Whisper Shout Scream
Straight up, no chaser. That's the filler-free sound of Beggar's Deceiver-a group of four Atlanta, GA musicians who drive it home with nothing but torrential, high-voltage, straight up rock. "There aren't any gimmicks to this mix of heavy riffs, stomping rhythm and big sky guitar range roving!" rebel yells Creative Loafing Atlanta about Beggar's Deceiver. Echoes Southern Jam Online, "Melodic, powerful, full of passion are all true but it's nowhere near enough! If you can think of the words, please let me know!" The evolution of sound that built this buzz began when founding members Potter Andrews and Sonny King collided near the new millennium. A natural performer who grew up in a musical household that allowed him to become a virtuoso on the alto and baritone sax and piano, Potter was fresh from fronting a few good bands and a stint of globe-hopping existentialism when a deal with Centennial Records fell through in 1999. The powerhouse front man who counts Geddy Lee, Scott Weiland and Chris Cornell among his varied influences remained undaunted and simply put out a call for musicians in order to savage the stage again. When Sonny King walked into the basement auditions, the gleaming, serrated edges of his heavy rock guitar sound shaped by influences ranging from John Lee Hooker to speed core guitar to the Stones meshed immediately with Potter's anguished, pensive vocals and a songwriting team was born. "The first chord he played was the one I wanted to hear," Potter says. "We started writing songs at the audition." It was an easy task for Sonny, the son of Charles King, a super-talented jazz, rock and slide guitarist. The grandson of Eddie King, an RCA/Victor recording artist and big band leader renowned on the jazz circuits of his day, Sonny relied on his experience as a seasoned session player whose credits appeared on television tracks for United Paramount shows like Star Trek Voyager to write with Potter, an enterprise that eventually led to the pair laying down tracks for 2001's self-produced EP called "Six", recorded at Atlanta's Subliminal Sound studios. The duo met Atlanta bass player Laurie G-Force in 2003. An innkeeper's daughter, LG spent a childhood living next door to a hotel lounge and listening to the muffled bass that bled through it's walls. Fired in the kiln of punk rock and shaped by influences like the Sex Pistols, Pink Floyd, the Beatles and Black Sabbath, LG soon began honing her bass playing chops with Atlanta bands like Babyfat and Sweetheart, and opening for everyone from Pavement to Drivin 'n' Cryin'. Her driving, thumping, downright demonic bass was the perfect fit for the hard-rock sound Potter and Sonny were cultivating. Drummer Steve Iannelli finished off the outfit. The Los Angeles native moved to Atlanta in the mid-eighties and along the way collected a cache of influences ranging from Creedence Clearwater Revival, Cheap Trick and Tom Petty to Queens of the Stone Age. Though soft-spoken, the bald, goateed drummer packs a clean, tight foundation that drives the band through it's straight up rock frenzy. Fueled by the 2004 release of their CD "What the Hell", recorded under their first incarnation as P.U.S.H., Beggar's Deceiver can count on a regular showing of 200 or more fans at performance stops along a regular tour route up and down the East Coast. The band garners support from celebrated and historic venues who regularly book them to celebrities like Howard Stern, who featured the band's song "Another Rudolph in the Wall" on his MySpace.com profile. Everyone agrees-Beggar's Deceiver is worth begging for! No gimmicks, no filler, no whiny emo, alternative, or otherwise-this is revved-up rock with a modern twist and a radio-ready sound.