Peter Case, Forward to the Apocalypse, Pato Banton 


At 8 p.m. Thursday, Nov. 10

Muse Arts Warehouse, 703D Louisville Rd. With Greg Williams

Tickets $20/musesavannah.org

With its ringing, Byrdsian electric 12-string guitars and tight harmony vocals, the Plimsouls' "A Million Miles Away" was one of the bright spots of 1983, when rock ‘n' roll was laboring under the delusion that bigger was better - synthesized this and orchestrated that. Some of the most popular music of the early ‘80s is awfully embarrassing now.

Not the Plimsouls, who burst - temporarily, as it turned out - on the scene with jangly, almost rudimentary power-pop, impossibly catchy and fun. R.E.M. was starting to happen around the same time, and with that band, the 12-string Rickenbacher sound was taken in alluring new directions.

With "A Million Miles Away" remaining the group's (sizeable) donation to aural history. But Peter Case, the singing, songwriting driving force behind the Plimsouls, came back with a strong self-titled solo abum, featuring 12-string pioneers Roger McGuinn (there's that Byrds thing again) and Mike Campbell of Tom Petty & the Heartbreakers, plus John Hiatt, T-Bone Burnett (who produced) and Van Dyke Parks.

He has since re-invented himself as an acoustic performer, singing and playing harmonica; he's a workhorse who creates different sonic soundscapes in the studio. In 2006 he issued Bomb Light Prayer Vigil, a six-song spoken word suite.

Case produced (and performed on) the Grammy-nominated Avalon Blues: A Tribute to Mississippi John Hurt. Among those he brought into the studio: Steve Earle, Gillian Welch, Lucinda Williams, Bruce Cockburn and John Hiatt.

"I tell people now I play folk-rock," Case says on his website, "and they seem to understand ...but the whole truth is more complex: I'm a singer/ songwriter that uses all the American styles to get my stories across: Blues. Rock ‘n roll. Country. Soul. R&B ...and folk, plus some rhythmic influences from around the world. I'm trying to forge my own style out of those inherited materials. I've always been into dynamic emotionally charged music you could use to tell a story or paint a picture." See petercase.com


Friday and Saturday, Nov. 11 and 12

Wormhole Bar, 2307 Bull St. Admission $15 per day; advance discounts available

 Social Conspiracy Records' fourth annual celebration of Grindcore, Black Metal, Death Metal, Crust, Punk and Hardcore. The bill for Day One (Nov. 11) features Fuck the Facts (from Canada), Strong Intention (Maryland), Tombstalker (Kentucky), Hot Graves (Florida) and Savannah's Shadow of Creation. More bands are expected to be added to the lineup.

On Saturday the 12th, it'll be our city's increasingly popular Dead Yet? (pictured) and Slave Grave, with California's Phobia, Cough (from Virginia), Caltrop and Man Will Destroy Himself (North Carolina), plus Atrocitus (Florida), Black Pussy (Mississippi) and They Eat Their Own God (South Carolina). See socialconspiracyrecords.info


At 8 p.m. Tuesday, Nov. 15

Live Wire Music Hall, 307 W. River St. $8.

The British-born reggae singer returns for another Savannah date, with his band, the Now Generation - including the Mighty Jah Horns. Banton has long been a favorite of college crowds for his smooth blend of straight reggae and pop styles; his earliest records included collaborations with the likes of Ranking Roger and even Sting.

He's touring behind his 2008 album Destination Paradise, and on his websire, he offers these words: "As I approach the final chapter of my musical journey on Planet Earth (Urantia), my only desire is to serve Divinity through Humanity. And to all my brothers and sisters who are striving to achieve their goals in this age of materiality and secularistic insanity, my message is PLEASE REMEMBER to Stay Positive & Never Give In!" See patobanton.com




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About The Author

Bill DeYoung

Bill DeYoung

Bill DeYoung was Connect's Arts & Entertainment Editor from May 2009 to August 2014.

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