Monday, September 26, 2016

Queen City Anthology Intro, Gallery Hours, And Caption List

Queen City Anthology
Pictures From The Charlotte Music Scene, 1996-2001
by Daniel Coston 

Gallery Hours are:
Tues - Fri  11am to 6pm
Sat & Sun by appointment 

Charlotte, North Carolina was a different place in 1996. For all of its growth in population and recognition, the city’s art and culture were still hidden to many. Music venues were few in number, and scattered through areas that were often far away from downtown. There were many great musicians, young and old, but few were known beyond the county line. I started to write about what I was seeing, hearing and experiencing in 1995 for the Charlotte-based zine Tangents Magazine. After a few months, I began to feel that writing words upon words to describe all of these sounds wasn’t enough. I had just begun to take photographs, and I found that I could speak to what I was thinking and feeling in one photograph what I couldn’t verbalise in a thousand words. The camera became my new pen, if you will. The camera spoke to me, for me, and pushed me into documenting more. And 20 years later, that journey is still continuing, an unbroken line from the ideas the grew out of the photographs that you see here.

This collection of photographs are of musicians, friends and others that shaped the music scene of Charlotte during that time. Of musicians that came through Charlotte during that time, in venues big and small. People and ideas that I believed in, and still do. Some of these people and places are still with us, and some have gone on. But they still are here, in images, memories and emotions. Lastly, also here are the ideas of a photographer that was learning on the job, and trying to keep up with the possibilities in sight and sound that were all around him. They were early days in my career, as it turned out, but their impact continues on. The people, the visuals, the music. It all shines on.

-Daniel Coston



07Coston- Jamie Hoover, Spongetones, 1997

crop169BW- Violet Strange, 1998

Coston_25- Whie Octave, 1999

crop002a- Drive-By Trukers, 2001

crop0006 2- Peter Case, 2000

crop0010A- Rick Miller, Southern Culture On The Skids, 1999

Clayton-1996- Jeff Clayton, ANTiSEEN, 1997

crop0140- Tony James, It Could Be Nothing, New Years Eve, 1995

crop0142- Trans Am, 1999

crop007A- Buddy Guy, 1998

LesMoore1999_ Les Moore, 1999

LoFidelityAllStars- Lo Fidelity All Stars, 2000

Miles_dcoston7- Buddy Miles, 1999

Morphine- MarkSandman, Morphine, 1998

IntroPanel- Me, Halloween 1996, use on intro panel

Watt_dcoston- Mike Watt, 1999

YoungBloodHart- Alvin Youngblood Hart, 1999

crop0092A- Lenny Kravitz, 1998

Thurdsay2002- Thursday, 2001.

