Reality Check

The Orianthi Inteview

editor@cwgmagazine.com (CWG, Inc.) — Fri, 11 Dec 2009 00:03:00 +0000

Written By: Victoria Hill
(Urban/Pop Editor)

Orianthi is a virtuoso female guitar player (a rarity in music). Having played with Michael Jackson, among others, Orianthi has emerged onto the pop scene as a guitar-oriented pop solo artist. If you have a chance, pick up a copy of Believe

Victoria Hill: The single “According To You” is a hit and your album “Believe” is getting good reviews. You’re on the road promoting the single and album. How is the promotion tour going? How are the fans reacting to the new music?

Orianthi: It's Going Great! We've been traveling around the country playing mini acoustic showcases and everyone seems to be liking the new music.

VH: You were exposed to a large audience at the 2009 Grammys. How did it feel to play the Grammys and getting wide exposure?

Orianthi: Crazy, So nice of Carrie Underwood to invite me to jam out with her and the band. It felt very surreal to be up there.

VH: You were named one of the great female electric guitarists. How do you feel about that honor?

Orianthi: That was really awesome... I feel very honored.

VH: What inspired you to start playing guitar?

Orianthi: My Dad, I picked up the guitar at 6 and he taught me how to play chords.

VH: You were Michael Jackson’s lead guitarist and you played at his memorial. What was it like to work with Michael and then to play his memorial?

Orianthi: It was Incredible Working with Michael ...a dream come true, I learned so much! When he passed I was devastated. He was such a wonderful person and incredible musician. Really hard to play at his memorial.

VH: Other than Michael Jackson, you played with Steve Vai, Carlos Santana, Carrie Underwood and Prince. These artists span rock, pop, soul and country. What have you learned working with these artists?

Orianthi: To Never stop learning…to continue to grow and evolve as a musician. They are all perfectionists.

VH: You are considered a role model by females and guitar players. How do you feel about feeling a role model?

Orianthi: My goal is to inspire more children, boys and girls to pick up the guitar and believe in themselves So that’s great if they think of me as a role model.

VH: You have achieved a lot by the age of 24. What else would you like to do career-wise and personally?

Orianthi: I would like to make an instrumental record and a country record.

VH: What has been the best moment in your career?

Orianthi: Getting to jam out with incredible musicians.

VH: You grew up in Adelaide on the southern tip of Australia. What would you like people to know about your hometown?

Orianthi: It has an old feel to the city (lots of churches) and beautiful spots…Barossa Valley and National Parks.

Devin Townsend Tells All

editor@cwgmagazine.com (CWG, Inc.) — Wed, 09 Dec 2009 20:38:00 +0000

Interview By: Tim Bannock

Hover over this link or click on the big-ass blue bar below to hear the interview

Devin Townsend. Ineffable. Zany. Incredibly honest. This is a man that understands music, and uses it to explore the depths of his self, and the greater human experience.

On November 25th, 2009, Devin called me up -- a delayed interview, thanks to the horrors of a pissing rain night in Vancouver lugging giant amps to a new rehearsal spot -- and we talked about his new album, Addicted (under the Devin Townsend Project moniker), as well as drummers, aliens, hot singers, and studio equipment. It was enlightening, insightful, and definitely worth a few laughs, too.

A special thanks to the following folks for their help with questions: Dave Brooks, Laurie Landry, Matt Bannock, and Mike Falk. Sorry if I forgot anyone! (Just leave me a nasty comment below.)

Check it out, and give Devin some love: pick up Addicted!

Robert Francis On The Fine Art Of Song Craft

editor@cwgmagazine.com (CWG, Inc.) — Wed, 09 Dec 2009 05:36:00 +0000

Interview By: Quinn Allan

At 22 years old, Robert Francis is looking down from his view in the hills of Los Angeles and taking in what he sees. With his dog at his side, he translates the feelings of his surroundings into a sweet melody that people can’t help but get in to. His band, now signed to Atlantic records, prepare themselves for a string of West Coast shows as they celebrate the recent release of their album, Before Nightfall, a twelve track triumph in the field of Americana, folk-roots tunes. But before the success, before the new record and before the band, Robert Francis was a man searching for sanity the only way he knew how, by putting his thoughts into song. I had a chat with Robert to shed some daylight on what things were like before Before Nightfall.

Quinn Allan: There’s a huge difference between being in a band and leading a group of musicians under your name. Did you find it at all hard to attract other musicians to your cause?

Robert Francis: Umm… (pauses) it’s… yeah, it actually was difficult. I mean, what I managed to do, and what I was fortunate enough to accomplish, was find a bassist and drummer that I felt we became, musically, so close and just as friends. Everything just clicked and it instantly felt like more than just a solo project, it felt like a band. I think if one can create that environment, that feeling of having more than just a project that’s the most important thing. So yeah, I was able to have them play with me for seven or eight months without getting paid anything and having it go under my name and they stuck by me, and now things have turned out just the way we had hoped.

QA: What were some of the conflicts you ran into while turning Robert Francis from a one man show to a formidable performing group?

Robert: You know the conflicts are… (pauses) not much, not many, I think besides figuring out different ways to pay people and how to go about something like that. I think that there weren’t many conflicts. It’s really difficult to find people that you enjoy playing music with and that you enjoy spending time with and if you can find something like that you got to hold on to it for as long as possible. I think I heard Springsteen say that in an interview (laughs), but yeah…not many conflicts.

QA: Listening to your songs I can hear elements of talented musicians like U2, Dylan, a little Iron and Wine, and even Nick Drake. What musicians helped direct you to your sound?

Robert: I grew up listening to The Band, Dylan, Neil Young, Billie Holiday, Nick Drake, Townes Van Zandt and Ry Cooder was my mentor, you know with a lot of this desolate folk-inspired, blues roots-inspired music. I was always turned on to people who wrote choruses and had real firm, you know, melodies and that’s sort of what inspired my creativity and the music that I make.

QA: Your sound has a very cinematic feel to it. What are your thoughts on the impact music has on film? What impact, if any, has film had on you?

Robert: Film has a huge impact on me. I think the first was the 1984 Wim Wenders’ film Paris, Texas, it was one of the main reasons I got into music. Ry Cooder did this sort of cinematic soundtrack, this real sort of powerful, guitar-heavy soundtrack. That was the first time, and that film sort of gave me the idea, it was the first time I really understood what it was like to be free and to move out into the world and try to find one’s self. I live in California, in LA, up in the hills and I’m inspired by more than just relationships and romance and love and what not, but more by these landscapes that surround me. And I try to draw from those things.

QA: You’ve mentioned that music is less an expression for you and more to keep from losing your mind. Being a musician myself, there have been times I’ve tried to quit, only to find myself magnetically drawn back to music. What do you think it is about certain types that simply makes them a musician?

Robert: I think with my upbringing and my life at home growing up I didn’t have… I never… you know my band just recently told me “Wow Robert, you never really got a shot at being normal, did you?” (laughs) You know, I’ve had this pretty eccentric upbringing. Music was the only thread in my life that tied together society, and functioning within a society together. Without it I would be, I’ve had to figure out pretty much everything on my own so far, and without it I would be completely lost and I would just totally succumb to my psyche and my sort of crippling insanity. (Laughs) So I don’t know.

QA: I see that same dog a lot in your pictures and even in your music video. Are you a strong lover of animals?

Robert: Yeah, I’m with him right now, playing ball outside.

QA: What’s his name?

Robert: His name’s Pancho. Yeah, I mean a dog for me… I love animals of course, but I have this ridiculous connection with my dog (laughs). I’ve tried taking him on tour a few times, but it doesn’t really work. I can make do without really seeing anyone or going out and doing much and spend time here with my dog and be content.

QA: I’m a dog person too. You say that honesty is what makes a good song. Do you feel there is a general lack of honesty in popular music these days? Do you think your audience respects the honesty that you bring to your music?

Robert: I do. I think it’s uhh…there are a lot of different ways to look at it. I mean, I do believe that honesty is what makes a good song. I think there’s a whole different side of music with bands that are in it for different reasons. I don’t actually have any certain disdain for the other side; I think it’s actually fascinating. I think my audience, yeah, the people who have been interested in my music, I think definitely that’s maybe what does it for them, I’m not really sure. But I just try to be as true to myself as I possibly can because if I’m doing that then I can’t ever say I should have done it any other way. If that makes sense, I don’t know. (Laughs)

QA: It does. Finally, if you could cite one thing that brought you to where you are today, what would it be?

Robert: Ummm…huh. I’ve always had this underlying drive within me to never really second guess myself and to really trust my gut instinct. And I’ve been told many, many times throughout my life… hold on, sorry, one second. (Pause) I thought my dog escaped. I’ve been told many times throughout my life that I’m screwing myself. No one thought I would even be able to put out my first record. I had a lot of people who did not believe in me, classmates. But my family stuck by me and real important, imperative people in my life. But just to really follow that gut instinct, and to maintain that drive that’s inside you, and if you just keep going and going and going you’re going to get there… in one way or another.

Following his gut instinct seems to have worked out well for Robert and for Pancho. I found him to be just as genuine as his songs and truly a musician at heart. You can catch Robert Francis at The Wiltern in Los Angeles on December 12th. His album, Before Nightfall, is available on iTunes now.

PANTyRAiD's Secret Confession

editor@cwgmagazine.com (CWG, Inc.) — Sun, 22 Nov 2009 09:25:00 +0000

Interview By: Quinn Allan

Already prominent figures in the West Coast dance scene, DJs MartyParty and Ooah joined forces in 2005 to unleash their unstoppable beats on the world. Together they form PANTyRAid, a powerful combo with a polished new sound. They’re out to prove there’s more to their electronic mayhem then your standard club track. We at CWG thought we’d find out just how they plan on doing that:

Quinn Allan: The list of genres and sub-genres concerning electronic music is nearly endless. Do you find it all hard to label your music, or do you forgo labels altogether?

PANTyRAiD: Impossible to label our music (smiles). Our music gets placed in the oddest categories on website stores sometimes! We like to describe it as hip hop bass music or e-hop.

QA: Creating music, mostly through computers, must make the long distance collaborating much easier. How long does it take to complete a track when sending it back and forth?

PR: It varies - one us will start a project and then FTP it to the other, they make a part, FTP it back etc. If we sit together it takes a day to have a finished song. It’s very fast. The ideas and inspiration is endless in this production environment. Even with a lot of back and forth it’s a matter of days for a track to become a finished song.

QA: Although familiar with each other’s work, you first met at a festival in Costa Rica. How does the Costa Rican electronic/dance scene compare to here in the states?

PR: Our time in Costa was at the beach - however we spent time in the capital and the scene is very 4/4 cheezy house with a lot of electronic reggaeton thrown in.

QA: Without a strong reliance on spoken word in your music, do you find yourselves at an advantage when spreading your music in countries where English is not the dominate language?

PR: Our production of original songs is challenging as we don’t have voices. We need to speak with our instruments. It is difficult to capture a listener for 5 minutes without a lot of expression in the lead and we typically do this with a bass lead melody. It absolutely makes our sound more portable across markets and we want the music to be heard globally as everyone can interpret the emotion of the music without relying on the language or meaning.

QA: In 2008 you guys made the move from Los Angeles to Brooklyn, NY. Most musicians see L.A. as a music Mecca, do you find that your music is more at home on the east coast?

PR: I, (MartyParty) live in Brooklyn still where I have my studio, Josh (Ooah) moved back to L.A. to work on the Glitch Mob album. The west coast is definitely more happening with bass oriented music. The east coast is slow to catch up and I spent most weekends flying to the west or midwest (HUGE FANS IN THE MIDWEST!)

QA: Sex plays a big part in the marketing of your music. That said, what are your personal feelings on using sex as a marketing tool?

PR: Bring it. We make sexy music because we are passionate emotional men (smiles), like booty shaking music. We wanted that to come through in the marketing, art and artistic direction of the whole brand. Our music is very much loved by the ladies and therefore we wanted to also make sure it was tastefully done and not trashy. It’s often hard to not cross that line.

QA: As with any music scene, artists are always looking for that “new sound”. How easily do you find it to explore territories other artists haven’t?

PR: Electronic production means a lot of room for experimentation - merely open up a new synth and start tweaking with the oscillators and filters to find a new sound. Its one of our loves - sound design - and we try and use different drums, sounds and keys in all our songs - its one of the goals of the project. We are tired of hearing albums made with the same instruments, we love each song to have a totally new feeling through variations in all the instruments and constant dynamics in the mixdown.

QA: It is usually beneficial for artists to be aware of other artist’s work. What albums are you guys listening to now?

PR: We tend to listen to tracks from our peer producers in the community - we are all close and share our works as we cook them so we are always in touch with the next sound before its released mostly. We also love a female voice, Fever Ray, Bat for Lashes, Lykke Li etc. are always on our minds. The latest underground hip hop and dubstep gets us turned on fast!

