Hookah Chill: This a mix of downtempo electronic and trip-hop that is perfect for a laid back restaurant, relaxing on a beach or veranda, or just sitting back smoking the hookah.

So Relax & CLICK RIGHT HERE to listen to this mix.

George Mihalopoulos, aka Gypsy George, is a Greek American folk musician. He and his band, The Open Road Love Affair, have a joyful, lighthearted sound that would be a good soundtrack for your next road trip. We like George’s motto, ‘if ya played with us once, you're a lifetime member!’ Those members play quite a few instruments including a violin, cello, banjo, harmonica, marimba, clarinet, and more. Elvis Costello fans will definitely enjoy the music that George is composing. On a side note, the cover for his album, Loneliest Man In New York, puts a big smile on our faces. You’re supposed to be looking at the couple, but instead, we just can’t help but stare at George because it looked like he rolled his ankle right when the photo was taken. But I doubt a hurt leg would stop him during a show.

Album: Loneliest Man In New York






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Gypsy George & the Open Road Love Affair attempt to take the mood, sounds, air of a random road trip and recreate it though music. Based around multi-instrumentalist Gypsy George and a revolving door of musicians from all different walks of life, the band's motto is, 'if ya played with us once, you're a lifetime member!'

Stage Show: Ahhh, concerts... the best part of being alive. This mix is nothing but fantastic live recordings. Some of these songs are from arena filled stadiums while others are from intimate club settings.

http://www.themusicjunkies.com/Mix_Tapes_Stage_Show-Vol.01.html <------- Click That to experience a concert in your living room.

CLICK HERE TO LISTEN

Audio Overkill: This is a mix for rock fans that like
their music to be on the heavy side.
All of the songs are like a hard punch to the mouth.

If you love going to Allman Brothers, Widespread Panic, and Gov’t Mule shows, then you need to pencil in a Lefty Williams Band show. What makes Lefty so unique? Well..It could be he’s missing half of his right arm! Let that sink in for a second, and then take a listen to one of his songs. You’ll quickly realize that his music stands up against the southern rock/blues rock legends, and those artists have a full set of working limbs. How does he do it, you might ask. Lefty built a unique pick that straps on the end of his arm. On his site, he even teaches you how to build one for yourself. Lefty is quickly building an impressive resume by opening for artists such as Derek Trucks, and playing at festivals such as Bear Creek and Floyd Fest. Find him at one of these fests because watching him play is just something that needs to be added to you bucket list whether it’s his solo show or when it’s with his incredible full band. As stated in his bio, Lefty’s “not just a great one-armed guitar player, a great guitar player.”

Album: Snake Oil

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Not just a great one-armed guitar player, a great guitar player.

A skilled guitarist with over two decades of experience, Lefty Williams holds songcraft and musicianship at a premium. By emphasizing each equally on his ironically titled sophomore album Snake Oil, he engages and enlightens the listener. In turn, we fall for Williams’ powerful guitar licks and candid songs, often long before the origin of his nickname—he was born without a right hand—is clear. And by then, it’s just another dimension to his talent.

“I definitely don’t wanna shy away from my arm,” says the Atlanta born-and-bred songwriter/musician, who’s been playing guitar since age 4. He started out strumming with the end of his “nubb,” and fashioned his first prosthetic pick at 6. “I was just using the skin on my arm—the same way a fingerstyle player would use his thumb. Then I wanted to play faster.” On his grandfather’s hunch, Lefty approached his prosthetician who devised a sock-like leather wrap. “It didn’t work at all,” he laughs, saying he finally “tore apart my prosthetic arm,” using the strap and part of the harness to fashion something that worked.

Henceforth a self-taught musician, Lefty refined his skills by listening. “After my dad taught me basic chords, he showed me how to figure it out on my own. I remember we were listening to the guitar solo part of ‘Stairway to Heaven’ and my dad pointing out all the guitar parts that were going on in the background and saying, ‘That’s the kinda stuff you gotta listen for. If you can figure all those out and how to play ‘em at the same time, you can make it sound like the record.’”

Soon Lefty was transcribing songs by Steppenwolf, Led Zeppelin and Yes before moving on to more difficult material. By 11, he was playing in bands. “Death metal!” he laughs. While playing upright bass in the school orchestra he learned how to read music, and in 1998 he made his way to the Atlanta Institute of Music to hone his guitar skills. There he found that his condition put him on equal—if not higher—footing than his peers and instructors at the Atlanta Institute of Music, who envied his “perfect” picking technique. “A lot of guitar players change between moving their wrists and their elbow and their fingers,” he says. “Mine never really changes.”

After graduating with honors, Lefty was offered a teaching position at AIM. During that time, he gravitated from metal to grunge bands learning valuable lessons from each. “I can shred if I want to,” he says, “but I get really bored with that. The one thing I took from grunge music was not soloing, just taking your time and making your songs as good as you can possibly make them.”