crop0088a- Steve Munsell, Ublisch, 1998

crop0091A- Gary Numan, 1998

crop0096AB- Syrup, 1999

crop100a- Dave Rhames, Draggin’ Flowers, 1998

crop101A- Benji Hughes, 1999

crop102A- Alex Mayhew, Ublisch, 1999

crop107A- Jeff Floyd, Kudzu Ganja, 1997

crop108a- John Morris, Come On Thunderchild, 1999

crop150a- Eric Lovell, 2001

Jucifer- Jucifer, 2000

crop153b- Memphis Quick 50, 2001

crop0036b- Mercury Dime, 1997

crop0014ab- Public Enemy, 1998

crop158a- Danielle Howle, 2001

crop159A- Phil Lee, 2000

crop0083- X-Periment, 1998

crop163A- Lou Ford, 1997

crop161a- Jerry Lee Lewis, 1997

FDQ13- Frankenstein Drag Queens From Planet 13, 1998

MSCB- Chris Peigler, My So-Called Band, 1999

Ublisch- Chris Bean, Ublisch, 1998

crop0015A- Isaac Hayes, 1998

Superchunk- Superchunk, 1999

Wilco1998- Wilco, 1998

Avetts_2001 - Avett Brothers, 2001

AnimalBag- Animal Bag, 1996

crop0138- Drea Atkins, 1999

crop0139- Slowride, 2000

crop0145- Immortal Lee County KIllers, 2001

crop0147- Interstellars, 1999

crop0148- Poprocket, 2001

Avetts_2002- Avett Brothers, spring, 2002

Whiskeytown- Ryan Adams, Whiskeytown, 1998

crop108B- Neal Harper, 1999

Smith_Elliott- Elliott Smith, 1999

BelmontPlayboys- Belmont Playboys, 1997

crop0043a- Jay Garrigan, Laburnum, 1998

crop0049A- Jay Garrigan, Laburnum, 1998

Jolene1998- Rodney Lanier, Jolene, 1998

Lynch_Mark- Mark Lynch, Lou Ford, 1999

MidnightFrolics- Midnight Frolics, 1999

Young_Clayton- Joe Young and Jeff Clayton, ANTiSEEN, 1997

crop0093B- Music lover, 1998

crop0093C- Jimmy King, Aqualads, 1998

crop0094a- DJ Smitty, 1998

crop0094B- Robert Childers, 1998

crop0994C- Crowd at Verizon Amphitheater, 1998

crop0096AA- Jeff Crooke, 1999

crop109B- Peralta, 1998

crop109C- Five Times Down, 1998

crop112a- David Childers, 1999

crop118A- Buzzoven, 1999

crop119a- Lenny Federal, 1998

crop120a- Wichita Caravan, 1999

crop124a- Justincase, 2000

crop129b- Latino Chrome, 1998

crop129a- Kris Krull, 1998

ManOrAstroman- Man Or Astroman, 1999

crop114A- Cast Iron Filter, 2000

crop0115A- Todd Busch, 1998

crop117a- Justin Faircloth, 1998

Jonathan Wilson, Hope Nicholls, Benji Hughes, 1996

Pet Sounds Article

The path to Pet Sounds began in December 1964, when Brian Wilson went into a panic onboard a plane carrying his band, the Beach Boys, to a gig in Houston, Texas. For the previous two years, Wilson and his band- fellow brothers Carl and Dennis Wilson, cousin Mike Love, and school friend Al Jardine- had kept up a furious pace of touring and recording. All while Brian wrote or co-wrote hit songs for the Beach Boys, Jan & Dean, and many others. At that moment, the Beach Boys were one of the biggest bands in America, and perhaps the world. But Brian just wasn’t made for those times. Always the most fragile and insecure person in the band, despite his remarkable talents, he wanted out. He wanted something different. 

In 1965, Brian made the decision to stay home while the band picked up another Californian, Bruce Johnston, and continued touring the world. The hits kept coming for the Beach Boys, but the songs were no longer just about the beach. Young adult longings for love, love lost, a realization that you were no longer the child that you used to be. Becoming someone else, and realizing that it just wasn’t you. These ideas began swirilng around Brian’s head, and began to appear on the Beach Boys' next album, Summer Days And Summer Nights. Their label, Capitol Records, didn’t notice or care that Brian’s music was changing. They just wanted the next hit single. When the band released their quickly recorded, covers-heavy Party Album for Christmas that same year, the label was thrilled that it was a huge success. But the album was in reality a farewell to the ideas that Brian once had, and he was already at work on their next, and most important creation to date.

When Brian heard the new Beatles album, Rubber Soul, he was inspired by the album’s use of a set of songs that formed a complete whole. In his mind, he knew that there was an answer to Rubber Soul, and he began to put it together. With the Beach Boys on the road, Brian also began to use more of a stable of Los Angeles session musicians, later known as The Wrecking Crew, for the new songs that he was recording. With frequent collaborator Mike Love also on the road, Brian turned to local ad salsman Tony Asher for lyrics that spoke to all of Brian’s hopes, wishes and longings. All he needed now was the rest of the band.

When the Beach Boys returned from a successful tour of Japan (photos from which would be featured on the back cover of Pet Sounds), the band was dumbfounded by what they heard. A mixture of pop, jazz, symphonic rhythm & blues, and lyrics that were reaching far beyond the California shoreline. But they pressed on. Pushed by Brian, who taught the bandmembers their vocal parts individually at the piano, the band spent days and days recording their vocals. Mike Love would reportedly later say that Brian had dog ears, meaning that Brian heard mistakes that no one else could hear. What Love meant to say is that Brian Wilson had a dog ear. Brian created Pet Sounds, and all of his classics while being deaf in one ear. His Pet Sounds, meaning his favorite music, was now ready for the world.

However, the world was not ready for Pet Sounds it was released in May of 1966. Capitol Records did not know what to make of the album. Singles were released, and then another single was released soon after, as if they had no confidence in their chances of climbing the charts. “God Only Knows” was released as a single, but many stations would not play it, due to the word God being in the title. Many flipped the single over, and played “Wouldn’t It Be Nice”, instead. By the fall of that year, Capitol would release a Beach Boys best-of, which would quickly outsell Pet Sounds that year.

In England, the mother country of the Beatles, Pet Sounds was quickly embraced as a modern masterpiece, and climbed to number two on the album charts. In return, the Beatles would be influenced on Pet Sounds. Listen to “Here There And Everywhere”, off of the band’s next album, Revolver, and see if you can hear an echo or two of the Beach Boys. Over time, Pet Sounds became the unknown treasure that many discovered, and shared with the rest of the world. A love of songs that continues to be never-ending. Wouldn’t that be nice?

For all of Capitol’s worrying about the band’s next single, Brian already had it in the works. Recorded over five months, and utilizing four different studios, “Good Vibrations” became the number one smash that the band and label craved. If Pet Sounds was a cradle of new ideas, “Good Vibrations” was the band’s symphonic explosion. Work on the song overlapped work on Pet Sounds, so much so that the band thought that the song would be included on the album. But Brian knew what he wanted. Pet Sounds, and “Good Vibrations” would each stand alone, and show the world what he was capable of. 

