Staff Photo by Blair Jackson: Randall and Benjamin Shreve and gearing up for a much-anticipated collaborative project.

Benjamin Del Shreve and Randall Shreve are at it again with a collaborative project temporarily titled The Brothers Shreve. Although the brothers were both contributing members of GS Megaphone, the band that got the brothers’ musical career in the national limelight, this is the first time that both Benjamin and Randall have shared the front-man position.

In the band that would eventually become GSM, Randall was a participating song writer, but was in the back on the drums. Benjamin was very supportive of his brother’s music, but he only joined the band when — with no previous musical experience and half-jokingly — he offered to replace the band’s flaky bass player.  The first time he held a bass, a friend explained to him which direction on the neck was up, which was down, and told him, “If you find the wrong note, the right one is in one of those two directions.” After some lineup changes, Benjamin took over the lead vocalist position and, before GSM’s final round of shows, he took over on guitar too.

After the dissolution of GSM in 2003, both brothers pursued music separately. Benjamin toured in the U.S. and Europe before landing in Florida and eventually bringing his band to Fayetteville, where he established himself in the local music scene.  Since 2003, Benjamin has recorded a total of nine unreleased albums. He is considering releasing the albums in 2012, but he still refrains from performing solo shows. He says providing atmosphere music in a coffee shop or bar was making him “mad” at his guitar.

Currently, the Benjamin Del Shreve band is currently working on their third release, “You Need Want”, which he describes as being his “lyrical epitaph” and having more of an “old school” sound.

Randall found himself in a few places before settling in New York where he met Timothy Grace, who has played with Randall as the SideShow’s piano player. After Randall released a solo album, the two were pulled to Fayetteville because of the local music.

Randall admits that he wasn’t ashamed to ride his brother’s coattails; although that hasn’t been the case for some time.  Benjamin, who had lived in Fayetteville for four years, helped his brother by setting up shows, promoting to his own fan base, and relaying venue and radio contacts.

After Randall released “The Entertainer” in 2008, he began fronting Randall Shreve and the SideShow, which released “The Jester” only a couple months back. Randall also has a new solo EP recorded with a target release date in the spring.  He describes the feel of the record as “mainstream, stripped down, sweet music” with mostly “love and heartache songs.”

Although the brothers weren’t planning on their joint effort manifesting this soon, at the insistence of their friends Ty Edwards and Ry Reeves, they conceited to prematurely kicking off this project with a show that took place last Saturday at Rouge on Dickson.  The Shreve brothers were joined by bassist and drummer from the SideShow, Geoff Baker and Zach Reese, respectively.

Also featured were many guest appearances, namely, Robert Geiger and Jonathan Holder from Benjamin Del Shreve and Timothy Grace from the SideShow.  With only a handful of 12-hour-long rehearsals under their belts, the show consisted of a wide variety of covers, from Roy Orbison to Nazareth to Dwight Yoakam, and only a few originals. Randall says they started with mostly covers “thinking it might spur direction” for the brothers’ collaboration.

“There has never been a feeling of competition,” says Randall about the brothers’ music. Instead, each pushes the other into stretching his musical boundaries. In The Brothers Shreve, Randall is taking on more lead guitar than usual and finding comfort outside his traditional vaudevillian style — which reached new heights Randall’s last project, the SideShow.

Benjamin is nailing harmonies and learning to voice again, setting aside his “rougher the better” approach in his normal vocal style. All the while, his expanding ability at guitar leads to a much more athletic and colorful contribution to the project.

There appears to be no ego thrown in the middle as they both work to make the other a better musician. This was evidenced during one rehearsal as The Brothers Shreve were working on a bluesy jam song. They swapped orders without reproach; and it was their combined effort that ultimately produced a better song.

Benjamin says, “[I’m] pretty stoked to play with my brother,” and that couldn’t be more obvious in the supportive dynamic of their relationship on and off the stage. This is one musical endeavor for which fans of both artists have quietly waited for a long time. Now, they just have to be patient enough to see how the sound of The Brothers Shreve will develop in the coming months. For more info, check out bdsband.com or randallshreve.com.

Ricky Black AKA Domewrekka is a "ridiculously nice guy" who helped pioneer the dubstep scene in Northwest Arkansas.

By Blair Jackson
TFW Editor

Ricky Black is a local DJ who specializes in dubstep, a genre that has led the trend in the underground electronica scene for the past two years. Under his stage name, Domewrekka, Black has spent seven years perfecting his craft, building a fan base and making plans. This year has held some major milestones for Domewrekka, and he has even bigger plans for 2012.