QA: Becoming familiar with recording hardware and different kinds of software usually leads artists into other areas of music production, outside creating. Do you guys produce other artists?

PR: We remix for a lot of well known artists and this is something we want to do more of - we can quickly take a tune and change its sound completely, and are master audio manipulators meaning we need only a small piece of audio to create a tapestry of parts. We hope PANTyRAiD becomes a major remixing force - its also a lot of fun and we get to work with our favorite artists. We are looking forward to producing the next hip hop with a good MC - thats our dream - bring it on!

QA: With a label based in the U.K., festivals in Central America, and recognition on both coasts of the U.S., you guys get around a lot. What would you say your favorite place to play live has been so far?

PR: Colorado and California are our best crowds, we have not toured Europe yet - 2010 is the plan.

PANTyRAiD’s debut album, The Sauce, was released in September of this year, and has been making sweet electronic waves throughout the electronic/dance scene. You can hear their beats at www.myspace.com/pantyraidmusic.

Midnight Masses - Autry Preaches To The Choir

editor@cwgmagazine.com (CWG, Inc.) — Thu, 19 Nov 2009 08:20:00 +0000

Interview By: Quinn Allan

Using death as inspiration is nothing new in the music industry. Countless artists have written eulogy-like-ballads to friends, heroes, and family members alike. Still, it takes a delicate touch and a strong heart to write a song about death without coming off as somewhat cheesy or worse, bumming out your audience. Lucky for us, Brooklyn-based Midnight Masses front man, Autry Rene Fulbright has just the right touch. Rapture Ready, I Gazed At The Body, the premiere EP from Midnight Masses, is a four song journey through the painful struggle of the loss of a loved one. The EP’s heart-felt lyrics are somber and genuine, while the arrangements are vast, even void-like, leaving room for hope.

One of Midnight Masses founding members is Jason Reece, who is no stranger to thematic albums. Reece is also one of the original members of the pioneering rock group ...And You Will Know us by the Trail of Dead. Reece brought along some of his Trail of Dead mates to help out with this new musical endeavor, and we can’t help but notice as the list of noteworthy guest musicians and producers, that helped to make this exploration possible, starts to grow. Gerard Smith, from TV on the Radio, helped record the group and Jaleel Bunton, from the same band, even lends his voice on one of the tracks. It’s hard not to notice the potential other musicians clearly see in Midnight Masses.

As personal and revealing as Rapture Ready, I Gazed At The Body is, we here at CWG wanted an even more in-depth look at the story behind Midnight Masses and to find out just what they have in store for us.

Quinn Allan: Your newly released EP, Rapture Ready, I Gazed At The Body, opens with the haunting yet uplifting track "Walk on Water." Lyrics like: “The damage is done, his time had come, there’s nothing wrong…” show a sense of maturity in the face of death. As the opening track in an EP clearly about loss, do you feel this song sets the stage for what’s to come? Or rather, marks the end of the grieving process and shows us, as an artist, what comes after?

Autry Rene Fulbright: Both, actually. The lyrics "the damage is done" coupled with "carry on" convey a door closing and one opening. It's very sad but also uplifting and inspiring to move forward. The song was a gift to my mother who has since remarried. The fact that Jaleel (Bunton) sings the lead is kind of affirmation for me, like someone else encouraging me with my own words.

QA: The creative decision to use female vocals on your song "I was a Desperate Man," clearly written from a man’s prospective, seems to suggest that this journey through the suffering of loss is for everyone, that this could very well be the feelings of a man or woman. Was the decision to bring in a female singer an immediate one, or did this come about over the recording process?

Autry: Like using Jaleel on "Walk On Water," I think I was drawn to Katie Eastburn's specific vocal style while also wanting to hear those words sung from another perspective. A voice that had more of an emotional detachment from the subject and words, but could still convey the desired emotion. I feel that songs sung by other vocalist aside from me in such a personal project does kind of make it "everyone's pain and struggle" so to speak, but then it also makes it everyone's triumph.

QA: With an abundance of established talent lending itself to this collaborative project, do you feel Midnight Masses will serve as a formidable touring force, or rather a safe haven for these artists to come and share experiences and feelings they may not get to express in their other creative projects?

Autry: Both. All of our songs constantly evolve and the version that makes it on the record - with or without guests - is just one variation. On record we aim to create particular textures and moods, and when we perform live we often bring a different energy to the songs. The songs grow and change organically and the arrangements are rarely played the same way twice. This keeps the live show fresh and exciting for us and our audience.

QA: With the roster of collaborating artists in mind, this EP has the distinct fingerprints of the talented rock band, ...And You Will Know us by the Trail of Dead. I’m a Trail of Dead fan from way back, and am no stranger to their incredibly unique and evolving sound. Is this a sub-branch of that evolution, or do you feel this project stands on its own?

Autry: It's true that the recording of Midnight Masses was intertwined closely with the sessions of the ...Trail of Dead LP, but there's not much stylistic crossover. I am hugely influenced by Trail's sense of dynamic,texture and the lyrics of Conrad Keely,though. It's definitely not an extension or evolution of AYWKUBTTOD. I think from a production end Conrad goes between approaching the next batch of recordings with a Massive Attack feel, coupled with the very different technique of an old seventies psych band so for him and Jason it might be a personal evolution or even a de-evolution. Hopefully we'll find a common ground between everyone's ideas.

QA: The praise Rapture Ready, I Gazed At The Body has already received is remarkable, with comparisons to musicians like The Doors and Billie Holiday. While listening to the EP, I heard traces of bands like The Who and Procol Harum. Do you feel that these likenesses were intentional or stumbled upon?

Autry: Being ravenous collectors of music, be it vinyl or digital, the band has a wide point of reference when is comes to what inspires us. Any likeness to any bands is simply a natural extention of that. I really like The Doors and Billie Holiday, so if anything it's a huge compliment.

QA: Your MySpace lists influences like Nick Cave and The Zombies. Cave is what some would call an acquired taste, not unlike Tom Waits, and The Zombies, unfortunately, were lost in the shadow of bigger British rock bands like The Beatles and The Stones. Do you feel this is the kind of underground, art house, notoriety you’re aiming for?

Autry: Our influences are pretty broad- from bands like Beatles or Stones, to the ones on our list of influences to newer bands like Comets On Fire or Black Mountain or Battles and even Leonard Cohen or Antony And The Johnsons. It's not a conscious effort to be put in some musical caste - I'd say that the fact that we tour with bands like Trail Of Dead and Secret Machines and then we'll do a Thursday tour and then play with Art Brut is testament to the fact that we like all sorts of bands.

I don't want to quarantine us or anyone as far as our music is concerned. I think more people should listen to Nick Cave and The Zombies. Also, you never sound like your direct influences - Os Mutantes were trying to be exactly like the Beatles. Jason and I were thinking Midnight Masses was going to be a metal band, but we recorded our first song "Deserter's Song" and we were thinking it sounded kind of Nick Cave-y.

QA: Like a tattoo or an ant frozen in amber, albums often serve as a physical embodiment of an artist’s feelings at the time. Is this album a tribute to the memory of one man’s life or a physical record of the feelings following the loss of a father?

Autry: I'd definitely say the latter - this record came about in the wake of me reflecting on my father's passing and the life I had up until that. It's very cathartic/therapeutic to get all of these emotions out, although it can be difficult to confront repeatedly. Still, I find the end result very rewarding, especially when someone tells me how they can relate to the songs.

QA: With a solid four song EP under your belt, the next logical step is a full length album. What can we expect from a Midnight Masses’ full length? Are there any surprises in store for us?

Autry: We have another EP we're recording now entitled Walking Wounded With The Dying Choir that could see the light of day in a few months. We also have the LP that we've started sorting out, much of which will be recorded in a few weeks from now. There is an offshoot of Midnight Masses that will record during the winter - a heavier, louder band called Holy Land, Holy See which feature several members of Masses and marks the return of original MM drummer/current Here We Go Magic member Peter Hale. I have some pretty ambitious ideas for our live show as well- we're basically learning a brand new set so it's going to change how we perform. I think we're in for a few surprises ourselves...hopefully good ones.

Midnight Masses will be playing at Brooklyn Bowl on November 13th in Brooklyn NY. You can download their EP Rapture Ready, I Gazed At The Body starting December 8th and it will be available, on vinyl, in stores December 15th.

Brandon Carlisle/Teenage Bottlerocket

editor@cwgmagazine.com (CWG, Inc.) — Wed, 18 Nov 2009 10:05:00 +0000

Written By: Pablo Cortez Photos By: Dustin Roe

View all of Dustin's Teenage Bottlerocket photos here.

November 7th Troubadour, Hollywood, CA - Drummer Brandon Carlisle was kind enough to spend a few minutes outside the Troubadour and answer some questions before their set. The set, which kicked off with a little track titled “Skate of Die,” came with all out pop punk goodness. These kids owned the stage like they’ve been playing for twenty-plus years and literally stopped playing their instruments only once to get the wall-to-wall crowd moving. Do yourself a punk favor and pick up their newly released, They Came from the Shadows.

PC: So how do you guys like Hollywood?

BC: It’s awesome. We cruise down the street keeping our eyes peeled, scanning, looking for celebrities. At least a couple b-listers like 12 pack or Bonaducci, but nothing. The Cobra Skulls said they ran into E from 'Entourage,' I was pretty envious.

PC: You just released a new album, They Came From The Shadows .

BC: Yeah, September 15th.

PC: Is it any different from your previous album? Anything change for you guys, sound-wise?

BC: I don’t think so. We kept to the same philosophies. We wrote songs the way we’ve always have. I don’t think this record is a huge tangent from the previous stuff. It’s our favorite record and I know that everyone always says that the new record is their favorite but that’s the case in this situation as well. We’re happy with it and it’s another Teenage Bottlerocket record.

PC: Any favorite tracks?

BC: I dig “Skate or Die.” When he says, “Doing slappy’s at the Circle K,” I was tickled when I heard that. What kid wasn’t on a skateboard, in front of a convenience store goofing off in the parking lot when they were coming up. So when I heard that I was like “Oh yeah, this is good stuff.”

PC: Speaking of that, you guys all skate?

BC: Well Ray and I do. Kody did a little bit growing up but didn’t stick with it as Ray and I did. We’ll cruise the park. We’re not ‘rad’ as it were, but we go for it.

PC: Any cool spots you skate?

BC: Usually around the streets by my house.

PC: What difference do you see between your fans back home and out on the road?

BC: When we’re on the road, there’s a lot more people who know the tunes. When we play back home, it’s a good crowd but they don’t necessarily own the record. They don’t really follow the band. We’re just a local band. There are a few friends that know the tunes but as far as getting into the record, really getting into the band, no one back home is, I don’t think.

PC: How long is your tour? When are you wrapping it up?

BC: 6 weeks. I think we’re out for another 2 weeks.

PC: Any favorite venues or shows you’ve played?

BC: St. Louis was a killer show. It was funny because we played the day after Halloween which was a Sunday this year. We were making excuses for why the show was gonna suck before we even got there. Me and my girlfriend grabbed something to eat at a restaurant next to the venue and got back five minutes before we were on and the place was packed, front to back it was crazy. Phoenix was also good. Orlando was killer, Chicago is always great. Toronto and Boston, those are the ones that stood out.

PC: Can you tell us about your previous band?

BC: Ray and I were in a band called Homeless Wonders. We were more or less a high school band doing the punk rock thing. Booking our friends’ bands from out of town, scratching each other’s backs. Trying to do some networking and doing some small tours, playing small cities. We were on the suburban home label and they were just getting started too. That band broke up in 2000 and we got Teenage Bottlerocket going in 2001.

PC: How did you guys hook up with Fat Wreck Chords?

BC: Mike was a fan of the Lillingtons which is Kody’s previous band. We got booked on a couple gigs with NOFX and he came and checked it out, he was digging it. He gave us a phone call a few weeks later and said he was interested. And it was all downhill from there.

PC: How do you like working with Fat Wreck Chords?

BC: It’s a dream come true, man. Fat Wreck Chords has always been our favorite label and to be a part of it is a big honor for us. Those guys are right on with their opinions with the music just like we are. With their input, we can take it or leave It, but we were into it and it’s great to work with those guys.

PC: Anything you’d like to get out to the fans?

BC: If you get a chance, come check us out on the road.

The Hatcham Social Interview

editor@cwgmagazine.com (CWG, Inc.) — Tue, 17 Nov 2009 23:08:00 +0000

Interview By: Victoria Hill (Urban/Pop Editor)

VH: You toured with The Charlatans and Ipso Facto. What was that experience like and what did you learn while being out on the road?

That its more fun touring with people you like than on your own (or with people you find boring). That you need to make sure people do not speak too loud first thing in the morning when you just wake up in a room with everyone.

VH: Toby said "I am not against selling records, but I am against selling shit records." I think that is a great philosophy. What is your process to ensure that you are not making a shit record? What is the recording process like?

