JIM LOUGH of OLD TOWN CRIER

When did you get the music bug?  According to my mother, I’ve been singing for as long as I could talk. When I was about 8 years old, my parents bought an acoustic guitar for my older brother. Whenever I got the chance, I’d sneak into his room to “play” it. 

What was your first ever musical performance?  4th grade show and tell! By that time, my brother had an electric guitar, and I was in possession of his aforementioned acoustic guitar. I brought it into class and performed an original “song,” which was just a simple melody on one string! 

What was the first album you ever purchased? It was definitely Led Zeppelin II and I purchased it from Sam Goody in the Silver City Galleria Mall in Taunton, MA. I’m pretty sure I was 16. Not sure where I got the money from. I think I worked at McDonald’s around that time. I remember looking for Led Zeppelin I, but they didn’t have it!

What was the first live concert you ever went to? I was 6 years old. My brother, who was 10, had convinced me to save my 1 dollar-per-week allowance for an entire year, to pool our money together, and to beg our mother to buy us tickets to see Aerosmith at the Providence Civic Center. Incredibly, she agreed. So we dressed up like 80’s rock stars and mom took us to the show. Skid Row was the opener and it was the first time I smelled marijuana. 

What are your main influences? I’m heavily influenced by the British invasion bands and by punk rock. Early rock ‘n’ roll and rhythm & blues are also among my favorite styles. One influence that may not be readily apparent is that of hip-hop. Wu-Tang Clan and Notorious B.I.G are among my favorite artists of all time! 

How does the writing process work for you?  I never sit down to write. For me, ideas pop in at random and I try to get to the piano before they pop out. Sometimes I get lucky and I’m already practicing when they pop in. If I catch one, I’ll spend the next couple hours fleshing it out and trying to remember it. Then I usually spend about a year fine tuning it. I never write them down. If they’re any good, I’ll definitely remember them. Anytime I try to write a song, it always sucks. 

What’s your favorite thing about writing a song?  Letting the idea lead the way is always very exciting. Completing a work of art is always very exciting. Completing a work of art and deciding never to use it, however, is among the most satisfying experiences for me. I think it marks the point when an artist has matured and is ready to start some shit. 

How did Old Town Crier come together? During the pandemic I decided to record some demos in my barn. Five of the songs I recorded came out really well, so I had them mixed and mastered by Dave Westner and they became my first EP, I’m Longing for You Honey in Middleboro, Mass. I put it on Bandcamp, sent a bunch of cold-call promo messages on Facebook, and it started selling immediately. I thought to myself, “Ok, I can do this.”

How was your experience recording A Night With The Old Town Crier live on stage at The Extended Play Sessions? Recording a live album at The Extended Play Sessions was one of the greatest experiences of my life! Bill Hurley and his crew are at the top of their game, as is the band I hired. It was an amazing experience to have my songs interpreted by such talent, and to have it recorded at one the best live music venues in New England. I’ll never be able to top that album! 

Who would you like to open for on tour? Definitely The Rolling Stones so my mom can meet Mick. And because I need the money. 

McKENZIE LAUREN JONES of STRANGE HEAVY


What was the first album you ever bought? 

This goes pretty far back, so I may be wrong, but I think that the first album I ever bought was Boys for Pele by Tori Amos. I love it today as much as I did then, probably even more because there are some themes that childhood me couldn’t wrap my head around. I remember making my own music video to “Caught A Lite Sneeze.” I have always been entranced by Tori’s vocals, her command of the piano, her strong feminism, her overt yet self-owned sexuality, etc. Images from that album still resonate with me – barefoot in a rocking chair holding a shotgun or nursing a piglet – damn, she’s brave and creative and fierce.

I’m currently reading Tori’s autobiography, “Resistance: A
Songwriter’s Story of Hope, Change, and Courage.” It’s really
magnificent in the way she ties politics with music with personal history. I love to know the stories behind the music and Tori really knows how to tell them.

When did you first start playing music?

I started playing music at a very young age with piano and violin around age 3. I come from a classical music family, my mother is a professional violinist, her brother a cellist, my dad’s brother a world renowned conductor, and everyone in between at the very least loves music and had to take lessons for some period of time. I must have hated the violin because at one point I scratched the body of my rental with the tip of the bow. I am mortified to think of that now! My mother wasn’t happy about it, but she took the hint. She said that I didn’t need to play violin but that I needed to play something. So I
chose the cello, and we’ve been together ever since.

What’s your favorite thing about being a musician?

Being a musician is this amazing balance of following and breaking rules. The arts in general is a place where we can learn so much from those who have created before, follow best practices, build upon what exists, break out of all the shells, make something totally new, and always be supported in it for the sake of creativity. I love that as a musician, when I do things well, the gains can be great, but if I don’t succeed, the stakes aren’t that high. People can of course be very judgmental, but I am small potatoes, so I really only get
positive feedback and a lot of understanding about my creative endeavors. I love that for me, being a musician means expressive freedom.

What was the first true concert you ever attended and what effect did
it have on you?

I attended countless orchestral performances throughout my childhood. I loved many but also found a lot very boring. The first concert I ever chose to attend was Crosby, Stills, and Nash. I bought my own ticket for a show on the last day of summer before 10th grade. I loved it. I loved the intergenerational nature of the crowd, I loved seeing real rock legends right in front of me, and I love that it grew the live music bug for me. I’d been performing classically for a long
time, but that show was part of letting me know that I wanted to perform in different musical ways.

How long have you and Galen been playing together? and how long have
you been Strange Heavy?

Galen and I were set up on a blind date a little over two years ago
and we clicked right away. We talked about our favorite albums on our first date and it wasn’t more than a week or two before I invited him over to play music with me. He has a locally established band that he has been fronting for many years.

At the time we got together, I had just started to write songs for cello and vocals that I was performing solo. We got together in May and spent that summer getting to know each other and my music. We had our first show in December, at which time we revealed ourselves as Strange Heavy. The response was overwhelmingly positive, and we haven’t looked back since.

How did the songs come together for Wearing No Collar? Is there a
theme to the content beyond the album title?

There is definitely a theme to the album. All of the songs on Wearing No Collar are love songs in one way or another. One of them is about my divorce, and one of them is about the time I spent single after that. The other nine songs I wrote towards the beginning of my relationship with Galen, so they are very tied to my own personal growth, the growth of us as both a couple and a band, and my hopes and fears about all of those things. I would say that overcoming the odds, being willing to fall in love again, trying to look past hurt, and ultimately being open hearted are among the major themes of the album. Other themes are around the plight of the worker in a capitalist world, the death of my father (which occurred just a few weeks after our first show), polyamory, humility, and forgiveness. The songs came together because when we were invited to record, those were the songs we were playing, and it was easy to feel them as a cohesive piece because that was how they were functioning at our performances and generally in our lives.

How did you go about tracking / recording the album? Was there an over-riding approach in the studio or did that vary from song to song?

We were so fortunate to work with a really brilliant musician and engineer named Nick Bullock. He used to live in Ithaca and currently works out of a couple studios in Nashville. We recorded at The Doghouse Studio and Nick did a lot of mixing there as well as in his private studio, Awake Studios. Nick heard a song from our very first performance in December 2018 and wrote to me saying that he would love to work with us. At first I thought it was a joke, I couldn’t imagine
that a popular engineer would seek out my music so soon. But Nick and his offer were legitimate, so we talked for a while and spent a week in Nashville in October 2019. We had a similar process for each song, as I imagine is often the case. We started with the rhythmic foundation, drums and bass, added cello and other instruments, and ended with my vocals. Because Galen performs playing both drums and guitar, it was really fun for him to get to focus on one instrument at a time. He even laid down some tracks that were new to us as a duo, and there was definitely a spirit of spontaneous creativity in the studio. Nick is a multi-instrumentalist who had a really clear and collaborative vision for how to fill out the sound with bass, organ, piano, percussion, etc. It was important to us that the music be true to us, despite the way it was growing, so our approach was always authenticity. We started with the simple and unique elements of the songs that make them stand out, then added around them to give them the broad sound they deserve. It was a truly dreamy process.

What’s your favorite song on the album and why? What’s Galen’s?

It’s tough to pick just one but if I have to, I would say “Way Over
There.” I felt really inspired writing that song. The bridge and
breakdown represent a little more gutsiness than I tend to play around with on the cello. Lyrically I think it’s very compelling. Sometimes I watch the video of just me playing it in my kitchen when it was brand new and feel like it is just a perfect song, like I tapped into something really special creating that one. The album version is equally appealing to me, it’s so driving and groovy and sexy. I have a friend who is a videographer and upon listening to the album, honed in on “Way Over There” so much that we ended up making a music video. I think the questioning of the lyrics and the way the hook always leaves you wanting more make it a very palatable song to a lot of people. The title of the album comes from that song: “Purring and panting and wearing no collar, I’ll lay where you want me to.”

Galen would likely say that “It’s All Your Skin” is his favorite because it’s the most rocking song on the album and that really speaks to his folk punk heart. Go figure, that’s the song about my ex-husband!

What advice would you give to young musicians who want to get the point where you are, making legitimate records / arts?

My simplest advice is to just go for it! I am a regular person with a job, kids, and plenty of responsibilities. I didn’t branch out into making my own music knowing anyone in the industry, and creating this album has been a huge learning experience for me. I would tell young people to not be shy about their creativity. It’s ok to keep some things to yourself, but be brave enough to get it out there, and practice paying attention to positive and constructive feedback only,
don’t give any credence to people who just want to tear you down. Write and record as much as you can, even on your phone, just to keep a catalog of what you have and how it is evolving. Find inspiration in that as time goes on. And be patient! Nothing happens overnight, making legitimate art was something that took a lot of thought and care and attention. Everybody has the potential to do it. For me, setting my sights high but accepting whatever outcomes I meet was important. I have always wanted to work hard for my music, but I never wanted it to feel like a hustle that burned me out. I have taken breaks, sometimes years, from playing the cello. I waited a really long time before I started performing the music I was writing. I’ve been in and out of other people’s bands, failed trying to start my own, and received less than flattering criticism. Ultimately, never forget that it’s about you. Your art in and of itself is legitimate because it’s yours, and anybody who loves it is just spreading icing on the cake.

You’re stranded at sea, adrift for days, regaling the passengers with nightly impromptu late night jams … as rescue finally arrives in the form of a friendly UFO a voice is heard — “Shipwrecked People of Earth, Miss McKenzie — Who is Strange? Who is Heavy? and what cover song are you going to play us to get off this sinking boat?

Oh boy, a cover song! What a fun challenge, I never play cover songs. Although I am quite a karaoke aficionado! One cover that Strange Heavy has toyed with is “This Mess We’re In” by PJ Harvey and Thom Yorke. Those two are some of my favorite musicians, they are brilliant and have a lot of staying power. Plus, that song seems to fit the scene, shipwrecked at sea getting saved by aliens, what a great mess to be in!

www.STRANGEHEAVY.com

MELODY CHEBRELLAN

>>>>> What was your first instrument and when did realize you could sing? Are you classically trained?  My first instrument was definitely my voice. My mother always said that I was singing before I could talk. When I was four, we were living in San Francisco and she brought me along to an audition for Beach Blanket Babylon’s twentieth anniversary show. She was auditioning but I apparently told the director I wanted to audition too and he ended up creating a role for me. I was little Snow White and sang “Let Me Entertain You” in the San Francisco Opera house to a crowd of about 3,000 people. I’ve basically been performing ever since; doing musical theater, a cappella, and singing in bands.

>>>>> Who were your favorite artists growing up and whose on your island cloud today?  Again, my mother was so influential in developing my musical taste. She was the lead singer in an alt-rock band called B.B.M.T in the early 2000s, and I was lucky enough to grow up surrounded by musicians, artists, and eccentrics, and all of their eclectic listenings. I was surrounded by so much music that I still love today, from Beck to John Coltrane, Billy Idol, Nina Simone, Queen, Bowie, Leonard Cohen, the Gypsy Kings, and Joni Mitchell. Having just moved to Austin, I have been exploring local bands like Matt the Electrician, Shinyribs, Dana Falconberry, Shakey Graves, and Little Mazarn.

>>>>> Did you plan to release a full-on record when you started recording the songs featured on Comets & other drifting bodies?  Yes and yes …I began this project with the intention of doing a full record. I had released two shorter EP’s in 2016 and 2016, one by myself and another through a side project called Little Hermit. I was writing feverishly at the time, but wanted a bigger production, so I started looking for collaborators. I submitted “Often Unrequited” to a database for sound engineering students at dBs Music School Berlin, which I wasn’t sure would amount to anything, but a few weeks later I got an email from a student named Joao Fronesco. This was the start of a great friendship and fruitful collaboration that resulted in Comets & other drifting bodies. Once I got Joao on board the project took on a life of its own and we spent the next few years writing, recording, assembling session musicians, re-recording, both of us moving continents (me to Austin and Joao to Hong Kong), then mixing, mastering, and finally releasing the album!  It has been a long, arduous labor of love.

>>>>> The production on the disc is stellar, at times sounding like a multi-million dollar major label effort:  how did you do it?!  I have to give full credit to my amazing sound engineer Joao Fronesco who recorded the full album and to the very talented Erik Wofford at Cacophony Recorders who mixed and mastered it. When I started recording I had zero budget for studio time or to pay an engineer, so I specifically looked for talented students who might be interested in my music. Joao was perfect because he is bright, focused, and wanted to produce an LP as his master’s thesis. He also knew a ton of musicians with whom he was often trading favors. It was totally symbiotic. Once we were in the studio, my main role aside from performing was recognizing who was really talented and giving them opportunities to explore their creativity.

>>>>> You cop a lot of different but notably comfortable feels on the album, from minimalism to wisps of jazz:  are we hearing your band or are there several line-ups of musicians on the album from song to song?  Haha yeah! As I said, I love all different types of music and the muses were pretty generous during this period. I brought the best demos to Joao, who was excited to work on a myriad of different genres and flavors. He was instrumental to transforming my rough demos into what you hear. We approached each song individually and tried to make each track the best it could be. Then we brought in friends and fellow musicians (bribed with favors and trades) and encouraged them to bring their own flavor and talent to the song. Berlin is super international; our session musicians came from Bolivia, Israel, Germany, the Philippines, Portugal, Brazil, and Hong Kong. Everyone was invited to add their own styles which added a great deal of texture and variety to the tracks.

>>>>> How does a song begin for you?  I wish I knew the formula but every song begins differently for me. Some I have to really muscle through to finish, while others like “I’ll Never Fall Apart” seem to fall out of me whole. With that song, I was walking around my neighborhood singing to myself and when I got home, I hit record on a tape recorder and it was all right there, scat included. A few years went by and I didn’t know what to do with the recording; then one day I played it for Joao and he thought of his friend Adriel Bote in Hong Kong, who is an outstanding jazz pianist. We sent him a recording and he sent back the amazing piano part you hear on the album! It was like magic.

“Losing Touch” was a collaboration with my friend Ben Pfister who is also a talented pianist. He had a chord progression stuck in his head for months and I wrote lyrics and a melody on top of it. We actually recorded that one in the studio twice, because we couldn’t get the right rhythmic shuffle on the chorus. It was sitting half finished when two session musicians picked it up and ran with it, the guitar part was created by Hannes Petri and the drums by Roy Salmon. The two of them really took the song to the next level. I think my best songs sort of strike like a bolt of lightning, but there’s this great Mary Oliver quote that I love about how you have to show up for your muses.  I lean heavily on writing practices that pull me through stretches of writer’s block and put me in a receptive place for inspiration.

>>>>> What song on the disc do you think best represents what you are about today, musically & otherwise?  After shepherding this project for so many years, I am thrilled to have what feels like a clean slate. I don’t know what direction my music will take and that’s very exciting for me.

>>>>> You lived for years in Berlin before moving to Austin: how do you think that experience there informs your music or approach today?  Berlin is edgy and has this sort of dark disco grungy techno vibe. It also is nestled in Europe, so I was exposed to a lot of international indie folk/rock music like First Aid Kit, Angus and Julia Stone, and Mighty Oaks. As an expat I enjoyed this tinge of never quite belonging, which meant I could live and work a bit outside of convention, both socially and artistically. I have always been a rule follower by nature, but in Berlin I felt free to experiment and this intense drive to do so. I flagrantly disregarded the rules and guidelines about what music is, how a song should be structured, notes that go together, ideas about cohesion and meter and genre. Some of the songs I wrote in Berlin were downright strange. Now living back in the US, it has been challenging for me to keep up this fertile subversiveness. But I am still a bit of a foreigner in Texas, so that helps.

>>>>> The video for “Upside Down” does a great job of matching your energy in a fun visual, did you direct it? Thanks! I am really proud of that video. “Upside Down” is the most upbeat, fun song on the album and I thought the dense imagery in the lyrics would lend itself well to video.  I met Aaron MacCarley, another dBs student in the film school and it was his idea to make it a stop-motion adventure. I’ve loved stop-motion animation and claymation since I was a kid, so I was immediately onboard. We spent a few months in pre-production (brainstorming, story-boarding, creating backgrounds and assembling props, and testing the sequences).  I had no idea how much work goes into a stop motion film, especially a no-budget operation like this one. We tye-dyed the backgrounds, the props consisted of my books, instruments, and Aaron’s roommate’s samurai sword. We hand painted the fish and the planets and drew and cut out each letter of the credits. Aaron found a plank of wood in the alley behind the studio, drilled a hole in it for the lens of his camera to rest in, and we suspended plank and camera across two hanging fluorescent lights. The shoot took four full days, during which I laid on the ground moving incrementally and tensing various body parts for 3500 different frames. It was exhausting and exhilarating and I’ve never been so sore in my life.

>>>>> Since you point out on the record that you’ve taken into account the earth’s wobble on its axis, where does sci-fi figure in to your worldview and did we really put a man on the moon?  I play with sci-fi in both “Upside Down” and “Signs” to explore the absurdity of existence. I always come back to this idea that our primordial experience of life is so ridiculously improbable, for example: how lucky we are that Earth wobbles clockwise around the sun. I was thinking about regret and that naive desire to go back in time, and I remembered that old comic of Superman spinning the earth counterclockwise to physically turn back time. And then that led me to thinking about Benjamin Button, born old and dying an infant. I like writing like this, following my train of thought from one idea to the next and just seeing where it will take me. I’m fascinated with science and the limits of science’s ability to explain reality as we experience it, which is reflected in some of the more sci-fi lyrics in “Signs” about “mitochondrial cults” and “life undermining scientific paradigm”.  If you can’t tell, I love to free associate when I write. As for the moon, I can’t wait to go!  – MelodyChebrellan.com

DEANNA DEVORE

>>>>> How was your disc release show at Schuba’s  for Half & Half, your 3rd release?  It was a super great show! The turn out was really good and so we had lots of energy on stage.
>>>> What is your live format in terms of instrumentation? has that evolved over time?  The live instrumentation is electric guitar/vocals, backup vocals, bass/synth, wurlitzer/synth, live drums/electronic drum pad and a laptop playing some tracks from the recordings. It has evolved over time…I had a hard time over the years recreating the sound of the recordings live and my current live arrangement does just that. I’m really happy with it.

>>>>>> How do you get in the right head-space to perform? do you have a ritual at this point?  Alcohol… kidding. I try not to over think it, because it’s when I do that it causes me to second guess things. I have so much to think about while I perform – between playing guitar, singing, pedals, live looping etc. It’s hard to not get in my head.

>>>>> What’s the biggest high for you:  writing, recording or playing your stuff for an audience?  I’d say the writing/recording process. Playing is great too, but writing is really where my passion lies. When I record, it brings the songs to life, and I like seeing how the song transforms from the bare bones where I started, to the song after production.
Did you have a goal in or specific approach to recording the new songs?  This album is called half and half because it features two different production styles and a spectrum of sound – from electronic to acoustic. Half the songs are more electronic, while the other half are more acoustic. 
>>>> The production on each track is stellar and concise: how do you know when a song is done?  Production is a big part of what I do in the studio since I’m mostly self-produced (some tracks from the new album had additional production, but most of them were produced myself). It depends on the individual song, but sometimes the song goes through different production/directions until I get the right vibe from it. That’s usually the case when it’s a song that was written on guitar and then I end up making it more synthy/electronic in the end. Other times, I know right away what sound I want from the time I’ve written it. Production is fun because it can really make the song come to life.
>>>> With the file sharing as the life blood of social media, and the widening gap between talent and compensation, what drives you to do this? Things have definitely changed over the years, but it’s important to keep up with the times. I just want to get this new music out into the world.
>>>> Today artists are in a way forced to see each tune as an island onto itself that can stand alone as a promotion: do you think of the songs as individual pieces or as part of an overall statement that is the album?  Hmm I’d say both. I think they can stand alone but also be heard in the album as a whole. I had released 3 singles previously, before the album came out, so maybe that’s why I feel that way.
>>>>>> What were the first few albums you picked up as a kid? are they essential to who you have become as an artist?  I remember my first albums as a kid were Ace of Base and Green Day, but I don’t think there’s an overlap there haha. My taste has definitely changed since then.
>>>>> If you envision yourself on stage in an arena sized venue, what role do you think theatrics would play in delivering your music?  I think there could be something cool in a visual component being added to the live sound – especially at such a massive venue. Not saying dancers etc but I mean more in terms of a screen with images being shown, tying in with the music.

SARAH VOS’ w/ DEAD HORSES

>>>>> Most musician’s early influences are in some way tied to family in some way, is that true for you too?  Absolutely. Both of my parents are very musical; they both sing and play piano and organ. I grew up in the church so there was a strong emphasis on hymns and psalms and singing in general. I was also in a handbell choir in middle school! The choirs taught me about music theory and performing with others in time and in dynamic. ​

>>>>> As kids, many creative types often flounder a bit until they find their muse as it were; was this true for you at all?  I’m still floundering in many ways. There was, however, a definite switch for me during adolescence where music naturally became central to me over any of the other activities I was involved in. It wasn’t until my twenties when I decided to pursue music fully, and that helped me feel a lot of fulfillment. I had spent my college years trying to figure out how I could play music instead of what I was doing. 

>>>>> What singers did you try to emulate when you first started singing / writing / playing and what was the first tune you learned to play and sing on guitar comfortably enough to play for others?  I never consciously tried to emulate anyone while singing or writing or playing. When I first got a guitar- around ten years old or so- it was a vehicle for me to write songs. I taught myself how to play by looking up guitar tabs to songs I knew online. I’m really not sure what the first tune was that I played and sang in front of others, but I think one of the first times I played in front of others was at an open mic that I asked my mom to take me to because I wasn’t old enough to drive yet. I remember being pretty terrified but excited because I always knew while writing that I wanted to share too.

>>>>> What was your first album purchase and concert viewing respectively and how do you think they may inform your music or general approach today?  My first album purchase was “Sgt. Pepper’s Lonely Heart’s Club Band” by the Beatles. So epic! I bought it on cassette, and I would listen to “A Day in the Life” over and over again. It’s interesting how that’s two different songs melded together. I’ve done the same thing in my writing many times.

>>>>> Some who hear Dead Horses may find the songwriting, beyond folk, as decidedly southern: where does being from the Midwest & Milwaukee figure in to that mix you think?  I think it might be related to how I grew up listening to old gospel hymns. 

>>>>> How does the songwriting process work for you and Dead Horses; has it evolved or do you have a tried and true formula at this point?  No real formula per se. I usually have the skeletons (or more) to songs and I bring them to Dan and we work on them together. It’s always evolving and I welcome that.​

>>>>> How do you get in the right mindset pre-show or is that not a concern for you day to day?  Funny you should ask, as I’ve been thinking about that a lot recently. It’s so important to be flexible because you never know what you’re going to have to work with from show to show or festival. Maybe you’ll have a quiet place to warm up in, maybe you won’t. A couple of weeks ago we drove five hours to a festival, got out of the van and immediately took a golf cart to do a session on a porch, and then we rode back to our stage where we played a full set

​I am curious about how it might help to spend time getting in touch with body before a set- meditating, stretching, breathing. ​Some of the best advice given to me were “Use your nerves.” I really appreciate the nerves I get before most shows, because they serve as a source of energy and a tangible recognition by my body of what’s about to take place. 

>>>>> The ‘Critically Acclaimed Album’ seems to remain the spark point in the Americana scene for artists looking to make it to bigger stages: How do you manage / ignore the pressure to ‘one-up’ your prior release?  I feel that I’m at the beginning of my career and that there are many records to come. I think there will be ups and downs in how people perceive our work and also how I will feel about it. I think it’s great that anyone is paying attention to the writing because it’s one of the most fun parts for me.

>>>>> Could you ever see yourself doing a big Nashwood-type presentation were you to headline the Sheds soon? Is that a fear as you’re name grows; preserving what you have without compromise to keep climbing?  I do definitely have a strong attachment to this desire to stay “authentic.” I have been asking myself what that really means, as it has caused me some inner conflict. I think you have to do your best; decisions are often not black and white. Things that we hang onto with our whole being are often ego-based, but a level of integrity is so important- especially in this field. 

>>>>> You encounter a lot of great young, new artists on the road: when you meet those you really believe in, do you engage them? and what sort of advice do they tend to seek form you?  Definitely! If I can. Today someone was asking me about how to get rolling with music. He’s a great player but doesn’t play out ever. I told him it’s a community and you’ve got to get involved! Find some people you want to play with who are playing music you’re interested in.

RON WEIMER @ BUCK LAKE RANCH

——— How did you originally get the rock & roll bug? What music did you hear in the house growing up?  My Dad listened to Bluegrass & Country. The Statler Brothers, Flatt & Scruggs, Johnny Cash, Alabama, Oak Ridge Boys. Watched Hee Haw! My Brother listened to Kiss, ELO, BTO, Foghat, Peter Frampton.

———— What was the first record you ever bought and how does it grab you today? Boston, Don’t Look Back. Still love it but it is considered Classic Rock now.

———- Since you don’t actually play an instrument or sing (outside of the beer tent or car), how do you explain your love affair with ‘Outlaw Country’ to new friends?  Just love Johnny Cash, Merle Haggard, Hank Williams Jr., Willie Nelson style more than ever because Nashville has always dissed them thus become the “Outlaw” term. Today, Nashville created Pop Country thanks to Scott Borchetta and changed Country music. You either love Pop Country or hate it. The hatters love Outlaw Country. I really love the new Outlaw Country artists Chris Stapleton, Sturgill Simpson, Cody Jinks, Jamey Johnson etc.

——— Who is on your shipwrecked island playlist today?  Sturgill Simpson, Chris Stapleton, Marcus King, Billy Strings, Government Mule, Doyle Lawson & Quicksilver.

——— Was your first concert experience really Alabama at Buck Lake Ranch?  Yes, I went with my Family in 1982. I remember every moment so well and even still have pictures from my photo album.

———– You’ve spent a good deal of time & love now revamping Buck Lake Ranch, once the ‘Nashville of The North’. What color can you share on the lay of the land for Midwest promoters in 2018?  Cut throat more than ever. People just do not realize the cost to put on a show these days. There are a couple big promoters who keep driving the costs up to try and keep small guys out. They buy massively which keeps their costs down.

———– You cut your teeth as promoter of the highly successful, annual BBQ, Blues & Bluegrass Festival in St. Joseph MI over the last 5 or so years, how does that experience inform your belief in and approach to the revival of Buck Lake?  Well as any promoter knows, it takes 3 years to build something out and become profitable. We are so excited for Buck Lake Ranch because of the Rich music history it already has. It has been awhile since Buck Lake has had anything going on so 2018 is going to be the “ Come Back” year. We have over 75 local, Regional & touring bands booked for the season. We have created our “Jammin in the Bowl” Series to be held every Saturday from Memorial Day to Labor Day. We have Blessing of the Bikes & Abate biker rides to The Ranch. We created the Americana Music & Arts Festival & many more events to come.

————- What new artists are you keeping an on eye for future festival plays who you’d love o see at Buck Lake someday soon?  First and foremost, Jake Kershaw. The kid is another amazing Blues artists who will be on everyone’s radar real soon. As you know, I have been following Marcus King to stardom and Jake is right behind him. Jake has a new CD “Piece of my Mind”, everyone should go buy! Also, a young lady Erin Coburn who also has a new CD “Queen of Nothing”. These are two very amazing young artists who you will see on the legendary Buck Lake Ranch Bowl Stage real soon. 

———— If you could book a dream 3 band bill, to be broadcast worldwide, dead or alive, who would be on the bill and what’s the ‘theme’ as you see it?  Well right now it would start with the Eagles. I am a huge Glenn Frey fan God rest his soul, but I just am also a huge Vince Gill fan and I love the current sound. Next would be Stevie Ray Vaughn, a man who had a relatively short career in just 7 years but made a massive impact on musicians worldwide. Third would be Hank Williams Sr. To most it may seem like a strange lineup but it goes with my love for versatility. As a promoter & music fanatic, I love many styles of music. So I love to bring in different styles from Blues, Classic Rock, Southern Rock, Outlaw Country to Indie, Progressive & Traditional Bluegrass, Folk & Jazz.

————– If you ever did become a musical artists, what would you call yourself and what song do you cover your first time on the Grammys?  That is a tough question to answer. Music is written about life experiences, tragedies, heart breaks, failures, successes and so on. So thinking along those lines, I would name my band Gullible. I have had a life full of challenges because I was over trusting, deceived, believed if someone gave me their word they would stand up to it. Not so anymore, you can trust no one except for a few closest to you. As for a song, Chris Stapleton is my favorite song writer. I would sing “Tennessee Whiskey” on the Grammys. Also, “Nobody to Blame” by Chris as well.

THE NEW ZEITGEIST

——- Duo musical couples seem to be rarer and rarer these days, was the potential to work together on music part of what brought you two together? 

Eddy: The first night we met was at a singer/songwriter open mic in Wrigleyville. Jen was expecting to meet a friend. That friend never showed and I eventually offered her my guitar so that she could perform after she noticed me performing and turning her way from two feet away over and over. After some good conversation, I offered her a ride to the train station downtown since I lived close to there. I mentioned that we should make some music together sometime and she gave me her MySpace card. The rest is history.

Jen: Strictly…at 1st J Eddy also possessed the alluring quality of a man of culture. I wanted 2 things in a man that were not easy to find:  1.) Finding a rock star to do music with 2.) Marrying the musical rock star

—————- Your personal musical influences seem as incongruent from one another as possible yet they find a comfortable balance with The New Zeitgeist, did it take time to develop its cohesion or was it immediate? 

 Jen: Ha, really?  There was immediate chemistry, yet as we explored places we had never been between his twangy-blusterous grit and my tailored velvet, our songwriting individually wandered untested roads, and our sound became more intimately entwined.  I suppose what helped our unlikely and risky launch is the somewhat later exploration in my 20’s of my personal music taste and, therefore, probably the largest genre evolution out of the two of us.  For me, mostly Church Gospel songs to uh, rap and punk in middle school, then indie folk, and finally, what we identify loosely as roots/Americana now.  I was definitely at a point in my music where I wasn’t being challenged creatively and feeling a musically plateau as a solo artist just before we met.

Eddy: Jen had such a remarkable natural ability to sing amazing harmonies. When we met, I was asking her to accompany me on my old material and she made it ten times better! She was working on her sound at the time and wasn’t sure she wanted to abandon that and start a new band. We started the first album in the summer of 2103 and released it in December of 2014. That was The New Zeitgeist. We met as acoustic artists but she had encouraged me to return to playing electric guitar and, I couldn’t have been happier getting back to my rock roots on our second album which was released in summer of 2017.

————— How does the writing process work for you? does it vary song to song? 

Jen: I’m really great at listening for arrangement and structure (Evaluating Eddy’s songs), but Eddy’s also greatly improved the musical riffs of my songs. I’m currently trying to expand my writing process beyond waiting for the inspiration of that flaky muse, but traditionally it’s very lyrically dominant for me and the melody drives the song.  The voice creates the music and the instrument, many times comes later.  Since my main instrument is my voice, I feel if you have a strong melody you have a strong song.  We’re also opening up our songwriting experience to collaboration in smaller ways, but not necessarily co-writing.  We’re both very dominant songwriters and I think it’s an intimate and personal experience for each of us.

Eddy: I am not at all disciplined as a songwriter. I listen for the music in my head. Either I will find a hook or a riff that I like, or stumble across one while practicing guitar. It may be a thought or an idea. I think choruses are meant to connect with. If I find one, then I try to write a song around it. I do enjoy using a word processor, using word documents to create a poetic structure, and then filling it in around the hook. I still will write down a phrase on a piece of paper if it comes to me. When I was at NIU in the late 80’s, I had the privilege of attending a poetry workshop with the legendary Gwendolyn Brooks. I read a song of mine to her and she responded with something I have taken to heart until this day. ‘Revise, revise, revise.’ I try to practice that.

————— Is there a tune of yours that you feel is the quintessential representation of who and what you are?   

Jen: Definitely “Desert Rose,” since it’s the most original on lyrics and music, and a classic sappy love tune. I never wrote a personally real or convincing love song before that, and also pushed myself to write outside my genre zone of comfort—an ode to classic country. 

Eddy: Of my songs on our recent album, “Myths and Mortals”, I have a difficult time choosing one.  I think it has to be “Lack of Linear Thought”. It is my 60’s dream pop song. The cast of characters playing on this track includes Alton Smith on the Farfisa, whom I think takes it over the top! I was playing though a sweet little vintage Supro amp on most of the album and made the most of it on this track, too!

—————- The New Zeitgeist has a lot in common with the late 60’s folk movement in terms of lyrics and messaging: were your parents hippies? What did you grow up listening to in the house? 

Jen: My Dad was definitely a “Jesus Hippie”!  Definitely no for my mom!  They were opposites musically as he would have the oldies playing in the car and he was especially a lover of classic folk like Dylan while my Mom preferred Italian opera.

Eddy: My dad was definitely not a hippie, but he did appreciate the pop music of the 60’s era. His favorite groups were The Everly Brothers, The Righteous Brothers, The Ventures, and The Animals. He would say that once The Beatles went to see the Maharishi they became too “out there” for him. I remember my parents having Elton John’s Greatest Hits, Jim Croce, and the red and blue vinyl Beatles Greatest Hits. The blue album, which included “While My Guitar Gently Weeps”, was my favorite, of course! My mom and dad listened to the radio with us a lot throughout the 70’s and the 80’s. My mom wasn’t a hippie, either. She liked to dance to good music and we would watch American Bandstand. Her favorites included Bob Seger and the Silver Bullet Band. On a further note, my grandfather was an accomplished accordionist and he performed with my father on drums at VFW halls around the SW suburbs. We would hear them practice often and that would include hearing a lot of polkas and waltzes. I loved it! Hearing that made me want to make music, too!

—————- Would you guys ever consider expanding the presentation to include a full band and, if so, what would be your instrumentation wish list?   

Jen: Oh, yes! The recent album Myths and Mortals (2017) was the real creative impetus for our dream instrumentation at every turn.  The opportunity to work with some really great Chicago musicians, including Gerald Dowd (drums), John Abbey (bass), Alton Smith (organ), Nora Barton (cello), and Austin pedal steel extraordinaire Lloyd Maines, strengthened us to be tighter musicians and more intimately entwined as a duo.  A lot of those songs inspired Pedal Steel, Bass, and Percussion to be added to our duo’s mandolin, acoustic, and electric, but I can see also stripping it down to an even more simple roots package with an upright, chains/rattles, and dobro.

Eddy: For me, there is nothing like playing in a great band situation. Jen was very conscious of the different sounds she wanted when planning ‘Myths and Mortals,’ and those included a rhythm section. She insisted on the pedal steel and after hearing the initial takes in the studio, I was convinced of almost every idea she had. Playing with the truly great musicians that performed on “Myths and Mortals” was a dream come true and I would wish to bring them together again in the future if possible.

——————— What were the first 3 albums (for each of you) you purchased as a kid? Which is the best? 

Jen: I probably didn’t purchase my own music until I was 12.  My very 1st, ahem, (cassette!) was The Beach Boys’ “Surfin’ USA” with the cartoon cover…I mean, hey, I grew up in Florida. J Then to CD’s, Grammatical Revolution (1999) by Christian hip hop group named Grits, and definitely my most memorable album, The Anatomy of the Tongue in Cheek (2001) from punk-rock band Reliant K, which is very worn and whose several albums really motivated my learning of guitar chords.

Eddy: This has been challenging to remember. My parents were in the habit of occasionally purchasing a new album. I remember receiving as a gift the album ‘Double Vision’ by Foreigner in what must have been the Christmas of ’78. In the following year with my own money for the first time, I must have wanted to buy a Kiss record, but my parents “encouraged” me to buy something else first, so I bought the first Foreigner album and then the Ace Frehley solo album! I think the third album I bought was ‘Double Platinum’.

——————– What do you guys like to listen to together these days if you are going to pop on an ‘album’?

Jen: Hmmm…it’s not that easy!  It depends on mood, flexibility, and activity—like driving, or…other things!  I think Zep has done us no harm, some Johnny Cash, some Neil Young, or even U2, but usually it’s nothing newer than the 80s or 90s. J  I’m embarrassed to admit how much we just listen to our album!

Eddy: In the car, Zep is our go to, or 93.1 WXRT. At home, it’s U2.

—————- What’s the best thing about Chicago and ‘our scene’? 

Jen:  I’ve found that it’s sometimes the less appearance-driven and smaller profile neighborhood dives that have the strongest music influence because they operate more at a community grassroots level and are not caught up with ticket sales or official advertisement.  While we greatly respect some of the finest names in Chicago’s music scene, some of the best recent times for us have been the meaningful connections we make up-close like Lizard Lounge’s 2017 Ugly Sweater Party singing ‘Silent Night’ to be followed by an outstanding woman just from Ireland jumping on stage to belt a cappella a traditional tearjerker.

Eddy: I really enjoy all the different little bars and the different music scenes at each one, especially those places that haven’t changed much since the 90’s or at which no more that ten people regularly attend! Also, the Old Town School of Folk Music and the singer/songwriter scene there has been really important for us, and we really appreciate all the great people and musicians that we’ve had the pleasure to get to know there. We attend a lot of shows that the people we’ve met at the Old Town perform.

A new show bubbles up in which musical duo couples compete for the affection of millions of young Americans. In the finals, you are forced to dress up like and perform a couple classic couple duo number by Donnie & Marie, Captain & Tennille, Sonny & Cher, Paul & Linda McCartney, John & Yoko, Stevie & Lindsey, Ike & Tina or any other of your choice, what songs do you chose and which do you think you could pull off best?  

Jen: That sounds like loads of fun…well, my 1st instinct is to be our real-life heroic couple, Piggy and Kermit.  However, there’s a history behind the song “I’ve Got You Babe” by Sonny and Cher being played at a party in our pre-dating hangouts which really sparked the idea of getting romantically involved with Eddy.  We also walked up the aisle to that song. J

Eddy: It was at my long-time buddy Jeff’s birthday party singing karaoke in the summer of 2011 at which Jen and I sang “I’ve Got You Babe”. I think that would be the one!

DAVE GROSS w/ BLUE PLATE SPECIAL

—– What were your favorite bands in high school and how do you rank them today?  I was into The Allman Brothers, Grateful Dead, David Bromberg, Poco. New Riders of the Purple Sage in high school, but when I would listen to The Allmans I would say “Who is this Robert Johnson?”, and look him up. I was heading towards roots music as a teenager. When The Nitty Gritty Dirt Band released “Will The Circle Be Unbroken?” it had a major impact on me and my friends. That is how we discovered Doc Watson,  Vassar Clements, and Merle Travis. Doc became my sign post to all that followed. He had such great taste and style. From blues, bluegrass, swing, Doc had it all. Then Garcia, Grisman and Vassar released Old and in the Way, which also led us towards Bluegrass. New York radio had great non-commercial radio that featured bluegrass, Irish, jazz and blues. That was my education.

—– You started out as a drummer – what’s your first recollection of the mandolin and when/how/why did you pick it up?  I started playing mandolin because there was one in my house. My Dad played violin and mandolin (all by ear). Mandolin seemed like a good idea because everyone played guitar.
I played drums from 4th grade through high school.

—– What do playing drums and playing Mando have in common for you?  I think it helps inform my mandolin playing because mando is percussive and plays on 2 and 4 in bluegrass.

—– Did you take Mando lessons or are you self-taught?  I taught myself mandolin at first, but eventually studied with Barry Mitterhoff. (Skyline, Hot Tuna). I still study and take lessons from various people via skype.

—– I assume there are go-to guys that Mandolin players hopes to emulate – who were they for you initially and who are you in to today?   To discuss influences, any bluegrass mandolin player must mention Bill Monroe. I love Sam Bush, David Grisman, Doyle Lawson, Ricky Skaggs, Jethro Burns and the list goes on. Although I am sure I am influenced by many people, I don’t think I emulate anyone because mostly I learn from other instruments, like guitar (Django) fiddle and even piano or horns. I have recently become obsessed with the music of Django Reinhardt sometimes called Gypsy Jazz. I released a CD called Mandology and lead a band of the same name.

—– What is your Mando of choice and how did you settle on that as your ‘ace’ of choice?  I play an instrument made for me by the great builder A. Lawrence Smart. It is modeled after an F-5 Gibson.

—– How did Blue Plate Special come together and how would you describe the bands dynamics on stage, and off?  Blue Plate Special started in 2001 after Tom Wise (Bass)  and I were playing together for a bit. After kicking around a few band configurations, Tom’s wife Jay Friedman began playing fiddle and man can she sing! (Who Knew?) The three of us started learning some tunes and we all began to write. We added some musicians who have come and gone. Fortunately, about 7 or 8 years ago, we hooked up with some amazing young musicians James Hempfling (guitar) and Dan Whitener (banjo).
At this point we are all best friends.

 

—— Do you guys feel you part of the Nu-Grass movement or are you more traditional?  I wouldn’t say Blue Plate Special is a traditional bluegrass band. Bluegrass is an ever evolving and growing genre with some bands keeping it really traditional and others taking liberties. This has been true now for decades. I feel like we do what feels right, what the song tells us to do.  Sometimes that means keeping it traditional, sometimes not. We play swing, blues and some rock covers. What ever feels like fun and sounds good. What characterizes our band I think, are the arraignments. I really don’t like to cover a tune without making it our own. We work very hard to find a sound for each song often with three part harmony.

—— How does the writing process work in BPS?  When someone comes in with an original song idea, we arrange very carefully. It is really fun to see a song evolve in that fashion. When I write a tune, I sometimes hear the music almost fully formed. Maybe with a word or two or a concept. The lyrics usually follow.

—– Blue Plate Special are to perform at the CMAs in the ‘honorable mention; Bluegrass” category, what tune do you guys do, what do you wear, and how would the choreography work?  If we were to perform at the CMAs we would dress up in our finest clothes(I would have to go shopping) and try to smile a lot.

ARMAND DOUCETTE

—- How did you get hooked on rock & roll as a kid?  Well, I wasn’t into Rock and Roll I was into Jazz (as my father wanted). I wanted a drum set and he bought me one with conditions that I learned how to play jazz for a couple of years. Then on one Christmas I was like 15 or 16 he bought me Led Zeppelin 4 and Rush’s “All the Worlds a stage”...changed me forever!

—- Who were your top few musical heroes as a kid and why?  Gene Krupa, Buddy Rich, John Bonham, Neil Peart, Steve Gadd, Jeff Porcaro, Steve Smith and Stuart Copeland. Because they all played as who they truly are and offered something in drumming to me that I needed and wanted.

—- What was the first record you ever picked up and does it make the playlist still today?  Benny Goodman Live in Belgium and yes it would because of sing, sing, sing. (It could be a killer rock song today)

—- Who is your favorite drummer and what is it about their that fascinates you so?  I don’t have a pure favorite drummer because they all offer something. But if I had to pick 2 I would choose Bonham and Gadd.

—- What are your three favorite rock drum tracks of all-time?  Rush 2112 (The whole thing), Steely Dan, Aja and Led Zeppelin’s “Fool in the Rain”.

— It’s often said that no two drummer are alike — do you believe one drummer can duplicate another’s feel or parts perfectly without technology?  No and Technology would make it worse

—- If you got the call tomorrow, what band could you sit in most comfortably with without freaking out too much?  I would freak because my chops are not perfect because I have to work for a living. But once I had those screaming I could and would love to play for Seal and/or Peter Gabriel…Possibly Adelle!

—- You’re bit of a drum collector and aficionado — does the brand and year really make that much of difference once you get past materials used etc.. ?  I don’t know, for me it is just the sound and feel of the kit. I have many kits from many makers. I LOVE mid-60’s Rogers and Late-60’s / Early-70’s Ludwig!

—- What part of your personality do you think comes through / translates best / helps in your role as a Financial Advisor?  Creativity, Technicality and Empathy.

—- You are not sure if you are dreaming but suddenly you are thrown in to a heavenly Moby Dick drum jam with Bonzo and Mooney, a third kit awaits you. How do you approach the sudden rush to join the fray and hold your ground?  I see my Craviotto “Big Drum” kit….I honor the masters and hold my ground just fine because …I am prepared and I can play.

LYLA JUNE

Photo by Priscilla Peña

———– What role did music play in your upbringing in the Diné tradition?  In the Diné language (Diné Bizaad) Hataałii means both “singer” and “doctor”. Also, in our language Sodizin means both “song” and “prayer.” So in my upbringing, music was all about deep intention to make the world a better place. Music was seen as a healer and singers were viewed as doctors. I was born into a world of struggle, as Native Americans continue to live in post-war conditions after the Native American holocaust. There’s a lot of work to do to improve our communities. I was raised by strong people to live my life deliberately and to view every one of my creations as an opportunity to heal my people, all people.

———– Were you discouraged at all from getting into American pop music and it’s culture as kid?  I was never discouraged from this. In fact, society encouraged me to listen to this because it was “cool” and it was the only thing on local radio stations. I drank the Kool-aid for a lot of years and went along with the programming of American children. There was a time though, around age 10, when I actually stopped drinking soda and I stopped listening to mainstream music. I started to see that mainstream music often times was part of the problem of keeping the public ignorant and distracted.

———– What artists / songs got through to you early on and how did their music, vibe and lyrics influence you and your outlook on your place in the world?  The Beatles were a heavy influence growing up. My father was born in 1954 so he brought a lot of his music from the 60s and 70s into my life. When I picked up the guitar, the first songs I started to learn were Beatles songs and I think that continues to influence my song structures today. Other influences from all different genres included System of a Down, Lauryn Hill, Shania Twain (I know… funny right?), Blackalicious, Rage Against the Machine, India.Arie, The Glitch Mob,  Led Zeppelin, Ulali and others. These artists showed me that music is a powerful launchpad for bringing joy, inspiration, hope, education and unification to the oppressed. None of these artists were Native American because it seemed at the time there weren’t a lot of Native American role models in the music world for me. There was Buffy Saint Marie but I never really got into her music. Myself and a number of others are trying very hard to generate a new genre of Indigenous music that inspires the youth.

—————— You have a track record for winning poetry jams at a statewide, and nationwide level, when did music become an extension of your drive to share your message?  I was always a writer. I remember reading poetry in public places as early as 4th grade. I remember winning writing competitions that early as well, for whatever that’s worth. When I stumbled upon spoken word at age 14, I was an instant fanatic. I travelled all of the world in my teens performing spoken word. I also started picking up the guitar in earnest at that point. So my poetry and my music development started around the same age, but I was slower to become a decent musician, whereas writing and speaking came more naturally. I didn’t feel confident in my music enough until very recently, perhaps five years ago, to really include it in my public performances. But since then, it has come to be appreciated as much as my poetry is.

—————— What was your musical life like while at Stanford?  I think that a lot of the drug addiction and sexual abuse I was experiencing in high school and at Stanford muted my musical confidence. I didn’t feel worthy as a woman to do much of anything because I felt like a bad person. I didn’t realize that just because bad things were happening to me, didn’t mean I myself was bad. But because of that, I was very creatively stunted for a long time. It wasn’t until my junior year of Stanford that I started to heal from the rape, get sober and pick up my guitar again. At that point the songs started flowing through me all the time. I didn’t feel comfortable releasing them at that point, but now I do!

———— How does the song writing process work for you and what does it take for you to feel a song is finished and ready to be performed or recorded?  Everything is in prayer. Like my ancestors, I treat life like a ceremony. So first thing I do, unless I’m being rushed and careless, is I pray. Maybe go outside and offer some corn pollen to the earth and ask her to give me some good words. One of my mentors has a prayer that he says every morning: “May you help me help at least one person today.” That is a very beautiful prayer to me. So I pray that with each song it can help at least one person. I don’t have a real unreachable standard for when a song is finished. I try to be laid back and allow a song to go out even if it’s not perfect. I used to do that and I would never publish anything because it wasn’t flawless. Now I kind of rest in my imperfection and do my best and be happy with that. I’m often pleasantly surprised with what “my best” ends up being.

————- In a way what you’re doing harkens back to the late 60’s folk rock peace movement – do you feel any affinity with those artists and their music today?  I feel very connected to this movement, even though there aren’t a lot of highly visible Native American’s in that movement. I feel like even though it was mainly a White movement, it still had some very good messages and was trying hard to generate a new way of seeing things. I pray to further that movement by grounding it in Indigenous rights. I feel that before this country can have peace it must contend with its “original sin”: the fact that this country is founded on the genocide of Indigenous Peoples. Until we give lands back to what little Native people are left, and until we make serious efforts to uplift these communities on their terms, then we will always be a farce of justice.

—————– What do you do to get in the right head space before playing (or speaking) to an audience? Do you have a day-of-show ritual?  Again, prayer is the first thing I do. One of our old songs says, “Great Mystery, first I pray to you. Because of this, I will live well with my people.” This song reminds me that prayer is the first step to any process. I used to say a little mantra I’d say to myself before stepping in front of hundreds and sometimes thousands of people. I would say, “I am always confident, calm, humble and strong before I speak to the people because I know I carry a message of truth, love, healing and peace.” I would say that all the time. But now I think it’s woven into my being so it is understood without being spoken.

—————– How was your experience last year at the Newport Folk Festival?  I loved being in Newport and not just for the seafood! I remember my set was sandwiched between a lot of amazing musicians on one of the side stages. I was the only woman in that section, the only person of color and definitely the only person who identified as Native American. So in many ways I was an anomaly. A lot of people in the audience were not expecting to hear an Indigenous activist/musician. They were overwhelmingly grateful for the set I brought and bought a lot of albums, the proceeds of which I donated to Lakota youth projects. These audiences often don’t know what to make of me, but they are always pretty moved by it and describe my set as a cathartic process.

————– You are asked to perform a song on The Grammy’s to further ‘First Nation’s’ causes / pride. You are to be allowed a brief introductory sentence or two and then to play a cover song of your choosing — what do you say to and play for America?
First of all, I should say, I try to refer to this land as “Turtle Island” and not as “America.” Because that is the original name given to this continent by its original peoples. But, I hope this day comes, not for the sake of my fame but to bring my people’s message to those who might not hear it otherwise. If I were in that position, I would say, “My people are busy working to revive languages and land stewardship techniques that were brutally destroyed by the processes of Manifest Destiny. We can no longer destroy what we do not understand. The systems of my people are not savage, but incredibly sophisticated and have the ability to bring solutions now, to a world in crisis.” And then I would sing an old song of my people, a song of overcoming called, “Shi Nishaa.” This song is the song that the elders sang when they saw their southern sacred mountain for the first time in four years. They didn’t see it for so long because they were being held in a concentration camp by the US military from 1864-1868. It is a song of joy and resilience. Not even the US military can stamp out this medicine. We are here to bring it to everyone, even those who tried to wipe us from the face of the earth. This is the unconditional love that my elders told me was the deepest medicine. – LYLA JUNE

Visit Lyla June on Facebook or her official website at www.Sodizin.net

ADRIAN DYER w/ MOON TAN

—————- How did you get hooked on rock & roll?   I’ve always been drawn to music that has either a really catchy melody or something that gets me pumped up. Back when I was younger the iTunes library at the house was riddled with tons of classic rock bands from my sister and brothers tastes (Zeppelin, Sabbath, Hendrix, Beatles etc.) so before I even had my own music player these guys had been priming my brain. I think the major turning point was when my brothers friend Eric had popped by the house and pulled up the music video “Dani California” by the Red Hot Chili Peppers back in 2006. That ended up dragging me down the rabbit hole of music and becoming a musician, and I can honestly say I don’t know where I’d be if I hadn’t discovered RHCP.
———- What’s your favorite live album of all-time?  I haven’t listened to too many live albums, more so watching live concerts on YouTube. I’ve probably clocked a few hundred hours of watching live Red Hot Chili Peppers concerts, so if I had to pick one (which is tough) maybe I’d say “RCHP Live at Slane Castle”, “RCHP Live at Pinkpop 2006” or “RHCP Live at Pinkpop 1990”. In terms of CD’s, Iron Maiden’s “Flight 666” is pretty solid. Brady and Nick introduced me to Thin Lizzy “Live and Dangerous” which I also thought was excellent.
———- Is there anything about the band that could have only emanated from Winnipeg? or Canada for that matter?  A crippling fear of being attacked by a bear, a large wolf, or a pack of coyotes whilst leaving the jam space. 

——— Was bass your first instrument?  Years back my brother had a guitar laying around the house that I would pick up and mess around on. I’d actually watch RHCP’s “Live at Slane Castle” on my computer and try to learn certain licks by ear and play along. Later that year I asked my parents if I could rent a bass, to which they replied “they’d think about it”. At Christmas there was a bass starter kit under the tree, and my mind was blown.

————- How did Moon Tan come together?  The band originally emanated from Nick Knock’s desire to start a cover band along with another singer at the time. I heard about the band from a guitar player who I had jammed with a couple times. I auditioned along with him, and I got in, but he was not selected. Nick’s Dad (who is a music teacher) knew the music teacher from the city of Gimli, which is about an hour away from Winnipeg, and that music teacher recommended a guitar player from Gimli High School – Brady. Brady auditioned and was selected. Eventually we decided that we wanted to do original material, and ended up parting ways with the original singer in the process. After a few years of enduring a revolving door of Kijiji-sourced singers, I decided to take on the task of singing. We’ve been truckin’ ever since.
———— Originality aside, did you guys have a vision for yourselves a definable brand or is it all natural?  I can only speak for myself, but the main thing I’ve always focused on is creating music that I actually like listening to. That’s the most important thing to me. Everything else is secondary. The live presentation developed from us wanting to make our shows more of an experience, and in turn THAT has naturally led to us developing into more of a definable brand. In my opinion people go see shows, watch movies, play video games etc. to de–stress /  have a good time / seek inspiration / escape reality, so if you can do a good job of providing an opportunity for this with your brand then you’re well on your way. We have some interesting ideas for live production we would like to experiment with in the future. 
————— What do you think Moon Tan fans have in common socially?  They’re all heavily into Baccarat. Other than that, lots of them seem to like Rush, prog, sci-fi, be musicians themselves, or have a genuine love for rock n’ roll.
————– What gets you off more — writing, recording, or playing live?  1,000,000% writing. Sitting alone with nobody around, my laptop & Garageband open, and just freely creating with 0% judgement but my own.
————— Since you have a prog rock thing going on, is there any pressure to do shorter numbers for more airplay or a ‘hit single’?  It’s interesting, because in all honesty I don’t really see Moon Tan as a prog band, but people who watch us tend to categorize us in that way. I guess that brings forth the question: “What is prog?” Maybe I don’t even know.. haha. I find my natural songwriting style is actually in a pop style format, perhaps disguised by the odd time signature here and there or a flashy lick from one of us. Circling around to the question with all that in mind, you need to give the song enough time to mature and finish, and if can we find a way to do that in 17 seconds, we will.
————- You guys won Indie Week last year in Toronto and got to play in Manchester as part of your bounty: how did it go in England?  England was fantastic. It was our first international gig, and we received tons of great feedback from everyone over there. I think I ate a whole margarita pizza every night for six nights straight, and Brady and Nick we’re hooked on the fried chicken. We are definitely planning our return as we speak, so fans of rock – and vendors of margarita pizza & fried chicken – beware!

ANDY DUNNIGAN w/THE LIL SMOKIES

How would you describe the inner-band dynamics of The Lil Smokies?  Does it work the similarly off stage as on or do roles change some between the two? I’ve always firmly believed that one plays his instrument like he lives his life. This is certainly true for our band. That said, as much as it is a collaborative effort on stage, it is off of the stage, as well. Between interviews, conference calls, long drives, and loading up the van, we all try to do our share. I would like to tip my hat to our bass player, Scott Parker, and our banjo player, Matt Cornette, for being the primary drivers. Thank you, gents.

What’s the craziest thing that’s happened to you guys this year?  I think there are some secrets better left on the road. Talk to me after the show, in the alley in hushed tones.

How do you think being from Montana inform your music and vibe?  Indicative of Montana is space and serenity; my favorite of the vast catalogue of its great attributes. I think we’re able to appreciate that space and let that permeate into our music. Bluegrass, at times, can be incredibly fast and frantic. I think incorporating space can slow the song or set down and be quite effective.

How do songs come about for you and The Lil Smokies?  It definitely varies song to song. For myself, it’s the constant battle between perspiration and inspiration. Usually, I tend to think there needs to be inspiration before the perspiration, but lately I’m trying to find the inspiration inside the perspiration. Once a song is ready to bring to the band, it can take a couple rehearsals to arrange it or months of coming back to. It really varies from tune to tune.

Did you grow up with music in your family?  Yeah, my father is a musician for a living. He’s a singer-songwriter, guitar player, and multi-instrumentalist. I definitely grew up inundated with the music of James Taylor, Paul Simon, Chet Atkins, Earl Scruggs and the Beatles. Over time, even as much as I rebelled against it, there was no escaping the power of osmosis.

Was there a live concert experience that impacted you early on?  In high school, I went to the Telluride Bluegrass Festival and was completely floored by the enormity of the festival. I think seeing Béla Fleck and the Flecktones’ set that year (2005) was a really monumental moment in my musical career.

What was your first personal public performance?  My first public performance was playing guitar with a jazz pianist at a fancy restaurant, my freshman year in college in 2006. It was all simple instrumental jazz standards. My jazz knowledge is incredibly poor. We got through it somehow. I was, personally, yelled at for playing my stratocaster too loud though. Victory.

How do you feel about playing covers? any personal fail-safe campfire goto’s?  I love playing covers. We try to do at least one cover a night. I think it’s important to have a thread of familiarity with audience members that aren’t versed in your own original material. I think as long as the cover is special and authentic, you can make it your own. The Punch Brothers are an incredible example of embracing cover tunes, even with an extensive archive of their own originals.

What singers / songwriters are on your Mt. Rushmore?  In no particular order: Bob Dylan, James Taylor, Taylor Goldsmith, Chris Thile.

What advice do you give to a young musicians & artists seeking their path?  Play because you want to play and because it’s fun. That is the golden rule, which can be applied to writing and performing and touring and all the other subsections of the music industry. Also, be authentic and humble. People will really resonate with humility and authenticity.

The Lil Smokies are granted a wish by a NASA Genie in which you can time travel back to open for any show / band / concert in history — what are your coordinates?  I’m not a Deadhead at all. Neither is the rest of this band, but I would think opening for The Grateful Dead in Egypt in 1978 would be one hell of a night. Plus, it’s on my bucket list to see the pyramids.

DAVID LINES w/ THE LOST MILLIONS

What’s your favorite thing about the recordings you guys have done for THE LOST MILLIONS debut ‘101’ now available on iTunes?   They are all really good songs on this album and they don’t sound like anything else out there to me. We are proud of it and can’t wait to see how they go over. For all I know there’s a whole genre built around bands that sound like us, who knows. We’re nobody but represent millions. We’re just four more dudes playing rock in a band. Everytime we get together it seems like someone in the group says quietly in passing “the ‘lost millions’ are kind of a big deal” LOL..

How does the writing process work for you guys?   The bulk of material on this album was written by Matt Westfield and Heath McBurnett in what has become a prolific partnership.  Generally, the songs begin with a riff or progression in a jam situation and develop from there.

Did you go in to the recording process with a vision for the sound over all or is it more of a sum-of-the-parts / songs-as-they-happen dynamic?  There wasn’t any preconceived overall sound we were shooting for on this one. We just started building on the framework with the gear we had and what we thought the song dictated.

What is your go-to set up?  In the studio, I mainly used a Fender Blues Jr., although an Orange and a BF Bandmaster were used as well. Effects-wise I used a Ibanez ts808, MXR phase 90, and a Big Muff. For guitars I used a Strat, Les Paul, and an Angers 12 string. I played the Wurlitzer through a SF Champ. There wasn’t much food involved.

What was the first record you ever bought and how do you feel about it today?   The first record I ever bought was Elton John “Don’t Shoot Me I’m Only the Piano Player”. It still stands up. Great melodies, great lyrics and a killer band.

Can you recommend any guitar solos young guitarists should sink their teeth into?    That is a tough question. There are so many different approaches and tones that I wouldn’t know where to begin. Usually what inspired you to pick up a guitar in the first place will lead you on your own journey.  Some of my favorites for sure were played by Mike Campbell, Johnny Marr, Brian May, Billy Gibbons, David Gilmore, George Harrison, Joe Walsh and of course ‘Ace’ & ‘Pagey’. 

Do you still listen to LP / CD’s or are have you embraced music via the computer and phone with platforms like Spotify?  I still prefer listening to LPs. It is a ritual. Dropping the needle, checking out the cover and credits, flipping it over, it’s an interactive experience. Plus, I just think it sounds better. That said, I do listen on the phone and computer. I’m a music junkie but can’t always be near a turntable.

Outside of the SXSW bonanza, what can you tell us about the scene in Austin for bands looking to make in-roads in town or visitors looking to go pro for a night?  Austin is struggling to find itself musically as the tech sector takes over. The cost of living has forced venues to close and musicians to move. We are just beginning to navigate the inroads of the new landscape and we will keep you posted on how that goes. For those from out of town looking to play for a night and make some money …good luck.

If you had to make a list, has your favorite music come from England or here in the US of A?  My top ten is probably dominated by English bands but American bands would make up most of my top 100.

Through a series of unforeseen events you wind up at the Pearly Gates with a guitar and, as folks settle in, Saint Peter nods your direction and mouths “do something good!!”  …. What do you go with?  I imagine it would be a large and diverse crowd there so I would keep it instrumental. Perhaps “Bron-y-aur” or a Nick Drake inspired tune I’ve been working on. Chill, non-offensive, and hopefully impressive to the powers that be. Maybe they’d let me play with some of my heroes if I pass the audition?

NATHAN DOUGLAS

What got you hooked on rock & roll as a kid?  Listening to Lynyrd Skynyrd. Those powerful vocals of Ronnie Van Zant drew me in.

What was the first concert you ever attended and what strikes you about it today? Jakyl opening for ZZ Top! I was 17 years old and the energy of that show was overwhelming!

What was your first public performance? how did it go?  Well my dad (Oliver Smith) was a southern gospel bluegrass singer and performed in different churches so I would say my first performance was more than likely with him at one of those churches. As far as the first real performance that I remember; I was in the 5th grade and performed Lee Greenwoods “God Bless the USA” for a school program. There is a video of that out there somewhere …lol

Musicians are funny about their instruments, sometimes even superstitious — tell us about your relationship with guitars over the years; what is your stand by go-to 6-string today?  I’ve never really considered myself a guitar player. I’m more of a vocalist but a good guitar is key in having a good performance. I played a Taylor guitar for a while and I beat it to hell playing the honky tonks in Nashville. When it was time for a new one I went with the Seagull that I currently play. It is a great sounding guitar without the hefty price tag.

How does the song-writing process work for you? has it evolved over time or do you have a tried & true formula you try to stick with?  I haven’t really been writing that much the last few years. Just a line or two here and there but when I was writing consistently it was just a matter of what I was feeling mostly. Occasionally someone would say something that would spark an Idea and I would use my corny sense of humor to write something like “Nothing but your snuggie on”

Do you have any advice (cheap tricks) for your artists looking to connect more with the audience when playing live?  Be true to who you are as a musician and you are going to connect with someone or a group of people. Don’t be surprised if someone asks you to sing something that just doesn’t fit you and if you can bare to sing it then sing it and get right back to what you love. They will appreciate you for it.

What’s the craziest thing that’s ever happened at one of your shows?  The craziest thing that ever happened at one of my shows other than having the drummer bring a dancing Zombie Doll on stage would have to be being interrupted by Jermaine Jackson while playing at Legends Corner in Nashville so he could promote a tv show that he was filming.

Given your experience as a finalist on CMT’s Can You Duet in 2008 , what advice would you give to a young artists looking to take a shot on a similar live contest like American Idol or The Voice?  I would say if you’re gonna go for one of shows just be prepared to take some criticism and don’t let a “no” answer stop you from moving forward with your career. Sometimes being true to who you are isn’t always what they are looking for so you just have to keep on keeping on.

Some artists hate the question but who do folks liken you too most and how do you feel about it? You know it’s been a while since someone has compared me to another artist but I use to get Billy Dean a lot when I was in Nashville. I’ll take that as a compliment.

What are you working on and what’s your view of 2018 from here?  Right now I’m just working on being a better performer and trying to gig as much as possible. I’m working with a group of great players and we call ourselves the Douglas Fine Line. I would like to play more with these guys this year and get into some bigger venues and festivals. Right now I’m just working on being a better performer and trying to gig as much as possible.

JON LANGFORD’S FOUR LOST SOULS

What’s Four Lost Souls all about to you as you look at it now?  It was about my relationship with America and more specifically, the South. So much of what I love about this place came out of Memphis, Muscle Shoals, Nashville, and New Orleans – yet the history and legacy of the South looms over everything since Trump’s election.

It’s a good ride from Wales: how was your Alabama Shoals experience and what are a few of your favorite things?  We worked with Norbert Putnam, the great ‘60-‘70s Muscle Shoals/Nashville producer, and David Hood, who’s been on so many great records. We had a lovely time in Alabama – very efficient, very creative and very different. The music community down there is very fluid and open to ideas.

Did you hold any tunes or recordings back or is the full salvo from the heady proceedings?  I think everything we did is on the record. We only had four days to record and the songs were specifically written for the record. They all told a little story that I wanted to be included and everything worked out great, so it seems no point leaving anything out.

What did you learn this time out and will you ever recover?  I like to change things up with every recording situation. Working with a real producer was definitely an education. And I didn’t play guitar on the record and I really like that.

What was the first concert you ever attended and what strikes you about it today?  I want to see Procol Harum  in the Bristol Colston Hall in 1973, when Grand Hotel came out and I love that show and I still love the band. It was a really different time and we were very young and the crowd was full of hippies. I kind of thought of it as someone else’s music, but I really enjoyed it. It wasn’t until punk came along that I felt THAT was my music.

What was your first public performance?  Singing Gilbert and Sullivan in the school pantomime.

Musicians are funny about their instruments, sometimes even superstitious — tell us about your relationship with guitars over the years; what is your standby go-to 6-string today?  Mostly I’m playing acoustic on the gig supporting this album; as I said, I didn’t play any guitar on the album. I find guitars need constant stroking and attention, much like people. The guitar I play in the “Snake Behind Glass” video is a really old Martin that belonged to Marty Stuart and was once played by Porter Wagoner in his “Parkview” video. It’s a prized possession. When I play electric with the Waco Brothers I use a couple of customized strays.

Do you have any advice (cheap tricks) for your artists looking to connect more with the audience when playing live?  Lots of stupid banter between the songs.

What’s the craziest thing that’s ever happened at one of your shows?  I really don’t know where to start.  Possibly the entire band attacking the soundman half way thru a Sally Timms gig at the Khyber Pass in Philadelphia many years ago. Don’t diss the Timms. That really stands out because there’s been so little violence over the last 40 years and that was one of the quietest gigs we ever played.

You are to take a 4 hour dune buggy through the desert with anyone on earth, who do you choose and how do you strike up the conversation?  My wife Helen because she drives the buggy while I looked out the window – do they have windows?

MARIANA QUINN-MAKWAIA w/ SMOKE & SUGAR

What are you working on right now and why are you excited about it?  I’m very blessed to be working on a few different projects that satisfy my multi-genre fancies: The Kai Lovelace jazz trio. The Sibylline is a folk duo with my ethereal composer of a sister Alice Quinn-Makwaia. VibeMosaic is an electronic neo-soul project with the magical Brad Morrison. Finally, Smoke and Sugar which is how we met at The Bitter End! We’re really excited to be putting out our first EP of neo-soul / alt-rock music called “Mindings” on Friday, October 6th. For any fans or explorers in the NYC area come join the celebration at Downtown Art in the East Village.

Did you grow up with music in your family?  Yes, my Dad’s a musician and composer as well as a voice teacher. My Mom is an actress and acting teacher. Actually most of our family friends are artists of one form or another. My sister and I grew up singing together. Sometimes my family would go on a walk and realize we’d been lost in some daydream and all four of us had been humming different tunes at the same time.

Was there a live concert experience that impacted you early on?  I went to a concert of my Dad’s friend Paul Silber when I was about nine. He was singing jazz and blues standards with piano accompaniment. It was such a simple arrangement but he made me fall in love with those songs, with the call to improvise that exists in jazz and with that beautiful porous boundary between performer and audience.

What was your first public performance?  My first public performance was in preschool. I played a fly in an adaptation of The Itsy Bitsy Spider. I made it to the front of the stage and then burst into tears. I went through a very intense shy phase in my youth.

How do songs come about for SMOKE & SUGAR?  I love this project because everyone involved is a composer and a musician. We tend to start with a seedling from one of us, and then allow it to fill out as we bring it to the rest of the band. First with melody and mood or lyrical theme. Then add counterparts maybe break up sections or embellish parts and lay out the lyrics.

Do you have any day-of-show (or pre-show) rituals that help you get in the right mindset to perform live?   I tend to channel all of my nerves or excitement into my hair and the set-list. The first lets me fuss over minute details in an internal headspace until it’s time to get onstage and the second lets me fuss over the flow of the evening with everyone in the band.

Who is on your musical Mount Rushmore? Lianne La Havas, Jeff Buckley, Nina Simone. The Beatles, Stevie Wonder is a prophet.

What’s your favorite thing about the music scene in New York right now?  I love how many New York musicians want to build community rather than compete. It can be so hard being an artist in a world that finds creative thought dangerous. Of course we’re all stronger when we uplift each other.

Last minute, you are asked to perform on a new version of Soul Train but they want you to do a 70’s cover — what tune do you chose for the band?   Oooh we already do a cover of “Master Blaster” by Stevie Wonder! But since that’s a 1980s single I’d go for “Ebony Eyes”. My favorite secret tune from Songs in the Key of Life.

You are granted special access to a time machine called ‘The Day Tripper’ in which you can go backstage and hang at any concert in history: what are your coordinates and what happened?   This may not be very original but I’d give a lot to be able witness what happened in Woodstock in 1969.

MARC DOTY w/ AUTOMATIC-GAINSAY

How did you get hooked on Rock & Roll?   It’s interesting to be asked that, as people seem to have pretty much forgotten about Rock & Roll, but I still describe myself as a “rock keyboardist,” in regard to music.  As a synthesizer enthusiast, these days, the assumption is that I’m all about various electronic genres… and while I do enjoy a few, that’s not what I do.  I think initially, I liked pop.  But my brother was inclined towards heavier music, and played a lot more Rock-oriented music.  I think I connected with it intuitively, but it was that exposure that made it happen.

Do you have a favorite go-to album of all-time and how have your feelings about it changed at all over the years?  My favorite albums are too numerous to name, but I do have two albums that I would say are my favorite albums of all time… truly my “go-to” albums.

Out of the Blue– Electric Light Orchestra.  When I first heard this album in 1978, it was everything I wanted music to be.  It had a great Beatlesque vibe, but also explored a lot of different genres, production styles, instrumentation, and technology.  It was where I first saw the name “Moog.”  My perception of it has changed primarily in that as I have gotten older, had more education, more experience, etc., I’ve been better able to hear the instrumentation, recognize the production techniques, and understand everything “underneath the hood.”   My love of it has not wavered at all.

The Beatles– The Beatles.  I probably don’t need to say anything about this, but I will say that the weird combination of exquisite production and raw messy production along with the combination of amazing songcraft and unique musical exploration basically made me who I am today.  I think I love it more every time I hear it.

What was your first public live performance and how did it go?   If I exclude piano recitals, my first musical performance was in high school… in a band where we dressed up in punk clothes and performed Country music.  I was just plunking out chords on a piano, but it was incredibly exciting, and it pretty much set everything in motion.  My first “public” performance was probably this one time in a bar that I was too young to be in (but there were provisions for under-age musicians).  I felt confused and out-of-place, but very excited to be playing in public. And in a bar.

What you gives you the biggest high as a musician?  I have been obsessed with creating music since I was nine years old (the age I started writing music at).  I have been intent on learning to express myself and create compelling music.  So, I guess I’d say that… but I also enjoy performance, and have often chosen performance over writing.

How does the song writing process happen for you ? (Is there a Marc Doty riff graveyard?)  Initially, it was me sort of imitating the music of my idols.  Then, I went to college and got a degree in composition.  During that process, writing music became essentially an opening of the floodgate in my brain, and a desire to make every idea into something interesting.

It depends largely on what the intent is… what I’m writing for.  But in general, most of my music starts with either messing around on a piano, or having an intense emotion that I vent by spontaneously creating lyrics and melodies.

I do a lot of synthesizer demonstrations on YouTube, and when I’m writing the themes for these demonstrations, I often let the unique strengths of the synthesizer I’m writing with inspire me to create theme music.

And yes, if I never wrote anything new ever again for the rest of my life, I have enough ideas lying around to probably carry through the rest of my life!

What’s your philosophy on drums and getting the right drum take?  The most inspirational song for me in regard to drums was “Louie Louie,” if you can believe that.  Louie Louie had a drum sound that really reached me on an emotional level, and I realized early-on that it was because it is natural and expressive, and because the vibration of the drums in the room lead to the timbral aspect of the drums.  That is to say that drums sound best and most expressive as a person who is experiencing them there, and experiencing them there is an aural experience of how the vibration of the drums interact with the room they are in.

Recognizing this led me to recreate the drum production of some in the past… and I found that a great way to record drums was with a single mic sensing the vibration of the room.  I LOVE the sound of single-mic recorded drums.  And most of my songs feature acoustic drums captured with a single mic in a room.

I’ll admit that I do often boost the bass drum, or record it separately with a different mic arrangement simply because placement of a mic in order to capture snare, toms, and cymbals often results in a baseless bass drum… but still.

I loved drum machines when I was young, but I got tired of them.  Even when I do electronic stuff, I tend to sample live drums and create loops.

Will rock & roll continue to boast bands whose careers span decades or have folks attention spans shrunk too much for a new band to sustain such success?  It’s hard to imagine Rock surviving what is happening in music right now.  It has become a business first and foremost, and the music has been reduced to its most selling aspects.  It’s no longer about expressing what you personally feel and having another person identify with it, it’s about pandering directly to musical aspects and lyrics that invoke immediate feeling in the listener.  It’s not so much communication as it is manipulation at this point.  I wonder what the future will hold.

Your speaking at KnobCon here in Chicago this week, what sort of stuff do you plan to get in to?  Well, I have somehow generated a world-wide following in regard to my synthesizer demonstrations and education, and I look forward to any opportunity to teach people about how vast, deep, and long the history of synthesizers is.  At Knobcon, I’ll be doing a presentation on a synthesizer inventor that most people haven’t heard of… which is sad, because he created many of the aspects of synthesis we attribute to others!  It’s an awareness campaign.  It will also be fantastic to interact with synthesizer pioneer Tom Oberheim, and my friend Michael Boddicker, who, in addition to being an amazing keyboard player and synthesist, was responsible for SO many of the session keyboard parts for musicians like Michael Jackson.

Synths almost killed rock in the 70’s with prog, tried again with new wave in 80’s and today seems to have found a new host in EDM: Is this just another occupational hazard or will it have longer legs the ‘keyboardist’ as it were?  Ha ha, yeah… it’s hard to beat keyboards back, sometimes.  But the fact is, there is a balance that can be had with the synthesizer and Rock… it’s just that it’s easy to go too far.

What advice would you give to a talented young artist wondering how the fuck to get from A to B and make a real go of it?   Well, I spent 12 years desperately trying to get a record contract back in the 80s and 90s.  I worked my ass off trying to do what was expected.  I tried to write songs that would appeal to audiences and A&R people.  I tried to get that stuff heard.  I had a manager in L.A., and interest from labels like Geffen and Interscope… but it all failed.  And I think largely, that was because I was shooting for an idea as opposed to doing what I loved.

Conversely, I started demonstrating synths on YouTube, and suddenly, my work was spread all over the world, synthesizer companies started asking me to demonstrate their products, I got hired at a historical synthesizer foundation, met all of my idols, and have tens of thousands of people hearing my music every month.

I really think the key isn’t to try to be something you want to be, but to try to show people what you are.  Don’t make your art some sort of bartering for something that has nothing to do with art, delve deeper into your art and live it, and opportunities will come to you.

GREGG YDE w/ BLACK LAUREL

How did you get hooked on rock and roll?  It was unavoidable in the house I grew up in. I had four older siblings who were all into music. My brother Mike played drums and my brother Mark played guitar. We had the jam room in the basement with tapestry covered walls with Mateus bottles everywhere. Illegal ashtrays. This was the 70’s and everybody who came into my orbit had long hair and KISS or UFO shirts on. I was baptized into Rock and Roll and have been a devout follower ever since.
What was your first public/live performance like?  It was probably sometime around sophomore year in high school at our local community center in Libertyville Illinois. They hosted a weekly open mike. I don’t remember much about it except I played solo acoustic. I don’t remember being nervous. I rarely get stage fright and when I do it is usually for smaller crowds. The intimacy of playing to a handful of people can be intimidating. Throw me up in front of a packed room and I’m ready to go.
Favorite albums growing up?  The first truly great record that entered my world was the Jackson 5’s Greatest Hits. The J5 were still a young outfit and pre puberty Michael. Such a great album when Motown was still on top. Around the same time my Sister brought home the Beach Boys Greatest Hits and that really struck a chord with me. The first album I bought with my own money was around 4th or 5th grade. The Beatles Revolver. My brother Matt who was a couple years older bought the Rolling Stones Black and Blue on the same outing. By the time I was in 7th grade you could find most Beatle albums, some ELO, Chicago, Queen and the Who in my young collection. I also had that Steve Martin album with King Tut on it…..but don’t tell anybody.;)
 
Do you hear their influences still in your new stuff?  Sure, it’s all rolling around in there. I’m trying to push out the pre Jackson 5 / Osmand Brother period and I think I’ve been successful.
How did Black Laurel come about?  I was new to New Orleans and looking to get back in the game after a long sabbatical as a family man. I just started asking around for like-minded musicians. My buddy and co worker at the hardware store I worked at in the Quarter played, so we got together, wrote some songs. When we felt we had a set, we went to Craigslist to find a rhythm section. The rest will hopefully be history. Of course, I’m the only original guy left. It has been addition by subtraction ever since.
Did you have specific goals for the recording sessions for debut EP?  We just wanted to capture our sound as economically as possible. The EP is just us playing live with a quick overdub session for vocals and some doubling of rhythm guitar and solo’s. It was produced by Rick Nelson of Afghan Whigs at Marigny Recording Studio, just down the street from my house. The next one we hope will be more relaxed, but money for diy bands is always tight.

Were the songs all new or were there some that you had been sitting on for a while?   Two of the songs were written by our bass player, Rade Pejic and I’m assuming are current. Of my five songs, all were newer, with the exception of ‘Set Your City Free’ which was written awhile ago. The line “were gonna march into your town. Knock all your statues down” was about the invasion of Iraq but in New Orleans, everyone thinks it’s about the removal of Confederate monuments.

How would you compare Chicago and New Orleans in terms influence to Black Laurel’s music?  New Orleans references are sprinkled  throughout our lyrics. Not so much musically. Chicago had a great rock scene when I was active there. Jesus Lizard, Ministry, Smashing Pumpkins, Liz Phair, Boom Hank, Veruca Salt, Red Red Meat. New Orleans is a Jazz and R&B town. There is a nice underground rock scene starting to bubble to the surface, but the tourists don’t want anything to do with it. I will say that living in New Orleans has been great for my playing as there are so many unbelievable musicians everywhere. Shake a tree and a great musician will fall out……along with some beads and discarded crawfish shells.
Songwriters often say they think of their songs as almost like their children — how do you feel about the old Nurv material when you hear it now?  Some need to go to their rooms without supper. Some deserve to go to College.
You go down to the crossroads, your rider by your side and come across the Devil  listening to “Judy Brown. He wants to strike a deal — he wants your guitar; what do you ask of him? 
Depends on the guitar and what Trump…..er…Lucifer is offering in return.