Black’s passion for electronica started with the club and festival scene.
“I liked to go to parties and dance,” he says. “I liked it so much, I listened to it all day, every day, and all different kinds.”

Eventually, Black’s passion for music evolved into a curiosity about the actual process of meshing beats. He began watching DJs as they worked and started asking questions.
In 2004, Black returned from a pawnshop with a set of turntables. He was set up within two hours, but it took him four years to land a gig.

“You don’t just learn to beat match and have doors open up,” he says.
Beat matching is the process of matching up the tempos of two different songs, by speeding up or slowing down the track in order to provide a seamless transition between tracks.

“My job is to make sure the music doesn’t stop,” Black says.

And Domewrekka does his job. During a tag-team set between three DJs at Fix Lounge on Nov. 30, the music never lost its pulse — and oh, what a pulse it was. At 140 beats per minute, the tempo of dubstep runs at almost twice the pace of the human heart, and of course, it isn’t as regulated.

When he’s in the DJ booth, Domewrekka serves as the connecting point between the crowd and the music. The success of a DJ relies heavily on the ability to read the mood of the crowd, not only to give the fans what they want, but also to show them something new and exciting. Domewrekka’s rise to popularity can, in part, be attributed to the rise of dubstep, which is his specialty.

One of the unique aspects of dubstep is the sense of the unpredictable. Standard time signatures are interrupted by drops, wobbles and tempo changes. A variety of synthesized sounds, vocals and even acoustic instrumentation are woven into the tapestry of the sound, making it what Black calls, “a smorgasbord of all genres.” The effect of the music is the ultimate mash-up, a type of organized chaos composed of samples, modulated beats and synthesized sounds. From beginning to end, a single dubstep song offers a multi-dimensional experience.

It was the intensity of dubstep that inspired Black’s Domewrekka name.
“I play the hardest kind of music,” he says. “It’s the kind that twists you, takes you on a ride. It’s a head-trip.”

Paring down electronic music into different genres is tricky business. Trance, house, dubstep, drumstep — the categories are based on the technical variants of the songs. For example, drumstep is classified as 170 beats per minute. Drum and base, or D&B, has the same BPMs as drumstep, but has half the snare. Black says all DJs are doing multi-genre sets.

Staff Photo by Blair Jackson: Local dubstep DJ Domewrekka set the mood at Fix Lounge last Wednesday.

“There are so many new genres,” he says. “The sound is constantly evolving.”
As for being a well-known local DJ, Black calls himself a D-list local celebrity, saying “I’m not an Arkansas Razorback player or anything.” For Domewrekka, meshing tracks is a passion, not a full-time job. He also moonlights as a stage technician. During the day he is a full-time father to his two young children, Koa and Maddox, and often spends time playing with the dogs or throwing a flying disc around.

Black’s growing list of achievements offsets his humble self-representation. In the past year, the DJ has opened for Bassnectar, played a set at Wakarusa and organized an outdoor festival. Domewrekka admits he was nervous playing at the larger venues, but says he looked out at the crowd to see his friends and was encouraged.

Another factor behind Domewrekka’s rising success is his unique relationship with his fans, whom he considers friends. One such friend, Shammy Starbrite, remembers when Domewrekka was banned from George’s for playing dubstep a few years back.

“That was when dubstep first hit the scene,” Starbrite says. “It was a little grimier and dirtier, and a lot more underground.”

Earlier this year, at Domewrekka’s Galactic Butterfly Festival, Shammy and her husband Chroma were married on-stage. Domewrekka officiated the wedding as a minister of the religion of womp (dubstep), and the two traded candy rings as a token of their love.

Now, there is evidence of mainstream acclaim for a sound that was once an exclusively underground phenomenon. Skrillex, a dubstep artist who was recently nominated for five Grammy awards, has become the first DJ artist to ever be nominated as Best New Artist. On a local level, Starbrite notes there has been a growing fascination with dubstep within the festival scene for the past few years. “A lot of people started recognizing dubstep because it started happening everywhere.”

Domewrekka says his sets are designed to create a “hard, heavy energy that gets your blood

Staff Photo by Blair Jackson: Dancing to dubstep is a rising trend in itself. At the most advanced levels, robotic pop-and-lock movements are paired with the acrobatics of break dancing.

flowing.” Dancing to dubstep is a rising trend in itself. At the most advanced levels, robotic pop-and-lock movements are paired with the acrobatics of break dancing. For fans with less skill, there are no stigmas on the dance floor. Dancing to dubstep is all about having a good time.