We either believe in it or not, or we change it or throw it away. We usually have a pretty clear idea by the recording part what is going on but its never finished until its done.

VH: You have been influenced by 1980’s indie pop and post-punk (like The Pastels, Orange Juice and The Jesus & Mary Chain.) What was it about them that influenced you?

They wrote great great songs but felt exciting, we also got bored of everything being synths. Although we love synthpop bands somehow synths feel so retro. Whereas these bands just seem timeless. These bands are misfits, like ourselves and our audiences.

VH: I heard that you were also influenced by Lewis Carroll’s poem “Jabberwocky.” It is considered by many to be one of the greatest nonsense poems in the English language. What is it about “Jabberwocky” that influences you?

Its just something we did. We like the poem. Its English nonsense. Like our lives.

VH: You created a lot of buzz in the UK and now that buzz is spreading to the US. How does it feel to be acknowledged in the US?

Obviously its good when anywhere acknowledges you and the US is somewhere we watch on TV and in the Cinema all our lives so its somewhere we think that people should hopefully understand us. We share so much.

VH: In two years, you have released four limited edition independent singles, compiled two mini-album cassette, played over 200 gigs (including selling out the 100 Club in London and the Fleche D'or in Paris.) That is a great accomplishment. What keeps you focused as a band to keep moving forward?

Thanks but we just do as much as we can, because its what we do. I cannot stand people being lazy.

VH: What are you goals career-wise?

We want three albums out in three years full of pop music for smarter people. To make something special. Then who cares.

The Antlers - Peter Silberman Interview

editor@cwgmagazine.com (CWG, Inc.) — Wed, 11 Nov 2009 00:32:00 +0000

Interview By: Jim Markunas
(Editor-In-Chief)

I just recently got into The Antlers after my angriest staffer told me that he actually liked them (and he doesn't like much... not even me). I figured they had to be pretty good. I asked our friends @ Tell All Your Friends for a copy of Hospice and the rest was history.

The Antlers spent a few years making this album, a concept record about the birth and death of a relationship. Under normal circumstances, I (and the rest of my staff) would call that concept 'cliche,' but The Antlers not only tread new musical territory on Hospice, but the fact that they've morbidly compared a relationship to a place people go to die appeals to my dark sense of humor. Kudos, Antlers! Kudos!!! We caught up with Peter Silberman for a quick interview.

Jim: First, I'm a big fan of your record “Hospice.” I like the sound you guys are going for. For our readers who are unfamiliar with The Antlers, can you tells us a little about your band- the music you make and why they should buy it?

Peter: The band was really focused on this record. We made the record over the course of a few years and was it released a few months ago. The album tells a story, basically detailing a relationship between two people. It's atmospheric and narrative. It’s post-rock and electronic.

Jim: That makes sense. I liked (I have a dark sense of humor), the fact the record is about a relationship and you called it “Hospice,” a place where you go to die.

Peter: Thanks.

Jim: Can you tell us why this record took so long to come out?

Peter: A lot of stuff with this record took a long time. The writing took a long time and went through a lot of editing, so that the story would make sense. We wanted it to flow from start to finish. You have to be careful that there are no plot holes. Recording Hospice involved a lot of parts on top of another. We would take time away after recording a song to make sure we were happy with it and that the song worked with the others. It can be frustrating. It was either totally working or totally failing. The lyrics had to make sense to make sure that the story work. After recording, we were happy to have a break.

We finished the album in August/September 2008 and that was when we started touring. We became a solid three piece. We took the album to a couple of places and in the beginning of 2009, we just wanted to get the album out, so we self-released it in March. It gained momentum. We signed with French Kiss in May and they re-released in August. So the album has been alive for about a year. We are surprised it has lasted this long and we are touring and moving forward in a positive direction.

Jim: We totally wanted to catch you live to see how the music translated, but we fell off the guest list.

Peter: Really? When was that?

Jim: It was the last time you were in LA- about a week-and-a-half ago.

Peter: Oh, there was a fiasco, where we had a guest list, and we gave it to the promoter, and it never made it to the door. A lot people could not get in, and we didn't find out until after the show. We're not pointing the finger at anyone. Sorry about that and we will be back!

Jim: We definitely want to see you guys live the next time you're in town.

Peter: Sure, we will make sure you are on the list. It was nothing personal.

Jim: No problem, it happens in music! (laughs)

Peter: It’s a cluster-fuck!

Jim: That leads to my next question. What’s it like working with Syd Butler and FrenchKiss Records? What kind of experience has that been? (No offense to Syd or FrenchKiss, this just happened to be my next question!!!)

Peter: It's been really great! They are great running a label. It is a fair relationship and they're fair people. We got really lucky with them. I can’t think of a better relationship a band could have with a label.

Jim: That’s good. You don’t often hear that from musicians. It’s refreshing.

Peter: Yeah, it's been great, and I could have never expected to have this experience. They are great people!

Jim: What are some of your influences? What is in your CD player now? What has helped influence the sound of The Antlers?

Peter: Well, we were into indie rock while we were recording Hospice and we were listening to Sigor Ros, and stuff like that, but now we're on a big electronic kick. We're a little tired of indie rock. We went into another direction. We're in a van now and Mouse On Mars is on the stereo and they're good.

Jim: Are there any bands you toured with that you like?

Peter: We got lucky and we are having a great time working with other bands. They are a pleasure to watch. Holly Miranda for example, is so talented and wonderful and her record is about to come out and it will be a big deal.

Jim: Is Holly a label mate?

Peter: No, she's on XL. Check her out.

Jim: I have some silly questions that my writers wanted me to ask. If you were to attend a baseball game and buy a hot dog, which condiment would you prefer- mustard or ketchup and why?

Peter: Definitely ketchup. I hate mustard! I have always hated mustard. It’s weird.

Jim: In Chicago (where I’m from) you would never catch anyone putting ketchup on a hot dog. That's blasphemy!

Peter: It’s a NY thing too. My mom was always on me for having hot dogs with ketchup.

Jim: What was the last good movie you guys have seen?

Peter: I just saw “Synecdoche, New York.” I thought it was incredible.

Jim: What was that movie about?

Peter: It has Phillip Seymour Hoffman and Catherine Keener. It was directed by Charlie Kaufman. It’s hard to describe, and I'm still trying to get my head around it. Basically, Phillip is a play director and he constructs a world within a world. He discovers he has a rare medical condition and he starts to lose touch with reality. As the movie progresses you can’t tell what's real and what's in his head. It is amazing.

Jim: Is it more or less confusing than a David Lynch film?

Peter: It makes more sense than a David Lynch film. It's not as absurd. When I used to watch "Twin Peaks" there would be random things that didn’t make sense. I ask myself, “Why is that there? There's no reason for that.” Sometimes, David Lynch's films are weird for the sake of weird. In "Synecdoche," there's a reason why things are happening; you just have to figure it out.

Jim: I'll have to check it out.

Peter: Yeah, check it out.

Jim: There is anything you would like to say to our readers or your fans?

Peter: I can’t think of anything off the top of my head.

Jim: Thank you for the interview.

Peter: I hope we can see you the next time we are in LA.

Jim: Of course! Like I said, "We're on a mission."

Peter: Thank you and take care.

David Salidor Gives Us The Scoop

editor@cwgmagazine.com (CWG, Inc.) — Tue, 10 Nov 2009 10:37:00 +0000

Interview By: Victoria Hill
(Urban/Pop Editor)

The fun that was had interviewing Eric Martin and Mark Bego was so immense, we couldn't resist hitting up their publicist for a quick profile! Veteran publicist David Salidor is the press man for the stars, and has handled highly successful publicity campaigns for some of the biggest celebrities in the world. His resumé boasts campaigns for Madonna, Mark Bego, Phil Collins, Peter Gabriel, Rod Stewart, Al Green, and ZZ Top, just to name a few. David’s company, dis Company, was and is right on the cusp of today's best pop music, and has been able to change with the times - Think Susan Blond with less outsourcing, and you’ve got David Salidor, a publicist with the charisma and business sense that New York is famous for. We caught up with David for a quick Q&A.

Victoria Hill: CWG has written about some of the artists you represent (Mark Bego and Eric Martin). How did you become a publicist?

David Salidor: I grew up in a music business household. My father worked for the legendary Decca Records, running their PR department; my mother owned a record store. Decca in the 50’s was one of the biggest labels around. Being a typical kid, I didn’t want to learn any of it and resisted the best I could, but when push came to shove, I kind of knew that end of the business intimately. I started off by doing concert reviews for Billboard, then some local papers in Long Island, NY, where I grew up. At one, Good Times, Kurt Loder was my editor, and David Fricke, my assistant editor. I also worked at the local progressive radio station, WLIR, and at a club called My Father’s Place … which was the premiere spot on the East Coast. I think once I realized what I wanted to do, I went out full tilt.

VH: You have worked with Madonna, Run-DMC, Phil Collins, Deborah Gibson, and,The Moody Blues. What stories can you share about working with such diverse artists?

DS: Each artist, each campaign was an amazing journey. The Moody Blues were always a favorite band, so to have my first job at their label, London Records was totally awesome. Truth be told, they couldn’t have been nicer, so my role was really continuing what they had already built up. Now that I think about it, I never, ever had an awkward moment with them. Total professionals. In fact, when I saw Justin Hayward years later, at Q104.3 of all places, he couldn't have been any nicer. Great group, great guys!

Madonna was quite an adventure as well. I was actually first working with her producer/bf at the time, John ‘Jellybean’ Benitez. She always listened … always! So, I knew she was really taking to heart all the madness around her. I knew she was destined for success … no question in my mind of her abilities and talent. She was truly original, from start to finish. I’ll tell you a funny story: she’s apparently moved back to New York full time … and, bought herself a new apartment to boot. The new apartment is directly across the street from where I used to live! Maybe that’s a sign?

Run DMC were out-and-out brilliant. A little rough around the edges, but they were clearly on the precipice of something so brand new. It was such a rich, rewarding time. I was proud to be on board. A lot of that credit, for their success has got to go to Cory Robbins at Profile Records, who signed them. Cory’s always been one of the best out there … and, still is. Phil Collins and Genesis were great …. one of my favorite bands at the time. It was right after Peter Gabriel left, so it was something of a re-birth of the band. Tremendous talent there.

Debbie/Deborah Gibson was the one magical campaign for me I think. I was there right from the start … in fact, a good six months before the first single ever came out in 1986. And, let me tell you, the talent was there … from top to bottom. From the 12-track recording studio at the house in Long Island, to a vivacious personality. She’s a doll… we still consult her to this day. I saw her last month at Sardi’s in New York. Tremendous, singular talent. Definitely the real deal! We also work with Micky Dolenz from The Monkees and what a delight! Such a professional and such a talent. He’s been recording a tribute album to Carole King, and I predict that will be a major release in 2010.

Plus, Micky has a tremendous sense of humor … which always helps!

VH: You used to freelance for Billboard, Penthouse and Rock & Soul, just to name a few. How did you get involved in writing and is that something you want to continue?

DS: I know for a fact that my background in writing, editing, and the like, has prepared me very well for being a publicist. I know what the writers want, what they don’t like and, how best to serve it up. I generally know what they’re looking for, and if I can deliver that, most likely it will get used. A good writer, doesn’t like his time wasted … but who does? So, if I can produce for them what they need … they will run with it. In these times of papers going under and staffs getting slashed, it is incumbent on me to work as efficiently as possible. The fact that I’m still here 26 years later, is proof. A client and I may not agree, but I can promise that client that I will deliver the most efficient pitch possible.

VH: You were the founding member of the New Music Seminar. What is the New Music Seminar?

DS: It’s interesting that you’re asking me what it was. Years back, it was the #1 music industry business function in the country. The CMJ event kind of mirrors what we started. Tom Silverman, Danny Heaps, Mark Josephson, Joel Webber, and I began it because at the time we had trouble getting into THE industry event of the time, conducted by Billboard Magazine. We couldn’t secure the proper accreditation that we felt we deserved … and, started the NMS. And, then we became the beast.

I stepped away after the first 4 or 5, and it continued to 1995. I found that as it/we grew … it was becoming harder and harder to be fully objective … which is why we started it in the first place. Silverman started it up again this year and I attended the NY-event. It was terrific to see it happen all over again, but this one was held at NYU in New York, where as we’d take over a major NY-hotel last time. The downtime really hurt, but, I’d be proud to be involved in it again. It really was started with the best of intentions and we really created a lot of good will the first time around. We held the first one at SIR Studios in NYC in June of 2008.

VH: What's your advice for people wanting to get into the entertainment business?

DS: The entertainment business is alive and well … and, continuing to evolve. My advice is to do everything you can … read, listen, attend shows, and meet as many people as possible. The more input you can give yourself; it’s only going to help.

VH: You have done so much in your career, is there anything else you would like to do?