RICH KLEVGARD w/ THESE PEACHES

What are you working on and why are you excited about it?   I went in the studio with the point of releasing an EP. Kind of a bridge to carry over from the debut album, Almost Heard the Ocean to my second album. I was in the studio last week and tracked a brand new song. Then it seemed like maybe this should be its own album. So now, that is what I am pretty much working on. The band is on hiatus for the time being. We lost a few members to distraction and lack of focus.

Did you grow up with music in your family?  My parents were classical music people. So a lot of concerts that they attended, I did too. It was always on in the house. In my room there was a lot of Kiss, The Beatles, Boston, pretty much ‘70’s rock. When I went off to boarding school my range of music appreciation began to grow Dylan, Stones, Neil Young, Grateful Dead, and after heading to college I became exposed to the blues- Muddy, John Lee Hooker, Son Seals, Koko Taylor, Buddy Guy, Taj Mahal, Elizabeth Cotton, and also into jazz music as well — Art Blakey, Miles Davis, John Coltrane, Willem Breuker Collektif. Classical performances were at the beginning but not without ironically Hank Williams, “Your Cheating Heart” around the time I was 3 or 4 years olds.

Was there a live concert experience that impacted you early on?  I think seeing a Bob Dylan show seemed to really show how tight a band can be but at the same time so very loose, authentic and unscripted as well. Giving the sense of spontaneity always impressed me, that and the connection of the artist to the audience.

What was your first public performance?  A group of friends playing together on and off as Surf Jazz Kill and The Uninvited Guests showed up at a party and using the house bands instruments tore it up. Talk about loose, unscripted and spontaneous!

How do songs come about for you?  Certain cadences of words arrive. Sometimes with a melody, sometimes not. I write everyday but don’t always play guitar everyday. Basic song structure comes through exploration and discovery-one my talent on guitar isn’t that great, but I have taught myself to create moments where the melody embraces the lyrical direction pretty easily.

You’ve been around the Chicago music scene for nearly 30 years now, in different roles, what’s the (your) state of the union?  This is an extremely difficult business. That in of itself is an incredible detractor from the act of making music. The task of making yourself the center of attention is a guilty pleasure it seems. I don’t like being in the spotlight, but once I am there it feels unreal. I’m lucky to have my own songs to play and to not be spending time and energy covering everyone else’s stuff. In Chicago there is an incredible community of caring and generous artists without a doubt. In the land of performance there is a whole lot of hurt going on. It’s where most bands usually seem to fall apart trying to get from one gig to the next. The recording process is time-consuming and expensive. Manufacturing even with the return of vinyl is on the way out. Digital streaming and social media savvy is where it seems to be. Performing is the only way to make money but it is also an extremely arduous path to navigate. People like to hear bands and unless you are established with a fan base over 1000 people locally, you are not going to be actively sought after to headline someone’s club.

Who are your favorite 3 artists of all-time?

Miles Davis- spirit, creative genius, longevity

Bob Dylan- words, music, reinvention

Vivaldi- summer, fall, winter, spring

What advice would you give to a young musician seeking a path?   Play anywhere and everywhere you can, surround yourself with people who are kind, generous and honest.

Are you jazzed about any new artists or releases we should know about?  In Chicago, The Flat Five, Cardinal Harbor is cool, Big Sadie is as solid as they come!

You are to put something personal in a time capsule headed for the outer reaches of space — what is your offering for mankind?  I always thought it might be some sort of graphic design tome of visual delight that would be remarked on and celebrated for all time. Now, maybe one or two songs and a story about how we aren’t who we think we are — maybe something much more…

HAMID SAMI w/ TELECRAZE

What are you working on right now and why are you excited about it?   I am working on Telecraze LP. i want to release it in late 2017 or early 2018 and, it is going to be the first time i release an LP officially. I am working on film music and instrumentals as well, mostly focused on my works with my friend Jon Meyer, a film director in Portland I have been friend with since 2009.he did this doc called “thanks for checking in” featuring one of my instrumentals, which is now mostly set for awards and festivals before being released.

Did you grow up with music in your family?  No, I grew up listening to music secretly, carrying my cassettes whenever I went out and listening to them before sleep. I received copies from friends. my cousin introduced me to a lot of music, Pink Floyd mostly notable, the Iranian 70’s era had some good music, and some of the more contemporary musicians did some good songs, but I think the darkness of the world kept me more towards western music. I grew up in nature, and then in 8 I had to relocate to town, right in the capital, and it was so rugged, so rough, I started to realize why did some of the songs I listened to when I was 4 were so dark, later I found out those songs were Kraftwerk.

What was your first public performance?  It was in 2008, in Tehran Art university, we had a band called Font and the students had this ceremony to introduce contemporary music to the students of the university.it was ok.

How do songs come about for you and Telecraze?   Uh, sometimes I am playing an instrument, and then it resonates with a part of me, I just happen to let words come out and little by little they paint a picture of what this is pulling the strings on  ….in Telecraze, I worked with the members on my finished songs or just an intro I didn’t know what we were doing, it was mostly to let it work for everyone, we did one song we all worked on from beginning to the end, drummer was a bit hardcore so which ever direction we would take things would come out a bit aggressive.one time our bass player had a very bad experience in streets, he saw a man on a wheelchair came right in the middle of street and put himself on fire, and wouldn’t let anyone get close to him, Mehdy was traumatized, wanted to make a song about it, so I went working with our drummer and did it little by little. I made the vocals to the last part of the song in rehearsals. We called it Burning Alien, recorded it alongside 4 other songs to include in our EP, Knockout Mice. but the recording went bad , so when the finished work was in our hand it didn’t sound like what we wanted so it never came out. From all those songs I released only 4 of them on our SoundCloud.

How would you describe the new music / live scene for bands in Iran and how do you feel it’s different from what you know about the states?   The scene here is a pop, funk, rock and singer song writer on major scene, and noise, ambient, electronic on a very smaller scale. There is hip hop underground going on.

How do you feel about playing covers and what are your personal fail-safe go-to’s?   I don’t cover much. I did a Grizzly Bear cover with Telecraze for our live show, the song “Yet again”.i did  Radiohead’s Creep and NIN’s Hurt for myself. And just recently played Kesson Delef of Aphex Twin on the piano, I don’t feel like doing covers on live shows, I go on places when doing covers which I won’t go naturally.some times it’s easier for me to do a cover than my own songs, I do them better  I can’t go fail-safe. there is no life in it when it is not to help you reach your deep subconscious areas, and subconscious is very chaotic.it could change everything upon reaching, the feelings may not lay a place for all elements one deals with in their world.

Who are your favorite songwriters / bands?   Pink Floyd, Radiohead, Sigur os, Boards of Canada, Nine inch Nails, The Doors, Autechre, Aphex Twin, Nick Drake, Loscil, Damien Rice, Kendrick Lamar, Farhad Mehrad, Brian Eno & Harold Budd, Zbignew Preisner,

Your instrumental music was in a documentary which is now being set for awards and festivals, what’s it about?   It’s about a man Ian Stout.who started filming himself and uploading these clips every day ,as a remedy to help himself reach tranquility and peace,face his insecurities every day and talk his heat out as much,Jon Meyer the director been following him and decided to do a documentary on him using the videos on the anniversary of the beginning of these uploads..

You’re time machine is set for the 70’s, what concert do you go to?  The Doors, that is the kind of world I have never experienced.

Are you jazzed about any new artists or releases over there that we should know about?   There are a couple of ambient and electronic musicians i enjoyed  listening, Siavash Amini, Umchunga, Tegh, Idlefon, singer/songwriter Soheil Nafisi, Iranian traditional music Kamanche Master, Keyhan Kalhor.

 

DAVID SAFRAN

What are you working on and why are you excited about it?  I finished a novella called “Fenichel” last October. I hope to get this published soon. Beyond that, I’m co-writing a musical, “The Hotwife of Hyde Park,” gruelingly in development since 2014.

Did you grow up with music in your family?  A bit, yes. My mother listened to sixties folk music. The genres my father admired are better left unsaid.

Was there a live concert experience that impacted you early on?  In 2001, John Cale played a pub in Evanston. I had a ticket but, because I was underage, the pub (Tommy Nevin’s) wouldn’t let me into the show. Anyway, I unhappily roamed downtown Evanston when, suddenly, I spotted Cale and his people leaving Pete Miller’s Steakhouse. I approached him, explained the Nevin’s issue, and mentioned I saw him live a few years earlier at the Knitting Factory—and no one at that venue cared I was a teenager. “Well, aren’t you a little recidivist,” he said, snobbishly dismissing me. His entourage chuckled. I felt incredibly stupid, but still asked Cale to sign a copy of “Fragments of a Rainy Season” I had with me. Using a needlepoint pen, instead of a signature, he drew various squiggles across the disc. After rigorously scratching my CD—making his music unplayable—the old Welsh rocker in the neon orange hoodie and baseball hat departed down Sherman Avenue.

What was your first public performance?  I can’t recall my first public performance. But I remember my last one: I performed with a friend who, in addition to songwriting, is a Chicago television journalist. Before soundcheck, he mentioned Rahm Emanuel would be at our show. This rumor swirled around the venue for an hour or two. In the end, of course, Rahm didn’t appear. I played to a small crowd utterly indifferent to my music, and a room smelling of calamari. A pretty typical David Safran gig.

How do songs come about for you?  At the moment, my songwriting process means fighting the urge to write songs.

How do you feel about playing covers and what are your personal fail-safe go-to’s?  I’ve never really played covers before. It’s a beautiful skill I seem to lack. But a few years ago, for Valentine’s Day, I recorded Lou Reed’s “HookyWooky” and sent it to my girlfriend, Emma.

What songwriters are on your Mt. Rushmore?  After my John Cale encounter, I stopped carving human beings into a rock.

What advice would you give to a young musician seeking a path?  My advice? Be sure that alongside your career path there is a revenue stream. The best advice, though, comes via my maternal grandmother, Hilda. Many years ago, my cousin was in the middle of his bar mitzvah, and flubbing it. He couldn’t remember the Hebrew bits. Aware her grandson was panicked, Hilda called out from her seat, “Just keep going—it’s not like we have any idea what you’re saying.” Really, that’s my only advice. Just keep going—it’s not like we have any idea what you’re saying.

Are you jazzed about any new artists or releases we should know about?  Actually, I was about to ask you the same question. I’ve been listening to the same five songs for the last twenty years.

Your time machine is set for the 70’s, what recording session do you sit in on and what suggestions might you offer to slightly alter rock & roll history?  Recording is a horribly boring activity. A studio is the last place I’d send my time machine. That said, I own a Smithsonian Folkways record called, “Calypso Awakening from the Emory Cook Collection.” I wish I could travel back to, I think, the 1950s and watch Small Island Pride record a song called “Taxi Driver.” – David Safran

JOHNNY IGUANA w/ THE CLAUDETTES

What are you working on right now and why are you excited about it?  Right now, I’m writing, writing, writing. The Claudettes already finished our third full-length album (our first two albums and EP are here), which will come out later this year. It was produced by Black Keys/Old 97’s producer Mark Neill. It’s something special, I can’t wait for people to hear it. But I’m so inspired by how the four-piece (two-singer) lineup of the Claudettes has come together over the past 12 months that I’m now really dialing in how to write for THIS assemblage. That’s the ticket to the best music right there: not just having songs and parts you write just to be writing, or because you have ideas that excite you, but also knowing the musical strengths and sweet spots of the musicians and singers who are actually in the band with you RIGHT NOW. I like to quote Duke Ellington, who said he scored all those hits because he always asked himself, “What do THESE guys do well?”

Did you grow up with music in your family?  My mother listened to a lot of classical music, but loved rock music, too. My uncle played and worked in music, and still does. I never stopped playing after I started classical lessons at age 8 (continuing to age 13, at which point I had bands for the rest of my life).

Was there a live concert experience that impacted you early on?  The aforementioned uncle was a road manager and significant creative influence for the Cars. I went to see them in Philly, where they opened for Foreigner. Seeing Ben Orr backstage with a feather boa, sunglasses and a woman on each arm…even at age eight, I said to myself, “That looks cool. I want that.” As of now, my personal record is one woman. But I’m working on better and better songs all the time.

What was your first public performance?  I remember playing Beethoven’s “Moonlight Sonata” at a piano recital, and I messed it up badly. The demon in my head kept asking, “Hey, buddy boy? What’s the next chord? I bet you’ll forget it and blow the whole thing.” To this day, live performance for me is still a contest with that demon. As long as I don’t provoke him into asking me those questions, all goes beautifully…but it does happen sometimes, at which point I just smash all the keys and proceed with anger at myself as my primary motivation.

How do songs come about for you?  Very often, I have words in a notebook that develop from a single lyric to a full song. Sometimes, I then write music to accompany those words. Other times, I spontaneously come up with new music (often by just happening on one unusual or even accidental chord change), then go upstairs to flip through my notebook and see if I’ve got something that seems like a match.

Do you have any day-of-show (or pre-show) rituals that help you get in the right mindset to perform live?  Truth be told, I like a couple drinks. My drink is two drinks: a bourbon and a beer. It puts me just right. There is DEFINITELY such a thing as too much, and it turns me into a sloppy player. There’s good sloppy, as in the best blues, but then there’s just messy. I do like to remind my band mates to not worry about perfection…it’s much, much, much better to put your whole heart, soul, joy and sadness into this performance than it is to get all the parts and changes right. That kind of perfection without a wellspring of emotion is boring to the audience and it’s especially boring to me.

Who is on your musical Mount Rushmore?  My teenage musical heroes were Junior Wells (the blues band I was in at age 16 in Philly took 2/3 of our repertoire from Junior Wells’ “Hoodoo Man Blues”and “South Side Blues Jam” albums and his other recordings), Mike Watt (of Minutemen and fIREHOSE) and Joe Strummer (The Clash, of course). I managed to join the Junior Wells band soon after I finished college (I met him in NYC, then moved to Chicago when he asked me to join the band) and I got to tour with him for three years, and record with him, too. My band oh my god ended up opening for Mike Watt at the Double Door and his band mates told me that we were the best band they’d played with on that tour (which was probably around 70 dates). Mike and the band slept at my house once (on another occasion, when I just went to see them at Double Door). Mike stayed up late with me, talking about music, Minutemen and D. Boon. I gave him bad parking advice (I found out that night that the Ford Econoline is a bit taller than the Dodge RAM; as a result, they had to park on the street), and their van was ticketed and was just about to be towed when Mike walked over to the van to check on it. Great job impressing your heroes, dufus. And oh my god was on the short list to open up for Joe Strummer & the Mescaleros when I was driving home from the dentist and heard a Clash song. Then, I changed stations…and heard another! “Yes!” When the third station I flipped to was playing the Clash, my heart sunk…after the song, they announced that he had just died at age 50. I was so, so sad that he was gone, and that I didn’t get to complete my triumvirate of wished-for hero experiences.

What advice do you give to young musicians seeking their path?  I’m not qualified to offer advice, ’cause I’m not satisfied yet myself. Just practice a lot, record the practices and know that those practice recordings don’t lie. If the Jimi Hendrix Experience made a basement tape, guess what? They wouldn’t be saying, “Oh, you can’t really hear the bass, that’s why this doesn’t sound that good.” Nah, the best artists sound spectacular, no matter what the mix. To sing or play the best, you need to do it a lot. Ray Charles practiced scales when he was 65 years old…daily, so he said.

You are to perform at the Grammy’s but they want you to do a cover, what tune do you choose and why?  I don’t know. I feel like I’d promise a cover and then switch over to my most demented instrumental…you know, Elvis Costello SNL-style. I think this cover-song culture we’re in is weak and lame. People singing “Superstition” on “Vermont’s Got Talent.” “Oh, he’s WON-DA-FUL!” The world needs a new crop of songs and singers…get to work…

You and a friend are given to access to a time machine called ‘The Day Tripper’ in which you can attend any concert in history — what are your coordinates and who do you bring with for the ride?  I’d probably set the machine for ‘Pedro in the early ’80s and see the Reactionaires evolve into Minutemen, and talk to D. Boon a lot after the sets. I wouldn’t need to bring anyone with me, I’d just go talk to the band about tones and chord changes and influences and great records.

STEVE KARRAS

What are you working on right now and why are you excited about it?  Currently am involved with The Mourners, putting a 2017 spin on Chuck Berry and other beloved Blues and Soul artists and getting people to stop gazing at their navels. Also collaborating with Detroit-based muso and personal heroes Robert Crenshaw (Marshall Crenshaw band) and enlisting the great Don Dixon to produce and play on it. The two played on my 2015 demo “Brady Lane.”

Did you grow up with music in your family? There was always good music playing throughout my childhood. Between the 50’s-era fare and a steady flow of great country music – everything from Eddy Arnold to the New Riders of the Purple Sage – my dad liked a lot. Then there my brother’s own evolving musical tastes that included Weather Report, Stanley Clarke, Bob Marley, The Grateful Dead, which really made an impact. My love of new wave and SKA came from my best friend’s older brother Rick Goldman.

Was there a live concert experience that impacted you early on?  Going to Blues Fest in Chicago exposed me to Dr John, Robert Cray, Willie Dixon, Lurie Bell, Lonnie Brooks was terribly important. There’s a toss-up between Los Lobos/Dave Alvin and the 1986 UIC Pavilion show featuring REM and Camper Van Beethoven as my life’s seminal show going experiences. After hearing REM’s first four releases, including the EP “Chronic Town,” I felt part of a movement of indie-minded youth. If you met an REM fan, circa 84, there was an instant mutual admiration society in the making. I was also blown-away by Elvis Costello’s Spike Tour I got to see at Poplar Creek, outside Chicago.

What was your first public performance?  Aside from playing open mics at the University of Wisconsin-Madison, my first professional show (where I got paid) occurred in Chicago at a club called At the Tracks. It went ok but I was far from where I wanted to be. My first bon-a-fide show in a band was with my group Sourball, opening for Living Colour’s front-man Corey Glover.

How do songs come about for you?  For me they come SLOW but they always start with some kind of hook and melody in my head. Thanks to iPhones I quickly record the idea with the voice memo app. The lyrics either come quickly or I go to a note-pad and mine words from the stream of consciousness drivel I regularly jot down.

How do you feel about playing covers and what are your personal go-to’s?  I love covers but ones most would call “deep-cuts” (I hate that phrase almost as much as the word “iconic”). There are amazing tunes out there to snag.

Who are your favorite 3 artists of all-time?  This is tough but I never stray too far from Elvis Costello for his clever word-play and infectious melodies. The same goes for Richard Thompson who is not only my favorite guitarist but tunesmith. Sam Cooke (with or without the Soul Stirrers) hits an emotional place, deep down in my soul. Shit, only 3 artists? There’s a lot more. The Band is probably number 4.

What advice would you give to a young musician seeking a path?  In the words of famed Texas football coach Darrell Royal, “Dance with the one that brung you.”

Are you jazzed about any new artists or releases we should know about?  I really like the Irish artist Hozier. The song “Someone New” has all the great qualities you’d find in Paul Weller and Graham Parker. There’s something about Europeans and the way they can infuse R&B with pop.

You are to put something personal in a time capsule headed for the outer reaches of space — what is your offering for mankind?   Probably Duke Ellington’s Jazz take on the Nutcracker Suite just to show the universe what mankind was capable of creatively and how a descendent of slaves could transcend race with genius.

JEREMY STEWART

img_166188012454254-1When did you first discover you could sing?  I began singing at a very early age. I was in several talent shows in grade school, as well as being part of the school choir in junior high.  It was after discovering my parents record collection in the basement, and finding such bands as Uriah Heep, Deep Purple, Electric Light Orchestra, etc. I began learning all the classic rock stuff and singing along was part of the deal.
What was your favorite band or album growing up?   Electric Light Orchestra – Eldorado 1974.  My mother purchased the album at a garage sale and played it frequently while I was growing up. It is still my favorite, and can sing every song by memory.
Who are your favorite 3 singers of all-time?   David Byron, Uriah Heep.
Ian Gillian, Deep Purple.  Robert Plant, Led Zeppelin.  Although this list could go on indefinitely.
How long have you been holding down the Karaoke fort at Sidekicks and how did the relationship begin?  Going on 4 and a half years. I had just moved to Chicago and a friend took me there to sing and it turned out that I was in need of a job, so however more perfect could it be.I had the job that following week.
You’re also a musician with a rich rock & roll history — can you take us down the long & winding road?  Been playing various instruments since I was 14, started to get serious at 16 with my first electric guitar. Formed my first band shortly after, Fantasy Kitchen, and went on to play with various formations of the band until 1992. FK sadly came to an end after endless member changes and lack of interest in the project. I went into a time of nothingness for a while afterwards until my younger brother,  who at the time played in a band of his own called Thinner, who had just lost a bass player, asked if I could join the fold.
Stage 2 had begun. I bought a used bass guitar, hung up the 6 string, and joined up as a bass player to a new unit which was re-named from Thinner to Full Cast Crown.  I played with this outfit in various forms and names until 2007. Recorded in several different places, but ultimately ended up releasing a first album with a stable lineup known as Wish. Cd’s are still for sale on CDbaby reviewed as “a very progressive and heavy album”… I still have hundreds of copies for sale personally. It really is a great album. Get one! Wish sadly dissolved with the departure of a key member in 2006.  After Wish I floated around from band to band, released 3 more albums, privately pressed of course, but 3 nonetheless.
1146482_678656012177806_1538213147_n-1On top of all this I decided to go to college at the same time. Eventually college took over and I graduated etc.. Shortly after I joined a Waterloo Iowa based band called Burning Eve. We eventually hired a female vocalist from Chicago, Ania Tarnowska, I Ya Toyah and hit it off on a 4 year escapade of ups and downs until finally moving to Chicago, playing many prestigious shows including The House of Blues, The Abbey, etc.. Unfortunately like many others. Burning Eve came to an end in 2011, just around the time I started working at Sidekicks…About 6 months later I was approached by another band, which after listening to their music and getting a feel for their sound, Phaedra was born. I had become fairly progressive at this point playing in bands, utilizing more of a vast array of prog rock instruments including: Moog Taurus Bass Pedals, Mellotron, Bass Guitar and Bass Effects, as well as being no slouch on backup vocals and harmonies.  Phaedra ended up being one of the most unique sounds coming out of the Chicago music scene in a long time.  Unfortunately due to inner member turmoil, the band ended abruptly after the release if the first EP.
After Phaedra’s demise, I decided to take a break from bands due to my recent rapid development of psoriasis arthritis. It makes it hard to play for long periods of time anymore. No more bands for me, unless the unthinkable happens and Mick Box from Uriah Heep asks me to play bass or be lead vocalist for them someday… haha.. These days I just do the Karaoke gig, and run an open jam on Wednesday nights. It’s the only day I play anymore after my illness. But, I try not to let it get in my way too much. I still play my heart out and do my best to entertain people.  I’ve been focusing on my vocal skills. Granted, I have been singing for most of my life, but fine tuning and honing the art is challenging and rewarding. I have a feeling that my voice could grant me access to more options in the future,  such as voice overs, studio vocals, cartoon characters etc.. Even though I am now disabled physically, I still have the voice. Karaoke is a good thing for me.
What’s so great about progressive rock that many of us just don’t get?  Good question. There are so many facets and sub genres of prog rock that it makes this question difficult. My personal favorite seems to be symphonic  prog rock due to its primary use of the legendary Mellotron.  To answer your question, typically my response is that most folks these days have very short attention spans and just can’t handle 20 minutes of epic complexity in one sitting, let alone a whole album. I learned that from experience.
What is the % of ringers verses amateurs on the weekend and can you tell the difference even before they hit the stage?  It’s roughly 50/50. And no, you really can’t tell until they get up there. That is why I love the job. The total randomness of it all. It keeps things interesting.
Are there any songs that keep getting picked that you wish were perhaps never written? 
Oh of course, hmm, this shouldn’t be too difficult..
Bohemian Rhapsody, Queen
Love Shack, B52’s.
Paradise by the Dashboard Lights, Meatloaf.
Picture, Sheryl Crow & Kid Rock,
Among many others, too many to mention.
What are your go to tunes when it’s time for you to show folks how its done? I tend to gravitate towards difficult songs with lots of high notes. Kansas, Styx, Uriah Heep, Deep Purple, Led Zeppelin, etc..  It’s a pretty rowdy scene in there sometimes and great fun —
What’s the craziest thing that’s ever happened on stage there?  That would give away too much censored information haha.. i call it the best unknown secret in Chicago (but) as far as rowdiness, it has gotten much calmer in there.  I am also now running an open jam on every Wednesday night where musicians come in and play. I have a full back-line of instruments, guitar, bass, keyboards and drums are all supplied. All musicians and vocalists of any caliber are most welcome.
Only you can answer this question – what are the Top 10 Karaoke cuts for the Chicagoan? 
All That Jazz, Catherine Zeta Jones.
Come Together,  Beatles.
Killing Me Softly, Fugees.
Wannabe, Spice Girls.
Uptown Funk, Bruno Mars.
Shake it off, Taylor Swift
I will survive, Gloria Gaynor.
F#*k You, Cee Lo Green.
Creep, Radiohead.
Don’t Stop Believin’, Journey.

CAM MAMMINA w/ SLIM GYPSY BAGGAGE

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What got you hooked on rock & roll?  I would have to say my dad and mom were really influential on me musically starting from a really young age. My parents had an awesome record collection and there was always music in the house. Besides the stand-bys of  Led Zeppelin, the Beatles, The Eagles, Jimi Hendrix, etc. I really loved listening to The Stray Cats. Brian Setzer is definitely one of the reasons I was drawn to play guitar (even though I play nothing like him!) At a young age, my parents would also take me to see shows. My dad took me to New Orleans Jazz Fest when I was 10 and I got to see Counting Crows who were one of my favorite bands at the time. My aunt Jenna (Mammina) also was hugely influential. She’s a very accomplished jazz singer and always was playing with great guitarists beyond the music my parents were listening to and the shows we went to, my dad also played guitar and got me started with that from a young age, I think he got me my first guitar when I was 7 or 8. From there, I was exposed to a lot of different styles of music and bands by my guitar teacher who I started taking lessons from around age 10.

Do you recall what bands you were you listening to at 16 when you first got your driver’s license?   My favorite band at 16 was definitely Brand New and they’re still my favorite band to this day. About that time was when my favorite album of theirs came out and I literally listened to it non-stop. It was on when I was driving, sleeping, eating, doing homework… I also listened to a ton of Modest Mouse, Manchester Orchestra, and Minus the Bear which I still listen to often. At that age I was going to a bunch of metal shows and listened to quite a bit of that; my favorite metal bands at the time were probably Mastodon and Between The Buried And Me, they still get a bit of rotation too.

How did Slim Gypsy Baggage come together?  I first met Morgan (our singer) when I was around 16. Her Fiancé (now husband) Dirk and I became really close friends and hung out all the time at his tattoo shop so I met her through him. She was playing out a bit at that point and sometimes would play with our bass player Matt. I ended up meeting Matt when I was 18. Dirk was officiating his wedding and Morgan was one of his wife’s bridesmaids. They wanted someone to play some light music before the wedding and Dirk and Morgan recommended me to them. After the reception the three of us (Matt, Morgan, and myself) sat around and played Grateful Dead tunes. A couple of years later I saw Morgan and Matt playing at a bar in town and we started playing together shortly after that.  After going through a couple of drummers, I met Scott (our drummer) through surfing on Lake Michigan. He quickly became one of our best friends and started playing with us.

How do you guys approach songwriting?   We take a pretty collaborative approach to writing. Normally it starts with a riff or chord progression I’m messing around with and then between Scott, Matt and I we flesh out an entire song. Then Morgan normally starts working on a vocal melody. Sometimes Morgan will come to us with a skeleton of a song with all the lyrics done and we’ll work out the music from there. Recently, we’ve been writing out all the vocal parts together as well as the music with some great results. We’ve been really excited about the songs we’ve been coming out with.

What is your go-to onstage guitar and what amps are you playing live?  My primary stage guitars are a Collings 360 LT-M, a 1961 Fender Jazzmaster that’s been re-finished in a kind of ugly Daphne Blue, and a National Resolectric. The Jazzmaster was my main guitar for the last few years and then I played the Collings and had to buy it. Recently, the Jazzmaster has taken a bit of a back seat to the Collings but it still gets taken out from time to time. The Resonator is used on a handful of songs, normally the ones with a bit more of a country or deep bluesy vibe. For a couple of years it was the only guitar I’d play live but the lack of a tremolo makes it a bit less appealing.  I’m pretty effect-driven in some of the songs we play and I love playing with pedals (possibly more than playing guitar). My pedal set-up has been:

Guitar > ABC Switcher (for ease of changing guitars)>Moog Ring Modulator>Matchless Hot box Preamp/Vibrato> Clean boost> Overdrive> a tube overdrive that my friend made>Wah>Fuzz> Stereo harmonizer> Stereo Delay> another Stereo Delay> reverb> amps. My amps have changed around a bit for the last few years but I pretty much always have an Orange Rockerverb 50 on one side with a rotating cast of amps on the other. Recently, it’s been either a Matchless DC30 or a Vox AC15 HW but I’ve used a couple different Fenders there as well. As long as my amp has two channels and preferably a reverb, I’m pretty happy.

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Does SGB spend any time crafting a live show as such or do you guys prefer to change it up night to night?   We try to pick our sets based on the type of crowd we’re going to play for as well as the length of our show. We play a wide range of venues and try to stay busy playing as much as possible so sometimes we’re not going to play for crowds that know our music well. In those instances, we try to do a slightly mellower set and maybe throw in some covers to keep everyone happy and interested. In a perfect world, we’d be playing for hundreds of screaming fans every night and be able to play whatever but we try to be conscientious of who’s in our crowd and make sure they’re having a good time and liking what they’re hearing. We’ve been known to do totally stripped down acoustic shows to fit the venue or be super loud and raw… Just whatever makes sense that day.

Do you, or the band, have a routine pre-show to help get in the right head space for the gig?  I can’t say we have any specific pre-show ritual but we normally all get a drink and walk through the crowd if we’re not playing first. It’s cool to see how an audience is at a show and you never know who you’ll meet or run in to.

What was it like to jam on stage with blues legend Buddy Guy?  Playing with Buddy was a crazy experience. We had Just played the BBQ, Blues, And Bluegrass festival in our hometown and Buddy Guy was set to headline the event. After we got done playing, we were all hanging out backstage having a couple drinks and watching the band that was after us. I ended up getting invited in to Buddy’s trailer and met him and then he offered me to possibly play. I kind of freaked out at that point. It’s not something I had really ever thought of to do and I was really intimidated by the whole thing but I was down to do it. So I watch him play for an hour or so and he calls me up and I am literally shaking. There’s about 10,000 people in the crowd with another 10-15,000 sitting on top of the bluff in St. Joseph, MI watching. I just kind of zoned out the whole time and tried to not mess up. Afterwards, I listened to a recording of it and I played pretty well through the whole thing although I don’t really remember it, it was just that huge of an adrenalin rush. It’s a pretty cool experience and the fact that I got to have that happen in front of my friends, family, and band was so amazing.

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If you we’re to do a 5-song-EP that was in essence a ‘best of’ of your first two discs, DiveBomb and UnderCurrents, what cuts would be on it and what’s the track order?  Interestingly enough, we actually have two more discs we recorded during each of those sessions that we haven’t released; there’s a bunch of songs on those that I really like. Also, we haven’t gotten into the studio this year so there’s quite a couple new songs that I would put in our “best of” over some of these. but If I had to do it based on what we have out and as a concise 5 song that follows a certain feel, I think it would go: “Underwater”, “Wheels”, “Rewind”, “Break Through It” & “Witch Pill”

It’s crazy how much those songs have changed over time, a lot of the songs on both of those CD’s rarely get played live anymore and the ones that are have so many things changed. Hopefully we’ll be getting back in the studio soon to record some of our newer stuff and we’ll probably be releasing one of the other records that we’ve been holding back sometime soon.

What advice would you give to a kid just picking up the guitar?  Keep practicing and try not to get frustrated! It can be difficult at times starting out but just keep at it. Practice your scales religiously to get your dexterity up and try to get some basic understanding of music theory. It will definitely help you out in the long run and make you a better player. Most importantly though, have fun!    —- visit SlimGypsyBaggage.com

13 ANGELS

This time we forgo the 10 question interview in lieu of some post-show backstage hi-jinx with 13 ANGELS at Live Wire Lounge in Chicago. The lads share their inception story, drunk calls from Shannon, their favorite albums and plans for world domination one skate park at a time …long live rock.

 

 

 

WILL KOSTER w/ TROUT STEAK REVIVAL

Will-KosterWhat were the first few albums you ever bought with your own money and do you still enjoy them today?  I remember really grooving to Michael Jackson at an early age and buying the cassettes “Bad” and “Dangerous.” I would crank my boombox and try to do the moonwalk. MJ is still the King. The compositions, performances, and production on his albums are still among my favorites.

How long have you been singing and what artists did you like to emulate most as a kid?  I started singing when I moved to Colorado in 2005. I started singing a lot of blues songs and wrote songs occasionally. Casey our bass player and I lived in a mountain cabin for a while and we dove into a bunch of artist’s musical catalogues. We would end up learning a lot of the songs we were jamming out to. Hank Williams, Johnny Cash, Bob Dylan, The Band, and Neil Young to name a few. 

Trout Steak Revival are helping lead the charge for the ever-growing ‘new grass’ movement and yet for so many it’s a brand new experience; What do you feel Trout Steak’s brings to the genre or are you more purists than anything else? I feel like a huge part of new-grass and bluegrass music is the strong community vibe. We love being a part of the bluegrass family. I hope that what we are bringing to the genre is honest and full of fun and love.

Did you grow up with bluegrass or was it an acquired taste?  I heard of bluegrass music my freshman year of college. I went to Indiana University and a friend from West Virginia who plays fiddle, invited me to Louisville, KY for the IBMA’s. It was quite the introduction to bluegrass watching the greats perform and witnessing the organized chaos of thousands of musicians hanging out in a hotel. My first bluegrass jam went pretty bad because I only knew how to play blues solos… a new friend told me I should get a Dobro because I liked to bend notes so much….. and so I did.

Would you like to sing more lead with the band? is that something you have to fight for being in an outfit where everyone can sing so well?  Sharing is caring.

What’s the bands approach to songwriting? (how do you come up with songs? you guys had mentioned you were a democracy when we me that night at BK) We approach songwriting in a very honest and collaborative way. We typically start working on a song when someone has some lyrics, a melody, and some chords. We will start playing around with the ideas and see how the band can support the song the best. We usually will add a few chords, come up with instrumental melodies, figure out harmonies and things of that nature, as a group.

In terms of lyrics, do you feel you guys have a message (ie – what are you guys really about?) Lately our songs have been pretty uplifting and positive, but who knows….we may go through a dark phase at some point? Mostly, we just want to sing songs that we feel and that are true to us.

Any tips on what it takes to stay focused, fresh and sane on the road?

  1. stay hydrated
  2. don’t drink hotel water
  3. drink good coffee
  4. shower when groovy
  5. pack clean socks and undies for at least a week
  6. to boost moral: come up with famous peoples names to replace everyday words. For example: Can you pick me up a Gregory Alan IsaCoffee? (Gregory Alan for short) or Russels! meaning please turn on the Courtesy Lights (Kurts) in the bus…. It sounds strange, but it helps.
  7. Go swimming whenever possible
  8. grow to love burritos, hummus, chips, and veggietrays
  9. always order the meatloaf
  10. be excellent to one another

Trout-Steak-Revival-Band-FeatureWhat are you guys listening to on the tour bus this year so far? (any surprises?)  The Wood Brothers, The Lowest Pair, Elephant Revival, Fruition, The Infamous Stringdusters, The Deer, Kendrick Lamar, Prince, Bill Callahan, Bonnie Prince Billy, Mandolin Orange, My Morning Jacket, Ry Cooder, and Magnolia Electric Company are the ones that come to mind first. Surprised?

Do you think smashing a fiddle on stage would be cathartic, desperate or downright wrong?  I may differ to Bevin on this one. I would cry big tears.

BEN TAYLOR w/ BEECHERS FAULT

 

 

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photo by Gustavo Mirabile

What was the first album you ever purchased and how do you rank it today?   Not sure what the first one I bought with my own money was but the first CD I was given was Queen’s Greatest Hits 1 & 2…the double disc. My parents gave it to me for Christmas when I was maybe 7. It’s still one of my favs to this day. So many incredible songs.

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photo by Gustavo Mirabile

Was guitar your first instrument? and what was your first guitar?   First instrument I played was actually piano. My parents bought an old electric organ from a neighbor in England for me to practice on. I didn’t start playing guitar until I was 13 and my first guitar was a black and white Stratocaster. I was really into Clapton at the time so I think he inspired that choice.

What do you play these days and do you use the same gear on stage as in the studio?   I’m really not much of a gear guy. I like to keep it as simple as possible so I play an American Telecaster for its simplicity and versatility. I own several guitars (most of them gifts) and I’ll occasionally switch it up but the tele is my go-to for studio and live. My amp is a Budda tube amp and I love that thing.

You’ve moved around a lot geographically, how do you think those contrasts of place & time have impacted your music or approach to it?   Well being from England and having English parents who love music has definitely had a huge impact on me. I grew up listening to all the English greats (Beatles, Stones, Queen, Led Zeppelin, Floyd, the Police, Bowie etc…) I think my time in Texas allowed me to gain an appreciation for country music. I’m a HUGE Jerry Jeff Walker fan. But just in general I’ve always used music as a medium for making new friends in new places. Everyone loves music so it’s a great thing to talk about when you’re in a new place.

What’s your favorite part about being in a band; writing, recording, or playing out? I love all of it but writing is probably my favorite part. I tend to write in quick spurts. I’ll get an idea for a song and finish writing it in a day or two. I love it when it all happens at once like that.

What do you think is the tightest Beecher’s Fault elevator pitch (or did I just blow the interview?) “Wilco and Passion Pit had a baby named Beecher’s Fault”

Take us behind the scenes: what is the bands dynamic and how does that vary pre-show verses post?   Ken and I tend to run the show. We are the main songwriters and founders of the band so we are the most intense and bossy. The other three (Lauren, Serge and Max) are awesome musicians and great friends so it’s really easy to work with them. They do a great job of tolerating us. Pre-show I’d say we are generally relaxed but a little intense and focused. Post show we all like to hang and have a good time. Beechers-Fault-full-band-photo

You’re a Wilco aficionado of sorts — what are your favorite three Wilco albums? “A Ghost is Born” is definitely my favorite. I was introduced to it and Wilco in my first week as a student at Colgate University. It just really resonates with me and I think the songs are some of Jeff’s most expressive and personal. After that I’d have to say “Being There” and “Yankee Hotel Foxtrot”. Both of them are just packed with amazing tracks that I can listen to hundreds of times and never get tired of.
What advise would you give to a young artist or band getting ready to really ‘give it a go’? It’s way harder than you think. Don’t expect anything from anyone and make sure your band-mates are your favorite people in the world because years from now you’ll still be in the “struggle” with them.
You’ve been asked to do a tribute on the Grammy’s: who is the artist and what is the song do? Wilco, “The Late Greats”.

CHRIS EUDY w/ THIRD COAST GUITAR

GoeyEudy
Who would you say is most to blame for your having come down with rock & roll pneumonia?  My folks were only 16 years old when I was born in 1970 so I had a pretty good record collection growing up. I would have to say Led Zeppelin was my first rock and roll love affair, but it was The Police who made me want to play guitar and be in a band.
What are your 5 favorite guitar solos of all-time?
Buddy Holly-“That’ll Be The Day” …Jimmy Page-“Whole Lotta Love”….Robert Quine-“Girlfriend” (Matthew Sweet …..Jim Babjak- “Girl Like You” (Smithereens)…..David Hidalgo/Cesar Rosas- “Mas y Mas”
What was your first guitar and what is your axe of choice these days? Do you collect at all?  My first guitar was my mom’s Yamaha FG acoustic, but I guess my first solely owned guitar was a Yamaha SBG200, kind of like an SG Special copy. Great guitar! My number one these days is a guitar built at our shop by Robert Daniel. it is a 1959 copy of a Les Paul Junior but with an ebony board, stainless steel frets and in cherry red. I don’t really collect guitars, I only have about 5 guitars that I play regularly and a few mutts lying around.
Outside of the household name brands, any new guitars on the market that have caught your eye at Third Coast Guitars?  My favorite right now are the Wild Custom Guitars. They are out of France and they have a really classic look with a twist and they are remarkably built.
Is the guitar ‘set-up’ still the life blood of the business or has that changed over the years? 
That has change a bit over the years. We’ve become more nationally known for our restorative work and for doing higher end repair. We do a ton more vintage restoration these days, but fret levels and set ups are still a big part of what we do every day.
What is the strangest client request (in terms of guitars) that you’ve ever had?   We get weird requests all the time! The most recent one is taking a Parker Fly guitar, putting in a Sustainiac, and acoustic Piezo pickup and a midi driver. It is going to look like an aircraft carrier inside! We have folks request to make their vintage guitars look like new a lot as well. I never have understood that but, as we say in the shop, “it ain’t my guitar”.
Music fills the air 24/7 there in the land of the cobbler: what 5 bands would you say have gotten the most shop air-time over the years?  With the advent of Internet Radio, we listen to all sorts of different stuff these days and rarely listen to stuff over and over again these days, but if you count the years of cassettes and CDs…
Yes (unfortunately for me, I hate prog rock)
The Darkness
UFO
Thin Lizzie
David Bowie
Gooey_DD-240Would you ever consider a Third Coast mobile app and, if so, what might it do?
I have thought about it! I think it would have a tuner, a few maps of guitar anatomy (like what each part of an electric and acoustic guitar are called, people get things like bridge and saddle mixed up a lot), maybe a chart of things to look for when buying a used or new guitar.
What Gooey record is the bands St. Pepper’s? …any plans to finish the White Album?
We are actually getting ready to release a new album called “Rodgers Park” We are going to release it for free on the interwebs and press vinyl for sale at gigs. Vinyl is cool again.
If you could smash any guitar what would it be and why? (have you ever smashed a guitar?)  We actually smash broken, useless guitars all the time! Manufacturers have us smash cheap guitars that have twisted necks and what not a good bit. There are some pretty good photos and a video of us playing “guitar baseball” on or Facebook page. We try to keep it light most of the time, it’s just guitars, it’s not like we are doctors in an ER. You have to be careful when you smash Ovation guitars since they are made out of that composite. It can bounce back at you and smack you in the head. It’s always nice to smash the Keith Urban guitars they sell on Home Shopping Network. Those guitars are such crap and they have Keith Urban’s Picture on them.
Can you provide a ‘state-of-the-union’ for the Floyd Rose tremolo?   The Floyd Rose is still strong! There is still no unit that really provides the tuning stability of a Floyd if you really want to get your whammy on. The Kahler is really good as well for that but Floyd Rose still reigns supreme. Coupled with the GraphTech saddles, there just isn’t anything that comes close.

RICH EXPERIENCE

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How did you become Rich Experience? was it a choice or just an occupational hazard?  I developed a love for the synthesizer listening to Emerson Lake & Palmer and Electric Light Orchestra as a kid.  Specifically Keith Emerson is my music hero.  I traded in my High School Band clarinet for my first synth a Korg Poly 61M when was 16 and started recording music with my friend Derek Wu (of Recent Photo) under the band name “Food”.  15 years later in 2002 we were roommates in Wicker Park, Chicago and I was bored out of my mind constantly watching him perform the Open Mic at Innertown Pub.  I started shooting my mouth off about performing the open mic on a keytar because I said that playing keyboard behind a stand would be “lame” and finally set a date to do it.  I wanted to do something that I would like to see and was completely different from the standard open mic fair.
Procrastinating until a few hours before the show, I ripped the guts out of an old electric guitar and velcroed a small keyboard to it creating a make-shift Keytar – connected to a massive Yamaha EX5 keyboard/synth for sound.  (I still to this day use the rack mount version, Yamaha EX5R as a sound source)
After hanging out at the Open Mics for so long, I knew that the best songs come from deep in your soul, from truths you know and love.  I also wanted songs to be short and to the point to avoid what I would consider being “boring”.  I quickly wrote “Happy Cheese” and “Skateboarding” then rushed to the open mic.  I signed in as “Rich X” which evolved into “Rich Experience” because I continued to write songs about my experiences.
What was your first concert experience and what about it is most vivid to you today?  I never went to see shows when I was young.  Most bands I liked were prog rock from the 70’s and no longer touring.  I saw Yes for the first time “in the round” at the Rosemont Horizon for the “Union” tour in 1991, that blew me away, they had 8 band members on stage.
I saw Midnight Oil in their final US tour at the House of Blues.  Peter Garrett was one of the greatest frontmen of Rock in my opinion.  The guy sweats profusely looking like he is covered in oil.  His stage energy was off the chart.
RICHexpWhat instrument did you start on and which one do you today feel most comfortable playing? I started playing clarinet in High School band, I never really liked that instrument.  I started playing keyboard specifically synthesizer when I was 16 and started writing songs with my long time friend Derek Wu in a 2 person band called “Food” which much later became “Mant”.  Mant played a few gigs, notably we had a great show at Lounge Ax in 2000 a week before it closed.  In Mant I had 3 keyboards, a drum machine and a sequencer on stage (very Keith Emerson like), with Derek on Bass and vocals.  We were playing electronic alternative before it became cool.
When I started playing Keytar and singing as Rich Experience I was done with sequencing and drums machines.  The additional electronics seemed to be more limiting than without.  If I could not play it with my fingers I did not want it on stage, I wanted to be a minimalist. Not locked into a drum machine or a band, I found I could use “time” to accentuate the songs.  Being able to slow, speed up, or pause on stage at will, was very freeing and connected me with the audience.
I love playing keytar.  Keytar has obvious disadvantages over a horizontal keyboard like stability, maximizing playing with both hands, and easily looking at the keys while playing.  Advantages of keytar are mobility, and easy access to pitch ribbon and modulation controls.  Mobility is huge for me.  When I perform in my other project “Lisa Lightning Band” I run all over the stage and even jump on a trampoline while playing.
Additionally in 2005 I saw the flute scene in the movie “Anchorman” and thought “I can do that!”  So I bought a flute and taught myself to play.  I dig the all metal construction and the fact I can put it in a backpack to bring to parties.  I play flute in the “Flabby Hoffman Trio” occasionally.
Lie detector test in play: where would you say your musical heart truly lies? BZZZZT  BZZZT  Ouch!  You would think from my music I was into “They Might Be Giants” or something similar.  But I’m a 70’s prog guy at heart which is kind of the opposite of minimalist.
What is your philosophy on life and how does inform your music? I performed gymnastics in college as a pommel horse specialist.  I trained for the olympics for a while, working out 8 hours a day.   I loved competing, but there were a lot a sacrifices.  After it ended, I never wanted to put that much of myself into anything ever again. I just wanted to take it easy and enjoy life with as little effort as possible and focus on my friends.  I’m currently re-evaluating “taking it easy”.
What advice would you give to a young artist struggling to pen their first song or two? The best songs come from deep in your soul, from truths you know and love.  Find and take that then distill it to its bare essence.  Add a catchy tune then smack the audience over the head with it relentlessly with no fear or mercy.
For me it’s cats, cheese, reptiles, science, crawl spaces, work and skateboarding.  I try to see myself from the audience’s point of view and don’t be boring.  ;)
Who are your 5 favorite ‘hard rock’ bands of all-time, and why? Emerson Lake & Palmer – 1970’s Keith Emerson, my keyboard hero, attacks the instrument without fear, literally with Knives and Fire.  I love his style and attitude.  My dad bought “Pictures at an Exhibition” on 8 track cassette at a garage sale.  That album scared the hell out of me.  I could not stop listening to it.
Electric Light Orchestra – Jeff Lynn songs with Richard Tandy on keyboard making some really out there sounds.
Yes – A collection of some of the best technical musicians ever.  Proof that there is no time travel that all their shows were not sold out.
Midnight Oil – Their early stuff was really hardcore in your face with Peter Garrett’s clean politically charged vocals.  Their later stuff became more melodic and pushed the envelope in many ways.  The local band “Depravos De La Mour” reminds me of them.
Underworld – Hey I dig techno also.
Your #50 on Reverb Nation for Chicago Artists; that’s saying something: Is that a function of effort, sheer staying power or the cream just naturally rising to the top? Ha!  It helps to be in the “Folk” category.  ;)  Although I did get a really cool letter from a cancer center that stumbled on my music by accident: “Dear Rich, I just wanted to Thank You for the experience. We are Case Managers at City of Hope National Research Cancer Center here in California. We work directly with Leukemia Cancer patients and arrange for their Bone Marrow Transplants and needs for when the come in and go home. Anyway, we just wanted to Thank You. One day, we were totally having a stressed out day, and for some reason, I typed in “Happy Cheese” into my URL. I don’t know if it is because we are a Research facility or what, but up you came, and off we listened. The rest is history. I forward your link to as many cancer patients as I can that I think can handle the humor of it all. My co-workers needed to have a bit of humor, , too. Thank you, Rich.
M’lissa Buckles RN”
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If you had a slick agent working the illuminati fringes for the ‘big break’, what might their Rich X pitch be? “This guy is like nothing else.  I’ve had this “Happy Cheese” song stuck in my head for 3 months now.  I wake up in the middle of the night and I can still hear it.  I think I may be going insane.  The audience either love his music or their brains explode trying to figure out why he is allowed on stage.  This “Maybe I Step on You” song makes me giggle like a little school girl and I don’t even know why.  It’s not even really funny.  And that “Happy Cheese” is about him losing his job and turning to drugs to ease the pain.  Why are they laughing and singing along?
There must be some kind of mind control device hidden in that crazy keytar.  All I know is if we can tap into whatever this is for product sales we will make billions!  We have our best men working on it.”
In an alternate universe, you are oft portrayed as a beloved sub-plot character on the Jetsons, arriving in a shimmering hovercraft to great aplomb …what did the producers choose as your theme song? Dude, how much hobbit leaf did you smoke when you thought up this question? ;)

GILLIAN ROSE

GillianRose4When did you realize you enjoyed singing?  For as long as I can remember, singing has been something I’m passionate about. If I were to try and pinpoint a starting point, it would probably be one of the many times that I sang through every song in Avril Lavigne’s Let Go album for my parents and their friends (with the TV clicker as my microphone of course).

Who did you grow up listening to?  Growing up I was heavily influenced by the music that my parents were listening to, so I’ve always found comfort in artists from the 90’s and early 2000’s like Norah Jones and Sheryl Crow. Billy Joel has also stood out because his song “Vienna” resonated so strongly with me from such an early age.

What was the first song you ever learned to play on guitar and sing at the same time?  The first time I picked up a guitar it was with the goal of singing along, so I started teaching myself song by song. I’ve mentioned Sheryl Crow, and her song “The First Cut is the Deepest” was the first one I learned as a surprise for my Mom’s birthday. It was rough to say the least, but she shed a few proud tears so I’d call it a success!

What was the first concert you ever attended and what impression did it leave on you?  I’ve been going to concerts since a very young age with my family, but the first one I can really remember was seeing Avril Lavigne when I was probably around 10 years old (the height of my obsession with her). The second she came on stage I started crying, and have cried at almost every concert I’ve attended since. I think it’s a combination of overwhelming admiration for the artists, and a longing to experience what they’re feeling on stage.

Can you describe how the writing process works for you?  My writing process is pretty inconsistent. Some of my songs, like “Already Miss You”, I finished in under an hour because I was so emotional at the time and it was really the only way I could find to deal with those feelings. But other times I find myself coming up with a chord progression and the first verse of a song, then hitting a wall and leaving it for a while in hopes that I’m more inspired the next time I work on it. That is definitely the most frustrating thing as a writer; to feel like you’ve had a great start and a song has potential, but you just can’t seem to find where it’s supposed to go. I’ve probably started and abandoned a hundred songs by now. 

Do you think living abroad has informed your music, or love of it, in any way?  Absolutely! Music has always been a constant in my life. Whenever we moved, it felt like I was starting over, reestablishing who I was each time. My guitar was one of the things that I could always bring with me and be reminded that that piece of me was still there. Having lived in three different countries, I am a strong believer that your surroundings influence your views of the world quite heavily. My experiences have shaped who I am as a person and a songwriter, and intensified the love that I have for music.

As a 19 year-old, what is the most daunting thing to you about embarking on a career in music?  The uncertainty is very unnerving to me. I will forever be happy performing for crowds of any size, and sharing my music with whoever will listen. But to earn a living in music, that all has to be on a much grander scale. With so many talented musicians out there it’s unrealistic to just assume that I will become a popular name, so it helps that I focus more on using music for personal expression. It has also been incredibly reassuring to me when fans reach out and tell me how my music has effected them, or how they enjoy it. I am also attending DePaul as a full-time student so that I will have additional opportunities available to me outside of music.

Gillian Rose (PaulNatkin)
Photo by PAUL NATKIN

 What’s your perspective on shows like The Voice and American Idol?  Like many, I grew up watching American Idol, pretending to be a contestant on the show during commercial breaks while my sisters judged. I think those programs have given many singers a lot of hope, and do a great job of inspiring individuals to pursue their dreams. They have also produced a number of great role models and talented professionals. Though at one time in my life I would have loved to be on those shows, currently I am pursuing my music career in a different way. I am hoping that my small population of loyal fans continues to gradually grow so, rather than a quick rise and possible fall, I can be heard for many years to come.

If you could open up for anyone on a Midwest run of dates this Spring who would it be?  John Mayer! I absolutely love his music and I respect that his live performances are even better than the recordings (which I didn’t think was even possible). He is incredibly talented and I would love the opportunity to learn from him.

The genie nods: your wish has been granted …in a puff of smoke Bob Dylan appears in your dorm room and you may ask him one question …what say ye?  I swear I’ve dreamt about this scenario… Once I regained consciousness from fainting, and the tears had subsided, I would ask him what his favorite decade was for music. And since there is already a genie present… I would then wish to go back in time to that decade with him! – GILLIAN ROSE

JAMIE OLDAKER

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What was the first album you ever bought and what’s your favorite track on it today? I don’t remember the first album I bought, but I do remember one of the first albums that I remember hearing as a young kid. My dad played me the 1937/38 jazz concert at Carnegie Hall with Benny Goodman, Lionel Hampton, Teddy Wilson and the great Gene Krupa…..He is still my hero and my favorite drummer!! My dad also played me John Phillip Souza marching records as well and told me to listen to both and I would be allright….Ha !…I listened to Joey Dee and the Starlighters along with Chubby Checker with my parents……then the Beatles came along…favorite song was “Love Me Do”…great cymbal crash in that song.

Who were you favorite drummers as a kid? Growing up , I had a lot of drummers that I listened to….never tried to copy anyone…My favorite to this day would have to be Gene Krupa.

What groove, or musical style, came most natural to you at first? I started playing to records that I heard on top 40 radio…Beach Boys, etc. until the British invasion came to America…I still enjoyed the loose feel of Gene Krupa with the Goodman band….He seemed to play the way he wanted to…no rules. I am a huge bebop fan….1960 jazz from New York.

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Looking back, was there a pivotal first ‘big break’ for you as it were?  Playing on the Ed Sullivan Show in 1971 was cool and my first semi rock star tour and album was with Bob Seger and I recorded the album Back in ’72 which contained the original version of ”Turn the Page “…  As you know, my career then started to go forward!!

Of all the kits you have owned and played, what is your all-time favorite?  Well, I have had a few…one was an old Camco kit which I wish I still had and my first Ludwig kit my Dad bought me when I was first starting out….Today, I am playing Sakae Almighty maple kit…..I left Yamaha after a 40 year relationship and endorsement with them….My favorite Yamaha kit would be my Maple Customs which are no longer available……Sakae made all Yamaha drums for 50 years.

Do you have a philosophy when it comes to recording?  Recording is a personal preference, but I will say that it is different than playing live, so I would recommend to any young drummer to learn how to do both…I did, and it was beneficial in my career.

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How important is your mind-set before going on stage and what do you do to get ‘ready’? Going on stage is still frightening to me…Their is always that split second thought before I go up on stage that I question if I really know what I am doing….Ha ! We are all insecure……But once the music starts, everything comes back to you and you feel comfortable ……I will walk around by myself before I go up on stage and think and say a few prayers to help me have a good show and remember the songs!!
Of all the studio material you recorded with Eric Clapton, which drum track are you most proud of today? I don’t really listen to myself after I have recorded an album….We spend enough time listening to tracks back in the studio, that by the time it is released, I don’t want to hear it anymore!!! probably “I Shot The Sheriff”, “She’s Waiting”, “Wonderful Tonight”, “Double Trouble”, “Motherless Children”….They are all pretty good I think. No real favorites.
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What is the scariest moment you ever experienced on the road or playing live? Private plane with Eric going through bad weather was no fun, splitting my head open at Pine Knob with Eric, still played the show with a nurse holding a towel over my head….21 stitches after show….Military chaos with Peter Frampton in South America…..Held hostage by government for a few days…. more of this in my book!!
What 3 albums make your deserted island play list? Miles Davis…Kind of Blue, The Tractors…Christmas Album, Novabossa….Novabossa. – Jamie Oldaker.com

MATT FEDDERMANN

FeddermannHow did your love affair with rock & roll begin? As a kid listening to Buddy Holly, The Beatles, Elvis, Jerry Lee and more on 104.3 the oldies station in Chicago. My Dad was/is a big oldies fan and that radio station was all he ever listened to. “Smoke on the Water,” “Wild Thing” or “Iron Man” are the first songs most guitarists learn. Mine was “That’ll Be The Day” and “It’s So Easy”.

What were the first three albums you ever purchased and which of those holds up best today to you? Michael Jackson’s Thriller, Run DMC Raising Hell and Motley Crue’s Dr. Feelgood. Thriller holds up best to me, hands down.

When did you start writing songs and how do they ‘come together’ for you most often? 7th/8th grade with my very first band, Vertigo. Songs come in many ways. Sometimes I’ll be driving a melody with pop in my head, or, I’ll hear a phrase that I like and will write a song around it. Sometimes, I’ll be jamming with other musicians and we write the music and then lyrics will follow.

You’ve managed to carve out a nice niche on the north shore by being a respected ‘jack of all trades’, how has your business model evolved over the past few years ?  My business model hasn’t changed all that much. With the internet and all of the social media resources as my disposal, communicating with fans is much easier on one hand and on the other takes three times as long. I literally work all day to book shows, promote shows, create content to increase my brand awareness, etc..

What advice do you give to young bands trying to build a following and, in turn, get better gigs? A few thing. The BIGGEST thing is to be friendly and outgoing. I try to meet as many people at gigs as possible. Anytime someone gives me a tip, a compliment, a thumbs up, a high five, anything, I make sure to introduce myself and ask them their name. A 30 second engagement can mean a new long term fan. Your fans can be and are your biggest promoters. The more people that come to your shows, the better the bigger the gigs will grow, the more opportunities will open up along with making more money.

Do you have to become Facebook (say hey to Matt) exhibitionists to play the game?  If you are not on social media, you are at a severe disadvantage. Facebook, Twitter, Instagram, Snapchat, etc.. Ever walk into a bar to play a gig and everyone is staring at their phones and not you. Chances are they are on one of the previously mentioned sites. Get your “b(r)and” in front of as many eyeballs as possible. A large number of the population spends hours a day staring at their electronic device.

Years ago it seemed as if the Chicago music media shunned artists / bands that came out of the north shore as if they didn’t deserve the coverage; in fact many bands sought to hide the fact so they weren’t labeled as ‘rich brats: does this hold true at all today? Ya know, the scene is so much different these days. Music oriented local Chicago media has shrunk considerably in the last 10 years. Local Anesthetic on WXRT is only 30 minutes on Sunday nights (does anyone listen to terrestrial radio anymore?). Illinois Entertainer only seems to cover the south and western suburbs. Cover bands are a PLENTY these days.

In Chicago, much as in NYC, often musicians get put in one category or another: either your a working musician or an artist…. Is one the dream job and the other vehicle? I’ve been struggling with that for YEARS and I think I’ve finally found a balance. I have two very different song writing styles. One of very acoustic based and the other electric guitar/keys/synth based. I market them differently. I do my acoustic singer/songwriter originals and covers thing in the suburbs where you can make money and use some of that money to pay for my “original artist” project called Monsoons. I keep specific email and facebook lists that are geographically based. I rarely send updates regarding my acoustic covers thing to gatekeepers and decision makers in Chicago and abroad, I send them Monsoons updates. It’s not an easy thing to do and it takes a lot of time, but, it’s doable. My gigs at local restaurants and bars in the burbs has paid for the recording sessions & music video first few Monsoons songs. In fact, producer/mix wizard Sean O’Keefe (Fallout Boy, Plain White T’s) is mixing the first single. – Matt Feddermann

HANK & CUPCAKES

When did you realize you were a musician?

Hank > When I was 18 and about to be incorporated for the IDF (It’s mandatory in Israel which is where we’re from…). I was confronted with the thought of not playing my bass for 3 years and realized that thought was unbearable.

Cupcakes > I was always interested in performing arts whether singing, playing piano, acting or dancing but honestly when I met Hank I was inspired by his complete dedication and I started to focus in on music.

What was the first album you purchased and how do you rank it today?

Hank > My parents gave me Abbey Road when I was about 13 and it’s still is one of my top 5 today.

Cupcakes > I think it was an Israeli artist called Eviatar Banai, I haven’t heard it in years so I’m not sure where it would rank today but in my memory it’s pretty good!

How did you two come together to form Hank & Cupcakes?

We had just come back from a long stay in Havana Cuba in late 2007 and decided to wrap up our life in Israel and relocate to NYC in late 2008. We had a full year of limbo and were bored silly, to the point we actually said let’s jam together and see what happens. And then all these songs started coming and it was fun and made sense!

What’s your role in the songwriting with the ‘band’?

Hank > The songs are written by Cupcakes, usually on a piano and I contribute on the arrangement / productional side. I also started writing recently so maybe we’ll have some of my songs on the next record.

Cupcakes > Some of the songs have come about from jamming together in the studio, some from combining ideas (like in the song “Cocaina” for example, Hank came up with the chorus first and I later wrote the verses) and many from the piano as Hank

Do you write music for the iphone, walkman or the live performance?

Hank > We make no conscious effort to write for anyone, just try to have fun and keep it real.

Cupcakes > I never used to confine myself when writing but recently I sat down at the piano and asked myself “now what would I want to be playing on stage?” and a really groovy high energy song came out which we’re both super happy about so I might continue to “lead” myself that way!

 

What are your musical differences?

Lets see… We argue during rehearsals sometimes, it’s usually some stupid argument about a part or something of that sort that gets blown out of proportion because we are so emotionally intertwined… It’s not so much about the differences but more about the amount of passion invested meeting the occasional frustration.

What are your earth signs and how do the movement of the moon n’ planets affect your ability to work together as a team?

Hank > We’re not heavy on astrology… I’m Scorpio and Cupcakes is Virgo, I phoned the moon but got the answering machine…

Cupcakes > Yup, not strong on the star signs… I try to let my inner voice lead my actions. As far as working as a team, it’s really about knowing how to communicate, listen to each other and always remember that we’re both striving for the same goals.

If you had to choose, what are your personal & band theme song(s)?

Hank > “Enter The Ninja” by Die Antwoord

Cupcakes > hmmm…that’s a tough one, all I can think of right now are really cheesy 90’s songs.

Whats the best / favorite gig you have ever done?

Hank > I don’t know about best / favorite, we don’t look into the past with longing… We had 2 amazing shows this weekend at Nashville and St. Louis Pride events right after the supreme court’s decision to legalize gay marriage. It was very emotional and we felt lucky to be a part of these events at this time in history when progress and justice were glorious.

Cupcakes > Yeah last weekend at Pride was amazing. I also love the show where people start taking their clothes off and throwing them on stage. We tend to encourage releasing the beast within!!

Your next album goes all the way to #1, whats your essential backstage rider wishlist include?

A helium container, two full body rabbit costumes, mini golf, live flamingos, 4 palm trees w/ 2 hammocks (Parallel) and a Magician. Thank you! – Hank & Cupcakes

ROXY SWAIN

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photo by ROB GACZOL

What got you hooked on rock and roll?

Matt > I was a 3-year-old kid living on Long Island in 1977. One day, my 16 year old babysitter Donna (who I was utterly devoted to) shows up with a copy of Alive II by Kiss and has me sit down, listen to it, and puts that iconic gatefold picture in front of me. I had no chance! For the next ten years, there was no other band but Kiss for me. I wanted to be a rock and roll superhero.

Rachel > I think I was always destined to love rock & roll. My parents met each other in a band and music always filled my home. But, when I was probably 4, my dad showed me how to use the old record player. I listened to a lot of Rolling Stones and I remember the first time I ever watched Mick Jagger perform. I was hooked. I loved that it was dark and exuberant, free and alive. All my first crushes were rock stars, Mick, David Bowie, Jimmy Page. It was just part of who I was from a very early age so I grew up idolizing people who made music. I was performing from about 4 on and it was a drug. I always felt most alive when I was making or performing music and rock & roll was always my first love.

How close is Roxy Swain to the band you wanted to create and how have you guys evolved?

Rachel > I mean, this is a hard question to answer. I think in terms of the democracy and the co-authorship of the music, Roxy is really strong. We all bring something to every song and I love that sense of community. That is definitely a long process that we improve upon with every song and every release. However, I think there’s always room to grow. I would hate to think that we ever reached the point where we were done and we’d reached some kind of ideal band. To me evolution is all there is – when you stop evolving, you’ve peaked and I never want to peak.

Matt > Roxy Swain has changed so much since we first started. Rachel and I have been working together since 2006, but when we were looking to do a band, we didn’t quite know what we wanted to do. The initial version of Roxy Swain was an outgrowth of a Chicago power pop band named Loomis, and much of the band’s first wave of songwriting was based on the influences Tom Valenzano, our first lead guitarist) and I shared. Our first album The Spell of Youth was written as an extension of the style of Loomis: a lot of late 70s-inspired power pop and rock and roll. I believe through a series of lineup changes and examination of our strengths we are very close to what we want to be doing now.

Do you have a philosophy when it comes to the recording?   

Matt > Our philosophy on recording is to capture the band organically. We prefer classic tones, simple (but purposeful), dynamic arrangement. We try to highlight the biggest strengths of the band – Rachels amazing voice and sense of melody, and the band’s overall performance and treatment. Generally speaking, we like to let the songs speak for themselves, as tracked. We shy away from a lot of digital processing and an abundance of compression. That being said, we aren’t necessarily wed to a particular process, nor do we think the band should sound exactly the same in the studio as it does live.

Rachel > I’m probably the least experienced with recording. I would say that I like to take a lot of time away from recordings to formulate opinions and I am very feel oriented. In other words, I will often fall in favor of a track that isn’t technically perfect but has a lot of spirit, character, and quirk. I also really refuse to listen seriously to anything I’ve recorded under bad conditions (crappy computer speakers or earbuds) because I know I will be frustrated and hyper critical. I like to walk away from a recording for a week, come back to it in the studio and make a judgment. I’m just a strong believer in the feel or the vibe of a performance over total proficiency. I don’t think I’m even capable of taking a track that feels totally perfect anyway. If recordings are too perfect, too massaged, they end up sounding robotic and they lose something intangible. I want to feel passion in a recording and I think sometimes passion and perfection go in opposition. Not always, but sometimes.

How does the songwriting process work for Roxy Swain?  

Rachel > Typically, one of us will start with the skeleton of a song, bring it to the band, and we will build it as a group. I’ve become increasingly aware that each of us have a really important role in this band when it comes to songwriting. Chuck Harling is a master arranger, Jeff Altergott‘s bass lines are so crucial because they are so interesting and organic, Matt’s lyrics and sweeteners make our sound ours, and I think my melodies come together with the other parts to create what has become our cohesive band sound. I don’t want to elevate us to be something that we aren’t, but I’m really proud of the ways in which we’ve honed our craft as a group. We work together well and we each add something unique and it’s one of the things I’m most proud of about the band.

Matt > We currently have four accomplished songwriters and arrangers in the band, so everyone has ideas. In the initial phase of the band, Tom Valenzano and I came in with complete ideas, and we dictated those ideas to the band, which was all we could do at the time, but that approach didn’t optimize the band’s talents sonically. Now that all of us are involved in the writing process, our songwriting is rarely one person with a finished idea, and more often two, three or four people collaborating on a piece. On our forthcoming album there are instances of Rachel writing with Chuck, of Rachel writing with me, of Chuck and I doing a song together, and of all four of us collaborating. It’s really exciting to be in a band with a bunch of songwriters collaborating, because many of my favorite bands feature that. As we transitioned into the lineup we have today, the style of the band has really changed into an amalgam of Chuck, Rachel and I’s separate influences, which include my power pop, but also Rachel’s soul and blues, and Chuck’s rock, roots, swing and modern indie. As we have progressed, I believe that our songwriting blend has emerged as a distinctive hybrid sound that now fits all of us like a glove. There’s an aspect of all of us in there. Even though Jeff does not typically have the initial ideas, he puts his writing stamp on the songs with the incredible bass lines he comes up with. The most fascinating thing about it is that it’s continuing to evolve and push us in unique directions we never expected, which is evidenced by the sound of our third album. We are definitely getting weirder, and I like it.

What was the first real concert you ever attended and what impression did it have on you?
Rachel > It’s really sad, but I grew up watching so much live music that I can’t remember my first real concert. My dad’s band played constantly and growing up in Texas, we attended the Houston Livestock Show and Rodeo every year where I saw a ton of live music. I guess it’s kind of tragic that I can’t remember, but I think it was so present that I can’t pin point the first ever. I do remember seeing some big bands at a really young age and looking around at everyone singing along and thinking, that’s what I want. I want people to sing along and dance to my music. I was probably seven when that translated into writing my own songs (terrible, terrible songs) and performing them on my front lawn with my sister and neighbor for the other kids on the block.

Matt > I actually didn’t attend a concert until Junior High School, and that was an odd bill. My parents took me to see 80s Chicago radio personality Jonathan Brandmeier and the Leisure Suits at the Rosemont Horizon. A strange entry into concert experience, to be sure. My ears really just hurt the whole time! I had never seen anything that loud. By the end I was enjoying it, despite feeling rather deaf. I followed that up with seeing Rush at Alpine valley a couple years later. That was really cool.

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photo by MOLLY KATE LANE

What is your approach to playing live and what is your mind-set pre-show? 

Matt > My approach to playing live is to try to stay in the moment. My mind set pre show is often meditative as I try to pull myself into the present tense.

Rachel > Playing live is my favorite thing in the whole world. Honestly, I’m excited and often I just want to get up on stage. I don’t get nervous because I’ve been doing it for so long. I just want to get up there and I get really bummed when we get to our last song. I want every show to be memorable and I want to see people having a good time. I mean, half of playing music for me is sharing my art but the other half is sharing a moment with people, whether they are friends or strangers. When I see people dancing, singing along, smiling, it makes me feel honored and privileged and happy. Being on stage is a privilege and I just feel like every show is a blessing and an honor and I want to share a good time with the audience ….my approach to playing is live is to make try and give every performance and every audience all I have.

If you could tour with any artist as support who would it be and why?  

Rachel > I don’t know, I have so many friends that I would be honored to share a tour with, I can’t really see myself picking a big band. I guess if I’m being honest, I admire my father’s musicianship so much that I would probably want him along on the tour. Also, other projects of my band-mates’, both Roxy and other projects I’ve been involved in, like The Ye-Ye’s. I think I would surround myself with local bands because I think support of your fellow local musicians is really important.

Matt > In terms of currently touring indie bands, I would love a shot at opening for The National. Their songwriting has been a big influence on both Rachel and I. In terms of all time faves, this an odd answer, but probably Yes, if they ever went out with their 1973 lineup again. I love those guys. It would be a terrible fit stylistically but I would have fun just watching those guys play every night.

What are your favorite 3 albums of all-time?  

Matt >  King Crimson – Red, Yes – Tales from Topographic Oceans and The Wrens – The Meadowlands

Rachel > David Bowie – Station to Station, The Rolling Stones – Sticky Fingers, The Replacements – Let it Be
Whats the best live performance you have seen by a local Chicago band?  

Rachel > My friend Heather Perry was in a band called Bring Your Ray Gun that absolutely killed every time I saw them play. I’ve always felt honored to be associated with her because she was one of the first women I saw leading a band as a songwriter and musician. She was the first person to make me think, I can do this. I didn’t have many female role models in the local scene before her. Anyway, seeing her play live has always inspired me. Plus she looks so cool on stage playing insane bass lines without breaking a sweat. They were a really tight band and I loved seeing them live.

Matt > Sludgeworth, final show of the original run, January 11th, 1993, McGregors in Elmhurst. The single best concert I have ever seen.

You two are separated in a horrible ship wreck, stranded on adjacent island and forced to leave messages in a bottle for one another: what does your message say?
Rachel: “At least we will have a lot of good experience to write from if we ever get off this island”

Matt: “I love you. Here’s the lyrics to our next song, “Stranded”” ~ ROXY SWAIN

 

DORIAN TAJ

dorian_D.D._editHow did rock & roll reach you? 
As a city of Chicago toddler I had a brother and sister about 10 years older. They would baby sit me with a soundtrack of classic rock and the times were ripe for that type of consciousness. So I started licking S&H Green Stamps to fill enough books to get an acoustic guitar so I could feel a part of it.

Are songs more real than reality to you?  Well on the first Dorian Taj record The Puppet Record it could not get more real in terms of songs from a basis of what the realty was at that time in my life. If reality is truth then I was just copying it to songs for that release. Have been trying to get away from that since then but I do find that even so the songs still become more of you than what is actually happening and can shape you who are.

Is music still the best way to send a message?  Music can send a message still but on the most part I always though it was about sending a “feel” in total that all could understand. There could be no direct message but you know something is going on and you want to be part of it, against it, learn about it, discard it, it could give you an upset stomach or simply make you want to dance.

What is your favorite track on the new record Giant today and why?  Today it is “Rocket” because I want the energy feel. I’ve had days when it was “No Future” but you cant go on thinking those words for too long so then I will hate it for a bit. “Janitor Song” makes me feel “nice and sweet” and works for most days. 

How did you feel (this time) when the record was “in the can” and what did it take for you to reach that point comfortably?  Well we did the basic tracks at Pieholden in Chicago and then took a little time coming up with parts to add to the songs. At this point I was sure that we had the right 10 songs for “Giant” and felt it was “in the can” even though it was no where near done as something who could here (except for in my head). We then went to Austin to do the overdubs but at that point we were all comfortable with it.

For the kids and late bloomers: what’s the best way to write your first song?  Melody is the key. Forget about your computers and phones and take a walk, ride a bike, get on a train or bus and look at things around you. Then let a soundtrack happen in your mind. Put in words that happen to in your thoughts at the time to the melodies and you’re on your way. Then arrange what you got with your technology.

1430995072_11203129_863476210390242_8206459690216717649_nIf you could record a duet this Saturday with anyone whom would it be with, why, and what tune might you try together? I think it would be the best to do a duet with the Dalai Lama. I would love to grasp on to that energy of body, soul, and mind mixed with music. The song I hear in my head of us doing is “Bridge Over Troubled Water”.

Take us behind the scenes with a producer: what makes your relationship w/ Alex Moore work on this record?  I have known Alex for some time. He actually played drums for me during the “Tobacco Record” time. His drumming was very essential to that record and his sense for music was very evident. Being a drummer makes one a great future producer because who learn to listen to everything and Alex became one. We worked well because he knew my stuff from the past and what I was about. We could bounce ideas and both play them quickly to see if they would work.

When are you happiest: on stage or in the studio? I definitely am a live animal. The live switch in me is always working at any spot in time. This is when I am at my best with a clear mind and a good feeling all around. That switch can turn on whether at noon or 3am.

Your guitar is entered in the ‘Indie Rock Legends’ section in a new wing at The Rock & Roll Hall of Fame and you are asked to contribute a single line quote for the exhibit….how does it read?  Sorry for pawning you that one time but you know without you I wouldn’t be me. ~ Dorian Taj

ANNA P.S.

houseshow_jameskornphotographyWhen did you get the music bug ?  I don’t know if it started as a bug.  My parents made my siblings and I all take piano lessons and we had to play a band instrument as well.  I think I started piano when I was around 7 years old, and I started playing flute when I was in 5th grade.  I don’t remember not being able to read sheet music, that’s how ingrained it feels in my life.  I went through certain ages where I was mad at my parents for making me take lessons and making me practice, but I’m grateful that I’ve always had music to fall back on when I’ve had nothing else, or no one else.

When I was in college, I found myself pretty miserable when I didn’t have time for music, so I figured out how to make time for it.  I was probably better at it then than I am now.  I took a few classical guitar lessons when I was in college.  It’s something that I have always wanted to play, but always thought would be too challenging.  It still is challenging, but that’s probably good for me.

Who are your ‘core’ favorite artists ? Maybe it’s just because I feel like I need role models, or I’m trying to emulate them, but I really love women who are singer-songwriters.  Corrine Bailey Rae, Eva Cassidey, Lisa Hannigan, Abigail Washburn, Tracy Chapman.  I also love folk and bluegrass, which I never thought would happen, but when I started to run sound for folk bands, the musicianship blew me away and I was hooked.

These probably don’t influence me as far as writing goes, but I really like Ratatat, Beats Antique, Sufjan Stevens and Noah Gunderson, to name a few. I grew up in a pretty conservative home and we weren’t really allowed to listen to music (kind of ironic, I know).  I grew up listening to the Nutcracker and Psalty the Singing Songbook.  I’m still discovering music that my peers listened to years ago.

What was your first concert and what strikes you about it now?  I’m not sure if you want me to tell you about all of the band concerts my siblings played in.  I was pretty young and I fell asleep a lot, ha.  I often was more interested in playing then I was in listening.  The first show that I went to as an adult was to see the Flaming Lips in the Aragon Ballroom in Chicago.  Marnie Stern opened for them, another great role model.  What comes to mind is that it was like magic, and I don’t know how else to describe it.  I think that’s what it is, when it comes down to it.  We go to musical shows because we want to feel the magic that is part of this world; we lose a hold of that sometimes when we’re distracted with living our everyday lives, at least I know that I do.

What was your first public performance and how did it go?  As an adult, my first public performance was as a senior in college.  You could put on an event called an Hour After.  It was a sit down affair; students would dress up, drink coffee and eat dessert.  It was a really amazing experience because I had never collaborated with that many people before, or led something like that.  I think I got together 10-12 people, some of who were good friends, and some of who I barely knew.  I didn’t know anything about putting together a show, orchestrating music, or asking people what to do musically.  It was a blast.  I think people enjoyed it, but I don’t really remember now.  I wish I kept better track of those things, because it feels important now.

Anna 2What perspective does being a pro sound man (woman) and working with so many acts live contribute to your feelings or /philosophy about ‘the stage’ as an artist in your own right?  The biggest impact it’s had on my mentality is to always be kind to your sound people/stage hands.  They are usually trying their hardest; the ones that aren’t won’t be working for long anyway.  I try to be kind to people anyway, but I have run into many musicians who are downright rude, and don’t treat you like a person.  If you treat me like that, I am not going to help you sound good.  That said, the majority of musicians I’ve had the chance to work with have been really gracious and appreciative of the work that happens behind the scenes for their show to go smoothly.  In short, kindness will always get you further than a bad attitude, or bossing people around to try and get their respect. Also, I would much rather be backstage than onstage.

Side note:  I refer to myself as the ‘sound guy’, because that’s who people are always asking for.  I was called ‘the sound lady’, affectionately, while I was running sound for the metal/hardcore scene in Goshen.

How do songs ‘happen’ for you as a songwriter?  The best songwriting has worked for me is when I’m doing it everyday.  I write a lot of crap songs, but I believe that quantity leads to quality.  Always, if inspiration doesn’t find me working, then I’m not going to get a good song out of it.  That said, I should practice what I preach.  The hardest part for me is finishing songs.  I get a lot of ideas and have many more finished songs than I do finished ones.  I used to journal a lot and I’m trying to get back into it.  A lot of the time, I jot down thoughts, or feelings that I’m struggling with, and sometimes they later develop into lives of their own with songs of their own.

