 |
| Kingston Custom BMW at the Custombike Show in Bad Salzuflen - Germany. |
Monday, December 9, 2013
WUKY Feature Interview With Justin Wells of Fifth On The Floor
 |
| Fifth On The Floor ready to conquer any stage they encounter |
"In 2006 Justin Wells moved from Richmond, Kentucky to Lexington with one goal; start a band. In July of 2006 Wells found what he was searching for in the creation of Fifth on the Floor. Since then, the band has amassed a dedicated following not just in Lexington, but across the country as well. Wells attributes the dedication of the local fan base and the approach of trying to stay locally connected to a success he says not a lot of other touring bands have.
“Not everybody is successful with having a good draw in their hometown which seems kind of strange, but I think a part of that is that we didn’t start out as a touring band, we kind of learned how to be a band and learned how to be in a bar first unfortunately and the first couple years we just kind of played the area.”
The success of the band has continued to grow. Fifth on the Floor is currently signed to Entertainment Music One which is the largest music label in Nashville. The band released their latest album Ashes and Angels in March of 2013. The album itself was produced by Shooter Jennings, the son of the legendary Waylon and it charted number 63 on the Billboard country charts. While the band has gone through some personnel changes Wells believes there is a new fire in the band and that their success will continue as long as the band works for it.
“For all the people who complain about the music business and how ‘oh it’s so hard and it’s just a matter of luck’ I just kind of disagree, I think it’s like any other business in that if you work hard and you push and you go after those opportunities rather than wait on them to fall in your lap, you’re going to get some measure of success.”
Fifth on the Floor will be performing at Busters on December 14th. Fifth on the Floor’s album Ashes and Angels is available in stores and online. More information about the band can be found at Fifth on the floor dot com."
 |
| Fifth On The Floor hits the road with George Thorogood in 2014 |
Thursday, December 5, 2013
Hellbound Glory Confirmed For RedFest, Hosted By Jeff Foxworthy
 |
| Leroy Virgil of Hellbound Glory giving a proper salute |
Foxworthy is the founder of RedFest and said the event is more about celebrating the 'red, white and blue," rather than his redneck-centric humor. "To make RedFest really rock, we had to find the coolest place in America to serve as our host city, and right now Austin is the place to be," said Foxworthy. COTA organizers are optimistic about the partnership.
“RedFest is sure to become one of the most unique entertainment festivals on the calendar, and we’re hoping to attract tens of thousands of people to Central Texas to be part of the inaugural event,” said Paul Thornton who heads COTA’s events and entertainment division.
The following artists and performers are already confirmed for the RedFest presented by Natty Light:
- Tim McGraw;
- Jeff Foxworthy;
- Florida Georgia Line;
- Larry The Cable Guy;
- Rodney Carrington;
- Big & Rich;
- Lynyrd Skynyrd;
- Kip Moore;
- Justin Moore;
- Easton Corbin;
- Colt Ford;
- Cassadee Pope;
- Love & Theft;
- Amber Carrington (finalist on NBC’s “The Voice”);
- Parmalee;
- Big Smo;
- Gangstagrass;
- Hellbound Glory;
- Sundy Best;
- Hot Buttered Rum;
- JJ Grey & MoFro;
- Special Appearance by Phil and Alan Robertson from “Duck Dynasty.”
 |
| Hellbound Glory is a featured act on RedFest in Austin, Texas on Memorial Day weekend 2014 |
Here Is How Getting Featured On Itunes Works...
 |
| Stevie Tombstone featured in Itunes New & Noteworthy Country for his single "Kevlar Heart" |
Just in case any of yall were wondering about how we keep getting solid features in Itunes and other larger media outlets, here is how it works, plain and simple.
Itunes for example, chooses what it deems music (albums / singles / artists) that will sell, as they are in business to turn a profit. Being ranked in the top 10 of Fortune 500 companies worldwide proves they are already beyond successful and payoffs from PR companies, just won't work. This leaves the album placements as their choice for what to feature. Therefore, by the quality of Stevie Tombstone's new track Kevlar Heart he is hangin' right up at the top with the other acts in this screen shot, Stevie is being deemed "one to watch" that could go huge.
Being that we have gotten huge features quite a few times over the last 4 years as a label proves one thing. As an indie label putting out great music, we can deliver the soundtrack to your life on the same level as the majors. Mucho kudo's to Husky Burnette for being featured for 15 straight weeks now and JB Beverley for landing at No. 1 on Amazon's digital music charts.