DS: It’s funny, I really think the one thing I’d like to do again is find the right artist; the right band … and, make it happen for them … all over again! Do I still have the thirst, the desire, to do it one more time? I sure do! I continue to be amazed by the quality of artists and the music out there. I’m still seeing as many shows as possible and even some of the so-called legacy artists. I started in this because of the music, and, I remain because of the music.

VH: Your company (dis Company) is about 25 years old, how did you start your own company?

DS: I was actually between jobs, and figured if I was going to invest so much energy in this, I’d do it for myself. When you work for someone else …. When something great happens, they get the credit. If something bad happens, you get the blame. Its one of those live-by-the-sword; die-by-the-sword propositions. I want to control my own destiny. Some people can, some can’t. It’s the only way I can work.

VH: You work with a lot of artists that span across all music genres. What is your favorite music genre?

DS: My tastes do go all over the board. I can put on Chick Corea in the morning and vintage Hall And Oates in the afternoon and Dave Mason at night. I like it all … always have.

VH: There's an old saying that any press is good press. Do you agree?

DS: I used to back that adage 100%, although withal the Internet options available like never before, I think ‘good’ press has got to be ‘good’ press. My father used to say “as long as they spell your name right.” I still agree with that, but with all the crazy situations out there, I think you do have to keep an eye on it. I’m open to anything … but, anything positive and with a little class attached to it.

VH: What's been the highlight of your career so far?

DS: When a campaign works, that’s lovely. But, in all honesty, they’ve all been my favorites. One of the perks of having your own shop is that you pick and choose.

I wouldn’t have chosen any of them if I didn’t serious believe we could hit a home run. I’m not in the business of failing, and can honestly say I’ve done my best job possible on each of them. You do what you think, what your experience tells you is the tried and tested way.

The Eric Martin Interview

editor@cwgmagazine.com (CWG, Inc.) — Sun, 08 Nov 2009 07:18:00 +0000

Interview By: Jim Markunas
(Editor-In-Chief)

America loves a good come-back. You may know Eric from his 80s metal band, Mr. Big; their hit song "To Be With You" is as standard in elevators as Nirvana's "Smells Like Teen Spirit." But... Don't call Eric Martin a "come-back kid!" He's been pulling a Robbie Williams for the last decade, touring incessantly and becoming a huge sensation in the international market while flying under the radar in the U.S. Yes... Eric Martin may have only a handful of hits in the United States (it's been 10 years since Mr. Big or Eric have done a U.S. tour), but in Japan, Eric is a king among men. We caught up with Eric via phone to discuss his new album Timeless, a collection of cover-songs originally sung by female singers, now tastefully and unpretentiously performed by Eric and a band of famous Japanese studio musicians.

Jim: You’re a male rocker doing an acoustic album of all female songs. Tell us about that.

Eric: The band I was in (Mr. Big) just reunited. We did a tour in Japan, Europe, and South East Asia. I got back to the US a week ago. I was approached by the Japanese to do this project and in between touring, I recorded Timeless. In Japan, I am known as Mr. Vocalist. When Mr. Big broke up in 2002, I fell down the ladder, but I was on the ladder. My career was more overseas, I was doing solo work and was touring. I didn't do much in the US; I would play some solo shows and charity shows, but for the most part, I was kinda like an ex-patriot. My mom used to say, they only play that one song ("To Be With You"), but in England for example, I am played and written about all the time.

Timeless was a challenge, but I thought, "I do different things- I am a crooner, a rocker." That’s the way I roll. My mom has passed, which bums me out, but she would have enjoyed it. I'm still doing the Mr. Big thing, but right now, I'm in my crooner shoes.

Some of these songs, I grew up with, like “Superstar” by The Carpenters. Karen Carpenter had a lot of soul, not sure about Richard though. I had the album as a kid and really dug it. “You Got A Friend” by Carol King, was another. “No One” by Alicia Keys is also pretty catchy. As a man, it’s cool to take on a female song and give it a 'man’s point of view.' I'm not trying to take away from the original songs, just putting my own spin on them.

Jim: It’s an original concept. I was listening to the album with a girlfriend and she remarked how all the songs were done by females.

Eric: It is, but others have done similar concepts. Rod Stewart and Michael Buble, for example, have done Motown, which I have thought about doing. Luther Vandross did a cover of “Superstar” years ago, but I'm not comparing my version to his. There's a shock value, where someone will stay, “Is that the same guy who sang metal? Now he's in an Armani suit?" There's still some edge, and I'm digging it. They're all good songs! I altered some of the arrangements so they would fit my style, but they still have the same spirit - just a different attitude.

Jim: What I liked was the fact that the album was not over-produced unlike some the original songs. It had a more honest, stripped-down feel.

Eric: The band on the album was Japanese; they are all rockers, the same as me. I didn’t want to copy anyone or do a 'Karaoke album.' When Timeless first came to me, it did sound like Karaoke, so I changed the arrangements to sound more like me. The album worked in Japan... America may be another story. I'm taking my chances!

Jim: Will there be a U.S. tour?

Eric: I don’t have any plans, but maybe there will be TV appearances and press. I didn’t see myself doing this, but it’s good. It’s interesting being a crooner. My dad would listen to this kind of music. My dad played drums in The Four Aces, with Doris Day and he had a great career. He played with everybody and that’s what he did, and now I'm the one on tour. I just got home after 5 months on the road and my kids give me the same look that I gave my Dad and it’s weird!

When Mr. Big broke up in 2002, and I would tour as a solo artist, I would play with bands in Europe who didn't speak English. My wife and I had kids and I've been just going ever since. I have been in Japan off and on for two years. I would be doing 90 TV appearances a day! That’s worse than touring. It’s different. On tour, you get to the venue, change clothes and hit the stage. Now, I'm wearing suits, wearing makeup…it’s crazy.

Jim: When you go to Japan and other countries, is it like a vacation?

Eric: Not really, it’s work. I might get a day or two to do tourist things, but being on the road is work. You see the cornfields of Kansas and Rome. But... Doing the press and tour for Timeless is rewarding and a new chapter. I'm 45-and-change (48 years old) and I'm having a great time.

Jim: We like re-birth in America.

Eric: It sells. I'm in a good period in my life. Mr. Big is back together and I'm struggling, but I'm lucky… I've had big hits worldwide and they've stood the test of time. I still hear “To Be With You” everywhere. I love being where I'm at… there are no more monkeys on my back. America loves retro and a comeback.

Jim: Like Britney Spears, America loved watching her grow, fall apart and come back.

Eric: True. I've noticed that in Japan, people don’t care about that. I didn’t think I was making a comeback, but I guess I am. I was not aware of that.

Jim: I guess I'm the first to tell you.

Eric: Thanks...

Jim: What else are you up to?

Eric: I'm leaving Sunday to go to Japan. I just did a Christmas album. Christmas in Japan, is different than in America. There are Christmas trees and decorations, but the pomp and Jesus parts are taken out. Christmas is more for lovers, not for families. I sang four or five Japanese songs- ones for lovers.

Jim: Christmas is more like Valentine’s Day in Japan?

Eric: Yes, but with a Christmas wreath! Every place is different. I also sang "White Christmas" for the album. There are also about two Christmas songs on the Timeless album. "White Christmas" is a classic. I also did "Happy Christmas (War Is Over)" with Japanese artist Miho. She is considered like Christina Aguilera or Beyonce. My kids, have had the chance to come to Japan to see Mr. Big play, but they fell asleep two songs in.

Jim: How old are your kids?

Eric: The twins are five.

Jim: They're still at the cute stage, but they'll be teenagers soon, and think their parents are lame!

Eric: Yeah, people tell me that. I was out with my kids, and I was holding their hands. They saw their friends and didn't want to be seen holding hands with their Dad. I thought, "This is odd, this should happen later in life!" My friend, Jack Blades from Night Ranger, would say that when his kids where teenagers they didn't want to listen to the songs or go up on stage. “Do we have to listen to 'Sister Christian' again?” Don’t get me wrong, they love their dad, but when you're a teenager, you're into different things. My kids love music, they want to be in the business…one wants to sing and one wants to be a manager.

Jim: How do you feel about the future of the music industry and that records aren't selling?

Eric: You care what I think? I don’t know! Albums aren't selling, but I'm lucky that I'm touring, selling albums and I can pay the bills. The industry has changed so many times. We've gone from vinyl to CD’s to I don't know what. Technology keeps moving forward. You still can be paid in the music business…doing TV, movies, etc. I go to record stores and there's so many bands, that all the albums are are on the floor and not on the shelves.

I can play clubs and arenas. Can I still sell albums? I don't know. It’s frustrating, but I'm lucky to have what I have.

Jim: Why did you go with a major label instead of going with an indie?

Eric: That was a fluke. I haven't had a major label since Atlantic. They (Sony) are offering me work. Wouldn’t you?

Jim: Yes!

Eric: I have worked with indie labels. In the industry, people want another “To Be With You” and say that the new songs don’t sound like “Be With You,” but you can’t make every song sound like that. Sony International brought me in on their domestic label, domestic being Japan. I'm their only American act, so it’s interesting. I've done so much and it’s selling.

I was in rock magazines and now I'm in fashion magazines. It is awesome, but it’s a transition. I love being in the studio and being creative. The grooming and window-dressing is odd, but I think I can wear my own clothes as a rocker, but as a crooner... it’s different. I'm not used it, but I do love it. Take a second listen to Timeless. I hope you'll still like it!

The Wayne Wilkins Interview

editor@cwgmagazine.com (CWG, Inc.) — Wed, 04 Nov 2009 09:12:00 +0000

Written By: Darwin Green
(Senior Editor)

Photo By: Tyler Clinton

Though born and raised in England, the work of Wayne Wilkins hits close to home for the average American pop listener. The songs he has co-written and produced have played millions of times on the radio, both here and abroad, and on personal stereos worldwide. He is an international talent, and his producing credits include the likes of Beyonce, Natasha Bedingfield, and Kylie Minogue, just to name a few.

Something like this might go to someone’s head very quickly, but talking with Wilkins, one hears a genuine, down-to-earth guy who likes to have a good conversation and tell stories, not the typical insulated fame-entrenched celebrity one typically imagines behind the success stories of multiple musical hits (for example, one hears of Phil Spector). One gets the sensation by talking with him that he knows himself too well to become self-centered, and furthermore chooses to acknowledge the fact of his talent over any ego-gratifying pretense.

In other words, he’s an easy guy to talk to, and has a lot to talk about. His story demonstrates that a love for one’s passion provides the map for anyone looking to travel further along their dreams.

DG: It says in your biography that you chose music over sports. What was the appeal in music that made you decide?

WW: I think what it was, when I was younger, is that I knew that I had a much more natural ability for music. I knew I could work professionally in music. Even if I loved sports I knew I wasn’t good enough to do that for my career. I think in the end I knew I had a talent for doing songwriting and composing music, so…I think that was the deciding factor.

DG: It seems that you have a talent for the piano. If you hadn’t pursued a career in recording would you have gone on to pursue life as a concert pianist?

WW: I think I might have gone on to a career maybe playing as a pianist in a jazz band or playing in some kind of arrangement where I’m interacting with other members of a band, but I think as a classical pianist, I got to a level where I was really good at playing classical music but I was never going to be as good as others who had been in the Royal College of Music or trained formally from an early age. I thought, "I’m going to be 18 and there’s going to be a 12-year-old down the corridor playing Rachmaninov."

I think I knew at that point that I wasn’t going to be at the level that other people were as a classical pianist, but at the same time I had a real talent for writing music. I would sit down at the piano and just play, and just start coming up with stuff. So at that point I knew I was going to go into a career in music producing and songwriting rather than just playing.

DG: How has your involvement on both the production and performance side of music influenced the way you’ve handled artists in recording sessions? Can you relate to them better than if you had only taught yourself producing?

WW: First of all, I’ll talk about my background. My background in music was first and foremost classical, and I went on to learn jazz. I think what happened as I got older and I started to listen more and more to what was on the radio, what happened is that I started incorporating a lot of that into what I was doing.

And I started working with lots of different people. By the time I was in my early twenties I’d be working with more people who sang formally in a classical style and then I’d be working with people who had more pop and rock style. To me, it was being in that environment where I could fuse all those different styles.

I find myself being able to relate to a lot of singers and a lot of different musicians because of having that experience and not just doing one thing.

The other thing that I was very lucky to do was to work in a studio called Olympic Studios in London, where I kind of started off my professional career learning about how instruments and strings and drums are recorded, so I was in an environment where I was learning a lot of different styles of music with lots of different types of instruments and singers and musicians and all that so I think I can relate to a lot of different musicians because of all that.

DG: Let’s talk about pop stars. Tell me about the first time being in front of a camera while producing, and why was there an appeal for you?

WW: I’ve got to be honest about this. It’s a really daunting thing, because the most important thing on an artists’ time is trying to capture the most magical performance you can from them, and that’s hard to do in that situation because having cameras there intensifies everything.