“I enjoy seeing everyone having a good time,” Black says. “When people are dancing, they aren’t thinking about anything.”

After seven years, Black says he is beginning to understand what makes up the backbone of a solid dubstep song. In order to be considered for the Wakarusa set, he was required to create an original track.

“I’m such a perfectionist,” he says. “It took me 15 tries just to get it perfect. Sound engineering is no joke.”

The song, entitled “Wrekkarusa” can be found on soundcloud.com.

Producing an original sound is the next step for Domewrekka. He has ideas for original tracks and is preparing to release at least four EPs in the spring of 2012. For DJs, booking shows is where the money is, and Black is hoping to become a full-time DJ. With an original sound, Black says more shows will come.

“Everyone wants to get paid to do what they love,” says Black, whose ideal show would be in the United Kingdom, the birthplace of dubstep.

Candy Lee, the voice of the folk jazz band Candy Lee and the Sweets has returned to Northwest Arkansas to kick off her tour of the Southern states.
After a solo tour last summer, the singer/songwriter/artist is settling into a routine at her new home in Jacksonville, Fla., and is planning a new album.

“I am really super excited about coming back to Fayetteville,” Lee said. “It’s my favorite place in the world.”

Lee’s fragile, folksy voice (with a tone that rivals Leslie Feist) skips across notes like stones in a brook.

The music of her most recent album, “The Gate,” bares simple lyrics, three-part harmonies and upbeat tempos that blend into playful, sweet melodies that often border on soulful.
The album is a record not only of Lee’s music, but also of her personal journey through spiritual and philosophical revelations.

Music, according to the artist, is also her preferred method of introspection.
“Music is the most important thing in my life,” Lee said.

“It’s a really good way to explore what’s on my mind and get it out there. And to relate with other people because I find that that’s really powerful. It’s really cool to connect with people on that level. That’s what I like about writing about such personal things.”

Described as “children’s songs for adults,” Lee uses simple lyrics to explore the complexities of the human experience. Drawing inspiration from Friedrich Nietzche, Edmund Burke, Brihadaranyaka Upanishad, and even from her own experience in the restaurant industry, the album is Lee’s autobiographical exploration of some of humanity’s most personal and unifying questions.

“It’s been said in different religions, in Christianity for example, ‘Become like a child,’” Lee said.

“In order to learn anything, you have to step back into a childlike perspective where you’re able to learn and see the world in a way that’s fascinating. Kids have this wonderful joy and excitement with the world around them, because it’s new and things are happening everyday.
“We become jaded as adults and think there’s nothing left for us to learn, but if you step back into that childlike perspective you learn not only to be humble but to learn new things everyday.”

Lee took her vision a step further with the album artwork. Illustrated as a children’s storybook, each page depicts a variety of scenes — from islands, to caves, to dragons — all of which feature a cartoon Candy Lee.

The simple, soul-baring songs of “The Gate” are captivating in quality and messages, but fans can expect a completely different experience live.

On the album, there are layers of synthesized strings that have not yet found a place on the stage, and depending on the show, you can find Lee solo with a guitar or backed up by her band, The Sweets.

Lee says the highlight of her homecoming will be playing with her band again. “They’re some of my best friends,” she said. Comprised of Jennifer Graham (bass, vocals), Emily Jenkins (vocals), Dan Dean (djembe and percussion) and Warren Dietzel (mandolin), the Sweets met through mutual friends and contacts in the Fayetteville music scene. “It came together piece by piece,” Lee said. “It was a nice organic type of thing.”

In Jacksonville, Lee is waiting tables and playing venues in hopes of breaking into the local scene. With her second tour under way, and a new album in the works, her hometown fans can rest assured that they will be hearing more from Candy Lee.

As far as future plans, Lee says she would like to “go all the way with it.”

She dreams of touring full time and opening for bands, such as the Avett Brothers, The Decemberists and Sufjan Stevens.

Until then, you can catch her this weekend at the Greenhouse Grille. If you can’t make it to her live show, be sure to check out her website candyleemusic.com, where you can listen to her entire album.

Fayetteville’s own Friday Maybe Saturday — Chad Chamberlain, Charley Gilbow, Nate Garrett, Jedidiah Brandon — wrote a song called ‘Fuck’ Mountain so your band doesn’t have to. The band’s laid back approach to progressive metal is fun for a crowd, unless you are in a band and are left wondering how they can so effortlessly channel Fall of Troy and Mars Volta.

