Tag Archives: Cameron Williams

Tishamingo’s Williams to join Last Waltz Ensemble in Atlanta

A stellar lineup of special guests has made this summer's Last Waltz Ensemble shows must see events in select east coast cities. At Smith's Olde Bar in Atlanta, Friday August 3, The Last Waltz features two very special guests – Tishamingo's Cameron Williams and newcomer Justin Brogden.

The Last Waltz Ensemble's core line-up is comprised of Mark Kramer, Kevin Rustchman, Eric Reed, Kris "Jellyroll" Gloer, slide guitar guru Benji Shanks (Captain Soularcat) and Jason Fuller

"I think that 'The Last Waltz' is a rite of passage in everyone's life at some point," says Kris Gloer, the organizer and performer behind The Last Waltz Ensemble: A Concert Celebration of the music and spirit of The Band. 

"You get to a point where you discover it around your late teens or early 20s, and you grow into those songs and find solace in them.  We are able to dig deep into The Band's repertoire, giving the royal treatment not only to standards like "The Weight", "Up on Cripple Creek", and "The Night They Drove Old Dixie Down" but also to some of the group's lesser-known gems," he says.

"We love to play a song like "Cripple Creek" just because of the reaction that people bring to it, and "Caravan" gets pretty heavily requested. But then there are songs like "King Harvest" where we added this real meaty section at the end with an extended guitar solo, or "Get Up Jake" where we put a jam in there and let it breathe alot.  Really we haven't even begun to scratch the surface."

Tishamingo proves “Point” in Memphis



Memphis, Tennessee

March 2, 2007 

Many great bands spend years traveling around in a 15-passenger van, hopping from bar to bar and club to club.  They scrape up just enough money to pay for gas to make it to the next gig and fill their growling stomachs with gas station cuisine.  Most never quite get over the hump to larger success, falling into that chasm where good bar bands go to die.

These days, if there’s a band in this category that has the chance to make it, it’s Tishamingo.  Touring in support of their February ’07 release, The Point, Tishamingo will succeed where others fail because they are the total package.  The musicianship is there, the songwriting is there, and they cut it both on stage and in the studio.  They showed the crowd at Newby’s in Memphis on March 2 just how good they can be when things click.

Over the course of several hours, Tishamingo nearly played The Point in its entirety, broke out some older gems, and threw in some appropriately-placed covers.

Continue reading Tishamingo proves “Point” in Memphis

Along came Tishamingo

With 2004 nearly behind us, I find myself reflecting upon a year that has proven to be far more exciting musically than I had anticipated.  Going into the year knowing it would be “the year without Widespread Panic,” I had no idea that 2004 would, for me at least, become a time of discovery.


It’s been many years, 17 to be exact, since I discovered a young band that excited me the way Tishamingo has throughout this past year.  Having listened to their self-titled debut CD, and a single live recording, it was readily apparent to me that this band had all the ingredients for success.  When I finally saw them live, a brief four-song set during the Warren Zevon benefit in Athens, I was hooked.


Rarely has a band ever come into my life and instantly touched my soul, becoming a part of my being from that first moment of introduction. Led Zeppelin was the first, followed by Widespread Panic.  Gov’t Mule and Phil Lesh’s Quintet did the same, but those bands were both compromised of known commodities, musicians I’d known and loved for years.


The fact that I made the discovery this January, just as Panic began their self-imposed hiatus, was more than ironic, far from coincidental.  While I was certainly not looking for a new band to fill that void, what I heard, saw, and felt as I witnessed the musical prowess of Tishamingo was the EXACT same thing I’d felt during my first Panic experience in January 1987.  Way back then, the REM-lovin’ crowd dominated Athens and was quick to mock Panic as “just another Grateful Dead rip-off.”  Obviously, time proved those close-minded comments to be far from true.


While comparisons to Panic, and the Allman Brothers for that matter, are inevitable, it should be taken as the highest form of compliment.  At times, Cameron Williams’ vocals are so similar to John Bell’s that it’s down right haunting, all the while sounding natural as can be.  Jess Franklin’s slide guitar would fit right in with the Brothers and the rhythm section of Stephen Spivey and Richard Proctor is as tight as they come.  Add keyboard wizard Jason Fuller (who I still say needs to leave the Kinchafoonee Cowboys behind to devote his full efforts to Tishamingo), and you have the makings of a band on par with the finest I’ve ever seen.


As often the case with young, grass roots bands, the masses have yet to discover the magic that is Tishamingo.  Years from now, when history reflects upon this era of rock, there’s no doubt that it will place Tishamingo amongst the finest of bands to come from the early 21st century.


Only time can tell just what this sensational young group is capable of.  At this point in their career, this much is certain –Tishamingo has a believer in me, one who says to all reading these words…


TESTIFY, Tishamingo is for real!