This knowledge served him well as he grew into the bluesy, jazzy style he plays today, which nods to Jimi Hendrix, Albert King, Aquarium Rescue Unit, Miles Davis, Stevie Ray Vaughn and early Led Zeppelin—all artists that understand the importance of a great song. Lefty also heeded their performances, and worked to construct a combustible live show with the Lefty Williams Band, which quickly became a big draw at local and regional clubs like Smith’s Olde Bar (Atlanta), Murphy’s (Boone, North Carolina) and The Dunedin Brewery (Dunedin, Florida). The LWB has also opened for the likes of Gov’t Mule, Tim Reynolds, Little Feat, Jimbo Mathus, Col. Bruce and the Quark Alliance and the Chris Duarte Group.

In 2006, Lefty recorded his debut album, Big Plans, produced by John Keane (REM, Widespread Panic). It brought a dynamic range of music to the table, from high energy like “Shine Begins to Fade” to soulful tracks like “Sunny,” in which Lefty's innate sense of groove and melody, coupled with an expressive, visceral guitar sound, coalesce. Big Plans received raves from Relix, Hittin’ the Note, and Jambase.com, and Williams toured for 18 months behind it, all the while writing like a fiend. By the end of 2007, he got the itch to return to the studio.

Once again teaming with Keane, who says "Lefty's sound is a compelling combination of honest, heartfelt lyrics and masterful rhythm and blues muscle," Lefty reaches deep into personal experience on Snake Oil. “There’s a lot more honesty in these songs,” Lefty says. The dirty, groovin’ title track refers to two-faced industry types, specifically “a guy who promised me the world and then kinda hosed me.” His divorce fuels the funky “Thank You,” where he acknowledges the silver lining, and thanks his ex for kicking him out. “We’re both better off now.” And the sweet, tender “A Little Bit of Faith” (featured on the Relix CD sampler for June 2008) is written for “my current wife. It’s just a promise to her that I’m not gonna goof around on her.”

Musically, Lefty soars on Snake Oil, ratcheting up the earthy yet sophisticated sound of Big Plans. He achieves a coolly smoldering burn—merging King’s world with Davis’s—with “On the Prowl;” suffers through his slide guitar on the gospel-tinged “In the Valley;” channels playful lust on the jumpin’ “Hey Mama;” and creates a taut, stinging three-minute guitar feast with “Salt Stained Moment.” The LWB’s taut grooves are augmented by two guests: Todd Smallie (The Derek Trucks Band) plays bass on “Why Didn’t You Call,” and “On the Prowl” and “Hey Mama” feature blues luminary and fellow Atlanta resident Tinsley Ellis.

Says Ellis, “I was knocked out by Lefty the first time I heard his music on MySpace. I just knew that I had to seek him out and hear more of his stuff. He is a veritable triple threat on certainly guitar but also as a soulful vocalist and clever songwriter. The fact that he is out there winning over fans one at a time with his nonstop touring schedule is definitely something that I can relate to. I was thrilled when he asked me to guest on his new album.”

Having already given many of the songs on Snake Oil a live test drive, Lefty looks forward to presenting them fully realized on another lengthy tour in 2008. Mostly, though, he’s chomping at the bit to play live, electrifying audiences with his musical virtuosity and heartworn songs. “Let’s just make some cool music,” he says. “That’s all I’ve ever really cared about.”

12th volume includes artists such as Gov't Mule, Thievery Corporation, Stabbing Westward, Frank Zappa, Disco Biscuits, Cults, The Black Angels, and so much more.

Comanche is the name of an electronic DJ/Producer from Minnesota. The original tracks that sucked us in are part of the fast growing chill wave craze. The track, Alexandria, sounds like a dance party in the middle of the Sahara Desert that’s now been completely submerged underwater. Then Comanche’s got another handful of tracks that fall more in a laid-back house genre. The jazzy upbeat compositions aren't quite energizing enough for a rave, but they aren't quite chill enough for the lounge either. We’re starting a new exciting trend here folks...raving in the lounge!

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Monahan is an alternative rock/folk band named after the lead member...Ryan Monahan. We don’t know if Ryan Monahan is a schizophrenic, but the music that spawns from his imagination sure is. On one hand, he has tracks that are bright and full of life, whether they have a singer/songwriter vibe like Moving Targets or a have an upbeat bluesy feel like Dirty Talk. On the other hand, he has composed tracks that are much darker which suck you into a void of mystery and wonder. His song, The Pendulum’s Heart, sounds like it could be a 1st cousin to Radiohead’s Karma Police. We had a chance to see Ryan and his band perform live at the 40 Watt club, and you can immediately tell that the passion and talent is there for an artist and his band that people would get excited about seeing live over and over again.

Album: Stop Saying I

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Monahan- Moving Targets from Brett Vaughn on Vimeo.

"Ryan Monahan opens his mouth to sing, but it's the jaws of the audience members that drop," says Flagpole since his short residency in Athens, GA...
After years of contemplation and plan-B abandonment, singer-songwriter Ryan Monahan conceived Monahan out of the ashes of two successful CT-based indie-rock outfits, Eschellon, and Shadowgraphs. And while previous groups focused on balls-to-the wall atmospherics, Monahan’s solo effort has chosen to forgo theatrics in favor of carefully thought out, studio-constructed soundscapes. Monahan’s melancholy-tinged pop songs have garnered comparisons as wide as Roy Orbison, Andrew Bird, Beck, Jeff Buckley, Elvis Costello, and Travis. "…Think Jimmy Gnecco of Ours without all the overbearing darkness," mentions Flagpole.