What’s up with your band Shiny Shiny Black these days?  I played with Shiny Shiny Black for about three years.  We dubbed it ‘coffeehouse rock and roll’, mostly because we play electric guitars, but quiet enough to play in a coffee shop.  SSB has definitely been a big part of my musical experience.  It got me on the stage, even when I didn’t want to, got me playing my electric guitar, when I wasn’t sure that’s the guitar or kind of music I wanted to play, and gave me an amazing group of people to collaborate and create with.  I didn’t do any writing for SSB, that was all Nate Butler.  I refer to it as ‘Nate’s band’, because it is.  It’s his vision, his dream and his songs.  I feel as though there is little better than helping other actualize their dreams.

I toured with Nate and Amber, and their toddler to Nashville, St. Louis and back again.  They took a break to add another little when, and when they returned, it made sense for them and for me to not continue being part of SSB at this time.  It’s a little sad when I hear songs play on the radio, or that I don’t get to hang out with Nate and Amber every week, but it’s giving me the time to work on my own projects, both musical and visual art, as well as giving more time to developing as an audio engineer.

How is the approach different writing for sway them versus your own ‘voice’?  I’m honestly afraid to collaboratively write.  Maybe it’s just because I haven’t really tried it.  I’m a very private person, which I find slightly ironic.  It’s hard for me to get up on stage and share because it’s not an act for me, it’s just who I am.  Therefore, what I write is really personal.  It’s taken me awhile to become comfortable with sharing my music, but they few people I have shared it with have asked me to, so I’m trying to do that to a wider audience.  I think I’m afraid that someone will hear one of my songs sometime and realize it’s about them.

houseshow_posterpossibilitySo many artists pigeon-hole themselves by clinging to tightly to an indie image / vibe to appear sufficiently counter-culture enough to be have credibility with hipsters but are you comfortable with being a huge, national pop star?  If there was an image I wanted to uphold, it would be authenticity.  For me, playing music isn’t really about how many people come out to hear me play, where I get the opportunity to play, or who I’m getting to play with.  The reason that I started writing music is because I felt alone, and unseen.  That’s not really something I struggle with right now, but there are a lot of very human things I struggle with constantly.  What I want when people listen to my music and hear me play, is I want them to feel that they are seen, that they are not alone in their struggles, that there is hope in this often dark world.  Maybe that sounds idealistic, but I’m pretty sure that’s the point of art.  I never thought about being a huge, national, pop star because I think that people don’t want that much honesty in popular music, in a popular stage presence.  I want to be who I am on stage and I want to invite everyone who listens to be who they are, fully, and accept that.

You are offered one wish from a legit Genie with actual powers but it must involve your music career: You consider carefully and offer her the following humble request:  I want my music to have meaning.  I want it to speak to people.  I want it to invite people to dig a little deeper, to have hope, to pursue dreams.   ~ Anna P.S

BRAD PETERSON

BradPeterson (2)
photo by KIM SOMMERS

How did you come to fix on the Fleur-de-lis as moniker / title for your new release? It seemed to same itself at the last-minute of the last recording, which is atypical from my previous works. Last autumn, I had a couple of songs that I had recently recorded before I came to California for a respite from the Chicago winters: Vale of Tears, and 45.  I played them for an old friend, Peter Bowers, who has been in the music and film world for decades and, in my opinion,  is someone with a unique perspective and proven good taste. After listening to them while we were winding through the serpentine roads near Topanga, he was clearly excited and asked if I had more new songs; I said yes, but they’re in a crude state. He tacitly gave me the go ahead and I proceeded to play for him: Rock Fight, and minor. Being a musician himself, and no stranger to hearing potential in a demo recording, he promptly suggested I finish the work for, at the very least, posterity (and for whatever opportunities that may bring). It was just the encouragement I needed to set up a barebones recording outpost in his garage/office in the beautiful canyons nestled betwixt the Santa Monica mountains, Los Angeles, and the Pacific Ocean. I’m not sure at which point the idea developed to add an additional track, but I half-heartedly presented my least favorite and hardly developed of the bunch: Fluer-de-lis, for which the title lyric had yet to be written. I acquiesced in its procession but as the spirit moved me, and I reconnected to the moments of its inception, those words just came through: “Fluer-de-lis” – like they were always supposed to be. Ureka! The song finished itself. The counterpoint in the last verse was the very last thing recorded and almost has a feel of a reprise-medley trope at the end of an epic film from the late sixties. When I listened back to it, I felt that it was divinely gifted; I had just participated in its revelation as the title of this work.

What was the most difficult thing about making Fleur? The most difficult thing in anything, is the discipline or faith to work in the face of doubt and negativity that plague me every day. The ultimate goal is for me to share what I do and connect with other souls. The periods between such moments are long and dark in which I often wonder if what I do is folly and meaningless.
 
Do you see it as a continuation of your other releases, an update, or something unto itself? Depending on context, it could be any of those; it could even be a prequel, chapter, or a supplemental. In literary terms, I think of singles as anecdotes, albums as books, and EPs as short stories. But I think in most cases, to say: “the Fluer-de-lis EP” would refer to something unto itself.
Why did you decide to do a EP this time versus a full album? Albums take a while and I didn’t want to wait. Full disclosure, there’s a part of me that would be happy to just release singles from here out. If I had the resources, I think that’s the direction I’m heading.
fdl-tour (3)How does the song writing process work for you? The evolution of every song is different but the most rewarding songs come in the form of everything-at-once. Melody, lyrics, chords, feel, and arrangement pour over me in a torrent of inspiration. Those are also the songs that tend to get finished.
Describe your head space when playing live in front of an audience?
How the hell am I supposed to pull this off? Because I thrive off of the symbiosis of all who participate in a live performance, it’s quite vitalizing and I experience the joy of communion. However, there is always a delta between what I want it to sound like and what I’m able to produce. I’m figuring out that “not to try” is the trick for all involved.
Did you like to sing as a kid or did you begin playing guitar and start singing later on? I always sang for as long as I can remember; maybe before I could talk.  But, it was when my aspirations for being a drummer were squelched by mom (who didn’t want that sort of racket going on in the house) bought me my first acoustic guitar, that I became the defacto singer/rhythm guitarist at about age fifteen.
Many artists talk about ‘the album’ that changed their life, is there one for you? Yes. From all accounts, in the spring of 1971, my older brother and father were listening to music in the living room of our old farmhouse in Baltimore, Maryland. Mark was around thirteen and my father was a bit of an audiophile with an impressive sound system composed of mammoth Bozak speakers, Scott amplification, and Ampex reel-to-reels. They put on a store-bought reel of the Beatles’ Revolver and it boomed throughout the house. That was the moment I became sentient and aware. To describe the experience using my abilities in the English language that I have since learned, I’d say I was in awe and asked: “what is this wonderful thing?” as I crawled on the carpet. I don’t know what it was or who it was but I’m certain that it was a pivotal moment in my relationship with music and my development as a human being. A few years ago I wrote about this earliest memory of my life called “Crack and Boom”:
What was the first concert you ever attended and what strikes you about it today?  For my first large rock concert, it was either Billy Joel or Roger Waters with Eric Clapton. Both of them were at the Rosemont Horizon when I was around thirteen years old. My opinion then, is as it is now: that is sounded horrible and I would have maybe preferred to stay home and listen to the recordings. The highlights of each were the improvisational element where I gleaned variations of expression in the arrangements of the musicians. I do enjoy live music but I gravitate to smaller venues or living rooms.
If you could take a time machine to any one moment in history (rock or otherwise) what would it be and what would you do once you got there?  It would probably be to a moment that I’ve already experienced, perhaps one from my childhood when I was near my family who I love very much. And, it would be simply to live it again with greater appreciation and notice every little detail. – BradPeterson.com

Continue reading “BRAD PETERSON” →

LISA HELLER

How did you choose “Life On The Run” to be your first iTunes single?  I chose to release “Life on the Run” as my first iTunes single because I think it is a good representation of who I really am as an artist. As the first thing I’m really putting out into the world, “Life on the Run” is kind of saying I’m going to be myself, and march to my “own beat of the drum.”  I think it is an inspiring song to people who want to strive for a dream and don’t know if they can do it.  I think you can do anything you want to do if you work hard enough.

You are in a unique position releasing material at such a young age: do you ever worry that you may look back later in your career and go ‘OH NO!!”?  I don’t think that releasing material at such a young age (my 19th birthday to be exact) would make me look back and worry. It’s all a learning process and you have to learn who your audience is and feel for what they like and don’t like and work from there. If I never put my songs out into the world, how would I know if people would fall for them? I also think an audience likes to see an artist evolve over time and I plan to continue to grow.

How do songs take shape for you typically ? For me, my songwriting varies from song to song- sometimes I am driving on the highway and have to pull over because I get this one phrase stuck in my head and I have to scribble it on my coffee cup before it goes away. Other times I sit down and start playing different chord progressions on my piano and guitar with varying rhythm, and once it sounds right to me I start humming along until I find a suiting melody, and the words just kind of flow from there. Each song is such a different experience- with some it takes an hour to write the root of the song while with others I could spend 6 months on it just to find the right words.

What’s the bigger high for you: writing, recording or playing live?   Wow that’s such a hard choice! Can I say all three? They are all so different it’s difficult to compare. Writing is something that has been a huge part of growing up for me. I write down the experiences that I’ve had or are new to me, then I compare them to ones I haven’t yet had a chance to experience. But recording is also amazing because it’s like I’m taking all of these ideas that are kind of jumbled up in my head, and they’re put into real solid music. I really get in such a deep zone when I’m recording that I can’t explain. Sometimes I forget what I’m doing and that other people are there listening while I sing into the mic. And lastly, performing is such an amazing experience. The second I step on stage it’s like I feel this connection with the audience that they understand me. It’s like we’re all one, and as I sing about the adversity I’ve faced, as many others have, I’m singing for them, not me. I want to tell them it will all be ok, empowering my audience as well as myself.

What do you want your audience to see or feel when you are in front of them?  When I’m in front of my audience, I want them to feel welcome. There are so many opportunities for people to feel excluded or doubt themselves. But when I’m in front of people I want them to feel like it’s ok to be themselves, and feel empowered.

If you could open for any artist or band on a spill of east coast dates this summer, who would it be?  There are so many artists that I aspire to open for.  Of course Taylor Swift comes to mind, as such a dynamic player in the music industry.  She flawlessly switched from Country to Pop, a task no artist has surmounted with such supportive fans. I also would love to open for Christina Perri – her song “Jar of Hearts” was one of the first songs that I ever performed live and it really inspired me to write down-to-earth, relatable music. Sara Bareilles is also an amazing headliner – she is an artist I emulate and aspire to be like with her words of empowerment without a hint of cliche. Of course I would also be thrilled to open for bands with whom I am connected, such as Waiting for Henry, a group of great guys who have been supporting my hard work from the beginning.

How did you pick up guitar and what advice do you give to others who want to learn how to play?  I taught myself to play some simple chords on the piano which is how I started songwriting. After a while I really wanted to play guitar too so I started looking up how to play chords on google images! This really jump-started my ability to write songs, before I started taking lessons. My advice for someone learning to play guitar is to look up chords if you don’t want to pay for lessons, and keep repeating them until your fingers bleed. After a week or so you will stop hurting and your fingers will just remember where to be placed. From there, you can start writing songs! And for piano, you just need to learn the basic triad structure and go from there!

What were the first few albums you ever bought and what do you think of them today?  The first few albums I ever bought were from my parents, which definitely had a huge impact on my choice of music. As a young child I would listen to Dave Matthews and Coldplay in the car, so it really made me appreciate the deep music where the words had so much meaning and the instrumentation that was so captivating and complex. The upbeat party music was always fun too but that never really affected me the way that songs like “Yellow” by Coldplay did.  U2’s “Beautiful Day” was a perfect song when I needed to appreciate the little things in life or get motivated.

What’s your favorite song of all-time?  I would probably say “Fix You” by Coldplay – It was the song I resorted to throughout high school and it brought so many different emotions each time I listened to it. “Fix You” has this certain indescribable power to heal and unite people.

If you could have an alter ego performing in an alternate universe, what might she sound and look like?  If I were given the chance to be someone else, I would still choose to be me. There are billions of other people in the world but only one me, so if I’m not me then who am I? ~ LisaHeller.com

NICHOLAS BARRON

media_slider-39730022You started as a youngster busking on the streets of Chicago: is there a telling memory that still informs you today?  I just wrote a song that’s on my new CD called “When The Fat Lady Sings” about following ones heart and dream. There is this line:  “dudes in 3 piece suits telling me they wished they was me cause I was following my heart and living my dream”. That’s a true story. That and playing the mostly southbound Black el stops and having it feel like Baptist church. I learned to sing  Black music from Black Folks singing with me and playing Electric Blues every weekend in the summer with my band on State street in downtown chicago and the huge crowds! That spark and immediacy are rare and profound!!!

What is your favorite new Nicholas Baron song and why? “When the fat lady sings” is my new “I’m not superman” which is the song I’m known for. It’s a true story. I found a way to be honest and poetic at the same time. It’s got a direct feel from Van Morrisons “Domino” and Rickie Lee jones “Chuck E’s in love”. It finally expresses my truth and is like a quick bio. I love language and beat poetry and this has that feel.

How do songs manifest themselves to you? They happen either effortlessly like  they were waiting for me to catch them like butterflies or intellectual endeavors where the words are like math and science. It happens all possible ways. Words or chorus first or music first or just chords.

Do you have a philosophy when it comes to the recording?  All my records have been somewhat different.  I like it to be organic and sound and feel live but have a sheen to it as well. I have to have a relaxed and honest environment.

What was the first real concert you ever attended and what impression did it have on you? I heard Jimmy cliff when I was 10 with my hippie parents at an outdoor concert. I remember the sky and the feel of it being live and soulful and folks dancing up a storm.

What is your approach to playing live and what is your vibe pre-show? It has recently changed and evolved . I am working on total relaxation and letting the audience come to me. I’ve been trying not to be big the whole time or loud. I’m going for a range of emotions and dynamics even in one song. I have the ability to be mellow and soft and then rise up like Otis Redding or James Brown. I warm up a bit vocally but mostly everything’s changed because I’m relaxing my mind and body when I play. It’s magic!

IMG_1424-BW_filtered_FWhat are your favorite 3 albums of all-time?  Van Morrison’s Astral Weeks , John Martyn’s Solid Air, Joni Mitchell’s Blue

What’s the best live performance you have seen by a Chicago artist? My dear friend Wes John is insanely great and has great songs and his band destroys!

Out of nowhere the Empress of the Universe beams you on board her ship and demands you write a song for her on the spot — any ideas?  All my songs are about the same things disguised as different characters. Love in all its forms, integration, and working through suffering to find resolution. World peace through the microcosm which is self love. Relax yourself before you tax yourself. – Nicholas Barron

SCOTT MADDEN

Madman MaddenYou have probably played more gigs in the last decade than anyone in Chicago: is that why your known as ‘Madman’?  The nickname Madman comes from my days in the Record Biz when cohorts liked to call me that instead of my last name, Madden. Now I have to live up to it.

You have worn a number of hats in the music business, what’s the state of the union?  I’ve gone back to my roots, playing live music. Folks don’t support recorded music like they used to or should.

If you could reset and meddle with history, what rock era would go by the way-side?  Is there a Rock Era today?

What was the first concert you ever attended and what impression did it have on you?  Badfinger played @ my high school field house. It was also the first time I saw people smoke the kind bud.

How do you feel deep down about smashing guitars and the like?  I did that twice in school but felt bad because that is somebody’s livelihood and sometimes a piece of art.

IM000324.JPGWhat are you listening to at home circa 2015?  Davie Allen & the Arrows, “Blues Theme”(60’s biker music)

If you could tour with any artist in a time machine who would it be?  Cream: they taught me how to jam and to sound full for a 3 piece.

What are your favorite 3 albums of all-time?  More of the Monkees, Sgt. Peppers, Wheels of Fire.

What’s the best live performance you have seen by a Chicago artist or band?  Heavy Manners ….

Jesus appears in front of you and graciously asks for a custom 5 song set, in what do you play him? “Porpoise Song” (The Monkees), “A F Wittek” (Madman), “Talk Talk” (Talk Talk), “Well Allright” (Buddy Holly), “I Need You” (Fab Four).

JONAS FRIDDLE

U2tUN19rQUtqTmsx_o_old-mother-logo---jonas-friddle-the-majorityAre you happy with how Use Your Voice turned out?  Absolutely. Working with John Abbey at King Size Sound Labs we were able to really capture the sound of our live show.

Do you have a philosophy when it comes to the recording? Philosophy is a strong word for it, but we definitely strive to maintain our personality in the recording process. It can be very easy to make decisions in the recording process that trim away character in the pursuit of perfection.

Do you still believe in the concept of an album or is it all about the single mp3?  I believe in the album. I love albums.  If songs are telling a story or expiring a feeling then it has to be true that the artist has more than one take on the same idea they want to present.  On the other hand…if you’ve got a great single there’s nothing wrong with letting it stand alone.

How does the songwriting process work for you?  I like routine.  Days in a row of uninterrupted time so when the ideas start coming then you can use them right in the moment.  I read an interview with Neil Young where he says that’s the only way to do it. If you store ideas for later you can forget why you had them in the first place.

Are there any triggers in your life that cause you to sit down and write something, or does it just happen?  It feels like they just happen, but I’m sure that’s because something has been stewing for a while.

What was the first real concert you ever attended and what impression did  it have on you?  I can’t say for sure what the first one was…might have been George Winston.  I saw Jackson Browne a couple of time solo and that was amazing.  He played for hours taking on request after another.

c927e37cd6502ca7ec57575619efe3eaWhat is your approach to playing live and what is your mind-set pre-show? Playing live is the pay-off so we try to enjoy it as much as we can.  As and independent band it takes a lot of work to book and prep all aspects of a show. So it’s important to press the reset button and lose the stress before playing.

If you could tour with any artist as support who would it be and why? Paul Simon.  I saw him perform with his band and I can only imagine how fun the dressing room jams must be.

What are your favorite 3 albums of all-time? Jackson Browne: Late for the Sky, Paul Simon: Rhythm of the Saints, John Prine: John Prine.

Earth is to be destroyed by an asteroid — you been instructed to put one song (any song ever recorded in a time capsule to represent mother earth, what would it be? Well with that prompt wouldn’t it have to be Neil Young’s “After the Gold Rush”?

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ALYSHA BRILLA

 

IMG_7620 (1)What is your favorite personal single recording (or song) and what about it makes you happiest?  My favourite single is “Womyn”. I love it because it is an empowering song for anyone, especially women; musically, it draws from some 70’s African Jazz, which I am crazy about.

Do you still believe in the concept of an album over the single?  I believe in albums, yeah. The reason being that they are pretty acurate portraits of an artist and sort of logs their growth chronologically. I love making records. I don’t care what the internet says.

Do you have a philosophy when it comes to recording?  My philosophy when it comes to recording is; to capture a good vibe. A good vibe from myself, from the musicians and the engineer. I am super aware of the energy of spaces and so I have to feel the studio vibe is right; you can have a studio with $100,000,000 in gear and unless the energy is right, you won’t get a good recording.  

How does the songwriting process work for you?  Are there any triggers in your life that cause you to sit down and write something, or does it just happen?  (The) Songwriting process for me is all about inspiration. You couldn’t pay me to sit down and write a song under pressure. Literally- my old label tried to do that with me in LA and it doesn’t work. I am so inspired by this amazing and flawed world. I tend to get song ideas when a) I am emotional b) I am walking/biking/on a bus c) I am travelling.        Right now I am in India and am sooo inspired. Writing everyday!

0What was the first real concert you ever attended and what impression did it have on you?The first real concert I attended was…Christina Aguilera/Justin Timberlake. Yeah, I know. Stripped  was such a good album for 11 year old me. So empowering thematically.

What is your approach to playing live and what is your mindset pre-show?  My approach to live performance is pretty dedicated. I take it seriously; in that…I am so serious about letting go and establishing a sense of release for myself and the audience. I am very playful and jokey on stage. I think that helps. My mind set pre-show is excitement and a bit of healthy nervousness. Mostly excitement.

If you could tour with any artist next year who would it be and why?  If I could tour with any artist next year it would be…Sam Smith. I think we would blend well. I am in love with him and his music.

What are your favorite 3 albums of all-time?  My three favourite albums of all time are:

  1. Back to Black– Amy Winehouse
  2. Blue– Joni Mitchell
  3. Everything Bob Marley has ever released

Earth is to be destroyed by an asteroid — you been instructed to put one song (any song ever recorded by anyone) in a time capsule to represent mother earth, what might it be?   The song I’d put in the time capsule as a gift to our cosmic neighbors would be… “Svefn-G-Englar” by Sigur Ros

Please visit AlyshaBrilla.com

 

 

 

 

 

 

 

 

 

 

MIKE PATTON

3pd1How did you get hooked on rock & roll?

Guns N’ Roses.  I was in grade school, and had a passing interest in music – just whatever my folks listened to or what was on the radio.  Then my dad bought Use Your Illusion I (either trying to find “Knockn’ on Heaven’s Door” , or “November Rain”) and hated the rest of it.  So I got a hold of it, and that was the beginning of the end.  They swore!

Who were your heroes growing up? 

Musically, it’s run the gamut over the years, from GnR (see above), to Bowie, Ginger Wildheart, Johnny Thunders, Stiv Bators, Keith Richards & the Micks (Jagger and Taylor)… Michael Jackson and the Beach Boys when I was younger… I don’t know that they really count as heroes, but I sure as hell looked up to them (and still do).

Otherwise… Fuck, I don’t know.  I was honestly a pretty apathetic kid for the most part.  I don’t remember caring about or being inspired by anyone enough that I would call them a hero.  I mean, soldiers and firefighters and whatnot fit the bill, but I can’t honestly say that I cared while I was growing up.

What was your first instrument? 

The first instrument I learned to play was the piano (not counting kazoos or whatever), but I was just borrowing my folks’.  The first instrument that was MINE, was a trumpet.  Which was great, because when I got hassled by some older kids after band practice one sunny afternoon, I was able to smash them in the face with it and run off.  Don’t know what happened to it… Might’ve been a rental actually?  Next was a horrible blue (with black stripes?) Jackson guitar… sounded and played like crap, but man did I have fun with it.  It got lost when my folks moved while I was in college, which I’m still pissed about.

What was your first rock concert and what was its impact on you?

Technically the Beach Boys when I was like 5, but I was just along for the ride with my folks.  My first show with friends… Probably either Pantera, Alanis Morissette (I know), or Smashing Pumpkins/Garbage?  I’m honestly not sure.  And probably the biggest impact on me was Pumpkins/Garbage – because Garbage opened and put on a killer show, and the Pumpkins went on and were lifeless and boring, even though I liked them more.  That firmly cemented the importance of “the show” rather than just playing.

3pd2When did you start writing songs? did it come naturally or do you have to work at it?

Elementary/middle school… I think my first song was a catchy track titled “Field Trip to Hell.”  It came naturally, but that doesn’t mean I was any good at it.  I definitely have to work harder at it these days (for the most part – sometimes I get in the groove and it just spills out, which is really the best feeling this side of sex but I still don’t know if I’m any good at it.

How did you guys choose the songs for the debut EP?

‘Cause they kick ass.  Why else? Honestly, while PLS was becoming 3 Parts Dead, there was a lot of bullshit going on for JC and myself (the PLS remnants).  Once we started playing with Fitz and Ramon, we were all just having so much fun, and these songs sort of happened, and we were just so stoked on them that we put them out right away.  I mean, we had been playing together for maybe 2 months when we went into the studio.

Any plans to release a full-length follow-up?

Definitely.  We’ve been writing since we put out the EP, and are looking forward to showing everyone what we’ve been working on.  We’ll get into the studio soon, but we’ve been keeping busy playing out around the country in the meantime.  Fingers crossed for late spring/early summer.

Would you consider recording one cover to bring more attention to the band like VH did and, if so, what might be strong candidates for you guys to do?

I’d love to, but that’s definitely a secondary priority to writing our own tracks.  We do some live covers, both obscure tracks and more popular ones.  I guess if we were gonna do a cover for attention we’d have to pick some top 40 track that we all abhor.  But I’d rather do something by the Wildhearts, or the Stones, or the Distillers, or… You know, something else that really speaks to me as a fan and we can just have fun playing.  But that kinda defeats the “pop appeal” aspect of it.  Maybe doing “Do You Love Me” (a la the Heartbreakers cover) would be a good middle ground.

As 3PD you’ve already shared the stage with a number of luminaries as a solid opener, what’s the secret?

We never thought we were a “local band”, and we never acted like one, and so those opportunities have always just kind of fallen into our laps.  Of course, it doesn’t hurt that we work our asses off to pursue them, write (we think) catchy tunes, and have managed to get a ton of support from some really amazing friends and fans that have helped push us to that next level.

If you could go out on tour with any band this year who would it be and why?

Haha, why, do you know someone looking for an opener?  Seriously though, that’s a tough question to answer.  As a fan, I’d love to hit the road with the Wildhearts, or the Supersuckers, or any of those bands that never seems to leave my cd player.  As a professional musician, I’d probably want to hit the road with someone like Nickelback, or Hinder, that’s packing shows, to get in front of some new faces that would dig what we do but might not hear us otherwise.

I hear Motley Crue is doing a “farewell” tour, so maybe that’s the sweet spot in the middle…  Nikki Sixx, if you’re reading this – give me a call if you need an opener!

GAVIN DUNAWAY

libel_matchless21What got you hooked on rock & roll?
 
105.9 WCXR – the main classic rock station in DC during the 80s. My father blasted it in the car wherever we went, and I fell in love with the Beatles, Pink Floyd, Led Zeppelin, David Bowie, etc. Mainly stuff with badass guitar work – I knew by the age of six I wanted to be a guitarist just like my idol George Harrison. You couldn’t imagine how upset I was when I found out Eric Clapton actually played the guitar solo on “While My Guitar Gently Weeps.”
 
But yeah, they turned me into a rock addict at a young age, and I haven’t been able to shake it after all these years.
 
Was there ever a time in which you imagined you may be cured or give up? 
 
Honestly, in 2008, my band The Alphabetical Order lost its fourth drummer (sequential) and I’d tired of the sound and the DC music scene. I was pondering graduate school, writing a novel (still working on that one), maybe even teaching overseas. But I couldn’t shake it – I still wanted to rock, play guitar loud as shit and make at least a few more albums. A good friend explained that Brooklyn was the place to fulfill these dreams, so I packed up my equipment and never looked back. Well, except to visit friends… And family, if I have to.
 
What essentially makes Libel tick so urgently?
 
A fair deal of angst, discontent and disillusion – possibly some very hot overdrive pedals. Certainly the espresso IV bag hooked up to my left arm, which is easier to play guitar with than you might imagine. 
 
My initial goal with Libel was to blend my love of post-hardcore – e.g., Mission of Burma, Fugazi, Shudder to Think, Jawbox – with my affection for Bowie’s vocal stylings (he taught me how to sing, whether he knows it or not!) and songwriting prowess. And then, yeah, I wanted to layer in some heavier shoegaze atmospherics a la Swervedriver and Ride. I was influenced by very intense music, so it’s all I know how to make.
 
Seems like NYC projects break-up and reform under new banners if they don’t pop quick, or did you already?
 
Nope – we’ve been flying under the Libel flag since 2009, when we released our first EP, “The Prolonged Insult,” though the lineup has changed over the years. Pop culture memories are super short, so there’s a huge push to appear fresh and new (although it’s our fourth release, we do market “Music for Car Commercials” as our “debut LP.”) I think many people that re-brand constantly like you suggested are trying to chase the popular sound, trying to keep in step with what’s hip, which is definitely not my philosophy. 
 
There are plenty of great bands that didn’t get a lot of attention at first (maybe they didn’t have the hot sound of the moment) who eventually broke through, and people were then blown away by their back catalog. But, those bands stayed true to their ideas and evolved organically, not at the behest of the latest sonic trend. They’re the ones we remember.
 
How / where does the writing process seem to work best for the band? 
 
The magic songwriting window opens right after falling off the bar stool and right before vomiting and blacking out. It’s a short nirvana, so the process must be repeated regularly.
 
No, it’s more like this: I’ll come up with an idea – a lot of times just fumbling around with the guitar while watching TV – record it via Logic, and then build other ideas on top of it over a while until it seems like a sketch of a song. I’ll record bass, program (basic) drums, throw on some extra guitars and maybe keyboards, all the while working out draft lyrics. 
 
When I feel the tune is far enough along and is worthy of their ears, I’ll send off an MP3 and get feedback from the guys – while hearing what I was thinking, they’ll bring their own (better) ideas to the table when we jam on it. Nothing is set in stone – parts will disappear, parts will be added. I say that I provide the skeleton of a song, and together we develop a body for it.
 
What’s first for you in terms of material: a feeling / vibe from the music or the subject matter?
 
A lot of times they’re not even connected. I used to have notebook upon notebook with random lyric ideas, while now I keep them all stored in my iPhone (notes are great, save trees), which in turn gets saved to iCloud. You can tell I embrace the tech. While we’re writing a song, I’ll just sense that such-and-such random verse would be perfect and build the rest of the lyrics from there. Or it could go the other way around – I’m constantly humming works in progress to myself, and on the train something may click. Not to sound too hippy dippy, but often my musical ideas and lyrical subject matter just seem to find themselves in my head. Must be some kind of holy function…
 
libel_coco035Your bio mentions imaginary tours from a past age; do you really feel that out of place?
 
At first I was going to say, “Oh yeah, I wish I was in the 90s!” We probably would have seemed among peers 20 years ago, but in the current landscape, it’s nice being unique and difficult to classify. Other 90s-throwback bands getting attention sound a lot like one particular act – Dinosaur Jr, Pavement, vintage Weezer. But our influences are pretty mixed, and they’re not groups that really roll off people’s tongues, although they have loyal followings – bands like Jawbox, HUM and Swervedriver. We’re not lonely – we got a lot of Brooklyn peers with raucous sounds – but standing out in the current morass is gratifying, 
 
What’s the bigger high for you: writing, recording or performing?
 
Ugh, must I decide? Performing is certainly the most exhilarating, leaving you tingling for hours – maybe – days afterwards. Performing offers the quickest gratification, but writing and recording an album gives a sense of accomplishment that cannot be matched.
 
You wanna know the biggest low? Marketing – trying to convince people your music is special, especially when their senses are saturated by media. “Well, my mom likes it!”
 
What’s your philosophy (if any) when it comes to playing live?
 
As rabid fans of the great German group Autobahn, we practice nothing but nihilism. Emphasis on nothing.
 
A spaceship lands on your roof, a small gray humanoid emerges with a vinyl record he knows you will approve of as a first offering / means to an end: what (most likely) is it?  
 
Though it may sound cliche, I think there’s only one record that could be in his hand: “The Rise and Fall of Ziggy Stardust and the Spiders From Mars.” This starman has come down to meet us because he doesn’t think he’d blow our minds. Basically, he’s telling us not to blow it because he thinks it’s all worthwhile. Let the children lose it, let the children use it, let all the children boogie.
 
However, that LP better be a first printing, or it’s galactic warfare up your ass, buddy.

DEMIR DEMIRKAN

imgresWhat was the first rock record you fell in love with?

Deep Purple – Machine Head

When did you start playing guitar and who is your main influence?

I have two guitar players that influenced me majorly: David Gilmour and Ritchie Blackmore. I started playing at age 14. First song, like many others of our kind, was Smoke On The Water but I then I went more into bluesier stuff like Eric Clapton, J.J. Cale and some singer/songwriters like Paul Simon and Tom Waits.

How did you and Sertab Erener hook up and was it musical to start?

We fell in love while we were making music together. She asked me to produce a demo to present to the great Arif Mardin. We cut 2 songs in about four days. And something happened during that time, I mean there was something before that but studio can be a very dangerous place for potential lovers :) After that we wrote many songs together some of them being big hits. I produced 4 albums for her and some singles, all in a state that I can’t really tell if it’s making love or making music.

What’s your favorite thing about Chicago Issue, your latest release as PAINTED ON WATER?

One of my favorite things about Chicago Issue the sound; pulling in elements from different styles like rock, electronica, dance and blues.Also, I like the way we combined electronic elements with the played instruments. It’s usually not this seamless but I think we got it on this.

How did you two end up in Chicago? and what do you tell folks back home about the city?

We re-located to Chicago for a musical theater project that we’re composing for. It is a very long-term project so we thought we might as well move here. It’s a beautiful city. I’ve lived in Los Angeles and New York but I think Chicago takes you in more than the others. I believe Chicagoans are very warm, sincere, no b.s. and socially evolved people which makes this city the most livable place for me. We also have a home in Istanbul, which is also a great mega-city. They are both very very different though, which creates a diversity in my cultural soul.

How does the writing process work for you guys?

Do we fight? Of course! :)  I think creativity is born out of clashing of differences rather than compliance of equals or the alike. In the end there is only one winner: The Song! If it’s good for the song and the music it does not matter whose idea it is really.

Do you guys perform live with a full band or just as duo?

We have been performing with a full band but now we are moving towards a trio format where two of us will be fronting and one more member controlling the sequences, keyboards and computers. I will also be playing some keyboards and some electronic stuff aside from guitars. Also musically I am more inclined towards the electronics domain because of the freedom it provides in sound. As a composer, there comes a time when the conventional sound and the playability of the known instruments is not enough to put out what’s in there in you. Synths and digital audio opens many doors to new creative ideas and inspirational ground.

You are known for taking musical left hand turns: is it important to your relationship as a couple for the music to evolve?

I think when individuals have the intention to change and evolve, they do with everything else around and related to them, be it the relationships or music. I and Sertab, we both have this intention to change and renew, constantly. Stability is good until it fulfills its use, then you have to know when and how to realize its time for change and which direction to take. It takes hours of meditation, thinking and observing. And of course there are these accidental blessings happening sometimes. All of a sudden you slip and make a mistake which puts you on a track that you’d never think of. That could also be a subconscious decision which you might be perceiving as a mistake, but this is a whole different subject to talk about :)


So few Americans know anything about your homeland, Turkey: is there anything you guys hope most to convey with your music n’ lyrics?

I believe if we plan and do this deliberately, the music will not come out sincere enough. We think our music has the codes in its DNA that belongs to our homeland and whatever we play, sing or compose it’s there. Honestly, when we listened to our EP all through after it was finished you know, objectively, we thought it was western music. This did not last too long because as soon as we’d hear our American friends commenting on it, we realized that it still sounded a little foreign, unique and different, which we believe, is a good thing. Lyrically, we want to maintain a subjective point of view which again would be of two individuals’ from Turkey. So in short, whoever listens to our music will be breathing in the molecules of our homeland, our life-stories, and like I said this is not we want to consciously implement into the songs. I see this as natural cultural evolution because we mix and renew with Chicagoan cultural codes as well.

Should Shakespeare be looking for royalties from you?

:)) The verse lyrics of Why Do You Love Me are based on some love quotes of W. Shakespeare, but they are sung from an opposite point of view. Sertab is singing them to the person who is saying those words. W. Shakespeare, I think he has a way of not using clichés but still making things sound familiar and with full intent. Having studied English literature an humanities in college and being into rock and roll, it’s not possible not to be influenced by the Bard himself and his work.

JIM COOPER w/ HIP CAT RECORDS

JimCooperWhen did your first fall in love with vinyl and records?  Oh at an early age…. I can’t even remember; it’s part of my genetics I guess.

Do you recall the first records you bought or had as a kid?  It was probably some Disney or childrens records back when I was like 2 years old, that’s my earliest memory. and the album covers. I used to get a big kick out of….I was big on cars & trains.  So an album that had cars or trains on it I could spend hours just looking at the cover.

How has record sales going by & large over the last few years?   They are there, they could be better, they could be worse but I see a lot more young people getting into music via records which is a good thing. They have an enthusiasm for ‘the records’. They’re more consumer friendly. You don’t need a magnifying glass to read the lyrics like you do for the lyrics from the booklets for the little CD’s.

So how long has Hip Cat Records been in business?  We opened in November of 1987.

How did you come up with the name Hip Cat or is that all you?  I had a cat who I nicknamed  ‘hip cat’ but the name also comes from the Pink Floyd song named “Lucifer Sam” ….their  original guitar player and songwriter Syd Barrett wrote they lyrics “be a hip cat, be a ship’s cat, somewhere, anywhere”. I was a big Pink Floyd fan so I just ran with the name ‘hip cat’; it just seemed a natural name for a store.

When did you move to the new location (3540 Lake Ave, Wilmette) and how is it going? Well we moved to this location in June of 2006 and its been a good, plus it’s nearer to where I live so the commute is a lot shorter.

Do you guys have a website or is it all word-of-mouth?  No, it’s pretty much word of mouth or customers who have been coming here for a long time.  I’m not computerized. I’m old school. Somebody did set up a website at some point but i don’t what happened with it (laughs).

I imagine you’ve had some interesting Chicago musicians walk through the door? Well we’ve had Ben Weasel come in before. He probably didn’t know I recognized him. When a known musician comes in I never acknowledge that I know who they are. I just treat them like some regular customers,  I don’t give them any preferential treatment, they can just be a regular Joe looking through records. and they seem to like it that way.

What are the DMM stickers on some vinyl re-issues and what do we need to know about records today?  DMM stands for ‘direct metal mastering’  and it actually encodes more information from the original recording so it’s going to sound better. The recordings done with 1/2 speed mastering make the biggest impact improving sound. Another ingredient for better sound is the deeper grooves in (some) records. So they might be advertising different vinyl weights like 180 gram heavy weight vinyl or 200 gram audio file vinyl but the real jist of it is  the fact that the  grooves are deeper. The industry has decided to hype the weight; They aren’t going to tell you on the sticker that it has deeper grooves, they are going to tell you it weighs more.

You’ve been doing this a long time and you’ve seen a lot of records come through and leave the door, who are the top 5 that still move records?   Definitely Pink Floyd, The Rolling Stones and of course The Beatles. But we also do really well with Jimi Hendrix and Led Zeppelin. On the blues side it’s probably Muddy Waters and then Buddy Guy… he puts a new album out every year or so and they re-issue some of his older albums every now and then. He does great.

ADAM MITCHELL

adam_gold_recordsWhat music grabbed you most as a kid?

Well, the first actual “rock” record I ever heard was “Rock around the Clock” by Bill Haley and the Comets. At age 12, I couldn’t verbalize why it was great. I just knew it made me feel glad to be alive! The next record I heard after that – and I was still living in Scotland at the time – was “Heartbreak Hotel” by Elvis Presley. Then we moved to Canada and boom, it was rock ‘n roll all the time. Little Richard, Chuck Berry, Buddy Holly, Elvis. My parents, like most parents at the time, didn’t approve – they thought Lawrence Welk was the height of musical sophistication  – but they weren’t too hard ass about it.  But from then on, yeah, it was rock ‘n roll every moment I could get.  Then, of course, Dylan and the Beatles changed not only my world but the world.

What was the first song you ever wrote and what do you think of it today?

Don’t remember the actual very first song I wrote but one of the early ones, right after the Beatles had first come out, was a Christmas parody I wrote called “God Rest Ye Hairy Gentleman”.

Did it ever make the light of day in another for form?

No, no way, but it was pretty funny!

Artists have so many different approaches to writing, what is your general philosophy?

Strive for excellence. That’s it. And do whatever it takes to achieve excellence. Trying to do that, even when I didn’t know what I was doing, is the only reason I can think of to explain the career I’ve enjoyed.  Strive for excellence. No one buys average.

Great songs give people a certain feeling: is that one of your barometers in determining whether a track is ready to be recorded or is that reserved for the listener? 

Learning to be a songwriter is learning to be a bridge builder.  A good songwriter builds bridges of understanding between himself or herself and the audience.  it might be emotional understanding, it might be intellectual understanding, but that’s the whole deal.

You have written with a whose who of international talents from Linda Rondstadt to Waylon Jennings to KISS: which collaboration, or collaborations, were the most challenging?

Well, the collaborations that turn out to be most  “challenging” are generally those that, in the end, don’t work – and consequently, are ones that don’t produce work that lasts or you’ve even heard of.  If you’re working with another writer, especially a writer who’s an established artist, every song you come up with has to get a thumbs-up from a lot of people before it makes the record; the artist, the record company, the producer, the promotion department and so on.  Did I mention striving for excellence?

You offer personal song-writing coaching online @ AdamMitchellMusic.com: how does it work and do you end up sharing a writing credit if it’s really good?

Really, the best way to think of this is as one-on-one, song aid.  Personal tuition. And no, since it would be a work for hire, I would not take part of the song. Anyone who’s interested should contact me at info@AdamMitchellmusic.com.

The industry has changed radically in the last two decades: do you think it is harder today for a songwriter to break in with major artists to get
songs out?

I think in some respects it’s much harder to be a songwriter now because, unlike in previous times and even up until very recently, publishing companies very rarely now give a writer, particularly a new writer, a substantial enough draw – that is, advance against future royalties – to live on. In my own particular case, when I moved to Los Angeles, Warner Bros. was paying me to write songs for them and it was a paltry amount but I could get by. But by the end of my first year, so many artists had cut my songs that WB decided to renegotiate my contract and suddenly I was making about ten times what I had previously. I’m not sure you can do that now.

On the other hand, in many respects it’s much easier now. You can do great demo recordings at home, the Internet puts the whole world at your doorstep and I still believe that excellence prevails in spite of all difficulties. Everyone gets a break, sooner or later. The trick – the key thing – is to be ready when it happens. All the breaks in the world won’t help you if you’re not prepared.

a-mitchellWhat advice would you give to aspiring artists in regard to refining their craft or brand of music?

Join me at SongCoachOnline.com. Great songs are at the heart of everything in music and I’ve helped many people improve dramatically in that respect. It’s what I love to do and you’ll get a lot of other information about recording, common career mistakes, great gear and so on. Remember, when you’re trying to get somewhere in music, it’s a competition, like anything else. And the most prepared – and those willing to work hardest – will win. It’s a cruel logic I know, but it’s true.

 Jagger once famously sang “it’s the singer, not the song”, was he being ironic?

With all due respect to the His Majesty, the Prince of Darkness, I say “Bollocks!” The song is the most important thing by far in any performance. Look at it this way…You can have the greatest singer in the world singing a crap song and what do you then have? Zero.  A well polished turd. Here’s an absolute, universal, once – and – forever, truth. If you don’t have a great song at the heart of what you’re doing…a hundred times nothin’ is still nothin’.

In a recent interview you said ACDC’s *Back In Black* would make it to your island playlist: would it have been even better with Bon Scott?

Not in my opinion. I think Brian Johnson is phenomenal. It’s very rare for a singer to do a great job replacing an original guy but I think Brian has done it. He and Bon are both incredibly good.

MURPH DANIELS w/ WOOD SHAMPOO

MURPHY's lawYour new record as Wood Shampoo is a greatest hit of sorts; must be great to get 17 songs off your chest?

If feels like we just won the WBA title against Mike Tyson and we even have the bite marks to prove it.   We took some of the best songs we had written in the last couple of years that no one has ever heard and a few new cuts as well and we started up the band’s Lear and headed up to Gateway Mastering Studios in Maine to see the master himself, Bob Ludwig. After Bob performed his magic, we were all systems go.

It seems so few records these days have a sense of humor unless it’s tied in with a band’s gimmick overtly, where does Wood Shampoo fit in that spectrum?

Our motto is simple: we have nothing to lose, so let’s have so fun for crying out loud and try to put a smile on our fan’s faces. Life’s tough enough, so we want to give everyone an outlet to escape from that. Anything goes in our writing: from sexy girls, vampires, aliens, the crazy world of the stock market, dead rock stars, crack, cover girls, gambling – you name it, we probably have a song about it and if we don’t, then we will for the next album.

Do you think being from New York gives you some sense of entitlement when it comes to rocking (hard)?

That’s an interesting question. Would you be able to make that a multiple choice question and give me a wink when I am near the right answer (that used to work for me in my high school French class)? I think there is so much top-shelf quality homegrown music here thrown in with the greatest bands in the world always stopping by to make NYC an extremely competitive market. You just cannot survive in front of the NYC fans unless you are at your best because they will not settle for anything less. They’ll take you out in stretchers if you’re off your game – they’re that sledgehammer tough. Even my own family throws rotten tomatoes at me in those cases, so use your imagination.

WOOD_SHAMPOO_coverWhat are your favorite cuts on the disc and which is your least?

Every track on the disc was picked by a panel of experts in the field using our proprietary analysis of qualitative and quantitative data. In other words, we like all the cuts. That being said, some of the ones that stand out for us are Wanna Be A Dead Rock Star, Top of the World, She’s So Fine, Cover Girl, Where’s the Party Earthling?, You Suck (Mr. Vampire), Ticker Tape, One More Chance, and of course our title track Crack, Crack Heart Attack. They just have a certain je ne sais quoi.  They are packed full of radio friendly hooks on every level and that’s how we like them. You’re lucky enough to get one or two on an album and here you are getting a lifetime supply. Go to our website, WOODSHAMPOO.net and hear them for yourselves and you be the judge and leave us a comment while you’re at it. We like to read them at breakfast.

I would say the cut that’s our least favorite is Three Cheers because it doesn’t fit into the format as well for this album, but we put it on there due to popular demand. It’s like early Bruce Springsteen meets Lou Reed and they decide to take a walk on the wild side. There’s great sax on that one from Frankie Tee.

What’s the story behind Crack, Crack Heart Attack the tune? I understand the CIA was involved?

What I’m about to tell you is the absolute truth (writer’s note: be aware Murph Daniels is currently wired up like the Rockefeller Center Christmas Tree and has been connected to a Delco car battery by a couple of independent contractors who work for a nameless agency. They are also wearing cheap suits.). We were in the studio and one of my producers, who also happens to be a guitarist on the record, Eddie Martinez, asked me to play him the day’s songs I had written for the session. Turns out nothing caught his ear that day and we just don’t waste our time with a song that doesn’t make that first cut, so he suggested a song I had done on a Murph Daniels’ solo record that he really loved, but thought we could do it much better now. That song was Crack, Crack Heart Attack and everyone at the session knocked in out of the ballpark that day. On a crazy side note, when I get a bad headache, I have found if I play this song really loud in the car, it will cure me after a play or two. Try it for yourself, I’m not kidding. JJ Cale had been an inspiration for me with the writing of this song because I thought if he could have a hit with the song Cocaine then why couldn’t someone have a hit song with the drug crack. He just passed away and will be missed.

WoodShampooThere are some monster players on the album: how does one assemble such a line-up without a major label budget?

Well, without getting into the budget, because the accountants are watching me 24/7, it’s really quite simple. You don’t want to spend an arm and a leg on studio costs, so why not get the greatest musicians alive to come down and do it right in one or two takes. Co-producers and guitarists Tommy Byrnes and Eddie Martinez are masters at their craft. They also put a crack (excuse the pun) team together. We not only captured Wood Shampoo at its prime, but had fun doing it. I called up Gateway Mastering and sent them the tracks and Bob Ludwig and team thought it was something they could definitely work with. They brought out sounds from the mix I had never even heard before. Bob is a genius and just an all around great guy. I can’t even begin to tell you how much I learned from working with him. And let’s not forget our fifth Beatle, Rich Gibbons. He was our engineer and mixer on most of the tracks and always had Wood Shampoo’s back. Rich fits in so great and I think part of the reason is that he is a Senior Producer at The Howard Stern Show and with that job comes a great sense of humor.

How does the writing process work for you and how do you know or feel a song is complete and ready for recording?

I usually hear or read something that catches my attention and knocks me off my feet. I then use that phrase as a building block for the rest of the song. Other times I come up with a catchy riff first and the lyrics follow somehow as I play the riff over and over again on guitar. I take the songs to my producers, which usually is Tommy, and they continue the process. Inspirations for some of my songs have been from hearing someone saying “you suck” to their parent and wanting to find a funny way to use it in a song which turned out to be You Suck (Mr. Vampire), to having my best friend ask me for years if he could have my guitars when I die and that one later turned into My Best Friend Died (and Left Me His Guitar).

What’s the first album you ever bought and the first you ever tossed out in a disappointment (if any?)?

I think the first album I ever bought was Elton John’s “Captain Fantastic and the Brown Dirt Cowboy.” I was truly amazed by the musicianship. I think I probably traded the albums I didn’t like for the ones I wanted at a local store so I never actually would throw one out.

Gun, or billy club, to your head: what are your favorite three albums of all time?

I’m a huge music fan and I really love a mix of everything from Talking Heads, The Clash, Guns N’ Roses, Elvis Costello, Nirvana, Otis Redding, James Brown, Johnny Hallyday, The Rolling Stones, Lou Reed, The Jam, Al Green, Joe Williams, My Morning Jacket, Wilco, Roy Orbison, Hoodoo Gurus, Moby Grape, Toots Thielemans, and Johnny Hallyday. Stop me when I pass three okay?

If you had put out a Wood Shampoo double-live opus in the 70’s, what would it have been called and how were sales?

I think we would have called it “Wood Shampoo: One Lump or Two?” and it would have been a limited sold-out run of one million copies in blood red vinyl. 

CHRISTIAN SBROCCA

ChristianWHAT WERE THE FIRST 3 RECORDS YOU BOUGHT AS A KID?

I can’t find 3! The first two I remember wanting to buy…but that my parents bought for me were vinyls: John Cougar Mellencamp (Hurt So Good), Joan Jet and the Blackhearts (I love Rock n roll) and on tape the first two I bought for myself were Michael Jackson (Thriller) and Men Without Hats (bought with my Brother) for the song Safety dance. Other tape (records) bought a little after that:  Appetite for Destruction (Guns), Tesla, Bon Jovi, Ozzy, Def Leppard..

AND HOW DO YOU RANK THEM TODAY?

Classics! Really good songs still.  I’m not the type of person who got “trapped” in the 80’s…but I have to admit that the quality of songs during that decade is phenomenal. We turned our backs to 80’s music in the late 90’s until recently.  When we look at the top 40 from 1980 till 1989, we realize that a lot of those songs are still “up to date”.  Especially the “New wave music” and the “Rock” music…but no so the Hair metal bands..

DID YOUR FASCINATION WITH MUSIC, LIKE SO MANY ARTISTS, BEGIN IN THE HOME WITH FAMILY?

Absolutely.  MY father was an italian immigrant from Rome Italy.  He came to Canada with a plethora of music styles as he was also a musician himself.  The Beatles, Elvis, Southern American music, Italian classics etc, played continuously on our turn table but also “Live”.  Parties at my house were legendary…My father was one of the best “entertainer” I’ve ever seen…

As he (my dad) fell in love with the french Canadian culture (The Quebec Culture), he also learned a lot of folk music form here.  As you can imagine, mixing the Beatles, italian classics and french traditional folk would rock any party, in any country!

Those were fine days….  I started playing with him at the age of 12-13.  Started with some back vocals and easy rythms.  Things moved forward pretty fast though, as I was really passionate about it.  By the age of 14-15, I was playing at parties (with my buddies trying to impress young girls!), camping trips etc…at the age of 17-18, I played my first “bar gig”

My father passed in 2002… We played hundreds of times together at our house or at relatives for Christmas, Easter, New Years, name it.  Since he passed, I’ve never played a single note at a home party again.  It was his kingdom…he did it so well.

WHEN DID YOU START ACTUALLY WRITING SONGS AND CAN YOU DESCRIBE THE WRITING PROCESS FOR YOU?

My first melodies (with bad lyrics) were written between the age of 15 and 18.  Although I do not consider them as “songs”. My first real song was written in College at the age of 19.  The song is called “Unexpected”.  This song followed me for quite some time since it was kept on my first english album in 1999.  It was written after a young hockey player, Travis Roy, at Boston University (I was also a player at UMass, Lowell), became quadriplegic during a hockey game. This accident really moved me.

After that song, it took me a few years to write again. As for song-writing itself, it always has something to do with emotions as far as I’m concerned…  Self doubt, happiness, love, death, anxiety, substance abuse etc… are all topics I have sang about in my career.

It usually starts with what some of us here call “yaourt”.  A melody with no real lyrics… It can, or almost sounds like real words but they aren’t.  They are just there to guide you to an emotion that will end up leading you to real words.  Once the melody starts to take form, then real words come naturally….

I wrote strictly with the acoustic guitar for 10 years…  The first song I’ve ever written on the piano is a song about my dad called “Un monde sans mon père”. ( A world without my dad).

Today, I’d say that 60% of the songs I write begin with the piano, the other 40 is with the guitar.  Same deal….Most of the time, melody, then lyrics.  I have also done the opposite (lyrics first) since I write for others quite often.  I love it….  Completely different dynamics, but challenging.

Writing is a full time job for me…and although I do it more with my “head” then with my “soul” lately, there is always a way to put “heart” and honesty into it… Obviously, i’ts different when the writing is for my own material….then soul comes first.

IF YOU WERE TO HAND A DISC TO MR. BIG IN AN ELEVATOR LIKE IN THE MOVIES WITH ONE TRACK OF YOURS ON IT, WHAT WOULD IT BE?

It’s very difficult to answer…I’ll say: “The Choice Is Yours“. It’s a song I have not yet released…. but:the track pretty much sums up everything that I am as a human being, an artist, a singer song writer.

Christian2HOW DID YOUR RECENT EUROPEAN DATES GO?

Very good…  the most important show I’ve done in France was in a 13th century Castle in the French Alpes… What was really for about that experience is that 16 of my faithful fans from Canada made the trip to Europe with me !  They followed me on tour for 10 days and on the 10th day, we played a sold out concert in the Tallard Castle.  On top of the 16 that made the trip, about another 15 french Canadian fans joined us on the last day to attend the Castle concert…..  One word : Magical!

IT’S BEEN A FEW YEARS NOW SINCE YOUR LAST FULL LENGTH RELEASE, L’OPNION DES AUTRES, ANY PLANS FOR A NEW DISC?

The french canadian market (95% in the Province of Quebec) is pretty Small…..only 6 million people.   In order to have a great quality of life, one has to find multiple ways to make a living.  As far as I’m concerned, in the last couple of years, I have found ways to position myself (and my studio), in great position.  Lately, I have been writing for other artist that are much more « commercial » and « popular » then me !  Interesting copy rights come along with that.  Also, I have been hired to write « thème songs and « music » for many TV shows.  Some of then are « daly » shows.  Interesting copy rights and publishing rights come along with that as well.

As for my own material, It’s been too long LOL. Textbook story :  Since my last full length CD « L’opinion des autres », I have lost a little bit of momentum.  I’m now on my own with no record label, no manager and no bullshit.  My last record deal experience was brutal.  I’m excited about doing things slowly and on my own.

WHAT DO YOU CONSIDER YOURSELF FIRST AND FOREMOST TODAY: A PERFORMER, A SONG-WRITER, A SINGER OR A PRODUCER?

Probably the most “unanswerable” question ever! But let’s be honest here… I ain’t “the producer”, but I’m pretty good at it. I’m not a “singer”.  I’m a singer–song-writer that can sing…but I’m not “the singer”! I think I’m a “performer” and a “song writer”….that produces music and sings his heart and soul out.

CANADA’S OBVIOUSLY HAD SOME GREAT ARTISTS OVER THE YEARS: WHAT’S THE CLUB SCENE LIKE IN QUEBEC FOR NEW MUSIC THESE DAYS AND ANY ARTISTS GRABBING YOUR EAR?

The club scene is very healthy for new upcoming bands.  But unfortunately, it’s hard to make a living playing “clubs” with original material.  That being said, Montreal is probably the best “stepping stone” in all of North America for “indie music”. I’ve been an “Arcade fire” fan for years… So cool to see them do so well.

Patrick Watson, Malajube (french), Karkwa (french), Stars etc….There are also other “main stream” bands or singers that do really well, and although it ain’t my type of music, it’s fun to be able to appreciate other’s talent and success (Celine Dion for example)

WHAT ADVICE WOULD YOU GIVE TO A YOUNG ARTISTS RECORDING THEIR FIRST DISC?

Cliché stuff but so freakin true:  Be yourself.  Don’t let the “web”, “youtube”, “instant star’ bullshit syndrome get to you. IT  DOES NOT MAKE YOU AN ARTIST AND IT WILL NOT GIVE YOU A CAREER OF ANY KIND. Write your own stuff cuz that’s how real careers are built.  If you do not write your own stuff, then find the right songs for you.

Work. Dedicate yourself….Work…Never give up….  Cuz if this is really what you want to do, there will never be any other options anyways!  You might as well work.  Oh yeah…have fun along the way!

WHAT PITFALLS NEED AMERICAN BANDS BE AWARE OF WHEN VENTURING NORTH TO PLAY DATES IN CANADA (OR QUEBEC?)

No too many…. Be polite.  Be open… Be respectful. Yes, a little cliché but…..Break the stereotype: Show us that you “understand” that although “America” is a great country, that you “ain’t” different then any of us or any body else for that matter. We love that especially in Quebec!  We are a nation of our own…we speak French, we have a different culture, we have a different back ground, different traditions……Know a little bit about us (Canada or Quebec) before you head up here…it’ll show that you “care”.   Do the same in Europe and anywhere else your music brings you! ~ Christiansbrocca.fr

DAVID KEMPER

david_manns

What was the first album you ever bought and how do you rate it today? 

It was either:

a)    Steely Dan, Can’t Buy a Thrill

b)   Kiss, Alive!

c)    Thin Lizzy, Nightlife

I was a very mixed up boy.  As for the rating part…

a)   Aaa  (Moody’s doesn’t go any higher, or I would, too.)

b)   C (Moody’s doesn’t go any lower…)

c)    A2

What does your 8-track collection look like?

It looks like a poltergeist taking a polygraph (as observed by seven blind pygmies from Paducah).  The only time I ever saw 8-track tapes in person was when we went to visit some distant cousins in Wisconsin – Sonny & Cher Live, Bobby Sherman, that kind of thing.

Was bass your first instrument or an evolution?

It happened all at once.  I awoke one morning to find myself transformed in my bed into a giant, grotesque, bass fiddle.  I couldn’t move.  I couldn’t speak.  My family and all the neighbors shunned me as the sickening vermin I’d become.  Those snooty violinists and cellists wouldn’t play with me.  All I could do was lay there, staring at the ceiling while sawing away on pithy quotes from Richard Strauss’ Ein Heldenleben.  Very weird.

Bass is my only real instrument, actually.  I often do “play” other instruments on my recordings, however the word “bad” has to be appended to the front (Badguitar, Badkeyboards, Badmelodica, etc.) to get an accurate description of the kinds of sounds I tend to make.

Does being the guy holding down the low end frequencies inform your personality in any way outside of music?

Hello, cowgirls.  I like being on the bottom.

What came easiest to you early on, playing or writing?

The only writing I did when I was young was in the sand traps of certain North Shore country clubs I won’t name.  We used to jump the fence late at night, run around wild on the fairways, throw all the patio furniture into the deep end of the pool and steal all eighteen flags from those immaculately manicured greens – but not before using them to write “ZZ TOP” really, really BIG in all the sand traps.  That’ll show ‘em, eh?

So…I guess the answer would be: Playing.

What’s Brahms’ 3rd Racket all about and is it true you have an affinity for concepts?

Brahms’ 3rd Rocket is all about the concept of having an affinity for calling all God’s creatures (inanimate or otherwise) by the name of which they truly, in fact, are, and should forever be, including (but not limited to) calling kettles Kettles, calling pots Pots, and calling my band by its correct name, which is Brahms’ 3rd Racket.

(Editors note: David was kind enough to catch my error…. “It’s RACKET not ROCKET!!  But don’t sweat it.  I hear even Yoko was in the habit of repeatedly referring to her husband’s band as “Beatles” (“Beatles this, Beatles that”- errantly omitting the “The” every time).  So “Rocket” I can understand.  Hell, I used to know this one guy who kept calling it “Brahms’ 3rd Reich.”  I’ll take “Rocket” any day”)

What’s more enjoyable for you, writing a good pop song or developing the picture music you create for tv n’ film?

I like it all.  I don’t distinguish.  Do I write pop songs?

Sometimes just a simple twist in the arrangement of a song can make a huge difference, is that tinkering part of why you enjoy the role of producer or is it a more technical fascination for you?

I’m an arranger, basically, a collage artist, making sound mosaics.  This inevitably encompasses many different sub-disciplines: composing, performing, scoring music, recording, setting up mics, pushing “Record,” buying beer, asking very nicely for the drummer to hit harder, etc., etc., etc.

That said, I couldn’t give a shit about “technique,” “technical”-anything, or any other derivation of that cold and lifeless word.  Ever try kissing a dead fish?  It’s a means to an end.  I’m not infatuated with methods or systems or techniques.  And I really don’t think of myself as a “Producer,” either.  I used to think it was cool to call myself that (“Yo, bro, didya check out that one young chick that I produced?  Man, did I produce her!”)  I used to like it.  Not anymore.  “Producer?”  Yuk.  Let Bob Rock have it.  Sounds like a guy with nice hair who sells insurance.

Since you aren’t famous drummer David Kemper, do you think this is a good time to challenge him to bass n’ drum throw down to stop all of the chatter between camps?

I don’t want to stop the chatter between camps.  Perish the thought.  I just sent off a four-page letter in response to some lawyer dude in San Francisco who mistakenly emailed me some kind of artist agreement (complete with royalty breakdowns) for the “live” Jerry Garcia Band album they’re going to be putting out soon.  Four pages.  Arguing for a better % (the drummer plays four times as many notes than the bass player, etc.)…PowerPoint charts and graphs in support of this theory…bogus legalese…more prissy rock star demands than Van Halen in the dressing room…in short, pure balderdash!  I had that lawyer dude doing figure eights around the page, revealing only in the last paragraph that he had sent his little agreement to the wrong David Kemper.  Stop the chatter?  Hell no!  If all the chatter were to suddenly stop – and I no longer had a reason to write goofy letters like that – whatever would I do with all the empty hours?

If you could be the first artist to perform a song on the moon, on behalf of mankind, what song would you choose?

I wouldn’t perform it myself.  Assuming – since I’d been selected for this great honor on behalf of all mankind – that I would then have the full financial and technical resources of Planet Earth at my disposal, I would graciously defer and instead use those combined resources to have Andrea True exhumed and resurrected so the Andrea True Connection could do “More, More, More” on the edge of the Aitken Basin while Evel Knievel (since money is no object, right?) jumps back and forth over it riding a giant neon dildo.

Get the action going…get the cameras rolling…holy, shit, can you imagine that on the fucking moon?  But…hey…realistically…if the resurrections didn’t work out?  In that case I’d just get Carl Douglas to do “Kung Fu Fighting” and be done with it.

ANTON FIG

figWhen did your love affair with the drums begin?

I don’t remember ever deciding to play drums. I was always interested and drawn to the sound of them as far back as I can remember.

Who were your heroes growing up and do you still listen to them?

Earl Palmer – though I did not know it was him at the time Mitch Mitchell, Ginger Baker, Ringo, Keith Moon, John Bonham – English Invasion guys

Tony William, Elivin Jones, Jack deJohnette  –

Just to name a few – and yes I still listen to them

What was your first full kit?

My grandfather bought me a snare and bd at age 6 and every year added a drum – so I had a full set by the time I was 9 but it was a mutt of a set

Did the playing the drums come naturally to you or does one have to work hard at it to get to your level?

It came pretty naturally but when I work at it it pays huge dividends. There are periods in my career when I practice more than others and that always pays off.

What’s your kit of choice these days?

I endorse Yamahas – they are very consistent and good. I don’t use the same set up each time – especially in the studio – and enjoy changing the configuration to suit the music or just give myself a different perspective on things

What is the greatest drum track of all time?

Impossible to answer but anything by Tony Williams

I also love Mirolslav Vitous’ version of Freedom Jazz Dance – Jack de Johnette is the drummer

frehleyWhat’s your favorite thing about being in the “The World’s Most Dangerous Band”, and now The CBS Orchestra for all these years?

Steady work with great musicians and guests, high visibility, great hours – a dream job and life changer

Is it me, or is Dave even more into your musical guests these days than ever?

Dave is a very keen listener and appreciative of the music. He is very supportive of our band  – which is great for us

You guys are also the house band for the Rock & Roll Hall of Fame, any favorite magic moments so far?

It’s always great playing with the originals. You see how good they are up close and why they were groundbreakers and have endured through the years

You’ve worked with Ace Frehley as far back as 1978 when you played on his first solo album, did you guys have fun getting back together to track Anomaly in 2010?

I love that first album and have worked with Ace and maintained our friendship over the years since then. It was great to be back in the studio with him again. It’s always good to see him. – ANTON FIG

JIM VALLANCE

JimVallanceWHAT WAS THE FIRST TUNE YOU LEARNED TO PLAY ON THE DRUMS?

It was a very long time ago (1965?) but I think the first song I played on drums was “Little Red Riding Hood”, by Sam The Sham and the Pharaohs.

DRUMMER JOKES ASIDE, IT SEEMS THE BEST ARTISTS (AND PRODUCERS FOR THAT MATTER) CAN PLAY SOME DRUMS, OR IN FACT BEGAN ON THE DRUMS: HOW DID UNDERSTANDING RHYTHM HELP YOU AS A SONGWRITER AND PRODUCER?

There’s this presumed orthodoxy that everything begins with piano … learn to play piano and the rest will follow.  That’s why so many kids are forced to take piano lessons.  If it were up to me, I’d say “start with drums and the rest will follow”.  Rhythm is the most basic musical building block.

I took piano lessons like every other kid of my generation — except the ones who took accordion lessons! — but it’s drums that taught me how to play music with feeling.  Even now, when I play guitar, I play like a drummer.

WHAT WAS THE ALBUM THAT GOT YOU HOOKED ON ROCK & ROLL AS A KID?

I wasn’t aware of albums when I was a kid.  It was all about singles, 45 RPM vinyl disks.  The first ones I bought were “She Loves You” by The Beatles and “Glad All Over” by The Dave Clark Five.

RodneyHiggsHOW DID YOU COME UP WITH THE STAGE NAME ‘RODNEY HIGGS’ WHEN YOU WERE IN PRISM AND DOES HE, AS AN ALTER-EGO OF SORTS, EVER PAY VISITS TO YOUR MIND SET?

I live part-time in London … I have an apartment in Kensington. I’ve always loved Sherlock Holmes, that whole Victorian-era thing.  Rodney Higgs sounded like a character from a Sherlock Holmes story.

DID BEING FROM CANADA MAKE IT HARDER TO BREAK INTO THE MUSIC INDUSTRY AT LARGE OR DID YOU SEE IT AS AN ADVANTAGE?

I’ve always wondered if it made a difference.  There were hundreds of bands in Los Angles, all of them within walking distance of the big label offices.  Whether it was Devo from Akron or Nirvana from Seattle, I think there was some novelty attached to bands that were from somewhere other than LA.  So yes, I think it helped to be from Vancouver.

IN YOUR PARTNERSHIP WITH BRYAN ADAMS, HOW DID YOU GUYS WORK ON SONGS TYPICALLY? DID THE APPROACH CHANGE AT ALL OVER THE YEARS OR DID YOU HAVE A FORMULA TOGETHER?

No formula, but certainly a democratic approach to writing songs.  There’s no ego … the best idea wins, no matter who came up with it.  We both write melody and we both write lyrics.  We can bounce lyrics and melodies back and forth until the best idea becomes apparent.  Sometimes I’ll play guitar, sometimes bass, sometimes piano.  It depends on the song.  Bryan usually plays guitar when we write, although he’s actual a very good piano player.

Cars_JimVallanceYOU HAVE WRITTEN WITH A NUMBER OF MAJOR ARTISTS OVER THE YEARS, WHICH WAS THE BIGGEST CHALLENGE FOR YOU AS AS SONGSMITH?

I’m 60.  I’ve been writing songs since I was 16.  You’d think it would get easier, but it doesn’t.  It’s hard work.
Every song, every artist, comes with its own set of challenges, the main one being, you want to do the best job possible.  I admit I was nervous the first time I wrote with Steven and Joe from Aerosmith — same for Ozzy or Alice Cooper — but you get over that quite quickly.  Then it’s all about focussing on the task, spending the time — hours, days, whatever it takes — writing, re-writing, honing it until you’ve got it right.
Honestly, every song is a challenge.  There’s nothing quite so daunting as staring at a blank piece of paper waiting to be filled with lyrics.  Somehow it just happens. There’s that great story about Andrew Loog Oldham locking a young Mick Jagger and Keith Richards in a room, threatening not to let them out until they’d written a song.  That’s kinda what it’s like.  That’s what it takes.
ONE OF YOUR CURRENT ‘PET PROJECTS’ IS JOHN LENNON IN GERMANY FROM 60-62: CAN YOU SHARE A PEARL FROM THE YOUNG TOUGHS DAYS IN HAMBURG?

An interviewer once asked Lennon to divulge the secret of the Beatles’ success.  Lennon replied, “We were a really good band!”.  And they were.  Listen to their recording of “Kansas City”, which is straight from their Hamburg set-list.  That’s four guys in a studio, singing and playing at the same time.  No ProTools or overdubs, just a really good band taking their Hamburg club show into a recording studio.  That’s where they got good, playing eight hour sets at the Top Ten Club and the Kaiserkeller.  There’s no substitute for that kind of apprenticeship.

 HOW DO YOU RATE RINGO AND WHAT IS YOUR FAVORITE OF HIS DRUM TRACKS IF YOU HAD TO PICK ONE?

Ringo is one of the best rock drummers, ever. Bonham may have been heavier, and Stewart Copeland may have had more finesse, but you won’t find a more tasteful drummer than Ringo.  Plus, he basically invented the drum fill as we know it.

My favorite  Ringo tracks include “Lovely Rita”, “Carry That Weight”, “Ticket To Ride”, “Rain”.  For that matter, he played great on everything.  Never the same feel twice.

DO YOU STILL PLAY ‘SONG DOCTOR’ AND DO YOU MAKE HOUSE CALLS?

I don’t like the “song doctor” label.  It sounds like all I do is fix other people’s songs, or contribute the last 10% to fine-tune the song for radio.  I might have done that a few times over the years, but 99% of the time I start from scratch, sitting in a room with Bryan Adams or Steven Tyler, blank page, no clue where things are headed, and somehow you come up with a song. That’s a great feeling.  That’s what I love about my job … creating something from nothing. – JIM VALLANCE 

MELVIN TAYLOR

L1010246_3bwWHAT WAS THE FIRST GUITAR YOU EVER OWNED AND WHAT WAS THE BEST THING YOU RECALL ABOUT IT?  

My very first guitar was given to me by my teacher, Father Duffacy at Saint Francis Cabrini.  I was 13. It was a white Kingston and he also gave me an amplifier. I couldn’t believe it – my family could not afford to buy me one.  What a wonderful, generous man.  I loved that guitar.  I polished it, slept with it… The best part about the guitar was that it was my very own.

ANY GUITARS YOU’VE HAD OVER THE YEARS THAT YOU WISH YOU STILL HAD NOW?

One guitar I wish I had now was a cherry red Gretch Country Gentleman. It was a reissue of 1967 Chet Adkins model.  I lost it when my basement flooded in 1998. I was on the road, out of town at the time.  It was completely ruined by the time home.

IN TERMS OF PLAIN OLD FEELING GOOD, DO YOU PREFER PLAYING GUITAR AT HOME ALONE, IN THE STUDIO OR LIVE ON STAGE?

For me there is nothing like performing live on stage.  I feed off of the energy the audience puts out and I throw it right back to them.

WHAT IS YOUR APPROACH TO MAKING NEW RECORDS? DOES THERE NEED TO BE A MUSICAL THEME FOR A GIVEN RELEASE OR DO YOU PREFER THE FREEDOM TO CHANGE IT UP THROUGHOUT?

When I started out I recorded for a label – my first 6 CD’s were done that way;  the producer sets the approach and theme for a release. The music turned out great but financially it did not work well for me.

melvinMy most recent CD’s, Beyond the Burning Guitar (2010), Sweet Taste of Guitar (2011), and Taylor Made (2013) I composed, recorded and produced on my own.  It gave me the freedom to record and present the music the way I want.  It had been almost 10 years since my last CD so there was lots of discussion with my management about how to proceed.  BTBG is all instrumental, 23 original songs plus my arrangement of Beethoven’s Fifth (Melvin Meets Beethoven).  The CD covers several styles of music including, jazz, latin, blues and classical. The idea was to feature my guitar playing.  I love ALL kinds of music and I’ve been blessed with my talent. I’ve never had a guitar lesson, no one taught me how to play; I would just hear a song and could play it.

Throughout my career I constantly heard producers, music critics, other musicians say, “pick one style, just one, and stay with That”.  I thought the idea was absurd and could get very boring. I did not want to limit myself.

Basically I created my own sound by combining elements from many areas of music and I think I have done it well. Once again with my latest release, Taylor Made (2013), the theme is exactly that.  The title explains the music on the CD – All kinds of music is who I am.

WHEN DID YOU REALIZE YOU WERE GOING TO PLAY GUITAR FOR A LIVING AND THERE WAS NO TURNING BACK?

Around age 11 or 12 I began performing on Maxwell Street in Chicago.  I would play with my Uncle Floyd and his friends. I did not even have my own guitar so I would play my uncle’s Fender Mustang. When people started crowding around us and throwing money in the tip jar – I knew right then there was no turning back.

WHAT’S THE BEST BLUES GUITAR SHOWDOWN YOU HAVE EVER BEEN IN OR WITNESSED LIVE ON STAGE?

I think this answer will surprise you – the late 1980’s – I believe 1987, George Benson and Earl Klugh at Carnegie Hall of all places.  Fabulous blues by two exceptionally talented guitarists.

HOW DID THE HABIT OF TURNING YOUR AMP BACKWARDS ‘TO THE WALL’ COME ABOUT?

Good music and sound levels go hand in hand.  Lots of people think the louder the music the better – not true! Inexperience with sound engineering can ruin a show.  Sound levels of each band member need to blend.  Whether it’s a 3 piece band or a symphony orchestra.  When playing in a smaller club I often turn my amp to face backwards or away from the audience.  I don’t want to shatter their eardrums.

MelvinTaylorWHAT IS YOUR PERSONAL FAVORITE GUITAR(S) FOR THE CLEANER, MORE JAZZ INFLUENCED MATERIAL VERSES THE BLUESIER, MORE ROCKIN’ BONZO BLUES STUFF?

My personal favorite guitar is my Ibanez SA200.  I can play everything on this guitar – jazz, blues, rock. Now let me add that I modify ALL of my guitars, amps and pedals.  If someone goes out and buys the same brand names of equipment they will not get the same sound that I do.  Recently I’ve been beta testing ceramic wire for a company in Japan. Some day I hope to market my own line of guitars and equipment.

WHAT EARLY BLUES RECORDS HAD THE BIGGEST INFLUENCE ON YOU AS A YOUNGSTER AND DO YOU STILL LISTEN TO THEM TODAY?

Freddie King –  Hide Away. Jimmy Reed Shuffle. These 2 are at the top of my list. Remember I grew up in the 60’s and 70’s – EVERYTHING was going on. Motown, James Brown, Hendrix, Miles Davis, Wes Montgomery, Chet Atkins, Ray Charles, Marvin Gaye, Stevie Wonder.   It was funk/soul, rock, jazz – an absolutely amazing time to be growing up and soaking in all this music especially for a young guitar player.

DO YOU HAVE TO HAVE THE BLUES TO PLAY THEM OR IS IT MORE A WAY OF LIFE THAN A STATE OF MIND?

When I think of guys who put blues on the map I would have to name Albert King, Pinetop, Sam ‘Lightnin’ Hopkins, Elmore James, Chester Burnett (Howlin’ Wolf) and Willie Dixon as major forces. The blues is a “feeling”.  Broken and in pain, sadness and misery. Unfortunately it WAS a way of life for these people. Many people have come to me to teach them to play the blues – I can teach them blues chords and blues licks but the real blues comes from deep within….MELVIN TAYLOR

NATALIE MISHELL

NatalieMishellWhen you think about the new disc Goodnight Stranger in general terms, what’s it about?

Hmmmmm, well that’s a pretty loaded question… or more so a loaded answer, lol.  This was a really hard and personal record for me to write and even harder for me to listen to now.  In a nutshell I would say that when I was writing these songs I was in a very dark and confusing place in my life.  I felt I had lost a lot of my spirit, peace and the happiness.  I sort of became this person that I didn’t know.  When you listen to the record you hear a recurring theme in the lyrics of unfamiliarity and loss of one’s self…  and so the title “Goodnight Stranger” is referring to me as the Stranger.   I felt the title suited this chapter in my life…

How was it working with producer JP Bowersock?

From the moment I met JP I knew I wanted him to producer my record.  Not only was he a pleasure to work with, but he’s energy really helped bring such an emotional record to life. He kept the vibes positive and made sure I was always happy and comfortable.  I learned so much from him and Mark Dann (engineer) on the production side of things and in turn I feel like my ear is better because of them.  They really kept me apart of the whole process, and let me, the artist, make all the final decisions in the studio.  JP had a way of giving my songs the roots and character I wanted but at the same time keeping the sound “up to date” per say.  When we talked about how we wanted the record to sound we decided that we wanted it to have an old school 70s vibe, with a modern Americana sound.  I think we nailed it!  JP and I were both thrilled with how it turned out.

How was your approach to the studio this time different than when you recorded your debut EP In My Shoes a couple years ago?

So this is the first record that I have funded myself.  That being said, we were on a TIGHT budget lol!   Everything was carefully planned out as to not waste any studio time because every minute costs.  Believe it or not we got all the basic tracks recorded for this record in one twelve-hour day!   It was crazy and stressful but we did it!  JP had set up some rehearsals with the band prior to the recording session so we were prepared and super sharp for the recording.  You could technically say this is a live album because all the basic tracks were played together as a band and mixed in a live room instead of each musician recording separately.  That being said, we did have overdub sessions and of course I went in to do most of my vocals separately.  One of the greatest things about this record is that I have a stellar band now that I have been playing with for the past two years and so we naturally vibe together which I think you can tell from the recordings.  On my first EP, I didn’t even really know the musicians that played on the record and every track was recorded on a separate stem.  It’s not to say one way is better than the other for the listener but from an artist point of view I definitely dig recording with my band that knows me and my songs.

What do you feel are the high points (or best moments) on new album?

Well lets talk about some songs first…I think everyone’s opinion is and will be different but for me I love the song “My Peace”  That songs has some really raw and honest moments…I’m sure that’s not going to be my “hit” per say but I think that song best plays out my life during the writing of “Goodnight Stranger”.  On a lighter note, “Blue Moon” is a solid track, and it’s kinda of a break from more of the moodier stuff on the record.  Everyone seems to think that that song is going to be well received and as a band we all vibe really well together on that track!  And finally, one of my favorite moments on this album is the slide guitar in “Muela West”.  It’s the first thing you hear when you start the record and I think it’s interesting, strong and beautiful.  It really captures your attention and makes you want to keep listening…

Mishell_GibsonNYCHow did you track the vocals?

There were a couple of songs that I actually used the scratch vocals on.  “My Peace” being one of them.  But for the majority I came in separately from the band and tracked my vocals with just JP and Mark.

Who plays on the record and what do they bring to the personality of your band / music?

Neil Cavanagh, Billy Grant, Tony Oppenheimer and Neil Nunziato.  I had been playing with these guys for a while prior to the recording and I have to say that their time and devotion to this project gave me the confidence to put thing this down.  These guys were all so positive and talented and if it were not for them, these arrangements would not exist.  They all pretty much had creative control over their own parts and I never really needed to worry about it “sounding good” because they are killer musicians.  All of us were super honest, supportive and professional and that’s what makes a successful band.

Which tunes of the record are you playing live and which of them seems to go over best?

We have played most of them live at one time or another but the ones that seem to always be on the set lists are, Blue Moon, Never Really Tried, Between the Lines, Bag of Bones, Muela West and Riding the Wind.  Blue Moon is always a favorite of the crowd.

Does your background in acting inform your live performance as a singer / musician?

Absolutely!   I think my experience with acting gives me the confidence and personality to get on stage night after night and at least look like I know what I’m doing hahah:) Also, something that I learn in acting is how to be vulnerable which is really hard for humans to do in general.  As a musician though you have to be because you are always trying to communicate and relate to your audience and if you can’t “let them in”…what’s the point?

Socially, how is New York city different from where you came from in California? 

No where is like New York.  New York is its own animal and I think about this all the time.  My life socially here is an adventure everyday, filled with twist, turns and surprises, giving me more inspiration to write, experience, and love.  I like to think that I have a “New YorK” family as well as my real one.  The people that I know here have brought such joy and positive energy into my life and I think that’s because this city just has that effect on people.  I’m not a world traveler so I can’t say that this is the only place in the world that has this effect on people but I find myself falling in love with my life here in new york more every day.  Don’t get me wrong, I love my home and where I come from in Southern California but for me my environment is so important and this cities people, culture and life brings me experience every day…and that’s what people strive for…”the experience”.