As we finish up this year, folks we have some big things lined up for 2014 and this is just a preview of what is to come. Our pendulum is about to swing firmly back to the rougher side of the tracks. We will be making some big announcements in the coming weeks on new albums coming up and the great bands about to melt faces for 2014.
Stay tuned, drink up as we are about to Crank up the Marshall stacks.
Check out the brand new video we filmed for Stevie Tombstone with "Would You Die For Love"
The Mainstream According To Bob Lefsetz
 |
| Van Halen brought arena rock to the masses |
"People hate when their record is not a hit. Or the one they're working. Or the one made by their favorite artist. And what's on the radio, what's successful, sucks.
I get it. You're frustrated. You wish the world were different.
But it's not.
Now I'm not saying everything that's popular is fantastic. But I am saying it's rare that that with little traction would be loved by everybody if it just got exposure.
In other words, records are hits for a reason.
Primarily because they're good.
And god forbid you do something good in this world. Oh, that's right, I've gone on record that good is not good enough. God forbid you do something great. Then the whole world is gonna rain down on you. Both positive and negative. You'll be in the center of an unforeseen maelstrom that almost no one can understand.
Kind of like Taylor Swift. She thought she wanted to be successful. She had no idea what came along with winning. Every move, every action is scrutinized. You think since you're posting on Facebook or Twitter everybody cares, but they don't. Hell, just look at the Twitter followings. You've got to get into the hundreds of thousands to get true traction, do you think it makes a difference what you say if you've only got double or triple digits?
But you keep doing it. Not for yourself, but to get ahead. Everybody's trying to get ahead. And criticizing those above them.
The guys who run the record labels! They're idiots!
I've known all of them. They're not. In fact, they're very smart. Rawly, and they know how to play the game. That's right, if you can't get along, you're never going to make it to the top.
And staying on top? That's a skill too.
Am I saying those ruling the world are the only ones who can do so?
No.
But I am saying stars are irreplaceable.
There was only one Steve Jobs. Apple hasn't been the same since. Could end up being something great according to Jony Ive's vision, but it won't be the same. The same way Sammy Hagar Van Halen wasn't the same as David Lee Roth Van Halen, and that's one of the only bands that replaced its lead singer and continued to have recording success.
It doesn't matter that you hate the stars. Doesn't matter that you think you can do better. Because most of the people don't agree with you. Most of the people are just fine with Rihanna and Katy Perry and the aforementioned Ms. Swift. One can argue Rihanna and Perry are niche compared to the stars of yore, but certainly not Ms. Swift. She can sell out stadiums, alone. No one else in the business can do that. Is it because she's tall and attractive and has a rich father?
NO!
IT'S BECAUSE OF THE SONGS!
She's speaking about her inner life. Certainly on the first two albums, before she went off the rails a bit. And people are drawn to that. That's a hit.
You wonder why your music is not a hit and somebody else's is?
It's the je ne sais quoi, that something different that's hard to define and articulate but resonates nonetheless.
Don't ask me to explain Alanis Morissette's "Hand In Pocket." All I know is when I listen to it I feel like I'm the only one, and I'm empowered, it squeezes all the b.s. out of my mind.
And yes, I know there are Beach Boys harmonies in AC/DC's "You Shook Me All Night Long," but that doesn't account for all the magic, it's the drums...it's the way it makes me feel!
Same deal with Gnarls Barkley's "Crazy."
That's music. It's hard to explain.
Can I tell you that my favorite track of the year is Katy Perry's "Wide Awake"?
Maybe it came out last year, I don't know. But the sound, the way it makes me feel. I don't care that it was written by committee, that Dr. Luke was involved, all I know is I want to hear it again and again and again. That I only had to hear it once.
Stuff is mainstream for a reason. BECAUSE MANY PEOPLE LIKE IT!
Decry that all you want, but now, more than ever, when something breaks through and sustains...
It deserves respect."
Wednesday, December 4, 2013
For Sale - 2001 FXDXT
 |
| Wes has his 2001 FXDXT for sale, give him a shout |
"Yep it's bout that time to let shit go. 2001 FXDXT. 11k miles. T-Sport fairing with Cee Baileys black 10 inch tall windscreen. Bassani 2 into 1 Road Rage exhaust. Cycle Visions MoFlow air cleaner. Progressive rear shocks. Daytona Tech steering stabilizer. Custom made T-Bars with stainless steal braided cables. Lepera seats. Detachable backrest. The list can go on and on."