You also have to realize members of FMS are in the rough and tumble Auger, and formerly were in Queen Beast and several other bands you wish you were in.

Friday Maybe Saturday somehow skates the fine line between prog rock and metal, making catchy songs that are often heavy and anthemic. They have graduated from the Don Caballero school of song title, with Jumping Jesus on a Pogo Stick, and Unbuckle My Swash, to name a few.

I can’t recommend seeing FMS live enough. Most definitely catch them at Rogue on July 17.

I asked the band some questions and here’s what they said …

Q: I have a hard time describing FMS, how do you?

A: A flock of seagulls hovering over a meadow wondering where in god’s name the ocean went. They’re probably drunk seagulls if we really want the metaphor to work. Truth is its rock n’ roll and whatever definition one has for that term we probably encompass to some degree. Heavy? Often. Fast? Usually. Loud? Always. Alcohol and drug inspired? Most definitely.

Genre labels end up restricting both the listener as much as the musicians who are caste into them and avoidance of such limitations seems advantageous for future growth. It’s cool being able to play shows with all varieties of music and always managing to seem to fit somehow.

Q: A lot of bands playing technical music tend to lose track of the song, when you can essentially do anything, how do you know when enough is enough?

A: There are several factors that can go into deciding when a song is completed such as what the overall point of the song is including both stylistically and tonally. But the main consideration we have is whether we’re recording or playing live. How we “write” a song is almost never how we play it live other then a few exceptions. It depends on how much time we’re allowed on stage and what kind of environment the other bands and/or crowd have created.

It’s liberating to know that the way we practice affords us the comfort of just feeding off each other and feeling songs out if we want to extend or shorten them. Such a luxury is usually only seen with crappy three-chord jam bands.

Q: Catchy or heavy?

A: Yes.

Q: What are you working on lately? Will there be a record?

A: We just finished the actual recording of an album and now the fun part where someone else takes your shit and then makes it sound like you know what the hell you’re doing. Hopefully all the mixing and mastering will be completed within a month.

Q: Talk about your many other bands and projects?

A: A lot of the bands in this area are just cross-eyed inbred versions of each other and we are definitely no exception. Some of the bands we have played in and in a lot of cases continue to play with include: Queen Beast, The Sinking South, Auger, The Arrowhead Project, Space Madness, Pile of Dead Women and for shits and giggles we’ll include Pisser. Jason Rice from Auger and The Arrowhead Project did our recording and our pal Fuzzy-who along with other great bands also played with Space Madness-is doing the Mastering.

Q: When’s the next FMS show?

A: We’ll play at Rogue on July 17 because we love that place and think their support of the local heavier stuff is great, seeing as how no one else has the balls for it. We’ll also be playing The Boom Boom Room on July 31. After that we’re going to be on tour for a big chunk of August and September but at this point are still unsure if we’re going to be playing Fayetteville or not.

Listen to Friday Maybe Saturday at www.myspace.com/fridaymaybesaturday or check out www.nwametal.com for more show dates.

Day jobs: Musician, songwriter, homeschool teacher, organic gardener.

First performance: One of my first performances was at Arsaga’s on Township in 1996. The place was full of people and I felt so blessed to have so many friends and family come out, though I was very nervous. The music helped me open up and the whole night was so blessed!

How long have you been performing?: I really started performing locally on a regular basis in 2000. In 2004-05 I toured with reggae MessenJah Luciano. Our first headline tour came in 2006-07. Some of my favorite venues are Fox Theater in Boulder, Colo.; Belly Up in Aspen; Janus Landing in Tampa; and of course George’s Majestic Lounge is always a joy! All the good people in Northwest Arkansas show us so much love!

Favorite performance: Every time I get to play is a blessing. There are many shows that stick out. One last year that was lots of fun was to play the Ravina Fest in Chicago with Michael Franti and G Love. The venue was over 100 years old and the people were so full of love for music you could just feel it.

Type of music: Music from the heart and soul.

Originals or covers: We play a Bob Dylan cover “Slow Train.” As for my original songs and music, the best ones are the ones I am working on or about to work on that I do not know yet. I strive to make every song count.

Influences: The Almighty YAH, His Word and His Creation is a constant influence. Musical influences are Bob Marley, Luciano, Earl “Chinna” Smith, Bob Dylan and Ben Harper.