If you’re trying to get a vocal out of a singer, which we were at the time, you tend to find that the people singing when the cameras were on behaved in one way and acted a certain way.

Sometimes it really helped, but then some of them were a little bit more worried about how they looked in front of a camera. So what we had to do in that situation, obviously, the camera crew had a job to do and I had a job to do, is let them record what they needed footage-wise and I recorded as soon as the cameras were off. We managed to find a compromise there. That was my first experience with it, and it was actually quite fun. But at the same point, everybody had their job to do, so we had to find the balance there.

DG: Do you foresee any major changes occurring within the music industry as a whole, and how are you preparing for it now, stylistically, technologically, or otherwise?

WW: What I see mainly is how business is shaping music. Obviously music stars are going to involve themselves in musical styles that are getting more popular. For example, at one time pop music will be popular and then rock music will start taking over, especially in England where you have so many different styles going on. The change is much more rapid there than over in America. I think that’s always going to go on, irrespective of the business of music.

In terms of the business of music now, obviously people are downloading a lot less albums and having singles, and becoming a producer of singles is becoming much more important. It’s not necessarily the greatest thing because it becomes more about having a radio hit than developing an artist from the ground up.

Reading lots of magazines and reading about how people access music now, people and kids are downloading music for free. Talking to a lot of kids, you get the impression that they feel they should be allowed to have a lot of music for free, and they love it; they just want to go on their computers and download it. Part of the challenge of that will be how to monetize that and make use of the fact that they’re downloading it.

Sometimes it’s not downloaded legally, but you can’t really pretend. I don’t think you can hold that stuff back. I think music is one of those things you’ve just got to let go free and people will have to be able to download it, but at the same point, it’s learning different strategies to make a business out of it. For me, I’m just reading about what people are doing and what record companies are doing and models they’re actually using.

I’d like to be able to work with an artist, rather than have labels approach me for singles, in order for them to have a complete body of work. Literally, you’ll have a complete album available for download and people will go on and just pick their favorites. It’s a bit of a shame that albums don’t have the same treatment that they did back in the day.

DG: Thank you for your time. It was certainly an honor to speak with you.

Links to some of Wayne Wilkins’ songs:

Natasha Bedingfield – Single

Natasha Bedingfield – These Words

Cheryl Cole – Fight for This Love

Beyonce – Sweet Dreams

Hot Chelle Rae - Nash Gives Up The Goods

editor@cwgmagazine.com (CWG, Inc.) — Tue, 03 Nov 2009 00:13:00 +0000

Interview By: Pablo Cortez

PC: Can you tell us a little bit about your experience recording your debut album, "Lovesick Electric?" What was it like? What did you learn? Was it as expected?

Nash: Well, we are very fortunate to have been able to work with what I would call our dream team of talent for this record. Between Hollywood and Malibu, where we got to work with Eric Valentine and Butch Walker, to finishing the record with Matt Radosevich in Nashville... It has turned out to be everything we wanted and more. With Valentine we really had to step our game up as far as getting as close to perfect as possible. Every moment had it's decided role, and it makes an incredible picture.

Being in the studio standing next to Butch Walker was kind of surreal to us, since watching and learning from him since R.K. and I started writing together. He's a vocal arrangement genius, which hits home with us(we share a mutual obsession with Queen). As a last minute surprise Mark Endert agreed to mix most of the album. He's the only person we desired to work with, that hadn't been in the equation. He brought this whole together. All in all, "Lovesick Electric" is everything, and way more than we dreamed of.

PC: How did you settle on the album title, "Lovesick Electric?" What significance does it hold?

Nash: It's a lyric in the bridge of "I Like to Dance," but before that, we had written a song called "Lovesick Electric." It was a phrase we made up at random, and kind of gave our own meaning to. To us, it defines being addicted to music, or being a slave to the groove. I remember one day R.K. called me and said "I know the title of our first album." I knew it before he said it. It's been one of the few unwavering decisions since it's inception.

PC: The track “I Like to Dance” has gotten some exposure on shows like "So You Think You Can Dance" & "Dancing With The Stars." Are you guys fans of the shows? What is your reaction to hearing your song played on national primetime television?

Nash: Those are both very addicting shows! No matter how many times we hear our music played during a TV show, it always makes us a bit giddy. Especially if we don't know it's going to happen.

PC: How and why did you guys decide to sign with Jive Records? What has that relationship been like?

Nash: Jive was really one of the only labels to get our goal/vision/dream. Every other label we had gone to, indie or major, had been sort of clueless as to what they planned to do. Not only with us, with the way that the industry is constantly changing. Jive seemed to really have it together, from their track record, to their support for us. They're in this for more than a brief flash. We plan on making the long haul.

PC: I know you’ve just started the ‘music business’ side of things but is there any advice you may have for current up and coming bands looking to get signed?

Nash: It's all about material. We've seen some of the best musicians be turned down because they don't have something "special." We've also seen people get signed who could barely play their instruments, all because of having great songs. Write, write, write(and yes, get really good at your instrument). If you have great songs, people will come to you. After that's set in motion, you need a live show that makes people want more.

PC: What’s the best part about touring?

Nash: Well, on this current Third Eye Blind tour, I have to say that everyone getting together for a bus party after a show is a pretty good way to end each night. But NOTHING makes an impact on us like meeting and hanging out with new(and longtime) fans. Anytime someone comes up to us and says we're their new favorite band, or that a song spoke to them, it makes our night.

PC: Any favorite gigs, venues that you’ve played?

Nash: The Stanley Theatre was one of the most incredible buildings we've played. The fans were great, and everything was painted with gold leaf trim. Pretty cool to see. Also, on the other end of the spectrum is the House of Blues in Cleveland OH. Rock and Roll to the max. Dirty sweaty and loud, and we loved it.

PC: What's one style or piece of music you just hate? And I mean loath, like you want to see it banished from all formats and all airwaves?

Nash: There may be a song or two by this artist that is acceptable. Ugh, I HATE this question so much, but since you asked... Flo Rida. Unless it's featuring T-Pain(one of our favorites) or someone great.... the radio is getting turned off.

PC: Can’t wait to see how you’re music video comes out, what was that like? I hear you shot at Crazy Gideon’s in Los Angeles, did you get to meet him?

Nash: We did! He even did a cameo in our video(a scene with Stephanie Pratt). It was the coolest experience. We arrived at 3pm, and left at 6am. We were tired for a few days after, but it came out better than we imagined. It's wild, and crazy, and fun, and a bit rebellious;). Hope everyone gets to see it SOON.

PC: I know you’ve got a lot of touring coming up, what’s the game plan for you guys, post tour?

Nash: We'll go home, relax, write more songs, and figure out where to play next. Sadly I'm sure there will be a couple of overdue bills too... may have to ignore those. haha

Andrew Hoover Tells All

editor@cwgmagazine.com (CWG, Inc.) — Thu, 29 Oct 2009 23:04:00 +0000

Interview By: Quinn Allan

QA: Before you were a musician you had a different career in mind, that of a chef. Did your dabbling in the culinary arts provide you with any unique experiences that have come in handy in your life as a professional musician?

AH: There is a lot of hustle and bustle in the professional kitchen. You might have 5 saute pans on the range, a few pans finishing in the oven, the cabernet demi glace is warming on the side for the filet and more tickets are printing out--Mean while you're trying to plate table 8's Rosemary rack of lamb with it's fig chutney and white bean- truffle puree.

This scenario reminds me of the hustle and bustle on the road as well. Getting up early for an interview only to drive 7 hours to the next venue, winding in and out of traffic because you're cutting it close to doors opening at the venue, soundchecking, performing, packing up, sleeping and doing it all over again the next morning.

QA: Your blog, featured at www.andrewhoover.com, is ripe with your affections for a certain
fermented fruit. What sparked your interest in wine? Is it by mere coincidence that your choice of drink is equal in sophistication to the style of music you play?

AH: My professional kitchen days allowed me to sample fine culinary dishes and at one point I remember being 14 years old chatting with the other chefs before service started and the restaurant's Sommelier gave me a sample of a $250 Barbolo as an educational experience to sophisticate and expand my palate. I love art and the art of wine is just another delicious dimension of the vast world of art.

QA: When a young man tells his parents he¹s quitting college in search of music fame, the response is very rarely "You have my blessings." You either have some pretty neat parents or your persuasive powers are uncanny! Was it really that easy?

AH: At first they had a little difficulty swallowing the "drop-out" talk. They then allowed me to take one year off of school as a trial period to see the kind of progress I was making. It happened that in that one year off of school I was picked up by Rock Ridge Music and started recording Chances, Stances & Romances. It was this progress that opened their eyes that I might be able to make a living for myself with this job. Of course they would still like to see their son graduate from a university and that certainly is not a closed door.

QA: You credit learning your technique from YouTube videos and concert DVDs, were these your instructors or were you professionally trained as well?

AH: Youtube videos, concert DVDs, as well as some of my very talented friends who have given me tips and advice along the way.

QA: Making the transition from struggling artist to touring musician can yield some unexpected turns. Are you adjusting well to your new life, or is it a bumpy road?

AH: I am very much a home body. I am a big family man so being away from home a lot can be tough. I have had days where a 10 hour drive turns into a 13-hour-drive due to traffic and I get to the venue 35 minutes before I have to hit stage. All the while I went to bed at 4 AM the night before and had to get up at 6:30 to make that trek. Somedays are bumpier than others, but I
take no prisoners.

QA: All musicians have a MySpace, few expect it to directly lead them to the success they crave. Were you surprised when you first found out you were being checked out by a label?

AH: yes! I got in the habit of sending "Friend requests" to the myspace fans of my musical heroes. It just so happened that one of the fans I friend requested worked at a record label. It was completely unexpected and frankly very lucky.

QA: Ray LaMontagne comes up a lot on your lists of heroes and influences. Do you think you'll open for him one day? Or will he be opening for you soon?

AH: Ray LaMontagne is one of a kind. His live performances are so raw, so emotional, passionate and dynamic. It's incredible how he can go from a sultry whisper to filling the room with his gruff, seething, lion-like roar. I very much hope one day I can open for that man.

QA: Now at the start of your career, what is the high mark you want to reach by the end of it?

AH: I would love to be able to headline and fill up rooms like the Beacon Theatre (NYC), Amos Southend (Charlotte), Paradise Rock Club (Boston), tour in my own tour bus and have the opportunity to collaborate with some of my musical heroes.

QA: Tell me about the album. How was recording in the studio? Did your songs evolve over the recording process?

AH: I have never recorded or played with a band before. The songs I have written were written very much for just my guitar and my voice. With the help of my band mates Johnny Pisano (bass) and Rich Smalley (drums) as well as my producer Jason Spiewak we were able to transform and formulate these acoustic tunes into a fun, full band, dance vibe CD.

QA: Despite technology making it easier for listeners to absorb new music from home, artists seem to agree that touring is still the best way to connect with fans. How has hitting the road helped you connect with your audience?

AH: There is an energy and passion in my live performance that simply cannot be captured on tape. It is a huge element to my music that needs to be absorbed in order to experience my music as a whole. Playing live allows the audience to see, feel, smell and taste this passion.

Cleopatra Of The Nile

editor@cwgmagazine.com (CWG, Inc.) — Mon, 26 Oct 2009 08:52:00 +0000

Written By: Darwin Green
(Senior Editor)

Cleopatra of the Nile is a smoky, brunette Egyptian woman who was raised in Australia and works as an actress, a host, a wrestler, and now a jeweler. The pressure of achieving success in any one of those things would daunt even the hardest working Hollywood socialite, but this goddess from the outback takes it all in stride.

Her main website, www.cleosoasis.com, features her exotic, bare-breasted body on the home page, and one finds that it’s no surprise to learn that she won “Miss Nude Black International 2004.” But as one looks closer (and maybe more at the words) one discovers that her resume includes roles in major feature films, television spots, modeling awards in major magazines, and now her own string of businesses and websites.

She is a genius in self-marketing. The title of one Youtube video linked from her website is “Punk Marketing.” The video has her sitting cross-legged on a wool rug in front of a fireplace in a shirt and tie, wearing glasses and reading a book. She takes her glasses off and says, “It’s difficult to exaggerate how much has changed in terms of consumers’ relationships with brands in the last few years.” She puts the book down, folds up her glasses, puts those down, and while continuing to talk about “market shares,” starts taking off her tie and unbuttons her shirt. By the time she’s talking about media that “interrupts rather than connects with consumers,” the shirt is completely off and she’s sitting in nothing but a two-piece bathing suit, and there’s still a minute left in the video.

Such a sultry campaign as this only clarifies the brilliance that manifests itself in such a woman as Cleopatra. She will use any of the tools that nature granted her. But as this interview shows, she has other reasons to be thankful, and to capitalize on every opportunity given her.

DG: You are a model, an actress, a host, a wrestler…what else do you do?

Cleopatra: I think you covered all the bases. I’m also a jeweler.

DG: How are you able to accomplish all these things in one lifetime?