Contact: Wes - wthomas138@hotmail.com
Carolina Still Feature Album Review On Keep It Country Kids
 |
| Carolina Still, The Color Of Rust on red, blue and green translucent vinyl |
Order your copy of the Color Of Rust
Check out Keep It Country Kids
"If you haven't heard of Carolina Still, now would be a good time to get on board. This band is simply a straight up, in your face, loud and proud mix of country, folk, and bluegrass. Their album The Color of Rust was released earlier in 2013, and it is one of my favorite releases of the past year. If you like Old Crow Medicine Show, you're gonna love these guys.
The Color of Rust is so high energy, you may want to put a restrictor plate on your car before listening to this on the road. The first 3 tracks on the album kick off in such a high gear that you will need to catch your breath before you continue. "The Color of Rust" opens up with a uptempo melody and a sad tale of the struggles today's farmers face. There are no hotties on John Deeres in this song, just a handful of dust and an empty set of pockets. The band slides right into "Hog Killin' Time", another uptempo jam, and then hits the instrumental breakdown "Devil's Stomp". That has to be on of the wildest and breakneck intros to an album I've heard in some time.
The band has a knack for telling stories as well. "Blacklung, WV" and "Grandpa's Guitar" each tell their own unique and interesting story that keep you hanging on every word. They can also hit a silly side as well, with songs like "Chicken Pie" and "In The Barn". They might be slightly cornball humor, but they are still enjoyable and fun. The band hits the hard living outlaw side as well with songs like "Shack #9", "Murder In The Pines" and "Pistol Packin' Rebel". "Pistol Packin' Rebel" sounds like a cut from a Hank3 record, with all the lightning fast picking and tough as nails lyrics.
Throughout the album, there is one constant theme: A longing for a more simple and old fashioned way of life. Nearly every song is full of nostalgia and flashbacks. But, while mainstream country looks back at yesterday as a time of parties and eternal youth, Carolina Still wants to remember the hard work ethic, less complicated, and more free way of life. I think that is something that a lot of people from the country can relate to. We see the world moving so fast and changing. While Carolina Still's instrumentation yells "speed up, speed up", its lyrics say "slow down, slow down". It's a nice contrast that works well together to bring the message of their music home.
There isn't much else I can say to do this album justice. It is hard driving, fast picking bluegrass folk for the 21st century. It sounds classic and fresh at the same time. If you like Old Crow Medicine Show, The .357 String Band, or The Tillers, than Carolina Still is right up you alley. Grab this album, crank it up, and try to keep it below the speed limit. It can't be done.
Standout Tracks: "The Color of Rust", "Hog Killin' Time", "Shack #9", "Blacklung, WV", "Pistol Packin' Rebel"
 |
| Carolina Still, The Color Of Rust on red, blue and green translucent vinyl |
 |
| Carolina Still feature review on Keep It Country Kids |
Come On In :: An Interview With Husky Burnette, From Real Deep Blues
 |
| Husky Burnette's stellar album, Tales From East End Blvd. |
Link to original post on Real Deep Blues
"Husky holds the blues tight in his calloused fists, his fingers and heart hold the strings of his guitar where they are strangled, stroked, loved, and bent into his blues. Tough and tortured at times, thoughtful and barefooted at others, Husky Burnette's roots run deep through his music, and plays what he means. No posturing. No fedora, no ponytail. Just flat out rough, rollin' and tumblin' blues.
Now, full disclosure, I had the honor of being his drummer for two nights and it was a total thrill and challenge. We didn't rehearse, we just sat down and rocked out some blues, and had a ball. T he next day at my house, we jammed out on a fast rockabilly drum beat, and that beat became a song on this album (with the great Dave Dowda on the skins,) called Rick's Late For Work. Because I was.
If you get the chance to see Husky Burnette live, you should go out of your way to do so. He usually works as a two-piece. I've seen him with a great drummer, a lacking drummer, and i've seen him solo. Regardless of the situation Burnett always rises above to reveal a terrific (in the true sense of the word) performer, a prodigiously skilled guitarist, and a powerful showman.
This interview took place over part of a morning in November via fB chat ::
Rick Saunders::
It seems like you've been busier than ever this year. Touring pretty much constantly, working the new album. Looks like the tough years of slugging it out are paying off.
Husky Burnette::
They seem to be I suppose. It's been a damn good year that's for sure. I try not to treat it like that, though. As long as I slug it out, day after day, maybe the good stuff will keep happening!