In a strange twist of fate, you are hooked up to a lie detector by angry ASCAP agents …you are surprised when the question they ask you is simply “What are your three favorite albums of all-time?”.

Don’t make me do this!!!  Well these are certainly not the best records of all time but it’s 3 of which I can’t live without…I had about 15 and then did eeny meeny miny moe and this is what I got….

Radiohead- The Bends, Joni Mitchell- Blue, Ryan Adams- Heartbreaker

.NatalieMISHELLAre you happy with how your debut Natalie Mishell EP, In My Shoes, has been received so far?

When I was in the studio recording “In My Shoes”  I was overwhelmed, being that it was the first time anyone had taken my songs and gave life to my music.  I feel like the end result was more than I could have asked for at the time.  I have a product I am proud of and I feel, for my first record, it did pretty well with fans on both the east coast and west.  The feedback I get from people has been very positive. I do wish, however, we got to put more songs on it:)

Did you have specific goals going in to the studio?

Really my only goal was to learn as much as I could.  I was new to it…this was my first time in a major studio in NYC and I had no idea what to expect.  Rich Pagano, who produced it, was a pleasure to work with and kind of guided me through the whole process. As I got more comfortable with him and the process I started coming in to my own. One thing that I was really picky about was my vocals sounding too “clean”; I really wanted there to be a lot of feeling behind the lyrics and I think that comes across when the vocals are “true”, without auto tuning, or effects, things like that.

You did a solo east coast tour this summer in support of the disc, how did it go and is it scary playing solo?

I was a bit nervous you could say lol.  I didn’t have a band backing me up.  I thought that maybe I wouldn’t be enough to portray the songs like the record cuz’ there is definitely a lot going on instrumentally.  I thought the people that had heard the record but never seen me live might be disappointed but thankfully I was wrong. I had a great response and some fans even preferred me live, alone on an acoustic – that was a great feeling!  I had a lot of support from fans on this tour and it made me a better, more confident musician. But, at the end of the day, I love having the energy of a band behind a song.

Do you have a philosophy when it comes to performing live or anything you hope to get across to the audience?

Hmmmm, I don’t know if I would call it a philosophy…for me, I guess it’s about sharing myself with the audience.  If I am connected to the song, if I am “in the moment” and really feeling what I’m saying, then I feel that comes across to the audience and they connect with me.  So to do that I actually have to forget they are there while in a song and focus on what I’m singing.  And then when a song is over I immediately try to re-engage the audience, so they know I am present there with them, and not in my own la la land. lol.

What songs (or artists) had the biggest impact on you as a kid?

As I kid I grew up on all the greatest… Bob Dylan, Janis Joplin, The Beatles, Grateful Dead, Simon and Garfunkel,  Joni Mitchell, etc.  My parents were pretty hip you could say haha. Well, at least I thought so. Classic rock and folk music was huge in the family.   The songs that told a vivid story, with a voice I could actually feel were my favorites.  Bob Dylan and Janis Joplin were probably my top favorites growing up.

What came first for you, singing or the guitar?

You probably won’t believe this but I started singing at 8, taking voice lesson regularly.  My dad bought me a guitar when I was 13 and didn’t pick it up until I was 20!  It’s terrible, I’m actually really pissed at myself for waiting so long to start playing.  I could have actually been “good” at it? But all kidding aside, I’m so glad I at least picked it up finally. Changed my world as a songwriter and performer.

What was the first song you ever wrote and what was the inspiration behind it? 

The first song that I ever wrote using the guitar was, “Without You” when I was 20.  My inspiration came from what every young girls goes through at one point; a broken heart.   I had been playing about a month and knew like 4 chords.  The song just sort of wrote itself.  I actually love this song and I don’t have any professional recordings of it, but lately I have been thinking it might be kinda of cool to put it on my next record as a bonus acoustic track… Maybe :)

How does the song writing process start for you, with a subject, a guitar line, a melody?

I could write for hours on this but as to not bore you I’ll try and sum it up.  The process for me is pretty much always the same…First of all, I can only write when I am in the mood.  It has to be totally organic.  I used to try and set aside time for writing and that was a huge mistake, I only wrote bad songs and got frustrated with myself.  I find music comes to me when I don’t force it.  When I’m mentally ready to write something I just feel it.  I’ll stop whatever it is I’m doing, lock myself in my room and write.  It starts with the mood I’m in and one chord and everything else just falls into to place.

What’s your favorite thing about the scene in New York City?

Oh god, what is there not to love about this city.  This city has everything to offer someone and more.  I can’t just pick one thing. The culture, the creative artists, the food, the seasons…  I really could go on about this.  So, the best thing I would say, is the opportunity.

What ‘guilty pleasures’ might one be surprised to find on your deserted island playlist?

HAHAHAH…Well this is funny.  Snoop Dogg :)

REBECCA FRAME w/ ESQUELA

Rebecca FrameHow did Esquela come together?

John ‘Chico’ Finn and Keith Christopher have a long history together. And so, when John wanted to start his own band, it only made sense for Keith to be his partner in crime. While recording Esquela’s first album, “The Owl Has Landed”, I was invited to do some backing vocals. Soon thereafter, Chico asked me to take over lead vocals. Todd Russell, a friend of Chico’s from high school, was a perfect fit on drums for the evolving band. Chico asked me if I would be interested in playing mandolin, which would have tricky since I have never played this instrument.  But, my friend Matt had.  So, enter Matt Woodin. At some point it was evident that we would need a fill in guitar player, since Keith was busy with other projects. Enter Ira McIntosh and Brian Shafer. Early on we had some other players from the city, who were great guys, but it just worked out better for it to be upstaters.

How does the song writing process work for you guys? 

Chico gets inspired by either a funny story from a friend, an article he’s read, or a documentary he has seen, and of course life experience and puts a pen to paper. Sometimes, with the help of Keith, he records a rough draft and sends it my way. I usually stick to the melody he had in mind, but I get to play around with it a little. Later the band gets together and fleshes it out.

 

Esquela has a late 60’s vibe, what’s Esquela about to you?

Does it have a 60’s vibe? That’s cool. Esquela is about getting together and being free to create in whatever way we see fit for each song, and have a good time doing it. Maybe that’s how they did it in the 60’s too.

Do you have a philosophy when it comes to singing and what do you hope to put across personally?

I guess I just want to do justice to the songs. And try to convey the feel as best I can.  I wouldn’t say I have a philosophy, I just love to sing.

Esquela_cover (2)Where can producer Eric Ambel’s influence be heard most on Are We Rolling? versus the debut, The Owl Has Landed?

I can’t really say anything about the Owl. I just showed up at the studio in Oneonta and laid down the vocals and the rest was up to the fellas.  But with are we rolling it was awesome to work with Eric in a more intimate way. He took more of a directive role. He’s smart and kind of sneaky. hahaha. example: Eric knows that I like to belt out songs, which can be a good thing, but sometimes it’s a little much. so for take one he would tell me to give it all I got (just like I like to). then for take two he would ask me to take it easier and softer, which was a little challenging for me because that’s not how I usually “attack” a song. I think we ended up using more of the second takes. They sounded better. He was right. But, he was cool about being right. It was a good learning experience for me. Also, we have a lot of guitar players in the band. Brian, Ira, sometimes Matt…..so I think Eric helped sort out the chaos of who would do what when. Honestly, while they were doing their thing I was bullshitting with Chico and Todd, so who knows what REALLY went down.

What was the first record you ever bought and what’s your favorite thing about it today?

The first album I bought was the Body Guard Soundtrack. I mean, Whitney? come on! she is (was) incredible.  her voice can move you in a way that no one else’s can. simply beautiful and strong.

Who are your musical heroes?

Chico. he just goes for it. I wish I has his courage when it comes to sharing his work.  you want a famous hero? too bad. I stick with my decision.

When did you realize you could actually sing?

Hmmm…when I was in grade school, my friend had a recorder and we sat on my living room floor and sang “This Used To Be My Playground” by Madonna, which is funny because we were soooo young but we were sooo dramatic about it. then we started our make believe band and would use picnic tables as our stage. I guess the dream was there early. but I guess high school was when I found that I actually had some talent for real.

Was there someone early in your life that encouraged you?

I don’t know if encouraged is the right word. influenced works better for me. My father played the piano every night while I was falling asleep, all the women in my family sing, my sister showed me the awesomeness that is classic rock, and also looked the other way when I stole her SWV and En Vogue tapes. My mom would tolerate me playing her Beatles albums over and over…and over again. I had a wonderful teacher in high school who called me ‘songbird’. that’s encouraging….

It’s said singers get better with time; how do you separate the best from the rest? 

I’m not sure if i agree with that totally. i mean, refining your skills, takes work and time, and yes, you get better at it the more comfortable you are with what you are doing. but, when you are starting your musical journey there is so much enthusiasm, and hope, and drive, and passion. and those things can kind of fade. i think what separates the”best” from the rest, are those who can hold onto the passion that they had at the beginning.

DAVE SLOMIN w/ WAITING FOR HENRY

SlominPunchInWhat earlier Mr. Henry record has the most in common with your new project Waiting For Henry, Ghosts & Compromise?

Man, I hope it’s not a cop out to pick two… but I think Ghosts falls somewhere between the first couple of Mr. Henry albums.  It has the grit and new-band-energy of As Good as the Ground, but I feel like it also has the song strength of Jackhammer.

You took a brief-to-longer-than-expected hiatus from playing live, recording and touring until now: does the material and lyrics on the disc tell any part of that story?

Yeah I did and yeah it does.  Story’s in the title song…  “Let’s raise a toast, to everybody’s ghost.”  For me, so much of this album is about coming to terms with the reality that a lot my life is now to be looked back on.  But it’s also about not being scared of the related ghosts – in my case, musical – that won’t disappear.  Doing the ‘band-thing’ once more is really like a born-again experience.  Like I had this phantom muse, packed into the closet with all the backup guitars and broken amps… and somehow it came back to life.  Musicians are like wolfmen… once you’re bitten it’s in you.

Elevator pitch, in one sentence: what’s your favorite thing about how the disc it turned out?

I always feel like a it’s a success if I come up with a recording that sounds like something I would buy myself… and I think I’d buy this one.  Or at least bootleg it.

Why did you record down in Freehold, NJ when you live so close to so many great studio’s in New York? 

Definitely the food.  They have awesome take-out Chinese in Freehold.  No, actually it’s kind of a cool story… for me at least.  We set out trying to work with Josh Jakubowski, who recorded the first Gaslight Anthem album “Sink or Swim”.  It’s the best and best sounding punk album of the past decade.  The tracks are beautiful, but bombastic.  Kinda like The Replacements’ “Tim.”  Anyway, our schedules couldn’t connect, but through the Josh search, we connected with one of his old partners in crime, Joe Dell’Aquila at Exeter Recording in Freehold.  First off, we were blown away by Joe’s sounds and mixes on his website samples.  We knew, even before seeing the studio that he was the guy.  Went in sight unseen and Joe rocked it.  Then, to ice the cake, we thought the whole ‘ghost’ thing of recording in the same town where Springsteen grew up, couldn’t hurt the vibe.  And it didn’t.  Was great.

Man, Hurricane Sandy …..what a nightmare.  Jersey’s known for bad hair and really bad McMansions, but not  hurricanes.  And it wasn’t just Sandy, in the 18 months we were recording down by the Shore we also got hit with Irene.  Thankfully, the studio – and our tracks – survived.  My house just lost some roof, although I have friend whose roof lost its house!

Anyway, a coupla weeks ago, I was with a group doing volunteer clean up work in Lavallette, a town that got mauled, and came up with the idea of turning “Here Comes the Rain” into a video fundraiser.  Working on that now.  We’re gonna donate all the proceeds from related downloads of “Here Comes the Rain” to Restore the Shore related charities.  Hope to have it up on the website this summer.  There’s a lot of folks who still need help and will for a long time.

You have amassed a nice guitar and amp collection over the years, what did you play on the new record?

Yeah, a nice collection of beaters from the guitar shop on the Island of the Misfit Toys.  Main electrics were a ’67 Epiphone Riviera 12-string, run as a six and an old Gibson SG Junior.  They’re always my go-tos, gritty but super warm.  Acoustic was a rebuilt Gibson dinosaur from the 50’s that I adopted from Texas.  Sounds amazing.  Ampwise, the main criminals were an ’82 JCM800, ’65 Fender Vibrolux, a Goodsell and a Samamp.  The Marshall saw the most action, since we were trying to put a big Buffalo Tom guitar sound into an Americana setting.  I think it worked.

Any rules you try to follow when writing a song or are they all ‘works in progress’?

Main rule is, when it comes grab it.  Otherwise you’ll be haunted for years.  Most of the songs on the album were one-shot deals.  Something sparks at 11pm and by 3am there’s a song.  Then there was Here Comes the Rain, which I started 15 years ago and never grabbed it.  Took a recession and Hurricane Irene to reignite the muse and find the lyric on that one.

Is a return to the road or the drive to play events like SXSW again on your radar or ‘in the rear view’? 

Would love to, but you’ll have to talk to my wife about that.

What is your fondest single memory from touring with Mr. Henry?

Too many to pick one.  But up there would be opening for Iggy Pop at Birmingham, AL’s City Stages, playing with Counting Crows at the Beacon in NYC, our first SXSW and of course all those nights humping gear into a motel room at 4am.  Then there was the day we couldn’t get out of the motel parking lot in Jackson, MS, cuz the innkeepers were cooking nan bread on the hot asphalt.

What’s the first record you ever bought and what’s the best cut on it? 

Elton John’s Greatest Hits.  Best cut, definitely “Border Song.”  “Holy Moses, I have been removed.”  It’s the song no one knows.  Have no idea how it made it to his Greatest Hits album, but thank God it did.

What’s the best concert you ever attended and what strikes you most about it now? 

There’s two.  As a kid I got into see The Clash at one of the famous Bond’s Casino shows in NYC.  One of the dates was an all-ages matinée.  Me and my friend Dan pushed our way to the front and were getting crushed against the stage.  The roadies pulled us up before we got killed, and rather than throwing us out, they left us onstage and we got to sing into the mic with Joe Strummer.  Even have one of Joe’s broken guitar strings from that gig.  Was magic.  The other was The Replacements at the old Ritz in NYC in ’85.  Was one of Bob Stinson’s last shows.  I never heard them before that show, but my buddy got tix.  Was totally awestruck.  Left knowing I had just seen the greatest rock band ever.

JESSE BREWSTER

jessetieguitarblazin_nobkWhat is your favorite moment on your last record Wrecking Ball at the Concert Hall?

That’s a tough one. The theme of that record is big sounding Americana tracks countered with heartfelt ballads. I think working on “God Fearin’ Man” was a blast, but there were some really tender moments too, especially on songs like “Sometime” and “Sorry Ain’t Enough”.

You’re taking a new approach to your latest release March of Tracks, it must be liberating in some ways and yet daunting in others?

Man, it’s a departure as far as the process of making a record goes. On the last album much of it was tracked live, with the same 5 people. Now I’m using a multitude of players, studios, engineers and gear, and it’s been incredible. I’ve been hand picking my favorite West Coast players for each song that plays to their individual strengths. Being able to focus 100% on one song at a time is so refreshing. There is the ever present and motivating factor of my own self-imposed deadlines (new song released 1st Tues. of every month) which can be a little stressful. But it’s also a response to the demand for single songs- don’t get me wrong, I’m a huge fan of albums and will make more in the traditional way in the future, but this time I want to get my music out there in the most effective way, and have gotten a great response so far. What was daunting was the idea of starting work on a 12 song album that people wouldn’t be able to hear any of for 6 to 9 months. Ah the world of instant gratification!

How’s it going so far; do you already have the future tracks mapped in order?

Right now I do have a rough order, and am trying to be conscious of the tempo and style of each release. I want to be sure to mix it up and not, for example, release all the big up-tempo stuff up front so that all I’m left with is ballads. The other struggle is that any time I’m recording (and I think many artists would agree with this) I hit a creative stride with new material. So who knows, some of the stuff I’m writing right now could still make the record.

When you start writing a song, what comes first for you?

As a guitarist and sideman for years before I starting performing and touring as a lead singer/songwriter, that’s where things usually begin. I’ll find a progression that inspires me in some way, and 90% of the time the feel leads me to the subject matter. That being said, on occasion I do start with a theme and work from that side.

How do you know when a song is done and ready for recording?

That’s a great question, and something I think a lot of songwriters struggle with. As I’ve self-produced most my songs, I usually have a pretty good idea of when they’re ready to track. For songs that I send out to my players I try to give them a decent demo without getting to specific, because I like to allow people to approach their own parts creatively. But working with a producer is also a great way to finish that last 15% of a song, and something I hope to do more of.

JesseBWhat’s the state of rock & roll in California?

I think there’s a ton of amazing music out there, and it never ceases to amaze me how often I discover new incredible bands who are miles from where I live. So from that standpoint it’s as prominent as ever. From the industry side that’s a different story, I think with the internet era, people are less drawn to genres now than they are to good (sometimes not so good), catchy songs. That’s why every 15 year-old has 1000 songs on their iPhone from 1000 different artists. The way we as artists make out living has also changed, with an emphasis on licensing and placements becoming a more the norm.

Is there anything left of San Francisco of the 60’s?

Yes, and they’re all still performing! Every band who had a hit in the 60’s is still doing it, and they’re drawing all the same folks that came to their shows way back when. The boomers are the demo that can consistently afford to go out and see shows. Overall here though there’s a great collective support system in place of local artists, not as dog-eat-dog as other markets I’ve seen. I think it’s a great place to live and to foster your creativity, but I don’t see much opportunity here. I can’t think of many bands who have gotten really huge coming out of SF since Counting Crows or Train.

What were the first 3 records you ever bought and how do they rank today?

I’m not sure if they were the first 3, but I remember getting vinyl of Bob Marley Live, Willie Nelson and The Eagles.  All of which still measure up pretty strong compared to the music of the last 30 years

When did you start playing guitar and what was the first song you really got into to the point where you owned it?

I had a couple of false starts. At 7 or so I learned a couple chords, then again at 9 I picked it up again and went through a Bob Dylan songbook and learned “Don’t Think Twice”. I had a pretty good foundation when I kicked into higher gear at 12

By an amazing breakthrough in technology, you are to be awarded a role as a rock & roll deity with an expanded life span of 250 years (congrats) but, as a condition, you are forced to choose between electric or acoustic guitar from here on: would you be able to face the anguish?

That would be tough. I think I’d have to go with the acoustic, because that’s where 80% of the songs I write begin. Even the hardest hitting, slamming electric guitar driven tunes were usually started in my dining room on an acoustic. Also then if I’m still alive and kicking after the next major war or calamity, I won’t have to worry about finding a place to plug into in the post-apocalyptic hellscape!  :)

DONALD DUCOTE

url1.0 – Labels aside, the music on Tracks is hard to pin down, is that part of your vibe as a dude?

I don’t think so.  Maybe more now than the years previous.  We started recording Tracks in 2010 and you could take one look at me and figure it out.  Recovering hipster/pothead and you can bet the farm he started off in the suburbs.  Is that what you’re asking?  I have an aloof card that I can play pretty well, and I have, but lately I’ve been trying to shut that down; it’s boring.  I don’t think anybody wants to be easy to pin down.

2.0 – It sounds as if Ancient History has, ironically or not, been a real organic evolution of sorts; how did it come together?

I met Jim Smith, Austin Lemeiux and Paul Johnson while managing a cafe off the Morgan L stop in Brooklyn. They were all regular customers. I got to know Jim because he recorded the final record of my previous band.  He was also roommates with a friend of mine.

Paul lived in my building and we had been wanting to play together for a while.  Once things got situated with Jim he was the first person I called and we worked out the first couple tunes in his living room.

I don’t know what this says about me as a person, but whatever, it’s funny, I asked a co-worker with which customer she would most like to copulate.  She said, “The earl grey guy with all the tattoos that looks fucked up every morning.”  That was Austin and I can’t imagine there being a better-suited lead guitarist for my songs than that guy.  The next time he walked into the coffee shop I asked if he was a musician.  He said that he was a guitar player and he listed Jeff Buckley as his first influence.  We clicked immediately.  The first song we cut was ‘She Gave You the Keys’ in a basement art gallery in Dumbo and it was just the four of us, Jim was behind the board.  I believe we got it in about 3 takes and I remember us listening back and just being very pleased with what everybody was bringing to the table.

3.0 – Is understanding your sound as simple as the mix of your southern roots embracing the indie biosphere of Brooklyn?

I’m not convinced my roots are southern. I think, if anything, it’s the other way around. When I was in 4th grade I had a Garth Brooks tape and a Trisha Yearwood tape, but as soon as Nirvana showed up I was out.  I’ve always appreciated a sturdy song and I’ve always respected country music for being such loyalists to songcraft, even at the expense of any significant experimentation, but I think for me it’s always been the songcraftier end of my indie influences embracing whatever genre has a documentary streaming on Netflix.

4.0 – How did you approach the recording process for Tracks?

I had recorded with Jim Smith on my last project and he approached me about wanting to record some songs without a full band.  We put our heads together and decided to buy an old tape machine and record another record.  We didn’t want a clock ticking over our head and we didn’t want to record in a sterile studio environment.  That was it really.  We were going for natural reverb and mic placement.  We wanted to use tape and we wanted it to be warm and ambient.  We didn’t want a band album. We made a rule that we couldn’t use a drum kit and we wanted to focus our energy on a song by song basis.

Jim found the machine he wanted and he drove it from Detroit to NYC and we just hacked away at it whenever we could.  It took about two years.  I can’t tell you how important Jim was to this record. He’s amazing at what he does and because of it he is very busy, so there were long stretches between sessions, months at a time, to prep the songs and figure out over-dubs.

AncientHistory5.0 – As trippy as it gets at times, the tradition of story telling seems an important feature to your stuff; to what other artist, or artists, might you attribute the influence?

Storytelling is something that comes very naturally to me.  Anybody that knows me will tell you that I love a good story.  As a musician I’ve sometimes felt that I should’ve spent more energy trying to repress the urge to over-indulge my personal experiences but still, love and heartbreak are not topics that I write about very often. On the three records before TRACKS there are probably only 4 or 5 songs between them that are about romantic relationships. When it came time to write for this record I just said, “Fuck it.  Here’s all the shit I’ve been saving.”  Not sure I’ll ever endorse such straight-ahead narrative ever again, not because I think the record suffered for it, but because nothing I have left to purge is anything that anyone wants to hear about. Regarding influences, I’ve always been drawn to the more subtle characters of Belle & Sebastian and Elliott Smith. I like songs that can capture ordinary moments and infuse them with something unordinary, but at the same time Pedro the Lion’s Control and Ryan Adams’ Heartbreaker are two desert island records for me.  I don’t know, I have an undying admiration for Jeff Mangum and the words he writes. Lyrically speaking, I would like to adopt a more abstract state of mind going forward.

6.0 – What tunes on the disc are you digging most now that it’s done?

Hmm.  I love four-leafed.  It’s a song that had been brewing a very, very long time.  My buddy PJ (Michael Poulton) played lead for the first half of the song.  I recorded him in my bedroom in the middle of the night.  I remember we were drunk and he was playing slide with a beer bottle.  It’s one of the few songs that isn’t about a female.  And it’s fun to play.  Clover Honey is a sentimental favorite.  I love Austin’s guitar on that one, when it hits the high note halfway through.  He nailed it in one take.  We were working on Subway Dream and I remember telling Jim that I didn’t want lead guitar on the song.  He said ok, then Austin gave me some weed and I went to smoke in the hall.  When I came back Jim and Austin had finished Austin’s guitar part: that warm, burning distortion that just rolls through the song until it spikes into the breakdown.  Jim just smiled at me.  It took them five minutes and it made the song.

7.0 – How do songs come to you: more as ideas or feelings that lead to ideas?

Lyrics are always last.  Melody happens when it happens.  The riff is always first, the progression, the picking pattern, whatever.  The initial musical idea is what puts the key into the ignition.  To turn the engine you’ve got to grab that change, that switch from verse to chorus or chorus to bridge or whatever.  That’s what excites me.  Great changes.  When it comes to lyrics, I draw from the past, which is something I hate about myself.  I wish I could lose the documentarian in me and endorse a sense of fiction, but I find it very difficult to separate myself from what I’m writing, especially if I’m gonna be asked to sing the words over and over again.  I’m still trying though.

8.0 – What was your favorite 3 records in high school?

I grew up in Phoenix, Arizona.  It is not a very culturally diverse place.  If you were in your early teens in the late nineties in Phoenix you didn’t have a lot of access to underground music.  Thankfully, there were a few people that knew how to find it and they ended up saving me my junior and senior year, but early high school was alot of Weezer.  Pinkerton changed my life.  Other than that my buddies and I listened to whatever radio hits we heard on the bus ride to school.

I was working as a prep cook in Scottsdale when I was 16 and one of the line cooks gave me Modest Mouse’s Lonesome Crowded West and Jimmy Eat World’s Clarity.  It took me a while to absorb Modest Mouse but Jimmy Eat Word, being from Phoenix, was instant love.   They were a favorite for sure.  Modest Mouse, Elliott Smith and Neutral Milk Hotel were all bands that I listened to in high school but they didn’t really do their damage until I left home.  I remember the line cook saying that he listened to ’emo’ music.  That was in 1998 and I had never heard the word ’emo’ before.  It sounded exotic!  It opened my eyes and got me searching for music, as opposed to just buying whatever I heard on the radio.

So yeah, my favorites in high school were Weezer’s Pinkerton, Jimmy Eat World’s Clarity and probably the second Weakerthans LP.  A buddy introduced me to Left and Leaving right when it dropped and for years it never left my side.  My first week of college was 9/11 and I remember being in my car driving to community college when the first tower fell, and ‘Everything Must Go!’ was on the stereo.  Since then ‘Left and Leaving’ has always reminded me of good ol’ high school and pre-9/11 America.

9.0 – What was the first concert you ever attended? did it leave any lasting impression on you today?

I wish I had scalped my tickets.  My second concert was Rancid opening for Garbage and Smashing Pumpkins and I wish that was my first concert.  My first show was important though.

Earlier I talked about my love for songs with good musical changes; the first concert I ever went to was Cheap Trick opening for Meatloaf at what used to be America West Arena in Phoenix.  I’m not sure I’ve ever said this out loud, but I remember watching Cheap Trick play ‘The Flame’ and I remember the changes in that song blowing my mind. First when he breaks into the ‘i’m going crazy/losing sleep’ part, then the way it pounds into the ‘wherever you go’ part.  I fucking loved it.

As you can probably guess, I’m a sucker for ballads.  “The Flame” really got me, the way the parts worked together to form these really heavy moments.  Those are the moments I look for in music.  Those are the moments I want to create because those are the moments that can change the way a person feels.

10.0 – If you were Grammy level stars what you tour stage design look like? 

Whoa. No clue. But pyrotechnics for sure.

PAUL BOLGER w/ MR. BLOTTO

MRB hi rez cropped1.0 – It’s quite an amazing accomplishment to be a leading live act in Chicago for 22 years now, what’s the secret to getting along well enough to stick together?

It’s definitely a trick keeping it together. The biggest part is that the members all have to share a dream. That way no matter what you are up against, it’s still worth it. It’s still worth fighting for. It’s us against all comers. Getting along is easy because even if you are arguing or pissed or disappointed and blaming each other etc, that moment comes when you hit the note and have a great live show or write a new song and you’re all back in. That’s the payoff, the battery re-charger. As long as we are creating, we hit a re-do or reset many times a month.

2.0 – A big part of your success has been your shrewd booking acumen and relationships with promoters, how has the festival scene changed over the years? 

Chicago is a easy hang. People here are very unpretentious including promoters (for the most part). So you don’t have to cow tow to them or “work” them, you can just be yourself and let it happen. We as a band are fairly organized so I think we had an advantage in that promoters knew early on that if we were headlining the gig, it would go off on time and with no glitches. The way the fest scene has changed is that it used to be a neighborhood contracted a promoter, gave them a budget and left it up to them. as a result you got great regional bands that weren’t the same at every fest. Now you have neighborhood committees all sitting in a room and all 7 people are starting their sentences with…”well i think we ought to……” So they all know off the same couple bands and that’s it. Better to have a promoter who knows hundreds of bands and chooses them according to the vibe the neighborhood wants. Also there was more nudity back in the day.

3.0 – What’s on tap for Blottopia 2013? 

Blottopia has become a phenomenon and we ride it like a crazy bull that our hand is cinched to with a rope. It’s the most fun weekend of the year and it’s always a surprise in one way or another. We always encore Saturday night with a surprise album so that’s really fun to do. Look for it the last weekend of July.

4.0 – When do discussions of the choice for encore begin and have you ever had to filibuster to get your way?

A filibuster won’t work in a band. If you win, it’s like convincing an unwilling lover. Not as fun as you had hoped. Music is very dependent on the vibe so you can’t destroy the vibe to get your way, and then hope it’s going to be magic. It’s like winning the battle but losing the war. We don’t always have a setlist and rarely call the encore until we’re in it.

5.0 – Any plans to record new material for a studio release, or is Mr. Blotto now a strictly live proposition?

We are mixing down our 6th album right now. It’ll be out by summer. And we should have done it long ago. It’s just such a pain in the ass to do. But we have sworn to each other to do an album a year from here on out.

6.0 – Of your personal gear, what is your favorite acoustic guitar and do you play it live? 

I’m fairly monogamous when it comes to my instruments. I have several acoustic and electrics. For 15 years I played a Martin Shenandoah with maple back and sides. It finally gave up the ghost and lost it’s tone. I now play my Martin D35 which I love love love. It was my spare before and now it’s my main axe. I use a Highlander pickup under the saddle.

B13 wide stage7.0 – As with your line-up, Mr. Blotto’s esteemed and well traveled PA system has evolved over the years: is it approaching perfection yet?

It’s virtually the same. We’ve only had to replace about a half dozen speakers in 20 years! It’s because Bob Georges designed it to have more headroom and power than it would ever need to use so the system is never stressed. It’s become a part of the band. We play it like it’s an instrument.

8.0 – What advice do you give to young musicians looking to make a living at playing music?

James Taylor said “play everyday and keep your overhead low”. That’s great advice. We haven’t kept our overhead particularly low but we all play all the time. I tell young cats to get their promotional ideas together and treat them with the same importance as the music. They aren’t as important as the music but they think they are. You need a place to gig. You need an audience. You need exposure. If that all works, then you can play music for a living. It’s a different promo game now. We had a 6000 name mailing list that we labelled and mailed once a month. That’s like the dark ages now but we did it because we wanted this life. Now there is a wide open field for promo that is just being discovered and actualized. It’s ideal for the creative minds that are in bands.

9.0 – What was the first record you bought as a kid and are you still listening to vinyl?  The first album I ever bought was Brick “Good High” because of the song “Dazz”. The rest of the album sucked! So I began buying 45’s from that moment on, with some exceptions. The first 45 I bought was “You Sexy Thing” by Hot Chocolate. Ha! That’s a little embarrassing. I still listen to vinyl and have about 4 crates and a Luxman. It sounds great through my Infinity RS6000 speakers (geeking out now sorry).

10.0 – If Jimi Hendrix miraculously appeared next to you on stage, what Blotto stand by would you launch into to bring Jimi back to life for one more extended jam?

I would love to hear Jimi go to town on something like “1977” or “Rattle My Cage”. He would just take off into the blues stratosphere. I just hope at the end he doesn’t trash all our gear. Maybe he could just hump a feedback drenched screaming amp which 9 months later would give birth to a full blown whopper of an hallucination that would explode into a rainbow of flowers and guitar picks… but then again we don’t need another mouth to feed. Got to keep that overhead low.

DAHLIA FATALE

SONY DSCWhen did you begin performing live?  I can’t really remember a time in my life when I was not performing. I was introduced the stage as a ballerina when I was 3, and it has been a love affair ever since. I began publicly  performing burlesque in the summer of 2010 with the Urban Bombshells Burlesque Show in Seattle, Washington.
 
How did you chose your stage name?  Research, research, research. I sat down and defined the qualities I wanted in a name. It was important for it to be memorable, easy to say and feminine without being too clean. I spent lots of time looking at name books and historical figures while Googling my potential identities to make sure they were not already in use. Finally I took a spin of my former pin-up name The Lady Fatal and added a flower with a less than bright connotation in modern society the ‘Dahlia’.
 
How would you describe the burlesque audience? A rowdy mixture. It varies show to show from people who have never seen burlesque before and are just curious to the super-fans who can be seen at every event to the occasional observer. In general it’s just people looking to have a good time with some fantastically different entertainment.
 

Who is your favorite all-time burlesque artist?  Midnight Martini from Colorado. Her movement is so engaging and sexy while still being silly and incredibly creative.

 
Do you have to be into rockabilly to be a burlesque dancer?  Definitely not. While many performers are fans of rockabilly, there are also performers who are strictly metal listeners, some punks, some dub-step fans, rock and rollers and many eclectic individuals. Rockabilly is an important side of the burlesque world, but it is not the only one.
 
Music is a big part of the presentation: what tunes do you like to perform to?  Every act that I do picks its own song. I do a lot of dance focused choreography, and my acts vary from super serious and contorted to fun-loving and free. Probably my three favorite songs I have acts to are I Believe In A Thing Called Love- The Darkness, Idlewild Blue- Outcast, and Ice Ice Baby- Vanilla Ice.
 
What’s the nexus between what you do and punk?  The nexus lies in the DIY spirit and creativity. Both burlesquers and punks frequently design their own costuming, create their own art, and aren’t afraid of offending their audience or causing some out-of-bounds thought. Although I do think the punk communities would agree that we should keep the glitter and sequins on the burlesque side.
 
What was your favorite band growing up?  The Clash. I have been rocking out to “Straight To Hell” since I can remember.
 
What are you listening to today?  Literally everything. Over the course of yesterday I listened to Missy Elliot, James Brown, Prince, Streetlight Manifesto, Bad Brains, Muddy Waters and Fantomas. I find that the more music I listen to the more styles of music I have to pull from for new acts.
 
Where would you go if you could time travel?  100 years in the future….just to see what kinds of fabulous costuming and music we have yet to come up with!

SUGAR BLUE

cd_sugarblueportraitWhat’s the first song you recall moving you as a kid?  The first song that I remember moving me was a tune by Lester Young called ‘PC Blues’, I heard it at home on my mothers HiFi. When she saw that I liked it she put on a tune by Lionel Hampton called ‘Flying Home’, from that moment I knew I wanted to play music!
How did the harmonica become your musical weapon of choice when so many others were picking up a guitar instead?  My aunt gave me a harmonica when I was about 12 or 13 years old and I loved it from the first. It was a friend that succored me in times of strife and a joy in happier times. It seemed that everybody and their brothers were playing guitar in the sixties, I wanted an instrument that was melodious and full of the warmth that only the breath can bring to the music. Harmonica is like the voice in that it can bring the pathos and passion to a piece of music like no other instrument can, it can set a mood so beautifully.
 
You have your own voice on the harp, was that something that came easy early on for you or did you have to work to develop it?  When I began to play I wanted to sound just like Little Walter and Sonny Boy Rice Miller but I was also very much moved by cats like Miles Davis, Lester Young, BB King and Charlie Christian. It seemed to me that the thing these players had in common was a mellifluous fluidity combined with a meticulous sense of time and gifted phrasing. I have tried to emulate and not imitate these masters. A great drummer, Michael Silva ( band leader for Sammy Davis Jr. )  told me that If you don’t sound like yourself you bring little or nothing to the table and you won’t get invited to dinner a second time!
Is there a simple, helpful trick to playing harp that first timers miss when attempting to play it for the first time?  The only ‘trick’ for lack of another word that is useful in learning to play harmonica or any other instrument is to listen to the masters, memorize, internalize, recreate and…. listen, listen, listen! Practice creatively, play passionately and if the music is in you it will come out.
Do you find yourself adding harp to everything you hear and, like cowbell, should there be more of it?  There are some tunes that need harp and some tunes that need more harp….than cowbell!
Of all the records you have played on or released yourself, what tracks or performances are you most proud of today?  I enjoyed playing on Mr. Willie Dixon’s Hidden Charm‘s recordings very much, the recordings with the Stones, Dylan, Brownie McGhee, Stan Getz, Hiram Bullock, Lonnie Brooks, Son Seals… As for my own recordings, I am very partial to a CD I cut that’s distributed by Alligator Records called In Your Eyes, I think that there are some great tunes there that are cutting edge still today though they were written and tracked in the 90’s. Code Blue is one of my more recent efforts and the material on it has been critiqued as classic from the first track to the last. I also like very much Threshold and Raw Sugar. If you have an inquisitive ear and progressive taste you will enjoy the aural journey these recordings will take you on and I believe you will enjoy the trip! I didn’t mention Blue Blazes above because it includes mostly cover tunes but I do like it as well.

When you think about the long history of the blues, do you have a favorite decade in terms of releases?  I love this music called The Blues, from Charlie Patton to Charlie Parker, from Miles Davis to Muddy Waters and all that came of the nameless progenitors that were before them and all that will come after. Because it is the history and voice of Black American art and experience which I am exceedingly proud and privileged to be a continuation of. I think that Willie Dixon may have said it best, “The Blues are the roots and the rest of the music are the fruits.” From The Blues to Jazz, through Rock to Reggae, from fusion to hip hop and music around the world that has been sired and inspired by those three supposedly simple chords, I love the Blues, every facet, every movement and every moment. It is the sound of the soul and spirit of my people.

Did the advent of funk and then disco in the 70’s have an influence on you or the Chicago blues scene overall?  Disco ain’t nothin’ but a shuffle turned inside out baby and we have Bernard ‘Pretty’ Purdie to thank for that, one of the great drummers of our times! Funk was around and being played a long time before it was called funk, a recombinant of jazz and blues with an urban swagger, struttin’ and cuttin’ like a straight razor!
SB%20&%20Keith%20RichardsHow did your relationship with the Stones come about when Mick Jagger was already considered a bitchin’ harp player in his own right?   In actuality I met the Stones indirectly through a recording I did with Louisiana Red called ‘Red, Funk and Blue’ that Keith Richards had heard a year or two before the Some Girls sessions in Paris. Keith told me that I was the most precise and skillful harp player he’d heard on record in recent times, so when we were introduced in Paris he’d already heard me play. When we hit in the studio the music flowed like a river in one take and it was in the groove , the rest is rock and roll history as they say!
If you could hop in a time machine to any day in your life, where might you revisit as a fly on the wall to relive a memory?  I would revisit the day at the Salle Playel theatre in Paris, France where Count Basie and Ella Fitzgerald were playing. They invited me to join them on stage to play C Jam Blues with them, it was the one day in my musical life that I didn’t bring an instrument with me! I always, always carry an instrument with me now no matter where I go!!!.
Please visit Sugar online at www.Sugar-Blue.com

FRED STUCKY

FredStucky1.0 – What is it about rock & roll that makes people feel good?

For me its the feeling I got when I heard Lou Reed “Walk On The Wild Side” on the radio when i was a boy has never really gone away. It made me love rock so much. I was probably 8 or 9. The song was so exotic. Such a trip far from my world. I was so hooked on this thing that came out of the radio. “Jumpin Jack Flash” on an AM transistor radio in Philly in the early 70’s was pretty magical.

So its escape and energy and fantasy and freedom for 3-6 minutes when tuned in. That feeling is hard to beat.

2.0 – How did you catch the roots bug?
As a kid. I heard Jerry Reed singing “Amos Moses” on the school bus for a few months. The song just pulled me in.  A little later “Tumbling Dice” was a hit. I knew I loved these songs and tones. The way they melded country and blues and their souls all together. It was clear to me they had something, some magic,  that no one I knew had. I wanted it.  It took a while but I melded them all to my satisfaction.

Also–In the early to mid 70’s all I listened to in my fathers old Jeep were 8 track tapes of, Willie Nelson live, Ernest Tubb, Charley Pride, And Hank Williams.

3.0 – Is there an artist that sets the barometer for you today?

Merle Haggard, Waylon Jennings and the mid period Rolling Stones

They wrote songs so honestly.  “Swinging Doors” what a brutal song. “Black Rose” is hard to top. “Let It bleed” is an amazing release as is “Beggars Banquet”.

The Stones from that 69-73 period is hard to get around. I think all of my songs have a taste of “Torn and Frayed” in them.

4.0 – Your new GAS MONEY disc Untethered is incredibly authentic, is that function of maturity now as a band?

Thank you.

I think just did not care how honest and sincere I was. It was my goal to get it right like Merle Haggard done on his classics. Every song is a true story on Untethered. With that it was easy to to be free to let the songs come to life.

I was also very tuned into the detail of the pedal steel and acoustic guitars. The levels and accents of both made it sound the way it does. All of this comes with getting older and being more patient and relaxed.

Many things on this recording were done on the spot in the studio. It was very organic you might say. And with that I let go and let people do what they do best. Very rewarding.

Untethered5.0 – What did it take to get the sound you were looking for on the record?

I knew it in my head.

I had a clear vision of what it was I wanted and but at the same time it was not letting that idea take control. The Stones song “Let It Bleed” and that LP  was the basis for the entire release production wise. The instrument selection along the way was fun too. Some of my old guitars & mandolins & banjo’s would just step right up and say this song is my song.  I then focused on the acoustic track and the snare.

6.0 – What took so long for the sophomore effort to the debut, 22 Dollars?

I had a family. My Son was born right after 22 Dollars came out. We had a daughter two years later. So life was busy for me just that simple. In  2011 we moved from an old stone house built in 1926 to a new townhouse.  No house maintenance and the kids being older was a real treat. The songs just poured out that summer.

7.0 – What’s your attitude when it comes to your gear live and/or in the studio?

Simplicity and tone.

My live gear is very basic. 59′ Grestch 6120, 58′ Fender tweed deluxe amp and a early 70’s Echoplex. That’s it.

The studio is a real treat. I have been collecting vintage instruments since the mid 80’s when I was in college. Nothing is more fun than bringing these old guitars, mandolins, banjos, steels and amps to life. I want them all to be used and to sing. Let the instruments do their job. I’m just strumming.

8.0 – How does a song usually start for you, with a riff? a title? a progression?

Typically its a title or a key line in a song and I build on that. The song “Every Empty Bottle” was originally called “Reinvent The Feel”. I came up with that line one night in my garage and wrote it on the side of a box with a sharpie pen. I looked up at that box for over a year. Then I used the phrase in the song. The idea of reinventing a feel stuck with me. The song wrote itself after that.

“High water” was written during the hurricane we had in august of 2011. The amount of rain was used as a parallel to a past romance I had. The song just spun naturally out with using the vision of a big flood and a tough breakup. The riff was much more rock as I was using barre chords. I changed the feel using the first position voicing.

9.0 – Is it true rockabilly is a way of life where, if you don’t buy in full-on, you are an outsider?

I have always been somewhat of an outsider with the rockabilly scene. Gas Money was described once as “The Replacements of Rockabilly“. We have never really been embraced as a rockabilly band per se. Nor did I want to be.  We play lots of rockabilly but there was something a little wrong about the way we played it in the 90’s.

I have a deep love for rockabilly and I always will. The shit that comes along with the music however is somewhat silly. I have had an odd relationship with the genre for a long time. The music is magic but the scene surrounding it makes me a bit uneasy. Those big rockabilly shows are like Halloween parties.

Playing live now however we do three sets of classic honky tonk and rockabilly. The bars and clubs we play are interested in dancing and drinking not original music. We don’t get paid playing our tunes. The classics are really fun and ya know who else in Philly is playing George Jones “You’re Still On My Mind” with a pedal steel player on a sat night. No one. I think in a way it helped my song writing with playing classic honky tonk songs.

10.0 – Is it possible that certain guitars may contain magical properties?

It is true. I have a few pre-war Gibson flat tops,  50’s Gretsch hollow-bodies as well as some pre-war Gibson mandolins and banjos. Each one really is unique and has its own voice and character. As a player I can pick up a guitar at a friends house or at a vintage guitar show and just “feel” it.  Especially the pre-war mandolins and banjos. They want to talk and just don’t get out like they used to. yeah old wood is magic without a doubt. It’s intoxicating if you get hooked on it.

JOANNA CONNOR

JoannaConnor1.0 – As a kid, was it the blues or rock & roll that grabbed your attention?

The first record I remember vividly was Louis Armstrong singing “Hello Dolly”… I can still remember trying to sing like him.  It was a hit on the radio.  The craziest thing is that I did the math and realized I was 2!  The first two albums to grab me between the ages of 4 and 7 were Taj Mahal’s Giant Step/The Ole Folks at Home and Sgt. Peppers.  I also loved Beethoven, Fiddler On The Roof, and James Brown.  Later came Hendrix, Zep the Rolling Stones. I saw Buddy Guy and Jr. Wells when I was 10 in 1972… . It blew me away.

2.0 – What was the first record you ever bought and how did it make you feel?

I don’t remember the first record I bought. I was poor growing up.  I remember the first one I stole… a 45 of Billy Preston… Nothing From Nothing… Ha! I loved the radio then. I loved soul and funk and Steely Dan and Joni Mitchell and jimmy Cliff and all kind of stuff.  Music was my escape, my world.  I spent hours every day dancing, singing, and playing air guitar in front of my parent’s Zenith stereo.

3.0 – What was your first guitar and do you still have it ?

My mom bought me a Sears classical guitar when I was 7.  I asked for ballet lessons. She gave me guitar lessons. Lord knows what happened to it.

4.0 – What was the first actual blues lead lick you learned, from what song?

I took blues guitar lessons from an amazing guy in Worcester named Ron Johnson when I was 14.  I played acoustic.  He turned me on to the early delta, piedmont, ragtime and slide stuff.  I think the first blues lick I learned was a Mississippi John Hurt tune.

5.0 – What’s the blues scene like today in Chicago versus when you originally moved here?

The blues scene now is still jamming in terms of the clubs being packed and bands performing but it is a pale 3rd string version of when I first moved here talent and skill wise.

6.0 – As a blue guitarist, are there still classic ‘showdowns’ that determine a pegging order among and between the players?

It’s a boys club. It’s like high school. The cool table in the cafe.  They are all peacocks.  The king in my opinion right now is Carl Weathersby.  There are always battles here.  Each guy thinks they are the champ!

7.0 – How do you retain vitality playing a form of music that is nearly a hundred years old, if not older?

I always played the blues in my own way when I went on my own, mixing all of my influences in what I did. I was never a purist. It always stays fresh for me that way.

JoannaConner8.0 – Which release of yours do you feel is most representative of what you are all about?

Big Girl Blues.

9.0 – Do you enjoy writing lyrics and titles or is that ‘work’ part of the song writing equation?

I almost always  hear the groove first. With Big Girl Blues I wrote the words first.  My second love in life is literature.  I have been a huge reader my whole life. I have written a lot of poetry. I find song writing a chore however and only write for projects… I don’t know why.

10.0 – What gets you off more live: when you know you are singing really well or playing guitar at your best?

Playing the guitar is my passion. It takes me out of myself and also drives me into my soul.  Singing can be cathartic but I have to sing 4 to 5 hours a night and it is physically very taxing, and more of a chore.

See Joanna Connor’s 2013 tour schedule at SongKick

GREG KIHN

ImageIs there an album or song that got you hooked on rock & roll as a kid? 

Yes, I remember hearing “Don’t Be Cruel” by Elvis on the Juke Box at YMCA summer camp and I noticed all the girls loved it.  Later, when I got a guitar and started to learn folk songs I saw the effect guitars had on girls.  By the time the Beatles came along I already knew the basic chords.  I was too shy to meet girls any other way.  But music turned out to be the best way.  As far as an album that shaped my life I would have to say “Freewheelin’” by Bob Dylan because it got my whole generation writing songs.  As far as life-shaping events go, I’d guess I’d have to say seeing the Beatles for the first time on Ed Sullivan.  It blew my mind, it blew all our minds.  You had to be there.

What was the first complete tune you learned to play and sing at the same time?

That would be “Tom Dooley” by the Kingston Trio.  I can still remember how proud I was to get up on stage at a coffee house and play it.  I learned the 3 basic chords of life and I found out later it fit 90% of all the songs on the radio.

With the revival of Americana and roots music is it difficult to resist the temptation to return to your folk roots and put out KIHN FOLK?

Oh, you wicked, wicked man.  The “Kihn” puns just won’t die!  The only times I didn’t use the “KIHN” puns for GKB album titles- “Glass House Rock” and “With the Naked Eye” both albums stiffed, so we went right back to the KIHN formula for success.  I try to hide ‘em, but my folk roots stand out like Nicki Minaj’s hair color.

How did you get your first break in the music biz, or was it a confluence of events?

Matt Kaufman and Allan Mason were two law students in Baltimore when I was still in high school playing gigs at local coffee houses with names like “The Foghorn” and the “Crack of Doom.”  Allan later invited me out to California and let me crash on his floor.  Allan wound up working for A&M Records and Matthew started Beserkley Records.  When I first came to California I used to play on Telegraph Ave for spare change.  I did pretty good, too!  About 40$ a day!

What is, hands down, your favorite Greg Kihn record and why?

My all time favorite Greg Kihn song is The Breakup Song because it’s always fun to play, has a great guitar riff, and the lyrics “Uh-uh-uh-uh-uh-uh translate into every known language.  That’s why today I can walk down the street in, say, Lithuania or Tasmania and people will point at me and shout, “There goes that uh-uh guy!” 

You have found a new home today on radio in San Francisco; is it strange being on the other end of the mic or was radio always something you could see yourself doing?

You know, my ego is so freakin’ huge I don’t care which side of the mic I’m on, as long as the mic is ON!  Radio is a wonderful way to communicate with hundreds of thousands of people every hour.  I love it!  Plus I can do the show in my underpants and nobody would ever know!  They can’t see me!

If you had a classic fake radio DJ name what would it be? any suggestions?

When I was a kid growing up in Baltimore, DJ’s had names like Fat Daddy and Commander Hot Rod.  Maybe I should change my on-air name to Beef Jerky or Greasy Cheeks or Dash Riprock.

As a horror writer now with several acclaimed books out, have you ever considered writing tunes to accompany your novels on the expanding digital landscape or in your audio books?

Actually I started out trying to do just that.  The result was the “Horror Show” CD in 1997.  It was supposed to serve as the soundtrack for the novel “Horror Show” and possibly a movie score but I only got 2 songs finished before I drifted off in another direction.  The 2 songs were “Horror Show” which you can see on You Tube, and “Vampira” which has no video.  Eventually I’ll make the movie of “Horror Show” and write the rest of the soundtrack.  By the way, let me be the first to announce the release of my new novel RUBBER SOUL published by Premier Digital Publishing in the spring of 2013.  It takes place in Liverpool in the early 60’s and has the Beatles as the main characters in a murder mystery.  It follows their meteoric rise to fame and culminates with assassination attempts in Manila in 1966 after snubbing the Marcos Family.  As far as I know it’s the first historically accurate truly fictional BEATLES NOVEL.  I hope you check it out when it’s released in early 2013.  I guarantee it’s like nothing you’ve read before.

ImageWhat are your fondest memories from touring with the Rolling Stones?

Hanging out backstage with the Stones.  Mick was very nice and gave me packs of cigarettes (Marlboro Box) whenever I asked, but the guy I most enjoyed talking with was Charlie.  He is a very interesting man- knows about history and is an expert of the Civil War believe it or not.  He’s got jazz roots.  Keith and Ron just played guitars and never said much.  Bill Graham introduced me and that did the trick.  I was one of the inner sanctum after that.  I’m sure Jerry Hall, Mick’s wife at the time, was checking me out.  Or maybe it was the drugs…  I’ve forgotten.  I’ll never forget the rush of walking out on stage in front of 90,000 people!

What are Greg Kihn’s “Ten Commandments of Touring”? 

1.    Never get separated from the band in a foreign country.

2.    Never leave the hotel with a chick who says she’ll take you to the airport in the morning.

3.    Never drink in the hotel bar alone, nothing good can happen.

4.    You’re better off smoking a joint alone in your room and watching reruns of Gilligan’s Island than going to a local club with some chicks you just met.

5.    When singing the National Anthem, start low and sing fast.

6.    Never drink from the mini-bar in your room.

7.    Never poop in the lavatory on the tour bus, peeing is OK, but defecation is not welcome.

8.    Never drink the other band’s beer, steal their women, or smoke their stash, it’s bad karma.

9.    Always treat the roadies with respect; they can really make you look bad if they want.  Remember, they have their own secret credo from which they never vary- (I’ll tell you but don’t say you heard it from me.)  The Roadie’s Credo- “If it’s wet, drink it, if it’s dry, smoke it, if it moves fuck it, if it doesn’t move, put it in the truck.”

10.  Pace yourself, it’s a long tour.

Visit Greg online at GregKihn.com

SCOT COOGAN w/ACE FREHLEY

ScotCooganWhen did your love affair with the drums start?

I was about 5 years old, went to my Uncle Frank’s house and saw a real drum kit set up. The Beatles “White Album” was on, guess I didn’t see any sticks around, so I picked up a Barbie Doll Leg and a Lincoln Log. I started hitting the drums in time with the music, after that, all I wanted to do was play drums!

What was your first full kit? 

When I  was 11 yrs old, my dad bought me a used mid 70’s Butcher Block Maple Ludwig Kit. I still have the kit, it’s very sentimental to me. I use it for recording sometimes. It’s in mint condition.

Which band was ‘the one” for you growing up, or were there many? 

Hands down, The Beatles.

What’s it like playing now with someone like Lita Ford versus say Sinead O’Connor?

Besides hairstyle, nothing compares to… lol. Ok, seriously, they each have a completely different approach and style to their music. Sinead is a melodic pop artist, Lita Ford is the Queen of Metal, her tracks are more guitar driven. Interestingly enough, I performed with both artists during a time in their careers when they were making a come back of sorts. Sinead’s “Faith and Courage” was her first original release in three years. Lita’s latest effort “Living Like a Runaway” is a return to her rock and roll roots. Both women are very empowered by their music. They both pour their heart and soul into their songs and performances. It has been a pleasure and an honor to work with each of them.

How did your gig with Ace Frehley come about and what was your favorite part about working with him? 

I flew to New York for the audition with Ace 2007 and he offered me the job immediately. Besides having the opportunity to perform and interact on a regular basis with one of my childhood hero’s, I would say singing lead vocals while playing drums for a good part of the set list was my favorite part of the gig.

Drummer jokes aside, do you have an overall philosophy that you bring to the table as a musician?

Yes, music for me is about feel, emotion and personality. Whether I am writing music on  a piano or an acoustic guitar, I find that creating a melody, which moves over chord changes, while establishing a proper drum groove is the foundation for a song.

SCOTDRUMSVOCALSDo you have a pre-show ritual to get you in the right frame of mind for a show?

Before a show I stretch, warm up by doing rudiments on practice pad, perform vocal exercises and drink hot throat coat tea with honey.

“Moby Dick” aside, what are the three hardest Led Zep tunes to get on drums?

I would say these are the most challenging:

1. “D’yer Mak’er” because there is no consistent or repeating pattern.

2. “The Crunge” because it’s one of a few Zeppelin songs that changes from an odd meter, 9/8 to 4/4 time.

3. “Fool In The Rain” because it’s one of Bonzo’s sickest shuffle drum grooves next to Bernard Purdie and Jeff Pocaro.

What advice would you give to a younger player joining a veteran touring act?

It’s a great opportunity to work with veteran artists, you can learn a lot by LISTENING and use this experience to further your career. Have a positive attitude, perform your best at each show, be respectful of space on the tour bus and BE ON TIME.

You are given one free time-travel-ticket to any concert in history, what are your coordinates Scot?

January 26, 1969 Led Zeppelin at the Boston Tea Party in Boston, Mass. It was the last of four nights at the venue. They only had an hour and a half of music to play, but they performed four and a half hours. They played their set twice and then did music by The Who, The Rolling Stones and The Beatles. Epic Concert!

Visit Scot online at, you guessed it, ScotCoogan.com or say hello on Facebook

PHIL ANGOTTI

phil_angotti-people_and_places1.0 – What’s your favorite thing about the new disc People And Places ?

The fact that I think it’s my best work yet and that each song has its’ own sound to it. I used 4 different drummers, and that makes a difference to the basic feel of the songs.

2.0 – So it’s not true you play all the instruments on it?

No…I do almost all of the guitars and singing. I love over-dubbing guitars and vocals! I played bass on 2 songs, and some percussion.
I play 3 different ukuleles on the song “Whatever Happened” and bass. Joel Patterson played pedal steel on “Same Ol We”
Jacky Dustin from the August sang harmony on that song. The drummers are Brad Elvis, Mike Zelenko, Jim Barclay and Tommi Zender. Carolyn Engelmann played piano and she sang on some backrounds with me. Chuck Bontrager played violin and violas – Martha Larson played cello on “My Old Records”.

3.0 – Are all the tracks new or some oldies looking for their 5 minutes?

These songs were all new songs written for this record, except for “Broken baby Doll House”– that one was around for awhile, 2 songs were written as I was wrapping the album up: the last song “Parting For Awhile” was a tribute to my dear friend Carlos Hernandez-Gomez ,who had recently passed away from cancer, He was a Political reporter for CLTV and a huge music fan. I also wrote “National 36” days before we recorded that – we barely knew it when we went in to do it-its a simple rocker so I like that its a bit loose.

4.0 – Did you have a sound in mind before you began recording or did it evolve?

I intended each track to sound different than the next- using different instruments and overall approach to the sound – I wanted this to stand out from my previous records. Its natural to fall into a comfort zone, and to stay with what you do best – or to keep “your sound’ going – I wanted to change that, and I think I succeeded.

5.0 – There are some cinematic feeling pop passages as per usual but also some Nashville twang creeping in too, yeah?

I have come a long way as a musician – and i did try to show that off a bit. The Nashville thing has always been a part of me, I grew up listening to country music, I just never really incorporated it in my own songs-so I really went for it with ‘Same Ol We”  Even the lyrics are country-like, and having Joel on pedal steel and Jacky on harmony vocals really pushed it all the way.  As for cinematic- I did a cd years ago called ‘Juliet Foster” which followed story-line (I called it a film soundtrack, though there wasnt a film) so I do write that way at times.  The songs “Whatever happened To” and “Sorry About the Accordian Jill” sound like movie songs, and I wanted it that way. They are also the 2 songs on the album without drums.

6.0 – What do you find most rewarding these days: writing, singing, or playing live?

I’d say singing first –  because though I always had a certain sound  ( poppy-and from the Beatle/60’s school) I never recorded with much soul and recklessness- which I do live pretty well.  I am very experienced and natural at singing and stacking harmonies-  but I still think my best singing is when I sing live. I have a richer voice now than I used to- and alot of years of doing it so I’m a very confident singer on stage and I think it comes through more these days. I‘m also a much better guitarist these days-so i love playing guitar live.  Writing is still fun, but I’ve been doing it since I was 17 years old and it feels like work sometimes, and kinda normal-so its nowhere near as fun for me as playing live.

Angotti7.0 – Is there a seminal moment in your life that got you officially hooked on rock & roll?

I loved music as a child- my mom bought me Beatles and Monkees records, and I listened to country music with my dad
and anything they listened to, and I was glued to the radio….one memory that got me really hooked to rock n roll was this:
 2 doors away from my house (I was around 9 years old) there was a family whose oldest brother played bass in a band –
they’d practice in their basement and you could hear it from my backyard. I snuck over there one day, and actually walked in on their practice and just stood there watching as they jammed – it was loud and exciting and I knew I wanted to be in a band right there and then!

8.0 – If there is time for nostalgia…..what is your all-time favorite Chicago rock n roll moment?

I went to the Granada Theater in 1980 w my best friend and band mate (in my first band, the Fleas) to see Cheap Trick. The opener was Off Broadway. We had great seats and I remember that show really grabbed me – it was great and it really inspired me. It was cool to see that these new bands (at the time) were so 60’s influenced, it made me feel like we were on the right track, and I was always a huge fan of that eras  power pop bands. I hated all those hair bands and metal and guitarists who played as fast as they can – so this was refreshing and inspiring.

9.0 – what advice would I offer to young players who show promise?

To work hard. Improve your craft. Don’t be lazy.

10.0 – As the 2012 apocalypse approaches you tuck a few artifacts in an iron drum for posterity: what items have you included?

Maybe some lyric sheets I’d written down of an old song I wanted to do – handwritten, because now guys have ipods on their mic-stands, I still hand-write my notes and lyrics!  Some flat-wound guitar strings (nobody uses them anymore, I do!) and the guitar pick I caught from that Granada show flung at me by Rick Nielsen!!!!

SARAH FIMM

1.0 – What’s the best thing about BARN SESSIONS? 

Perhaps that it’s real, it’s live, and you can see a mouse suddenly appear behind John’s lovely head in the “Hiding”‘ video.  That’s just my personal opinion.

2.0 – Did you have a sound in mind when you starting recording it or did it evolve?

It was more of a feeling I wanted people to remember.  The entire landscape of music has gone through drastic changes.  I wanted to do a live experiment with talented people to see how the variables would change the result.  It evolved as things do, once my team of amazing artist friends helped it become what it is.  The sum of their talent and personality, combined with other elements, created the sound.

3.0 – Do you consider branding & image as part of the artistic process? 

When I found a wooden hard drive to go with the Barn Sessions package I was pretty pleased.  There is an overall aesthetic that is particular to each project.  I liked the wood because what people receive is the same material that shaped the acoustic environment where the music was created.   I am a creature who tries to be consistent.

4.0 – When did you start writing songs (originally) and what was your first?

This is a good question.  I would have to say if I really go back in time, I was writing in my head constantly, and piano melodies near my mother’s lap at 3 or 4 years old.  I remember listening to her voice when she would talk to people.  I remember thinking that her kindness created music in people.  I would play things that fit the scene of the room.  I would play to the moods of the people inhabiting the room.  I became aware of the power of simple observation, and began to understand how music was a doorway to change people’s emotional states.

5.0 – Do you have a philosophy when it comes to writing? 

Stop thinking so much. :)

6.0 – And what about the stage and playing live?

There’s nothing like it at its best and its worst.

7.0 – How did you catch the folk bug originally? 

I didn’t know I had it!  I came from rock. (Older brother-you know:)

8.0 – Did you have to work at it or does it come naturally, or both?

-I work all the time at all aspects of everything I do. My friends tell me I really need to get out quite often luckily.  Playing music, and trying to survive as a musician, are two different things.  They both take extraordinary amounts of discipline and work.

9.0 – What’s your favorite record of all-time? 

That’s the hardest question.  If I had to choose, Brian Eno and Harold Budd. It brings me to a state of absolute serenity.

10.0 – What was the first concert you attended and how did it impact your life? 

I think the first time I was truly impacted was either Tool, NIN, or Tori Amos.  It was all within the same week.  It really changed up the playing field.

RANDY BERGIDA

1.0 – What’s the best thing about The Letter Yellow’s WALKING DOWN THE STREETS?

I really connect to these songs.  They were extremely natural to write
and being that the majority of the songs were written one after the
next in a span of a few months, there is a continuity that weaves
throughout all the different feels and colors of Walking Down The
Streets.  I also love the freshness of the songs on the record in that
we had never performed prior to recording tracking.  The idea was that
the songs had a well rehearsed touch, but they hadn’t been
overanalyzed and over structured.  If a section wanted to extend
through the live tracking portion of the record, we went with it.  The
spirit is in the recording and beyond all the fancy things you can do
post production, it’s the spirit that lives in the performance that
I’ve always connected to on a record.

2.0 – Did you have a sound in mind when you starting recording it or did it evolve?

The sound of the record was largely inspired by the 8×8 studio we
rehearsed in.  It’s hard to imagine 3 people and all our instruments
in this room, but it’s possible.  The limiter on the iphones was also
something that evolved our sound.  Hearing everything in a tiny room
with a big limiter compressing the music to the point that everything
sounds good gave us much hope.  When we were tracking with Quinn
McCarthy at The Creamery, we went ahead and recorded all the vocals
through the voxac30 as we would rehearse.  In the end, Joel Hamilton
at studio G took the clean mike and gave the essence of the amp with
his military grade compressors (no joke).

3.0 – Do you consider branding & image as part of the artistic process?

I think of it more as just letting your personalities come out.
Pretty much the same way I think with clothing.  It’s superficial yes,
but at the same time it’s nice for people to have an idea of who you
are just by looking at you.  All I want is for the music and the image
to be an honest representation of us. I would give credit to image
being a part of the artistic process much like when I write, I think
about how the songs will translate live.

4.0 – When did you start writing songs and what was your first?

My first!  oh my, I try to forget those songs, hahaha.  I started
writing when I started playing the guitar around 10 or 11.  I wasn’t
writing the same way I do now.  I was just trying to get better at
playing the guitar and I wasn’t so fond of playing other peoples songs
quite yet.  Plus I was so curious about theory that I would write
something and then try to analyze it.  So I wrote little things that
challenged me.  I never performed them.  I think my first official
song I wrote was called “One/People Get Ready”.  Of course both Curtis
Mayfield and Bob Marley have a song with that title and I’m honestly
not quite sure if they are the same.  That always confused me.

5.0 – Do you have a philosophy when it comes to writing?

Yes, when it comes grab it.  I have these moments of creativity and I
just know that these are my good songs.  But I have to be organized
and make sure to write things down and record ideas.  I have to
complete the lyrics before I can move on as coming back to lyrics
never works for me.  They are there in that moment and it’s my job to
write them down then and there.

6.0 – And what about the stage and playing live?

I love it.  It has always fueled my well being I feel.  And it’s addictive.

7.0 – How did you catch the roots bug originally?

I suppose growing up in Indianapolis, it was a bit stagnant, but
getting out into nature was always fun and always lifted my spirits (I
never knew something like NYC would have the same effect on me).

8.0 – id you have to work at it or does it come naturally, or both?

Overall music came naturally, but I certainly have and still do work
very hard.

9.0 – What’s your favorite record of all-time? 

That’s the heavy question.  As I’m playing through my music library on
shuffle, all these great songs are coming on “Side with the Seas” off
SKy Blue Sky by Wilco, Curtis Mayfield, Live at Bitter End...The Best
of the Wailers (which is not a compilation oddly enough)…And then
theres my Billie Holiday Collection on vinyl that just blows my mind.
Nonetheless, if you were going to leave me with only one of these
songs/albums with the trapped on an island metaphor, it would have to
take the The Best of The Wailers.  I’ve known those songs my whole
life and I still get happy every time I hear them.

10.0 – What was the first concert you attended and how did it impact your
life if at all?

The first concert I ever saw was John Mellencamp…he’s Indiana born
and bred like me.  It was actually pretty awesome.  After all, it was
my first concert and the venue, Dear Creek, is a really special venue
as it’s outdoors and country all around.   I think this year was the
year of my favorite concerts…I saw Radiohead which pretty much blew
my mind…I’m usually ready to let my ears rest at the end of a
concert, but after there 2 hour plus performance, I wanted more!

BRYANT LEE

1.0 – What’s the best thing about your latest release, the new The Pear Traps EP, Elsewhere? 

It’s different than our previous EPs.  The first 2 were home recordings that we did by ourselves which is mainly why they took on the lo-fi sound.  Elsewhere is our first “studio” recording and although we kept it uncomplicated, it’s easy to hear the difference.

2.0 – Did you have a sound in mind when you starting recording it or did it evolve?

We completed the songs before actually recording them and knew how we wanted them to sound through our amps/drums/etc, but did not have any idea how it was going to turn out after recording.

we did the recording and mixing ourselves on the early recordings, so we had total control of the sound.  This time we had someone else (Jamie from Carterco here in Chicago) do the recording, mixing and mastering on legitimate equipment (as opposed to our karaoke microphones) and it was definitely a change.

We finished recording in 2 days and then Jamie spent another day or so mixing. During the mixing process Jamie was definitely leaning towards a cleaner, more professional sound and then when we heard the early mixes, we were always like “put more effects on that, make it more lo-fi!”  I think in the end it actually did evolve into a very happy medium and we could’nt be happier with Jamie’s help and input to give Elsewhere its full sound.

3.0 – Do you consider branding & image as part of the artistic process? 

In my opinion branding and image are part of the business process, not artistic.  If you know us or have seen us play a show it’s pretty easy to see that we put zero effort or thought into branding and/or image.  We are 5 friends playing music together because it’s fun and we like playing.  Not to try and make money or get big or anything like that.  Probably because we’re old enough to realize that we do this to have fun at practice every week and play out.  If we ever decided to start focusing on our image or try to be anything other than what we are, I think the enjoyment of us being in this band would go down dramatically.

4.0 – When did you start writing songs and what was your first?

I started writing about 3 or 4 years ago, right before we became a band.  I’ve always been a guitar player and never really thought about singing or writing songs – I actually prefer just hanging out and playing guitar in the background.  But over the years I’d come up with ideas for songs that I thought were OK, run them by the singer and nothing would ever come of them.  After not playing in a band for a little while and not finding anything that I was very interested in I started trying to complete ideas for songs by myself and eventually started singing.  I figured out how to program drums, record/mix audio, and just started messing around with songs in my apartment.  My first finished song was called “Ways to Doubt.”  It’s actually not that terrible and the thought of giving it a shot with The Pear Traps comes up every once in a while.

5.0 – Do you have a philosophy when it comes to writing? 

No, not really.  If I’m ever at home not doing anything I’m usually messing around on my guitar.  If something happens to sound all right I record it.  Or tell myself I’ll remember how it goes but then usually forget about it.  If I come across the recorded guitar parts again (sometimes days or weeks later after I’ve forgotten I recorded anything) and it sounds decent I’ll try to put lyrics to them.  Very little effort or thought goes into the lyrics.  To me vocals are primarily just another melodic part to the music.  Ideally the lyrics end up clever or interesting but as long as they don’t seem extremely contrived or cheesy I’m usually OK with what comes out.

6.0 – And what about the stage and playing live?

Stage presence is another thing we don’t really put too much effort into.  It’s kind of the same thing as image, if we ever had to try to act or be a certain way on stage that wasn’t natural to us, I don’t think we would want to play out.  We have fun playing shows together so I imagine that comes across to the audience, which is all I would really hope for.

7.0 – How did you catch the rock & roll bug originally? 

Possibly a little cliché but it was when I heard “Smells Like Teen Spirit”.  I think I was in 4th grade and had always really been into music but when I heard that guitar intro it just blew me away.  I think my actual logic was that if I learned how to play guitar I could learn those songs and then I could hear them whenever I wanted to instead of waiting for them to come on the radio.  My dad was very musical and supported my interest in learning an instrument but we didn’t have much money so he made a deal with me that for every chore I did I got a dollar saved towards my guitar and after 100 dollars were saved up he’d buy me one.  Couple months later I had myself a very cheap, used white electric guitar and I was ecstatic.

8.0 – Did you have to work at it or does it come naturally?

I was not natural at all, it took a lot of effort for me to be a passable guitar player.  I’m just very stubborn.

9.0 – What’s your favorite record of all-time? 

Possibly another cliché but I’ve honestly got to say The Beatles’ White Album.  It was kind of funny because when I was younger I literally went through my Beatles phase in chronological order.  At first I really liked the poppy mop top love songs even though it was completely dorky and my friends would give me shit for it.  Then heard Revolver and thought it was just amazing.  Then got my hands on an Abbey Road tape and would listen to it on repeat.  Then one year for Christmas my mom bought me the White Album.  I remember listening to it lying in bed and feeling disgusted at how perfect everything they did was- no matter what genre they played in.  I actually remember hearing Dear Prudence for the first time and wanting to quit guitar because I knew there was never any way I could play something that great.

10.0 – What was the first concert you attended and what do you remember most about it today? 

This one is not so cliché.  My dad liked country and about the time I was listening to Nevermind over and over he took me to a Randy Travis concert.  I actually had tears in my eyes because I hated it so much.

CHRISTMAS DAVIS

1.0  – How did you catch the rock & roll bug?
Ha ha, “Catch” is funny word. I believe that my fever was congenital, and my condition is probably genetic. Connie’s definitely is. There were no “rockers” in my family, but my great-great-grand father used to play a single string gourd instrument at local dances in the turpentine towns of north Florida. According to some accounts he was the only musician at these events, which would make for a pretty strange dance party. My father had the hi-fi on all the time, mostly big band stuff. It made an impression. The first time I saw a rock band it was at a school assembly to promote a talent show. They brought my elementary school class in to fill some seats. It was the first time I saw an electric guitar in person. I think the older kids in the band were playing Skynyrd, but I can’t be sure. I was hooked though. That was it for me. Connie definitely has music deep in her, and she was absolutely born with it. For her music is like an extra limb. It’s just a part of her. Her dad played sax in bands her whole life. He’s an amazing guy. Connie grew up in music. I had to go exploring.
 
2.0 – What was the first guitar you ever owned?
When I was 12 I borrowed a guitar from a friend who’s father had an old harmony acoustic, the jazz kind with f-holes and painted on “wood grain.” The action was terrible, but I bloodied up my fingers and tried to learn some chords. The older kids on the school bus used to ask me why I played such a big violin. Then a kid up the street sold me a terrible no-name electric. It was plywood painted candy apple red and shaped like an SG.  The action was even worse than the harmony – a real archery set – and to sweeten the deal the bridge had sharp screws sticking out of it. I had resolved myself to guitar playing being a painful sport.  But that was my first guitar, bought the old fashioned way – with money from my paper route.  I was glad to have it.
 
3.0 – What was the first song you learned to play well?
Play well? I’m still working on that. But the first song that I got up enough confidence to play in front of anybody was “Tangled Up In Blue,” the Bob Dylan song.  We were cruising in a friend’s car in high school. My friend and his girlfriend were up in the front seat and the radio was busted. I was too young to drive so I was in the back seat alone with his guitar. “Tangled Up In Blue” was the only song I knew all the way through so I played it while we drove around. They didn’t seem annoyed. They were very kind.
 
4.0 – When did you start writing songs?
When I was 15 I started a punk band with two other kids from my high school, and we needed some original songs. As far as song writing goes, I didn’t think anything of it, we needed songs and somebody had to write them. So I wrote 12 songs in one week – all power chords and shouting – just so we’d have something to play. Nothing seemed unusual about this. Back then I figured anybody bored enough could write a dozen songs. Only one of them was any good though, and it was only good because it was funny. I think it was called “Vomit Omelet.” Yup, funny stuff. I don’t think that I ever really wrote a song that I was satisfied with until I started writing for Connie and The Tall Pines. Hearing her sing the songs that I write makes them feel real to me.
 
5.0 – as your style changed much over time or did you find your thing early on? 
It always changes. It has to. Tall Pines Music is just a mash up of everything that Connie and I have ever loved. You can make collages forever if you have enough material,and they should all look different. We’re always looking for material. Your style is just how you combine and present the things that you’ve always loved anyway.  
 
6.0 – How long have you been playing with Connie Lynn Petruk and how did you meet?
Connie and I have been playing together for a few years. We dated for a while before we started making music together. She is such a great singer – really incredible – and I had all of these songs that I’d started writing, so we just began to put things together one night and found that we really enjoyed collaborating on music. We met because I was a huge fan of a band she sings with in New York called The Losers Lounge. I used to go see them all the time, and because I had a huge crush on her I would try to “accidentally” meet her at the shows and around town. Unfortunately my efforts to casually cross paths with her all resulted in failure. She is a truly elusive person. At one point I expressed my frustration to a mutual friend – Sean Altman, who founded the group Rockapella – and he said he’d set me up on a date with Connie if I promised to be a gentleman. I did not want to be “set up” and I told him to forget it. But, he set us up anyway and we’ve been together ever since. Thanks Sean.
 
7.0 – Is it a challenge writing tunes for a female singer in terms of perspective or attitude when it comes to lyrics or titles?
Sometimes.  Some songs I just write from a male point of view and then change all the gender based words when I give them to Connie. “Always True” and “Because I Love You” are like this. Other songs I write for her, but more for her as a “female character” than for her as the real person that I know. That makes it easier. I have been accused of writing songs for her that are sexist or that praise the man in her life a little too much. Bill Bragin from Lincoln Center called me out on this after he heard “Good Woman” and “Love You Better” from the Campfire Songs record. He’s a friend and we had a laugh about it, but I felt like a bit of a jerk because I’d never thought of the characters in those songs as being Connie and me. As strange as that sounds, I had written both songs about other people, and I almost always think of the couples in my songs as being like two characters in a film or short story that I made up, but not us. Now that I’ve had this pointed out to me, I realize that I may be on to something. How many guys can get their lady to sing their praises – literally – into a microphone every night? Thanks Bill.  
 
8.0 – You just re-recorded Howlin’ Wolf’s “Wang Dang Doodle”, is that branding by association or did it come about more innocently?
Connie and I host an incredibly fun monthly juke–joint party in New York City called “The Tall Pines Review.”  “Wang Dang Doodle” is hands down one of the all time greatest songs ever about throwing a party. We’ve always loved it and wanted to cover it, even played with it some at rehearsals a long long time ago, but we never had a reason to do it before. Once we started putting on our monthly “Tall Pines Review” parties we wanted a theme song that represented what we were doing, and all of the great characters that come out of the wood-work when people have a good time. No song does that better than “Wang Dang Doodle.” We usually hang up a picture of Howlin’ Wolf on the side of the stage, but we also have a picture of Koko Taylor which we swap out from time to time. Heroes.  If you’re ever in New York on the third Thursday of the month you should come by. We always have a great time, “…all night long!”
 
9.0 – What song would you say captures the quintessential essence of what The Tall Pines are all about?
There are a few, “If The Devil Knows You By Name,” is our choice at the moment. It’s about redemption, eternity, and the dark and light sides of human nature, which are some of the recurring themes in our songs. Also because it rocks live, we love playing it, and because we both get to sing together. We have some new songs that we’re working on now which I hope will change this answer, but for this interview, “If The Devil Knows You By Name” is the one.
 
10.0 – Are you ever torn by the struggle to experiment and yet be a relative purist?
Experimental and Pure don’t need to be mutually exclusive. I don’t think about things in those terms.  I just write songs that come from an honest place and that feel like something that I would like to hear and share with my friends.  Connie let’s me know if what I’ve come up with is worth working on, and then we take it from there. I may write the songs that we do perform, but she’s the arranger, and the editor in charge of what we don’t perform. I can be hard headed, so she’s got a big job too.

NATALIE GELMAN

1.0 – Are you happy with how the new EP, Streetlamp Musician, has turned out?

I am! The songs are great to start with and the production and players performing on it are top notch. It has a diverse range of songs and I think I’ll be performing all of them for a long, long time.

2.0 – What are your plans if any for the release?

I’m taking it slow to make sure I’m doing everything right. It will be a soft release  and I’m going to start touring it towards the end of this year and more next year. I am hoping my friends and fans love it enough to share with their circles of friends so it finds a home in a lot of peoples music collection.

 3.0 – Which song on it do you have the strongest emotional relationship with, or are they all dear?

It changes over time. They all have been close to me at one point or another. The most emotional song for me is “One More Thing” but the one I have strong love and respect for is “Most The While”.

 4.0 – Do you have a formula when it comes to writing or is it more free-form? 

A melody and some lyrics will come to me at first and then its my job to uncover what the song is about and focus it moving forward. I also try not to give up on the song or judge it prematurely. I don’t have a formula exactly but I do try to capture everything I think is interesting and inspiring in notebooks and in files on my iPhone. I’ll refer back to those often when I’m looking to write and when I’m looking for a spin on a song I’m already writing. I work really hard on my lyrics to try to be as clear as I can in saying exactly what I mean to and honoring the message of the song. That process is tedious and involves a lot of revision most of the time.

 5.0 – What were the songs that you recall impacting you as a kid? 

I don’t have too many songs that impacted me as a kid because I grew up studying classical violin and piano and my mom played classical music at home. I did eventually get a Lisa Minnelli CD and Madonnas Like a Virgin album and listen to those repeatedly. I also started listening to the hit radio station in NYC and liked musical theater like Gilbert and Sullivan and Disney songs that I was studying musically when I started singing.

 6.0 – What was the first song you learned to sing and play on guitar at the same time, by who?

I was already writing songs when I decided to learn Jewel’s “You Were Meant For Me”. I had only been playing for a few months at that time and I learned the plucking, the harmonics and everything. I still cover that song at shows.

 7.0 – Is there an influencing artist that you consider your ultimate muse?

For a long time early Jewel was my primary muse. I’m now really inspired by Patty Griffin. I think she writes stunningly beautiful songs and stories and sings them amazingly. She’s an underappreciated gift.

