what it was I was trying to articulate, except, having been born and raised in this part of the world, I spent my whole life among the Southerners—the defiant Southerners, the misguided rebel Southerners, the really smart mother fucking Southerners, the literate and illiterate Southerners, the sweet Southerners, the sour Southerners, and the bitter Southerners. At various times I think I’ve been all of the above. I’m mostly sweet though. Except for when I’m bitter. And I’m usually a little sour. We don’t do this song very often but I’m going to play it tonight for you and we’re going to send it out to Chuck Reece and the fine Bitter Southerner family."

"The whole point of the thing when I wrote it was that if you talked to a thousand different people about the South, and you asked them, 'What is that...thing?' You get a thousand total different answers that totally disagree with each other. And that’s kind of the point, so I tried to incorporate as many of those conflicting views as I possibly could, whether I agreed with them or not, into one song. And then about a year later we were playing down at Music Midtown or something and there were all these guys out there waving rebel flags when we played this song, and it freaked me the fuck out. And I was like, 'Oh my God! What have I done? I’ve built the Frankenstein monster with stars and bars that’s going to carry me to my grave!' And tonight we’re going to play for you 'The Southern Thing.'"

[Beaverdam]

I transcribed PH's comments that preceded "The Southern Thing." Let me know if I blundered something. That's certainly possible. Likely, actually. I hope y'all enjoy reading them as much as I enjoyed transcribing them. And if you were fortunate enough to hear them in person, then I'm happy for you. But just a little jealous too.

"I wrote this song on a Thursday evening in Birmingham, Alabama downtown about a day before we finished making an album that we were calling Betamax Guillotine, that is known better as Southern Rock Opera. And I was trying to articulate something that I wasn’t even quite sure what it was I was trying to articulate, except, having been born and raised in this part of the world, I spent my whole life among the Southerners—the defiant Southerners, the misguided rebel Southerners, the really smart mother fucking Southerners, the literate and illiterate Southerners, the sweet Southerners, the sour Southerners, and the bitter Southerners. At various times I think I’ve been all of the above. I’m mostly sweet though. Except for when I’m bitter. And I’m usually a little sour. We don’t do this song very often but I’m going to play it tonight for you and we’re going to send it out to Chuck Reece and the fine Bitter Southerner family."

"The whole point of the thing when I wrote it was that if you talked to a thousand different people about the South, and you asked them, 'What is that...thing?' You get a thousand total different answers that totally disagree with each other. And that’s kind of the point, so I tried to incorporate as many of those conflicting views as I possibly could, whether I agreed with them or not, into one song. And then about a year later we were playing down at Music Midtown or something and there were all these guys out there waving rebel flags when we played this song, and it freaked me the fuck out. And I was like, 'Oh my God! What have I done? I’ve built the Frankenstein monster with stars and bars that’s going to carry me to my grave!' And tonight we’re going to play for you 'The Southern Thing.'"

Ledward, thanks for transcribing. I'd wanted to read this.

[Smitty]

I got to talk with Chuck for a good bit over the weekend. Other than here, the Bitter Southerner is my favorite place on the web. The newest piece on the Florida island monkeys is great.

[Smitty]

I thought at the time that Friday's "Steve McQueen" was one of the greatest things I've ever witnessed in a Rock show (or anywhere else for that matter) and listening back to the recording, I was right. Holy hell that was epic.

[Markalanbishop]

I've only been seeing the boys live since Spring 2012 (beginning of the Patton Era), maybe 50 shows. Their growth in that time is stunning. They've clearly hit upon a magical lineup. From re-working the "standards" to Hood and Cooley writing their best material, it all works. And their stage craft is at a whole different level--guitarists moving to the front of the stage to take solos; 4 vocalists on various songs, new arrangements that add musical drama, etc. I had the chance to talk with Brad and we nerded out on some technical drummer talk. One thing we discussed is that he has started incorporating the "traditional grip" (check out his left hand) in his playing. I went back to playing that way a couple of years ago. It just seems to add some "swing" to your playing that the matched grip doesn't. We also talked about the need to constantly practice your technique and work on the rudiments. Trust me, practicing drums can be boring and it's hard work. But it doesn't matter what you hear in your head if you don't have the technique to translate it to your playing. PH always talks about Brad being a practice monster and EZB's a master at knowing what not to play. What a great fucking band.

[RolanK]

I've only been seeing the boys live since Spring 2012 (beginning of the Patton Era), maybe 50 shows. Their growth in that time is stunning. They've clearly hit upon a magical lineup. From re-working the "standards" to Hood and Cooley writing their best material, it all works. And their stage craft is at a whole different level--guitarists moving to the front of the stage to take solos; 4 vocalists on various songs, new arrangements that add musical drama, etc. I had the chance to talk with Brad and we nerded out on some technical drummer talk. One thing we discussed is that he has started incorporating the "traditional grip" (check out his left hand) in his playing. I went back to playing that way a couple of years ago. It just seems to add some "swing" to your playing that the matched grip doesn't. We also talked about the need to constantly practice your technique and work on the rudiments. Trust me, practicing drums can be boring and it's hard work. But it doesn't matter what you hear in your head if you don't have the technique to translate it to your playing. PH always talks about Brad being a practice monster and EZB's a master at knowing what not to play. What a great fucking band.

Cool. I have noticed this in pics and clips popping up on the web lately and wondered if it was something I had missed previously, or if it was indeed "a new thing" for him.