RS::
Speaking of touring, a friend of mine used to roadie for the Melvins and once commented that it's twenty-two hours of bullshit for two hours of bliss. How do you keep the road grinding drudgery from killing you?
(HB) ::
RS::
It's nation-wide heavy lifting, man. I respect any touring band, but don't envy them. How'd you hook up with the guys from your new label Rusty Knuckles?
(HB) ::
We made contact through mutual friends and Ralph, owner of Rusty Knuckles, made a point to watch my set at Muddy Roots 2012. From then until the end of the year we stayed in contact, talking about what I wanted and needed as an artist and what he wanted and needed as a label. All was well and right on both ends so I signed the contract at the end of February 2013 and here we are. Its been a busy year and it's been more than worth it. The label as a whole is more than family. I'm very content where I'm at right now. It's been a huge learning process too.
RS::
Judging from their roster it looks like a good fit for you. In fact, I gotta ask, when are you and label mate Kara Clark gonna start doin' a bunch of George and Tammy, Loretta and Conway-like duets? I'd buy an album of that.
(HB) ::
We've actually talked about doing something. We've played a few shows together now, and when I slow down in December I can start thinking on cool ideas like this one.
RS::
I'm curious about the process of recording this album, and who you did it with. Your drummer on these sessions, Dave Dowda, tells me it took about five hours to record the whole thing. It was recorded by the nearly legendary J.B. Beverly...and you've got a bass player! Didn't you get the memo? No bass players allowed? I know we've talked about the importance to the boogie of that bottom end. I was glad to hear that lowdown sound. Who else helped out on Tales From East End Blvd?
(HB) ::
Well, it took about a week to record. Drum tracks were done very quickly for sure, thanks to Dave "Burma Shave" Dowda. J.B. and Buck Thrailkill did the album at Rebel Roots Studio. J.B. is responsible for the bass! Damn him. He actually laid all the bass tracks down except for "Rick's Late For Work", I did that one. I love the tone and runs he put down on bass too. It made me smile hearing killer bottom end on my tunes...especially the older tunes I'd played for so long without bass! J.B. and Buck were so easy and cool to work with. Other than those two, the only other help was on a brand new track I just finished writing before getting there. So at 4am with moonshine running in our veins very strong, me, J.B., Buck, Billy Don Burns, Shooter Jennings and Aaron Rodgers laid down the track "Come On Carolina" on a whim, and we ended up using it for the album. It was gonna be a bonus track/campfire version kind of thing but never got labeled that way. Tracking the album instead of doing it all live was something I wasn't used to and hadn't done in a long while. But hearing the end result I'm more than happy we did it that way. Big thanks to Rebel Roots Studio on that one.
RS::
Rebel Roots is JB's studio? And where is it located?
(HB) ::
J.B. and Buck own it together. It's located in Fayetteville, NC. Great little spot. Secluded, quiet, rather perfect environment for doing what they do.
RS::
Come On, Carolina is such a stand-out track. It's different
What's the story behind that one?
(HB) ::
I never expected to put this on any album (and definitely
never expected these guys playing/singing on it). Maybe something like my acoustic EP from 2012 but definitely not my full length cause it's so different. I get bored when writing sometimes and think "this one sounds too much like the last one" etc. or "man, I wanna do a song like THAT one". So after a long two weeks of listening to singer-songwriter folk/blues/country type artists. It kinda just started itself with the guitar riff. It was going to be a Tennessee influenced tune about my home state. I started realizing I had more going on in the Carolinas at the time and how nice North Carolina had been to me as of recent so it was going to be easy to write. The lyrics flowed out pretty quick and easy for that one. Easier than they would have had it been about Tennessee.
RS::
I dig the nod to Hendrix on the song Work It. I hear him as an influence but also a lot of ZZ Top, tone wise. Who else would you call influences?
(HB) ::
Lyrically, a lot of my influences are folk-country singer-songwriters. Roger Alan Wade is one my biggest influences. It's funny cause I can never seem to write as deep and heavy as those guys like Roger, Kristofferson, Guy Clark and Gram Parsons, (in most situations it wouldn't fit the tunes or style that I play), but, it's still a huge influence to write period. I'm a big lyric guy when it comes to being a listener/fan. As far as soul and blues go, it's Muddy Waters, Howlin' Wolf, Jr Walker & the Allstars and Leon Russell. I listen to them, and all I hear is dirty, nasty grooves and boogie, in one way or the other. So in a lot of my songs I try to go for that feeling and groove. It's got to have a groove.