 8.0 – Why led to your leaving NYC for California? 

I left for a variety of reasons, a lot of them too personal to mention in this interview but definitely available in the songs on my record. NYC, and the people surrounding me there kind-of broke my heart. I also had an opportunity to record out here with a great team and it just made sense to get out to Los Angeles and dive into it. I came out thinking I might be back by the Fall but the record took longer then expected and then one thing lead to another and now I live here and love it. I still get back to NYC a lot and miss it so much sometimes. It will always be my home and I love the energy of the city. I’m so proud to have grown up there.

 9.0 – You recently performed in the subway in New York; has that experience changed at all from when you started out busking in the West Village or is that what Streetlamp Musician is all about anyway? 

I didn’t start busking in the West Village. I actually started in Times Square and tried to avoid ever playing too close to home. I didn’t really want to run into people I knew though I always do when I play – usually quite a few folks actually.

Anyways, it has changed because it’s become more crowded. And, as I get older and as the economy has changed people are less likely to tip artists down there now. I still think it’s the best way to hone your chops and start to build your fan base as a young artist. I’m lucky to have made it into the MUNY program that’s run by a part of the MTA who manages the subways. They give you permits for bet spots and times as well as the right to amplify your music. It’s a great community to be a part of and it feels more like a legitimate thing that we’re doing together to make the subways more interesting and special. The buskers and street artists are so vital to the city and it’s spirit.

Streetlamp Musician is about the West Village changing in the past few years as much as it’s about me wishing more people would listen to me when I’m laying my heart out on the line. The city has to change but I wish the West Village was more of the neighborhood I grew up in with artists and bohemians. It’s way too expensive for interesting characters to live there anymore and all the mom and pop shops that had been there for generations were pushed out because rent got too high. My godmother blames the Village getting too popular on Sex and the City and I think she’s right.

10.0 – What’s the worst gig situation you have ever found yourself in? 

The worse ever was at a place called The Guitar Bar in Savannah, GA. I set up a show there for their opening night while on my first tour. Everything sounded good from the owner in follow up and checking in a week before the show right up until I got to the venue the night of the show and the owner told me that they weren’t going to be opening that night. My drummer was from Savannah and we were expecting a lot of people so we rescheduled for the next night and now were co-billing the show. We called 30 people to tell them about the switch and ended up playing a house concert that night instead.

The next day we went to the venue and they were complaining that they still didn’t have their liquor license and hustling to finish painting, put things away etc. I saw painters tape all over the floor moldings that needed to be removed so I started helping with that and got to the moldings in the bathroom when I realized they had no toilet paper. I asked the owner if they did and he was overwhelmed and said no so I offered to get some thinking he would pay me back. I went across the street (aka highway) in the dark to get some at a deli and loaded it into the bathroom.

The place opened that night and a ton of our friends came out. The show was amazing right up until I went to go take care of being paid before leaving. We had worked out a 50/50 split of the door deal and I had brought out 30 people at $10 a person. So the band should have made $150.

He handed me maybe $20 or $40 and said he was sorry, they didn’t have their liquor license blah, blah, blah. I quickly found out that he needed all the money from the people I brought in to pay the other act who was a friend of his who has flown in from CA when he paid the other guy $250 right in front of me. The other act hadn’t brought out anyone. I told him that wasn’t okay, we had still driven for hours to be there, had helped them out so much and brought in a lot of people and had a fair contract, yes, the payment details were in writing and it was signed. After a ton of arguing I ended up just leaving and just was so mad that he was making this my issue and just left.

I just looked them up and that place is finally closed. I can’t believe they actually stayed open for 4 years or so. What a nightmare.

MICHAEL McDERMOTT

Are you happy with how your new release Hit Me Back (Rock Ridge Music) has turned out?  Couldn’t be happier. Took a wee bit of a different approach than the prior albums….for example….there were certain artists we couldn’t reference….it was out of bounds so to speak…to reference some of the artists that most singer songwriters. Mkight refer to …you know a  ” you know how on that Dylan record they did that thing with the keyboard?” Those types of statements were forbidden….. you know the line….”.if you always do what you always did, you will always get, what you always got .” That was kind of our launch pad.

Who is it for?  The whimsical, the unwanted, the mourners, the isolated, the desperate, the devilish, the defeated, the kick-starters, the matador’s, the penniless poets, the dogged, the lovers on morning trains, the searchers, the seekers, the outcast, the count, the clown, the mistress, the widowed, the forgotten.

Where did you record it? with whom?  CJ Eiriksson …who is fucking brilliant! I worked with him a few years back. Then on tour in Italy, I was in the back of a car and leafing through the U2 record liner notes and noticed CJ”s name all over the place…..I was thrilled for him. I figured he had graduated to a different level and would no longer work with low lifes like me…My wife Heather told me if i didn’t write him, she would…i still had his email address and i wrote him….and he was on the road with U2 for the 360 tour but it was wrapping up soon and I pitched him….

How does it relate in your mind to your previous record, Hey La Hey?  It’s quite a departure. Songwriting is songwriting…at least mine is……but it’s really just what colors you use from your palette. We approached that record (HLH) with a band in the studio……this one…..it was me and CJ for the most of it.

With so many records under your belt, does one develop a philosophy when it comes to going into the studio, or is that called ‘the budget’?  HA….well that certainly is a factor in the equation….truth be told it’s as confusing as ever…..we did this record with the help of Kickstarter so we did have it planned we had a certain amount of time and come hell or high water…..it had to be done….so our philosophy was…….work quickly !

michaelmcdermott_hitmeback_cover-2Did you have sound or general attack in mind going in for Hit Me Back or did it evolve as the material took shape?  I think the songs really dictate what you do. I had a batch of songs that I thought were ready and then I sent them to CJ and he started working on loops from Texas and we kind of molded the record over the internet……then he came to town and we did it in 8 days.

Is it all new material or did any older, previously unrecorded songs bubble up to the surface as well?  There was one song, ” She’s Gonna Kill Me “, that we recorded for Hey La Hey and weren’t quite happy with it……so that one kind of stuck around…..another song ” Scars From Another Life” was a few years older….and one we would play live…..but when I sent CJ 40 songs or so…..he gravitated to that one…..he rearranged it and it came out amazingly well……it’s really having trust in your producer that he knows what he’s doing…..and you gotta be willing to walk the plank with him.

Do you have a favorite track (or tracks) on the disc or should we assume that’s the ‘titled cut’?  That’s certainly one cuz it’s probably the most ” fun ” song I’ve ever done……we thought we could hide it on the record and start it with more serious stuff but, wanted to come out with a smile…..I wrote that song in the car on the way to and from the hospital to see my dying mother….worst time in my life…..so for the sheer sake of my sanity i wrote a pretty funny and light hearted tune.

Any new influences reflected on the disc that you hear as the author?  Being referential to an earlier question…….we tried to use female influences more than male references……we put to rest all the old ” Gods ” the old ” Legends” and would be more influenced by Sinead, Dido, Florence, Sarah, then say Dylan, Bruce, Waits, Van, U2

Is ‘Hit Me Back’ a threat? kinky chatter? the facts of life or just a text message? what does it mean to you?  Great question…..well it was strictly a lyric in relation to my hangover that my head was hurting so bad it felt as if the bottle literally hit me back. But just those three words have a very ambiguous connotation which i love……it’s the masochist the fighter, the lover, the loser……all things which I know quite well.

 Are your earliest musical influences the most pervasive or do others break through along the way?  The early ones in the formative years are still the Mount Rushmore for me of songwriting….but there certainly have been people that have shown up in recent years that can influence you. Things constantly influence me……the train outside my window, to the man at the counter in a diner…..songs are everywhere….you just sometimes go looking for them in different places.
Where do songs arts for you, with the lyrical content or the music?  Totally varies, sometimes it’s a riff on guitar or a piano melody. Otherwise you get a lyric idea and then try to meld that into a song or melody. They are just different colors, and you need all of it to make a great painting so it matters little which comes first.  You’re going to need all of it if you want the song to sing on it’s own.
What is the first song you ever wrote, do you still like it? did it resurface anywhere else down the line?  The first song I wrote was in high school, and we named the band after the song – “Missing In Action / MIA”.  Nothing of that song ever reappeared, for good reason LOL.
How does “Hey La Hey” differ from your past releases?  It’s a far more restrained album. Which i like. The songs breath in a completely different way. Part of me misses some of the frenetic energy of the past albums, but i think it was a big step with not getting in the way of the song too much. Sometimes you try and do too much with a song and you end up kind of choking the life out of it……this album each song breathes on its own.
How did you approach going into the studio for the record?  I never usually have an approach….i’ve learned whenever i go into the studio thinking its gonna sound like one thing….it ends up sounding nothing like i thought it would. i’ve learned to let the song take you….and i just go along for the ride.
What is your favorite song on it?  That’s a tough one……if i had to have Bob Dylan hear one song….i’d pick Forgotten…….its a song thats spooky and has elements that make me uncomfortable. Its a song i havne’t heard in quite sometime…..because of the way it makes me feel. There’ something other worldly about it…..and i’m not sure if its a world i’d wanna be in.
If you had to make an “Introducing Michael McDermott” EP, what 3 songs would be on it?  Forgotten, Charlie Boy, The Silent WIll Soon Be Singing (unreleased song).
What’s the best part about playing Europe?  The people are the best thing. Besides my fascination with Europe as a whole…..the people and how they listen to music is the most inspiring thing. Europe has taught me about myself, its taught me how to love and approach life in a different way. I love it.
What advice would you give to young artists getting ready to tour for the first time?  I had a blast as a young man on the road. But maybe too good of a time. I’d say be moderate on the partying. That time of my life nearly killed me and i still have the scars to prove it. Have a great time….but ” dyin’ ain’t no way to make a livin” ( Clint Eastwood)

DIDA PELLED

1.0 – When did your love of jazz begin and with what artists / records?

I began listening to jazz when I was fifteen years old, at The Thelma Yellin High School (Israel). I didn’t listen to jazz at all before that. As a guitar player (I didn’t sing at all at the time) I loved listening to Wes Montgomery, Grant Green, and to other instrumentalists like Clifford Brown, Lee Morgan, Hank Mobley, Miles David, Coltrane, Ahmad Jamal and many others.

2.0 – Were you singing before you picked up an instrument?

No. I began playing music only as a guitar player, and did only that for a few years. I played many gigs as a guitar player only before starting to sing, and at the time I wasn’t even thinking about singing. After High school, I went to the army (like everyone in Israel), and I was chosen to serve as an ‘outstanding musician’, so I played in the army band. In that band I started singing a little bit, and I fell in love with it. A year after, when I moved to New York, I began singing on my gigs too.

3.0 – What was the first song you ever learned to sing and play at the same time?

In the beginning I didn’t sing jazz so much, and I was mostly fooling around with singing some Israeli songs, Nirvana songs, or something in that vibe, I don’t remember :) So I guess those were the first songs I sang and played at the same time. I think that the first standard that I’ve learned to sing an play at the same time was “Like Someone In love”.

4.0 – It seems so few female guitarists gravitate towards improvisation but rather use it as a vehicle for songs: did that come naturally to you or was it something you had to work at a bit?

It came very naturally, because I started as a guitar player, so improvisation was what I was mostly working on. When I played a gig, many times with another singer, I was only playing guitar, and improvising was my way to express myself. In that sense, I think that I’m happy that I started singing late, because starting with the guitar gave me a point of view of an instrumentalist first, and of someone in the band. Starting to sing after playing guitar and improvising, and really knowing the songs and the language helps a lot.

5.0 – How was your experience like at Berkeley School of Music?

I was there only for 5 weeks, so I don’t really know how it is like to be a student there.:)

6.0 – What led to your decision to ultimately go for it as a musician in the states versus your home of Isreal?

I had a dream about moving to New York even before I started playing music. My older sister and brother were students in NY and I wanted to do the same since I was very young. Later after I got serious into jazz, I had no doubt that NY is where I want to be!

7.0 – Do the early 50’s rock’n’roll pioneers have any influence on your sensibility as a player?

Sure :)

8.0 – What do you enjoy most: playing live, writing or recording?

Playing live!

9.0 – What’s your favorite thing about the music scene in New York?

I don’t know another city in the world where you can go out every night and find a few very good options of different music to listen to, and to be inspired by the best musicians in the world.  I am back in NY at The Living Room on August 27th.

10.0 – If you could sit in with anyone, anywhere, anytime, past or present, for just one night….who and where?

Frank Sinatra, Bob Dylan, Ray Charles?  It’s a hard question! ( Visit Dida online at DidaMusic.com or on Facebook )

TIM BURNS w/ AVENUE N GUITARS

When did your fascination with guitars begin and Is it curable? I recall as a kid having an interest in guitars long before I knew how to play one. I have a vivid memory of dragging my poor mom into a music store and gawking at a hanging row of shiny new Gibson Firebird’s. There is a disease associated with guitar lust. It’s commonly referred to as GAS (guitar acquisition syndrome). So far I have not heard of a cure.

Do you still listen to the same players that turned you on as a kid?  Absolutely! You never quit learning from your mentors. It’s like watching a favorite movie 100 times and every time catching something you didn’t notice before. To this day I’m always fascinated listening to Jimmy Page, Brian May, Freddie King, etc.

What was the first guitar you ever owned? do you still have it?  Ok, disregarding the plastic banjo (prop) I had for my first public performance at around age 4, my first guitar was a lovely Hohner dreadnought, you know, the $99 variety. It had a skinny neck and never would tune properly. The coolest thing about it was the faux denim chip board case it came in. After all, it was the early ’70’s, baby. I gave that guitar to a student sometime in the late ’80’s. I was trading guitar lessons for kick boxing training.

It seems as if your timing and location were right on the money: how is Wicker Park treating you guys today?  Wicker Park is still one of the most vibrant and artistic communities in Chicago. I think we fit in here well. It has a great central location relative to the rest of the city. Good public trans., etc. Close to some good clubs, too. We see a lot of local and touring musician’s. Our starting time could have been better (right at the beginning of the economy bubble burst), but we’ve made the best of it.

How do you feel Avenue N Guitars is different than other musical equipment retailers in Chicago?  Certainly there are other great ma and pa music stores in the Chicagoland area, but, and this may sound cliche, I think the one thing that sets us apart is at the heart of it, we really do care about music and the people that make it and play it. Our main goal is to support that. We don’t have any gimmicks here, no slick sales pitches. We stand by everything we do. It also doesn’t hurt that we have a long and intimate history with vintage guitars and that market not to mention our guitar and amp service dept’s are one of the best kept secrets in Chicago.

How do you turn a walk-in new customer into a repeat offender? Again, by expressing our concern, going that extra yardage and providing the best customer service we possibly can.

How has the internet, ebay and the like impacted the guitar biz over the last decade? Huge impact. eBay has made a big dent in competition for small retailers. On the other hand it is useful for sales and a handy price comparison tool. Having a website can also be a great sales tool even if only used as advertising. A lot of people have developed retail businesses solely on eBay and websites. The ones that hustle have done very well although ebay sales have slipped over the last few years with the economy the way it is. Overall, the internet has been a game changer and mostly for the best, however, it’s not without negatives for small retailers. For example, it’s nearly immpossible to compete with corporate giants such as GC who not only sell on their own websites at grossly discounted prices (because that can buy from vendors in bulk at great discounts), but also sell on other internet sites they own as well such as American Music Supply, Music 123 and Musician’s Friend to name just a few.

Who do you think are making the best new electrics on the market today? any hot tips? The best new electrics, of course, come from the hands of custom builders and generally with a premium price. If we’re talking the big dogs (Gibson, Fender, etc.) and mass production, it’s hard to say. There has been a lot of scrambling going on it recent years. All the big companies keep producing more and more new models in every possible price point. In doing so, I feel they keep slipping further and further away from their roots as quality guitar makers. They seem to have no clue about their own history. Integrity and quality has long ago taken a back seat to profit margin. My question is this: if you are going to spend $3000 of your hard earned money on that Les Paul Custom you always wanted, would you buy the brand new plastic looking CNC machine made one or the cool old vintage one?

What’s is the strangest request you have received from a customer?  As a tip for good service, I once had a customer ask if I wanted to ‘light one up’ right at the front counter of the store. It was about one in the afternoon and the store was full of customers.

Should smashing guitars be made legal too?  For some guitars it definitely should be legal!

RICHIE SCARLET

When did you first fall in love with the guitar?

The day I heard “Purple Haze” by Jimi Hendrix.

Who did you first try and emulate when you picked up the guitar?

Jimi Hendrix and Jeff Beck.

What are your favorite five guitar solos of all-time? 

1) “Child in Time”, Richie Blackmore- Deep Purple

2) “Theme for An Imaginary Western”, Leslie West – Mountain

3) “Machine Gun”- Jimi Hendrix – Band of Gypsies

4) “Dazed and Confused”, Jimmy Page – Led Zeppelin

5) “Shapes of Things”, Jeff Beck – Yard Birds

How has 2012 been treating ‘The Emperor of Rock & Roll”?

2012 has been an extraordinary year. Between playing out in the North East with my show. Playing lead guitar on Rockabilly Legend Charlie Gracie‘s new single, “Baby Doll” which went to umber one. Appearing in Dee Sniders latest video “Mack The Knife”, Producing Dez Cadena of the Legendary Horror/Punk/Cult Band The Misfits. Playing all guitars on legendary Rock and Roll Chubby Checker’s newest single. Started to record my new CD. Due out October 2012. Also, I have been doing many other studio projects. It has been very creative year. The icing on the cake was joining Ace Frehley on stage in NYC with Anton Fig, after 10 years.

How did that come about?                               

Ace invited me down and my wife Joann spoke with his people. The next thing was Ace asked me to join him on stage. It all happened very quickly….”AND IT WAS A BEAUTIFUL THING”.

Did you read Ace’s book, “No Regrets”?

Yes I did…. I enjoyed the first 3 chapters the most, before Ace was in KISS. Overall, I enjoyed the entire book.

You’ve been working with Dez Cadena w/ Black Flag and The Misfits, how’s that going?

It was a blast with Dez. We are still working together.

Which track on your recent disc “Fever” is your fav and which ones do fans gravitate to? 

My favorite track is “Radio Dreams”. Fans seem to be drawn to “I’m No Good” and “Standing in the Rain”.

What was it like playing with Leslie West? learn any new licks from him? 

I was able to tour the world for 8 years with Leslie West & Corky Laing of Mountain. I already knew the Licks (LOL)

Is there anyone you haven’t jammed with that you would like to someday? 

Jeff Beck …..and many more.

JOHN NORRIS

1.0 – How did you get your start in the music business?

I played with bands in the late 1970s/early 80s in Ireland, wound up in Hamburg, Germany in the mid 80s and started working as a crew member on tours. I toured with a variety of acts including Devo, Rory Gallagher, Nick Cave, Einstürzende Neubauten

2.0 – Peterson has quite a long and rich history, when did you first become aware of them and how did you ultimately become involved with the brand?

I used Peterson strobe tuners on the road always, no self-respecting roadie should be without one. All my peers used them. The challenges onstage during a show are many and varied, and you need to arm yourself with the very best tools to excel. Sometimes I see guys trying to get by with a needle/LED tuner and struggling with things like tuning acoustic instruments in deafening conditions, which is no problem with a mechanical strobe. It’s just about having the right tools for the job. I started repairing the older models for colleagues and through contact over the years with the factory in Chicago, built up a relationship with Peterson that led to the offer of a job in the U.S. a dozen years ago.

3.0 – The Who’s-Who of real touring artists know Peterson is the gold standard,  is it difficult finding ways to bring that message to new, less established musicians?

It can be harder because of the nature of the product; a tuner is a functional piece of gear. There are those who value an effects pedal like a chorus or delay more than a high end tuner, but they forget that tuning is crucial. It’s the building blocks of tone, because harmonic content is a vital part of tone, and the only way to influence it is by tuning as precisely as possible.

4.0 – Do you find it ironic that most of the early live recordings of folks like Hendrix & Zeppelin are often grossly out-of tune?

People sometimes say that but it’s not entirely true, people don’t realize that strobe tuners have been around since the mid-1930s and it was the advent of recording and the “Talkies”, not Rock ‘n’ Roll which spurred interest in tuning properly, by that I mean the first time attention was paid to overtones and harmonic content.

Hendrix, Led Zeppelin and even the Sex Pistols and the Ramones  had strobe tuners in their arsenal of gear.

In those days when actual Rock Stars walked the Earth maybe they didn’t always use them or were maybe too out of it to do so! Nevertheless, those artists did have an innate sense of what is “in tune”.

Being “in tune” is also open to interpretation, dissonance is as much of a sonic tool as consonance is, listen to any epic guitar solo and it is peppered (and sweetened!) with both. The trick is to be aware of which is which and why.

5.0 – In terms of live concerts, what’s the hairiest artist-related situation you have ever had to deal with? 

Let’s see, dismantling part of a building in Moscow in order to “procure” instruments (scrap metal) for German industrial noise band Einstürzende Neubauten with the KGB style officials breathing down my neck or maybe doing a gig with a scantily clad Nina Hagen in a maximum security prison would probably count.

6.0 – I imagine you have fielded strange requests from artists over the years as a roadie and at Peterson? 

As an ex-roadie my lips are sealed (Ancient Order of The Road forbids it :-).

At Peterson, plenty of strange requests, a tuner for chemical silos to indicate how much material was left inside (existing systems are apparently not very good!).

A request for a tuner for suspension bridge tensioning (!)

Tuning the Peterson Bottle Organ.

At the recent Royal Diamond Jubilee in the UK, the eight bells adorning the prow of the Queens barge were tuned using a Peterson Strobe Tuner.

7.0 – You have quite a guitar collection, any favorites you could never part with?

I have a 1977 Gurian JM that I’m very fond of, and a 1956 Gibson LG1 that’s got quite a charm to it, I also have a couple of ‘70s Guild twelve string guitar that I like. At Peterson, we use a wide range of instruments when creating our sweetened tuning presets and we often include our own personal instruments.

8.0 – If you could program Star Trek’s Holodeck with a couple concert settings you lived, what would the menu look like?

Leipzig, Germany Oct 25th 1989: On tour through East Germany (or GDR as it was known then), with a bunch of artists. The lead singer of one of the bands coyly wishes the audience “all the best for the future”, and is met with silence, then one handclap, then two, then three, erupting into a standing ovation. A few days later, the Berlin Wall falls.

Hamburg, Germany March 31st 1990:  Standing beside Jerry Lee Lewis after delivering the “piano du jour” for him to warm up on, when Jerry Lee says “boys, this is a fine piano, some day when I got the money, I’m gonna buy me one o’ these”. My crew buddy Jed glances at the stacks of dollars in the room which JLL insisted he be paid in and pipes up “the money lying around here would do fine as a down payment”. Happily we got out alive without JLL taking umbrage.

Hamburg, Germany Oct 24th 1990:  Dizzy Gillespie sits down beside me at the back of the stage by the dimmers, looks at the band, looks at me and says “Ain’t that a heck of a band?” It was his own band who he often allowed to “stretch out” by leaving the stage to them, a generous guy.

Paris, France 18th Dec 1992:  Rory Gallagher playing up a storm, blows his amps up, which trips a circuit breaker taking out the entire PA. Rory switches to acoustic guitar and plays unamplified to a hushed crowd, until some unfortunate individual exits the restrooms via the very squeaky door, cue the entire crowd looking around to see who the heretic was!

Osaka, Japan July 8th 1993:  Explaining to a frightened stage manager that no, I didn’t need any hi octane fuel to power the tuned jet turbine used on the set of Einstürzende Neubauten and no, we didn’t need to set the stage on fire like last time……………

9.0 – How do you feel about the auto-tuning phenomenon?

I think it has its place, but there are so many people using it without any knowledge of or regard for proper intonation and temperament theory (you cannot tune everything as you would a guitar) and that’s why it sounds so artificial even when used sparingly. If you’ve ever tried to make a keyboard sound like a horn section, the same problem arises.

I can always hear it, it’s very easy to detect and differentiate from naturally in-tune recordings.

I guess I should say I’m more a fan of the preventative (tune and intonate properly when recording) rather than the curative (fix it later).

10.0 – Sound analysis is crucial in testing architectural stability for the world’s most ambitious structures and it has been postulated that sound was the secret to the building of the pyramids; is sound the most powerful force in the universe?

I would say that sound is all pervasive.

MIKE CLIFFORD

1.0 – What led to the decision to release Day Dreamer, an EP, as a follow-up to the 2007 full-length self-titled debut, Mike Clifford?

Money was a big factor.  I invested all of my savings into recording
the LP.  I hired great players and rented studio time, including a few
days at The Magic Shop.  That added up very quickly.  Following up with an EP-fewer song to record and mix-made sense financially.  But I also like the format of an EP.  Pick a few songs that you feel really solid about and put them out there.

2.0 – How do you think the material and delivery on the new disc vary in comparison?

Production value.  I couldn’t afford a pro studio to track drums on
this one.  All of the tunes on the EP were either recorded in my
bedroom or my friend and mixer/engineer/producer Zach Berkman’s bedroom using Protools and a few mics.  We didn’t labor a lot over sounds or complicated arrangements.  Instead, we focused on getting workable sounds and good, honest takes.  Like a lot of other songwriters I tend to think that a great song ought to hold up whether it’s performed by a voice and a single accompanying instrument or a full band with all of the bells and whistles added on.

3.0 – How did your band come together?

Different band with the exception of Leo Marino on guitar.  He played guitar on the LP and the EP, along with switching between guitar and bass in my live band for years.  Lately I’ve been performing with Leo,
the great Anton Fier on drums, and Brett Bass on bass.  It’s the best
group I’ve played out with.

4.0 – Would you describe yourself as a Day Dreamer; are you nocturnal?

Nope.  But I had terrible ADD as a kid.  The song “Day Dreamer” provides
a spot-on description of what it was like for me to space out in
school.

5.0 – What comes easier to you, writing on guitar or piano?

That depends on the tune.  I’m more proficient on the guitar, but I’m
likely to come up with more interesting chord-voicings and
progressions on the piano.  Sometimes I’ll develop a song idea by
switching between the two instruments.  If I’m lucky, trying the tune
on the piano might give me an idea of how to approach it on the guitar
and vice versa.

6.0 – Can you describe what it feels like to have written a song you believe in?

It’s very cathartic.  Especially if the song comes out quickly with
little editing or ‘crafting’ on my end.

7.0 – How do you know when a song is ready for recording?

I’ll demo it up on Protools and play it for a few people whose opinion
I value.  If the feedback is good I’ll try it out live.  If it goes
over well and I still like singing it, than the song is ready to go.

8.0 – What was the first song you ever learned to sing and play at the same time?

I’m pretty sure it was “About a Girl” by Nirvana.

9.0 – Who or what got you hooked on rock & roll?

It was in the first grade.  I was hanging out with my friends Joe,
Scott and JP in JPs TV room.  Joe put on Appetite for Destruction and
started rocking out on air guitar.  He told us we were in his band and
assigned instruments.  Of course he got to be lead guitarist AND lead
vocalist (Slash + Axle…Slaxle?).  I got stuck being the bass player.
I didn’t even know what that was.  Either way, I was hooked for life.

10.0 – How was your recent return to NY’s The Living Room in June?

Great.  I love that venue.  You can rock out hard on one tune and
follow it up with something really quiet and the audience will stay
with you.  It all works in that space.

CRAIG ELKINS

1.0 – How long did it take you to write, record, and finally mix the new disc, “I Love You”?

Most of the songs on “I Love You” were written over a 3 year period -2008-2010 where I was struggling in every conceivable way. I’ve always struggled. But the walls were really starting to collapse inward financially & relationship wise. Los Angeles is an expensive ride and we literally didn’t have enough money to get a tire fixed.

Most of the record was recorded at the Pass (RIP) in Studio City, CA (a studio once owned by Tom Jones!) in 2 days. 99% of the vocals are live. All of the rhythm tracks are live. My friend Rynne came in and did some background vocals for us (she’s now in the band), Marko, our bass player and producer/mixer of most of the tracks on the record, had his 11 year old son play tuba on “Most of the People”. Mixing was a slower process because it took us a while to figure out that Marko was going to mix the whole thing (or most of it – Zeph Sowers, who works with TV on the Radio mixed “Gravel”, and Todd Solomon recorded and mixed “This House”). Then it was a matter of fitting it in around the daily minutia of middle aged white-guydum.

2.0 – Did you have a vision for how the album should sound before going in or did it evolve?

It evolved – pretty quickly. My friend Jason Karaban, who I wrote “Tumbleweeds” and “Tell em My Story” with (he’s got his own version of “Tumbleweeds” coming out on his record this summer as well) is friends with a handful of super great, generous musicians – Pete Thomas (Elvis Costello), Dave Immergluck & Charlie Gillingham (Counting Crows) and Niel Larsen (Leonard Cohen). We had no idea how it was going to sound, I don’t think, until Niel played the piano solo on Gravel – then everything sort of started to take on the same flavor. Later on, I brought in Dr. Steve Patt – family practitioner to the stars and ridiculously talented musician – to play pedal steel and we ended up with a kind of mid 70’s Merl Haggard record.

3.0 – Did you approach the record on a strictly tune-by-tune basis or were there themes you wanted to get across?

I wrote these songs during a tumulteous time in my life and so everything fits nicely together theme wise. I didn’t set out to write an album of 9 melancholy songs about middle aged angst but I wasn’t writing about anything else either so, yes & no.

4.0 – Which tracks are fans and friends gravitating to so far?

The ones where I get the girl or where my lady does me wrong and I exact revenge by buying a nice car.

Craig-Elkins-Band-Color-hi-rez5.0 – It’s been over a decade since the Huffamoose Billboard Hit, “Wait” (#34, 1998), and yet the new stuff maintains the dry wit that was a hallmark of the band, where does it come from for you?

hmm – well, I’ve spent most of my life in music pretending to know what I’m doing. I never had the intellectual staying power to really dig into song crafting, the language of songwriting, etc. I barely listen to music- so maybe that’s how I can muster up just a smidgen of originality –  I sort of found my way to my own voice in this ass-backwards way. I know my dad and I like to laugh at the same things. So do my daughter and I.  The other members of Huffamoose seemed to share this sensibility too.  I know that I’m extremely attractive and attractive people tend to be really creative and fun to be around.

6.0 – Has living now in California impacted your music or outlook on life in any way?

Well, I’m not sure if it’s California, but I certainly have had my toughest years here. I’m pretty sure I wouldn’t have written these songs in Philadelphia, but who knows. LA can be this amazingly gorgeous prison. You look outside at the wonderful sunshine and the air smells divine but you can’t go out and enjoy it – you’re too busy trying to make your rent – at least that’s been my experience – no mortgages in my present or near future. That’s another odd thing about LA…I feel like I’m the only one who struggles. Everyone else just drives to and from meetings at Starbucks in their BMWs.

7.0 – What got you hooked on rock & roll as a kid?

The way the towel looked on my head when I was pretending to be a rock star in the bathroom mirror. That and the Bread song “Guitar Man.”

8.0 – What was the first song you ever learned to sing and play at the same time?

“Where Have All the Flowers Gone”

9.0 – What three 70’s albums should be in every music lovers collection?

1. Presence – Led Zepplin

2. Tapestry – Don McClean

3. Something Anything – Todd Rungdren

10.0 – Is it really true that you “Can’t Stop Being A Dick”?   

It is 100% true. It is an absolute truth. I literally wake up every moring with the best of intentions and by the time I shuffle out into the kitchen and ignore my wife or yell at one of my 5 cats, I’m back.

ALYNDA LEE SEGARRA w/ HURRAY FOR THE RIFF RAFF

Does the name ‘Hurray for The Riff Raff’ reflect a personal or band philosophy of sorts?  I would say the name comes from my love and feeling of camaraderie for the underdog of all walks of life. Growing up in New York City exposed me to people who live on the fringes of society and sometimes go unseen yet they have so much unique energy they give the city. The homeless subway singers, the runaway teenagers from middle america, the gender benders, and the Puerto Rican Poets of the lower east side. I felt at home with this lot of folk right away.

Do you have a favorite track on the new release, Look Out Mama?  I’d say my favorite track is “Ode to John and Yoko”, it was really fun to record and mess around with. Andrija Tokic really helped me bring that song to life. I had the song and some ideas but him and Sam Doores had a lot of great ideas about how we could use Beatles-esque recording tricks etc to make it what it is. Dan Cutler is the man when it comes to vocal arrangements, so with the help of the whole team this recording came about and I couldn’t be prouder.

How did the relationship with the HBO show ‘Treme’ come about?  Treme has been awesome about wanting real New Orleans musicians on the show, the crew really respects New Orleans artists and they want us to benefit from the success. I was just lucky enough they decided to use us.

Could you have become the artist you are today had you not run away from home and the Bronx at 17?   I’m sure I’d be an artists of some sort since i’ve been making art since childhood, but I think everyone has a path and a purpose in life and great things come to you when you follow your path. It’s not always easy but it’s rewarding. It was very hard for me to leave and the life was not easy by any means, honestly I wish I could have some of that time back to connect with my family. But it was what I think I needed to do to come to the place I am now mentally and artistically. It brought me to New Orleans and to the musicians who taught me how to play, in that respect I am so grateful I took the plunge and now have this outlet.

Is that when you became ‘riff raff’?  I have always felt like riff raff since I was born. I have always felt a little different than your average bear. My aunt who raised me can attest to that! But being on the road opened my eyes in many ways. There are a lot of people in this country who have no where to call home, they don’t have food to eat. There’s also people who have an extreme amount of wealth. I learned about the privileges I have and don’t have, it taught me that balance more than anything. What I want to fight for and what I want to remember how lucky I am to have. Now I’m trying to make music that I hope will have some kind of positive effect on this country and our world.

How does your Bronx upbringing inform your music today if at all?  The Bronx is a beautiful place to grow up, there’s a lot  of the hard working people there. It’s unpretentious as it gets. These folks are also Riff Raff in my mind, the person who’s just working really hard to raise their family and seems to not be able to get a break. Where I grew up it was a lot of Irish, Puerto Rican and Dominican and Jewish families. A great mix of people. I had some a great best friend who would walk the neighborhood with me. We both grew up with a respect for our elders and a longing for the New York of the 1960’s we heard about in song and stories. We both wanted West Side Story and Doo Wop music. A lot of Puerto Rican artists sang in those groups, gals and guys from the neighborhoods singing on the street corners.  In that way it effected my music very much and that Doo Wop influence is growing. I was just singing on the corners in New Orleans with a banjo.

Do songs just ‘happen’ for you or do you have to work hard on them and build them up over time?  I do both. Sometimes they fall on you from the sky, and sometimes you have to craft them. I just try to follow my inspiration.

What comes first for you; the content? melody? chords?  Most of the time it’s melody, I normally sing something and then pick up the instrument.

What’s your feeling about categories and genre’s when it comes to your music?  I feel like it’s hard for me to pick them, but if someone else wants to go ahead. Just listen to it is what I say! If you want to call it anything, call it folk music.

What are some of your influences growing up and are they still today?   Growing up I loved Judy Garland, Madonna and Marilyn Manson! I was a strange child, I had all sorts of role models. I was also very influenced by the songs on the oldies radio station that I’d listen to with my family. But as I got into middle school I began getting really into the Punk scene. That influenced me too, I loved the energy of the live shows, the political views and the community feeling. Punk led me to American Folk music, old time, Woody Guthrie, traveling songs. Punk music led me to travel and learn songs from people I met on the road.  But it’s more recent that I’ve found John Lennon, Townes Van Zandt, Gillian Welch and Bob Dylan. When I met Sam Doores in New Orleans he introduced me to a lot of music I missed somehow. He taught me about the beauty of a well written song. I loved his appreciation and dedication to songwriting. He became a big influence of me as well, as we all down here in New Orleans inspire and influence each other.

TERRY RADIGAN

1.0 What’s your favorite moment on your new record, The Breakdown of a Breakup?  If I had to pick one I’d say the trombone solo on “Mistake” played by J. Walter Hawkes.

2.0 – How did you track the record and who was involved? I tracked the record at my studio Catherine The Great in Brooklyn. I pretty much record / mixed and did basic mastering myself. David Barratt was the executive producer on The Breakdown of a Breakup and I can say without a doubt that had he not come on board and lent his brilliant fresh ears I’d be working on the record for the next ten years.

3.0 – Do you allow yourself to compare your own records and if so, where does this one rank for you now, the week after its Valentine’s Day release?  I don’t really compare them as they’re a snapshot in time but this record was a real departure musically and lyrically.

4.0 – How did the concept for the album come about?  When my marriage of twenty years ended I wrote a bunch of songs to help me process it all. I didn’t think of putting it all together as a collection until David Barratt stepped in and helped to make sense out of all the tunes. Once we listened to them, it was pretty clear that they were all of a piece.

5.0 – What’s your best advice for getting through the pain and doubt of a failed relationship?  I know for me writing the tunes was a way of communicating to myself how I was really feeling & I’d imagine anyone going through it songwriter or not would get some clarity but writing it all down. It helps to keep it from just playing in the background of your mind.

6.0 – On your website, folks are encouraged to share their love stories; how’s that going?  It proved to be a great forum for people to share their stories, and to let others know that they aren’t alone in their heartbreak.

7.0 – Which is your first love: playing guitar, singing or writing music? I’d have to say playing that guitar, as that’s where it all started, but the three together are the holy trinity for me.

8.0 – How do you know when you have a good idea for song, or are you never quite sure?  Some songs just feel like gifts that you’re being given & your only job as a songwriter is not to get in the way! Then there are the tunes that you go 12 rounds before they show themselves.

9.0 – Was there an artist or a record that propelled you as a kid? “Ode to Billy Jo” by Bobbie Gentry. That song & Ms. Gentry’s singing blew me away. The cover for the sheet music was a picture of her holding a cool parlor guitar. I’d have to say that was it for me. I’m always trying to write that song !

10.0 – What’s the finest compliment you have ever been paid walking off a stage?  Hmm … I honestly don’t know that I can pick one. It’s always so moving and incredibly generous to have people come up & thank you for giving voice to something they were feeling. I am in a constant state of gratitude for that.

ADAM LEVY w/ THE HONEYDOGS

What do you feel is the high point of your new release, The Honeydogs; What Comes After?

This whole record feels like a solid offering to me. Hard to pick faves, just like your own children. The ending of “Devil We Do,”  “Broke it, Buy It,” The string arrangements on “Everything in its Place” and “Turned Around.”

What other Honeydogs release would you say is closest kin to the newbie?  

Hmmmmmm.  The record feels like a synthesis of our older roots records with some of the more elaborately arranged records of the last decade.   It has elements of our first two, and a few moments of 10,000 Years or Amygdala.

Now ten albums on, has the process of choosing the album title changed at all and how does “What Comes After” sum up what this record is bout to you? 

Album titles are in some ways like song titles.  They have some significance.  “What Comes After” has a bit of a spiritual ring to it–i was thinking about life and death matters quite a bit in the last year.  it’s also self-referential as an artist–I always like to keep moving forward artistically.  I have a number of projects percolating, and feel in a more creatively productive period than at any point in my career.  I hope to continue to always ask the question, “what comes after?”

How do you work as a band when it comes to new material; has it changed over the years? 

As the band has gotten more adept at learning songs the unit has become accomplished in the art of learning tunes on the spot; this record I brought a lot of songs the band had never heard.  They learned the songs and we tracked them immediately, sometimes in one or two takes.  That said, the band and my songwriting, while having a signature style, has always tried to not be predictable.  We don’t want to retread previous charted territory.  The band as players have developed some great antennae and abilities to learn quickly and fashion parts that feel new. This record was the easiest one we’ve ever made.  We worked with young engineers.  The band didn’t labor over details and we tried to retain as many of basic tracks and vocals as possible.

When is it time to get into the studio for The Honeydogs? Is it an organic process or does it take a lot of pre-production at this point?  

its time to go in the studio when I feel like I’ve got enough songs to work with.  The band loves being in the studio.  We grow a great deal every time we do this.  As I mentioned, little or no pre-production happened on songs for this record.  It is a very collective process of giving shape to a new body of work.  I always have ideas and make suggestions about parts.  But the more we work together, the more I trust everyone’s amazing instincts in this band.

Did you have any personal goals for this record? 

Sometimes not having expectations has some interesting results.  We didn’t have big plans tracking this record.  I felt like the songs were very personal and felt very comfortable in the studio with results happening quickly.  Not having any expectations always leaves you pleasantly surprised.

How did you gravitate toward ‘folk’ as the framework for your expression as a young artist?  

I grew up with the 1970’s pop folk landscape of radio. All of those bands listened to blues and folk and country.  My early favorites were all bands that merged older American musical styles with various other musical traditions.  I studied cultural anthropology in college and managed to soak up a lot of early American music in my studies.  I played in country VFW bands, old school honkytonk, and woodshedded to old blues and jazz records.  My early songwriting leaned heavily on Merle Haggard, Gram Parsons, Richard Thompson, Dylan…I never wanted to be a museum piece simply curating old musics and always had it in my mind to refer to these musics while offering something different.  My favorite artists have used the past as a touchstone to produce inspired hybrids and fresh interpretations.

What was the first song you ever learned to play and sing at the same time? 

Ha ha ha ha ha.  Badly or well?  KISS’s “Detroit Rock City”  badly.  “Sweet Black Angel” from the Stones’ Exile on MainStreet.

Who was your favorite guitarist growing up? 

I loved Mick Jones from The Clash.  Jimi Hendrix taught me the most.  I studied him hard.  Keith Richards and Pete Townsend taught me the importance of riffs and funky minimalism.  George Harrison taught me the importance of composing parts sometimes to create memorable music.

What advice do you give young artists looking to hit the road?  

Do it while you have time and freedom.  Create a great band.  Make everyone feel invested, loved, appreciated, and hope they areb equally driven.  It takes time to build a good team.  Be patient but be relentless and learn from failures…over and over and over.  Don’t listen to your parents.  I say that as a parent!

SIBLIN SANDOVAR

1.0 – When did you start playing guitar and what was the first song you ever wrote? I was about 12 or 13 when I started playing guitar. The first song I remember writing and finishing was called “Why Bother Here.” I was about 13 I think.
2.0 – You perform as Silbin Sandovar, does having an alter-ego of sorts impact your music at all? Nah. Not really.
3.0 – You bring a wide fusion of influences to your music, can you explain its origins? I just always liked older things. And I like variety. I love the idea of hybrids, musical mutts if you will. I don’t like “pure-breeding” in my music.
4.0 – What do you like to write about? I like the story song. Always have. The songs are about anything that revs my imagination. Sometimes it’s about me, sometimes I approach songwriting like script-writing. I write with other people, other personalities, other voices in mind.
5.0 Who were you listening to in high school? The Beatles and Led Zeppelin. Still love the former?
6.0 – If you could do a duet with any artist, who might it be? Great question. Emmylou Harris. Dolly Parton. Jenny Lewis. PJ Harvey… Would definitely be a woman. 
7.0 – What is most rewarding to you; playing live for people, the writing process, or recording new music? A good live show is hard to beat.
8.0 – What’s the vision for RocketHub? To grow to the point where the company is a lot more than simply crowdfunding. I like to think that Rockethub (and businesses like it) will perform in a similar function as record labels and film and television studios do. I hope we can improve upon things by creating a better, fairer model for creative people.
9.0 – Are other ‘captive’ club promoters receptive to it, or are some leary of helping?
I’ve had no problem at all incorporating Rockethub with my work as a booker or promoter, the brand has a very positive association with the places I work.
10.0 – What advice would you give up and coming artists looking to build a following in NYC? It all depends on what your path is, what kind of music you make. In my experience I would say that artists need to be patient and persistent– building an audience is just that–BUILDING–and building is work. And artists need to work smart. Working smart is having a strategy. There’s no one right way of doing it but I’d recommend doing some research– go out into the field of your given city or town and find out:
*what the best venues really are in terms of sound, size
and value
*follow the heat–find out and try to become friendly with artists who
do have a following and figure out ways to collaborate with them
*don’t overplay your market/city/town–unless you have a clever working
strategy–even the big dogs can and will die from overexposure.
Space your major gigs properly and pick up new fans at open mics,
guest appearances at other peoples shows, benefit concerts,
ect.
*Be a giver. Have something to give, to barter with. Artists that only care about when they’re playing and don’t try to be part of a community or scene are almost always the ones that come whimpering and whining about no one coming to their shows or not being able to find a drummer or a guitar player for their band. When starting out especially–we are each other’s audience. All the great bands and artists didn’t come out of nowhere, they all came from or started a scene or community of some sort–The Beatles, Stones, Bob Dylan, The Byrds, etc etc.

G. EDDISON

1.0 – How did Independence 76 come together? I wrote the lyrics to “The Epic of Pat Tillman and i” on my 30th birthday. I was sitting alone in a Boston hotel room after a long day of negotiating weapons contracts for the Global War on Terror. As I read an article about Tillman’s life and the horrible ending to his service I felt compelled to write a “parable” to explain to my daughter how he inspired my personal declaration of independence.  The name Independence 76 is a tribute to Pat Tillman’s life.

2.0 – How did you record the debut, Magpie Parables? All 16 songs on the album were recorded in John Cody’s bedroom studio in Oklahoma City.  I’m the primary writer and co-producer.  John co-wrote the music, co-produced the album, and was the primary audio engineer. A few of our talented friends stopped by to help out along the way.

3.0 – Did you learn anything in the process?  All you really need is 600 square feet of space.

4.0 – What song on it are people telling you is their favorite?   “Eminent Domain (Side A)” could be described as polarizing, yet it’s a favorite. “Magpie” and “Sundance Squares” are two others that get big thumbs up.

5.0 – Are all the songs relatively new or are some old friends with history?  The five songs on Volume One were first recorded in 2006 and the songs on Volume Two were finished last year.

6.0 – Storytelling is a key component of the release, do you find it is easier to write allegorical versus autobiographical stuff?  It’s the autobiographical stuff that inspires the final allegorical product.

7.0 – It seems like protest music these days is angrier than it’s original form in the 60’s and 70’s, does that make you guys a throwback?  It’s hard to say.  Anger is a sign that people still care.  We still care.

8.0 – Where did your love of traditional forms American music come from originally?  My extended family is from Missouri and Tennessee and a lot of them play(ed).  I’m pretty sure the love of Americana music is strongly imprinted in my DNA.  Nathan (bass, mandolin) and Isaac Eicher (mandolin) come from deep Americana musical roots as well.

9.0 – Did you have to study it as a form to deliver it yourself or is a ‘god-given-thing’ as they say?   The lyrics often arrive in a mystical fashion but my musical education has primarily been a combination of hard work and studying the masters.

10.0 – Could this record have come out of anywhere else besides Oklahoma City?   Oklahoma City was good enough for Woody Guthrie.  I suppose it’s good enough for us too.

SCOTT PEREZ

1.0 – How did the recent recording session go for you guys?

The recent recording session is going super well. We’re in the studio with Andy Wambach up at Audio Impact Studios in Clearwater, Fl and he’s the most laid back engineer/producer we’ve worked with. Super awesome guy at everything he does. We’re almost done with everything this first session. Just gotta finish up vocals and bass then prepare for the next batch of songs we have. Things are lookin great.

2..0 – Will it be continuation of the direction on the debut The Wanderer EP or a new tack for the band?

A lot different from our last recored which is great – its definitely a new track. We’re kinda doin away with the rockabilly/country feel and goin for a darker, more raw, rock n roll sound. I feel its more us in a sense and being true to our music is number 1 on our list so we’re super excited to show everyone.

3.0 – How did the you come together? 

We got together from a disbanding of a previous project 3 of us were in. I was doing The Wanderer as a solo project on the side with my brother Chris Perez at drums and then Ricky Stephens and Ryan Kersey showed interest in making this a full time gig so we started playing shows together and it took off from there. It was kinda fate in a way because we’d all been friends for a while and in seperate projects and this band was what ultimately brought together and its stuck for a while.

4.0 – Putting you on the spot: what’s the best thing about being a ‘Wanderer’?

Haha…the best thing about being a Wanderer is definitely feeling a chemistry when we all get together and write music. There’s definitely an energy in the room when things click between us. Almost like a freight train haha. Once we start, there’s no stopping us. Ideas just flow.

5. Was there a guitarist that got you hooked initially on the idea of playing music?

Oh man! Most definitley. For me U2’s guitarist, The Edge, hooked me from a very young age. My guitar playing definitely takes heavy influence from him. Just his sound and the choices he makes not to stand out to much but more so fill out a song and really bring it the depth and atmosphere that U2 songs have really inspires me.

6.0 – When did you start writing? 

I started writing at a very young age. I think I was about 8 or 9 when I wrote my first song. I remember sitting in my moms bedroom with my brand new Fender Strat Squier that my dad bought me and I pumped this song out called “Graceland”. It was definitely a post-punk kinda song that I wrote after watching U2’s Rattle And Hum movie. It was named after Elvis’ home where they (U2) had visited and I remember pausing it and writing this song. It was cheesy as all get-out though haha.

THE WANDERER

It definitely depends. Usually it starts with either Ricky (our guitar player) or I comin up with a riff and just building from there. There have been times where it started with a title like “The Awakening” off of our last ep so it really depends on who brings what to the table first.

8.0 – When / how did you find out you could sing?

I wouldn’t call it singing really, just yelling really loudly in a melodic fashion haha. But the first time I remember being able to sing was when I was in first grade. My music teacher at the time heard me singing to some music video we were watching and she pulled me to the side and asked me to sing some lines from “The Little Drummer Boy” and next thing I knew, I was singing it in front of people at my schools Christmas play. So I guess you could say that was my first recollection of being able to sing.

9.0 – Do lyrics come easy to you or do they come together over time for a given song?  

Like with riffs, it depends. Lyrics usually come pretty easily to me but then again sometimes I find it hard but it always comes through in the end once I put all my ideas together and piece it out. I usually find myself writing lyrics first and fitting them in.

10.0 – You are sleep walking in a dreamscape and wander on stage in your pajamas to join what band on what encore? 

Oh man! That’s an easy one for me haha. I would wander on stage and join Bono and the rest of U2 for one of my favorite songs, “Love is Blindness”. Hands down. Now it’d be a little weird to be in my pajamas but, hey, I’ll get over it pretty quickly haha.

MAGIC SLIM

What are the plans for Magic Slim & The Teardrops in 2012?

I have been cast in an independent production movie about a blues man from Mississippi who gets involved with the ghost and two young musical prodigies. I am actually playing the lead role and will be performing as an actor for the first time in my life. The shooting starts next month and the movie will be called “We B Kings”. I also plan to record a new record in the next several months with a heavy emphasis on my guitar playing. Of course I will still be touring both here and abroad as much as possible and playing as many festivals as we can line up.

Where did your love of the blues begin and what was the first tune you ever learned on the guitar?  

My earliest recollection of blues is John Lee Hooker playing “Boogie Chillin” on his first album and I believe my first guitar attempts were Jimmy Reed licks. I then began to listen to blues on Nashville radio which included BB(King), (Little)Walter and Muddy(Waters). I then became good friends with Magic Sam who later christened me Magic Slim.

It’s often said that technical ability is the enemy of the best blues and rock & roll, why is that?  

Blues is not written on paper and isn’t technical music. Blues must be played with feeling and from the heart. If you concentrate too much on the technical, you can’t reach the public with feelings and emotion.

How do you play a song like ‘Mustang Sally’ every night and yet keep it feeling fresh? 

I keep my shows fresh by playing lots of different songs. I know several thousand blues tunes. Even though I get in a groove with certain tunes and tend to play them frequently before an audience, I rarely play a song the same way twice and am always adding new licks or extra licks to an arrangement.

You have played with so many great drummers over the years, is it true that no two are the same?  

Yes it is true that no two drummers play exactly the same. I prefer a drummer with a really solid heavy beat. Our band technical rider requests an extra snare be available because my drummers have been known to break a few.

Does it take a little time to lock in with new players or is it their job to find your groove at this point?  

It takes a little time to lock in with new players but I’ve always used highly talented guys who share my feelings for blues and they catch on fast. I tell my sidemen what I want and remind them if they are not on my groove and I rarely have to say anything at all with my present band. They know my stuff as well as I do and we are all pretty tight.

7.0 – What comes to mind when you think about the Chicago blues scene in the 70’s?  

When I look back on the Chicago blues scene of the 70s, I think about how many really great players there were and how at that time I felt I wasn’t as good as many of them. They were tougher than I was then but I would sure like to go head-to-head with any of them now. Right now I feel pretty tough myself.

What is the quintessential difference, if any, between ‘the Chicago blues’ and other streams within the genre?  

I like all kinds of blues but I’ve always preferred the style and tempo of Chicago blues. It just feels grittier and more down in the alley for me.

Has your philosophy about playing live changed at all over the years and what goes through your mind before going on?  

At this stage of my career I feel much more confident than in the earlier years and although I always enjoyed going head-to-head with the other blues guys, I now go on with a kick ass, take no prisoners approach where I leave everything I’ve got out there each performance. I never worry what the next guy is going to do. I just want to do the best I can when they call my name.

So many today consider you a national treasure and a living legend, how does that make you feel? 

It makes me feel good when people say nice things about me and my playing. I have spent a lot of time trying to learn how to play blues and each year I feel like I know little more than I did last year and it’s nice when people like what I do. I have been trying a long time and it seems to be working. I am thankful that my health and my energy level allow me to play at my best levels ever. Next year I plan to be a little bit better than I am now.


JOY ASKEW

The title track from your new release, Drunk On You, seems to chronicle a coming to terms with the perils of romantic entanglement, is it a theme on the record?

It could be taken as romantic entanglement but that’s not what the song is about for me! I deliberately wrote it with a double intent. Actually, I am writing about my coming to terms with being lured by empty promises over and over because I’m attracted to the brightest star, the glittering objects  I don’t have to! …to keep pursuing such intangibility is to be drunk! 
Most of the time those roads lead nowhere….just go round and round and my first words in the song ” Going round and round ’til I get to the bridge” describe the feeling of being so inebriated that you can’t actually get anywhere! 
However I have known a few people and still do who would fit the bill of the ‘you’ in Drunk On You!

How would you compare the newbie to your last, The Pirate of Eel Pie?


I approached this album differently, even though it is similar in that it is a collection of songs mainly relating to my life. Many of the songs on Drunk On You were written more to the sound rather than waiting to arrange it after the song was written. For instance – I always heard a bit of chaos happening in the middle of “I Broke The law” as if a band was playing on a ship out at sea that was getting shipwrecked. When I met Jason Candler from The Hungry March Band it seemed like the perfect opportunity to have them play in the middle as if rolling in and out of the song.
I had also formed a band in 2009 and that year we did a series of gigs that started to gel the sound. I loved the energy and vibe and wanted to capture that live feel as the basic and make it be as complete as possible without adding too many extra overdubs. I searched for a studio where I could get complete separation between piano and drums so that we could get the best sound playing live. I found One East Studios in NYC with a great Yamaha upright rock and roll piano!
I also feel my songwriting has developed. Prior to The Pirate of Eel Pie I had been involved in downtempo jazz electronica and had embraced  Eel Pie  as a “back to songs” album. I took my time. I recorded basic tracks – drums and bass at Ricky Fataar’s studio in San Francisco and went back and forth between NYC and there about 4 or 5 times. The tracks for Drunk on You were recorded in 3 shortish days and it had been a relatively quick writing process….especially the song “All Be Saints” which got added at the very last minute!
Finally- findng Brian McTear to mix was the best part.

Is it an over riding feeling that propels a new project into being for you or simply an artist’s desire to keep creating? 

I’m f**!ed if I know! 
I made a pact with myself a long time ago to always show up and be there if inspiration hit. Quite a few times I’ve been running up the road to get home so that I can put an idea down and work on it! Propulsion (is that a word?) is a good way to put it actually. In “Walk Under Waterfalls” when I say ” Shot off like a rocket, never wanting to wait for anyone…” I’m describing the enormous amount of inspiration music gave to my life originally. Every time I get an idea and sound in my head it is almost the same thing.

How did retracing your post collegiate steps near Hampstead Heath while writing for the album impact your mindset or the music? 

I felt so comfortable there and happy! The familiarity of the area felt so similar to when I’d been in my early 20’s that I think I was absorbing a lot of my youthful innocence and excitement! The fact that the weather (for London) was great and so was the Steinway piano, helped!
An aged bunny rabbit named Tom who I was taking care of, sparked the idea for “I Broke The Law” – loosely based on Animal Liberators rescuing rabbits from animal testing labs. This song could be about any part of cruelty and inhumanity that you can’t turn your head away from.

With this being your fourth solo record, what’s the feeling when it’s done – catharsis, relief, pressure, celebration?
 Definitely celebration and relief but also hope and fear! 
I hope to reach a wide audience who love the music and get the message! But I fear that it may wither and die on the vine!

How do you think being a support musician for so many wonderful artists over the years helped prepare you for the ‘music business’ as a solo artist?

In many ways it didn’t!
I did get very used to being on large stages and keeping a frantic schedule sometimes. I also saw how hard all the artists I’ve played with worked, especially Laurie Anderson.
Playing with Rodney Crowell really helped me as a songwriter and being around Peter Gabriel was amazing to see how much stamina he puts into everything he’s doing, but the music business is a bit of a mystery ….still! More often than not I’ve seen the industry let artists down. In the early 80’s with Joe Jackson, he was riding a huge wave of popularity, we were getting flown round the world, the music industry was doting and excited….made us feel glorious! Times were different back then.

Early on in life, was there an artist you believed may be the embodiment of who you would someday become?

Miles Davis…..or George Harrison!

Life informs your music in the sense that you aren’t afraid to share a message or trumpet a cause, is it easier to write those kinds of numbers versus the very personal ones? 

Well since 2004 I’ve been dedicated to animal rights and being a vegan. So that is very personal for me. You can hear that in the song  My Life where I write about a great trip to Buenos Aires (my first to South America) and it describes simply what I saw in the verses but in the chorus  I sing: “I feel we can feed the world, but we never do the right thing, I feel what we already know could be the first helping.”
I’m saying: wherever I am, I carry myself there – and this is what I believe!

As a long-time animal rights activist, has the occupy movement had any resonance with you?

Yes! The reason why factory farming exists is because of big corporate business that has deep ties to government. Factory farming and the agribusiness is responsible for a large percentage of global warming….but not just that- massive pollution of rivers and waterways, devastation to the planet not to mention the misery and suffering to other species who exist on this planet. Also the damage to our health and the violation of human rights (slaughterhouse workers are often illegal immigrants or poverty stricken Americans who have no health coverage and earn less than minimum wages with illegal hours). The agribusiness underpins government and when Occupy started it was exactly the same feeling-it is linked!
We cannot sacrifice the planet and it’s inhabitants for the greed and madness of the 1%! The 2nd bridge of AOAO lets you know exactly how I feel about this!

Shipwrecked on an uncharted island, you stumble across an old tape cassette player with working batteries. There’s a faded tape in the machine!! You press play and, to your delightful surprise, what song begins to play? 

Agh!!!) That is very hard…….after going through Strawberry Fields, While my Guitar Gently Weeps, Hey Joe, most of Sticky Fingers and Peter Gabriel’s Mercy Street, I have settled on Rightoff  from Miles Davis’ Jack Johnson album – it is about 23 minutes long….hope those batteries last!!

WILL PHALEN

1.0 – Your solo release, HolyGhost/GoldCoast feels incredibly organic, did making it without other’s input per se help accentuate the flow? There’s something about working alone, late at night, when the rest of the world is quiet that really works for me. When I can get into a zone working on a track and just take it from start to finish over the course of several hours and really develop an idea and experiment with any sound or color I want — I love that. When you work with others, there’s a process you have to go through. Often, it’s very healthy and productive. But sometimes it feels like you’re auditioning your ideas for other people. “What if we did this?” And then you have to sell your partners on the idea, or maybe it gets rejected outright. Again, these are not necessarily bad things. Lots of good work comes from collaboration. But it’s also very freeing to not have to audition. You just do whatever is on your mind and you are the only one you’re working for. I like that. In the end, you’re the only one responsible for what you’ve done, so there’s that risk involved, but I’m okay with that. If other people like what I’ve created and can relate to it, that’s the best thing ever. But at least I know, before anyone else gets to hear it, that I have created something that I can live with.

2.0 – Is this something you had wanted to do for some time?  It really wasn’t something that was premeditated. I write a lot of songs. Sometimes more than I know what to do with. The solo album idea really came up as a way to collect some new and different material that I wanted to share. The Stereo Addicts were busy working on a separate bunch of new songs, and I had these other songs that I knew wouldn’t fit in to the bigger rock sound that we were working on at the time. So I just held on to them till I felt the timing was right.

url3.0 – How did you record it?  Each song on the album was written, recorded and mixed in one day. Meaning: one day, one song. Actually, there may have been one or two exceptions to that, but, by and large, that’s how it came together. And they were all pretty much made in the same place. I was staying in this tiny one-bedroom apartment in Chicago’s Gold Coast neighborhood. Late at night, I’d stay up writing and recording songs while the neighbors were sleeping next door. I think that’s probably the reason the album has such a quite, mellow feel to it. I couldn’t make too much noise, and that lead to some interesting experiments. Instead of using real shakers for a percussion track, I’d rub together two pieces of paper and use the magic wand of studio wizardry to make them sound like they were shakers. Or I’d record the sound of my sandal lightly tapping on the floor and use it to create a kick drum effect. And obviously I couldn’t be blasting my amp, so I’d either play really quiet electric guitars or else just stick to acoustic. That’s why I love recording at home: the limitations of your space define what you’re able to create. I think those kinds of limits are absolutely essential to making any good or interesting piece of art.

4.0 – Did you have a sound in mind or did it evolve as it came together?  I didn’t. Like I said, I think the environment was fairly key to developing the sound of these songs and recordings. But I never had any specific idea about what kind of sound I was going for. All of these songs were composed as part of a project I’ve been involved with called the Song League. It’s like a virtual song circle that I started a couple years ago with a handful of songwriter friends. Each week everyone in the League has to write a song, record it and share it online before Monday morning of the following week. Basically, it’s a deadline: produce something now or else appear impotent before all of your friends and respected peers. And when you’re faced with a deadline like that, and you don’t exactly have something ready to go, it sometimes forces you to create things that you might not normally create, or more importantly, things that you might not normally share with others. At least that has been my experience, and it’s been the most healthy thing that’s happened for me creatively in years. So when I have to write a song for the Song League, I just let it come and whatever it is that takes shape, that’s what it is. I worry about where it fits in later. So for this record, I had produced a bunch of songs that I liked, I picked the ones that fit together best and that was the record.

5.0 – Are all the songs new or were there some left overs from The Stereo Addicts that just fit this project better?  All the songs were new. I was going through this very productive phase in which I was writing songs all the time (mostly because I had to for the Song League). And it was always fairly obvious to me which ones were right for the Stereo Addicts and which weren’t. So those other songs, the ones that weren’t exactly Stereo Addicts material, were kind of floating around in some sort of limbo. I had them recorded and I wanted to share them with people, but wasn’t sure how to best do that. Ultimately, I just decided to pick the ten songs that fit best together as one album and put it out as a solo release. There’s still a bunch of songs from that period (and the time since) that haven’t seen the light of day. But maybe someday soon…

6.0 – Are you going to perform the songs alone on tour or do you plan to have accompaniment?  I’ve been performing the songs with a trio and hope to continue doing it that way. I think there will probably be some solo shows here and there, but that’s not exactly my favorite way to play these songs. It’s a “solo record”, but many of the tunes are fairly layered with various instruments and sounds. For me, those extra colors and textures are as important to the song as the lyrics or guitar part. So playing them by myself doesn’t really convey the full picture I’d like to paint for the listener. I really enjoy having the ability to create a similar, or at least equally interesting, sound on stage as was created in the studio. It’s a very different challenge, but it’s a fun one. And as we’ve tried to play these songs live we’ve found some really cool new ways to approach the arrangements. In a lot of cases, I like now like the live versions even better than the recordings!

7.0 – What led you to pick up the guitar originally?  I grew up surrounded by music. My father is a musician, and he had (and still has) a huge collection of LPs, cassettes, and CDs. And he also had a nice collection of instruments too — mostly guitars — many of which I’m fortunate enough to use when I perform these days. So it was basically inevitable that I’d pick one up someday.Oddly enough though, I first gravitated towards drums and started learning how to play the kit when I was around the age of 12. A year later I started learning guitar at music class in school. We had a really incredible music teacher named Larry Theiss. He’s still around teaching and composing and recording. Just an incredible guy. He taught us how to play drums and guitar and bass and everything. My entire seventh grade class — almost every one of us learned how to play drums! It was amazing. So that’s where it started, and then my father helped me a lot along the way. There were guitars at home, so I was playing all the time. I fell in love as soon as I learned my first song: the bass line to “Smells Like Teen Spirit.” Kurt Cobain was still alive and everybody wanted to learn how to play those songs. Just learning that bass line was the coolest thing ever. The day I learned it, I came home from school and played it for hours until my parents asked me to stop. They’ve been extremely supportive and tolerant of my music and all the noise that accompanies it over the years, and I don’t blame them for needing a break from it every now and then!

8.0 – Who or what did you want be when you were a kid?  I distinctly remember being asked that question when I was in second grade. It was for some kind of presentation I was supposed to give about myself. I had no idea what to say. I said, “A fireman.” I don’t know where that came from. It wasn’t true. I just said it because I had no other answer. And when I went to college I still didn’t know. Even by the time I graduated I didn’t know what I wanted to do or what I was going to do. But I do remember the first time I really saw a rock concert video when I was about 10 years old. It was called “Eric Clapton and Friends.” It was the Eighties. Phil Collins was the drummer. I thought he was amazing. They all were. From that point on, I always wanted to play music, but I never really believed it would be my job. Now that it is, it’s pretty surreal. But I’m very, very grateful to be able to play and write and produce and just share music with other people. I can’t think of anything nicer to be able to with my life.The funny thing is I’m about to turn thirty and I still ask myself that question: “What am I going to do when I grow up?” And I think I finally know the answer. I really want to grow as a producer and keep making records with other people. This past year, I’ve been very fortunate to work in that role with a handful of really fantastic artists. Musikanto, who I think you interviewed here a few months back; Julie Meckler, a rising star in the Chicago music scene; my friend Chris Anderson on his project, Old Fashioned War — which is basically a who’s who of Chicago’s best musicians — and the songs are beautiful. It’s been a dream come true to have these opportunities, and that’s what I’d really like to keep doing.

9.0 – Why did you leave Milwaukee for Chicago and how are you enjoying the windy city?  The Milwaukee area will always be my home, but I came down to Chicago to be with my girlfriend at the time. Now she’s my wife, so I think it was a good move! Anyways, I gradually started spending more and more time in Chicago (which coincided with the making of this album) and eventually I was just down here more than I was in Milwaukee. But I still make it up to Wisconsin all the time, so it kind of feels like a dual-citizenship, if you will. I like it that way. I’d miss my family and friends in Milwaukee too much if I wasn’t making the trips back and forth.And you asked if I’m enjoying it here. Yes, definitely. It’s a great city, and the people I’ve met down here, both in the music community and otherwise, have been extremely welcoming and kind and generous. I’ve made some really strong friendships and found a very solid group of musicians to work with and hang out with. It’s a very supportive and loving scene. People are playing together in a variety of different projects and sharing their talents. That’s something I’ve always wanted to be a part of.

10.0 – When did you become a ‘Stereo Addict’ and what would rehab be like?   Ha! Good question. That’s one I have not been asked before! I just like the ambiguity of that name. If you’re a Stereo Addict, you could be really into audiophile stereo gear, like speakers, receivers, equalizers and all that. Or maybe you just really love the aural illusion created by two channels of audio: as in stereo recordings versus mono. You know, the way sounds move from one ear to another when you’ve got headphones on, and it’s two in the morning and you’re listening to a Jimi Hendrix record. It’s magical. To me, it’s just all about the love of sound and what it does to you. We’ve got two ears, so we live in a stereo world, and I’m so glad the gods saw fit to give us the gift of music. If I couldn’t have it, I wouldn’t want to live.

(photo portrait of Will Phalen by Kait Rathkamp)

AARON LEE TASJAN

1.0 – Can you describe the Enemies debut EP in 10 words or less?

Drink bottle of cough syrup, light self on fire, relax.

2.0 – What’s your favorite track on it? 

“Summer Of Legs” because it makes me think of spiders which makes me think of gummy spiders which are SUPER fun to eat.

3.0 – The recordings include several members of the Madison Square Gardeners, is it a continuation of the band but with a new name? 

No. The MSGrs will play again at some point I’m sure.  I play with a lot of the same guys because I think they’re the best musicians out there.  That’s the way it was in the Gardeners for sure.  I was just inspired to do something else musically this time around, that’s all. The music is different…But I’m not really the type of guy who says, “oh I’m going to write this type of song or that type of song,” I just write whatever sound I’m hearing in my head at that moment. I like to play all kinds of different music.  To me, it’s my guitar playing and weird lyrics that tie it all together.

 4.0 – In this day of meta tags and keywords, how important are titles in helping to define a bands image and audience?

Probably somewhat important…I don’t know though…to me it always starts with the music, the music’s gotta be good and it needs to really grab someone’s attention.  I mean is someone ultimately going to become a fan of my music because I played with the Dolls or Pat Green covered one of my songs or BP Fallon and I opened for The Kills or had our song produced and played on by Jack White? I don’t think so.  Maybe somebody hears about you that way or something but it certainly doesn’t mean they’ll ultimately like your music.  People are going to like what they like and you have to make your music in the face of that.  It’s not a bad thing really.  Music is magic and you can’t explain it to someone…not even with a nifty meta tag or keyword.

5.0 – What led you to pick up the guitar originally?

My family moved to Southern California when I was kid and I wasn’t allowed to start school for a while…I’m not sure why, I just wasn’t. We were grocery shopping and I saw a sign in the next door music store window that said, “Guitar Lessons: First Lesson Free.” So that seemed like a pretty good idea.  I loved the guitar so much.  I’ve no idea why, I was just drawn to it.  I bought a guitar a couple weeks before my first lesson…I wrote a song on it that day, recorded it on a tape deck and sent it in the mail to a friend of mine.  I suppose more than anything else, I wanted to write songs…then I heard Buddy Guy from my Dad and thought, “I need to learn how this thing really works.”  I should note that I still have no idea, but luckily no one ever asks me. :)

6.0 – Do you care about amps?

Um sure. I mean, I like to play through one that sounds good.  I’m not a “gear head” or anything.  I like things to be simple…I like Marshalls, Vox’s and Fenders.  I think if you’re doing anything, you should give a fuck.  Not caring in order to appear cool is like making sure you remember to take your swimming trunks to Christmas dinner.

7.0 – What’s your worst stage nightmare?

I don’t really have one.  To me, getting to play my songs for people is a dream and it’s always a sweet one.

8.0 – What’s your favorite guitar solo of all time?

Well, there are a few…almost any solo Luther Perkins played certainly, George Harrison’s solos are always great…I think Gary Clark Jr is really a fantastic new guitarist whose going to go far.  If I’m going to say favorite of all time though, I’d have to go with J Mascis’s solo from “On The Way” off of Dinosaur Jr’s record Where You Been? I just love it so much. It’s very primal and it’s imperfections are enhancements.  Just simple, brilliant, blood and guts twangerama.  My favorite!

9.0 – How did you hook up with The New York Dolls? 

Years ago I was playing in a band that BP Fallon was managing…co-writing most of the material with the singer and playing lead guitar.  BP brought Steve Conte from the Dolls down to see us and Steve and I really hit it off personally.  Anyways, I’d left that band about a year and a half later and one day the phone rings and it’s Steve and he’s saying, “My wife and I are having our first child and I don’t want to miss it, would you fill in for me with The Dolls?”  It was pretty simple really but man did I feel lucky.  Here was this guy who could’ve called anyone he wanted in the whole world and they naturally would’ve jumped at the chance and he called me.  It was a pretty heavy gig for me at the time because I was only 23 or 24.  It was my first real gig and SO much fun.  David and Syl are just two of the very best guys out there and I was honored to work with them.

10.0 – If you could have a one word rock star nickname what would it be?

Kevn, spelled just like that. With no “i.” If you know, you know.

BRAD ELVIS w/ THE HANDCUFFS

How did your musical partnership with Chloe Orwell come about?

When putting together Big Hello (’96-’02) Chloe answered an ad I had in a local Chicago entertainment weekly. I was looking for a vocalist who played guitar, male or female, as long as they were good. I’m lucky she answered. We clicked immediately and have been together ever since.

Is the new The Handcuffs disc Waiting For The Robot, inspired social commentary or a space age fantasy?

Our newest album and our third is Waiting For The Robot. Thirteen rock songs with big nods to glam and pop. I sometimes call it “sarcastic glam rock” with titles like, “I’m So Happy That You’re Out Of My Life,” “The Scary Side Of Me,” “Kiss This Goodbye,” etc.. So if you need a feel good revenge song to make you feel better about breaking up with someone, these songs are for you. Of course there are other upbeat songs as well such as, “Dirty Glitter” and “Miss You On Tuesday” which have been getting lots of radio airplay. I’m proud of all of my releases in my lengthy career (Screams, The Elvis Brothers, Big Hello) but this third Handcuffs album is the best I’ve ever done. I’m really proud of this one.

Did you have specific goals for it in terms of sound or direction as it relates to your first two releases?

When starting on a new album, we (Chloe and I) select 15 or so that we think fit together for the sound of that album. Our first album, Model For a Revolution has a sound and a character but since it’s our first, it’s kind of a mixture of everything The Handcuffs were trying to convey. Rock songs with melody and hints of glam. It was a definite departure in sound from Big Hello (three albums) which was pretty much straight ahead pop/punk/rock. The Handcuffs mix retro inspiration with updated current production. We don’t want to be a retro time piece and, clearly, we’re not, which is probably why a number of current television shows have used our songs. Our second album, Electroluv is a step forward from our first and I think it’s the most pop of our releases. Our third and newest release, Waiting For The Robot, definitely was inspired by early Bowie, T. Rex, Mott The Hoople, etc. along with newer bands like Goldfrapp and the Ting Tings, etc.. Lots of underlying acoustic guitar and piano along with a Les Paul and Marshall bringing in the heavy. A good example of this is the song, “Eight Down”, about a friend who has used eight of his nine lives and needs to get it together before it’s too late. “Robot” is our most consistent yet and the response has been great.

You do a number off fun unorthodox things most drummers would never think of, who is your biggest influence as a player?

I am a self taught drummer. I’m lucky because I have natural timing and a good ear for music, and basically could just play drums from day one. Early on I thought I should find a role model to follow and I related to the drumming of “some drummer” named Keith Moon for a new band called The Who. Haha, who knew what they would turn into at the time?! They were just another 60s pop band at the time. As a kid, I liked to entertain, my family loved humor and so my personality and love for entertaining comes out in my drumming. Moon and I were a natural fit even before I saw him perform on television appearances. I always liked taking that surprise left turn in my drumming. I really think about and plan out my drum fills and intros on recordings. I try not to do the typical drum fills unless a song really calls for it. Another favorite drummer of mine was jazz musician Gene Krupa who was the first drummer to bring drums to the forefront as a lead instrument. Other influences for my drumming are guitar players and comedians where timing, dynamics and accents are very important. It all relates.

What were the first few records you bought as a kid?

I grew up in the single/45 era so a number of my first records were singles by Paul Revere and the Raiders (“Hungry”), The Who (“I Can See For Miles”), The Beatles (“Help,” though I mostly played the rocking b side, “I’m Down”), etc. It seems like the songs I was attracted to were songs with strong beats or heavier riffs. The first few albums I owned were by Paul Revere and The Raiders (Just Like Us), The Rolling Stones (High Tide and Green Grass), The Kinks (Greatest), The Beatles, (Magical Mystery Tour), Vanilla Fudge (first LP), etc.

You have been in a string of well regarded bands, how important do you think each band’s commitment to image was key in their ultimate success? (does this come from a love of British Invasion for you?)

Yes, I grew up in that overwhelmingly important era of 60s British Invasion so I wanted to be like my heroes. The excitement of Carnaby Street, mod haircuts, velvet and striped jackets seems so alien and other-worldly compared to the drab Midwest. The image just stuck of how a band should look and I’ve always been image conscious with all of my bands. Not that I try and dress everyone like Austin Powers, but a cohesive look of some sort is important. Example: If you have three or four band members wearing black straight legs, jackets and a boa or two, you don’t want a sloppy guy with a beard, wearing blue jeans and a flannel shirt. People will think he’s the gardener for the band. But, on the other hand’ four sloppy guys with beards works also and they don’t particularly want a guy in a jacket and boa standing next to them. So yes, I think image is important and having the band look like the band sounds is an important part of the whole package. And rock and roll didn’t invent the image thing, it goes all the way back to the big band era, country and western bands, folk groups, etc.

Playing with The Romantics seems like such a great fit for your drumming style, was it something you had thought about ever before it happened?(in any way?)

I never really thought about it or dreamed of one day playing in The Romantics. In fact my former band, Screams had a major album release on Infinity/MCA in 1979, about a year before they did, so I had been around. It’s a case of we all grew up in the same era and liked the same bands. The Who, The Kinks, The Rolling Stones, The Beatles, etc. I knew where they were coming from, I learned their songs and it works. Bottom line is that I’m a good drummer and it’s just an added plus that I fit in so well with the image. I got The Romantics gig through my friend and fellow drummer Clem Burke of Blondie, who had been playing with The Romantics and he suggested me as his replacement when Blondie got back together and became too busy with their own touring. Clem was a good fit with The Romantics and to this day I get people thinking I’m Clem because of our similar look and drumming style. We both were influenced by Keith Moon, The Beatles, etc. and, coincidentally, we are the two drummers that get identified stylistically with that. It’s not like we are influenced by each other thoughit seems that it would be that way. We were both playing in bands and releasing records before we even knew each other.

Which of their tunes are your favorites to play and which song did you find the most difficult to get down?

I enjoy playing all of The Romantics songs and I never really had any difficulty learning them. The original drummer Jimmy Marinos, plays left handed on a right handed kit so some of the original drum fills seemed a bit odd to me before I knew that – meaning that some of his fills start opposite or end opposite of what a right handed drummer like myself would naturally play. So, I had to change what comes naturally to me to get the same feel as the original.

Gene Simmons once said “when the drummer sucks, even the fat girls know,” what did he mean?

I have no idea what he meant, but I do know this: A good drummer can make a bad band sound good and a bad drummer can make a good band sound bad.

Can you give us side one of the seemingly reasonable sounding, Elvis Played Drums On This; Greatest Hits, including all your prior bands?

I have done quite a bit of session work for other bands with some nice stand out drumming bits. A few albums that I can recall: Jay Bennett and Edward Burch, The Palace at 4am album and The Spanic Boys, Sunshine album. I also played on Torture  and their latest, yet to be released and Three Hour Tour – 1st album, 1969, B Side Oblivion, Looking For Tomorrow, all released on Parasol. A Brad Elvis drums greatest hits, side A:

Screams – “Angeline’s Toys”- from Screams, self-titled album (Infinity/MCA/Universal) – 1979

The Elvis Brothers -“Fire In The City” – from Movin’ Up (Portrait/Sony) – 1983

The Elvis Brothers – “Don’t Take My Guns Away” – from Adventure Time (Portrait/Sony) – 1985

The Elvis Brothers – “I’ve Got Skies For Her” – from Now Dig This (Recession Records) – 1992

Big Hello – “Sister Mary” – from The Apple Album (Parasol) 1998

Big Hello – “If You Don’t Stop Your Crying” – from The Orange Album (Break-Up Records) – 2000

Big Hello – “Slingerland Drums” – from Apples and Oranges (Break-Up Records) – 2001

The Handcuffs – “I’m Not Laughing” – from Model For a Revolution – (OOFL Records) 2006

The Handcuffs – “I Just Wanna’ be Free, Man” – from Electroluv (OOFL Records) – 2008

Three Hour Tour – “Heaven And Hell” (by The Who) – from Looking For Tomorrow (Parasol) – 2010

The Handcuffs – “Kiss This Goodbye” – from Waiting for the Robot (OOFL Records) – 2011

MYSTIE CHAMBERLIN

1.0 – You’re new to the guitar, singing and song writing; what inspired you to go for it? 

I have always been immersed in music.  I had music theory at a young age, and writing interested me as well. Yet, I didn’t think of making music seriously until I moved to New York City, where I was lucky enough to be surrounded in a sea of guitars and drowning in heartache.  Logically, I grabbed an ore and started paddling.