Accomplishments: I have been blessed by the Almighty with many opportunities. To record in Kingston, Jamaica, with many of the best musicians in Reggae, to tour nationally and internationally. To get a major record deal with Universal on the first CD “Gone are the Days” 2007. Still more than all this, the happiness and health of my family, my wife of 12 years Kristy and our children Cypress, Rebekah and Chavah.

What kind of crowd do you draw?: All types. There is a wide range of people who come out, and that’s what I love. I like diversity. The best thing is that whoever comes out and whatever the background, the music unites us all.

Albums: “Gone Are The Days” (2007), Lions of Israel/Ume, “Teach your Children Restore Humanity” Ep (2008), Ume, “Soulution” Ep (2009), Lions of Israel,Inc.

Backstage ritual: Clear the mind, read from the Psalms or the prophets and pray.

Plans: There is an old teaching that says a “Man may have many plans in his mind, but The Lord (Yahweh) directs his steps.” My plan is to let the Most High lead the way.

Goals: To finish, mix, master, and release the new CD, “Kingdom Road” and to tour.

New Projects: Started recording the new CD in Fayetteville at Crisp Studios with my band, then took it to Kingston to finish. Right now we’re ready to mix. We will be playing a lot of new material on this tour.

If you could open for anyone, who would it be?: I would like to open for many of the great songwriters of our time, the classics like Willie Nelson and Bob Dylan. It would be great to hit the road with Michael Franti, Ben Harper and Rebelution to name a few.

Last CD purchased: Congo “Heart of the Congo’s” and Midnite “What Makes a King?”

Most played song/s on your iPod?: Don’t have an iPod.

Website: josephisrael.com

Upcoming shows: Gulley Park free concert on July 8. George’s on July 11.

Strange Heroes, a dance-music staple in NWA from 2001 to 2005, is mounting a comeback with a flurry of recent gigs on Dickson Street, a nomination for NAMA party band of the year, a slot on opening night for this year’s Bikes, Blues & BBQ, and a new CD chock full of contributions from other area musicians … including one ghost.

George’s Majestic Lounge is hosting the CD release party from 8 to 11 p.m. Friday.

The spirit of the smooth-playing, hard-living, voluble Michael Lee Sloate haunts the tracks of Strange Heroes new, third CD, Between the Musk and the Moon. Michael Lee, as most knew Sloate, died in 2008 at age 55 of liver cancer.

Strange Heroes’ Guy Ames said Sloate’s songwriting genius was the genius that helped Strange Heroes bag the NAMA “CD of the Year” in 2004 for their CD Paths and Patterns. Ames said Sloate’s song were “too good, too compelling to not play” on the new CD.

Six of the 18 cuts on the new CD are Michael Lee tunes, so, even from the grave, Sloate continues to be a major voice in the band’s style and sound, which has always been eclectic but thanks in big part to Michael Lee, almost always dance-inducing, Ames said.

This third release by Strange Heroes is even more eclectic than the earlier CDs, and this from a band which, two years in a row, won the NAMA for “Best None of the Above,” the category for bands that defied categorization.

The title cut on Between the Musk and the Moon breaks into reggae choruses; the opening cut is funktastic; the final cut is heavy, boom-boom-boom, strip-tease-rhythm blues; “Hollywood Night” could be an AC/DC song; and “Walking in Daylight” features the Heroes’ Bruce Allen on electric sitar. Yep, sitar. The CD is strong with Strange Heroes’ signature tight three-part harmony from Allen, Ames and Lanier throughout the CD.

All but one (Tim Carnes, formerly of Ultra Suede) of the current Strange Heroes (Bruce Allen, Ames, Kirk Lanier, Carnes, and Jamie Ulick) lineup played with Sloate in at least one of several NWA bands, including Walter Ego and The Michael Lee Band.

One of Sloate’s songs, “Across the Grand Marais,” (on the first CD and a song about south Arkansas where Sloate was from) has become a Strange Heroes signature piece.

Michael Lee’s songs on this new CD range in style from beatnik-swing (“End of the Line,” which features the perfect-fit horn work of Opal Fly and Steve Carruthers), ’60s soul (“Meet Me”), hard-driving Southern rock (“Hollywood Night”), the ‘60s-slow-dancing “Cool Night,” to the enigmatic retro-bossa-nova-country-lounge song “Satin and Lace” about a prostitute’s simple acceptance of her job’s exigencies.

Sloate’s songs often allude to a hard life in the rural and small-town South, a life that Sloate, who suffered from chronic pain from a construction accident. knew well.

Sloate’s song “Blame It on the Band” is a rock-swing number, a genre Strange Heroes mine regularly for their dance music.