RS::
You're known for an intense live show. You play as if your life depended on it, like if you just dropped dead on stage you'd be cool with that. Talk a little about that.
(HB) ::
I'm an old school rock n roll guy so maybe that's where the intensity comes from? I'm not real sure but, if I had to guess I'd say that's it. I played in metal and rock bands growing up and always loved the intensity of it so I guess I just haven't lost that feeling for music, listening and playing both.
RS:: Your also known for an interesting array of guitars. What are you using these days?
(HB)::
RS::
I'm wondering if you'd mind giving a little rundown or back story on each of the songs from East End Blvd.?
(HB) ::
Ok. Here's the back stories::
1. East End Blvd. - This was written about a real bad area in Chattanooga, TN. I had my troubles down in this low place and got sucked into it for a period of my life so I figured I'd write about it. Jill Scott put it best in one of her songs, "Your background, it ain't squeaky clean. Shit, sometimes we all got to swim upstream". There's plenty to write about from those days!
2. Highway 41 - Highway 41 runs right down the road from where I grew up and also where I live now. Lyrically, it was just intended to be one of those good ol' hometown/highway/woman cheating tunes we know so well. I wrote the main riff on accident (at 2am in a tattoo shop after a show with the Pine Box Boys) during an instrumental blues jam session with Dodds (drummer) and Lester (vocals/guitar) of the Pine Box Boys. I love that tune
3. Work It - This one I've had for quite a while. There's no frills to the backstory on this one. It's about gettin' it on, sexual relations, doin' the do, bumpin' uglies. Nothing more, nothing less.
4. Beat & Lowdown - I wrote this one in a trailer park. Haha. My old drummer and I were out back at his place trying and trying to come up with a new tune. While fooling around on break I came up with the riff and here we are. It's another favorite of mine on this album. I wrote it around the time I was having what we'll call "woman problems" so it kind of speaks for itself there.
5. That Liquor - When I wrote this one I was dying for a slow, creepy, groove-blues tune. It's written, very loosely, on some crazy shit from my rebellious younger days. I'm very thankful I had J.B. Beverley as a producer on this one.
6. See-Saw - This one is kinda like "Work It"....strictly about getting it on. I've always loved those blues tunes that are a bit comedic yet about real life happenings, such as sex, jail, partying or anything else percieved as bad things. So I figured i needed me one of them songs.
7. On My Way - This one is special to me. I wrote it in the van on the way home from tour. I tried to incorporate everything I like in a folky song like this: good lyrics, meaning, feeling and little concentration on your instrument to bring the folks in with the words. I'm a big lyric guy so I tried to make something I would want to hear. It's coming from the eyes of an old Mississippi farm hand in the days of slaves and cotton fields but it's pretty much universal to the working man of any kind in any area.
8. Dazed Away - I wrote this about those days where being a road dog isn't your concern, playing tonight can't physically happen or "I'm sorry but I just don't wanna do it today". You can't help but have those kinds of attitudes and feelings running through your blood on some days after being on the road for a while. I think everyone gets tired of traveling at some point. It may take a few years for those of us who have to do it every week, every year to keep a roof and food but, we still get tired at some point. This song is about when you just can't "go in today" and the batteries have to be recharged. Musically, I just thought it was time i had some kind of rock n roll in a song again.
9. Coonie Hill - Coonie Hill is just a fictional story about an actual place. While on tour in upstate NY last year my friend Maryrose and I were driving past some very wealthy neighborhoods on an off-day. One of the streets was Coonie Hill Drive. We laughed at how it didn't fit and should be the name of a street in a dark neighborhood street on the bad side of town. So, really, it just started out as a joke but with a title like "Coonie Hill" I felt it was my duty as a citizen to write this tune!
10. So Far From Home - This tune was written out of pure anger and disappointment. Sometimes there are shows that suck, sometimes there are shows where you wish someone would stab you in the face to put you out of your misery. This was written about the latter, after a show in Daytona, FL. I wrote it the next morning around 8am in Titusville, FL at my boy Lone Wolf's house. I tried to describe the discomfort me and the band felt that night. It was definitely song-worthy.
11. Rick's Late For Work - This was written along with the handsome fellow doing this interview, the almighty Mr. Rick Saunders while we were jamming for the fun of it. We stopped by Rick's house the morning after a show in his town, St. Augustine, FL. We sat around geeking out on music, talking jazz, blues and biographies, when all of a sudden jamming in his back room sounded like a better idea than him going to work in a few minutes. This rebel called in to work and told them he's gonna be late just so we could jam together. The rest is history and track #11 on the new album.