At the time, I had newly discovered, through my lover or boyfriend (or not, depending on which of us and when you asked), that one could be dumped without “technically” being “involved” in a “relationship.”  I wrote the lyrics to “Goodnight Sweet” through a stream of tears, mucus, and lyrics blotted on the back of a ripped-open envelope.  The entire process was cathartic.  I mixed a quart of storytelling and a tablespoon of music with a dash of experience, which ended up being the recipe for Folksinger.

Nobody told me I should do it, but, more importantly, nobody told me I couldn’t…so I did.

2.0 – Did you have a sense of how you wanted to sound before you could actually do it? 

When I first picked up the acoustic, I only wanted to learn enough chords to write a song.  Once I did that, I wanted to gather the guts to perform.

Musicians often seemingly throw around the number one-hundred.  The aforementioned ex told me that after playing one-hundred shows, the butterflies in my stomach would diminish.  Likewise, Rhett Miller [Old 97s] facetiously mentioned that after writing one-hundred shitty songs, a good one finally manifests as one-hundred-and-one.  I like the idea of setting a goal and pushing myself to achieve it.  So, perchance I’ll pen 77 more songs before I commit to anything as far as a definitive sound or style.

3.0 – Is your goal to be ‘Just Another Folk Singer’ or is that just truth in advertising?

Perhaps it’s a little of both, especially considering how being an “underground” composer is even more notable, in some ways, than being a mainstream performer.  Describing myself is difficult, but I like how “folk” is synonymous with “people.”  I must be in that definition somewhere.  Starting from anonymity with the goal of being recognized as just another folk singer is a sensible goal.

Originally I took the moniker from one of my burgeoning songs, a story about a good ol’ boy who seeks out his own fame and fortune by living an exciting and corrupt life in order to create his own blues about which to sing.  It’s a mashup on the old Crossroads and Dorian Gray stories, which mimics the sentiments, “Be careful for what you wish.”  Raine Maida [Our Lady Peace] once told me not to become a musician unless I was ready to fight for my soul.  The gist stuck with me, and I realized I wanted to write songs regardless of fact that I had no prestigious name.

I like the modesty in the moniker.  When I was young, my mother told me, “Let others talk about you.  You can handle it, and if they talk about you, then they aren’t talking about someone who can’t handle it.”  Sticks and stones will break my bones, but names will always amuse me.  I am “Just Another Folk Singer.”  What’s wrong with that?  It has a nice ring to it.

4.0 – Who are your key influences? 

Laissez faire singer-songwriters intrigue me.  I adore the rich and raw “unreleased” songs as well as bare-bones solo performances.

Lately I really love Aaron Lee Tasjan.  Aaron’s the hardest working musician I’ve ever met.  I’d like to interrogate him or steal his feathered hat.   Perhaps some of his talent will rub off or I’ll find some discarded candid poetry tucked in the brim. I’m definitely a hat-gal.

I doubt there would be a Mystie Chamberlin in the Folksinger sense if it weren’t for Michael McDermott.  Michael’s songs are soulful and resonant, a real soundtrack for life.  I recall a night in Jersey after a particularly passionate performance, including boot-stomping, sweat, and tears.  He was cooling down.  Between sips of beer, I played him a song for the first time.  I was sinking in a puddle of anxiety, but he smothered me with encouragement as I hung onto his acoustic for dear life, as if it were a floating device.  My fingers fumbled every note, but he sang along.  I’ll never forget that.

Jesse Malin’s music is a constant comfort in this confusing time.  Lately life has been hard-hitting. I’ve been laid-off, homeless, and beyond broke, but I survived.  Jesse has a uniquely optimistic way of expressing similar struggles in a way that makes me feel like he’s always standing right behind me, which is both intimidating and strangely addictive.  In February 2010, thanks to Jesse’s presence and generosity, I played my one-hundredth gig opening up for Jesse Malin and the St. Marks Social.

Cameron McGill has been a brother to me.  I traveled in the van around the Midwest with Cameron McGill & What Army for a short time when I had a green mane and wide eyes.  I always unobtrusively observed everything from his drive to his craftsmanship to his showmanship.  He’s another Dust Bowl Troubadour, a wandering minstrel whose songs powerfully emanate politics, experiences and feelings.  I have Cam’s inspirational lyrics tattooed on the back of my neck: “All I know is Love and Rock N’ Roll,” and it’s as true for me now as it was then.

I worship Butch Walker’s candor and wit, but I really want to be Rhett Miller when I grow up. If I can hone my craft to be as affecting and clever as these great American songsters then maybe I’ll feel like I’m home.

5.0 – What’s your favorite part of performing in the Village?

My favorite part is a tossup between A.) getting to see amazing musicians and performers in intimate settings of urban rustic ambiance, and 2.) not knowing who I will run into on the street.  There are always things to do and people to see, and vice versa.  As I wrote in Dramaville, “Nothing’s ever boring out here on the brink; you see the daylight coming, but the night’s still young.”

Part of the reason I moved to NYC was because of the support of the East Village art scene.  The Antagonist Movement existed four years by the time Jesse [Malin] introduced me.  Perhaps I was unknowingly searching for such a crusade with which to involve myself after I finished art school in Chicago.  I wouldn’t be performing if it weren’t for the Antagonists…and of course their Antagonism (one could coin the –ism).

6.0 – Do you cover any artists when you play live?

I currently cover 33 artists and bands.  I’ve done nearly every song by Jack’s Mannequin on the “Everything in Transit” album.  I’ve also played a number of Embrace (The English band, not the D.C. one, which is also outstanding) songs as well as a few by Okkervil River. I appropriated Mike Jordan’s “Whiskey and Water” after hearing Michael’s [McDermott’s] cover. The Long Winters have a poignant song called “Honest,” and I implemented that and Editors’ “Smokers Outside The Hospital Door” into my set because I identified with them.

Some songs I am still learning.  Tommy London [The Dirty Pearls] and I attempted to duet Cinderella’s “Shelter Me.”  Our doing was a memorable, monumental failure; I keep begging him for second chance.  Also, Silvertrick has a classic song called “Forget Hollywood.”  I’m still working it out for my acoustic routine.

I’ve covered multitudes of music from Missy Higgins to The Libertines.  Daniel Johnston and Whiskeytown get as much attention in my attention-book as Kenny Rogers and Jenny Lewis.  I’m not biased; I play what I like.

7.0 – What kind of guitar are you playing, any story behind it? 

My uncle from Memphis passed away in a motorcycle accident on March 17, 2010.  I’d been to Memphis merely to visit Graceland.  After he died, my father bequeathed his Martin to me.  It’s my only family heirloom, and it’s from an uncle I never knew.  The guitar is missing a pickup, however it echoes an opulent timbre.  Ironically the first song I played on it was “Guitar and Heart Strings.”

When I perform, I play a Daisy Rock Butterfly Jumbo acoustic-electric.  I like Daisy Rock because my hands are petite, and the Daisy Rock necks are easier for me to play (Daisy Rock isn’t paying me to say that…it’s true).  It’s lighter than my Martin, which is important for me and my back.  Besides the sound and weight, it’s pretty.  The butterfly motifs remind me of my mother, who sported a butterfly tattoo on her breast.  Perhaps it’s my way of keeping her near mine.  My first guitar was a pink Daisy Rock Wildwood Acoustic; I still have it, although it has been retired.  However when I compose or relax, I usually break out the lil’ pink guy.

My baby is a pink Squire Bullet Strat Electric.  She was a gift when I left marketing for music.  I received her after stumbling up five flights of stairs around 6 a.m. the night Hurricane Irene was scheduled to make her New York City debut. That sounds like a story to tell when she’s older, doesn’t it?

8.0 – What are your plans for the New Year?  

Besides writing 78 songs, I would love to get in shape and learn how to kayak.  Conceivably I’ll hit the road.

9.0 – Any hot tips on new acts in New York folks should check out? 

Brothers NYC is one of my new favorite bands.  They have this great whiskey-fueled, honest, old-style rhythm-and-blues rock-and-roll sound.  Carla Rhodes, a rock-and-roll ventriloquist and comedienne, puts on a hilarious and charming show.  Damon Daunno is a man of many talents.  The Ramblers, Mahoney & The Moment, The Madison Square Gardeners, The Dirty Pearls and about a  million others I  haven’t name-dropped already.

10.0 – A spaceship touches down across the street from Niagara; who steps out of it?

I imagine the job prospects on Mars are more ominous than in NYC.  Perhaps it was fired, dumped, and wanted a new beginning so it jumped on the next craft to Earth in order to couch surf Brooklyn with some recent acquaintances it met at a show.  Considering more than half of New Yorkers have come here from somewhere else, I wouldn’t be surprised.

I fancy it would be just another eccentric extra-terrestrial, who has come here following, with blind belief, its dream described in the words immortalized by Frank Sinatra, “If I can make it there, I’ll make it anywhere.  It’s up to you New York, New York.”

MATT SPIEGEL w/ TRIBUTOSAURUS

1.0 – Was there a specific band or artist that got you hooked on rock & roll as a kid? 

Well, my sister left some vinyl around when she went to college. Abbey Road, The Kinks’ live album, Billy Joel’s debut, and Springsteen’s The Wild, The Innocent, and the E Street Shuffle. So it starts in that pile, and probably with “She Came in Through The Bathroom Window” specifically. That vocal made the hairs stick up on my neck…after hearing lots and lots of classical music from mom and dad. The classical had an impact too.

2.0 – What was the first album you ever purchased?

REO Speedwagon’s High Infidelity. There’s no lying when answering this question, no matter the quality of the album in question. “Keep On Lovin’ You” had owned me on the radio, enough to make me ride my bike to the mall.

3.0 – What music is in your car right now? 

It’s whatever’s on my phone, or maybe an Android tablet I use too. I don’t keep a ton on either of them. Whatever Tributosaurus is working on (Pink Floyd, Tom Petty) , plus: Funkadelic (America Eats It’s Young), Fleet Foxes, Wilco (Yankee Hotel Foxtrot Engineer Demos), Spoon (Ga Ga Ga Ga Ga), Grant Green (Sunday Morning). There’s a little more…I swap it out often. Also, Sound Opinions podcasts rotate.

3.0 – How did the Tributosaurus concept come about? 

My brother Jon throws a big birthday party concert every year, and one year (when he was in the pit band for Blue Man Group), some NYC Blue Man extended family was there. They told me about something in New York called Loser’s Lounge. Every few months they got a wide array of NYC musicians together to do the music of, say, Burt Bacharach, and they’d all cover a tune or two doing their own spin. Brilliant. So I thought of doing that in Chicago, but clarifying it to be iconic rock and roll artists, and to do it as close to note for note as possible. The idea was to treat the rock canon with the same reverence and respect with which orchestras treat Brahms or Shostakovich.

4.0 – It must be fun to argue about which tunes to do by a given artists, is there a formula for Tributosaurus set lists?

Yes..there are five core members, and we each get 3 or 4 picks, depending on the set length we’re going for. Every once in a while we might say “well, this and that HAS to be in,” but for the most part the list ends up being a product of our individual tastes coming together. No veto is allowed either, so if I, or anyone, picks an absolute dog, you suffer through it. Of course, tunes you thought you hated always end up being appreciated. That’s one of the real joys of the thing.

5.0 – What five homage’s are you most proud of?

The first time we did Steely Dan, we surprised even ourselves. It kind of made us realize that absolutely anything was suddenly possible. Marvin Gaye gave me the best appreciation for the deconstruction/reconstruction nature of the project, because it took 15 or 16 people to re-create the deceptively simple Motown sound. Stevie Wonder with a huge band was a joy and an absolute party. The Replacements holds a place in my heart, because we were properly gritty, sloppy, and a little drunk, but nailed the stuff we had to nail in that great music. Queen last month at The Vic, with 1100 people singing along to “Bohemian Rhapsody”, is a beautiful memory right now. Those are the first 5 that popped into my head…there are many others.

6.0 – Did your confidence in your voice as a singer lead to your career in radio in any way? 

Interesting. No..they’ve always been concurrent careers, one sometimes jumping ahead of the other. My dad was a sports guy, mom a music teacher and opera singer. My brother 10 years older is a musician; my brother 9 years older was a baseball player and sports fan. I’ve always been consumed by both, and done both. College was full of both. They inform each other far more than you might expect. Team and locker room concepts inform band situations. Musical narrative/lyrical concepts show up in game theories and radio production. There’s probably a book in there.

7.0 – As the resident rocker at The Score you have contributed many musical spoofs & bits, any personal favorites?

‘The 12 days of Bearsmas’ was a lucky and fun concept. We tried it last year too, and may this year, but it’s better when the Bears are terrible. 7 false starts, 6 prime time losses, 5 Cutler picks, etc. ‘The Hossa’ song to the Kink’s “Lola” became a Blackhawks favorite, sometimes played on the ice for their afternoon skate, and put on jukeboxes at sports bars in town. That’s pretty cool. Truly, I’m proud of the music you hear on our show in production, and as bumpers coming out of opens and back from commercials. The producers have good, varied tastes, in addition to stuff that Mac and I like. I have no doubt that you hear the most interesting, eclectic mix of music on our show that big city talk radio has ever seen.

8.0 – Musically speaking, where does the road part for you and Danny Mac?

Um, in about 1986 I think. The man loves his 70’s, and a touch of his skinny tie 80’s period. So I kind of have anything after that covered. In the vintages we do share, I go into soul and funk more than him. I like punk and new wave more than him. But I dig much of his taste, even if it’s a bit narrow. He loves the Stones, ACDC, Zeppelin, Alice Cooper. And he seriously LOVES it. You have to respect when someone is as passionate about it as he is. Plus, like so much with him, he’ll surprise you when you least expect it, and quote a lyric from Pete Townsend’s Empty Glass or XTC’s Black Sea. He turned me on to Todd Rundgren. As long as he doesn’t veer into UFO and Nazareth too much, we’re cool.

10.0 – What’s the best concert you’ve ever seen?

Wow. Peter Gabriel’s “Up” tour at the United Center, in the round was pretty great. Saw the So tour in 1986 I think as well…he’s wonderful live. The Pavement reunion last summer at Pitchfork was a wonderful night personally, with my buddy who shared the history with me, and my wife to be who was discovering them. But I’ll cheat and say Lollapalooza 1994. I had the full combo platter: moshing for the Beastie Boys on the lawn, up front dancing for George Clinton & the P-Funk All Stars, I sat completely in love with Kim Deal & The Breeders. Even though I left during the unnecessarily loud Smashing Pumpkins, that day ruled. I heard enough from “Siamese Dream” to cap the show perfectly.

NATHAN BIGGS

bassist of THE PEAR TRAPS

1.0 – How did the band come together? 

Bryant had written a number of songs before moving to Chicago and went to craigslist to find some bandmates. Within two months we were regularly playing in Billy’s basement, drinking, booking shows and recording.

2.0 – Did you expect your the Pear Traps EP to turn out how it did or did it take on a life of it’s own?

Bryant continually writes and we are always adding new songs to our live sets, so we had been playing out for over half a year with most of the tracks from the EP and had a good idea as to how we wanted them to sound. This makes our overall sound really based around Bryant’s guitar work and the next type of song we want to add to our live set.

3.0 – Can you talk about the cabin you recorded it; how did you track it?

We all took off on a cold Thursday, two vehicles full of equipment and went to Nashville, Indiana. The cabin was a small two story with a huge fireplace that we ran mics around to do all of our tracking as a live band. Bryant (guitar) set up in the main hallway, Billy’s drums in the large bedroom, Josh (guitar) in a small bed room, Stephen (keys) and Nathan (bass) in another room off the hallway. We spent Thursday night and Friday morning testing different mic and amp positions, hanging mics over the drums and eventually tucking Josh’s guitar amp in a closet. Then we spent all of Friday and Saturday playing, grilling, listening and drinking.

4.0 – Do you have a favorite song on the disc?

(Free Download)“Come Home” is probably our favorite song. It has sort of set the tone for how we come up with songs now- in that Bryant comes to the band with an idea and chord structure that we all turn into a song. Between Josh’s guitar licks, the warm, overdriven tone from Stephen’s keys, and some crackle from the fireplacebleeding through in the background, it was the easiest choice for the first track.

5.0 – Is the ‘EP’ the band’s preferred mode of communication?

As of right now yes, but we are always talking about taking the time to put together a full album.

6.0 – What do you guys sing about?

Bryant’s final lyrics to a new song typically follow the completion of a songs structure and the melody he wants to sing too. I think in general just something that’s happened or happening or a vague idea he’s been thinking about.

7.0 – Is it difficult to duplicate your sound live?

Not really, as we just typically ask for more reverb on the vocals and, guitar wise, Bryant actually built the heads that both he and Josh play through to get the sound we want. I think people are actually surprised when they first hear us because we’re a bit louder/more energetic live than our recordings tend to seem.

8.0 – How do you know when a tune is ready for prime time?

When we’re excited to play it and reasonably confident we won’t fuck it up.

9.0 – What bands were you listening to in high school and do they still influence you?

This runs all over the place for us. We were all pretty into 80s alternative (Replacements, Joy Division, The Cure), but mix in a need for some Kinks, Guided By Voices, and Roy Orbison and you start getting warmer.

10.0 – If you could jump on a tour next week with anyone, who would it be with?

Deerhunter would be awesome. Or maybe Atlas Sound. Or French Kicks. Or J Mascis. Too many.


DAN BAIRD

How is the European tour going so far, having fun?  Well, i’m back at the shack right now, but i’ll be over there again in 3 weeks. confusing, but yeah, we’re having fun.

Any chance of running into Dixie Beauderant over there? Nope.

Do you have a philosophy when it comes to the stage?  Yes I do. Bring it absolutely as hard as you can and your night’s “happiness level” will allow.

3 levels of happiness:

High level – band is feeling good, audience is receptive, monitors are happening and you find a flow. we don’t use a set list as i think song selection is a part of the flow of the night. this should make it possible to do a great set. it does not guarantee success, but places the onus on the band.

Medium level – one or two of the above mentioned factors is lacking somehow. Doesn’t matter which ones, but you’ve got work through something to do a good set. this is most shows for all bands. they can be the best nights of all. If you do pull through whatever problems it can really be a galvanizing force, and then you feel like roots-rock superheroes!

Low level – pretty much nothing is going right. the club has you in a hostel, fed you alpo on noodles, inept sound man hates you, monitors are best turned off, it’s a sauna on stage and there are 15 rabid fans there that you really don’t want to disappoint, but you’d really, really like to tank the show. we’ve all been there. Hopefully a certain professionalism will kick in, or your guitarist will go “dan, don’t do it” (geez i wonder if this exact scenario has ever happened). just a suck it up and go night.

So in the end, maximize happiness level, and go like hell.

Any tips to surviving a world tour in one piece?  Oh boy, as a band; take care of each other – you’re all you really got out there. To the permanent pain in the ass in the band – stop it now you stupid butthole, we’re all you got.

Individually – rest as much as you can, eat 4 hours before the show if possible so the drummer and singer don’t puke onstage, unless that’s your thang. Make the other guys in the band laugh as often as possible. don’t be the permanent pain in the ass.

It also depends on how old and beat up you are. You’ll need to stop “having fun” as much as you used to. Sorry.

What English players, if any, were you most influenced by?  Good grief – too many to list. the obvious Stones, Faces. Steve Marriot, Clapton; it’s endless.

Any plans for a follow up to the rockin’ Dan Baird & Homemade Sin debut?  Yup.

Any new tunes or titles you can tell us a bit about?  Nope.

How do songs start for you most often; with a riff? a subject?  A groove or chord change that talks to me.

What was the first rock concert you ever attended and what do you remember about it today?  The original Fleetwood Mac with Green, Spencer and Kirwin. See, there’s some more english guys.. the “Then Play On” tour. they did “oh well” without the hobbit dance theme thingy that was on the end of the record and the audience didn’t like that, so they cranked it up and did “rattlesnake shake”. Whining over.

If you had to blame someone, who really got you hooked on rock & roll?  This will be a funny answer – Johnny Rivers.  See, when I was 13 and was learning how to do it, I knew I couldn’t be in the Beatles or Stones. I was smart enough to know i wasn’t that cool, but maybe, just maybe i could be as cool as johnny rivers singing “Memphis” or “Seventh Son” and have James Burton play in my band. and then the chicks would dig me.  Yes, I identified with a cartoon character when he said “come to butthead”.

TIM SHEFFSTALL

1.0 – What was your favorite musical artist or band growing up and what was the first tune that really clicked with you as a kid?

The music that I started with my grandparents and parents – listening to their music on the radio – Elvis Presley, Bread, America, Jim Croce.

2.0 – When did you decide to make a real go of it as a musician and what was your initial game plan if any back then?

In the beginning, when I was 15 years old, I started playing the drums because my father was a professional drummer and I had every instrument in my house. I loved experimenting with all the different instruments. 27 years ago, I played in 2 really awesome cover bands – Hung Jury and The Crave. And I really mastered my craft by playing other people’s music and thought it was time for me to write my own music, where I could say what I wanted to say and be what I wanted to be. And I am so thankful for the free lessons.

3.0 – How many records have you put out as COLD STATIC  and how do you feel the band & music evolved?

3 studio CDs and 1 live CD as Cold Static. It evolved from me writing my own life story and saying anything I want to say. And being myself and choosing my life for free.

4.0 – If you had to describe the band as a combination of main influences, who would they be?

I have absolutely never been influenced by anybody but, ut, I can tell you right now, my favorite bands today are: Godsmack, Disturbed, Mudvayne, Slipknot, Stone Sour, and Hell Yeah. And you will see a taste of all of those bands on the next CD that I am working on right now.

5.0 – How is the new record coming along and what can you tell us about it?

As I answered the last question, it’s gonna be a taste of the bands that I love, with a super twist of Cold Static.

6.0 – Do you put more pressure on yourself as a songwriter today than you did starting out, or is it easier now?

I am absolutely my worst critic. And my best song is gonna be the next one I write.

7.0 – How have you maintained an edge living ‘out of the way’ as it were on remote Anna Maria Island in Florida?

Because Anna Maria Island is my home, where I can be me. And my friends love me, but I love my fans too.

8.0 – Of all the COLD STATIC tracks you have released, which one has garnered the most attention, was it the song you expected?

“Bin Laden, We Will Get You” definitely has a place in my heart. Because we are Americans, and if you support terrorism, we will find you and you will pay. I never expected that song to have so much impact.

9.0 – How important is who you tour with, which was your favorite experience so far?

I love every single band I have toured with. Hands down, if you are playing music, I will be there to listen. Oh my God, that is a really hard question…..but, if I have to answer that, I love my hometown band, Neurotica, with lead singer, Kelly Sheaffer.

10.0 – You noted recently that bands “have to have the full package or forget it”….any practical advice for young artists with early signs of promise?

Yes, I believe you must have that total package – musicianship, looks, theatrics and performance – which all make for a great show. Plus, it doesn’t hurt to have a hot girl on your side.

TRISTAN FORGUS

1. When did you start writing and what were your initial subjects? 

I started writing in notebooks when I was probably six or eight – it’s hard sometimes for me to discern reality from family myths. Anyway, by the time I was 10, reading and writing had become central to my daily life and very survival. My initial efforts, like now, involved trying to make sense of things and to savor the beauty of the world, the indifference, the chaos and drama. You know, pompous artsy whiny stuff (grin).

2. Who are your main literary influences? Do you emulate any of them? 

This is going to sound clichéd, but if I were to be stranded on a desert island and had only one author’s work, it would hands-down be Tolstoy. War and Peace and Anna Karenina are the best novels ever. By themselves they would be enough.

Another all-time favorite is JD Salinger; I have spent years reading and studying him. I also love Virginia Woolf; I treasure her prose, her lyrical and psychological depth. And Dostoevsky, Raymond Chandler, Adrienne Rich. The list goes on. In general, I love books, a lot of different kinds of books, and when I find ones I love, I carry them around for years and re-read them time and again.

Do I emulate my favorite authors? You bet I do – or at least I try to – just like guitarists and drummers and singers, I guess: borrow here, borrow there, add your own two cents.

3. OK, now you’ve done it – you are stranded on a desert island, one turntable, no booze, 5 albums….what are they? 

Ha, no booze, interesting! OK, I wish I could just have 5 mix tapes (REALLY, my musical tastes are MUCH broader than the question allows  (I’d like a Brandenburg Concerto, a piano piece by Keith Jarrett, blasts by Coltrane and Mingus and Monk, Satchmo’s It’s a Wonderful World, and the Exploited’s Sex and Violence)), but sticking to the spirit of your question, five albums as follows, followed by five back-ups in case of warping due to sun or saltwater:

First Five: The Clash’s The Clash (U.S. release w.  “(White Man) In Hammersmith Palais”), David Bowie’s Ziggy Stardust and the Spiders from Mars, Leonard Cohen’s The Songs of Leonard Cohen, The Velvet Underground’s The Velvet Underground and Nico, and Husker Du’s Zen Arcade

Back Up Five: The Replacement’s Let It Be, Tom Waites Nighthawks at the Diner, Bob Marley Legend, Nirvana’s Nevermind and Bob Dylan’s Greatest Hits Vol. 1

4. What is the status of your long toiled-over life’s work, the semi-fictional “Vicious Circles”? 

It is virtually done, except for my final confession in the last chapter and the epilogue. Or maybe that’s a gross misstatement; maybe I should just say it’s what it is and I am virtually getting ready to slay the beast one final time. I am working on it part-time now but I think about it all the time and hope to deliver it in-full next year. So, yeah….it’s been sixteen or seventeen or eighteen years, depending on the math.

5. What is it about? 

It’s about a sixteen-year-old Sarah, a girl who ran away in 1977 from the suburbs to the city of Chicago. It’s a true story based on nearly 100 hours of tapes Sarah and I made together. She was of course, like virtually all runaways, exploited. It recounts her adventures and misadventures as a girlfriend, a professional escort, a wife, a mother. It’s drugs, sex, power, survival, Chicago, the 70’s, the 80’s, the 90’s, and it’s about running away and, then again, not running away.

6. You are also a chef celebrating the opening of your first restaurant, Fusion Cafe;  is the name autobiographical? 

Well, celebrating is not exactly the word for it, if you know the restaurant business. It’s more like trading in your life and working and worrying all the time, but luckily I love it.

I hadn’t realized it exactly until I thought about your question: yeah, I guess the name is autobiographical. Fusion, the melting pot, my African father, my English mother, my art, my science, my cooking, and on and on and on…. It’s almost like a guiding principle for me, now that I think about it. (see Tristan’s ‘Cafe 101’ cooking blog)

7. You’ve always been an avid indie music purveyor and dabbling songwriter, does music have a nexus with cooking? 

Yes, I think so, very much.  Think in terms of a production, the mix, the balance, the quality of performance, the quality of equipment, and of course the composition itself, the melodies and harmonies, the tempo and rhythms, and of course the lyric…. These all have almost direct analogies to a successful (or unsuccessful) dinner service.

8. What are you listening to these days? 

I’m listening to Pandora a lot these days. I had been listening a lot to internet radio on iTunes a lot for a couple of years really, especially Coyote Radio out of UCal.-SanBernadino and Boot-Liquor, a SomaFM alternative countryish station with a alcohol sub-theme. But ever since I started Pandora when I got my iPhone, I’ve been listening to a lot of Superchunk Radio and stuff like that.

 9. As a writer, do you have to stay busy at your craft to keep your chops up like a musician, or do you have to walk away from time to time to keep things fresh? 

Well, I’m probably the last person to give advice about writing habits, but I’d say both have their place. Like with everything of course: practice, practice, practice is the way to get better and to get things done. Writing though especially takes place not only in the act of writing but in the act of living too.

10. What takes more courage for you, actually writing or reading what you have written?  

Wow, that’s a good question. I don’t know, probably the writing; as much as I love it, I am very afraid quite often and really, you know, it can be hard and it can hurt. I love the quote from Hemingway: “There’s nothing to writing, just sit at the keyboard and bleed.”

In terms of reading, the hard part is getting past the understandable but unreasonable loyalty to what one has written – that is, to approach and see it objectively. to be able to critically assess its virtues and weaknesses and to have the courage to re-write.

BILL WYMAN

How did Bill Wyman’s Rhythm Kings come together originally?

As a simple continuation of the band Willie & The Poor Boys I put together in 1985

What can fans look forward to on the UK tour starting October 17th?

New songs of the same variety as ever – blues, jazz, soul music, early R&B & Rock ‘n’ Roll, ballads – by a great team – & guest Mary Wilson (Supremes)   

It’s like you are on a life-long expedition into the heart of rhythm & blues, Bill Wyman Signature Metal Detector aside, are there similarities to treasure hunting when considering what material to play?

Yes, it’s like an archaeological dig into the roots of music & coming up with some forgotten gems…

What do you think has lead to the recent resurgence of interest in more traditional Americana roots music?

The lack of very few people writing decent songs anymore.

You helped define the stereo-type of the bass player as the unassuming one; how do you like being more up front now in your own band?

I’m not – I stand beside the drums – I only come to the front on a few necessary occasions.

 Dynamics have always been a hallmark of your playing, do you vary your amp or bass settings during a show?

Neither – I vary the pressure I play on the strings with my thumb.

You occasionally play with the bass vertical, is that subtle theatrics? a love of playing stand-up? a chance to rest and reposition your fingers?

Playing the bass vertical was because of my short reach – since I now played short-scale basses it has become mostly unnecessary.

What was so special about the amp you showed up with the day you auditioned for the Rolling Stones and do you recall what became of it? 

I showed up with 3 amps & a big bass cabinet with an 18” speaker – I gave the bass amp & speaker cabinet to my old band mates – who later became The Herd (Peter Frampton)

What players were you most influenced by early on in your career?

Duck Dunn – Willie Dixon – Duck Dunn – Duck Dunn – & Duck Dunn – my great mate.

What are your recollections of The London Howlin Wolf Sessions and did the experience have any impact on you as a player at the time?

Good to play with Eric Clapton & Hubert Sumlin & help to put a great album together for Wolf – a man that I became close to later.


DAG JUHLIN

How’s the Townshend windmill these days?  I don’t deploy the windmill much these days. The stages I am playing are too crowded and the ceilings generally too low. I will bring it out if it feels right at some point, I suppose.

What was your first rock concert and what do you remember most about it? Jethro Tull, Chicago Stadium, October 1978. I remember the awe of being at my first giant rock show, the haze that hovered above the crowd, Frisbees and toilet paper rolls flying everywhere before the show. The tickets were $8.50, the bootleg t-shirts were five bucks, Uriah Heep opened, and my friend Al and I drove his family’s VW Bug to the show, taking Milwaukee Avenue from Park Ridge, for some reason. Someone threw an egg and hit Tull’s drummer in the face. The music was an indistinguishable, reverberating collision of sounds. The seats were in another county. It was great.

What’s the craziest thing that has ever happened to you on the road? I was driving a Sprinter Van full of Poi Dogs down the coast in California the day after a gig in Mendocino (where my ashes are to be scattered), and en route to San Francisco, where we had a gig that night at the incredible American Music Hall. We had a tire blowout the day before and were riding on a spare, that may or may not have been put on with care and precision. Anyway, I was driving and there came an agitated grumbling from the driver’s side rear wheel, the one that had been changed the day before. It was rather unsettling and began to grow more pronounced. I was beginning my move towards the exit ramp when the wheel pried itself loose and came off. I kept control and steered us off to the shoulder, riding on three wheels and a howling axle. It was a crazy seven seconds or so of chaos and odd personal clarity. We scraped safely to a stop on the shoulder, trying to figure out just what the hell had happened, and like the punchline frame in a cartoon, the wheel came rolling lazily and wobbily to a stop in the grassy median that separated both sides of the highway. There should have been some lazy banjo music accompanying the unhurried comical rolling wheel as it seemed to poke around, looking for a good spot to lie down. But we were all safe.

We got out of the van and called Triple A and started milling around on the side of the road. I shot some video for YouTube which is out there somewhere. The really unbelievable part of the trip started then. A couple who had seen us in Mendocino the night before recognized us as they passed us, then turned around and came back to see if they could help. They were driving a small pickup truck, and they called a local friend to see if they could borrow their van. They returned with their extra vehicle, and the Triple A tow truck driver defied all his rules and grabbed our van, and filled up his truck with band members (who knew tow trucks had back seats?) and took us as far as he could, which was to a gas station just outside the SF city limits. We then crammed all of the band members and our gear and suitcases in into the van and pickup truck and made it to the gig on time. We loaded in, and then sat down to eat our free meal and a much needed pint of beer, and I remember looking at Rick and Max and saying “What the fuck just happened?” (watch Dag Julin’s Tour Movies)

There was a brand new van waiting for us the next day, as the rental company was there in SF. It worked out, only through the most cosmically fortunate set of circumstances imaginable. I have forgotten the name of the couple, but they were amazing. It was one of the friendliest acts I’ve ever been the beneficiary of.

As a guitarist, how did you adapt from playing with a band like The Slugs to joining a much larger stage band like Poi Dog Pondering?  The main thing I had to do was listen and just not blast heavy chords through the whole tune. I still play too loudly, unfortunately, but I have learned to get out of the way and say more, musically, with less.

The stage seems a very comfortable place for you, do you have any advice for happy onstage trails?  Just be right there in the room at that moment.

Does being a copywriter-by-day make it harder or easier to write lyrics?  I don’t know if I’ve ever taken lessons from either side of my writing lives and integrated them. I know that there are times when I tend to write rhythmically or with rhyme in my copywriting gigs, but only if it works. I wrote a thing for a Perry Mason promo that went “A crime, a clue, a suspect or two…” which I suppose could be a result of songwriting.

Who is in Expo’76 and what tunes do you guys do?  Expo’76 is myself on guitar and vocals (and posters and master set list), Kenny Goodman on keys, John Carpender on drums and Ralph Baumel on bass. We are often augmented by at least two of the Total Pro Horns: Max Crawford, Dave Smith and Justin Amolsch. We cover a lot of ground, from Duke Ellington to Nick Lowe; from Oscar Brown Jr. to Neil Sedaka. It’s tremendous fun.

When the call about the Dag Juhlin All-Star Band World Tour comes in, what super-star legends, dead or alive, are backing you up?  Georgie Fame (organ), Toots Thielmans (harmonica), Tommy Ardolino & Joey Spampinato (NRBQ; on drums and bass), Scott MacCaughey (Minus 5, REM, Young Fresh Fellows, etc., guitar/bartender). I would just hold everyone’s coats while they played.

Your making a road trip…..what’s on the Juhlin playlist these days?  In the car it’s been the most recent Beastie Boys album; the Beatles first album Please Please Me, which is my favorite Beatles album; Bruce Springsteen’s The Promise, that 2CD set of ‘Darkness’ extras, and Duke Ellington’s Far East Suite. At family dinner time it’s often Count Basie; when I am on the train it’s usually Segovia or a weird electronic thing; and when I am going to sleep it’s usually The Everly Brothers.

Upon arrival at the Pearly Gates you are surprised to learn old Saint Peter likes to rock, what say ye?  I just say “So, Pete. Any requests? Waddya wanna hear?”

JON DRAKE

1.0 – What songs or artists did you really connect with as a kid?

Jim (Drake) and I rocked out to David Bowie “Diamond Dogs”, Dire Straits “Tunnel of Love”, Queen “Bicycle Race”, Bruce Springsteen “I’m on Fire”, The Waterboys’ “Room to Roam” (the whole album) and our beloved The Might Be Giants’ “Flood” in its entirety.  That Waterboys record really struck a chord in me and is actually the inspiration behind that ad I put on craigslist when I set out to build this big scrappy band.  The Springsteen records were also an important piece of the puzzle.  The E Street Band, Blood Sweat and Tears, Dire Straits, and even Sly and the Family Stone were gigantic parts of my early musical education on account of my dad.  In the car on the way to the cabin, along with routine family squabbles and threats to stop the whole f***ing thing and turn around, we listened to The Beatles, Pink Floyd, and all the Motown hits you can think of.  “Put on your seat belt!” …I love my mom.

2.0 – When did you start writing/singing songs and what is the first tune you ever wrote? 
Jim and I first wrote a killer punk rock song called “Idiots for Spring.” Jim was on drums and I was on a super distorted crunchy guitar my dad bought, running through an absurdly huge solid state amp.  We recorded it on a four track reel-to-reel recorder that our Uncle Walter gave us, through two shotgun condenser mics leftover from 1973, and we overdubbed the vocals with the speaker next to the mic which gave it the coolest slap back delay I’ve heard to date.  The lyrics were simply “Idiots for spring! Idiots for spring! I don’t know what I’m doing! Idiots for spring!”  I remember being shy when I did the vocals, so I faced the wall like a proper angsty teenager. We were 14 and 12.  The song has long since been lost in the shuffle of living, moving, and purging. Damn I wish I still had that reel-to-reel.
3.0 – Are you happy with how recording sessions for the new Jon Drake & The Shakes album turned out? 
The album will be called either “The Declaration of Ulysses” or “Dear Ulysses”. Which one do you like?  We packed up three cars with a studio, and engineer, four musicians and our gear, then hit the road for Galena, Illinois where the elusive and sometimes drunk Ulysses S. Grant retired.  Our gang of bandits included engineerer Joe Gac (Elephant Gun), drummist Dan Dorff, basser Matt Wilson, guitar and keyboarder Joseph Mietus, and myself on bathroom scratch vocals and booze consumption promoter. We set up our studio in a cabin in the hills and worked twelve hour days for five days straight.  Ellis Seiberling (tromboner and co-producer of “Ulysses”) showed up on the second day and worked through each night with us.  We layed down our music the best we know how fueled with booze, love, burritos, soup, pizza, and zero drugs.  We decided to forgo a click track long before we set foot in our cabin (with no running water) in the middle of the stark cold winter. I have dreams of buying out a week in a top notch studio in Nashville, but nothing will ever compare to our sessions in Galena.  We played ELO records, PJ Harvey records, Stacks records, Motown records, D’Angelo’s “Voodoo”, and a bunch of tunes from all our old bands we used to play with. Working with Joe Gac was a real pleasure.  He works hard, has a great ear, and most certainly “doesn’t give a f***.”When we got back to Chicago we went into Nick Broste’s studio Shape Shoppe to track horns, strings, vocals, and my guitars.  The horns and strings tracked live as sections, we did quite a bit of group vocals with hollers and hand claps, and I did a few versions of each tune on vocals before deciding on takes.  Working with Nick was a pleasure and we became great friends.  After tracking, we got into mixing. At this point in my life I had been pouring every ounce of my time and money into finishing the record. I lost my job, there were days I didn’t eat in order to afford transportation, we worked endless hours.  There was on night we were tweaking out over mixes at 6 in the morning. I hadn’t slept in maybe two days.  Nick stayed with me till the end.  The key to our mixing success was this: Nick and I mixed as best we could, then Ellis Seiberling would go in with a fresh ear (without me) and have free range to make any adjustments he saw fit to the songs.  I trust Ellis implicitly and his ear for music, sounds, and mixes is akin to non other.  He’s my brother.Making a record is hard.  It is not unlike climbing a mountain.  It ebbs and flows, and eventually you can see the summit in sight.  Once you finish, turn the page and get drunk.  When you wake up there’s 1000 more things to do.  Such is being a band.
4.0 – Do you record live as an 8-piece or do basic tracks first and then build it piecemeal?
Our next project is a low-fi live EP with all eight of us in a room.
5.0 – How do you guys approach writing as a band?
The reality: writing is hard.  Each time I write a song it is as if I’ve never done it before and I have absolutely no clue what the hell I’ve gotten myself into.  Writing is full of doubt.  It is a massive, unmovable stone slab.  It is not until the block gets chipped away that anything takes form.  It takes sweat and determination.  I get drunk.  I pour all my hopes and fears into a guitar, mandolin, or banjo.  I hit record on a tape deck.  Fingers to the fret board, pick to the strings, open mouth… something comes out.  It begins to take form.At this point I’ve usually finished a pint of whiskey and begin tracking the tune with garbly distorted bass parts, hilarious and swaying drum lines, and five or six vocal parts. Whatever, it’s a tune.  After a smoke break full of self doubt and fleeting melodies I listen to the monster and voila! It lives and breaths! It speaks!I toss it off to Ellis, he nods in approval, and arranges the horn and string parts.  We bring it to the band and as a whole, abandon most of what the demo had, and in the end deconstruct the thing and write our own parts together.  It’s wholly collaborative and very cool.
6.0 – You’re shooting a video for the new song “Charlie”, how did you decide on that one as the ‘single’ and will it be a concept video?

Isn’t every music video a concept video?

7.0 – You have been doing some touring, how does the audience reaction impact you in the moment?
It’s this great thing were we pour our love into our music, which makes the audience high and happy and in turn they pour love and applause onto us.  It makes us high for days.  It’s the best ever and I want to do this for the rest of my life with this group of amazing musicians.
8.0 – Is there a Jon Drake & The Shakes elevator pitch when promoting shows to ‘the man on the street’?
Cute girl at the counter who overheard a few Shakes talking: “What’s your band like?”
Jon or Shake: “We’re an eight piece folk/pop band from Logan Square (Chicago). We’ve got horns, strings, mandolin, keys, guitars, and the like.”
9.0 How do you like playing to strangers on the road versus your Chicago hometown fans?
Chicago is the best city on earth.  Our fans are our friends.  We love it here.  But let’s not forget that each show is separate and unique no matter where you play.  It’s a fragile existence that could fall apart at any moment.  We rely on our faith in each other to keep it together.  Strangers tend to be the most excited, not unlike the best first date ever, and Chicago fans seem to simply be happy that we’re doing what we’re doing.  Either way, both are entirely supportive and amazing.
10.0 – What are you guys listening to in the van?
Heartless Bastards “The Mountain”, lots of punk rock, lots of soul, Ben Folds, Ohtis, Elephant Gun’s new record, and countless others.  At some point Evan put on some cookie monster metal- to which Drew rocked out.

NICHOLAS TREMULIS

1.0 – What are your immediate plans for Nicholas Tremulis Orchestra?  Finishing our next record: For The Baby Doll. Best one we’ve ever recorded.

2.0 – Many musicians talk about the song that put a spell on them as a youngster, was there one for you as well?  So many songs over the years. But the first one was as a near toddler. My dad took me to a little diner called Ted G’s for a hamburger. In the booths were these little jukeboxes at each table you could toss a nickel in, punch a couple switches and hear a tune. I couldn’t read yet but pretended I could and hit a letter and a number I could figure out. Out came “Lucille” by Little Richard. Fixed my idea on the good life forever!

3.0 – What stuff got you off most when you first started playing guitar? Hendrix, Hendrix and more Hendrix.

4.0 – Are their triggers in your life today that lead you to write or is it more of an applied science of sorts? There’s little things, melodies and phases I collect for later. I only write when I feel it. Some come fast. Some sit around for years. Try not to push it out if I don’t have to.

5.0 – I imagine there were industry folks early on that wanted to put you in a tidy category or confine your direction, how did you deal with it? Never got into music to be pushed around. There was a time I thought people in the biz’s opinions were smarter than mine but it’s been proved wrong too many times to heed that anymore. As for changing things up record to record, NTO and I thrive on it. Probably wouldn’t have been able to hold the band together had we started repeating ourselves. These boys want an adventure.

6.0 – What artists do critics assume are the pillars of your musical influence? any they seem to often miss? As of late we’ve had some pretty accurate people writing about us. I think it’d be impossible to really nail down what influences anyone one of us, though. We listen to everything and it rolls around in our heads and hands and comes out the way it does. The list would be way to diverse and abstract to try and track down.

7.0 – As a Chicagoan, do you think the tradition of the Chicago blues has any role in your ethos or music? NTO is totally a regional band with Chi-town blues pocket. Our musical accent in our backbeat and have been told so by some really perceptive musicians from around the country. Do I hear it a lot in other bands in town outside of the blues? Not very often. Regional groove has begun to become a bit of an antique I guess.

8.0 – Is there a trick to reading an audience? No trick really. You can feel it though when you’re all in it at the same time. When the audience and the band all feel the moment together. It’s a pretty amazing thing and if there’s a trick to getting there, I don’t want to know what it is.

9.0 – With so much material to choose from, how do you approach writing set lists? We just try different things every time to keep it fun for ourselves. We try not to stick with one thing or another. I could probably be better at it. Some of my pals are the best set makers around. I try and learn from them.

10.0 – Suppose you are caught in a time-loop like Bill Murray in the movie Groundhog Day, what gig are you forced to re-live over and over again? Any of our shows with Alejandro Escovedo at Fitzgeralds. Best friend. Best club.

TURK LEWIS

1.0 – How important was music to you growing up?

Really important. Home life was a bit solitary so I was always listening to the radio and seeking permission to go to the living room unaccompanied to put LP’s on the “Hi-Fi” as my father referred to it. Got a clock radio with a cassette deck, then a receiver/turntable from my drum teacher and after what seemed like years of reviewing sound components, prevailed on my parents to buy me a real system.  I was among the first kids I knew with a CD player.

2.0 – When did you realize you could sing?

Not really sure.  I have 5 siblings from my dad’s first marriage and they are all really musical.  I think I first realized that I actually had rhythm before I recognized that I had pitch.  My mom was always chiding me for drumming on the dashboard or the table—couldn’t help it.  My 9 year-old daughter is like that now and it’s wild to see the chord of music extended in the family.  To your question, I did a lot of acting at school and in 10th grade we did a musical.  They put me with three other guys and we did a couple of barbershop numbers in the show that just hit.  It was random, but we fit perfectly into a TTBB scheme and we ended up recording an album, Shades of Blue as The Ceruleans our senior year that I’m still proud of and I still enjoy.

3.0 – What stuff did like to sing along with as a kid?

Jacques Brel, Billy Joel, Carly Simon.

4.0 – What was the first time you sang on a stage and what do you remember about it?

Alice in Wonderland as the Mock Turtle singing “Beautiful Soup”, age 8.  People said I had a high voice—they were right.  The first ‘concert’ was in high school at Homecoming.  I remember singing “What I Like About You” and watching my voice teacher cringe as I closed my throat and screamed.

5.0 Did you know about the Colgate 13 before you went attended the school, was it part of your decision to go there or just a bonus?
I’m not sure if I knew who they were or not, but it was not a factor in my deciding to go.  And it was an afterthought to be sure.  I had had some correspondence with the hockey coach but was not recruited (for good reason) and was still battling my dejection at not being a collegiate athlete.  I walked into auditions and there was a line down three flights of stairs.  I cavalierly gave some freshmen my cassette (in ’87 not every freshman had his own tape with a cover and recording right and everything!) and walked out. I later learned that some of the guys from the group were so outraged at my insolence that they wanted to blackball me, but eventually I got a call to audition.
6.0 – Most rock & roll singers have never had the sort of formal training that A capella entails, how did it help you as a singer?

The a capella stuff was helpful for developing my ear: pitch and harmony.  But I was visited by an angel who taught me everything.  Jane McKee was a voice major at the University of Iowa (I think) and she came to my school interested in putting an a capella quartet together.  She was tireless and incredibly dedicated.  And she then went on to train me in classical voice—donating tons of her time to teach me how to breathe and then how to sing.  I owe her so much for opening up a new world to me.

7.0 – It must be exciting to have music as a part of a well-rounded curriculum at Portledge School, how rare is that today?

Great question. Almost all schools, public and independent are struggling to remain financially viable without cutting essential programs.  We have shown a real commitment to music at Portledge and it shows.  When you attend an All-County band or orchestra performance, it is really amazing how many of our students are selected.  Many districts are simultaneously cutting their program and budgets or losing elements of the programs altogether.

8.0 – How do you think it impacts the students’ experience?

A student of music is learning so much more than how to read or play or hear or articulate—my point is the value to the music student involves much more than the music itself.  There are educational study after study that continue to illuminate the ways in which the study of music helps to open neural pathways that lead to stronger retention, that have applications to science and math and language. And, they learn about beauty and empathy and teamwork.  I am so proud of our music department and our leadership for making the commitment in time and resources to the program.

9.0 – Is it part of your pitch to prospectives and their parents?

When it’s genuinely relevant, yes. Either because I just read or experienced an illustration of the strength of that program, or because the prospective student is a musician himself.

10.0 – What advice do you give students with special talent or who want to pursue a career in music?

To Porltedge students, I tell them about Claude Zdanow ’06 (StadiumRedNY) and his incredible road to success in the music industry and that he’d be happy to talk with you. I actually have hooked up students with alumni in music and other artistic fields and helped them enrich their work collectively.  That’s very exciting. But more generally, if you really know yourself enough that you can be honest with yourself.  And you feel you have the talent and the determination, and are willing to pick yourself up each time you told you’re not good enough.  Search yourself to see if you are willing to give up some of the creature comforts you currently enjoy, and if you are, immerse yourself completely in your work.  Nothing great was ever created without significant sacrifice.

tafka VINCE

1.0 – It strikes me that the title to your latest CD, “On Display”, kinda sums up your approach; in your face. Is that fair? 

That’s fair. When we play or people here the music I want it to be noticed. Love it or hate it, but not background noise you can ignore.

2.0 – One may hear more New York or Detroit than Chicago in your rock, who are your musical heroes? 

Good ear you have. Big influences, The New York Dolls, The Ramones (70’s NYC punk in general), Stooges, MC5, Bowie, T Rex and coming back home the earliest influence is still Cheap Trick. The city of Chicago is a big influence. I love my hometown, the city and it’s music and people keep inspiring me.

3.0 – What track on the new disc are folks reacting to most? Is it your favorite too? 

“Laser Beam Precision” gets people dancing, always a good sign. “O” is another one of my favorites; it’s all drama and suited for the stage (like me).

4.0 – How do you write? does it start with a riff most often?

That varies. Sometimes I strum some chords or play a riff and build from there. Other times I have a phrase that is a great opening line or chorus hook and figure out how to build on that and add the music

5.0 – Who is playing and singing on the disc and what are your guys plans as a band?

On the record, Me-vocals & guitar, Lauren Kurtz-vocals, Brian Chinino-drums, Chris Geisler-bass with guests Ed Anderson(Backyard Tire Fire)-guitar, Aaron Lee Tasjan(Madison Square Gardeners)-guitar, Vee Sonnets(The Sonnets)-keys & guitar. Produced By Tony SanFilippo. Live we have Christopher Elam on lead guitar.

The record recently came out online and we should be receiving the LP’s soon, so we plan on playing as much as we can, wherever we can. Hoping to hit NYC again before the end of the year and possibly down to SXSW in the spring. Also trying to figure out how to get someone to pay for to go play in Europe.

6.0 – When did you settle on the moniker “The Artist Formally Known As Vince”? Do you feel it affords you more freedom to not be ‘Vince’?

I’ve had the name since the mid 90’s. I needed a name to put on a flyer for a solo show around the same time the other guy, whose name rhymes with mine, was using formerly and a symbol. Thought it would be funny yet a homage to one of my favorite musicians. I quickly made the adjustment to “Formally”, I liked the play on words, and it stuck. So I have actually stayed Vince all these years!

7.0 – What is the best guitar ever made for rock & roll and what is your favorite stage guitar?

I am partial to Les Paul’s especially Junior’s.

On stage I tend to play a Gibson Flying V that I had customized with a single vintage P-90 so it sounds like my Junior.

8.0 – Do you still believe in radio?

I do. I still listen to it in the van. I think you can still find new music on radio but you need to go to the college and community stations or listen to specialty shows on commercial radio to hear the interesting new music.

9.0 – Any new Chicago clubs or bars area rockers should check out?

LiveWire, is a cool new small rock club. It’s in my neighborhood, Avondale. A couple musician friends of mine run it. They like the Rock N Roll music. I love playing there. Late Bar is great for late night drinks. If out on a Tuesday night stop by Lucky Number, I sling the drinks and pick the tunes.

10.0 – It’s your ‘Dream Gig’…… who are you opening for? when? where and why? 

If I dream it would be going back in time to downtown NYC to open for The New York Dolls at Max’s Kansas City or The Ramones at CBGB’s, I think we would fit in the glam and early punk days, or close to home and open for Cheap Trick at The Brat Stop. Even these day I dream of opening for Cheap Trick or The Dolls anywhere anytime.


VON CLOEDT

1.0 – What 3 albums would you say had the biggest impact on you as a kid – are they still essential to you?

Wow, I had to think really hard on this one.

I’m not so sure that I can narrow it down to 3 albums, as much as 3 songs. When I was a kid, around 9 or 10, listening to the radio wherever I was, I wasn’t so much interested in what album these songs were on, but rather what the SONG was, and maybe who sang it. I had an uncle who was in country music cover bands for a long time in my life, and he could do a killer Johnny Cash voice. But, at the time of being so young, and not caring about who Johnny Cash was, the lyrics of “Folsom Prison Blues” can stand out if you’re paying attention to them, and I remember thinking “dang, that’s messed up”. And only thinking back on that do I realize that that was when I started to actually care about music and see how cool and different it can be, because… well… they weren’t going to be playing that song on “The Muppet Show” anytime soon.

The second would be the first time I heard Nirvana, which was their MTV Unplugged session. They did this song called “The Man Who Sold The World” by this guy I didn’t know about named David Bowie. That was a two-for-one. Just like every kid in the mid 90’s wanting to be a musician, Kurt was that motivation, and it made me want to find out who the hell this David Bowie was. So, I started looking into more of the historical aspect of music/musicians.

And the third one, the one band that made me hunt for meaning BEHIND the lyrics is Pink Floyd. Besides the Johnny Cash tune and the fact that I heard a lot of country tunes from my Uncle’s cover band, The Silverwings Band, Americana wasn’t really apart of my early musical development, it was classic rock.

Are they still essential to me today? Absolutely, you can’t deny the classics.

2.0 – How does being a musician yourself impact your opinion on a disc received for consideration if at all?

I think the fact that I’m a musicians affects a lot of how I listen to an album. I listen for musicianship, lyrical quality, and mixing. If an artist/band is willing to record and send out this album, they better make sure that it’s the best that it can be, not just because they want to have something out there for someone to listen to. I don’t want to hear your basement tapes with the neighbors dog barking in the background.

3.0 – You recently celebrated a milestone with your 100th AmericanaRockMix.com podcast, what inspired you to start doing them in the first place and have you been surprised by its acceptance and growth online?

Being from St. Louis, I grew listening to mainstream radio and not knowing anything besides what the radio tells me to listen to. Then as I got older, I started finding other bands that I really liked, but weren’t getting any radio play. I come from the land of Wilco and Son Volt. They sell out shows in St. Louis, but do they get played on the radio on  a regular basis? No, because they don’t fit the popular radio format. And so, I started to question “if these bands are so good, why have I never heard them anywhere besides my friends’ CD players”. So I started doing this tiny little, extremely unprofessional, make-shift, blah blah blah, show to put on the internet in hopes that someone, somewhere would find it, and love these bands as much as I do. Without trying to sound like a martyr for the music, I really did start it for the love of the music.

The acceptance and growth aspect blow me away. I think I’m a little detached from the extent of how far around the world this show goes. I get e-mails from all around the world and it never ceases to amaze me. Is the show popular? I don’t know. I know that bands like the show, but do the individual music listeners? Once again, I don’t know. And I’m ok with that. I know how many downloads and listens each show gets per month, and it’s exciting to see the numbers go up each month. But then again, they’re just numbers. And I’m not completely sure how relevant that should be to me. Not to say that I don’t appreciate those who listen to the show, because I absolutely do. If it wasn’t for e-mails and facebook messages that I get from people telling me about how they have a new favorite band or just bought a new album online because of two songs that I played on the show, I probably would have gotten bored a long time ago. It just feels good to get some verification that I’m not doing this for no reason.

4.0 – Genre tags like ‘Americana’ can help an artist reach their audience but can also have a negative effect in the sense that they may limit an artists appeal, is the term Americana Rock intended to expand that scope? 

The tag “Americana” can really detract the casual listener from checking out a new band. There are stereotypes and stigmas that go along with the term which have gained attention due to the “redneck” movement in country music. But because of those limitations that can be applied to “Americana”, I needed to bypass that with something that people can relate to more, such as the hugely ambiguous term of “rock”. Plus it brings a format to the show. I don’t want to do a show of ballads, that’s going to put people to sleep. A lot of people listen to the show at work, or in the car, or while exercising. They need something that will catch their attention. But, yes it’s meant to expand the scope of the show without sounding overbearing. If I really wanted to expand the scope of the show, I could have named it The Americana Bluegrass Folk Alt. Country Cowpunk Rockabilly Extravaganza Rock Mix.

5.0 – One of the attractions to the home-spun podcast format must be being able to promote the artists you dig with no constraints, would you ever relinquish that to an extent for a larger audience on radio or Sirius? 

The fact that it’s a home-spun podcast with no limitations for the artists or myself is a strong fixture in the format of the show. If I gave up any of that for any reason, it would no longer be “The Americana Rock Mix”. It would just be another generic radio show. Not to say that I wouldn’t gladly do a SiriusXM or terrestrial radio show. But it wouldn’t be The Americana Rock Mix as it stands now. Maybe a variation of that.

6.0 – As with any media outlet, quality control is your calling card; what is your criteria for featuring an artist on ARM?

I really try to emphasize to people the “ROCK” aspect of the show. If it’s not up tempo or there’s no driving force in the song, it doesn’t stand a strong chance to making it onto the show. But not every song can be a rocker. It’s also got to be a song that will get caught in people’s heads. People like songs that have a catchy hooks. And, like I mentioned earlier, good audio quality is a must.

7.0 – You recently relocated to the Gulf Coast of Florida, were you burned out on the St. Louis scene and what have you learned about the Fla. scene so far?

I grew up on the St. Louis music scene. And it was tough. There’s not a whole lot of support from people up there. And then when I moved down here to Florida, I realized how crappy the scene up in St. Louis really was. I just thought it was tough up there, I didn’t know it just flat-out sucked. The scene down here in the Tampa/St. Petersburg area is so supportive of their bands. And the support works both ways. The bands love to help out those who are will to help them out as well. There are organizations down here to help out the bands with shows and tours. I just wish there was someone, with enough heart, back in St. Louis to help them with that. They don’t know what their missing.

8.0 – Is there such a thing as ‘Midwesticana’?

I know that Uncle Tupelo kind of started the whole Alt. Country music scene back int the 90’s. And there have been a few bands to spawn from that, like The Bottle Rockets, Son Volt, etc. But if there is such a thing as “Midwesticana” then it starts and stops there with those bands.

9.0 – Any independent 2011 releases that you feel should be ‘must listens’ for major labels?

I don’t think that the major label is the way to go anymore. There are a few artists that have released some amazing records this year. And I wish them huge success, but I don’t know if I wish the for them to get affiliated with a major label. The major labels aren’t making the money anymore. It’s the DIY artists/bands. The ones that are really trying to get out there to get noticed and doing their own merchandizing are the ones who are going to be more successful, and won’t be trapped by the contracts of limitations of major labels. It used to be that the people within the major label organizations had the connections to people with more connections. But in the age of the internet, everyone knows everyone. The major label is an overrated middle man now.

10.0 – Are you at all surprised by the extent to which Americana music/artists are are featured in advertising today as a sort of ‘seal of brand sincerity’ and yet remains ignored by mainstream radio?

Yeah, I am surprised. And it makes me happy. It just shows that some advertisers out there have their finger on the pulse of what is good in music nowadays. Hopefully it’s not just some trend that will fade. We’ll just have to wait and see…

ERIC AMBEL

Ambel & Cimino

1.0 – What can you tell us about your new project?  ***Well, I was sifting through some recordings that I had and found this piece of soundtrack music I had recorded for Amos Poe’s “Empire II” film.  It was some noise that I had done with my engineer Tim Hatfield early one morning while the studio was all set up for tracking, before the band got there.  I did one pass of guitar going through a couple amps and pedals, then played drums then we mixed the song all before the band showed up.  Stuff that I’ve recorded by myself usually gets the code name ‘Gringoman’ so I decided to release the song as “Monster Track Suite” by Gringoman on Bandcamp and put out 100 signed and numbered CD singles with art by NYC Cycling artist Taliah Lempert.

At a Chip Robinson Lakeside Lounge gig with him fronting my band I did a song where it started with just Phil Cimino on drums and myself on electric guitar. It sounded so cool like that that I wanted it to keep going.  I waved off the band until the last verse.  That got me thinking about doing some Gringoman live as a guitar/drums duo.

We did 5 mondays in a row as Gringoman at the Lakeside and a lot of what we did came from licks that I had played into the iPhone voice recorder on a recently acquired guitar that seemed to have a new lick popping out of it every time I picked it up at home.  I’d sing a beat to Phil and we’d be off.  We also did some instrumental versions of songs I like to figure out on the guitar.  With just the two of us we could go pretty much anywhere at any time.

The 5 mondays brought more new bits that I was recording to a Flip camera and I sent one of them to Kasey Anderson who wrote a song around it and a title that I had (Bad Actor).  Phil and I recorded “Bad Actor” with Kasey at my studio and it will be released as a Kasey Anderson & Gringoman single on his Red River Records soon.  We have started to work on more tunes this way.

2.0 – Has your approach to song writing changed over the years?  Yes and no. For me there are two rules to song writing. First rule is “There Are No Rules”. Second rule is “See Rule #1″

3.0 – Which guitarists did you try and emulate most when you first picked up the guitar?  Well, when I was a kid it was Beatles & Stones and then the British Big 3 (Beck, Clapton & Page) but Creedence was the first band you could actually sound like in your garage or basement. Grand Funk was sort of like the hard rock Creedence.  There wasn’t much trickery to their sound.  You could do it.  You could pull it off.  One of the first songs I learned on a borrowed guitar was “House of the Rising Sun”.  It had basically all the chords in the one song.
4.0 – Was there a record you heard early on that really set the bar for you in terms of your goals as a producer? Well, the Beatles records, even if the US versions were different, set the bar incredibly high.  I grew up with piano lessons and the church choir and playing trumpet in the band.  The Beatles records were both complex and specific even when they were experimenting.  Also being a kid with a radio in the late 60′s early ’70′s in Chicago we had 2 fabulous AM radio stations WLS and WCFL.  If you didn’t like the song on one of them you went straight to the other.  Lots of great songs and great records.
5.0 – Do you get involved with ‘pre-production’ with artists before they come in the studio and, if so, what does that entail?  Absolutely.  All projects and artists are different but if you are producing a band you have to see the band play live.  You’ve got to.  Most the time I’m either producing bands or singer songwriters who want to sound like the really have a band, a band feel.  Band project or Singer songwriter, I really like to get a solo acoustic version of all the songs that are in the running for a record.  If I spend time listening to that solo version rather than the band’s arrangement I may come up with an idea they hadn’t thought of.  I like to get those solo versions to the rest of the group or the guys that we put together for a singer songwriter record.  So they know the basics of the song not just their ‘part’.
6.0 – What are the bare bones, essential elements necessary to make a good record? Great songs, a great vocal and a couple interesting things that happen along the way.
7.0 – Recording for the first time with someone with your credentials can be intimidating for young players, how do you put them at ease? Well, I find that lunch is a mighty good start.  My credentials don’t matter that much.  It’s the band’s record.  I want to get them comfortable with their setup so they can do a great job.  Over the years I’ve sat in every chair in the room (songwriter, hot player, rhythm section, group guy) so I hope I can think about things from their point of view.  Every day is different but I’m always shooting for making an inspired record that everybody will still like 10 years from now.
8.0 – What is the bigger high for you these days; playing a great show, writing, or producing? The best for me is being in a position where I don’t have to pick.  Doing each one of those things helps the others a ton.  That’s why I try to keep active writing, playing and producing.
9.0 – Are you surprised at all at how vibrant the roots music scene is today? Pretty interesting to me.  I like that it seems to have gone beyond the cheap cowboy hats. I do wish for a bit more variety of sound sometimes.  When I see the strict acoustic acts I wish they’d get loud once in a while to mix it up.  It’s like the ‘tall trees metaphor‘.  If they are all tall trees then how tall are they?  You need a short one in the batch for scale. Works the other way too.
10.0 – Do you ever have dreams about jamming and, if so, who are in them?  I don’t have many jamming dreams but I never leave the house without a guitar pick.


ROBBIE FULKS

Was there a single artist you wanted to be growing up?

Yes, a single artist in March 1972 and another single artist in November 1972 and….does everyone answer your very reasonable questions with touchy-artiste evasions and sloppy stabs at comedy? Because this is the approach that comes to mind. Evasion and hair-splitting and up-yours ridicule. This is a terrible attitude that is rooted in, I’m pretty sure, teenage overemulation of Bob Dylan. He was my biggest single-artist man crush between the ages of about 15 and 19.

Are there triggers in your life that inspire you to sit down and write?

It’s either a semi-verbal, humming kind of vocalizing out of the blue or it’s deadline-inspired obligation. Obligation 90% of the time.

Keith Richards often says “it all starts with Charlie”, what do you think he means by this and what do you look for in a drummer?

That’s a nice question. Comedy portion of the show over! He means that a music performance that features a drummer is never any better than the drummer, which has been proven true in my experience many times over (and at considerable cost). I’ve been performing music for thirty years plus a couple. First ten years, I didn’t play with drums; I was a folkie strummer mainly. Second ten years I played with a variety of drummers, mostly around Chicago, and as long as they had time within a few miles of metronomic they sounded great to me – really I just loved making noise and getting people dancing. Next ten years I played with an amazing drummer, Gerald Dowd. These last couple years, Gerald spends most of his work hours with Justin Roberts, and I’m somewhat back to folkiedom but I also play with a variety of drummers, as before – but this time around I’m in a better position to be critical. I would say that a good drummer steers the ship, but with subtlety. A good drummer in a steady-pulse situation cues off the other players and off the ingrained direction of the song to allow some play into the metronomic frame, without making the resulting fluctuations in time stand out. Maybe this only reflects my prejudice, because I write mainly steady-pulse songs and I don’t like them to sound metronomic but humanly performed. A good drummer isn’t a monster of ego, doesn’t grandstand before the crowd or boss the band around overtly. I think drummers who are singers tend to play a little better, on the whole.

4You obviously love country as a form but often use its traditional context and conventions as built-in humor, how do you explain this to purists?

I’ve not had to! People who are country purists like my stuff, almost to a man. Country has a strong funny-song tradition. Nobody who sees me play thinks I’m making fun of music.

Is there a general profile for the Robbie Fulks fan?

Rapidly aging and easily amused.

What is the craziest thing you have done to win over an audience?

I did all the usual things while afflicted with youth – wounding myself and others during performance, breaking instruments, spitting blood, crowd-surfing, etc. I think the only time I went too far was when I sent my guitar crowd-surfing instead of my body. It was in Toronto opening for Ben Folds Five, and the guitar was my father’s, an irreplaceable Martin 00018. The moment I unplugged it and passed it out into the audience, watching it quickly disappear toward the back of the room, my heart sank and I thought, “What in the world just possessed me?” But it came back in status quo ante shape. Audiences are your friends.

Your website (RobbieFulks.com) benefits from the personal touch of your personal blog updates, do you embrace this as another outlet for artistic expression or see it as an occupational hazard?

Embrace.

You have a history of covering seemingly unrelated songs live, what artists might fulks be surprised to find you count as key influences?

I’m a player who goes for emotion over adroitness most of the time, by instinct or personal limitation rather than philosophical conviction; and naturally a lot of the musicians I’ve looked up to are the same. So the handful of guys who rein in the extravagance and still make the emotion ring are special to me. Since those players watchfully guide me as I play instead of brazenly directing me or offering me phrases to rip off, maybe they’re surprising. Bill Frisell is one such, I feel him watching and trying to correct me pretty often. I was a New Grass Revival junkie during the 1980s, and Bela Fleck’s influence helps remind me, when I’m soloing, to stop thrashing and instead eye the fretboard coolly – just stay calm and make the brain work the fingers, let the listeners do some of the emoting. I mean, just every now and then.

Do you still enjoy the process of ‘a day in the life’ on the road?

For sure. What’s so great about sitting at home? There’s more to life than yardwork and housecleaning and kid-chauffeuring for Christ’s sweet sake.

What advice would you give to a young artist with something to say?

Spit it out, brash and bold! A normal life span offers many years for back-pedaling.

SUEDE STOUT

1.0  –  What records were you listening to in 8th grade? Lynyrd Skynyrd, Styx, Bad Co..

2.0 – Was there an artist you wanted to be as a kid? a hero figure? Peter Criss, Billy Powell.

3.0 – When did you realize you could do music for a living?  1985.

4.0 – Is Darwin Records looking for new artists? Always.

5.0 – Is the Chicago music scene a focus for you? Absolutely.

6.0 – Turnstyles; Live In The Studio is a cool concept, were you happy with how it turned out?  Very, have gone through 4 pressings!!!  yay!

7.0 – Are you working on any new material right now?  Finishing new Turnstyles CD called Youthful Wisdom features nearly every great Chicago musician I’ve known –Matt Walker, Scott Bennett, Steve Gerlach, Tom Gerlach, Warren Beck, Chris Tomek, Dan Ponosky, John Schulte, Paul Mertens, Todd Sucherman, Clark Sommers and about 20 more! As the title suggests, maybe in some ways we’re smarter when we’re young and our priorities are more than money and world domination.

8.0 – What advice would you give to a young artist entering the studio for the first time?  Work out everything you want to do beforehand, practice with a metronome, but be flexible to the creative nature of recording so you can morph and grow with the process.

9.0 – How long do you think it will be before everything we do is broadcast 24/7 as standard artist branding?  Less than 10 years, maybe 5?

10.0 – You bump into Paul McCartney at The Lantern and he’s up for a late night jam, what Beatles song do you guys play together? “Blackbird”, “One After 909”, “Silly Love Songs” (but I get to play Bass  :-) )

GWENDOLYN

1.0 – How would you compare your new disc Bright Light (September 20th release) to your debut Ultrasounds back in 2000? 

Ultrasounds is collection of recordings I made here, there and everywhere I could over five years. I was experimenting – trying all kinds of sounds and recording techniques with friends of mine. At the time I didn’t imagine they would come together as an album one day – happily, they did! I love that album – It’s like looking at old photographs of myself.

Bright Light on the other hand was born out of a clear intention. With a pocket full of country-folk songs and very little time, we recorded the album live in 3 days and then invited our favorite musicians to come and play on it. The whole thing was mixed and in the can within three weeks. We knew the album we wanted to make. And producer Ethan Allen navigated those waters masterfully.

2.0 – “Discover Me” is a great introduction to both the record and new fans, is it your favorite track?

Sometimes when you hold on to songs too long they can become heavy in your heart. You may outgrow them or just plain ol’ forget how they go.  Many of the songs on Bright Light had been kicking around my guitar case for a while.  What I like about “Discover Me” is that it came to me a week or two before we went into the studio. It was fresh and made me smile to play it and share it while it was still so relevant in my life. I especially love how Tony Gilkyson played guitar… with Danny McGough on the B4 organ just barkin’ back at him… and Josh Grange on the pedal steel sort of floating over it all. Beautiful talent!

3.0 – You have a flair for the whimsical, does that come naturally?

I actually looked up “whimsical” (1. spontaneously fanciful or playful 2. given to whims; capricious 3. quaint, unusual, or fantastic) and I thought, hey – that’s not too bad… at least it’s not boring!

4.0 – When did you first start singing and who did you enjoy emulating most? 

My parents used to sing together. My dad would play guitar and my mom would sing harmony and we’d have little hootenannies in our living room. So I suppose I emulated a lot of my dad’s record collection growing up… Cat Stevens, Jethro Tull, Incredible String Band, The Beatles… I also attended a school with an active choir and arts program – so singing was a big part of my childhood. Although I never considered myself a “singer”… I knew I had a love for performing but it wasn’t until late in my teens when I picked up the guitar that I actually started singing more seriously. I suppose it was more about the writing for me.

5.0 – How did you write your first song ever? 

I came home one afternoon and found my sister (four years my junior) playing my dad’s guitar. So of course I wanted to do it, too! My first song was a two string bluesy folk fusion about a woman destitute in love – talking about how some man came and ate her heart but it go stuck in his gossiping throat. The lyrics were like something out of a Salvador Dali painting. The chorus was complete Celtic gibberish but super catchy. It was unlike anything I had ever heard before and I loved that about it. I forget what it was called.

6.0 – Do you write the same way today or is it more collaborative with the band?

Leave me alone with my guitar and inevitably a song will come. These days with work for TV, family and other projects, I have less time to write for myself – but back in the day I was quite prolific. My band understands the natural ebb and flow of the creative process. And they generally like my songs. I just start singing and they play along and somehow it all comes together… like stone soup.

 7.0 – How did the current band come together and what is your favorite thing about them as a team? 

I played solo for quite a few years. The first person I played with was Roger Park (on upright bass). He got busy with life and shortly thereafter I started to play with high school pal Douglas Lee who had just moved home from living in New Orleans. He was going on about some kind of glass instrument he was planning to build and I encouraged him to build it cause I wanted to start a band with him. Then Robert Petersen (another high school friend) moved home from the Bay Area where he was playing in Thumb Of The Maid (now known as The Moore Brothers). So together we started playing as quite a weird little folk trio (well, weird for 1996). Eventually we met Brandon who wanted to join us on the pots and pans and found objects he could bang on. That suited us nicely. By now, we’ve been having so much fun we’ve been playing for about ten years together. More recently, Scott Doherty rounds out the band with his keys and various guitars. And guess who’s on pedal steel? Roger Park! So it comes full circle. My favorite thing about them is who they are as people. At this point we’re friends first and band mates second. It’s really quite a nice group of friends.

8.0 – How did the WEEDS show placement come about for you? do you like the show? 

LOVE the show! I can’t think of another show that has reinvented itself so fantastically over and over again. The writers and actors are so good at what they do. The folks we work with allow us to constantly try new things – it all makes for a creative Camelot. It’s been a hugely positive experience in my life. And it was all luck of the draw, really. Well, sort of. My dad always told me there are two rules in life: 1 – be ready. 2 – keep showing up. So there I was playing in a band I have for preschoolers called Gwendolyn and the Good Time Gang. Turns out the creator of Weeds and her three kids are big fans (true Hollywood story). Being “whimsical” as Jenji can sometimes be, she asked if Brandon and I would audition to become the second season replacement composers for her show.  Now granted, there were hundreds of composers and we were just throwing our hat into the ring. Faithful to my Father’s advice, I never turn down an opportunity… Turns out, they really loved what we did and gave us the job… That was like six years ago and we’re still working on the show – very lucky! And very grateful – it’s taught me so much about music and storytelling and what it means to make my living as an artist.

9.0 – When you explain your music to new friends who inquire, what words come up most? 

Uhh… folk. Country folk. True stories. Stuff I’ve written. Mostly, I’m stumped for a description.

10.0 – Your standing on a corner in Winslow, Arizona and you see a Dead Head sticker on a Cadillac that’s slowing down to take a look at you….can you trust them?  

Oh, sure. But number one rule still applies. You know the old saying… nobody rides for free.


TIM FERGUSON w/ RED PLASTIC BUDDHA

Is the new one All Out Revolution next of kin to your debut, Sunflower Sessions, or are they birds of a different feather? All Out Revolution is certainly descended from Sunflower Sessions. Look at the nose. We’ve become better in the studio though, and I think we’ve all grown as individuals and musicians, so we’re bound to sound a bit different. It feels like evolution to me.

Which tracks from All Out Revolution are folks gravitating towards? One never knows about these things. Live, people have always responded well to Running on Empty and Star-Shaped Holes, probably because of all the vocal harmonies. Psych crowds seem to like King of the Underground and Waves. We’ve posted some things to various websites and Daisy Love is popular in India, of all places. It’s been fun for me because we’ve received great feedback on all the songs.

The Red Plastic Buddha has gone through a number of changes since forming in ’06, do you have it ‘together’ now? does that matter? Yeah, lots of changes. It’s weird, because we’re not a band that is at each other’s throat or anything like that. It’s just that life forces things. Careers, kids, stuff like that. Buddhism places a lot of emphasis on the idea of impermanence, and I think that it’s a good idea to just get comfortable with the concept of change. I’ve seen lots of bands break up since we originally formed, but we just keep going. We’re together, but together isn’t a static thing. It’s a process. BTW, our long time drummer Dav Kling will be getting a broken wrist operated on soon. Friends are already on board to fill the void, as always happens. We’re just people pulling together in every sense of the word and that seems to be our path. Dav will be back, but then something else will happen. The only thing certain in this life is change.

What is your favorite thing about RPB today? The people I play with. Despite all the personnel changes we’ve had, there’s been a consistency in the character of band members. Every person who has been part of this group has been intelligent, funny, committed and interesting. A lot of graduate levels, several black belts, business owners, writers, even a doctor. Not what you’d expect from a psychedelic rock band, are we? Everyone has given their all to the project and although the faces have changed, the people who make up this band keep it fun and fresh.

In terms of subject matter, do you see your stuff as light-hearted or serious? or both? Depends on the song, I guess. I try to be more open on the love songs and just write from a purely emotional/ impressionistic place. They don’t really make a lot of sense because I’m trying to write while riding a tilt-a-whirl. For me, those feel the most psychedelic of our songs, probably because I’m completely letting go. Mostly though, I’m pretty serious when it comes to writing lyrics. I can put myself through hell trying to get things right. I love language and try to insert multiple meanings into verses. Hopefully, that makes things interesting for the listener.

Bass parts were once so buoyant and such an integral element of the rock music of late 60’s and bluesy early 70’s, what happened? I still see lots of that style out there. I just don’t do much of it in this band. In the Chicago psych scene alone, bands like Great Society Mind Destroyers, Dark Fog, Rabble Rabble, Secret Colours, Plastic Crimewave Sound … the list goes on and on. All of these bands have excellent bass players that really hold down the bottom end and groove. But because my priority onstage is singing, I have to simplify things. But that leaves lots of room for the other Buddhas to play, so I guess that’s okay too.

We’ve got your feet to the fire, what is your personal, all-time favorite bass-line? Argh! Just one?!?! Boys and Girls by Blur, Damaged Goods by Gang of Four, Monday by The Jam. That’s probably not Bruce Foxton’s best, but he’s my bass hero and it’s really

What music were you listening to in high school, anything that surprises you as you look back? I liked psych even then, but I was a big prog rocker too. I remember trying desperately to turn people on to bands like Van Der Graaf Generator and Eloy. I also had a fascination for what was called ‘space’ music, which later morphed into New Age (ahem). Then punk came along and it was good music for an angry young man. I think all those influences are still there, bubbling away below the surface.

What’s more fun for RPB, crafting tunes, recording, or playing live? They can all be wonderful, they can all be torture. Just depends. Some songs write themselves, some sit on your chest and punch you in the face. We had a BLAST recording All Out Revolution. Working with Brian Leach at Joyride was so much fun (such a kindred spirit). I’m not surprised he won a Grammy recently. Playing live can be a gas if you’re sharing a bill with people you dig and you’re in front of a cool crowd. This is the only job where people scream and shout for you when you have a good day.

You guys ever tempted to, ya know…..tune-in, tune-up, drop acid, play and press record? There’s this romanticized view of drugs in the world of music, but the idea that drugs make you more creative or open your mind to some inner truth is nonsense. If creativity or truth came in pill form, everyone would do it. There’s no easy path. If you’re creating as part of a group, you really need to communicate effectively, on many levels. Adding drugs to the mix only debilitates communication. You spend months or years developing a spiritual chemistry with other musicians, and it’s frightening just how quickly the other chemistry can destroy that.

MATT MAGUIRE

1.0 – Are you happy with how your debut Larabee EP Expose A Little Wire has been received?
I am happy. I didn’t know what to expect when I made the decision to release the songs.  It’s been a pleasant surprise to have total strangers listen to the songs and react to them in a positive way.  I’m hoping more people will get to hear the songs as well.

2.0 – Did you have specific goals in mind for the release? There was no master plan for the release of Expose a Little Wire other than to follow in the footsteps of other DIY musicians.  It’s a tricky time in the music business because somewhere along the way people began to assume that music should be free.  So financial goals are difficult to assess.  The main goal is to put the music out and make a connection with people.

3.0 – Are there any plans for a full-length follow up to the EP? There are definitely plans for more recorded music.  I’d love to record a full-length album.  I will probably put out a single or another EP before a full-length because I have songs in the can that I would rather release than hold onto for too long.

4.0 – Do you have a philosophy when it comes to recording?  My philosophy on recording is to get a song to a point where you feel as though you could listen to it forever.  The most frustrating thing about recording is to put in the time, effort and money and come out with something that you can’t stand to listen to.  From a sound perspective, I like classic 1960’s and 1970s recording sounds and styles because on the whole those sounds have staying power.  There’s nothing sadder than to put on a 1980s recording that you loved at the time and realize that the 80s big drum sound ruins the track.  I wish I was more technically oriented so that I could have a better working knowledge of the recording process.  That’s something I need to work on going forward.