Like “End of the Line,” many of Sloate’s songs are lyrically complex and vocally challenging. Bassist Kirk Lanier does all the lead vocals to Sloate’s songs as a “labor of love.”

Ames, a talented song-writer himself, calls “End of the Line” a “masterpiece of lyrical jive.” It’s a smooth, swinging, fast-talking homage to some earlier, hipper time:

“Well, he was standing on the corner of the question just waiting on that downtown bus.

Easing his mind ’round the need for alleviation of the situation causing the fuss.

And he could see more than two destinations all floating around in his mind.

But there was too little time for investigation no searching for that reason and rhyme.”

Like almost all of Sloate’s songs on this CD, the vocabulary and melodic feel often harken back to the ’50s and ’60s, giving the songs a decidedly retro and classic feel.

The guest horn work of Opal Fly and Steve “Hot Buttered” Carruthers on several cuts is another highlight of Between the Musk and the Moon. Ames’ “Family Tree” and Allen’s monster funk piece “Follow Me” (which opens the CD with a funky bang) realize their full musical potential with Fly’s and Carruther’s contributions.

“Opal and Steve gave ‘Family Tree’ exactly the ’30s feel I wanted and could always hear in my head,” Ames said.

Other guests are: harmonica player Mark McGee (formerly of Strange Heroes and now with Snake Eyes and the Bug Band); the flautist Michael Allen (no relation to Bruce); violinist Ryan Cockerham (Kahula Gypsy Band, etc.). On the Ames-penned “Guantanamo,” Cockerham’s plaintive violin evokes the grief of a Guantanamo prisoner, while Allen’s growling, screaming guitar captures the rage of a man unjustly imprisoned.

“Guantanamo” is our only ‘political’ song on this CD,” Ames said, which is noteworthy because the Heroes’ second CD was almost all political and since, as Ames said, “People have tried to pigeon-hole us as a ‘political’ band, whatever that is.”

This CD was two to three years in the making. Allen and Ulick did most of the mixing in Ulick’s studio. The final mastering was done by Kelly Mulhollan of Still on the Hill at his Termite Tracks Studio.

3 Penny Acre

The Band:

Bayard Blain (guitar, mandolin, bouzouki, and vocals). Bayard is a luthier. He builds guitars, mandolins and bouzoukis for a living. Check out www.bayardguitars.com.

Bernice Hembree (Upright bass, piano, vocals). Bernice owns Terra Tots, a local cloth diaper and natural parenting store in the Mill District in Fayetteville. www.terra-tots.com.

Bryan Hembree (Guitar, brush bucket, vocals). Bryan works for the University of Arkansas.

First show: October 2007. When Karon Reese and Steve Striffler needed a band to play at their wedding, we put something together the week of the event. We had a great time together, liked what we heard that night and just kept playing.

Type of music: A mix of Americana, folk, bluegrass and roots music. We like to say it is “Original Ozarkansas Music.”

Originals or covers: We write 95 percent of what we play. Usually, the covers we do are by songwriter friends that you may not have heard of before. We love exposing their music to new audiences.

Sounds like: Three people making honest, original music. Jonathan Byrd called us, “a vocal freight train.”

Songwriter’s muse: Bryan — Walt Whitman; Bayard — tonewoods; Bernice — Broadway

Influences: We have too many to list. We love the community of acoustic musicians here in Northwest Arkansas. We have a great thing going here in Fayetteville.

Accomplishments:

2008 — Walnut Valley NewFolk Song Winners

2009 — NAMA Best New Band; Featured on “Front Row” that aired on AETN (PBS) TV

2010 — NAMA Band of the Year, Album of the Year

What kind of crowd do you draw?: We draw a listening audience of all ages. Folks love to come and pay attention. Our audience enjoys themselves, but you won’t see any bar fights break out during our shows.

When and where do you practice?: We practice once a week at Bryan and Bernice’s house.

Albums: “3 Penny Acre” released in 2009. “Highway 71” is set for release June 20

Total number of tattoos and piercings: Bernice has a bass clef on her wrist and various other tattoos. Bayard mostly has woodworking scars that could count as tattoos and piercings. Bryan is still holding out for either the “Neverending Story” medallion or “Karate Kid” Miyagi dojo logo.

Back stage ritual: Vocalizing

Road trip ritual: We pop cloves of garlic — keeps everyone healthy on the road.

Funniest or strangest thing that ever happened during a performance: We played a festival at a clothing optional resort in West Virginia. Enough said.