While Pet Sounds is dominated by the vocals and talents of Brian Wilson, the Beach Boys also contributed to the album’s final shape. Mike Love would sing lead on four songs, and contribute lyrics to three songs, including “I Know There’s An Answer” (originally titled “Hang On To Your Ego” by Brian and Tony Asher). Al Jardine would bring the folk song “Sloop John B” to Brian, providing a key anchor of Pet Sounds’ song sequence. Dennis Wilson and Bruce Johnston also sang various lead and harmony parts, while Carl Wilson (who also played guitar on the album) would be given Brian’s favorite song, “God Only Knows” to sing. Why? Because Brian wanted him to sing that song. Out of their six collective voices, Pet Sounds emerged as one singular statement.

In the fall of 1966, Brian Wilson turned 24 years old. After “Good Vibrations”, he turned his attention to his next project. An album that would push his concept album ideas, and harmonies as singular instruments even further. When Wilson abondoned the project, which had been called Smile, in the spring of 1967, the legend of Brian Wilson as a lost musical genius began to grow. The mere fact that Brian Wilson is alive today, forty years after the rush of Smile’s demise, is remarkable. The fact that he is touring more than ever in 2016, on an album that grew out on his refusal to tour 52 years ago, is nothing short of astounding. But like Pet Sounds itself, the story of Brian Wilson and the Beach Boys continues to confound and astound all who listen to it, and them. 

If Smile can be considered Brian’s Pheonix-like rise and fall, Pet Sounds is the sound of one man, and one band soaring to the heavens in search of what comes next. Without fear of the sun, the winds, or gravity. No hell below them, above them only sky, and far removed from the sandy beaches from which they had started from. 

Fifty years later, people still believe in a dream called Pet Sounds. How can it be? 

Listen, listen.

-Daniel Coston

Last Weekend's Update

Wow, that was something. Five events yesterday, which included giving a talk at the Plaza Midwood Library, photographing the Charlotte Symphony Orchestra in the Winterfield Elementary gymnasium, and photographing an Observer event at Wing Haven at the same time as the opening of my new show of photos at C3 Lab. My thanks to C3 Lab for the fantastic display, and to Derrick J. Hines and Albert Strawn for playing a fantastic set. More on this show soon. Safe travels, and see you on the road.
-Daniel
September 26, 2016

Friday, September 23, 2016

A Reminder About My Show Premiere, And Book Talk On September 24th

Five days ago, I was excited about presenting my library talk, and new photo show opening on Saturday. With so much turmoil around us, it seems a bit silly to remind you all about tomorrow’s events, as important as they are to me. But that is life. We press on, even currents sometimes pull us elsewhere. And I am proud of this work, and the people that are featured in it. So here goes.

At 2pm on September 24th, I’ll be speaking at the Plaza-Midwood Library about the Rock & Roll scene in North Carolina during the 1960s. Lots of photos, new information and new stories. Then, at 6pm, I’ll be at C3 Lab to debut my new show of photos. This is a show of just my photos of the Charlotte music scene from 1996 to 2001. The musicians and friends that drew me in as a photographer, and still are a part of what I’m doing today. There are over 90 photos in this show, most of which has never been seen or exhibited before. I’ve also curated a special playlist of music from Charlotte-area bands from that time. I also asked my friends Derrick J. Hines and Albert Strawn of Bless These Sounds Under The City at 7pm, because they are my good friends, and their music is beautiful. Many of you that will read this in Charlotte are in this show, because you should be. When the show is finished in three weeks, the contents will be donated to the Main Library (sorry I haven’t told you sooner, Shelia Bumgarner, but now you know), so that others will know someday what the Charlotte music scene was like, and that it was made up by a lot of good people. And still is.

I hope to see you all Saturday, or sometime soon. The world is turning, but I hope that you don’t turn away. Safe travels, and see you on the road.

Wednesday, September 21, 2016

Library Talk, And Show Opening

Two big events to get ready for this Saturday, September 24th. At 2pm, I'll be speaking about the NC 60s Rock & Roll scene at the Plaza Midwood Library. At 6pm, I'll be debuting a new show of photos at C3 Lab. This show features only my photos of the Charlotte music scene from 1996 to 2001, the early days of my photography. Lots of friends, and good people featured. Bless These Sounds Under The City will play at 7pm. This is a free event, with food and drink available, and a special playlist of music of the artists featured in this show. Hope to see you somewhere on Saturday, and spread the word. Safe travels. War is not the answer. See you on the road.
-Daniel
September 21, 2016

Tuesday, September 20, 2016

Brian Wilson Photos, Charlotte, NC, September 19, 2016

Brian Wilson
Belk Theater
Charlotte, NC
September 19, 2016
All photos copyright 2016 Daniel Coston





-Daniel
September 20, 2016

Monday, September 19, 2016

Monkees Photos, Los Angeles, CA, September 16, 2016

Monkees
Pantages Theater
Los Angeles, CA
September 16, 2016
All photos copyright 2016 Daniel Coston









-Daniel
September 19, 2016