5.0 – Your video for “Little Liar” has a great old school vibe & look, how did it come about? Thanks.  I saw other videos that used old footage from various places and came across a neat website that compiled stuff that was no longer covered by copyright, so it was fair game to use.  In searching through the archives I found pieces of a film called “Coffeehouse Rendezvous.”  It was really cheesy but I liked the overall look and feel of it.  Parts of the film were originally shot in the Chestnut Hill neighborhood of Philadelphia, not far from my house, so I used those bits and pieces as a nod to my hometown.  Throw in an iMovie editing feature, and you have yourself a video.  There, I’ve given away all of my video creation secrets.

6.0 – When did you get hooked on rock & roll? what songs early in life left a mark on you most? Probably by age 5.  I am the youngest of five children and I used to sit in my room for hours playing my older sisters’ records – hairbrush microphone in hand.  That stack of 45s was full of Motown, Gary Puckett and the Union Gap, The Foundations, The Monkees and The Beatles.  From the stack of 45s I think The Foundations “Baby Now That I Found You” got a lot of play.  Seriously, how can anybody resist the “ba da da da” background vocals?  A little later I would say that Elvis Costello’s “The Angels Want To Wear My Red Shoes” left a big mark.  That song was really my introduction to The Byrds because of the jangly guitar sound.  Nick Lowe’s Labor of Lust album in it’s entirety is fantastic as is Please Panic by The Vulgar Boatmen.

7.0 –  Have your tunes always had a twang to them or did that develop over time? I think the twang developed over time, but I was always drawn to the twangy stuff by The Monkees did (Papa Gene’s Blues, What I Am I Doing Hangin’ Round), Dave Edmunds, Nick Lowe.  I also had some old Faron Young records as a kid.  I suppose that sound keeps kicking around in my head.

8.0 – Do songs come easy to you or are they labors of love that have to steep before being ready for prime time?  The songs couldn’t come any slower if I tried.  I wish that I could be one of those writers who can bang out song after song.  I am always amazed when I hear someone say that they went into the studio with 30 new songs and whittled it down to 10.  Once written, however, the song structure doesn’t tend to change drastically.

9.0 –  Is there anyone in your life, outside the band, that you trust as sounding board for new material?  I have a friend from high school, Gerry, who used to help manage my old band.  He’s listened to everything I’ve written since I started playing.  His opinion matters because he knows good music and he understands what makes a good song good.

10.0 – Dreaming late last night you got a call from ‘Mr. Bigg’ about a summer tour, what act are you going out in support of?  It would have to be Elvis Costello, but only because he was touring with the spinning wheel of songs from the entirety of his career.  So many great songs.  And because this happened in a dream, all of the fans at the show would become Larabee fans.

PATRICK McGRATH

1.0 – How do you compare 2006’s Wet Nurse To A Dirty Bag with the new EP, When Black Is Blue?

Wet Nurse To A Dirty Bag was a recording process that spanned almost two years for various reasons, both good & bad.When Black Is Blue, however, had 2 full days of tracking with a little extra off site tracking. The feel was spontaneous and organic. Musically they meld together being that my live show intertwines the two successfully. Wet Nurse To A Dirty Bag leaned more towards a grungier, darker, rock feel, whereas When Black Is Blue leans towards a more rootsy and, at times, quirkier side.

2.0 – It sounds like it came together rather serendipitously, or is that spin?

Ain’t no spin. It was pretty much a serendipitous affair. I had received a message from drummer, Randy Schrager, that he had a weekend free in between tours for Scissor Sisters and Jesse Malin. I then contacted producer, Eric “Roscoe” Ambel, and he told me the weekend in question was free at Cowboy Technical Services in Brooklyn, NY. After rounding out the rhythm section with bassist Jared Engel, we rehearsed twice and went in and cut the basic tracks live.

3.0 – How was it working with legendary producer Eric Ambel?

Recording with Eric Ambel was as enjoyable as it was educational! The professionalism in the studio was the real deal while the vibe was loose and comfortable.

4.0 – What lead to the decision to do an EP versus a full length at this time?

The decision was reached via money or lack there of. I wanted to record a full length and had more than enough material but the budget was rather blue collar.

5.0 – What track on the disc are people gravitating to most?

I would say most people are gravitating towards the title track, “When Black Is Blue,” with “Heavy Thunder” running a close second.

6.0 – As a folk story teller of sorts, do you draw from personal experiences or approach songs as mini-novels?

I mostly tell stories derived directly from my own experience with a few name changes and a little necessary fiction when needed. Although the mini-novel approach is apropos when developing a concept rather than a specific experience.

7.0 – How are the east coast tour dates going for you?

The east coast tour dates have been a cool mix of gigs. They’ve ranged from playing in front of a couple of hundred people when I opened a bunch of dates for the great, Mike Doughty, to driving 5 hours to Annapolis to play in front of 5 people. Both ends of the gig spectrum are good times and lessons learned.

8.0 – Do you prefer the solo dates or fielding a band?

They are two totally different animals that I enjoy but lately, due to a few new collaborations, I enjoy fielding a band.

9.0 – What guitars and amps are you playing on tour? is that important?

It is very important. I play a National Resophonic Junior and a Fender Stratocaster through a VOX AC-15. I play a Martin DM acoustic guitar.

10.0 – Ray Davies stops by for tea, summons you to pick up a guitar….you start playing – what song?

Hmmm? … Bizarre question. Perhaps “Afternoon Tea” in honor of him. I might wanna run my new tune, “At The Rock Show,” by him to see what he thinks.

DUSTY WRIGHT

Your new record If We Never sounds immediately comfortable – how do you view it in relation to your other musical incarnations?

Very personal and uncomfortably comfortable. The songs were written for me in most instances. Two of my friends died while I was recording it. My son’s godmother Patti and my best friend Buff. It made me examine my life, the life of men my age, my relationship with my family (wife, children, friends, etc.). In many ways, it’s a rumination of a middle-age man’s life; all the lust, love, betrayal, sorrow, joy, the finality of life. It’s no doubt my most personal effort as I’ve really examined my own ego and id on this one. (hear track “Sometimes I”)

How do you approach song writing for a solo release versus, say, GIANTfingers?

No difference, really. Just different players. Interestingly enough, this record began as the second GIANTfingers CD and the morphed into my own solo effort. I recorded some tracks with the band and then started laying down more personal tunes, very sparse, in some instances just my voice and guitar with a few embellishments. But I don’t know if I really approached this record any differently than any of my other records, song-writing wise. I don’t write a song and think of who will play what. I just let it flow and then decide what works for me vs. what may work better for GIANTfingers. I’ve always felt that a good song can be played just as readily on an acoustic guitar as it could be on a cello. Melody is (the) driving force.

Do you think the concept of a full-length record will be spun out in 50 years or stick like the symphony has, as a revered format?

Very good question. I think the full-length is dead right now. How many people ingest a full-length album today? I’d like to see that poll. We buy tracks. Artists like  CeeLo Green have been done well by releasing killer tracks like “Fuck You” or earlier with “Crazy” by Gnarls Barkley that made folks stop and notice. And they were done before the albums were released. Besides, did it matter to the Beatles or the British Invasion bands way back when? Nope. They just released singles that got compiled into albums. There is just too much music, too much culture for people to pay attention to an entire album.  Much of my favorite hip-hop has always been best ingested by individual tracks and not entire albums. However, if an album is a magnificent effort and the songs flow into one another, then it rewards the listener like a novel or short movie. Even my own CD is stupid, even though it’s a concept album about middle-aged angst. I’d be a fool to suggest that anyone spend the 40 odd minutes to listen to it. But if they do, I hope they’ll enjoy the experience. I think it works best while driving or riding the subway. Ingest it like an audiobook. I also think that providing strong visual components for your music can act as a barker for your brand. Recently my video for the track “Secret Window” featuring the French actress Stella Velon won Best Music Video at the LA Film & Script festival. And the cover art was rendered by artist Jeff Zenick.

Do you see rock & roll as a reasonable raison d’etre?

Reasonable? No; necessary. Two guitars, bass, and drums. A garage. Some dudes that want to let it all hang out, and voila… Let there be rock! Rock and roll will never die. Long live rock! Rock is just like any other musical genre. Once you introduce it to the status quo, it will ascend, peak, descend, and then settle in to itself. Rock probably had its Renaissance during the late ’60s/early ’70s. Those bands and tunes have stood the test of time. Just like jazz in the ’50s, classical music in the 19th century. But then again, punk rock kicked it in the arse and it had a rebirth. Rap kicked it in the teeth. And on and on…

Did you have to fight or embrace cynicism to keep on keepin’ on?

Not at all. FIrst and foremost I have to be engaged myself. I don’t look at songwriting, or painting, or writing a great novel as any different. It’s all about the journey for any artist. You have an idea, you produce the idea in some format, and then feel compelled to share that idea with other people. Then you leave it up to others to embrace it or reject it. An artist need only worry about pleasing oneself. Any attention after that is extra gravy. But it’s easy to be cynical given today’s music culture. Especially when so many people feel that music has so little value that they have no qualms stealing it. I often ask these same folks why they don’t steal art off of walls. Normally they have no irrefutable rebuttal. Musicians need to make a living, too.

If you had to pick, what one year in rock is your all-time favorite? 

Wow, great question. Certainly my pre-teen years in the late ’60s defined me, and probably unconsciously informed my own musical style, my ethos, pathos, id, etc. ’69 to ’72 were memorable for me because my older cousin who was attending Kent State bought me Abbey Road and Led Zeppelin and introduced me to heavier music. I was already a Beatles fan, but Abbey Road was the album, especially side two, that made me appreciate the album as an album.  Wasn’t long after that I began ingesting Cream, Bowie, Dylan, Santana, Hendrix, The Doors, The Allman Brothers, Neil Young, et al.

Sometimes artists reach similar places completely unaware of one another and that cohesion is what creates a ‘scene’. Was there ever an artist you heard that made you think “yeah, that’s my scene man!”?

You know I’m often inspired in the least likely places. Sometimes it can be a tiny jazz club in the Village or rock club or even a private party, but I think that when Americana hit in NYC in the late 90s it was a scene I really felt a kinship and bond with. Many of the bands played the same venues, sometimes sharing the same bill. That was also was period during the mid-to-late 90s where I was producing a series of Americana gigs at CB’s Gallery (next to CBGB’s) called The Front Porch Series. And if was often my band and 4 other bands sharing the night. Most of us waved the flag of roots-rock, alt-country, Americana. Then one day I was a playing a BMI showcase at the original Living Room and Ollabelle was performing before us and it was like, “Holy Shit! That’s it man, that’s the sound, that’s the vibe, that’s the band. That’s all of what I wanted to convey. I turned to the dude next to me and said, “wow, they should be signed immediately.” And he said, “they just were. T-Bone Burnett is bringing them in to CBS.” I was stoked for them because they so deserved it. They just nailed it! Ditto for early Daniel Lanois and his solo records and gigs.

Any goofy behind-the-scenes stuff at Creem that like to laugh about now?

Nothing goofy really. But I do have some cool rock and roll stories. One of my fondest memories involves riding around Glastonbury during the festival with Robert Plant. He was headlining the main stage that Saturday night and I assigned myself to cover that event while at the helm of Creem. I took the train up from London and met him at his hotel. We climbed into his Mercedes and he drove me around Glastonbury sharing stories of King Arthur and the Holy Grail and the Maidens of Tor. He then asked me if I was a Moby Grape fan. I was even though I was introduced to them much later in my rock and roll life. He proceeded to try to ring up Jerry Miller, one of the guitarists and songwriters in the band. When we got back to the festival, we caught some the Velvet Underground’s reunion set, some of Midnight Oil, hung out with the Black Crowes backstage, and then Plant finally played. He was magnificent, as one might imagine.

What is your take on the new media and where does Culture Catch fit in?

New media is now. As I say, “converge is the word.” Web content has converged with TV content. The content is delivered on multi platforms and devices. Most consumers have access to two of the three screens — mobile, laptop, and desktop. Most folks in America could care less what size the screen might be. Plus, you can watch your content when you please in any environment. CultureCatch.com was one of the first companies to actually produce and post audio podcasts and vidcasts/webcasts on iTunes when we launched 6 years. My show featured compelling, long conversation with celebs in all areas of the arts. I think because I had this great access I was able to draw attention to our website. So we were part of the birth of new media. We even ran the podcasting symposium at Macworld the year they launched the iPhone. It was quite the event. Apple has been very kind to us. Really helped promote our programming across multiple platforms. Ditto for Verizon Wireless and some other forward thinking brands. Just this week we were mentioned in the New York Times by Mike Hudack, CEO of Blip.tv, as one of his favorite shows on his network. Am I getting wealthy from it? Not yet. But I’ve got no gatekeepers telling me what I can or can’t program. As long as there are interesting artists willing to share their stories, I will keep producing my content.

Rumour has it you were once purified in the waters of Lake Minnetonka, how was it working with Prince?

No rumors, nothing but the truth! Yes, I was the only journalist to interview him in the early ’90s while I was at the helm of Creem.  He was then known as “the-artist-formerly-known-as-Prince”. I had agreed to a cover story with him, but I had to accept certain conditions. Interview would be conducted at Paisley Park, in person. However, I couldn’t bring a tape recorder, pencil, pen, crayon, et al. to document said interview. I would have to create an interview with my memory and creative moxie. I was up to the challenge as I felt he’d appreciate my humble Akron, Ohio roots. Hung out all day at Paisley Park. Met all of his band and folks that work there. Finally got to meet and hang with him towards the middle of the afternoon. He was too cool, a bit shy, but deep. A few months later, he ended up hiring me to publish and edit his fanzine New Power Generation. That lasted for a few years until he got distracted with other things.

MIKE “MICK” FLORES

1.0 – What (or who) got you hooked on rock & roll?

I discovered mom and dad’s record collection at an early age. They had at least 100 or more albums. I wore out my first Sears black and white suitcase turntable since I figured out how to use it .I must have been at least 5 years old when I was using it on a regular basis. I am pretty sure I fell in love with rock and roll when I heard Elvis Presley for the first time. I think it was “Love Me Tender” or “Jailhouse Rock”. I listened to a really wide variety of music. Elvis, Nat King Cole, The Monkees, The Godfather Soundtrack. I discovered The Beatles on my own. My Mom ,Dad and Grandma bought all my music when I was growing up. Every Sunday we would do the family thing and kill the afternoon at the shopping mall. The family would split up and I would get lost in the record store checking out all the music in the store until they dragged me out. Fortunately ,with another Beatles album under my arm.

2.0 – Does the inspiration come from the same place today as it did then?

A lot  of my inspiration has come in random creative spurts of twenty minutes to a few hours at a time. My biggest fear is to dry up creatively. I have always thought of my musical gift as an antenna. I keep my mind open to receiving the melody that finds me.

3.0 – What records did you play along with as a kid?  My favorite records to play along with were Elvis, The Beatles, The Monkees and lots of top forty radio hits of the day. I still go through phases of listening to songs over and over again to pick apart arrangements,lyrics and production value. I am still a student of hit songs.

4.0 – How has the Chicago rock scene changed since you and Zac started Gidgets Gaga in 1999?

The Chicago rock scene is has gotten better and worse in diffferent aspects. There are better venues to play in the city than ever before. Great sound systems and good sounding rooms, but with that gain their are more clubs that do not want to pay the talent. Couple that with cover bands and the sheer number of original bands and it can make it much more difficult to ferret out the cream of the crop. Great music can get buried by those factors. We have learned to branch out more now. We constantly create multiple income streams to make a living via music licensing,merchandise and the occasional ponzi scheme.

5.0 – Any new recordings in the works?

Ah, yes we are working on a new ep titled “The Night Is Young”. We are making a major label quality recording on our own without major label financial backing. And it is taking a long long time. I am really pleased with the results thus far. The end result will definitely be worth the wait for our fans.

6.0 – How do you guys approach writing? (has it changed from when you started?) Songwriting is the most fun of the process.I am a stickler on the arrangements of our songs. Our arrangements sound decievingly simple but there is quite a bit of musicianship in them. I ‘d like to think we are getting better at writing.performing and recording.Some songs come really quickly while others need love and tweaking.

7.0 – What usually triggers a tune for you? a riff, a melody, a subject, a situation, a phrase someone says? Usually, it is all of the above. And most of the time the inspiration comes at the oddest times like when I’m on the can or in the shower. Sometimes Zac or Leslie will say something and I’ll end up using it as a lyric.

8.0 – Is there a quintessential gig story that is dear to the band’s lore? 
Best gig story ever! So we get a gig at a club on the southside of Chicago on a Wednesday night.I won’t mention the club. The important thing here is it could have happened at any club. I sort the details for the gig with (let’s call him) ‘Big Bird’ and score the band a great guarantee. The gig is set. We shake hands and speak a week before gig on the telephone. Handshakes still mean something to me, but as you will find out , it didn’t mean a thing to the booking agent. So far so good. We get to the gig with our gear and take an elevator up to the second floor  with all our gear. It’s decided right then and there we need roadies! We set up and rock the joint. This is the best part of the gig. We do what we do best for the 30-40 people who are at the club that night. What I did notice was a lot of drinking. This was a professional drinking crowd. All in all, its not a bad night but its not a great night. I’m talking more about the vibe of the club. The vibe doesn’t feel right to me. We play pretty well. I slip in some dirty jokes and we hit a few clinkers but no one seems to notice nor does anyone seem to care. I ‘m thinking the band may very well be winning the crowd over. Every club date is an adventure with bar staff, patrons and lets face it some outta hand drunks. Tonight, there are no tomatoes, no hecklers, no cuts and no bruises. Our four hour gig is over without incident. We do a little after the gig shot. Think we even did a little dance. Time to get paid for the night. The guarantee was a righteous booty, a real score for indie rockers writing and singing their own tunes. At least we didn’t have to play any covers! We’ve managed to avoid playing any covers by playing acoustic versions of all the songs as well as full on electric versions. But for, the record, we butcher other artists material at rehearsal for shits and kicks.

‘Big Bird’ is not at the club tonight. It’s his night off. I speak to the bar maid working behind the bar. She informs me the gig isn’t up! As in, we have to play till closing time if we wanna get paid. I am a bit tired but more irritated by this, but I put on an instant poker face. I think on my feet and have the bar maid call ‘Big Bird’ at home….feathers are ruffled as he was fast asleep, he informs the bar maid not to pay us unless we play till closing time. The problem with that was that is not what we agreed upon. The only two people who know the details of the gig are BB and myself. The bar maid hands me her cell phone and I hear  him rant – his redneck accent is straight out of the movie Deliverance. We’re all a little tired and my bandmates are restless and want to split . I catch the last thing ‘Bird’ hollers at me “Boy!.. you best let a dead dog lie! Or you’ll never play in this town again!” He slams the phone and hangs up on yours truly. So in a split second I think of what Joilet Jake (Belushi’s character from The Blues Brothers) would do at that very moment. What would JJ do? I pretend I’m still on the phone with him. The barmaid is 10 feet away she has no clue what I’m doing. I pull out my best Joilet Jake impersonation on BB: “We are so sorry about the misunderstanding about how long we were supposed to play.” Throw in some dramatic pauses for effect and continue a non existent conversation. I go on and thank him for letting us play such a cool club and  how everyone was so friendly. We have to book another gig. I catch the bar maids eye. I want to reel her in a bit to watch me work BB. I go on to say we’d love to come back and play and I m glad we sorted out the misunderstanding. I walk slowly toward the bar maid still on the phone and say “Big Bird, thanks again!” I hold my hand over the mouthpiece and tell the barmaid “Big Bird” says to go ahead and pay the band. I hang up the cell phone. She turns to the register and counts the money and hands it over to me. I put it in my pocket . I give the bar maid a wink , a smile and a thank you. Walk over to the guys and without missing a beat, I  smile and say “Lets get the hell outta here”! They know somethings up but I don’t have the time to fill’em in on what happened. My new problem is the bouncer standing at the elevator door. We have to get past him. Luckily, we’re a power trio,we travel light and I’m Mexican. We were packed and ready to head out in less than 5 minutes. “Big Bird” calls back – we’re at the elevator with all of our gear. The bouncer has to operate the elevator so we’re stuck. The bar maid is having a full on conniption fit. She knows she has been had. The bouncer has a little sidebar conversation with the bar maid. It felt like forever. The bouncer walks to me with the biggest grin on his face. It’s fight or flight and there is nowhere to run. He tells us he liked the band set and doesn’t care for “Big Bird.” He holds the elevator and helps us load out. The bouncer goes on to tell us BB has had a reputation of ripping off bands for years. I’m pretty sure the  bouncer was watching me the whole time on the phone but never let on. The bouncer was a pretty rough biker type and we made his night. He was happier than we were that someone finally got over on ‘Bird’ and I’ m sure the fact I was not a caucasion male made it even a bit sweeter. We unloaded the gear back home and called it a night.

In the wee of the night I heard the answering machine go off . The next morning I hear a drunk dialing angry ‘Bird’ try to form a sentence but all I can hear is some muttering about how we’ll never play in this town again. He was really drunk, totally pissed off and feeling a bit out smarted. You could hear it in his pained redneck voice and that, my friends, was priceless! We played that message over and over for weeks until it was accidentally erased. I think I peed myself it was so hilarious. The only regret I had was the message was accidentally deleted. We wanted to open the EP we were working on at the time with the voicemail. Note to indie musicians everywhere: Let my cautionary tale be a reminder to keep emails, voicemails and any other records when making gig arrangements. And as always, for those about to rock, we salute you!

9.0 – Westerberg stops by for smokes; what Gidgets Ga Ga tune do you pop on?

I ‘d let Westerberg pick between three songs:Dreamer, The Sorry Song and Forever and a Day. It would be great if he really did stop by to listen he is a hero of mine.

10.0 – Branding infringement aside, does Lady Gaga get kicked out for snoring? Musicians with Ga Ga in their moniker are most likely to be talented! Lady Ga Ga has written songs for some of the biggest names in the biz. She is the most talented in her genre of music for sure. I have to admit it I listen to all of her stuff my favorite song is  “Speechless.”

DAVID SERBY

1.0 – How do you think your new record Poor Mans Poem will be received by your fans? 

I think Americana fans appreciate and respect all kinds of roots music – blues, folk, honky tonk, bluegrass, outlaw country – So, although Poor Man’s Poem is much different than the last couple of records I expect folks to give it an honest listen.  That’s really all I can ask.  I’m very proud of it and I hope folks like it as much as we do.

2.0 – What is your favorite song on it?

It’s always hard to choose a favorite song.  This morning, I can narrow it down to three:  Virginia Rail, Poor Man’s Poem, and Evil Men.  Virginia Rail is about the financial and emotional struggles of someone very close to me and it was the first song I wrote for the record; it’ll always mean a lot to me.  Poor Man’s Poem is about the Pullman rail strike.  I’m a union steward and I’m deeply concerned about the state of unions in this country – that song’s about as close as an example of my fears as I could get.  And finally, Evil Men because that’s the last song I wrote for the record and it’s the one in which the little man finally gets to exact a little revenge on those who wield the power.

3.0 – Are they all new songs?

Yes, these are all new songs. Poor Man’s Poem is a song-cycle set in the 1800s.  The record filters modern day economic and social issues that I’m concerned about through a landscape populated by striking rail workers, sinking gold ships, murdering outlaws, lost and broken gold miners, and drug addled civil war soldiers.

4.0 – How does it differ from your last release, Honky Tonk & Vine?

With Honky Tonk & Vine I really was taking my best shot at a California honky tonk record.  It was an rocking, electric record, and it included songs that hinted at other genres like soul and pop.  Also, most of the songs were written starting with a title from which I generated an idea and then the song.  Poor Man’s Poem is an acoustic folk record.  There’s just a little electric bass guitar on it.  And every song was written starting with a specific idea or emotion.  I figured out generally the type of story I wanted to tell and wrote a line.  By the time I got to the chorus I still had no idea what I was actually going to say there or how it would sound.  That’s about a hundred and eighty degrees different than Honky Tonk & Vine.

5.0 – You have a history of changing gears within roots music, is this part of a larger philosophy?

Being a self-funded artist has it’s downside but it definitely has an upside, too.  Downside: Nobody gives you money to help you do anything; writing, recording, producing, rehearsing bands, touring – you’re all on your own.  Upside: Nobody tells you what to do.  I’m completely free to do whatever I feel like doing.  My prior two records were electric honky tonk.  I had some issues I wanted to write about on Poor Man’s Poem that I didn’t think I could address with straight honky tonk.  I’m inspired by a challenge and I’m inspired by change.  Also, I think stagnation really is death for any writer.

6.0 – Your sense of humor is a big part of your music, is it a challenge to remain uplifting in such a poor economy? 

I appreciate that you hear the humor in my prior records.  Poor Man’s Poem is a pretty dark and serious record and honestly, I had a hard time finding any humor in the people I was singing about or the stories I was telling.  Maybe it’s just easier to find the humor hidden behind a broken heart than it is to find the humor behind a broken man or a broken family.  If there’s anything uplifting about the record it’s that nobody quits.  Every character battles his ass off until the very end, and I do believe there is something noble and uplifting in that fight.

7.0 – Do you feel that is part of your role as an entertainer?

I think finding the humor in a situation is certainly one of my roles as an entertainer, but I think exploring areas that are completely void of humor is just as important and satisfying – and possibly more challenging.  Most folks are happy to smile or laugh but asking them to walk down a dark and desolate road with you…not everyone is going to want to go.

8.0 – What are your favorite songs to ‘cover’ live with your band, The Dirt Poor Folklore?

The Dirt Poor Folklore was put together to play Poor Man’s Poem.  Because it’s a song-cycle, the ten tunes on the record are the only songs we’re playing.  It might eventually evolve into a band that plays some covers, but right now I’m limiting it to the record.  It almost feels like a book to me and playing cover tunes (or songs off my prior records) in this set would be like sticking chapters from different books into the middle of Poor Man’s Poem.  Right now, that just doesn’t make sense to me.

9.0 – How would you describe the California roots music scene today?

I think the California roots scene is on the verge of a real upswing.  In the last several years a lot of great singers, songwriters and performers have left town.  But the folks who’ve hung around have continued to improve and grow, and new bands are cropping up every day.  The influences range from straight up honky tonk and hard country, to power pop, psychedelic, R&B, Southern rock, Tex Mex and singer/songwriter folk.  It’s cliché but it’s true:  Los Angeles is a melting pot and you can do anything out here.  Bands like Old Californio, Grant Langston and The Supermodels, The Far West, a couple of bands I play bass in (West of Texas and Haymaker), Shooter Jennings’ bass player Ted Russell Kamp, the legendary Rick Shea, Patty Booker, The Groovy Rednecks, Tremalocos, Dale Peterson, Dan Janisch, Skip Heller, a great songwriter named Bob Woodruff, The Psychedelic Cowboy – I could list dozens more – they’re playing shows like The Grand Ole Echo, Ronnie Mack’s Barn Dance, The Messaround, and Melody in The Round.  And the fans (by fans I really mean friends) out here are the best.  It’s a tight knit community that really supports great people and great music.

10.0 ~ Is ‘honky tonk’ a permanent condition?

I have a feeling a lot of folks hear the term honky tonk and they think of electric hillbilly or hard country music being played in bars and roadhouses.  Chicken wire, cigarette smoke, broken beer bottles, clumsy lovers scooting around crowded dance floors.  And they’d be right.  And they’d probably listen to Poor Man’s Poem and say, “That ain’t honky tonk.”  But honky tonk is also music that is both for and about the working man.  And that’s Poor Man’s Poem in a peanut shell (that’s been smashed on Johnny Horton’s Honky Tonk Hardwood Floor).  Honky tonk music addresses the working man’s struggle to find, provide for, and hold onto his family and loved ones; that’s the fight that inspired this record.  I haven’t been able to escape it, so, yes I do think honk tonk is a permanent condition.

MATT LEVY

1.0  Were you happy with how your debut The Today EP turned out?

I was very happy with how The Today EP turned out. Everything from the music to the cover art/design. The total package was just about everything I imagined and wanted it to be, and that is such a great feeling as an artist. I was very proud.

2.0 Which track on it do people gravitate to most?

Hard to say. Every track is very different. People who are fans of popular rap music tend to gravitate towards “Somethin’ of a Playa” because it’s more of a “club” rap song. A lot of my friends like “Party Tonight” because its a little bluesy and its about getting drunk and having a good time. Then there are people who love “Today” for the same reasons I do.

3.0 Do you have a favorite song on the disc?

I actually love the intro track to the EP. I think it’s a beautiful introduction. However, my favorite “song” song is probably Today. I love the message. It’s about being happy just to be alive, appreciating the fact that life in itself is beautiful, and that in the end, things work out for the best. The delivery is honest and straightforward. For a while, I played it every morning when I woke up.

4.0 What is your definition of hip-hop?

This is a great question, we touched briefly on it the other night. These days, the word hip-hop takes on a lot of different meanings. In the classic sense, I think it’s considered a way of life, it’s own culture. Hip-hop culture. I more or less agree with that idea, but to me, hip-hop is the embodiment of the art in a culture. Whether its the style, the fashion, the way someone walks, the way they talk, the beats they make, the way they rap, sing, or dance….hip-hop is the attitude, the state of mind, but most importantly, it’s the expression of one’s individuality through these mediums.

5.0 Do you see piano as a unique vehicle in the genre?

Another good question. I wouldn’t say that the piano itself is a unique vehicle. Most hip-hop producers use keyboards to make their beats, myself included. I do feel like my background as a pianist gives me a bit of a leg up, but I tend to downplay that. The truth is, you could have all the classical training in the world, but at the end of the day, its all about whether or not what you’re doing sounds good.

6.0 How does the writing process work for you? does it vary from song to song?

It definitely varies. When I write hip-hop it almost always starts with the beat. The beat dictates the mood of the song, which leads you to the theme, which then brings on the lyrics themselves.

7.0 Are there triggers in your life that compel you gto sit down and write?

I’ve always believed in writing from personal experience. I used to use writing as a way to cope with and express my pain, and I wrote a lot of sad songs when I was younger. Nowadays its more of a routine and the moods are more varied.

8.0 Who were your musical heroes growing up and how do they impact your music today? 

As a kid I mostly listened to the radio. When “Gangsta’s Paradise” came out, it was my absolute favorite song. That was also the first tape I ever owned. The first hip-hop show I ever saw was Dilated Peoples, Jurassic-5, and Mos Def. I was probably 12 years old and it changed my life. In high school I was heavily influenced by the underground hip-hop scene on the west coast. There were a whole slew of rappers who refused to conform to what mainstream hip-hop was like at the time. John Legend released his first solo album around the time I started writing R&B songs on the piano, and he was a big influence on me. In college I started to dig into artists like Stevie Wonder, who I absolutely adore, funk groups like Earth Wind and Fire, and my palette for music expanded greatly in general.

9.0 Are you planning on a follow-up soon?

I recently recorded a handful of new songs, which I’ll most likely turn into a new EP and release it on the internet for free, so definitely be on the lookout for that!

10.0 If you can make it in New York, can you really make it anywhere?

It’s a tough city, but it’s full of opportunity. Fuck man, I sure hope so!

Follow Matt Levy on Twitter @mattnasty12

RADIO

1.0 – How is the new The Cathy Santonies record coming along? 

We’re writing songs and arranging things pretty steadily. It’s coming along well, I really like all of our new songs. We’re trying them out in front of people and all that.

2.0 – Do you have any specific goals for it?

This will be our first full-length record ever. So for me the first goal is “make a full-length record.” We’ve gone through a lot of lineup changes in the past couple of years, and when you’re often in a state where you’re teaching your old songs to new drummers so that you can play shows, it’s hard to find time to work together on all new stuff. We have also just been in kind of a songwriting funk lately for some reason (who knows). So I think for us we’re using the record as a way to motivate ourselves to write a bunch of new songs. That’s my personal goal, and we’re meeting that so I’m cool with it.

3.0 – Is it hard to capture your aggressive live sound and attitude in a studio? 

Hmm, I don’t think it’s too hard to catch our live sound. We record live, all at the same time in the same room, usually in one or two takes. Then we typically take 1-2 takes for vocals and 1 take for backup vox. Actually tracking each song will take less than 30 minutes, all things considered. I think that helps our recordings sound fresher and more realistic and energetic than if we took forever over-dubbing and making it “perfect.” Obviously in recordings you can hear each part better–we’re not quite as loud overall. I like that though.

4.0 – Is playing heavy a choice or just what you became as a group naturally?

I think it’s just something that naturally happens. We never say like oh this song should sound like this or that or blahblahblah, we usually just let it emerge. We might start with a mood or feeling we want the song to have (this should be creepy, this should be dancey, this part should be really tight, and then this part explosive etc), but we don’t have a certain musical “sound” we’re going for.

5.0 – How did the band come together?

Well Mojo and I grew up together, and when we were in high school we wrote a bunch of super awesome bedroom rock that we never let other people hear. We decided to start an actual band about five years ago because it was something we had always wanted to do and we finally got up the nerve to do it.  We met Jane through Girls Rock! Chicago and she started playing with us about two or three years ago.  We had to lose our original drummer a couple of years ago, and so over the past couple of years we’ve had a few different drummers. Now we finally have a permanent drummer in Chip. And now here we are.

6.0 – What sort of stuff do you guys like to sing about or is that secondary to the rock? 

Like any songwriter, we write about things that are on our mind or that we need to express. Typically we’ll have some music and a vague idea of what a song is about and then we’ll go forward from there together. We have a tendency to often write kind of like optimistic lyrics. But then again sometimes we are angry or hurt. Sometimes sarcastic or funny. It just depends really. Since we have a pretty collaborative songwriting style, there are usually multiple points of view involved in each song.

7.0 – Is part of the apparently unbridled fun proving that chicks can rock? 

Hmmmmm welllllllllll okay this question….Speaking for myself personally, I’m only one person so I don’t see how my doing anything in particular is going to prove anything about ~50% of the world’s adult population (I’m assuming by “chicks” you meant adult human women, not baby birds). I don’t speak for or represent all women ever. I do feel involved in a struggle to help show that, contrary to what we have all been raised to believe, rock n roll doesn’t belong to one type of person or group of people. It belongs to everyone who wants it. Like every other person in the world, I grew up being taught that a woman’s place in rock n roll is as an object of desire for men who play the music, a trophy for them to parade around as the prize they’ve won for being good at rock n roll (these are of course just a few ways women have been portrayed in the context of rnr–but these are the main ones that stuck with me when i was a kid). I have spent a lot of time feeling hurt by rock n roll and a lot of time feeling saved by it–I’ve got my own role models and heroes. Any ‘outsider’ who loves rock n roll might recognize the feelings I’m talking about, I’m sure. It’s complicated and confusing.

8.0 – Do you think having stage names frees you up to be more creative or behave differently than you might otherwise? 

Personally, I like having a stage name because I have a profession where I’m not sure “being in a badass punk rock band” is something that all my colleagues would be super cool with. For me, it’s a way to keep my worlds from colliding. For others in the band, it could be that you can do things as an alter-ego that you can’t as yourself.

9.0 – Are you ladies as rowdy off stage as on?

Yes. Wait, no. Wait, yes. Definitely. Yes.

10.0 – Would you have to sell out musically to have a mainstream hit?  

To me, i guess “selling out” means that you’re playing something you don’t personally like b/c you think other people will like it.  None of us wants to do that, and I actually don’t think we are capable of playing something we don’t like or can’t feel. I can’t imagine why a person would do that.


TED RUSSELL KAMP

1.0  Are you happy overall with how the new CD Get Back To The Land turned out?

Yes. I’m very proud of the record and I think it is my best one yet. I feel like with each record I have been becoming a better songwriter and singer, and I am getting better at arranging the band and getting tones in the studio. I’ve been producing records more and more for other bands and artists and those experience have definitely helped me see my own stuff differently.

2.0  First songs always set a tone, why did you choose to kick off the record with “California Wildflower” for instance?

I like starting records off with something uptempo and this one I think sets a real sunny California style tone. It is a pretty eclectic album but I am glad that the starting point is this one with some Byrds influenced 12 string guitar and big harmonies – and it always goes over really well live.

3.0 – Did you feel the reception of your last release Poor Man’s Paradise raised the bar for this record at all?

Yes. My last two records, Divisadero and Poor Man’s Paradise, have gotten more and more good press and have both opened up doors for me to tour. With Divisadero I was able to get to tour in Europe for the first time. I did some shows with Rosie Flores and then with Gary Louris and Marc Olson. So with each year and each record I have been to more cities and more countries. I have a pretty high standard for myself to be happy and proud of what I’m working on. And when you know other people are listening it becomes a factor too.

4.0 – How do songs start for you – with subject matter? a melody? chords? 

Each song is different. Some songs start with a single line or an idea. Some songs are born from a chord progression or a melody. Aces and Eights started as a talking blues Jerry Reed country tune and then as I started thinking about recording it, I felt that making it funkier would help the bounciness of the rhythm in the lyrics and make it more playful. I have been a huge Delbert McClinton fan for a long time. He has been a real inspiration to me in the way he can walk the line and really be both country and soul at the same time. So I took that inspiration and ran. The icing on the cake was having Angelo Moore from Fishbone play saxes on it. I was a huge Fishbone fan in high school and college and meeting him and having him play on my record was a truly great experience. (Down at the) Seventh Heaven was one that actually started as a short story. As it evolved into a song, it had really long verses and I got excited about having a song where the drums drop out in the verses and come back in the choruses to keep it moving and interesting. I have never done that before on a record. So I combined it with my love of the horns on The Last Waltz, then I added pedal steel to it to keep it a little more country. The story of the song just led the way.

5.0 – Are all the songs on Back To The Land new or are there some old riffs that became newbies? 

Most are new. But I tend to record 4 or 5 songs at a time rather than wait to record a whole record at one time so there are different songs from 3 or 4 different session. “Time Is a Joker” and “Bottles On The Table” were actually recorded for the last record, Poor man’s Paradise. I really loved them as songs but they didn’t fit with the other songs on that record in terms of their mood, so I really wanted to build this next record around them to help get them out into the world. “(Down at the) Seventh Heaven” was another of the first songs done for this record so it really became a centerpiece as I was planning the record in my head. Then I got on a real Dwight Yoakam kick so I wrote and recorded a bunch of more classic country sounding songs. That brought me back to living in L.A. – and one of the reasons I moved here is because of all the music I love that was made here. Then with “California Wildflower” and the song “Get Back To The Land,” which is about the L.A. music scene, I had the idea to go with a real sunny Southern California image and the palm trees on the album cover.

6.0 – Is song writing something one needs to practice to get good at?

Yes. Hopefully with every batch of songs you get a little better. I am a real believer in editing and I think a lot of people stop when a song is simply good: reworking, rewriting and experimenting simply helps make a song deeper.

7.0 – Do you have a philosophy when it comes to touring? 

I try to do 2 weeks of touring a month and then be home for 2 weeks a month. Then I can keep playing locally and producing. And now that we are taking an extended break with Shooter Jennings, I am out playing in different regions every month. It feels good to be spreading the word. When you make the choice to play original music, you simply have to tour. Thankfully I have a pretty bohemian spirit and I love the traveling and exploring.

8.0 – How is the spring tour going? how was Martyr’s in Chicago? 

This spring tour is going very well. It is the cd release tour too. I am just finishing up a Midwest run that started in Nashville and worked it’s way north to Minneapolis – 12 shows in 12 days. Tonight is my last show of the trip. I have toured this part of the country with Shooter numerous times but never on my own. It is definitely a step down in terms of smaller venues and no tour bus, but I am really proud to be out on my own and getting my music out there. I am constantly amazed by the music lovers in this world. It seems we are a minority but people really are looking for good music and when they find something they love, they really do spread the word. It has been really inspiring to see the support I have been getting, and fans and friends who really loved some of my older records that are very excited to see me live for the first time and get my new record. And Martyrs’ was a great show. It’s a great club. I did that night with an old friend of mine Ted Wulfers from Chicago. We have written a bunch of songs together and have played and sung on each others’ records so it was great to do some shows together finally. We called those shows the “Ted and Ted” tour. I have also wanted to play Martyrs’ for years because there’s a great Chris Whitley record ‘live at Martyrs’ and he is a musician and artist who is one of my favorites.

9.0 – What tracks from the new disc are you doing live, does it vary?

It changes from night to night, but I am doing a bunch of the new ones. California Wildflower is one. If I Had A Dollar, which has an old school Bakersfield sound, goes great acoustically or with the full band so I have been doing that a lot. I have been doing Lonelytown, which I wrote with Ted. It is a classic California country rock tune with a real strummy Byrds influence. We were both playing at the Sturgis Motercycle Festival a few years ago so we started writing that one about small town life. Aces and Eights is another. It’s a real southern soul tune on the record and live it has taken on a J.J. Cale kind of vibe. It’s been nice to add the new songs to the set gradually to keep the set list changing so people are not seeing the same songs every time they come to see me play. Changing up the set also keep me on my toes.

10.0 – You are allowed to send one TRK tune in a capsule to the far reaches of outer space, which song makes the trip?

From this record it would be “(Down at the) Seventh Heaven.” I am a real sucker for the Guy Clark style short-story-within-a-song type of song and that is mine for this new record. I love the rockers and the southern soul tunes, but the storytelling and talking about living is really what moves me in songwriting. From the Poor Man’s Paradise record, it would be “Let Love Do The Rest.” It really captures a mood and has an honesty and vulnerabitliy to it. That is one of the only songs I do at literally every gig I do.

MICHAEL LUX

1.0  What’s your vision for Michael Lux & The Bad Sons? I’m concerned at the moment with the city I live in.  There are very few ‘front’ people.  Most of the good ones are women, which is fantastic. Everyone really loves meandering at the moment. And I’m at times hard pressed to find anyone that gives a shit or two about lyrical content. None of this is really a problem for me, though. I try and do the opposite of those things. Though there is a chance I could be persuaded by some monitary sum to try being a woman for a short time.  The vision for me is my songs settling in people’s conscience for the long haul, the way the songs i love do in mine, i suppose.

2.0  What’s more important to you, the tunes or kicking ass live? The most important thing is the songs. with good songs you will always kick ass live. why do you think the modern ‘pop punk’ and ‘nu metal’ genres were as short lived as they were?  My guess is that once people got home from diving around like lunatics, they realized they were listening to essentially the same terrible song over and over again by countless bands trying to be the other one.  But they could do that cool thing where they flip the guitar round their head or maybe vomit on stage!  yep, songs win for me.

3.0 Were the songs all really “written in 30 minutes” or are you trying to say that a song either happens or it doesn’t? It sounds awfully pretentious, but the songs actually were written in 30 minutes.  It honestly wasn’t me showing off or some bullshit holier than though stunt i was trying to pull. In Hollus, I was always used to taking days, weeks to sort of, “perfect” tunes. I had a hard time writing material for myself in the past few years because I couldn’t decide what it should sound like. Finally I sat down with a bottle of pinot and once i had a riff, that was it. I just went stream of consciousness and said ‘done.’ Put it down on pro tools because i didn’t want any time to start rethinking.  And then a few days later, another bottle, another song, etc.  This must be working for me, because I’ve just written a few more tracks the same way in the last few weeks.

4.0  Since your name is on the door, did you write all the songs or were they collaborative efforts? All the songs on “Neat Repeater” were written and recorded before I had a band.  I wasn’t even planning on forming a band for it. Just releasing it for folks that sort of cared about what I was doing in Hollus.  I’ve always been a pretty singluar songwriter.  I’m never opposed to writing with others, but I know how I work, obviously. The live group really works within the ranks to bend and perfect things, and the licks and riffs are all interpretted by the players I have, which are sometimes different from show to show, which makes the shows varied and spontaneous.

5.0 What is your favorite song of your FREE EP “Neat Repeater”? “So Loud.”  It’s the song that kicked off this whole mess. It’s when I said, “ahhh, so that’s what it sounds like..” and made perfect sense.  The song itself is very much about Chicago and embracing life, even if it’s shit, fuck it, let’s fuck it out kind of thing.  I feel like a lot of people in the city, if they’re writing about it directly, write about escaping it, or they just avoid it all together and write about some place else for some reason.  I’ve done it as well, in the other band.  I was feeling like Chicago was giving me a giant wine kiss and it needed to be recipricated.

6.0  When did you fall in love with the idea of playing music? When I was 6 I was very in to Cypress Hill and I think MC Hammer. I had the fucking pants, man. Green and Black tiger striped if you care. I had a kid move in two doors down that tried for 4 months to play me a record that I refused every time.  It turned out to be The Beatles doing “Rock n’ Roll Music” – how fucking cornball of a story is that! It’s true though!  I flipped my pudding. I got a guitar and drum kit at the next christmas, though I broke into the attic about a month into November and started learning when my parents were at work. I had a fake band with that kid for the next 6 years, that ended in 3 original records we wrote before the age of 13. I was always completely bonkers for music.

7.0  Does the stage come naturally to you? People say I’m very natural on the stage.  I do feel very at ease.  Many times I feel like my life off the stage is spent waiting to be back on one, yeah. But going back to what I said before, I started playing in live bands when I was 14 and playing drums in church congregations before that, so I was always pretty used to it i suppose.

8.0  Do you guys do any covers live? Yeah, I always try to play a new cover every show.  I think it’s fun for everyone, as long as fucking Live Nation or the RIAA or whatever doesn’t sue me for it.  We’ve done “Moonage Daydream” by Bowie, “Crimson and Clover” and “Motor Away” by Guided By Voices.  WE’re always entertaining new ones, post one on the fuckbook if you have a suggestion.

9.0  Paul Stanley of KISS said that “most people listen with their eyes”, do you agree? God love him, He must have said that in the years he was wearing makeup right?  Like pre 1995 unplugged or whatever? Because after that, “Love Gun” only sounds good with the eyes closed. I do agree, actually, and I think it’s a good thing.  We need to have something to weed out groups, right? It’s incredible how many bands get away with looking like complete baffoons.  If the singer’s wearing shorts, I don’t care if it’s fucking Elvis Presley, i’m walking out. In fact, if anyone besides the drummer is wearing shorts, i’m throwing something at the stage.  New rule.

10.0  You’ve got one ‘ticket to ride’ in a time machine to a moment in rock history, what are your coordinates? Does in between Debbie Harry’s legs circa 1977 count as ‘coordinates’??  That’s dirty, forgive me.


JOE DELL’AQUILA

1.0 It must be an exciting time to now have your own studio in Exeter Recording, how is it going?

It’s been going really great.  It’s amazing to see how far I’ve come.  Just to think I started out with a Tascam 4 track at my house to this is just insane. Been having a lot of great young bands coming into the studio, and the 7inch wall is still growing! I’m really happy with the sounds I’m getting here and the place has such a comfortable atmosphere. I’m always updating my equipment and always figuring out ways to improve everything I do.  Just ask any band that comes in here about how insane I go when mixing!  I have the gray hairs to prove it.

2.0  Would you be able to produce as well if you hadn’t been in bands yourself?

I always think about how hard it would have been if I didn’t grow up being in a band (With Resistance). I can relate to bands on a lot of different levels.  Whether a band is just starting out recording the first songs they’ve ever written, or recording a debut full length and are about to hit the road for a month, I feel I know exactly what they are going through having been in the situation myself.  One of the great things about being a producer is feeling like you’re apart of every band that enters the studio.  No matter how you feel about the band’s music, you become apart of that band’s history, and are working as hard as they are to put out something awesome.

3.0  When did you realize producing was what you wanted to do?

I think as soon as I hit the realization that high school was ending, that’s when I decided I had to figure out something to do that wasn’t going to make me miserable for the rest of my life! I remember feeling like it was such a make or break decision, and figured, whatever it was, that it was going to start there and then, and that I wasn’t going to give up on the decision unless I hated it. Music was the obvious choice for me, and I was so amazed by the recording experience every time my band had to record that I said “screw this crappy supermarket job”…. I want to do this! Then I went to school and nabbed an associates degree, but that’s not where I felt it started.  Once I started to get hands on experience just figuring out how to record on my own, that’s where I got sucked in and knew I could only get better from there.

4.0  What is your favorite part about the process?

It’s to hard to pick a favorite. I love mixing because it really is amazing to hear the transformation from raw recorded sounds with no set levels, to something that sounds so together, with everything having its own space and being brought more upfront.  And even though I’m not a drummer, I loooooove recording drums.  Nothing feels more awesome than great drum tones.

5.0  What records and producers would you say you have been most influenced by?

I feel like I remember liking the sound of a record rather than who recorded it, which is horrible because I should be hoping people do the opposite when listening to my recordings! But annnnyways….I was definitely influenced by Chris Badami at Portrait Recording Studios.  My band went to him when he was recording out of a garage.  We had such a good experience that we never went to anyone else, going to him the next four times we had to record, and watching his studio grow into the amazing place that it is today.  It was really inspiring because he was just a genuine, nice dude, that was cool to work with for 10 hours a day, and I saw him do exactly what he set out to do. Another guy is Dan Korneff at House of Loud, the guy is a damn genius!  His mixes are enormous, and I think the guy knows more about Nuendo than Steinberg does!  He has indirectly taught me so much, and its awesome to be in contact with him to shoot the shit about recording.  Which leads me to the last guy, my buddyJosh Jakubowski.  He let me use his home studio for years to start my business while he worked in north Jersey at another facility.  Basically my mentor, he taught me things he learned on a daily basis, and we were able to put together an amazing studio for a couple years.  As for records, I love the sound of Small Brown Bikes’s records, Elliot – False Cathedrals, Cave In’srecords, Propagandhi’s records, Jimmy Eat World’s records, I think Days Away; “Mapping An Invisible World” still has my favorite kick drum sound ever! And when my father breaks out his Beatles vinyl, I still get amazed at how good they sound.

6.0 Do you see yourself first as a producer or a musician?

Well about 8 years ago, I would have said musician without even thinking, considering I was in a touring hardcore band at the time.  But since the band broke up, being a producer has completely taken over.  The time I used to spend writing songs is now replaced by figuring out ways to better my recordings and better myself as an engineer.  I feel like there will always be room to improve and that’s what makes recording so addicting.  Don’t get me wrong, I’d love to play shows again and I have a bunch of songs I’ve written over the years but right now, the studio is the number one priority in my life.

7.0  Was producing records something you had to work hard at or was it something that came naturally to you?

Engineering is something that takes a lot of work to get used to, but Producing is definitely something that comes more naturally to me. Having written so many songs myself, and now having worked with so many bands, I feel I can easily get a grasp on what a band is going for, and from there the ideas start to flow. I always like to throw in my input when something pops up in my head. I’m not scared of getting turned down, because I know bands have a certain idea of how they want their songs to sound, so that makes me an easy person to work with and also keeps a creative atmosphere. I want nothing more than to make the band happy and to make their songs bigger than what they even imagined.

8.0  Can you offer any advice to young bands who are thinking about entering a studio to record for the first time?

Preproduction and practice!!!!  There are so many basic ways of recording available now a days, that young bands with a small budget can do preproduction on their own and be prepared to focus mainly on their performance in the studio.  A lot of bands like to jump the gun on recording, and then you get the, “that’s what you’ve been playing there?” line. So unless you have the time to break down songs in the
studio, it’s something that’s really important to do beforehand.  It just leaves so much more open to focus on performance and to sprout
ideas to make the songs even better.

9.0  Do you have a philosophy about producing?

It’s usually whatever comes in my fortune cookies from the Chinese food I eat every day here! “What’s the deal with fortune cookies being
just statements now a days, I want a fortune damn it!” But seriously, it’s just about working with the artist that came up with the song and realizing the direction they are trying to take. Be open to any ideas they have, and build off them and your own together.

10.0  Is it really true that “every room is different sound?”

I think it’s true, but in the same sense, it doesn’t mean that you can record in one room and not in another. I feel like I could take my set up anywhere and get the sound I need.  It’s all about knowing your equipment, knowing your mic placements, and trusting your ear. On the other hand, getting used to your Monitors and control room is a different story. I feel like that is something that takes a little more getting used to, but its all about comparing and testing the room with different things you and other people have done.

Exeter Recording Studio is located in Freehold, New Jersey

MIKE MUSIKANTO

1.0  How does your upcoming, 2nd album Sky Of Dresses differ from the debut Ghost Pain?

They are definitely both very different records. “sky of dresses” was recorded at a friend’s home studio over a period of several months and “Ghost pain was done in a large Chicago studio in a couple weeks. I loved recording the new record because I was able to take time and reflect on the work we had done while we were still recording.  With the last record it was done so fast I didn’t have much time to absorb anything until we were finished.  The freedom of no time restrictions was a huge asset in making this record.  I also experimented with different instrumentation like accordions and vintage organs.

2.0  Did you have any specific goals for the new recordings?

I think my main goal in recording “Sky of Dresses” was to keep the songs as pure as possible.  Every song has its own intrinsic ambiace and I wanted to stay true to that. Some songs were done live with the  backing band and have very few overdubs.  Some songs worked better with a lot of layered instruments on top.  I wanted the record to feel complete and whole even if the songs were recorded with a different approach.

3.0  Are all the songs on it new to fans?

A few tunes developed during the recording process.  When you’re playing the guitar or piano all day at the studio something new is bound to develop.  “Awful mind” was like that.  I just started jamming it at the end of another song and it kind of developed on its own.  Many of the songs I have been playing live for sometime though.

4.0  Did putting your name ‘on-the-door’ raise the stakes for you as an artist?

Performing under my own name has ultimately given me more self-confidence as a performer.  I love the freedom of being able to play solo or with a band.. When I first stared playing in bands I wrote all the songs but the members would keep changing.  When someone new was replaced the songs would kind of mutate and take on a new identity.  I loved that but I felt like I wasn’t really in a band and decided to be a solo artist.

5.0  Is there anything quintessentially Midwestern about your music?

That’s a great question.  I think that I’m definitely influenced by the Midwest in a lot of ways.  You don’t always realize how your roots shape you until you start touring and meeting the rest of the world. It’s hard to say, I guess there isn’t quite a “Midwest sound” the way they  people throw around Portland or Seattle but I think there is something here that’s unique.

6.0  What comes first for you, the narrative or the chords?

I almost always start with the chords and melody before the lyrics.  I have a ton  of unfinished songs with no lyrics just bouncing around my head. For me, its worth it to be patient because if the words don’t resonate with me then I cant sing them.   I have older songs that I love the tune of but I sing the words and I feel nothing.  I made it a rule to never match a good melody to meaningless words even If it takes years to pair the right ones up.  Which has happened! There are those songs though when your consciousness is turned off and everything writes itself at once.  It’s an amazing feeling but I stopped trying to figure out how it happens years ago.

7.0  Dylan used to joke that he was really “a song & dance man,” was he just being ‘folksy’ or do you think he meant something by it?

Theirs nothing I love more then Dylan irony.

8.0  Is creating a context for the listener what appeals to you most about folk sensibility; a story in every song?

I think creating a mood is the most important thing to me.   I love telling a story but without the melody to compliment the lyrics the mood is undetermined.  Most of my songs do have a strong narrative to them but if I were to place them in a different context with a different tune, the words would be interpreted differently.  So in that sense I think finding the harmony and balance between the two is what appeals most to me about folk sensibility.

9.0  Are there any triggers in your life that cause you to sit down and write something, or does it just happen?

I think all songwriters respond to triggers in some way or another. Songwriting is like therapy.  It gives me a chance to obsess about thoughts and feelings in a way that’s constructive.   I figure if I’m gonna go crazy with all of this shit in my head I might as well put it to music and at least be able to enjoy listening to myself belly ache.  But yeah, I guess you could say the many facets of love and loss mostly trigger me.

10.0  Your video for “Blues For Momma” has you wandering streets and seems to suggests a detached sorrow, do you have the blues?

Ha.  I guess you could say I have the blues.

GINA BLOOM


1.0  Who were your musical heroes growing up? This is kind of hard to narrow down, but Elvis Presley was my first musical obsession. I was about six years old when I decided I pretty much wanted to be him. But some of the other big ones would be Aretha Franklin, Otis Redding, Janis Joplin, Michael Jackson, Stevie Wonder, Tina Turner, Marvin Gaye.

2.0  How were you exposed to them? I grew up in a house that was constantly filled with music, if I wasn’t sitting by the piano while my dad was playing, I was listening to the radio or watching MTV (back when they still played music). Once the internet came along, I just started downloading everything I could get my hands on.

3.0  Who would be your dream duet partner? I wish I could resurrect Marvin Gaye or Donny Hathaway. But as far as an actual possibility, Stevie Wonder or Al Green. John Legend would be pretty awesome too.

4.0  You describe The Congregation as “bluesy garage soul,” is this a new genre? No, not really. I think you can hear a lot of different influences in our music, but what I love about about The Congregation, and what I think other people love about it, is that we have such a classic sound. It’s the same music my aforementioned heroes made…or at least I’d like to think it’s something close to that.

5.0  Is this synthesis just a function of all the parts or a concerted effort to be unique? When you bring eight people together with very different backgrounds, both musically and in life, you’re going to end up with a sound that encompasses a lot of different things. I think we all came in with an idea of what soul music meant to each of us, but when we put it together I don’t think any of us really anticipated what it was going to end up sounding like. I know the soul band I had in my mind didn’t sound like The Congregation, but I think what I got was something better.

6.0  Were you happy with how your debut EP Not For Sleepin‘ has been received? Definitely. Not for Sleepin’ was a passion project for me, and I was really proud of how it turned out, so it’s been great to hear the positive feedback we’ve been getting. 

7.0  Are their plans to do a full length cd as a follow-up? Yes, we’ve been thinking about doing full length album since before we even finished Not for Sleepin’. We’re hoping to get back into the studio by September of this year.

8.0  Many bands first recordings are their best, do you think your new material is as strong as the tracks on Not For Sleepin’? The tracks we put on Not for Sleepin’ were great, but the next album will definitely be stronger, both on a performance level and as far as the material we will include. We’d only been together a matter of months at the time we started working our first EP, so everyone was still figuring things out. We’re all more settled in now, so no one’s holding anything back. There’s also been a lot more collaboration on the songwriting and the arrangements for our newer songs, so I think they’re more reflective of the band that we’ve become.

9.0  Do you guys play any covers live and, if so, does this help ‘set the table’ with a context for the audience? When we played our first show in January of 2010, we only had six or seven original songs, and they were all really short. So, we had to play a lot of covers just to be able to play a 45-minute set. We drew a lot of them from the catalogues of Stax and Chess Records, which did set the context for what we do in general. We don’t play covers out of necessity anymore, but we still play one or two at every show just for fun. Not for Sleepin’ includes “I Wanna Be Your Dog” by The Stooges and “Little Sister”, which is an Elvis tune, so we play those two fairly often.

10.0  If you got the call to play Letterman next Friday what Congregation tune would you guys play? We’d have a hard time picking, but would probably go with “He’s Gone”.

RALPH COVERT

Photo by Jim Newberry

1.0  Folks are saying that “Smash Record” may be the bands best record yet, can that be? We’re really proud of it.  I’d like to think that all the music we’ve made collectively and individually since the last studio album would be reflected in “Smash Record.”  I’m thrilled at the response its getting thus far.

2.0  What led to the decision to do a new record and did you have specific goals for the album? We had been working on tracks purely for the love of pursuing our creative muse.  It sounds simplistic, but its true —     our only goal was to make the best album we could.

3.0   The disc is an ‘all-hands-on-deck’ effort, it must be gratifying to have such a talented extended family to work with? The guys in the band bring so much talent and joy to what they do.  It was a blast hearing how their ideas and contributions shaped and created the album.

4.0   How long did it take to record? Most of the work was done in the last year or so, but the origins of a few tracks dates back quite a few years.  The basic tracks for “Big E Chord,” for instance, are from sessions we did in the late ’90s in which I assembled the various line-ups of the band to record songs we’d never recorded.  “Pictures of A Masquerade” is from some sessions in the middle of the last decade with Josh “Cartier” Cutsinger, who worked on many of the Ralph’s World albums.  Most of the work took place over the last couple years, working at our Waterdog studios.

5.0   Are all the songs brand new or are there hold-overs from prior projects that fit? The songs come from a range of sources and time periods.  The glue that holds them together is that they are all songs the guys in the band were excited about working on, and songs that seemed to sonically and thematically fit together.

6.0   Which tracks are getting the best reaction thus far from fans? Fans have said they’re very happy to hear songs like “Ex-Girlfriend” and “Kill Amanda” we’d been playing live for a while as well as songs like “In Another Life” and “Gets All Messy” that they first experienced through the recorded versions.

7.0   Has writing gotten easier over time or more difficult? Writing’s never been difficult, per se, because it’s always been something I’ve loved doing for the sake of doing it.  It’s been exciting to grow as an artist, so it’s more fun than ever.

8.0   Do you have a formula you try to adhere to? No. The fun is to discover the song locked inside the idea.

9.0   Any tips for young songwriters hoping to make their music into a career? Write, write, write.  The more you write, the better you get.

10.0  What’s the craziest thing that has ever happened at a Bad Examples show? How many chapters would you like? I remember once I was mingling and talking to folks after a show in Minneapolis, and this gal who had been dancing like crazy during our last song told me that she had had an orgasm while dancing.  I went back to the guys in the band and said, “Well, we’ll never be this good again, perhaps we should quit while we’re ahead?”

SECRET COLOURS


1.0 How did Secret Colours come together as a band? We all grew up in the same town, pretty much.  I had a hand full of songs I had recorded but didn’t have a band to play them out, so I asked my friends if they would play them with me. Dylan and I had been jamming together since early high school. We met Dave and Justin later on in high school. Dave had played in other local bands and Justin hung around the crowd affiliated with Dave’s bands.  Once Dave left his previous band, he decided to start the band with me. About a month after the band started we brought Margaret in to play keys and sing backing vocals, to fill out our sound. – Tommy

2.0 How does the writing process work for you guys? Tommy usually brings in the structure and vocals of a new song. Earlier on in the band he wrote all of the songs, but now sometimes he’ll bring in just a chord progression and lyrics and we jam on it, as a group, until we get it where we like it.  We’ve progressed into a much more collaborative effort now.  We’re all finding our place in the band, and know how to compliment each other in the right ways. – Dave

3.0  If you had to pick a seminal influence for the band, who would it be? The Beatles.

4.0  What were your favorite bands growing up? The Beatles, The Brian Jonestown Massacre, Blur, Gorillaz, Dandy Warhols, Spacemen 3, Stone Roses, Oasis.

5.0  Is Chicago a part of the bands sensibility? We love Chicago, we grew up with it, its our home. – Tommy

I think you can hear in our sound that we’re from Chicago, or at least not from the typical areas you’d find this style of music.  I think it’s evident we’re not from the West-Coast, or from Austin, or even from across the pond.  We’ve lived here our entire lives so I think there’s a certain quality to our music that reflects that Midwestern, dreary or droney sound. – Dave

6.0  How do Secret Colours approach playing live? We are pretty conventional as far as instrumentation. We are open to trying new things but we just can’t really afford to get theatrical, yet. – Tommy

7.0  How do you feel before shows? Depends on the show but for the most part exited. Its the most fun thing to do in the world. I used to vomit before every show but not so much any more. – Tommy

Drunk. – Dave

8.0  You have been singled-out as “a band to watch in 2011,” what are your plans for the new year? We have tons of shows to play as well as a few festivals. We are going to record a new full length album in the summer. – Tommy

Yea, we got invited to officially showcase SXSW this year, so we’ll be down there, and we’ll be playing a couple really exciting day parties as well.  This summer we’ll be bumming around Chicago recording, so we’ll probably stick close to home, but we’ve got some exciting shows already lined up for the summer time. – Dave

9.0  What’s your favorite SC song? Im not sure…it varies. I would have to say Love because it was the most collaborative song we did from our record. Plus its fun as hell to play live. – Tommy

You haven’t heard it yet! – Dave

10.0  Does a band have to get along well to succeed? Yes, unless you’re Oasis. When a band doesn’t get along it makes you feel like its pointless to keep going.

DAVE GODDESS

1.0  As an artist, what’s important to you?  Love, truth, soul.

2.0  Tell us about recording your new CD, “Something New.” I worked on it for a couple of years. Most of the time was spent thinking about it rather than doing it. In that time, I spent maybe 40 days in the studio. I wouldn’t change a thing about the CD, and I’ve never been able to say that about any of my previous recordings. This may have a lot to do with taking that time to sit with the tracks and play with them until I was satisfied. I worked through lots of material before settling on the twelve songs on “Something New.” Also, I have a great band, and I played with some really talented guest musicians. That helped a lot.

3.0  What is the title song about? Boredom, stagnation, lack of motivation. The demand for overstimulation. The need to be entertained. The feeling of being left out. My distain for pop culture. Also one of my common themes—the search for something more. I wanted it to be like “Satisfaction” for the 21st century.

4.0  What is your favorite track on the cd? My wife kept asking me to write a song about her. I avoided it for a long time because, in past relationships, this hasn’t worked out so well for me. I try for brutal honesty in my lyrics, and that can create problems. And of course, you’re measured against “Layla” or “Alison,” or “Maybe I’m Amazed.” Anyway, I gave it a shot. The result is “Lucky Guy.” I tried to explore the light and dark sides of our (or perhaps any) relationship, and I felt like lyrically, I really got to the heart of it. I think it’s a fun, but also soulful song. I love the chunky rhythm section. I love the horn section. And my wife likes it, so I am a lucky guy.

5.0  What comes first for you when writing, a lyric, a melody, a riff? Since lyrics are important to me, the first thing I get is a concept or phrase, most likely the song title or the words to the chorus. Then I build a set of changes for choruses and verses. Next I flesh out the lyrics and maybe write a bridge. I’m slow and methodical, and I might revisit the lyrics many times. I love having written a song, but I hate actually doing it. It’s painful for me and requires huge amounts of concentration and introspection. Some guys write a song in an hour. That will never happen to me. For me, it’s a grind.

6.0  How did Ed Stasium’s involvement with the project come about? Ed had worked on a project for a friend of mine and he introduced us. Ed was obviously a big time engineer/producer in the eighties and nineties, and he sort of dropped out of the New York scene, moving to Colorado and setting up a studio out there. I sent him a few songs and he liked them, so he accepted the project. Ed brought a lot to my record, and it was a privilege to work with him. I had been very close with the songs, and it was really great to let someone with objectivity (and talent) step in at that point.

7.0  Do you have a philosophy when it comes to entering the studio? Just to make sure everyone is working towards realizing the song as opposed to making a personal statement. It’s common to work with players who view verses and choruses as things to tolerate or riff through on the way to a solo. It takes maturity to look at the bigger picture, play in the spaces, and choose just the right parts to make the song work. After that, I just go for a rhythm track that’s right in the pocket. It doesn’t make much sense to build on a foundation that’s not solid.

8.0  Any secrets to nailing good lead vocal tracks for you? Whiskey. And when I record a vocal, I think of it as a journey with no road map and no set destination. I don’t think too much, I just try to dig as deep as possible, looking for raw emotion. It’s hard to describe, but I’m sort of in a low-level trance. This can be a hit or miss process. It helps to have a good engineer or producer to guide you through it, because loss of perspective is part of the trip. That may also have something to do with the whiskey.

9.0  Growing up, what artists were your biggest influences? Can you still hear them today on “Something New?”I always liked the soul singers—Otis Redding, Sam Cooke, Marvin Gaye, Van Morrison and I tried to channel them even though I’m not in their league as a vocalist. I love 60’s music for its freedom and creativity. Love the Stones. Love Punk. I’d imagine you can hear those influences, but I could’nt tell you where. When I’m writing or recording, I don’t listen to other people’s music because it confuses me. And I’m confused enough already.

10.0  How do you react to criticism of your music? I’m sure what I’m doing isn’t for everyone, and I don’t care. It’s obvious that these days successful pop music is generally disposable, catchy shit. I try to be more than that, possibly to my own detriment. Baring your soul takes balls, and you can’t be afraid to look like a fool. I like what I’ve done. If you like it, great. If you don’t, I can live with that.

KENN GOODMAN

1.0  What’s up at Pravda these days? Pravda is quietly extremely busy and kicking ass. We released 4 records last year and our licensing dept has placed our catalog in tons of tv shows, films, ads, video games, and anywhere else you can think of that uses music.
2.0  Has the labels content mirror your tastes or is their some driftin the stearing? Our content has always mirrored my taste or my label manager’s taste. First we look at what we like. Then we look at it to determine if it is a good business decision. We like tons of stuff that make no sense from a business point of view. Sometimes, though, we just say “screw it” Let’s release it anyway! We’ll make our money back in 5 years!”
3.0  What were the early influences that got you hooked? I got hooked on rock and roll by 6th grade. I was terrified of living a boring life, like lots of people around me in the suburbs, so I started buying Lps by everyone from Liberace to Lynnyrd Skynnrd to the beatles. I was creating my own rock and roll fantasy to alleviate boredom. Then I decided I needed to take action, so I started my own group called “STARFIRE”.
4.0  How does being a bass player relate to your personality? I’m not really a bass player. My character in New Duncan Imperials plays bass. I’m really a piano player, which means I’m not really into sports.
5.0  How would describe The Goldstars? We’re a very unpopular 60’s influenced garage band that rocks pretty hard. I play organ and it’s plain and simple fun. WE are lucky now to be Andre Williams backup band, so that enables us to tour Europe 3 times a year and also promote ourselves that way.
6.0  Whose idea was NDI? NDI came about in the back of the van on a long and destructive tour by The Service. We were endlessly driving around the country playing to 30 people, when we decided to become a 3 piece and I would play bass and we would write strange and stupid songs after drinking way too much. Then it caught on. So we decided to ride it out for 20 years.
7.0  Why is their so little humor in American rock music? Because lots of musicians take themselves too seriously and forget that they are in the “Entertainment Industry” but I think there is lots of humor in music these days. Whenever I listen to B96 with my daughter, I start cracking up uncontrollably!
8.0  Looking back some, did The Service have a “chance”? Not really. But it depends what you mean by “chance”. We had opportunities to tour and make some good records and learn about life. But generally we were too sloppy and strange for mainstream America.
9.0  Biggest disappointment seeing a band live? KC and the Sunshine Band. I was a huge fan in the 70’s and then he came to Chicago in the 90’s and played along with tapes and 2 chick singers. I’m like- “Where’s ther band?, Where’s the cool horn section?, Where’s the funky drummer?” People were throwing shit at him and then I left. I guess those were the cocaine years for KC.
10.0  Do drummers get a bad rap? They get a bad rap, but do pretty well with the ladies, so it all evens out.

TWINRAY

Interview with Dez & Mike of TWINRAY 

1) How long have the two of you been playing music together? Twelve years. We met playing in one of Chicago’s longest running theater shows but we didn’t start writing together until 2 years ago.

2) What led to the decision to formally become TWINRAY? We had a few days off together in the freezing cold month of February. We had just gotten home from the “Nobody Works in February” musician’s party and we started writing songs for fun. We liked what we came up with and thought it would be great to have a project together. It seemed logical because we were both touring separately and wanted to travel together.

3) How is “The Train You’re On” record coming along? It’s finally finished. We recorded it with the “awesome” Sean O’Keefe (credits include Hey There Delilah by The Plain White T’s, Fallout Boy and Hawthorne Heights) He was amazing to work with. Now you can buy our Cd’s on Itunes, Amazon, Zune, CD Baby, Napster, Myspace Music, several other online stores and of course our website (www.twinraymusic.com)

4) Which tunes are you most excited about?
Desiree: “Crazy In My Mind”, “Do You Wanna Go”, “Who Do You Think You Are?” and “Twisted”. Mike: We love all off our children equally!!

5) You guys blend a lot of influences, how do folks categorize your music? We often ponder this. We have come up with describing ourselves as acoustic rock and genre bending. We try not to think about it but we’ve learned that we have to.

6) How does the writing process work for you two? Mike usually comes up with a riff or a groove.  I go through my journals and see if I have any lyrics I like, or ideas that match the vibe. Then I write the melody and the sections (verse, chorus, bridge). We come up with the chord progressions and the finishing touches together.

7.) What is your favorite thing about the Chicago’s Underground Wonder Bar? I love that all kinds of music is played there from people from all walks of life. It is the most supportive environment for artists. They are the only bar in the city that will pay you a set fee for your originals. Mike says “I really like the family vibe.”

8.) Do You Always perform as a duo? We have performed with a full band but we find it easier to play together. It’s easier to tour and cheaper!! We are thinking about doing do our Cd release party with a full band.

9) What advice would you give to budding young artists? Write write write and learn as many songs as possible. Study the art form and record yourself practicing. Go out and see live music. Talk to other musicians..and be adventurous and open. Stay focused. Oh, and Mike says “Don’t forget why you do what you do.”

10) Most couples have a ‘song’, what tune is ‘your song’ if any? ha ha…you probably won’t believe this but it’s “Luckenbach, Texas” by Waylon Jennings…and “Enter Sandman” by Metallica :)

BEN KYLE w/ ROMANTICA

How is the new Romantica record coming along?
Grand!  Honest answer… Slowly but surely.

What influences do you hear most in the new songs & recordings? Touring, lack of sleep, broken relationships, temptation, death, love, home.

How do you balance being a perfectionist and creating music with a feeling? That’s a great question. Well for me, the “perfect” music has melody, meaning and feeling so if any of those elements are void it’s not nearing perfection. Part of perfecting music is making sure that it has feeling. So for example, if a song sounds flat, we will record the whole thing again to make sure we capture a feeling.  Perfecting music is not always about attention to detail (although it can be) for me it’s about making sure it means something, it feels something and there is something beautiful in it.

Is Minneapolis part of the Romantica sound? I think my exposure to some of the music going on here when I moved here as a teen (Jayhawks, Golden Smog etc.) definitely affected my sonic aesthetic, but Minneapolis music is so varied. I would say it’s more true that Minneapolis is part of the Romantica content. Place is important, and the landscape and atmosphere of a place often makes it’s way into Romantica songs. There are good examples of this on the new Album on songs called “love in the winter” and “the Saint Paul city lights”

What is your favorite thing about being in this band?
Making sweet sweet musiks!

How is the music scene today in Minneapolis?
I think thriving. There is quite a number of groups in various genres making a splash in their own way. We just played with Trampled by Turtles last night. Tapes and Tapes, The Hold Steady(Got their start) Cloud Cult, Atmosphere, Brother Ali, Doomtree, POS, Free Energy, Motion City SoundTrack, Peter Wolf Crier, Jeremy Messersmith… And the list goes on. There are dozens of venues that host local music nightly, 4 radio stations that air local music, most of the major print media cover local music in depth, and there’s a very active music blogging community… So I would say it’s a pretty vibrant scene…

What is the favorite band you have shared a stage with?
Ryan Adams and the Cardinals and the Jayhawks!

What led to the recent decision to re-release 2007’s ‘America’ on Vinyl? Nostalgia, mostly I suppose. The memory of growing up fingering those large black discs and perusing the cardboard sleeves and the significance that heavy material seemed to give to the music.

Do you have any issues with the ‘alt-country’ tag or is it a fair of Romantica? Well it is just a tag after all isn’t it. It’s not my job to describe the music… My job is to make it and try and make it beautiful. And I won’t dictate to anyone what they should say about it.

Musically speaking, who was your childhood hero? Bob Dylan

MARK GRZELAK


1.0 Do you see your ‘Frosting’ cd as a one-off project or the future? One off? oh, no… Frosting is the future of my personal writing… “till old and grey, or old and greyer”.  The name is somewhat non-descript, and lends itself to an ever morphing musical ride, threaded in Rock and Roll. Well, that’s how I see it…

2.0 Are the songs on the album all new? Half are new (written in studio).  Half are scattered – anywhere from 3-10yrs old as of 2010.  Only two are from the 10yr old first demos.  But with “Fresh Frosting” being the first effort – it was important to me to have those early songs, as well as some of the progressional songs on the debut.

3.0 Which are your favorite songs on the record? Jeez – I’ll list three:  The first track “Comfortable Enough” – pretty much a window to my current state of being,  Track 3 “King Dawdle” – A testament to rock and rollers in the “life void” between bands, trying to find the next path, and wasting a hell of a lot of time thinking,not doing……  Track 8 “Last of the Good Men” – a song about my Father-in-law as he was dying – words or song can’t describe what it’s like to actually be in the room with someone you hold dearly as he/she has their last mortal breath.

4.0 What guitars did you play on the record? A modified Fender Telecaster, 70’s Gibson Les Paul, Gretsch Nashville, Gibson Jumbo Acoustic, cheapo lap steel,  cheap nylon string acoustic, and very “METAL” 80’s ESP “Chicago Cubs” guitar (killer for solos)

5.0  Javelina’s, had a real roots-rock feel, is that part of ‘Frosting’? I was the guitar player in Javelinas.  The bands/roles are quite different.  Javelinas focus was more a blend of 70’s punk rock insanity meets arena rock meets Americana.  To me that means no-holds barred rock and roll. Americana / Roots Rock was a bit out of the element I was used to, and it was very inspiring to write/jam in a new sonic environment. I had a big hand in the first record’s writing, as well as an anchor of the “rock and rollness” of the entire sound.  It was more of a let the rock fly vibe. Such a great band…  With Frosting, the boundaries are a bit more streched…  I am the sole writer for now.  Anything from quiet, simple ballads with minimal guitar playing to full blown anthems with three tracks of soloing, to songs based on keyboard riffs – Same spirit of rock and roll, just more of an open palette.  Writing by myself for Frosting tends to be on an acoustic, which lends to strumming, picking pretty melodies, etc.  But get me in a room with a good drummer and bass player and watch the f**k out.

6.0  As a songwriter, are you influenced more by bands from 60’s, 70’s, or the 80’s? I grew up in the 70’s/80’s. Began playing music in the 70’s and that music really is a big part of my history.  As I grew as a musician in the 80’s, who couldn’t embrace the ongoing technology boom and new sounds/styles within –  The 80’s broke the guitar driven mold. So my answer is I’m a bit of a hybrid… My “songwriting per se” leans more a bit to the 70’s model, however.

7.0 If you had to choose, who is the main artist or band that compelled you to be a musician? Hate, Hate, Hate this question.  The first four records I bought were Boston’s debut, Frampton Comes Alive, Strangers in the night (UFO),  and 2112. I’m gonna say RUSH.

8.0  What are your fondest memories of Simple Simon? Aah, The “Simons”…  Simple Simon was “THEE” band that my friends and I grew into as musicians and transformed from kids to adults. . It’s that band that you get your first goose bumps when writing, recording and performing.. No boundaries – conquer and carpet bomb the world.  We played everywhere in the USA that we could.  15 yrs of amazing memories and too many lessons learned to list. We still write together from time to time…  Simons were the epitome of a super powerful band with minimal members… 3pc – everyone must do their job really well, or the machine does not function properly.  All hail the power trio.

9.0  What are your favorite Chicago music venues to play? Double Door, Metro, House of Blues…  On the smaller side, Beat Kitchen, Elbo Room… they’re not afraid to turn it up.  Or ANY tavern.

10.0  It’s said that pop music comes and goes in cycles, will the wang bar ever return? God I hope so.  I’m still bucking for that 3rd guitar player slot in Night Ranger.

JD McPHERSON

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Where did your affinity for traditional rock & roll begin? I was a young teenager, living out in the country.  A record store in the nearest town opened up, and I’d go there to special order hard-to-find stuff like The Stooges (you can’t find proto-punk in Buffalo Valley, Oklahoma). A cool girl who worked there gave me a gift- a Buddy Holly box set that was on the liquidation shelf.  When I heard his rockabilly stuff, primarily the Decca stuff (Blue Days Black Nights, etc.), it was so moving.  It was wild, rockin’ music, with country inflections, and full of life.  I had a little band then, and we started greasing our hair and putting Buddy Holly, Carl Perkins, and Jerry Lee Lewis in our repertoire alongside our Ramones, Nirvana, and Stooges material.  A very Oklahoman thing to do, it seemed.

What was the first record you ever purchased, does it still resonate with you? Raising Hell by Run D.M.C.  I helped my dad pull apart scrap metal in our barn, and I used that money to buy a tape deck along with that tape.   I love that record; it’s certainly a classic piece of American music.  Run DMC are the Bill Haley of hip hop. There’s something daring about the drum sound on that record.  It’s mixed like an 80’s hard rock record.