Cleopatra: I sometimes have five projects going on all at once. I’m an overachiever.

DG: What motivates you?

Cleopatra: That’s a great question, and one that is very personal to my life. I do it all for charity. Do you know what cystic fibrosis is?

DG: Actually, my uncle died of cystic fibrosis when he was 16.

Cleopatra: Well, it usually kills people at a young age like that. I have cystic fibrosis and I’ve survived to 38. Having it really pushed me to do as much as possible with my life because there’s no time to be wasted. What motivates me is that I’m awake every day, and that makes me decide what I’m going to do with each day. I choose to do much more than other people because I’m aware of the limited amount of time I might have at any moment, and I overachieve because I don’t want to lose any opportunities. People might say that anyone could get hit with a bus at any moment, but the way it is for me I don’t want to waste any of it.

DG: That’s pretty incredible. Are there any people who have inspired you?

Cleopatra: Well, nobody famous. The people who have inspired me have all been everyday people. There are two people who have inspired me the most. My mother, first of all. She is the most incredible businesswoman I’ve ever known. She always tackles things that most people have problems doing. She’ll find the hardest task she can find and the results always turn out better than the expectations. If only I were half the woman…

The second person, who will go unnamed, slipped on some grass and snapped his neck. He can’t move below the second vertebra, and he has built a business and an empire without being able to move from the neck down. He never complains about life and he has the most positive attitude of anyone I know. When I’m around him, I can’t complain about anything because he’s so positive and he’s achieved so much that any of my problems seem small compared to his.

DG: Tell me more about your reality show.

Cleopatra: The reality show is basically me taking stars, and entertainers, and interesting people in life and I do what they do. I experience them through my eyes, and in doing so they get to see what they experience through my eyes.

DG: Is there anything that you would want to do that you haven’t done yet?

Cleopatra: I’d like to take my jewelry international. I make unique and interesting jewelry from beads and other things and handcraft them. I’d like to expand my company and have it extend throughout the world.

Don't miss Cleopatra's Wild Toga Party on November 6th!!!!!

Here are some links for Cleopatra of the Nile:

www.HouseofCleopatra.net
www.Cleopatraofthenile.net (in 2010)
www.Cleopatrascollection.com (in 2010)

Like Cleopatra? I know we do! (Ow-Ow!) For inquiries, you can contact her below:

Phone: (818) 497 3709
E-mail: cleopatraentertainer@yahoo.com

The Fall of Troy Interview

editor@cwgmagazine.com (CWG, Inc.) — Fri, 16 Oct 2009 08:20:00 +0000

Written By: Pablo Cortez
Photo Credit: Dustin Roe

See all of Dustin's Dear Hunter/Fall of Troy photos here.

I had a chance to catch up with the guys from Fall of Troy at their October 15th show at the Knitting Factory. The show itself was classic FoT; loud, fast and frenetic. The crowd knew who they were there to see, and added to the energy of the place by singing along and moshing it up. We managed to snag some time with the trio backstage pre-show for the following interview.

PC: How do you guys go about writing your music?

Andrew: Lyrics are pretty strictly him (Thomas). He brings us the guitar outline and then we all hash it out.

Andrew: We all make sure to say, “What’s the best thing that this could be?”

PC: You’re all from up north right?

Thomas: Yes.

Frank: I’m from San Diego (via San Jose).

Thomas: We’re from north of Seattle.

PC: What’s the scene difference from up there to down here (Los Angeles) as far as your fan base? Do you see a big difference?

Thomas: People treat us more like we are more…

Andrew: Cool.

Thomas: Yeah, people like celebrity down here more, so we kind of get treated that way a little bit more. It’s interesting, it’s weird to come here and have people recognize you, talk to you and want to hang out with you.

PC: You guys were kids when you started right? How old were you?

Thomas: Me and Andrew were 17 and 16.

Andrew: I was 16. I had just gotten my license, and I got in that accident on the way to practice.

Thomas: Pretty much since I was 18. It’s been a progressive coming-together since then.

PC: Frank, how you get involved with the band, did you get a call?

Thomas: Yeah, he got a call!

Andrew: Oh, he got a call! “Hey Frank, we’re having a really bad time. You want to play bass?”

Thomas: Frank was like, “Well, I’m working at UPS, yeah I’ll play.”

Frank: Loading trucks, dealing with dicks or play bass with these guys.

Thomas: You’re still loading trucks and dealing with dicks, but at least you get to play music now.

Frank: Minimal breaks, minimal money, minimal hours, minimal everything.

Andrew: Basically, we saved his life. No, I’m just kidding. We gave you so much more stress.

Thomas: Frank, you always wanted to play music, be in a band.

Frank: No, no. Stress... I can handle the stress. As long as I can get some girls, some gigs and a giggle.

PC: (To Frank)Was it easy to get into playing with these guys?

Frank: I was really familiar with their songs, so it was just like the act of covering notes and playing.

Andrew: You’re a phenomenal player.

Thomas: I think more than anything it was him (Frank) going from being a guitar player to a really good bassist.

Frank: It could have been me just playing with them, but you have to care about something, you got to love what you’re doing.

PC: Do you guys have a favorite track on the new album?

Andrew: I like them all, but the one that’s different for me is "Nature vs Nurture."

Frank: "The Classic Case of Transference."

Thomas: "Battleship Graveyard" is probably my favorite. "Dirty Pillow Talk" is pretty good too.

PC: Do you have a certain inspiration you guys look to?

Thomas: I think we all have different inspirations we look to.

Andrew: First and foremost, what we want to listen to. We all have our personal influences per our instruments.

PC: Seems you guys bring a lot of different stuff together.

Thomas: That’s the point.

Andrew: It’s the meshing of the parts, the sum is greater than the parts in this band.

Thomas: The whole is bigger than the piece.

Andrew: That’s what I just said, exactly.

Thomas: But I said it in a different way.

Andrew: Cheers to that!

PC: That’s pretty much all I have for you guys. Anything you’d like to add for the fans?

Thomas: Go check out the new record and come out to a show.

Andrew: Definitely.

Check out CWG's review of "In The Unlikely Event"

The Dear Hunter Interview

editor@cwgmagazine.com (CWG, Inc.) — Fri, 16 Oct 2009 08:07:00 +0000

Written By: Pablo Cortez Photo Credit: Dustin Roe

See all of Dustin's Dear Hunter/Fall of Troy photos here.

It’s always great to get to see a new band you just discovered do a live show. I started listening to the Dear Hunter a few days before this assignment and I’m glad I did. This prog-rock band has a unique sound combining different styles of music to create what would be right at home on stage in some otherworldly, dali-esque version of a speakeasy, complete with dancing flappers and free-flowing illegal hooch. Although I was unable to make my way to this gin mill, because, well, it doesn’t exist, I did get to interview guitar player Eric Serna and bassist Nate Patterson just outside the Knitting Factory after their October 15th show.

PC: Where does your sound come from? What are some of your influences?

Eric: There are so many influences across the board. We all come from pretty varied but also really similar backgrounds in music. Nate and I have a super-blues background, like Hendrix, Zeppelin, classic stuff. Casey and Nick have a jazz-fusion background. Their dad brought them up playing that kind of stuff.

PC: You guys bring all that together?

Eric: Yeah, totally. It’s an amalgamation of all that stuff.

PC: Have you guys played Los Angeles before?

Eric: This is like our 5th or 6th time here. We like L.A. dude, it’s really cool, it’s rad.

PC: Are you guys all from the Boston area?

Eric: Actually, Nick and Casey are from L.A. Nate and I are from western Massachusetts and Andy is from Illinois, we’re kind of from all over the place man, but the band basically started in Boston.

PC: What’s the big difference from out there to here as far as fan reaction at live shows?

Nate: There’s a similar enthusiasm. L.A. has its own special scene that makes it more its own.

Eric: Here’s the thing, L.A. is a very tourist-specific spot. Depending on what kind of tour you're coming through on, the crowd can definitely vary. In Boston word gets around a lot quicker and you see the same people coming out to shows, where in L.A., you could do five or six shows and never see the same person twice.

PC: Do you have a favorite show you’ve played? Favorite venue?

Nate: The Glass House is always fun. That place is awesome.

Eric: For whatever reason, since day one, our first show there... Actually our first show there ended up having to be acoustic, because our van broke down in Arizona, so me and the drummer at the time had to stay behind while the rest of the band went ahead in the headlining band’s bus. Anyway, the show had to be acoustic. We got a call after the show and Casey was like “Dude, the crowd was really digging it, they were singing along.” It was our first time there so every time we go back there it’s super rad.

PC: What’s your favorite part about touring?

Eric: Just meeting people, dude. Traveling and seeing some cool shit. Our drummer Nick and Casey, our singer’s cousin just got this RV, and let us borrow it for this tour. We’ve been staying at camp grounds and RV parks across the country. It’s been ridiculous.

Nate: A little bit cold when we sleep, but that thing has heat and everything on it.

Eric: It’s been great because we actually get to spend some time in the wilderness, which isn’t really to often when you’re on tour.

PC: Where are you off to from here? What’s your schedule looking like?

Eric: We have the day off tomorrow, and then we’re off to San Fran, and then back to Pomona on Monday.

PC: Anything you’d like to get out to your fans?

Eric: Just listen with an open mind. That’s the main thing.

Nate: We got a big tour coming up starting November 15th with Thrice.

Eric: Ya, we come out here to the Avalon and two shows in Anaheim at the House of Blues. That tour should be fun, so if you want to come out for that, please do.

Interview With Brendan Hill – Blues Traveler

editor@cwgmagazine.com (CWG, Inc.) — Thu, 15 Oct 2009 08:03:00 +0000

Interview By: Victor Alfieri

When most people think of the band Blues Traveler, the songs “Run-Around” & “Hook” are probably what come to mind. The band, John Popper (vocals, harmonica), Chan Kinchla (guitar), Tad Kinchla (bass), Ben Wilson (keyboard) & Brendan Hill (drums, percussion), has been making music for 20 years, and the album Four was their biggest commercial accomplishment.
For many, that is where the story ends. One album later, the band had to deal with the tragic death of their close friend and band mate, Bobby Sheehan. For the remaining members of the band (Popper, Chan Kinchla & Hill), this was more than just losing a bass player. These four grew up together, went to school together and started what would become Blues Traveler in high school long before any of us had a clue of what they would become. They didn’t just lose a friend, they all lost a brother.

This past August marked the 10-year anniversary of Sheehan’s passing. You will see in the interview that follows, this isn’t a story of one band, but two: the band that Bobby Sheehan helped create, and the band that was created after he passed away.

VA: This band has been around for a long time, but it went through some pretty tough times. This past August marked the 10-year anniversary of Bobby’s death. Was there a point back then where you weren’t sure that Blues Traveler would continue?

Hill: I’m sure when it first happened, we all felt that way to some degree. Bobby died on August 20, 1999, and it took us all some time. We all had to see if it was possible to keep this thing going. We all had to do some soul-searching. It would have been OK for us to stop then, because I think we accomplished everything we needed to accomplish. But we still loved playing music together and we still had this bond, so we thought about it and decided to hold some auditions. Then when Tad joined the band, it was kind of like having a similar feel to a high school friend because he was Chan’s brother.

We decided to add Ben as a keyboard player because we didn’t want to re-create what the old Blues Traveler was. We wanted to start off with a new element. I think it really gave us a lift because it made us different enough so that we could write new music and it gave us a kind of second awakening.

VA: Did the fact that you all knew Tad make his joining the band easier or were there any problems with the transition?

Hill: It took a while for us to gel. Tad’s a different style bass player than Bob was. It took a while for me as a drummer. The bass and drums have to lock together. It took a little while for us to learn each other’s styles. I think I adapted more to his style and I think it made some of the songs change for the better. We had been playing “But Anyway” for 10 years and for us now to have this funkier kind of syncopated bass going on below it, it brought a new take to all of the old “standards.”

There were some growing pains. We had to re-learn a bunch of songs and we made a coupe of arrangement changes. Having the keyboards come in was actually freeing to Chan & John because they are now able to play rhythms and cords behind. Usually, back in the day, when John was soloing, Chan would have to pull it down and vice versa. So when Ben came into the group, it gave them both some freedom to develop a different path. I think it was liberating. It gave us a different approach to writing music because we now had the keyboards to create melodies. I think as a band, we grew a lot in those first four months when we first came together in 2000. Our writing approach was similar to the old Blues Traveler, but it foreshadowed things to come.
VA: When you did bring in Ben and were re-working the old songs, did you have any “ah ha” moments where you said, “We should have had this the whole time?”

Hill: Yeah, we always talked about adding a keyboard player, especially with a lot of songs on the albums where we brought in Chuck Leavell, and all kinds of great keyboard players to guest on records. Now we have a keyboard player in the band so he can re-create all of those moments. It was great. We were like, “We should have done this 10 years ago.” But I think making the band sound different from the original band also gave us an opportunity to start up fresh and made touring and everything new and exciting.