12. Come On Carolina - This one is completely different than any other tune I've written or recorded. Six musicians, all acoustic, recorded live sitting around one microphone (only a couple days after I finished writing it). A killer line-up on this one: Me on vocals/rhythm guitar, Billy Don Burns on rhythm guitar/backing vocals, Buck Thrailkill on banjo/backing vocals, J.B. Beverley on snare drum/backing vocals, Shooter Jennings on backing vocals and Aaron Rodgers on slide guitar/backing vocals. It was actually never intended to be on the new album but once it was done we felt it needed to be. We were in Fayetteville, NC at Rebel Roots Studio for a few days hanging out, playing shows and drinking moonshine when miraculously on the last night we got something recorded. I just got lucky that it was my tune honestly. I'd been having a lot of good things happen for me in NC at the time (the studio, the label, great gigs, newfound family, etc). It's almost like a nod to those times and those people believing in me and bringing me in to give me a shot. It was very easy to write.
Thanks for taking the time, Husky! See you down the road. Y'all can buy Tales From East End Blvd via the links up top."
Tuesday, December 3, 2013
Brand New Stevie Tombstone Video - Would You Die For Love
 |
| Screen shot from Stevie Tombstone's brand new video - Would You Die For Love on Altco Recordings |
"From the Slow Drunken Waltz EP. This song asks the age old question - Would You Die For Love? Recorded 2011 in NW Arkansas this tune features Jerry Jones on Harmonica.A stripped down approach to country blues with a gospel undertone. From ALTCO music available on ITUNES."
Download the track from Itunes
Monday, December 2, 2013
Tombstone Tales From Milledgeville Mental Institution
 |
| Stevie Tombstone at the Milledgeville Mental Hospital cemetery in Georgia |
The Deep South holds many secrets,if you are willing to look in the right places. Sometimes all I have to do is travel back to my childhood in Georgia.
When I was a kid they used to say “watch out or they’ll send you to Milledgeville". We were told that they sent “crazy folks” there and the criminally insane and we would never come back if we didn’t straighten up our behavior. Little did I know I would find myself there almost 40 plus years later the morning after a show and late night (3 am) trip to the Golden Pantry (the best chicken biscuits I've had in my life, sorry Bojangles). As for Milledgeville Mental Hospital (as Granny called it) I soon found that what started out as a therapeutic facility turned into a dark cloud on Georgia history and the mental intuitions of the day as well.
 |
| Grand entrance to the Milledgeville Mental Institution |
It is said that well over 25,000 folks were buried on the grounds at Central State Hospital, many unceremoniously and perhaps many more unaccounted for. It was originally called the Georgia Lunatic Asylum. The grounds and buildings reflect the dark but beautiful heritage of “Southern Gothic”. Many of the structures are in great disrepair with vines growing over the burned out windows and dark empty halls that once housed the unwanted from society and those who spoke against the status quo from time to time. Medical experimentation / shock treatment went pre-dominantly unsupervised at the discretion of staff members and the steady influx of "patients" created a large population that became the workforce on the grounds, as well building and farming among other things to make the Asylum self sustaining hell on earth to some.
The grounds contain six neglected cemeteries and the interred were marked only by small metal posts with numbers inscribed if anything to mark the spot. These graves were moved, lost or forgotten about along with many of the markers. Today, Cedar Hill Cemetery is the site for the installation of markers in remembrance of the unhonored dead and to mark the past of Central State.
The facility is still partially in operation on a much smaller scale and in adherence to modern out-patient procedures and treatments. Sprawling over 17,000 acres many come to explore, ghost hunt, photograph the architecture or just pay their respects.
 |
One of the fringe benefits of my job is getting to enjoy a little weird history lesson from time to time as well as soak up the local flavor. Milledgeville, Georgia is a beautiful city to visit and has a rich history steeped in southern tradition. I’m lucky to have had the time to get to know folks there and see the rest of the sights during my travels.
Here are some more links to check out on the Asylum and if you are in the market for some late night culinary delights visit the Golden Pantry and tell em I sent ya.
Thanks to Matt McGee for photos, biscuits and real Southern Hospitality.
http://en.wikipedia.org/wiki/Central_State_Hospital_(Milledgeville,_Georgia)
Visit my website to listen to my music and catch live performances, My new single Kevlar Heart is out now on Itunes , you can check it out right here on SoundCloud.
 |
| Stevie Tombstone venturing through the grounds at Milledgeville Mental Institution |