Plans: We have been playing 70 to 80 shows a year. We want to continue at this pace. We love touring around, playing new places and meeting new people. We will tour the next 18th months in support of our new album. We have a third album of British Isles and Irish tunes in the works that we will release after that period.

Goals: To keep making music and spreading it around the country. And, we’d like for Toyota Prius to sponsor us with a fleet of touring hybrid vehicles!

New projects: We are hosting a one-day festival in August called the Fayetteville Roots Festival. We will be announcing more details at our CD Release Party on June 20 at Greenhouse Grille. We are bringing in some great emerging artists from across the country.

Upcoming shows and tours: Our CD Release Party is going to be June 20 at Greenhouse Grille. They are opening up just for us. It will be a ticketed event. $10 in advance at www.wix.com/3pennyacre/3pennyacre or $12 at the door. The show is limited to 200 tickets. Greenhouse will not be serving dinner but will have the bar open and a light menu from the bar. It should be a fun time. We also have a ton of dates out of state in the coming months, including an east coast tour in August.

Dream act to open for: We would love to put together a show with Tim O’Brien.

Last CD purchased: Bryan — Corin Raymond’s most recent release “There Will Always Be a Small Time;” Bernice — David Rawlings Machine “A Friend of A Friend;” Bayard — Jonathan Byrd “The Law & the Lonesome.”

Most played song/s on your iPod: Bryan — Joe Crookston “Good Luck John;” Bernice — Hayes Carll, The Avett Brothers, The Hereafter; Bayard only listens to music on the dusty CD player in his shop.

Websites: www.3pennyacre.com or www.facebook.com/3pennyacre

Tom McFetridge, the group’s lead guitarist and 14-year Ozark Film and Video engineer, has spent countless hours recording “take after take” of overdubbed, tuned, “squeaky clean” tracks for other projects. He said the band wanted to do the project live to have the “live energy.”

The group is in initial discussions with an international distributor from the U.K. The EP is available locally at Sound Warehouse and online at iTunes, Napster, eMusic and Amazon.

Army of Birds will have a CD release party on June 25 at Restaurant on the Corner and will play George’s on July 24.

Instruments: Acoustic Guitar/ Electric Guitar/Electric Bass/Vocals

Day job: Part-time server at Greenhouse Grille

First performance: The first time I performed was in seventh grade. I had to wear a Santa costume and perform a little number about Christmas. Seventh grade, I was nervous, but it turned out great! Ma & Pa were so proud.

Favorite performance: My band and I have had so many great performances over the years. Recently the band played in Kansas City and my former lead guitarist, Casey Ciesla, sat in with us. He passed away two weeks later from cancer. So, that performance sticks out to me very strongly right now. It was special for all of us.

Band members: Teddy Sablon, lead guitar; Robin Rues, bass; Christian Mara, drums.

Type of music: Edgy Pop-Jazzy Rock-Funk Twang. Depends on which song you’re listening to.

Originals or covers? I’ve written more than 80 originals and mostly that is what my band and I play. We cover Rolling Stones, Bob Dylan, Sheryl Crow, Led Zeppelin, Teddy Sablon, Candy Lee, etc.

Sounds like: Epic like Heart meets the vibe of Sheryl Crow with G-Love & Special Sauce mixed in. A lot of people compare my style to Jason Mraz.

Songwriter’s muse: The human condition; dealings of the heart and the beautiful people and world around me.

Influences: Indigo Girls, who I am opening for May 26 at The AMP; Jeff Buckley, Steely Dan, Stevie Wonder, Black Crowes and the philosophy and groove of Bob Marley.

Accomplishments: GO Magazine Solo Artist of the Year 2006. Have been nominated twice for NAMA Best Female Songwriter. I’ve opened for/played with so many amazing musicians which I feel to be an accomplishment and honor.

What kind of crowd do you draw: My music and message is about bringing people together so our crowd is filled with all kinds of amazing people who love music and gettin’ down.

Any albums: “Alpha” released 2004. “Raw/Acoustic” released 2008. “Tiffany Christopher” EP released 2010.

Backstage ritual: Stretching. I do a lot of high kicks on stage. Writing a set list with the band or my manager. And finally vocal warmups, of which the band loves to make fun of me.

Funniest or strangest thing that ever happened during a performance: TCB, Tiffany Christopher Band, was playing at George’s. It was a busy night, everyone was having a ball. One of our favorite local musicians was having maybe too much fun. He decided to rock out on stage and then stage dive head first, only no one on the floor wanted to catch him. He was all right, so it was really funny and the band had a hard time keeping the song going.