The new guys had a lot of energy and brought a new dynamic. We had to go back and learn a lot of songs over again, and after 10-15 years of doing the same thing, you get a little jaded. Having this kind of re-birth mid-career was exciting for us.

VA: Absolutely, you guys truly sound like two different bands. If you pulled out Travelers & Thieves and compared it to the more recent stuff, it is so different.

Hill: Yeah, I know. Even between our first record and our fourth record as a group, you can see the evolution of the group. I think we just kept pushing ourselves to get better and keep growing. We want to take on any challenge that people give us. On compilation records we’ve worked on, we were always, “Give us the hardest song you’ve got and let us try and work it.” That’s our motto, let’s work on stuff and just go through the paces.

VA: There was a lot of talk with the most recent album, North Hollywood Shootout, about how you wanted to “catch lightning in a bottle” with the writing process and put it all together in the studio instead of coming in with some pre-conceived ideas. How do you feel about that now and do you think you will use this style again in the future?

Hill: I think as a band, going into the studio is a real thrill for us. It’s where you get to really work on your playing and you bring in a producer as another member of the band to bounce ideas off of. We’ve done a lot of studio albums where you do a month of writing and then two weeks of pre-production, and when you get to the studio, you pretty much know exactly what you’re going to do.

We had done that over the last eight or nine records. I think the objective of this record was to see if we can go in there with a fresh approach and utilize the producer as we go. As far as whether it was the best process ever, I think it’s hard to say. Sometimes you come up with a song idea and you really want to bring it to the band.

VA: You guys have been road warriors for close to 20 years now. You must do 100 shows a year. What are the plans now? Are you going to take a break? Any plans to go into the studio?

Hill: We started this tour in May and will go through November 20th. Between that and a few dates in Australia earlier this year, it will be right around 100. We’ll take the holidays off and probably get back together in late February or March and see what we come up with. Whenever we are apart for more than a couple of months, everybody comes back with a bunch of ideas. That’s another exciting part of this. When you tour for six months and then take a break, it’s like having separate lives. So when you can bring a couple ideas after a break, those are usually the strong ones, the most developed ones.

We haven’t talked about recording, but we’ll probably get together in March and talk about writing and then get into the studio. We’ve had the new album out for a year, and it’s fun to play new songs. I think we all love that feeling of having new material and being able to try it out in front of crowds.

Blues Traveler is currently touring with dates going through November. For more information, go to www.bluestraveler.com. This band has always put on an amazing live show with great energy. They have made a specific point to keep ticket prices low. If you have a chance, definitely go out and see them.

Visa Brings The “Cultural” Noise

editor@cwgmagazine.com (CWG, Inc.) — Tue, 13 Oct 2009 21:48:00 +0000

Written By: David Carr

If you are looking for a band that takes rock music and combines a serious cultural sound with a political message then look no further than the band Visa. Visa has their roots in both New York and L.A., but they boast a cultural sound rooted in the Armenian/Greek culture. I had the chance to chat with Visa frontman K’noup about the origin of his band and what the future holds for this unique ensemble.

David Carr: When did Visa form?

K’noup: I formed Visa in the summer of 2000 in New York City with former co-founder and member Johnny Nice. It was meant to be strictly a side project of mine due to the fact that I was in another band, Neurobox. In 2004 upon moving to Los Angeles and with Johnny Nice’s departure from the group, I made a band out of the project with the members of Neurobox with the intention of exploring a more international sound.

DC: How did you all get together and how long have you been together?

K’noup: In 2004 the members of Neurobox (that included me, Hiram, Suguru and Alex) came to play with Shant Bismejian, Orbel Babayan, Jivan Gasparyan Jr., Chris Daniel and Andrew Kzirian through the large community of musicians that inhabit the city of Los Angeles. The band has been playing local shows now for 5 years.

DC: Your sound seems to be a mix of heavy rock and traditional Armenian music. How did you all agree to create such a mix?

K’noup: The music itself represents a natural progression. I created Visa with the intention of exploring different musical cultures of sound whether it is Greek, Armenian, Russian or such. There has never been a contract to adhere to a specific style or origin; everything is all about our ability to create together naturally. Some people think we’re just as Greek as Armenian as Arabic and so on. It makes no difference to me as long as they feel the music in a positive spin and feel our energy.

DC: Why is it important for you and the band to celebrate your culture in your music?

K’noup: It’s important simply because it shows no disguise; we all come from strong distinct cultures from around the world. These homegrown characteristics are necessary in our music to not dissuade the audience in our music and because of that I think we connect with so many people.

DC: You have made it a point to play shows that commemorate the Armenian Genocide. Why is remembering this tragic event in world history so important to the band?

K’noup: As people alone, we feel that we should stand up for what is right. This was a tragic occurrence that should never be allowed to happen again and we take part in events to expand the public’s knowledge of this atrocity that to this day is ignored. It’s the youth of today that will keep our future safer, so if these events open their eyes then why not take part and make the world a better place.

DC: Should art and politics mix?

K’noup: That all depends on the artist. Politicians certainly don’t like the idea of “their” people being influenced by some artsy fartsy guy who has something to say to change the world. And for the most part the artist wins because he has the medium that can influence millions faster than some boxed up collegiate scholar or politico. In my opinion music is the most powerful form of expression, I always said if a politician wanted to come across stronger then write it in a song!

DC: Have you done many shows within the heart of the Armenian community in Los Angeles?

K’noup: We have done quite a number of shows in the Armenian community as a large portion of our fan-base is Armenian based. From Glendale to Little Armenia in Hollywood we have been part of many social gatherings that have promoted the culture and lifestyle of Armenia. These shows complement our standard LA performances and provide another outlet for Visa to reach its fans.

DC: Who are some of your musical influences?

K’noup: I think our distinct sound is directly due to our diverse influences. We as a unit are all over the place in terms of influences from international artists like Notis Sfakianakis and Despina Vandi to more mainstream artists such as Mr. Bungle, Metallica and Queen. Regardless, we all come into one room and create a new canvass on which to work artistically.

DC: You have a new disc coming out soon. What can fans expect on the up coming disc?

K’noup: We have a new record in the works called “Made in Chernobyl” in which we venture into a new aggressive sound. It also has a more Eastern European flavor than our previous efforts and I think it will take many by surprise but that’s the whole point of Visa, to delve into other worlds and cultures without second guessing ourselves.

DC: Will you be touring for this new disc?

K’noup: We are going to Canada in the middle of October with more dates to follow elsewhere around the world. It will be very exciting to say the least!!

Mae - Zach Gehring On Saving The World

editor@cwgmagazine.com (CWG, Inc.) — Fri, 09 Oct 2009 21:37:00 +0000

Interview By: Jim Markunas
(Editor-In-Chief)

Photos Taken From Mae's Flickr Page.

Mae has always been one of those bands that's a little bit 'left-of-mainstream,' and we love them for it. They emerged when the balls began to fall off of music back in the early '00s (yes... the 'emo' era) as an alternative to the pop punk of Fallout Boy or the screamo awfulness that dominated rock radio. The first time I heard "Summertime" and "Last Call," which the band had offered for free on the internet, I was in love. They were emo-leaning without being whiny, and they understood that loud guitars are a band's best friend. Light in just the right places with the moog stylings of Motion City Soundtrack, Mae invented a genre all their own.

They eventually signed with Tooth & Nail Records, which led to a short-lived deal with Capitol in 2006/2007. After walking out of their record contract (very cool!) they've been on a one-band journey to save the world. We caught up with guitarist Zach Gehring via e-mail.

JM: Leading with the tough question... What happened with Capitol Records? Why the split?

ZG: The day we finished our record, Virgin and Capitol Records (both of the EMI family) merged, and shortly after that, EMI was bought out by an equity firm in the UK. At that point, most of the staff at Capitol were let go, leaving us with a staff who knew nothing about the band or our goals. We thought it through a little bit, we did not want to be too reactionary, but at the same time we knew that things could go downhill very fast. Luckily, the nature of our contract allowed us to opt out of our contract and come away better for it.

JM: You guys are a three-piece now. Tell us a little bit about that. Is it easier or harder to pull stuff off live? Can we still expect synth/moog/piano in your music?

ZG: The loss of two members definitely affected our creative process, but I don't think it's too drastic of a change. We still perform as a 5 piece. When the 3 of us sit down to write, it is a more focused expression. That can either be a good thing or a bad thing depending on how it is approached, but we haven't had too hard of a time adjusting. There will always be a piano/synth element to our music.

JM: Tell us about your new mission. You're donating money to charity through selling songs, and you're involved in various humanitarian projects. Give us the scoop.

ZG: With the new freedom we had after we left Capitol, we wanted to seize the opportunity to do what we wanted to do with our music. Music has been such a powerful tool in our lives and we know how influential it can be, so we wanted to do our best to make a change with our music in a real way. We wanted to truly get involved with our fans and with our community, we wanted to do more than just raise money, we wanted to be directly involved in the process.

The campaign that was started in January is called "12 months, 12 songs, 1 goal, make a difference," and it will last through the end of the year. Every month we are releasing one song and all of the profits are devoted to various organizations. The songs are available for download for a donation of at least $1. We will be working with 3 organizations over the year and will be releasing 3 "mini-albums" that will include music that is not released on line and is exclusive to the release.

JM: How much have you guys raised for charity so far?

ZG: We have raised $55, 595.81 so far.

JM: I heard a rumor about a "scratch-and-sniff" CD. What's the deal with that?

ZG: The name MAE stands for multi-sensory aesthetic experience. We wanted to include another sense with these releases. So in addition to the sonic element, there is also a scent to go along with it.

JM: How hard is it to build a house? What all goes into the process?

ZG: Habitat for Humanity (the organization we worked with) took care of most of the logistics, but we were lucky enough to be involved with the actual construction, hammering nails, painting walls, etc. It worked out well for us because the timing of our goals matched up with the building of a new house in Newport News, VA. We did our best to raise money for the building of the house and Habitat took care of everything else.

JM: Tell us about the trilogy idea with "(m)orning," "(a)fternoon," and "(e)vening." Why a trilogy (besides the obvious acronym)? What can we expect from these three records?

ZG: The trilogy focuses on cycles. morning afternoon evening, birth life and death, spring summer and winter. We also were interested in the parts that make up a whole. The individual existence that ultimately affects the whole. One person doing one thing might not do much of anything, but 5 people doing one thing, 20 people, 1000, etc....that can start to make a difference. We wanted to express that.

The records themselves will have additional music and songs that are not able to be heard from just downloading the songs month to month.

JM: Charity-wise, what can we expect from the (a)fternoon chapter?

ZG: We are working with an organization called Donorschoose.org. It focuses on education and the needs that teachers have in the classroom. Budget cutbacks are a big problem, and the website allows teachers to request specific needs that people can choose to donate to. For the tour we are on, we are also taking part in community projects in each city we play.

The projects are set up by MAE fans on our fan community at whatismae.com/mateeam. The theme of the (a)fternoon tour is "touch"...touching the community and also the sense of touch which we involve in our show for this tour.

JM: Anything you want to add?

ZG: Please check out our website at www.whatismae.com and come out to a show! Our dates are posted on the site.

Living Colour's Corey Glover On Life Behind the Sun

editor@cwgmagazine.com (CWG, Inc.) — Mon, 05 Oct 2009 23:11:00 +0000

Living Colour's Frontman Talks About the Re-introduction of the Band

Written By: David Carr
Photos By: Hali McGrath

New York based rockers Living Colour are back with a vengeance. They have a new disc out (The Chair In The Doorway) on a new label (Megaforce) and they are in the middle of their first US tour in nearly six years. The band is fronted by the dynamic vocalist Corey Glover. Glover not only sings but he is an accomplished actor and recently stared in the musical/touring production of "Jesus Christ Superstar." I had the opportunity to chat with Corey Glover before he and his bandmates put on a jaw dropping live show in Hollywood CA. Corey gave his insights on the band, their new disc, fatherhood and on how he deals with "the chair in the doorway" and life" behind the sun."

David Carr: Corey how's the tour been so far? What has it been like to reintroduce the band to the music public?

Corey Glover: The tour is going really well. We knew we had to start over again, but the shows have been good. The people who are coming out to the shows are the die hards. These are the folks who have been with us from day one. Those folks are the ones who are actually bringing the new fans who have never seen or heard us. The old school fans are bringing the new ones along.

DC: I know that a lot went into recording this latest disc. How has the new material translated in a live setting? Did you always keep that thought in the back of your mind, the fact that you wanted these tunes to be able to connect live?

CG: The new songs have worked really well on stage! We absolutely thought about how these songs would work live. We based a lot of what we did in the studio around the idea of playing these songs live and really connecting with the audience.

DC: The single off the new disc is "Behind the Sun". The song itself is about the tragedy that was, Hurricane Katrina and the government's slow/botched response. How did the tragedy affect you?