Are you happy with how “Sings & Signifiers” turned out? Yes, very – and I’m looking forward to the next.  I think we started out just to make a good, traditional Rock N’ Roll record.  Somewhere around halfway through the recording process, I summoned the confidence to play Jimmy a couple of song ideas, which were “A Gentle Awakening” and “Signs & Signifiers”, two decidedly, uhhh, “abstract” takes on the Rock N’ Roll medium.  He was stoked.  We were in agreement. I think for the next record, we’ll be pushing songs in more experimental directions.  I’d like to apply contemporary, fresh ideas to everything I love about Rock N’ Roll.  There are elements of Bo Diddley in “Signs”, but it’s darker, and meditative.  “A Gentle Awakening” has some heavy things happening.  Our cover of Tiny Kennedy’s “Country Boy” has some off-center arrangement.  I think I mentioned mixing Raekwon from Wu-Tang and and Son House for that track.  That’s the stuff I’m most excited about.

What does the album title mean to you? A screwy nod to postmodern semiology.  Roland Barthes.  Art school pretentiousness.  Good times!

At first blush “Signs & Signifiers” seems quintessentially American music, what other influences are you moved by? I’d hope to think I have pretty broad and eclectic tastes.  Man, I love American Rock N’ Roll, and I gravitate towards it, but I am ultimately a student of all music.

How did Chicago become a part of your story? I was part of a fabulous band, The Stark Weather Boys. Great band, really high-energy stuff.  Incredibly loud and swinging drummer.  Really the first time I was focusing on musicianship – we were trying to play dual-harmony telecaster leads at maximum volume with total physical commitment.  Jimmy Sutton in Chicago happened upon our MySpace page and listened to the songs.  He invited us up to Chicago to play some shows, and we hit it off.  We started talking on the phone quite a bit, and he eventually asked me if I’d like to record at the studio he’d just finished building.  It grew from there. My last trip up there, Jimmy had a gig at Buddy Guy’s Blues Legends, so I tagged along.  I saw three or four blues bands that night, and it was like: “Gee, I’m in Chicago, watching blues at Buddy Guy’s place.”  It was like going to the Ford plant to pick up a Model T.

How was the album recorded? I had written about half the material on my own in Oklahoma, and the rest was put together in Chicago.  It was an incredible experience.  Alex Hall, who is an outstanding drummer, and also an outstanding engineer, would run into the control room, get the levels, start the tape rolling, then would run into the studio, hop on the drums, and we’d go.  A live performance situation.  It was effortless, man!  A great story about Alex – he was sitting at his drums, and we were going to rehearse the first song we’d ever played together.  It was “Dimes for Nickels”.  I said, “Man, I kinda want a “Chuck on Chess” thing for this one.  Not that fast, staccato way people usually play when they say “let’s play a Chuck Berry thing”, but that atmospheric, slow, rolling thing”.  Halfway through my sentence, Alex pulls out his wallet and lays half of it across his snare, and pulled out his keys and hung them on his ride, and started playing a slow, deliberate swing beat.  Boom, it was perfect.  I remember thinking, “I’m going to be OK. These guys are listeners.”  If you look at the “North Side Gal” video, you’ll see that Alex’s wallet is on his snare!

Does one have to use relics to capture that sound? Your temper and intention can be affected by your tools and atmosphere.   Recording live to one or two tracks with all of these amazing tube-powered, gun-metal grey, industrial-looking artifacts affords stacks of atmosphere. I’m not sure you HAVE to use mid-century equipment to capture that sound, but it sure puts you in a mood.  Hi-Style studio feels good to be in.  It’s a very special place to record.  Jimmy has built something special over there.  Capturing live performance in-studio is a diminishing art.  I recently read that Frank Black likes recording that way – you can catch some very special things.

Would your style be different if you weren’t from Oklahoma? It would, it would.  I’m in love with having grown up in Buffalo Valley, Oklahoma.  I’m incredibly proud of my state’s rich musical history. Charlie Christian grew up here, for Pete’s sake. I’m very grateful for growing up in a rural environment, and to hear old guys play country music at the Yanush community center, and to eventually drive to Tulsa and watch N.O.T.A. at the Cain’s Ballroom. Can you imagine?  Hardcore punk in the home of Bob Wills.  At 15 years old, I was playing Conway Twitty songs at pie suppers with my best friend’s Dad’s Country & Western band, and at the same time we were working on our little punk band, driving to Tulsa and Fort Smith to look for Dead Boys records.  My Dad is a jazz and blues fanatic, and he was giving me these little Muddy Waters and John Lee Hooker tapes.  I consider myself to be very lucky, all the wonderful music I was exposed to.  Oklahoma is such a great place.   I’m even growing more comfortable with my accent in polite conversation.

A spaceship lands in your back yard – they want to understand rock & roll, what do you play them? “Keep A Knockin'” as performed by Little Richard on Specialty Records, 1957.  Man alive, that record is a SHOT OF LIFE!

Interview from http://www.WOBBLEHOUSE.com

JAMES McMURTRY

Since “Live In Europe” is your 2nd live album, what led you to the decision to record again live? The project was originally supposed to be a DVD project. A web stream company had rigged up a multi camera shoot at the Paradiso in Amsterdam. They asked if we wanted to video our show. We said “you bet” and we paid an extra three grand to multi trac the audio so we could mix it properly. They forgot to mention that they were not going to save the raw video footage, meaning we would not be able to edit the video. Consequently, most of the video looked like hell, cross stage shots at McLagan through a forest of mic stands, quick cuts from my face to the kick drum pedal in the middle of a vocal line, etc. . . There was no way I could charge money for the video. But the audio sounded pretty good and we had to get that three grand back somehow, so we mixed the audio for a record and included the few decent looking videos for a bonus DVD.

As far as “the band” goes, how did you prepare for theses live sessions?
We gigged every night for a month or so.

How does your European audience differ from playing stateside?
The West Germans and the Dutch and the Belgians pay extremely close attention. They speak english, but they’re about three words behind usually, so they’re silent. It can be a bit unnerving. The East Germans generally don’t speak any english, but some of them go crazy for any kind of rock’n roll. They’ll get on their feet. The British and the Irish can get pretty rowdy too. Stateside audiences also vary in temperment, depending on the venue and the region. Seems like it’s easier to get them moving in mountainous country, don’t know why.

Did you have multiple live recorded versions of each track to choose from?
We recorded two shows, the one in Amsterdam and another in Geislingen Germany

Which tune on “Live In Europe” is the trickiest to pull off live?
Just Us Kids used to seem tricky for me. The right hand clutch took a while to feel natural.

James McMurtry 0326107.0 You have a uniquely warm electric guitar tone throughout this and your other records, any hints? Got lucky this time, rental gear. Always play through two amps if you have room. One of them might not suck.

8.0 Do you have a philosophy when it comes to being comfortable on stage?
Remember to have fun.

What do you feel is the high point of “Live In Europe”?
I like that version of “Hurricane Party”.

Now, imagine a movie called “James McMurtry” – which of your tunes would be playing in the background as the finishing credits roll out? I’d rather it were a Kristofferson song off “Silver Tongued Devil”. I believe the title is “Pilgrim Chapter 21”, something like that.

JIM DINOU


1.0  When did you start playing music? what was your first instrument? Well my first ‘official’ instrument was alto saxophone, starting sometime around 5th grade. When we were handed a piece of paper with the choices of instruments to play, all that was left was sax or oboe, and I didn’t really want to get beat up for something else at that godforsaken place. Todd Woloson and I used to meet up before school, him on trumpet, to play “Feels So Good” by Chuck Mangione! Even before that, at home I made daily visits to our piano and made noise. The first song I ever figured out was the “Theme From Rocky”.

In freshman year of high school I was asked by my old friend Derrick(Suede)Stout to play in his band: “Yesterday’s Future”. That was so exciting to me- and I really felt like a star. It was a good little teen band, and we wrote our own songs… which set us apart from the other bands at our high school. Unfortunately, the honeymoon ended when I got the band kicked out of talent show Senior year for drinking booze in the parking lot with a junior, who got her whole act thrown out as well. To all those whose dreams I crushed that day, i apologize sincerely. I think around that time I joined a little band of degenerates called “Plastic Finger”.  Ahh…. I can still recall the aroma of Doug’s basement…

2.0  What was the first record you ever purchased and what impact did it have on you? I think it was “The Jimi Hendrix Concerts”: a double lp, maybe an import. It owned me from the solo in “Stone Free”(OMFG!). It was absolutely magical to me. This was what I used to play along with on sax, to try to mimic the bends and the trills and the feedback. I had somewhat of a crappy Zenith integrated stereo, where the low wasn’t low enough and the highs were muted so I got plenty of quality midrange, so it kind of sounded like a guitar amp anyway.

Even more cherished was “Discipline” by King Crimson. This coincided with my introduction to “hooch” which of course took me into the netherworld. Around that time I got a Casio CZ-101(an amazing phase-modulation synth from the 80’s), and figured out the gtr riff from “Frame By Frame”. I think that riff was so hard-wired into my head after learning it that it surfaced in different forms on many songs I wrote for years after.

3.0  As a teenager you were way into Al DiMeola and fusion, do you still enjoy it? Not really. I’m not impressed by musical athletics or hubris like I was as a teen. Actually, quite the opposite. I prefer to be seduced, rather than clubbed in the side of the head I guess. There’s a certain ‘macho’ in his playing that trips a gag reflex in me. It’s the same thing with rock vocalists whose every note has the perfect amount of pitch and nuance- It just becomes tedious to listen to and makes me want to hear a real person, flawed and vulnerable.

But I still enjoy old jazz/rock records quite a bit- the ones that are more about interaction than solo grandstanding: Miles Davis’ “Bitches Brew” and “Pangea”, Headhunters, Weather Report. Weather Report changed the way I heard music. I think that Joe Zawinul is the most gifted  human ever to touch a synth. 

4.0  Like DiMeola, you have always pushed the boundaries, is that a choice or is that something that came naturally to you? I think you’ve officially exceeded the Al Dimeola reference limit!  I think the true groundbreakers change the context and the genres of music itself. Maybe it’s a sign of my age, but I enjoy more tasteful/unpredictable/understated musicians who seem bigger than their instrument. A perfect example is guitarist Bill Frisell– who can go from Americana steel-string to demented reverse-feedback in the course of one song.

I don’t think that ‘pushing boundaries’ was ever a conscious choice for me. It was definitely in the back of my mind, as a type of quality control mechanism. I’ve always tried to change the parts of my music that I see as stock or trite. It irritates the fuck out of me when I hear cliches, so I try to keep them at a safe distance. I think I benefitted from not playing guitar, and approaching pop from a synth and electronic angle. Without trying to sound like I’m soliciting a sponsorship: Korg was a big part of making that happen. When the M1 came out, it was the first “music workstation” ever produced. In one machine, you had a large palette of sounds, a sequencer, and effects. I can’t say enough about the creative value of a one-stop shopping environment. It has probably made me sound much more original than I really am!

5.0  What are you listening to, Fall of 2010? A lot of ME, actually. (blushes)

6.0  What are you working on presently? I’ve been playing with a few bands: one being Matt Walker’s new project of1000 faces, a psychedelic space-punk band called Tomorrow The Moon with Steve Gerlach, and a band fronted by Charlie Otto called Savvy. Charlie’s the frontman(David Byrne) for a Talking Heads tribute band called This Must Be The Band, which I’m also in. I’ve been really busy.

7.0  What do you prefer, creating live or in the studio? Since most of what I conjure up for my band Impossible Recording Machine is born inside my keyboard, my first connection to it is always in the workspace. Every song starts as an infant, becomes a toddler…child…etc. So I feel a connection to it in a kind of safety zone. I create at a certain pace, that I’m not entirely comfortable sharing with too many people. I’m sure many would think that there’s something wrong with me if they saw how I work.

Re-formatting my music for a live performance has always been a challenge. There are tympanis, organs, bells, saxes, found sounds- all really hard to actualize live without some kind of backing audio. This goes back to the ‘pushing boundaries’ thing, does it not?! I would really like to write something that would be easy to transfer to the stage with a typical instrument. That’s a new goal…

8.0  Much of today’s music sounds pasteurized, how does one keep it ‘real’ and remain positive? I don’t really listen to new music that much. Whether that’s a self-insulation or just lack of interest I can’t say. I like and absorb exactly what fits my needs. I’m really a musical Libertarian! There’s just so much out there– one doesn’t have to seek out music any more, it comes barreling through your computer or from the car next to you or at the Starbucks. I’m not saying there’s a void- there is so much great music to hear, and Chicago has more of it per–capita than most cities. It’s a great place for me to live and thrive as a musician.

9.0  What do you think of The Rock & Roll Hall of Fame? I think it’s a bullshit idea manufactured by a couple of Baby-Boomers who thought that the experience of their youth was much more significant than yours. But people sure buy into it.

10.0  Can you still play the solo to “Little Wing” on both keys & sax? Could I ever? Do you have it on tape?

TRIS McCALL

1.0  What songs do people gravitate to off your “Let The Night Fall” CD? you know, i’m guilty of putting out albums that i don’t really like from beginning to end. i won’t say which. let the night fall is an exception. i really do dig all the songs on this one. the two closest to my heart are “first world third rate” and “you’re dead after school,” but for opposite reasons. “first world” is a letter from a character who showed up in my head one day, said his piece, and left. i don’t really know who that guy is, or where he went, but his world is an interesting one to inhabit for seven minutes. “you’re dead after school” is the exact opposite: it’s my only autobiographical song. some of the characters are composites — the girl in the song is really three different girls. but i really did have a role model who was arrested for molesting a retarded kid. and yes, i really did write a song about it.

2.0  Gun to your head – what do you liken your sound to? i don’t negotiate with terrorists. gun away from my head, my standard line is that it’s a cross between man-o-war and the “schools on demand” commercial. but i’ve used that so much, so let’s just say it’s a cross between procol harum and c-span.

3.0  What was the first record you ever fell in love with? i grew up on the boss, billy joel, elton john, and the rap records played on my block, and it’s fair to say that i was obsessed with all of that stuff. but the first record i ever fell in love with the way i’d fall in love with another person was joni mitchell’s *blue*. i got it for christmas. i played it the next day and felt like i’d been slapped awake. i’d play that cassette in my walkman, get to the end, flip it over, and play it again, and again. this went on for months. i’d cut class to listen to that album in the school courtyard. i couldn’t imagine anything more important that understanding what she was trying to tell me through that album. now that i’m older, i recognize that my instincts were right: there wasn’t anything more important.

4.0  Your music has a real intimacy about it, is that difficult to achieve? that’s a nice thing to say. i appreciate that. that’s the primary thing on my mind when making a record: does it radiate personality? do you come away from it feeling like you encountered an actual human being? i think the albums i’ve made are successful insofar as they’ve had personality, and for no other reason. pop is the ideal conduit for personality: you don’t just get words, you also get a voice, and inflections, and attitude. it may be an unpleasant attitude; i don’t think it matters. i’m not the best piano player, and i’m certainly not the best singer, so i hope my piano playing has character, and i try not to open my mouth unless i’m giving the listener something to think about. she can then decide if she wants to spend time with me and my cranky perspective. there’s no wrong answer. but to answer your question, i think it’s harder to do than it seems. i’ve seen people with huge personalities go into the studio, and when they try to get it down on tape, it won’t fit the two-inch reels. it isn’t enough to be a character — you’ve got to figure out how to make that character speak.

5.0  You provide in-depth ‘liner notes’ for each tune one your site, should more artists do this? liner notes kinda go with an album like let the night fall. the record has a big word count, and many of the songs are stories. still, just as in chess, every time you move a pawn you create a weakness, every time a musician volunteers something other than what’s apparent on the record, some of the mystery is lost. we live in an age where artists try to cram as much inside information onto the website and the dvd release as possible. do all these looks behind the music really bring us closer to the music, or are we like the people trying to watch the show from the tunnel leading to the dressing rooms?  if you’re doing some shoegaze or psychedelic music and you’re relying heavily on that feeling of who-the-hell-are-these-guys?, it’s probably not so rewarding to build an elaborate website. or to do interviews, or discuss the music at all.

6.0  As a music critic yourself, do you run into conflicts of interest when promoting your stuff? everything i need to know i learned from c.s. lewis or lloyd alexander. there’s a moment in *the book of three* where fflewddur fflam, who is, as you all must know, studying to be a bard of the harp, admits to taran that he is also a cantrev king. and taran kneels down before him in fealty, but fflewddur makes him stand back up. he says “when i’m a king i’m a king, and when i’m a bard i’m a bard.” i attempt to approach rock criticism the way fflewddur would have. i never mention to an interview subject that i’m a musician. when i’m doing a review, i try try try not to measure what i’m hearing against a system of value established by what i’m good at and what i’m bad at. i know it’s impossible; still i try. on the flipside, when i’ve got shows to do, i make sure that i don’t abuse my position by blowing my horn about it in the newspaper. i’m sure this has crippled my efforts to turn out heads, but what can i say?, i need to maintain a shred or two of integrity. otherwise my insomnia will be even worse than it is.

7.0  What is “Sugar Nobody Wants” really about? it’s about finding the cracks in the city that aren’t mapped, or that used to be mapped and have fallen away as the legend has been rewritten, and making your stand there. not down in jungleland, but in the invisible spaces where the authorities don’t bother to look. hiding in plain view. it’s something we know all about on this side of the river.

8.0  If you were a super hero, what would they call you? this question scares me. i imagine it would be something unflattering, or a backhanded compliment, like just-shy-of-insufferable man, or anxiety boy, or iron nose. poor tim lincecum has to be “the freak”; what would i be? i would like very much to be city girl. there is 0% chance that i would be, though; i mean, i’m not even a girl. to keep from being heartbroken,  i will try not to develop superpowers.

9.0  Is music dangerous? it could be. i don’t think that’s been a priority for awhile, though. scary music has been marginalized. the last album that really spooked me was prinzhorn dance school. they’re a duo from reading in britain — a boy and a girl, bass and drums and a little guitar and that’s it. while there was no attempt to dress up the music for mass consumption, i don’t think it was deliberately alienating, either. it just seemed to be bleak journal entries recorded by people who are genuinely disturbed, or doing a hell of a job of playing at being disturbed. it’s sort of the musical equivalent of picking at a scab. lots of repeated phrases, obsessive hammering on the same guitar strings, rudimentary beats, paranoid performances. there’s a song called “eat sleep” that just goes “eat, sleep” over and over. the next song is called “i do not like change.” they tell us there’s no books in the library and how they’re in the black bunker. the emotional cupboard is bare. eventually it sucks you into a world that’s pretty warped. for about two months in ’07, i had to forbid myself from listening to that album because it was doing disturbing things to my brain. so, yes, prinzhorn dance school is dangerous music — at least to me.

10.0  What’s the coolest thing about Jersey City? i’m so glad you asked this question. i have the right answer. the coolest thing about jersey city is our korean grocery stores. we’ve got three of them downtown: lee’s on grove, tender shoot on newark avenue, and p&k about a block west of tender shoot. these groceries are always stocked. the produce is excellent, and affordable, and the korean immigrants who run these stores are, as far as i can tell, the most capable people in town. if mrs. lee from lee’s grocery was our mayor, jersey city would be ten times better overnight. she wouldn’t stand for corruption or incompetence or nonsense. she’d be fair, too. and she’s got a great sense of humor. seriously, if i could pick anybody to run my town, without blinking an eye, i would choose any of the principals from these groceries. they’re there first thing in the morning, they work until nine at night, and they’ll get you anything you ask for. they work weekends and holidays. i really look up to these people — they’re heroes to me. i feel tremendous jer-z pride when i think about what they’ve done. i only hope that people in jersey city realize what we’ve got here. when you go to other cities, they barely have bodegas, let alone awesome grocery stores. lately there’s been one of those “foodie” farmer’s markets at the path station on mondays and thursdays. you know the type: they sell farm-grown cookies and fresh picked mozzarella cheese. it hasn’t escaped my notice that the korean groceries are empty while this farmer’s market is operating. this kills me. jersey city, get your act together. support the local grocers who have always supported you.

Visit www.TrisMcCall.net

MATT WALKER


1.0  Who was your favorite drummer growing up? Hard to pick one! Stewart Copeland, Stevie Wonder, Neil Peart, Bill Bruford, Steve Jordan.

2.0  Does playing guitar also make one a better drummer? Yes and vice-versa , anything with harmonic/melodic qualities will help a drummer think more musically, and playing drums can certainly help inform other instrumentalists about feel and good time.

3.0  Do you have a favorite stage kit? I like to change it from band to band , tour to tour. My old standby is any good ol’ 4 piece a la Charlie Watts , but sometimes I take it to extremes…last Morrissey tour was a Gretsch USA Custom 6-piece kit, but with and orchestral Bass Drum and a massive 8-ft Paiste Gong as well…oh yeah and about 10 cymbals, all Zildjian.

4.0  Is it okay to be nervous before a show? Definitely, nerves can help step your game up, but to be fair they can also stiffen up a performance. It goes both ways. I don’t really meditate but before a show – I try to find a minute or two to close my eyes and focus my energy…really visualize how I want to play. It really works.

5.0  When you write a song, where does it start for you…. as a riff, a beat, a melody, a lyric? Anywhere and everywhere. I get more song ideas when I am out walking or riding my bike than anywhere…which usually results in me racing home to record it before I forget it. I write more on piano than any other instrument, but when I have the time my favorite writing technique is to spend a few hours going back and forth on the instruments. I might have an idea on guitar, but before I finish writing it I’ll go over to the drums and play with the song in my head, because I’m more comfortable on drums than the other instruments I’ll come up with dynamics and arrangement ideas that I wouldn’t have otherwise. Then it’s always back to the piano to really figure out harmonically what is happening with the song.

6.0  What’s up with MDR? TheMDR is still happening, but a couple of the members have left town so we are focusing more on finishing recording/mixing our last EP. I have been working on a kind of solo project called of1000faces. Its based on my writing but the idea is to record and perform in a variety of contexts with different musicians from all genres. We just played our first show in Chicago a couple of months ago and will be playing again Nov12 at The Bottom Lounge.

7.0  How did the Morrissey gig come about? A few of his band members live in L.A. and are friends with my brother Solomon and ex-Cupcakes band mate Greg Suran. When Morrissey found himself in need of a drummer to tour for “Ringleader of the Tormentors”, my old Chicago pals put my name in for the job which got me an audition….ironically, a year after I became his drummer, the original bass player quit and my brother joined Morrissey’s band as well.

8.0  Any tunes in his repertoire that were more difficult to learn than you may have expected? Some of The Smiths songs are a challenge. Not from a technical stand point, but trying to capture their essence which is largely dependent on the style of drummer Mike Joyce, and the way the drums and bass interacted. Additionally, there was a certain sound they had that lent itself to Morrissey’s vocals – In a live situation, with a catalog as expansive as Morrissey’s, it’s challenging to go from one era to the next in a single set, it’s almost like time travel.

9.0  Who was your favorite 80’s act? Again, how do i pick one?!! Adam Ant, Gary Numan, Icicle Works. Talk Talk, Split Endz, Tears for Fears….its a long list.

10.0  If you could be anybody else in history who would it be? I see this question in some magazine….what is it…GQ? Cosmopolitan? I would be David Bowie because no one can touch him.

COLIN GILMORE


1.0  How does your new release Goodnight Lane differ from your previous releases? It feels and sounds much more like I intended it to.  For one thing, I had musicians playing on it that had played the songs with me live before we recorded.  Also, I’d never worked with Lloyd Maines and he added a very strong touch.

2.0  What do you feel co-producers Lloyd Maines & Eric McKinney bring to your music? Eric I’ve worked with on previous recordings and by the time we recorded Goodnight Lane, it was pretty clear we’d found a good groove.  He has great taste and a sharp ear.  Lloyd’s parts on the album, although having a country feel, were powerful enough to help the album transcend genre and time.  Also, with Lloyd being from Lubbock and Eric being from Big Spring, the spirit of west Texas was in the air.

3.0  How many songs did you come in with? All ten songs were songs I’d written and played live before recording.  “Essene Eyes” and “Teeth, Hair and Eyeballs” were ones I’d written a long time ago and had all but forgotten.  The players on the album had a big part in resurrecting and redefining them.

4.0  Did you go in with an overall direction in mind or does that just happen as a record takes shape for you? I went in with a direction in mind, but the direction got twisted and reshaped, for the better.  I think Lloyd had a lot to do with that.

5.0  You collaborated again with producer Scott Mathews on “Circles In The Yard” – was that tune a hold-over from the Black Wine EP you did with him? “Circles In The Yard” was a song Scott and I recorded after Black Wine. Out of the blue.  Didn’t know what to do with it.  I was going to re-record it but I just love that version and I love working with Scott.  Even if it makes the credits confusing, it was worth it.

6.0  Do you have a philosophy when it comes to touring? Eat at least one good meal every day, and once in a while, if possible, try to sleep, change clothes and take a shower.

7.0  Which numbers do you think you will be playing live on tour? I’ll be playing all the songs live.  “Essene Eyes” only for occasions where we have the right configuration.  It’s hard to pull off solo.

8.0  Has the advent of SXSW changed the scene in Austin over the years? It has immensely. Some may disagree, but I think it’s put a huge spotlight on the Austin music scene, without causing it to become an industry town.  With the spotlight comes many of the troubles that musicians in big cities face, but in the end we have to deal with that the best we can.

9.0  What was your very first guitar? Do you still have it?  It was a 1980s Fender Telecaster 52 reissue.  Still got it and still love it.

10.0  What day did the world stop and spin the other way for you? Or is that coming in 2012?  Hard to say.  I think I was standing on one of the poles when it happened.

Photo by Kim Maguire.  Visit www.ColinGilmore.com

WEBB WILDER


1.0 – Your most recent record was titled “More Like Me”, is that an admission or an affirmation? Both.  I wrote the song “More Like Me” first.   After the album was complete, I thought that best described it, as there were some pretty personal songs there, more of my own writing than ever before plus I co-produced the record. In life, everyone’s always telling you, that you should “Just be yourself.”  If that’s true, it’s an affirmation. It IS more like me, so, it’s an admission as well.

2.0 – Do you have a favorite track on the record? I’m pretty happy with all or most of it.  I do especially like the way “Changing Colors” came out, though.

3.0 – Where did it all start for you musically? My aunt, Montressa Wilder, said that I sang before I talked.  Maybe I did.  I don’t know but, I was always dreaming of show business, watching TV, listening and paying attention to songs and singers when I was a kid.  A coupla my friends were a little older than me when I was about 11 or 12.   They both had guitars and were learning to play.  My mother asked me if I would like a guitar for Christmas.  I said, YES!”  It was kind of all over after that.

4.0 – Do you have a philosophy on touring? Ya gotta do it.  Some of it is fun.  The best part is playing and singing.  It’s a lot of fun to hang out with the other guys in the band, go places, etc. but, it’ll wear you out pretty fast.  I guess I feel like ya gotta do it but, ya gotta find a way to have some balance, know your limits, etc.  Either way, ya gotta do it.  If you love to play music, it really helps!

5.0 – Has it changed over the years? Well, it has.  In many ways, it’s still the same but,(sadly) there are fewer places to play, fewer nights of the week that you can count on  to be financially practical (fiscally feasible?) to be out and about in the world away from home on with expenses rolling on your tab.  A lot about the country has changed.  I call it “the disappearing America” Everything (almost) is “Bed, Bath and… Bye Bye” to all the stuff you used to see.”  There’s a lot more traffic now.  It also seems that older people tend to support live music more than young ones on the whole.  Maybe it’s just my audience.  I will say that, when young people hear us, a fair percentage of them dig it but, baby boomers tend to be the ones who grew up thinking that music really mattered, could change the world, whatever you want to say… and I’m impressed that a whole lot of them still come out to live shows.

6.0 – On stage, is eye contact with the audience important or just another occupational hazard? Both!  The great entertainers really do that eye contact thing.  I can’t always do it.  When I think about it (and I do), I realize that it’s that or take a “Pete Townshend/look at ME” approach.  Eye contact is an entertainer thing.  You don’t have to have it to be a performance artist.

7.0 – Your lyrics usually tell a story, what is your literary background if any? I don’t consider myself well read.  I like to read but, gravitate toward pretty low brow stuff: music bios, crime fiction, Western stuff.  I have a non-teaching BS degree in English so, I kinda know who Ben Johnson was and stuff but, I really just paid enough attention to get a diploma.

8.0 – Is “Meet Your New Landlord” about a personal experience, that of a friend, or is it pure fiction? I don’t know. It’s a Sonny Landreth song.

9.0 – What is your favorite song to perform live and why? Different songs on different nights.  It’s not so much a specific song as it is the one that is groovin’ and “hittin’ on all eights” with me, the band, my voice, tuning, the sound onstage, the audience or whatever it may be on any given night.  It’s (to quote Boston) “more than a feelin'”.

10.0 – You’re standing at the Pearly Gates and, to your surprise, you are greeted first by Johnny Cash, what do you have to say for yourself? For myself?  I don’t know.  To him? “I’ve always wanted to meet you!” I might figure I have to get and hold his attention quick so, I might apply the same “logic” on the situation that I used upon meeting Ry Cooder.   Ry didn’t seem like the kind of guy who would suffer a fool gladly.  He’s a slide guitarist so, I said “My aunt recorded the original Elmore James version of “Dust My Broom!”. True. ~ WEBB WILDER: http://www.webbwilder.com/

JEFF LESCHER w/ GREEN

 

Are you happy today with how GREEN’s  “The Planets” turned out? The Planets was, to say the least possible, a very difficult and costly album to make. To say the most possible: One member of the group backed out of it at the “practice” stage of the recording. We had recorded some pretty shoddy practice versions of the songs and the recording engineer and I thought that we could use those tracks and magically “ProTool” them into shape. Of course, neither one of us had ever used ProTools! It was no silver bullet. The “record label” that promised to put out the recording, if I would foot the bill for recording it, broke that promise after I’d finished the recording. I’m no longer a billionaire, so the whole process was extremely painful financially. Some of the other band guys and I put up the money to get it pressed on CD. There were a couple hundred other obstacles/roadblocks/judo chops/ambushes along the way, but we got it out. All-in-all, I would rather have recorded it in France with Iain Burgess on a multi-million dollar budget, but I think that it’s still one of the top twenty Rock albums ever recorded.

What led you to do a concept record? It’s a CONCEPT RECORD!?! Oh my Lord–let me look at my notes! Oh, you’re right, it is a concept record, after a fashion. It was originally titled The Music of the Spheres after a really cool ancient/medieval philosophical/cosmological concept that, the planets in their courses produce celestial music as they meander about the universe. Unfortunately, Mannheim Steamroller used that for their tour title that summer and Mike Oldfield used it for an album title that year. As it was the songs ended up coalescing into the concept in and of themselves.

How would you describe the evolution of the GREEN sound? “Give me a C, a bouncy C….”

What were you listening to around the time you recorded your debut  “The Name Of The Band Is Green”? Beatles, Beach Boys, the Brandenburg Concertos, Al Green, 50s and 60s Country & Western, Curtis Mayfield, and a lot of Punk stuff from 1976-80. (It’s actually: The Name of this Group Is Green.)

Are you working on any new material? I’ve got a backlog of ten thousand songs, but recently I’ve written enough new material for a double-album.

Live, GREEN always seems to sound like an experiment, is that fair? Sometimes, I have to admit, it was inebriate tomfoolery. Sometimes, it was cosmic soul-searching. Sometimes, it was the best rock and roll band in the world.

Do you have a philosophy about recording? Stop after Iain’s third bottle of vino. Actually, I like the Nick Lowe school of “ram through it a couple times and move along.” Good production, however, is really about getting good performances from the players (whatever that takes), getting good sounds (whatever that takes), having some technical mastery of the means of production, and then lavishing tons and tons of time in mixing the sounds together. That last part–the mixing the sounds is what is tricky, as it usually requires the most money, and therein lies the rub.

Do you have a favorite guitar? I grow extremely fond of my guitars–so much so that it makes it difficult to say which would be a favorite. I could tell you hours of stories (some of them interesting) about any one of them. The one that looms largest in my legend is my mulberry early 70s Gibson Les Paul Deluxe. I’ve used it on almost everything we’ve ever recorded, and it’s held up through years of the most brutal, hellish touring you can’t imagine.

What was the best GREEN show ever, for whatever reason? One that wasn’t particularly wonderful in terms of our musical performance or for the fact that Carol Channing appeared on stage with us, but that has a sentimental allure for me, was at a country club in Belgium. It was a really beautiful end-of-summer day. I beat the club’s teen tennis champion in two sets (I’ve wondered ever since if he let me win). Some friends of ours that we’d met over the course of our tour came by to give us moral support and to drink our dressing room beer. The day dissolved into the kind of elegant, glowing evening that only seems to occur in Belgium. We went on at sunset and everything seemed right in the world.

Does Stipe owe you money? – Would that be a Stipe-end?

GREEN: http://www.groupgreen.org/

JOHN FINN w/ ESQUELA

 

1.0   Being an ‘upstate’ band, is it easy for Esquela to identify with, or be even more influenced by, “The Band”? Well, a little of both.  I can certainly identify with them as for how they got started – as Ronnie Hawkin’s band The Hawks – where they played all over Canada getting their chops down.  That is what Esquela has done over the last year by playing out, doing as many gigs as we could and really getting to know one another and trust our musicianship.  As far as The Band locating to Woodstock, I can understand why they did so.  It is a beautiful area and fairly close to NYC .

2.0   Is there an ‘upstate’ scene today? I think there is.  The farther north you go from NYC, the more affordable it is to reside.  I believe you would be hard pressed to find a nice property for less than $1 million in the Woodstock area.  As with the East Village now gentrifying and the new East Village becoming Williamsburg & Bushwick, the same is true here in the Catskills.  There are more artists of all sorts working their way further north. The Andes Hotel (Andes, NY) is one of my favorite venues up here because they support the local scene, are always busy and they take care of the bands.

3.0   How did Esquela come together? Mainly, because of Keith Christopher, our lead guitar player.  I’ve known Keith for close to fifteen years, since he was the bass player in my brother’s band, Disciples of Agriculture, and I was their manager.  Soon thereafter, I started taking bass lessons from Keith and we continued this relationship and he and I would regularly team up in various other bands like TCR/Tony Clifton Revival where we only played CCR tunes with a Tony Clifton impersonator! We also played together in The El Mighty Chicos; Fate Denied Us Victory, Future Farmers of America, Pispoure and ultimately in Disciples of Agriculture. In most cases, Keith was playing guitar or drums and I would play bass. In 2008, Keith and I were riding back to the City after a gig and he asked if I wanted to hear a CD of Fela Kuti. I remember him saying “you probably won’t like it”.  But he was wrong – it was so good that I think we listened to the record two times through during the trip. Fela’s music was very inspiring.  I had just gotten an old version of Protools and I was messing around with it – started dropping down chords and beats and naturally brought Keith up to fill out most of the parts.  I had some lyrics that I had been fooling around with…started putting them together with the songs and the next thing you knew we had a bunch of songs.  My vocals were the scratch tracks and they just weren’t that good and I knew of this one really great singer in our area, Rebecca Frame. I brought her in to record as many as I could convince her to sing on. She liked some of the ones I sang on, so we left that and of course Keith did a great job on “Tin Horns”, so we left that one alone too. Once the record was coming together and Eric “Roscoe” Ambel was involved, Keith and I put a band together to play out.  We knew it would be us two and Rebecca and from there it made sense to add Matt Woodin on mandolin and rhythm guitar, because he plays with Rebecca in their band, The Honest Mistakes.  Richie Tousell is an old friend of Keith’s and they’ve played together a bunch over the years and the drummer who plays most of our gigs is Todd Russell who I grew up with.

4.0   How much guitar did Eric Ambel play on “The Owl Has Landed? Roscoe really did a great job at adding subtleties to the recording.  I believe he added guitar tracks to most of the songs – but ones that jump out the most are in “Richie” and “Here and Now”.  He also added a honky-tonk type piano on “Richie”. He added keys here or there; vocals; accordion; percussion, etc. – whatever he felt the track needed. Keith can play any instrument.  He would play the drums and make the drums sound like an instrument.  He added keys when needed and played the rhythm tracks as well as the leads. Backing vocals, lead vocals, tambourine; whatever we needed, he did it.

5.0   Are you happy with the way it turned out? Yes, especially after Roscoe finished with it.  He took the rough parts and made it all smooth.  Having never had done this before, I was very apprehensive and had self-doubt.  But by having Roscoe step in and be a part of what Keith and I started, really gave me confidence that this was a nice piece of work.  I am proud of it.  Granted, it may not be for all or not be the most complicated musical compositions – but it came from the heart and I think that passion can translate.

6.0   What are your favorite tracks on the record? I would say “Here and Now” and “Tin Horns” . “Here and Now” was written as a tribute to my Mother, who died in a one car car accident and it was a tragic and early end to a wonderful life.  She was an artist and was very influential to me.  In fact, the cover art, I did in 6th grade when she was my art teacher…on the back it says “A+ well drawn and well-placed on paper – the fact that the owl is small does not detract from the drawing because of good arrangement of other objects in picture – drawing small is your style”.  We had a gig last month in Milford, NY at the Hoedown in the Blowdown, and I introduced this song to the audience and for the first time I said what this song was about and how she had died in Milford, NY.  None of the band new this or what the song was about.  Half way during the song, I was in tears on stage.  That was a tough one to play through, but it was cathartic.  The band really nailed it that day.

I also like the way “Tin Horns” came together.  I had a rough draft of a beat and mandolin and some lyrics.  The next day Keith came upstate to my house and I told him about the song but I didn’t like the melody.  He thought about it and a few hours later he asked if I liked this melody.  He played it for me on guitar and I immediately started recording his acoustic over what I had.  He then played drums and even bass on the track.  My brother stopped by and whipped up two verses to add to the song and within four hours we had a rough mix of the song.  It was the definition of collaboration.

7.0   Any plans for a follow-up? Yes, after our next gig at Rodeo Bar on 10/3 – my girlfriend Wendy and I are expecting a little girl.  So the band is on hiatus.  However, I have another batch of songs in the hopper that Keith and I are planning on getting together for and laying down some rough drafts.  My goal is to release another record in 2011.

8.0   You host a private ‘Livestock’ event annually, how was this years festivities? ‘Livestock’ went great.  Someone asked me: “you’ve had this festival for 8 years and never have had a fight?”. When you think about it, alcohol and hundreds of people and no fights – it is a cool thing. That is the type of festival it is.  Usually whatever artists play ask to come back; Steve Wynn, Graham Parker, Jim Lauderdale, Marah, College Farm, Grainbelt, etc.. Maybe it is just the type of artists they are or the festival is cool.  This year Jason Ringenberg played as “Farmer Jason” which was a hit in the amphitheatre. He also graced the stage with Grainbelt and College Farm and did a few Scorchers’ numbers.

9.0   How did you get the Nickname “Chico”? Unfortunately, I am a NY Mets fan and have been since 1977.  In that era, the Mets were terrible as well.  So bad that SNL would mock the Mets and they did a skit with Chico Esquela (Garret Morris) who was a Hispanic ballplayer making a comeback at baseball at the age of 42.  Naturally, being an older brother who would pick on his younger weaker brother, Dan nicknamed me “Chico” and it stuck. Yes, I still follow the Mets.

10.0 Tell the truth, did you guys have to buy new pajamas for your “Hands On My Jammies” video? I’ll never tell!

ESQUELA: http://www.esquelatheband.com

NATE SCHWEBER


1.0  How was it recording with Eric “Roscoe” Ambel? Recording with Roscoe was a great learning experience. As a producer Roscoe demands a lot, but his results speak for themselves. It was a real challenge to step up to his expectations, and that caused a lot of growing pains. But it was for the best. I’d wanted to work with Roscoe for years, and since I moved to New York in 2001 I slowly got to know him; hanging out at his bar, the Lakeside Lounge, and going to hear him play. He’s one of those guys with the Midas Touch. Whether it’s his work playing guitar with Joan Jett or Steve Earle, his playing in bands like Del Lords, the Yayhoos and his own group The Roscoe Trio, or bands he produced like the Blood Oranges, the Backsliders and the Bottle Rockets; everything Roscoe touches turns to gold.  Roscoe sees projects on a macro and micro level. On the micro level, he’s got a great sense of what sounds need to be where; what parts of songs need guitar licks, what tracks need an overdubbed acoustic guitar with Nashville tuning, where a harmonica break fits, etc.. On a macro level, he’s always got his eye on the big picture like how to make the best use of studio time, the order that songs should go in, how to tell players to prepare and a whole lot more. My background is in writing for newspapers. I liken Roscoe to an excellent editor.

2.0  How does the new CD “Hello Disaster” differ from your debut “Heathens Like Me”? First and foremost, Hello Disaster was produced, unlike Heathens Like Me. It took four fun days to make the first record. It took three hard years to make the second. The first record is the sound of a band coming together, going into the studio and just bashing out the songs. The second record, to me, is the sound of a band busting apart. But the sound of the shattering is pretty glorious.

3.0  What’s up with the New Heathens? I don’t want to air dirty laundry, but some of those growing pains I mentioned led to us stopping performing out as a band midway through making Hello Disaster. We had been going pretty strong there for a couple years, hauling up and down the eastern seaboard in a big, purple van, but we hit the rocks in the studio. It was painful. It wasn’t how I envisioned it – and believe me, I had meticulously planned this project for years and worked my ass off – but I came to a fork in the road during the recording process where I could salvage one of two things: the band or the record. I chose the record. Note that the record starts out with five people wailing together in a room, and ends quietly with me by myself. That’s a good metaphor for how the recording process went. I find myself in the curious position now of trying to promote a good record by a band that isn’t really around anymore. I’ve been playing plenty of solo acoustic shows, difficulties of promoting a full-band record as a solo acoustic artist be damned. Don’t be surprised to see some “Nate Schweber and the New Heathens” shows soon.

4.0  What sort of music did your family listen to growing up? My mom is the partially-reformed pseudo-hippie of the family and she’s a huge music lover. Growing up she I remember her playing the Beatles and Emmylou Harris, who looks like her sister. She was the one who turned me on to the Rolling Stones and Steve Earle. My dad, a self-proclaimed “bean-counter,” actually has great taste in music, though I didn’t realize it when I was younger. I learned about Warren Zevon from my dad.

5.0  What was the first album you ever purchased? Aerosmith’s Pump. Power ballads be damned, if anybody’s recorded a cooler song than F.I.N.E. in the past 20 years, I ain’t heard it.

6.0  Does being from Montana originally have any impact on your style? I’m sure it does. Montana has wide open vistas and not a lot of people, so growing up I had wild, fanciful notions of what I wanted to do with my life and not a lot of people to tell me I couldn’t. I noticed a definite change in my mindset when I got to New York and found myself hemmed down at the bottom of concrete canyons all day (lo and behold some of those “fanciful notions” didn’t quite work out). Montana also affected my taste in music. The Pacific Northwest has a psychic connection with the south, I imagine because they are both big, rural areas where agriculture dominates. So things like country music and southern rock resonate up there. Growing up a weirdo, I figured out fast that a lot of the chaw-dipping, wrangler-wearing guys who cranked modern country in their pickups wanted to kick the shit out of me, so in high school I hated country music. It wasn’t until I got to college that I luckily fell in with a hip, bar-band scene who turned me on to country that was Stonesy, relevant, smart and cool, like Steve Earle, the Bottle Rockets, Todd Snider, Doug Sahm and the Supersuckers.

7.0  Did you have a band in high school/college? what did you call yourselves? what did you play? I sang in rock bands all through high school and college. Some names I remember include, “Blue Monday and the Cockroaches,” “The Spice Boys,” “Aces & Eights,” and “Moxie.”I played tuba in school band from fifth grade through when I graduated college. To this day the longest lasting and most popular band I was ever in was a German polka band that spanned elementary school through college called “The Hungry Five.”

8.0  Why did you move to NYC? I tell people that having grown up in Montana, I wanted to find out what life in a big city was like, and boy have I found out. The catalyst was I got an internship at Rolling Stone magazine in 2001. I came to New York to see what I could do in journalism and rock ‘n’ roll.

9.0  How do you approach song writing? That’s a tough one. A lot of my favorite songs are what I like to think of as “smart.” Like “Lawyers, Guns & Money” by my man Warren Zevon, it’s a wild concept for a song, totally original hook, fantastic riff and it’s funny. Zevon is a master at that. Same with Brian Hennemann of the Bottle Rockets, particularly when he co-writes with Scott Taylor. Their songs “$1,000 Car;” “Welfare Music,” “Zoysia” and a slew of others are new, smart, descriptive ways of looking at common things. So that’s always my goal when I try to write a song. I usually fall far, far short.

10.0  What do you prefer – writing, recording, or playing live?  It used to be playing live, because that’s all I did. As I get more experienced at writing and recording, I’m enjoying them more and more.

STEVE HENRY


1.0  – What is WORMBURNER about musically? Wormburner is a collision of musical influences from the vintage punk, new wave, and classic rock catalogues. On top of this music there’s typically a fairly dense lyrical component, often a narrative.

2.0  – Does the band have a favorite room in NYC?  The Bowery Ballroom. 2nd favorite: Mercury Lounge.

3.0  – Is it important to put on a show when you play live? Absolutely. Wormburner puts on a very physical live show. And audiences seem to respond to that.

4.0  – Which WORMBURNER song goes over best live? Probably “The Interstate”.

5.0  – What’s on your mind right before you go on?  No matter how much we prepare for a show, there’s usually some last-minute crisis to manage. Someone realizes he’s missing a patch cord or a guitar strap or something. I’d like to be able to tell you that the moment before we go onstage is a peaceful, zen-like experience. But that’s usually not the case.

6.0  – Does a band have to tour to be taken seriously? That’s a great question, and it’s a question A LOT of bands struggle with. Without proper support and publicity in advance of playing out-of-town dates, a band can end up playing to a stretch of empty rooms, town after town. And that very commonly leads to a band splitting up. Here’s a typical sequence of events: The band makes an initial impact by filling up rooms in their hometown, then they quit their day jobs and book a tour. The tour ends up being a disaster because no one outside their hometown has heard of their particular band, and no one comes to the shows. The band hemorrages money, and the band members grow bitter and they stop believing in what it is they’re doing. They go their separate ways and they often consider their band to have been a failure. It’s just my opinion, but it might be wiser for a band to have landed some sort of fully-funded publicity machinery behind them before quitting their day jobs and trying to make a living playing music on the road.

7.0  –  If the band had their own reality series, what might it be called? Personally I try to avoid reality TV at all costs. I’m pretty turned off by people who strive to get on TV in order to achieve some sort of ‘celebrity’ status. Sorry to be a downer but it’s just not my thing. So I can’t really even think of a clever title for a reality series about Wormburner. Sorry.

8.0  – Do you guys have a super fan? Yes. Her name is Terri O’Rourke and she’s the best. She comes to all our shows. But I don’t think we can claim her as exclusively our own super fan. Terri is a fixture on New York’s indie music scene, and she’s a true appreciator of great music. It’s an honor that she counts Wormburner among her favorites.

9.0  – For your half-time gig at the Super Bowl next year, you do a medley of which three WORMBURNER tunes? Peekskill –> Stolen Tags –> The Interstate

10.0  – Is magic a part of the musical equation for you? Sure. There’s definitely a certain magic to the songwriting process. I like to think that Wormburner has experienced this as sort of “a visitation.” One minute you’re in a studio making what feels like a directionless racket with your instruments, and ten minutes later a fully-formed song has revealed itself. That song didn’t exist ten minutes prior, and it’s a pretty cool thing.

KEVIN LEE

1.0  Is “Dusk Till Dawn’ your best record?  I think whenever you finish a new record you think it’s your best at that point in time or why would you release it?  I’m hands on with everything on my records from the first written chorus to the final touches on the cover, no stone is left unturned. At that point it’s really up to the people that buy and listen to the record to decide. This is my fifth released record and I’ve been lucky enough to have  fans point out each one as their favorite.

2.0  What song on the record are you most proud of?  My songs are like my kids, I’m connected to all of them and proud of them all in different ways. There’s two songs on “Dusk Till Dawn” that I’m really happy with. “Time Won’t Stand Still” hit # 1 at WMWX Cincinnati, Ohio in July 2010 and the production, performances, and amazing backing vocals on “Invisible” really make the song stand out.
3.0  How did you approach recording it – piecemeal or in one session?  I always record the bass and drums first at the same time and then over dub everything else.
4.0  Who are “The Kings”? do they play on the record?  The Kings are Dann Morr – bass & Erik Strommer – drums who play on “Dusk Till Dawn” and in my live band. A studio guitarist friend Brett Ratner also played some guitar on the new record. Johnny Million plays guitar in my live band.
5.0  What’s more important, the ‘Big Hooks’ or the ‘Crunchy Guitars’?
They need each other like hookers and crack.
6.0  How do you approach your song titles / lyrics?  I always have my song writer hat on and observe situations everywhere i go, I get ideas from books and articles i read, conversations i have the list goes on & on. I’m constantly making notes of a line or title or an angle to a lyric, there are song ideas everywhere. Songwriting is a zone and frame of mind you have to get into, so I never let myself fall out of it and work on new material everyday.
7.0  Do you have a favorite stage guitar?  I love Gibson guitars. I’ve been playing a black Les Paul Standard for the past few years. I recently bought a Gibson Les Paul Special that I can’t put down and is now my favorite stage guitar. The combination of the P90 pick ups and the Orange amp i use make for the best tone I’ve had to date.
9.0  What is your favorite club to play in Chicago?  There are a number of great venues in Chicago but my favorite is the Abbey Pub. It’s a great room to play and also see a show.
10.0  When was power-pop born?  There are a number of opinions on this subject going back to the Who, Big Star, etc. I think the band that defined power-pop was Chicago band Off Broadway with their first record “ON”.

JIMMY SUTTON


1.0  What are you working on presently? Getting this album, by a fellow named JD McPherson, out on my small label, Hi-Style Records. We recorded the album in my analog recording studio over the last year. The sound is killer. JD’s singing, performance, and song writing are great. I produced the Album. I’m really proud of this one. It should be out by late September. Getting the studio tightened up and fine tuned. There are still some loose ends I want to take care of. I created the studio as kind of a piece of art. So I still have some more building and creating custom installations to finish.

Also finishing the Hi-Style Records website (www.hi-stylerecords.com) and getting all my other internet platforms squared away. Being internet savvy is always a bit of a challenge for me. I’m also working on some over seas licensing of both the Del Moroccos and The JD McPherson material. Looks like there will be a Japanese CD release of the Del Moroccos’ “Blue Black Hair Album” and also a 10 inch vinyl release of that album too. The 10 inch is going to be released by a record label out of Finland. There are also a couple of tunes off of the upcoming JD McPherson release that are making it onto a 45 RPM 7-inch being released by Witchcraft out of Germany.

2.0 – What kind of gear are you using in your studio? Imagine wanting to record and release records (45s) back in 1961. Well, this is the studio and the equipment that this person would have put together. The studio is one live room and a control room. We start with capturing the performance through tube and ribbon microphones, which are mixed through Ampex MX-10 mic mixers, then the signal passes through a couple of Berlant preamp tube amplifiers and then onto 1/4 inch tape. We’re able to dump all this into the computer where we’re able to overdub and edit, process, etc.. The sound is incredible!

3.0  –  Are you on the look out for new talent to record? I’m always on the look out. I still have a bunch of projects that I haven’t even started. One of them being a kind of Chicago compilation of local blues, rockabilly, roots type artist. It’s in the works.

4.0  –  How is the midwest jump blues scene today, any fav’s? Mmmmmmm…….I dont really know of any midwest jump blues scene today, but some of my favorites who might not be described as “Jump Blues” would be The Mordern Sounds, and, I must say, The Del Moroccos.

5.0  – Do you ever miss the rowdy Moon Dogs? Nah. I have wonderful memories of the Moondog days, but it’s more interesting and fun for me to look forward. How come you didn’t ask me about the Mighty Blues Kings? I still have plenty of fond memories for that band too.

6.0  – Is it difficult to play a stand-up bass on stage? any tips? No, it’s not difficult for me to do what I do. I have my ups and downs show to show, but for the most part it’s second nature for me. My tip would be to get your stand up acoustic bass sounding and feeling good acoustically. As the old gas station man sez: you can’t polish a turd.

7.0  – Has a song title or idea ever come to you in your sleep? Yeah, a song once came to me in my sleep but later I realized it was already a song out there in the world.

8.0  – What was the first record you ever bought? “Rocket to Russia” – The Ramones.

9.0  – You are a sharp dressed man and have a defined image, when did that all start for you? Oh geez, I don’t know. Maybe when I was a young lad coming to age. Then again, you’ve never run into me at the hardware store? It’s not a pretty sight.

10.0  – Dream gig for Jimmy Sutton; you are on stage and playing with who? Wow, that’s a tricky one. Though you know, I felt like I really did play a dream gig when I was playing bass down at the Pandarosa Stomp about five years ago. James Burton was on guitar, DJ Fontana on drums, and Dale Hawkins was singing his 50’s hit Susie Q. It was great! The old Rockin’ n’ Bowl venue was packed and I was hoping DJ would do one of those crazy SUN records’ drum rolls were the drummer would come out of the roll with the beat flipped upside down. Sure enough, DJ didn’t let me down. I looked across the stage at Mr. Burton, and as cool as a cucumber he looked at DJ, then looked at me and rolled his eyes. I said under my breath, “Thank you God”. These cats were the real deal, and could mess up and it still sounded killer!

SCOTT BENNETT


1.0 – What led you to move to LA? After losing my Warner Bros. record deal, and my 3rd band breaking up, I needed a change. Although I had had a great run doing commercials in Chicago, I thought that I might get a chance to do more album work, and more specifically, after playing on Brian Wilson’s “Imagination” album, I thought that I might have a shot at writing with him if I lived in CA.

2.0 – What are you working on now? Well, I did get the chance to not only write with Brian, but co-produce and mix his most acclaimed post Beach Boys album last year, “That Lucky Old Sun” (**** Rolling Stone, Spin, MOJO, Uncut) which lead to him asking me to help finish 2 songs for his soon to be released “Brian Wilson Re-Imagines Gershwin” album. The Gershwin estate let Brian pick a couple unfinished works from the vaults, which he wrote new melodies and or bridges for, and asked me to write the words. I just sent the mixes of a female power trio I produced, called EZ Tiger, to Doug McBride at Gravity for mastering. And, we’re on the last mix for a project that started just before I left Chicago, that features Matt Walker, Jim Dinou, Brett Simons, Danny Shaffer and myself, called, “Shiny”. It’s great, arty stuff that still sounds fresh 10 years on. We abandoned the project when everyone got real paying sidemen offers (Pumpkins, Morrisey, Brian Wilson, Liz Phair, Fiona Apple etc)

3.0 – What is your favorite rock genre? Melodic meets artistic. The Beach Boys, Beatles, Bowie, Costello, Radiohead and many others managed to make daring, complex records that were also catchy.

3.1 – You play a lot of instruments, which one came easiest to you?  The drums. But, I’ll take a piano on a desert island.
4.0 – Any quick advice to young musicians that believe they’ve got it? Write songs.
5.0 – What was the first song you ever wrote? Was it influenced by a specific artist? How do you feel about it today? It was called “Traffic”, about a girl that wouldn’t leave me alone. It had 3 completely different parts that almost fit together. Not bad for a 14 year old, but it’s best that it was only heard by a couple dozen people.

6.0 – Did you have hero growing up? John Lennon.

7.0 – What do you like to do when you visit Chicago these days? Just breath in the great energy and look at proper architecture. And see old friends and family, of course.

8.0 – What was the most challenging gig you’ve ever had?
Opening acoustically for Tower of Power at Cubby Bear. They liked me for 13 of my 25 minutes, but then wanted to shake their butts to a 12 piece funk band.

9.0 – In the studio, do you record the same way today as you did starting out? When it’s just me, playing everything, nothing much has changed since I got my first reel to reel, except better mics and a bit better knowledge of how to place them, and how to mix. But, with a band in a proper studio, it’s nice to have engineers so you can focus on the music. Having said that, I do believe that each project requires different techniques. Sometimes I want a great, quality recording, and sometimes I want to put the drums in the bathroom and the amp way down a hallway with mics far away etc.

10.0 – Which song of yours do you think Spock would like most and why? Infinity Begins. First, because of the title, and second, because it goes in and out of time signatures without sounding obvious.

ADAM SCHLESINGER w/ FOUNTAINS OF WAYNE


What are Fountains Of Wayne up to?

Finishing up a record that we’ve been working on for a long time.

Can you tell us anything about the new record?

In terms of the songs, it’s pretty diverse – hard to generalize. Sonically, maybe the whole thing’s a bit warmer  than the last couple.

How’s Stratosphere Sound doing?

Keeping busy…we just had Flood in producing Pains Of Being Pure At Heart, as well as some other cool album projects.

Any music inspiring you currently, new or otherwise?

I like the new Crowded House record a lot. Just got it.

Do you have a favorite bar in Chicago?

I mostly know the bars at the places we’ve played in, like Double Door. I’ve been taken to a lot of cool bars but I don’t always remember the names afterwards.

Do you ever write on bass?

Usually not, but I have once in a while. I tend to write on guitar or piano, or just in my head.

There’s a gun to your head; what is your favorite classic rock guitar solo of all time…okay top two then?

My Sharona. Do You Feel Like We Do.

Jets or Giants? Mets or Yankees?

Giants. Yankees. Although I don’t really care too much anymore to be honest.

Do you still have to have a ‘single’ for a record company to get behind a release?

I have no idea. I suppose you need one if you’re going for Top 40 radio. Not sure if it matters as much for most bands though.

How was your band in college? did you play any covers and, if so, can you name a few?

I played in a few cover bands in college – we did stuff like Elvis Costello, Joe Jackson, Squeeze, Smithereens, Pretenders.

Does Stacey’s mom still have it going on?

I hope so, for our sake.

SAM GJOKAJ


1.0 How long have you been ON-WE? Officially its been almost 3 years.  We just passed our 3-year anniversary as a band.  I remember the date because our first show was 07-07-07….oh yeah, jackpot!
2.0  How did it start? How did it become a band? I had been in and out of bands/projects since the late 90’s for a while and I met Bridget back in 2003 at an open mic while in BBMT. After listening to a self-produced demo she had done, I thought “I have to be involved in a band with her.” She was quite unique, had an amazing voice/sound and had recorded everything on her own.  We wrote and jammed from our first days together but never had organized the music enough to create a band around it because we were seriously involved in other bands at the time.  I went to an O’Callaghan Christmas party with Bridget and met her brother, Brian O’Callaghan, in 2006.  He played bass and I thought this was a great opportunity to start “the band.”  We played several shows before we had a drummer or a complete line up.  Once we had enough material, we recruited the rest the band and, in a matter of months, began playing out.  Sometimes you just have to go for it instead of waiting for the right line up or moment.
3.0 How has the Chicago scene changed since your days in BBMT? The scene hasn’t changed much but my fans have; they’ve grown up.  There is this new demographic that we are trying to capture while enticing the old at the same time.  Chicago has always been a great launching ground for local music if you have the right material, vibe and look.4.0 Why do you do this? I do it because I am addicted to making music – it is an instinctive part of me.
5.0  What are ON-WE’s immediate plans? We are working on incorporating more of an electro vibe with a rock & roll edge because I write on the guitar and so hear guitar in our compositions. I like pretty melodies and ambient sounds but like a bit of grit too.  Its a signature dynamic that I like and strive for no matter what I’m involved in. I like walking that tight-rope of tension in my arrangements; it mimics life which has no constants and can change on a dime.6.0  Are you guys planning on releasing a proper ON-WE record?  We are and will soon. I think our aim is to release something we have no regrets about.
7.0  Does a band need a shared philosophy beyond the music to stay together? I’m not sure that the a shared philosphy keeps a band together.  I know that you have to keep things fun, creative and be mindful and respectful of others involved. That will give a band the staying power they need to persevere.
8.0  Why do you always wear black, Sam? I am a big fan of Johnny Cash and of the path not taken, could be part of black allure.
9.0  When you think about artistic purity, is there any room for pop music? Not unless you are creating the music that becomes popular.
10.0  Will robots ever conquer rock music? They just may if they can tap into what makes us human.  Humans can be as predictable as they are unpredictable. The path we choose is decided by what some call ” the human factor.” Maybe there will be a mathematical preset in the future for this but I doubt it will make great music ~

JOHN RUSSELL


1.0  How long have you been recording your own music? Since at least 1984.

2.0  What is your favorite part of creating a song? The mixing process…it is fun to play each part individually, but to hear the sum of all the parts is orgasmic.

3.0  Have you ever been in love with an instrument before? Well, yes, and I am still in love with my vintage Gretsch drum-set and my Noble Cooley deep shell snare.

4.0  What is the music scene like in France? how has it affected you as an artist?  To be fair, I suppose it depends on where you are in France. To be polite, I will just say that I have only been impressed once…and it was by a cover band. France has never been (in my opinion) a front-leader in music innovation. You have Gainsbourg and M, both great musicians and writers and then you have David Guetta, but I’m sorry, I cant give much credit to a DJ. I live in a village of 65,000 people…the “talent” is limited. I suppose I have an unfair bias as I was “grown” in Chicago and am used to a cornucopia of good music…I must say that the lack of good music has inspired me, like being locked up in a room for 8 years and not being able to hear new or any music at all. The music I make is not reflective of the music today, it is reflective of me and my past influences.

5.0  How did you get the nickname “Johnny Bottles”? Rehearsing with Rubygrass was always a party and I tended to “accidentally” leave my empties for weeks next to my kit. I would have to walk carefully to my drums to avoid knocking them down…and when I did, Oskar, our lead singer, would say “That’s my Johnny Bottles.” Nothing romantic.

6.0  Will Guitar Hero save or destroy rock? I played it once and I hated it. Nothing will destroy rock and rock will never need to be saved. It caters mostly to the “wannabees” and should be taken for what it is, a game.

7.0  Can all this machinery making modern music still be open-hearted? I hate modern music..and probably always will. I feel no honesty or sincerity in a lot of today’s music. All I hear and see is someone trying to get recognized and make a fast buck. Although machinery has been helping poor fucks for along time to think that they are “artists”…. I remember when Softcell came out with “Tainted Love”…it was considered ridiculous. Kraftwerk is another band that relies solely on machinery and frankly, I love it…so to make a short story long, I guess a hesitant “yes” is my answer.

8.0  Is popular music the real lightening rod for higher consciousness or peace? NO, its for the lower unconscious and seems to generate greed, hatred and bitterness!

9.0  What is the first album you ever bought and why?
Kansas….Leftouverture….a master piece! Learned to play every song on the drums; cool time signature changes. (My) first taste of prog rock and I have never lost the taste for it….I have every Rush album ever printed and had to buy some of their albums twice to get it on CD!

10.0  If you could have only one robot in your band, which instrument would they play? Cowbell ~

TOM BRAAM of BRAAM

1.0  Why are you a singer in a band?  Someone has to be pretty.

2.0  What is your favorite Braam song? Kings I.

3.0  Is Youtube good for rock & roll? Yes.

4.0  When you do you like listening to music most? In my truck.

5.0  From where do you draw the inspiration for your lyrics? When I’m purchasing a two-liter plastic nasty bottle of Rhine wine off of Roosevelt road in singles.

6.0  You like to cook, is music food? No.

7.0  You also like to paint, is painting a different high than making music? I kind of realized that when I paint I’m like a little dictator to myself and my demons, yet when I write music with my brothers I act like a mouse just hoping for providence, now I am a rabid donkey! (Upon the release of their latest “Living Room”)

8.0  How would you describe the evolution of Braam’s music? Pacific Blue.

9.0  What is your favorite stage in Chicago? Fitzgerald’s in Berwyn because the local folks sit on the side of the stage drinking coffee and expect good music and they watch my fingers as I play my chords.  And there is a certain amount of respect that you give Fitzgeralds and you take home the same.

10.0  Is there such thing as a “ghost in the machine”? You would have to ask Trudy Styler Sting ~

ROBERT CORNELIUS


1.0  You have a rich, deep voice, when did you realize you could really sing? We had a fan years ago that said she had a loop of my singing voice in the birthing room when she had her daughter. I think that painted a picture of the effect my singing voice had on people. I still think I am learning, getting better, so I am a bad one to ask.

2.0  Does it mean anything to be from Chicago? I think there is a real advantage to being from Chicago. I have found in my years in the business that there is a really strong and tight knit community here. Also, the history of music here is always being addressed, so it is really connected to something bigger. I think this is the greatest city in the world, so it has definitely shaped the way I write and the way I perform.

3.0  Who is your all-time favorite Chicago Cub and why? My all time favorite is Ernie Banks. When I was in 5th grade I transferred schools and his sons Joel and Joseph were in my class. They invited me over after school, and their dad came out and played catch with us on the front lawn. He even went in-himself-and got me a lefty glove to catch with. Simplest thing in the world, but it taught me a lot about celebrity and fame. He was just a dad playing catch with his kids. It is part of the reason I have never been star struck, or patient with assholes.

4.0  When you did you catch the acting bug? I have been an actor all my life. I think I was sure about it the first time I saw a play. I just have never thought of myself as NOT being an actor. I did it in grade school and throughout high school, and it just seemed like the most natural thing in the world. It is one of those things I have just always known. And there was no one in my family to make me think it was a possibility, but nobody ever told me it wasn’t, so…

5.0  Does performing music live differ much from acting on stage? which do you prefer? I learned more about being an actor when I began treating music with the same discipline. I believe there is no difference. We are, in effect, storytellers. Our goal is to connect with the audience, and whether it is intellectual, emotional, physical, or visceral, or ALL of those, the goal in theater and in music-in fact all of the arts-is the same: tell a good story.

6.0  Does one have to experience heartache to sing with soul? This is a hard one for me to answer, because I had never sung without experiencing heartache, as I started professionally pretty late. I guess life experience helps, but I can act a song as well as I can sing it. I believe most singers feel that way.

7.0  You enjoy carpentry, are you a dreamer or a pragmatist? Full on dreamer. I firmly believe that any craft can be elevated to art. That is where my love for building-and creating in general-comes from; the potential, and the leap of fatih you have to take to try to reach that potential.

8.0  What advice would give a youngster who has natural singing ability? Sing. Go listen to people sing. Get help from people more experienced than you. Decide who you like, and try to figure out what it is about them that you like. The best way to get better is to figure out who you are. Singing isn’t a comparative sport-contrary to what so many believe-so you have to focus on what it is about your voice that you like, and develop that.

9.0  Mick Jagger once sang “It’s the singer, not the song”, what do you think he meant? I think he meant if you have a great song, and you don’t sing it great, how will people know it is great? We have all heard rotten versions of classic songs.

10.0  If you could time travel, where would you go? I am not really interested in reliving the past, and to preoccupied with the present to travel to the future. As an acting teacher I talk all the time to my students about being in the moment. I believe that is the best advice I could give to anyone. Enjoy the moment ~

STUMP MAHONEY w/ BOOM hANK


1.0  What is the most recent song you have written and what is it about? Daze Long.  It’s about 2 months old and I have recorded it.  Waiting to mix it.  It’s about being on the cusp of losing your job and all of the fears associated with that.  But at the end of the day, life is still good.  It’s good to be alive.

2.0  Has your approach to song writing changed over the years? I’m more critical of the material.  I’ve gotten to a place where I consciously need to let go, do the work and not self-edit to early in the process. I’d gotten to a point where I was doing a little something then dismissing it because it either reminded me of something I’ve done or possible something someone else had done.

3.0  Material wise, when do you know you have something? When it feels right.  It’s a gut thing.

4.0  You can take Boom Hank out of the south-side, but can you take the south-side out of Boom Hank? LOL. I must say, Boom Hank is very un-south-side for south-siders but having said that, it is a part of who we are, whether we like it or not.  That is the thing that makes us “unique”.

5.0  How do you feel about sharing mp3’s?  I’m all for sharing music, just as I did as a teenager.  I’d make as many mixtapes and dubs as I could to spread the love and turn people on to, what I thought, was great new music.  I’m not for file sharing networks where millions of people can grab it for free…unless the artist allows it as apart of their marketing strategy.

6.0  Have you ever set anything on fire? Oh yes!  It was spectacularly out of control and scared the shit out of me.  I was very young and a girl was involved.  I could see how an event like that, at a very young age, could have had an inverse effect and a person being very much enthralled with the power of being able to create that kind of event.  That’s where the inspiration for the song “Kindling” came from.

7.0  Is it still important for bands to rehearse a lot before entering the studio? I think it depends on the level of ability that a band has and what it is they are trying to accomplish with the recording.  A band that is too well rehearsed can take the edge out of a song that should have it…and vice-versa.  The tricky thing about recording is that you try and capture some kind of “magic” and the conditions for catching it are constantly changing.

8.0  You have been an engineer for many years, how does that impact your approach in the studio? It makes me nuts.  I would rather have a bit more ignorance to the process.  I know of all the choices and that can drag me down. Keep it simple stupid!

9.0  Your stuck on i-94, what have you to listen to? In my car now is, The Tallest Man On Earth’s “The Wild Hunt”, Bon Iver’s “Blood Bank” EP, Frightened Rabbit’s “The Winter Of Mixed Drinks” and The xx’s “XX”.

10.0  There’s an alien is the backyard; he’s got a record in his hand, what is it? “Rocket 88’”….it’s his/her first rock ‘n roll experience and what sent them here ~

TODD WEINTRAUB


1.0  Is HOP ON POP truth in advertising?What is “The Truth”? Sure, it’s the truth… although, it might be more accurate to call me/us “Hop On Pop, Country, Techno, Folk, and Other Stuff”. And, I am a father — a “Pop”, per se — so, then, you can take that for what you will.  Wait… STOP!!! You must not hop on Pop!

2.0  What is your favorite song on the record and why? Just one? Well, I’m gonna cheat. Originally, it was “Here”, because it was the first instance where I had whiteboarded a song: planned the entire arrangement before even rolling tape, followed through on it to a “t”, and it worked out exactly as I had hoped. Even better.But now, I think that it has become “Come On, Let’s Go”, just because it’s probably the prettiest thing that I have ever written. And (from the opposite perspective) the arrangement surprised me. I love the pedal steel.

3.0  Has pop eaten itself yet? If only it could reach…

4.0  If still alive, do you think Jimi Hendrix would be doing duets on the Grammy’s? Not sure. Probably not. I don’t think that, musically, he was heading the way that Clapton went; towards making pop music. He was gravitating more towards the Miles Davis camp… alienating a lot of his pop/radio audience, making longer jams, with more improvisation, and writing more-challenging compositions. But really, who knows how he would have aged? That’s a matter of personality and experience simmering in the cauldron of time. And that’s just not really something that we can know, is it?

url5.0  When you are writing, when does a song actually become a song? When I say it is. It’s something that I can feel more than anything else. There has to be a connection there, personally and emotionally. Before then, it’s just a ditty.

6.0  What is the best concert you have ever seen? I’ve seen some great ones: Television comes to mind, during their 1992 reunion. But, still, hands-down the best show was Tom Zé at the Park West in 1999. It was the only time that he’s toured the States and I am so glad that I saw him. He only brought one musician with him from Brazil, and then used Tortoise as his backing band. He was 65 at the time, and was still bouncing all over the stage, playing percussion, guitar, whatever. For the final encore, he donned a welding mask, wheeled out a 15-ft. industrial saw, and started sawing away at a piece of sheet metal. With sparks flying, the rest of the band joined him in a syncopated, polyrhythmic improv. So cool.

7.0  Have you ever had a “rock & roll moment” on stage where you felt pretty damn cool?  I opened for Freedy Johnston at Schubas back in 2000 or 2001. A pretty much packed house. And, for my final song, I played “Happy Days” (which is on the new album). The song ends with a “na-na” part, and I actually got the entire room to join in a singalong. 250 or so total strangers, singing my song with me. It was amazing.

8.0  Any close encounters with rock stars, were they cool? Several. I used to write for a local music rag in college. But, the best one was when I interviewed Richard Lloyd (Television, Matthew Sweet) before a show in 1992. He was pretty detached and spoke with a thick, thick New York accent, like you would expect from a 70’s Bowery Boy. Still, he gave excellent, interesting answers to my questions. Also, in the 90’s I had mutual friends with the guys in Urge Overkill. Very nice guys. Actually, Nils St, Cyr (who took over for King Roeser, when he left the band) played on two songs on Chicken on a Bicycle. So that connection paid off.

9.0   If The Replacements had never broken up would they have ever “made it”? No. They weren’t pretty enough. They’d probably be opening shows for the Goo Goo Dolls today.

10.0   If you could choose a single word nickname for yourself that stuck, as a pop star, what would it be ?The King of Nothing That Matters ~

ANGELO SANTUCCI


1.0  How do you see yourself, as a singer? a songwriter? or a musician? Musician first, then songwriter.  I feel OK saying that I’m those things, or at least trying to be those things.  I never liked my own voice much.  It seems like most people don’t care for their own voices, and I’m one of them.  I feel more comfortable being the background voice then the lead voice….I have this fear that I’m going to be at a party years from now and an old friend or band mate is going to put something of mine on, that I’m singing on, possibly to be reminiscent, or even as a joke, and I’ll be running for the nearest sedative….or rope.

2.0  Which do you prefer most, writing, recording, or playing live?  I suppose that it depends on the situation, but writing and recording interests me more than playing live.  Although, I do enjoy playing live, sometimes very much.  Since I seem to play in different scenarios, either as a backing player, fronting a band, or solo, and I don’t do any of them consistently for long periods of time, there’s quite a bit of preparation needed which can be quite tedious.  I often feel like I’m under-rehearsed and on shaky ground playing in some of the situations that I play in. Often times very relieved, almost celebrating, that it finished without a major glitch or catastrophe…..The writing, and the demoing stage, is what I like the most.  Writing a new song, and doing the instrumentation on something that feels like it may be a good piece is always enjoyable.

3.0  Any “rule of thumb” advice for guitarists backing up & accompanying other artists on stage? First, and foremost, know the material extremely well, but still bring your cheat sheets or chord charts to hide onstage, in case there’s a brain cramp.  Second, is to remember that it’s not your show.  You’re there to help, add color, etc.  Not overshadow the person, or people, that everyone has come to see.  More times than not “less is more”.  Ease in and out.  Pick and choose your spots to play in and be seen.  Many times I’ve played in acts where there’s been several of us that are asked to accompany and someone is really over anxious to impress, but instead was up front so much that they’ve annoyed the audience and the people that they’re playing with.  Besides, those things, there’s the obvious other important aspects like proper gear, attire, being on time, etc..

4.0  How are The Orphans?  All seem to be OK.  It’s grown into quit a large club over the years, but they seem to be hanging in there.  I wish I had a chance to see and play with them more often then I do.

5.0  How many songs have you written and recorded? have a favorite?  Not as many as I should have for the amount of time that I’ve been at it.  Recorded 35-ish that have been released on records.  With another 10-ish that have been recorded for other media projects.  I’ve probably written another 40-50 or so that I haven’t recorded.  I’m fairly slow and laboring.  It’s a bad trait.  It doesn’t mean it came out better, maybe just beaten to death…..I think the last few things that I’ve released, “As You Fall,” “Good Enough From Here.” and “Not Far Behind,” turned out OK.  Usually, I look back at most of the stuff I’ve recorded and wish I had done it differently.

6.0  How does a song start for you?  Usually, songs start on a guitar or piano with chord progressions or a hook.  Then I’ll come up with a vocal melody and some scratch lyrics. Eventually changing and finishing the lyrics.  Sometimes I’ll come up with the vocal melody first and then write the music.  I always write the lyrics last – those seem to take the longest for me.  I tend to slave over that a bit.

7.0  How do you feel about a beer or two before going on?  It’s essential for me before a show.  Usually a second during the show. I’ve started shows with more in me, much more, but it ends up being more of a challenge then something that takes the edge off…..like the kid that smokes pot in high school, walks down the halls, talks to teachers, talks to other students, trying desperately to function, while hoping it wears off quickly…..I know, not a great analogy.

8.0  You have a sultry voice and spin yarns with your lyrics, do women ever throw themselves at you when you come off stage?  Woman throwing themselves at me probably would ease the pain of some of those shakier shows that I mentioned.  I’ve been using excuses, like I’m married with little kids, and that’s why there’s rarely any interest from woman in the audience.  The reality is that they don’t even know that about me….I recently did have a woman stop me and tell me that there was something about me that she really liked, but she couldn’t figure out what it was.  She went on to tell me that it may have been because there was nothing in me that she found attractive or sexy.  That she liked me because I didn’t pose a threat to her or her relationship.  All while sporting a big friendly grin, like she was giving me a compliment.  All I could do was smile back and thank her.  Didn’t know if I should laugh or cry, so I did a little of both…..That about sums it all up……I guess once in a while some over served woman will slur something my way, but not often.

9.0  What is your favorite stage acoustic guitar and why?  My favorite acoustic guitar, that I own, is a Larrivee L-05.  On stage and off.  It has a red-ish Mahogany top and I nice deep bottom sound that I personally like.  It’s a slightly smaller, more sloped shouldered guitar that I’m comfortable with.  I have a black takamine ef-341 that I’ve also used for years.  It sounds OK plugged in on stage, but not too good off stage.  It’s been battered and broken through the years, and I tend to bring it when I play out of town; not too worried about it getting ruined.

10.0  Does time behave differently on stage versus off?  It seems like time always moves very slowly before a show.  Maybe it’s the anticipation thing.  Depends on the gig. I guess it’s like anything.  If it’s going well and is a lot of fun, time moves very quickly.  Otherwise, not so much.  If the show goes well and I’m with a bunch of friends afterwards, that’s always great.  Maybe to the point of being a blur.  Equally fast.  Sometimes so fast that before you know it, it’s morning and you’re waking up with a stiff neck and a headache on someone’s couch ~
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STEVE GERLACH w/ TOMORROW THE MOON

Is Rock & Roll dead yet? Rock & Roll is hanging by the skin of its ass. We are that skin.

What is your favorite stage guitar and why? I can get by with just about any Gibson. For me, at this point, the pedals are almost more crucial than any specific guitar.

How would you describe Tomorrow The Moon? Tomorrow The Moon is about quality songs and a spacey rock vibe. We don’t go out of our way to try and be “different,” but some people still seem to think that a band can’t have  prog leanings and still be ‘punk.’ The fact is, music is still evolving, or at least trying to. But if you try too hard, you’ll lose sight of the songs. If you don’t have a song, you don’t have anything. There are things ‘Tomorrow The Moon’ will never do. “Jamming” is one of them. There are others, too, like growing beards.

You have toured a good deal, how do you like the road? I enjoy the bits of touring I’ve done because I know they will end. Some people don’t want it to end. I have a life here in Chicago, and particularly in the summer, I don’t have an urge to leave. But music has taken me places I wouldn’t have otherwise gone, and I have no regrets.

Have you ever smashed a guitar? I did sort of smash the hell out of one of my favorites due to a terrible monitor mix that only got worse. The neck was badly broken… I immediately felt bad about it, but it made some cool noises when I jumped all over it, so I guess the audience must have loved it, not that I was aware… I had pretty bad bruises on my knees the next day. Tommy Keene refers to those sort of incidents as “glamour fits.” The guitar recovered fully.

Why do you love The Kinks so much? Songs! I saw them on Sept. 17th, 1980 and it was super high-energy. By that time they had a wealth of material, the best material any band ever had. And they just totally rocked.

Do you ever get angry when you are playing guitar? Is that an emotion that makes sense in rock? If the song is angry, sure. Not as many things make me angry now as when I was young. One of the things that makes me want to slit my wrists is that happy, upbeat positive music that you hear on ‘adult rock’ radio stations. There’s a place for that stuff, I guess, but that place is not anywhere near me.

Will radio ever have a “Tivo” feature? I don’t know if there are enough people listening to radio for the development of a Tivo-type feature to make sense. Satellite radio and Pandora have that covered more or less, right? If it’s cost-effective, then it will happen.

Does every band need a love song? No, I don’t think every band needs a love song; in fact, it can be very awkward when a band whose range has never included love songs tries to go there. Metallica suddenly tried to add that layer to their bag of tricks one day, and if it wasn’t a commercial flop, well, that doesn’t mean it wasn’t an artistic flop.

What happened to Sting? Sting got famous writing songs that were inspired by and about being very unhappy, and then all of the sudden he couldn’t tap into that emotion anymore because has was too happy. Success completely changed him, as it does to almost anyone. McCartney was happy to begin with, so he was relatively unfazed by success, whereas Lennon started whining about his childhood after the Beatles broke up. The truth is, he was out of ideas, so he started trying to tap into his unhappy youth. Who cares? He had already peaked. I’m starting to sound like Gene Simmons, so it must be time to go ~