Plans: To record a few more songs at Ardent Studios with Pete Matthews and shop the songs to major or indie labels, and also license my songs for movies or television. I plan to one day move to L.A. where I can focus more on licensing.

Goals: Write musical scores for great films and travel as far and wide as my future Prevost Bus will take me and mine.

New projects: A new full-length album called “WorkHorse” which is in the works at Daybreak Studios in Lawrence, Kan. I am also revamping my website and social media networking with Daniel Gold’s assistance. Will be headed back to Ardent Studios in Memphis to record as soon as financially possible.

If you could open for anyone, who would it be? If it could be anyone … Led Zeppelin. Led Zeppelin back when they were on tour promoting Led Zeppelin III. Also, I have always dreamed of opening for the Indigo Girls, so May 26 will be a dream come true for me.

Last CD purchased: The Avett Brothers “I and Love and You”

Most played songs on your iPod? Avett Brothers “Murder in the City,” Jenny Lewis “Acid Tongue,” Brandi Carlile “Touchin the Ground,” Steely Dan “Back to School”

Website: www.tiffanychristopher.com which has a complete list of all my upcoming shows and tours.

Upcoming shows and tours:

May 26: 7 p.m. Opening for Indigo Girls at The AMP

May 28: 7 p.m. Landry’s, Fort Smith

May 29: 10 p.m. Waxy O’Shea’s, Branson

June 3: Wakarusa opening the festival

June 4: 9 p.m. Wakarusa Backwoods Stage with TCB

June 15: Herman’s Steakhouse

June 27: 2 p.m. Fayetteville Public Library

June 27: 6 p.m. Mellow Mushroom

Instruments: Bass, piano, guitar, laptop and loads of effects.

Day jobs: Substitute teacher

First performance: My friend Matt Jones and I played at Arsaga’s on Crossover. We played about five Dave Matthews Band songs and had a lot of fun.

Favorite performance: Playing with my idols Steve Kimock and Reed Mathis was my favorite, but playing with your buddies is where it’s at; such as the String Theory New Year’s Eve show at Benson’s, 2005, and all of the Cecil the Cat shows at The Five Squirrels.

What bands have you been in?: Thomas Grey Band, Cecil the Cat, String Theory, Hump Back Jack, Mountain of Venus. Also played with Eoff Brothers, Solomon’s Vine, Minkus Finkus, Grandpa’s Goodtime Fandango for a few shows.

Type of music: Electroclassical, improv, rock, jazz

Originals or covers?: Mainly originals. Covers of Zeppelin, Radiohead and Michael Jackson

Sounds like: Johnny Greenwood and Reed Mathis ran through a loop sampler

Songwriter’s muse: The sky and sound

Influences: The Beatles, Radiohead, No Doubt, Stravinsky, Wilco, Sigur Ros, Coltrane, Jon Hopkins, Coldplay, Alexandre Desplat, Reed Mathis, JFJO, The Bad Plus, Philip Glass …

Accomplishments: I just finished the score for a short film called “Vise” out in Los Angeles. My first piece for a concert band, “Water Balloons” will be premiered in May. The Fort Smith Community Band will play it at a free concert at 3 p.m. SundayMay 16 at Ramsey Junior High School auditorium. Before the world of composing, I won, with the bands I was in, 10-plus awards at various awards shows in NWA.

What kind of crowd do you draw: The kind that enjoys the experience of music.

Any albums: “String Theory,” “The Red Eye Home” and “Cecil the Cat: Paper Bag.” I hope to release a compilation of solo works in the fall.

Backstage ritual: Putting on a new pair of socks.

Funniest or strangest thing that ever happened during a performance: “C’est La Vie” by String Theory being sung in a strange mix of German and angry.

Plans: Composing more for classical-type ensembles and scoring films.

Goals: Score a feature-length film and having more written works performed.

New Projects: Writing music for the web series “Law Firm” that will start filming this summer in New Jersey.

If you could open for anyone, who would it be?: Radiohead

Last CD purchased: Charlotte Gainsbourg and Beck “IRM”

Most played song on your iPod?: “Silence is the Question” by the Bad Plus.

Website: www.amoscochran.com

Upcoming shows and tours:

May 14 at George’s with Cecil the Cat

May 15 at Ramsey Junior High School Auditorium, the premiere of “Water Balloons”

July 31 at George’s with Mountain of Venus and Friends featuring Melvin Seals