CG: The whole thing was just sad...the fact is people, human beings and history has been eradicated by what some have called a "near miss"...near miss?!!? That was not a near miss! For me it really hit hard because New Orleans is the birthplace for the music I do, it's the place that created the music I do in order to have a livelihood and now it looks like a third world country!

DC: You and your wife have been very active in the rebuilding of New Orleans. Tell me a little about what you are doing?

CG: The New York to New Orleans Coalition - NY2NO was founded and is led by NYC high school students. They're a consensus-based organization working to create a network of young people who are interested in organizing and mobilizing across NYC. NY2NO works in solidarity with those most affected by the social, racial, and economic inequalities in both New York and New Orleans.

The Primary goals are organizing trips of NYC high school students to New Orleans, bottom-up organizing NOLA residents, rebuilding, clearing lots, and setting up sustainable gardens to help provide healthy food to folks in the Lower Ninth Ward. NY2NO was also involved with the inception of Our School at Blair Grocery, a freedom school and the only high school in the Lower Ninth. Another goal is keeping the NYC high school students involved after they come back home with organization efforts in NYC.

DC: Sounds like you are doing a lot to help with all of the issues still affecting the Lower Ninth Ward.

CG: We want to rebuild, we want people to come back home...we just want folks to understand that things are still not back to normal in New Orleans.

DC: During the last few recording sessions of your latest disc your mother passed away. I am very sorry for your loss. I believe your father had passed away years ago, during the early years of the band. Were your parents supportive of what you were doing?

CG: Yeah, they really were supportive. I mean, like any other set of parents they were a bit surprised but me doing this wasn't a shock to them. I have been singing since I was six years old! They just wanted to make sure I would be able to make a living at this. They were supportive and when things started to work out for the band...they were proud.

DC: You are now married with children. How has fatherhood been for you?

CG: Well, I do miss my family and my kids have started school so I can't take them on tour with me. They have come to gigs before and my oldest has told me that he likes Living Colour, HA!

DC: Corey you are one of the few vocalists from your era that still has a very strong voice! You have not slowed down at all when it comes to your vocal ability. What's your secret?

CG: SLEEP! HA! I sleep a lot. My throat is a muscle. It has to rest so it can get strong and rebuild itself after it gets used. I try to get as much sleep as I possibly can.

DC: In getting to know Living Colour over the years is it safe to say that when you all are on the same page it's sort of an "us against the world" attitude but when there is disagreement it can get pretty ugly? Is that the dynamic of the band?

CG: Well when families have real knock down, drag out fights are they really fighting about the issue at hand or is there something else that the person needs to deal with? Is there something else going on that the person is not dealing with? That's what we have been through and that's what the title of the disc is all about.

You can walk around the "chair". You can walk around the issues but in the end you have to confront them head on or you won't get anywhere, you won't grow. That's what this band has had to do in order to create this music and record this disc.

DC: I saw your performance on the Jimmy Fallon show. There is no doubt you all are playing with a renewed sense of purpose and passion. What's next after this US tour?

CG: We go to Europe and then South America. After that we are ready to tour with anyone here in the states!

Living Colour North American 2009 Tour Dates (remainder)
Sept 30 - Fine Line Music Cafe - Minneapolis, MN - Ticketmaster
Oct 2 - The Magic Bag - Detroit, MI - Ticketmaster
Oct 3 - Lee's Palace - Toronto, ONT - Ticketmaster
Oct 4 - Double Door - Chicago, IL - Ticketmaster
Oct 5 - The Grog Shop - Cleveland, OH - Ticketmaster
Oct 30 - Highline Ballroom - New York, NY - TicketWeb

Matt Lowell On Making It Big

editor@cwgmagazine.com (CWG, Inc.) — Thu, 01 Oct 2009 19:40:00 +0000

Interview By: Jack Walker

JW: When did you first start playing guitar and writing songs?

Matt: Well, I picked up the guitar a little while after 9/11/01. I was in CT at my boarding school and being away from my home of NY really hit me. Immediately after that I picked up the guitar and wrote my first tune. It was a tune called “A City Cries It’s Tears.” I played it in front of my entire school just a few weeks later and the response blew me away. That’s when I decided I loved this job and seeing the reaction of people, when you deliver a song that hits home. I haven’t stopped since.

JW: What do you use as your inspiration when you write a song?

Matt: The inspiration for my songs comes from all of my real life experiences. I tend to write a lot about break-ups or love and just situations in my life that hit me in a certain way. Inspiration is all around me, I just have to open up and let it in. Everything can be inspiring and I’m learning that more and more everyday. Life is truly amazing and the twists and turns continue to inspire tunes.

JW: You attended Berklee College of Music. Tell us a little about that. Why did you choose Berklee as opposed to other colleges?

Matt: Berklee was a great experience. You are completely surrounded by other musicians 24/7 and that’s what inspires you to play music. Berklee has an amazing reputation and when I decided music would be my career I knew I really needed to open up and learn much more about my craft. Berklee gave me a ton of tools that I will turn to for the rest of my career. Music is a language and I thought it was very important for me to learn this language and Berklee was the best place to do that.

JW: How did you hook-up with MTV and 'Real World Brooklyn?'

Matt: This opportunity came pretty naturally. I have a friend who knows a music placement supervisor at MTV and they liked my tracks. I was lucky enough to have them placed on a few MTV shows.

JW: What did you gain by collaborating with the group ByChance? What way did the collaboration inspire you and your music?

Matt: ByChance was not a collaboration, but actually my high school band. Those guys were my great friends in high school, and I put a band together of guys who loved music. Shortly after I picked up the guitar, I decided I wanted to have a band, and we had the great support of my entire school. We even gigged most of our breaks in NYC and had an absolute blast. I love being a part of a band and I think music is all about collaborating and finding a way to make music with other musicians, that’s really what it is all about.

JW: I saw that you recorded your album “Dixieland” in Nashville? What was it like to record in Nashville?

Matt: The recording process in Nashville was great! It was the same studio that T-Bone Burnett produced some great records, and he happens to be a hero of mine. It was my first experience in a real studio and the studio musicians were unbelievable. I also gained my endorsement from Taylor Guitars through that session and really learned a ton from the pros at a young age.

JW: I’ve read a few reviews where they compared your style of music to Dave Mathews. In your own words contrast your style to Dave Mathews and give me something that distinguishes you from him.

Matt: Dave Matthews was really the reason I wanted to pick up the guitar. I had seen a ton of shows and I really loved his style. I think him growing up in South Africa really gives him a musical edge and such a unique style. I grabbed all I could from him and started to morph it into my own. My style right now is way less 'jammy' and a little more 'rootsy.' Dave will always be an inspiration and an influence to me.

JW: You recently gave away 30 tickets to your show at the Fillmore @ Irving Plaza. Tell us about that. How did the show turn out?

Matt: This was a great show, I always wanted to play Irving Plaza. I love giving tickets away to my shows. I just want people to get to see live music, and I know that’s where I really shine. Music is meant to be played live, and anytime I have the opportunity to give away tickets to fans who really want to come to the show, I will. I will do this for the rest of my career.

Vertical Horizon - Interview With Matt Scannell

editor@cwgmagazine.com (CWG, Inc.) — Wed, 30 Sep 2009 00:24:00 +0000

Interview By: Victor Alfieri
Photo By: Marjorie Salvaterra

Vertical Horizon is back after a six year break with Burning the Days (you can see the review of this album here). I had a chance to talk to Matt Scannell, lead singer and guitarist of the band that started at Georgetown in 1992.

VA: There’s a lot of change that has gone on over the course of the years for this band, from the sound, to the structure and dynamic of the band. The story about the record company is pretty well documented. How much of the change of the sound of Vertical Horizon was influenced by the record company?

Scannell: I think that was a much smaller component to the changes we went through musically and stylistically than people would believe. I remember specifically sitting down with the record company and them saying, “What type of band do you want to be? What type of album do you want to make? Either way, I’m fine with it.” I don’t think there was any pressure in the early days to sound like anybody or be more “timely.”

It was more the fact that I had started off and always played music in bands. I had played electric guitar in bands. And when Keith and I started, it was far more of a change for me to do what we had done on There and Back Again, and to a lesser extent, Running on Ice. It’s almost like, when you think of it, Running on Ice makes more sense, Live Stages makes more sense. And then Everything You Want its like finally I’m back to the rock band that I always wanted to be in.

I think in fairness to Keith, he was far more of a folk guy. If he was left in isolation and making music, it would be far more acoustic-based. My music would be more rock-based. So we were trying to meet in the middle somewhere, but when you add a drum kit, it sounds a lot further away from acoustic and a lot closer to rock music.

I feel like there was a lot less involvement from the record company early on. I feel like when we were making Go, that was a dark time when Clive Davis took over the label, and we were really not flavor of the month for him. So I felt them kind of tinkering with a lot more then during the making of that record. That record still stands up for me and I’m still proud of it.

When we were making Everything You Want, RCA was like Camelot. It was the Promised Land. It was probably the best label to be on at the time, and they did a stunningly great job with us. Conversely, I think RCA, after Clive took over, became a much, much darker place. The spirit of the company changed incredibly. Something like 80% of the people that worked there when we were first signed, were fired. It was just a completely different culture. It’s not meant to be a slam of Clive Davis. He just wasn’t a fan of us and we weren’t a fan of the way he treated us.

VA: With the stylistic differences between you and Keith, have there ever been or are there issues now? It’s pretty obvious that, while you started as a duo, you are now the front man of this band.

Scannell: I think that when we first started this band, with There and Back Again, the album was purposefully half Keith's songs and half my songs. And what really started happening, quickly as we started progressing as a band, is that my output of songs just started greatly increasing. Keith’s input started slowing down, and I think that is evident with Running on Ice.

I think that when you’re a songwriter and you just start voraciously pumping out songs, you know 50, 60, 70 songs, there’s just a lot of material to choose from. And that’s what happened with Everything You Want.

It’s a balancing act, you know, Keith is like a brother to me, and brothers have good days and difficult days. There’s nobody on this planet, I think that has a kinder soul than Keith Kane. He is one of the best people I’ve met in my life. I love him and I’m glad to work with him as much as I can.

That being said, I’m a pretty driven songwriter. I have a pretty strong vision of what music means to me and what kind of music I want to be making. I spend a lot of time doing it. I just think that, naturally over the years, I have just assumed the leader of this band just because it felt a little more natural for me to do so. Keith and I spoke about this fairly recently that it was a position that he was a little less comfortable assuming. So it probably made sense for me to become the figurehead of the band.

You know a lot of long time fans of the band think there is some sort of plot to oust Keith or something. Dynamics change, people change and develop and grow in different ways over time. Because we did There and Back Again in one way, doesn’t mean that we were tied to that.

VA: With the new album, you have come full circle. You started off independent and released a few albums on your own. Then you signed with the large label and are now back in the driver seat, doing it all yourself again. How does it feel?

Scannell: It’s wonderful. I think it’s absolutely where we should be. I also think that creating a record label and then making sure all of the little things get done can be a completely different job description than being an artist that’s signed to a label where things just get done. At this point I am pretty OK with it, but I am strongly trying to keep the balance a healthy one. Over the past few years, I spoke to a lot of record labels to get a feel for what they would do with a band in our position. This definitely feels right to me and I get the feeling that, from our fans, that they are incredibly supportive of this decision.

That’s not to say we won’t work with a major label again. With the network they have and the ability to distribute internationally, in a best-case scenario, it can be a wonderful thing. In seeing the best case, and also living through what I would consider a worst case scenario, it would have to be a very compelling situation to bring us back to that dynamic.

VA: With the new album, you had the chance to work with town big names, but specifically a rock legend in Neil Peart. How did that happen?

Scannell: It was a strange set of events. My girlfriend’s best friend on the planet owns a car dealership in L.A. where Neil was buying a new car and trading one in. Her friend asked us to go over and take some pictures of the car to get it moving. On our way over there, I had to formulate my words. Rush was absolutely my biggest musical influence growing up. I’m standing there trying to come up with something that doesn’t sound completely over-the-top. He opens the gate sticks out his hand and says, “I’m a huge fan of your work.” I was speechless, completely taken aback.

You have to understand, as a kid growing up in Worcester, MA, listening to "Power Windows," and obsessing over every lyrical shift, every clever metaphor, you know, not to mention the incredible musicality of the record, I was driven and inspired and encouraged without them have any inkling or idea of who I was. In many ways, I was encouraged to music by their music, by their records. So it was just the most incredible experience.

Over time, we stayed in touch and have many similar interests. We started hanging out socially. One night over his house for dinner (at this point, Scannell goes on to talk about how Peart is an amazing cook and is working on something for his website, www.neilpeart.net, suggesting we couldn’t go wrong if we liked good barbecue.), Neill showed me a book he was working on that opened with a poem. He asked me what I thought of it, and there was this one line that I just wasn’t sure of.

I’m sitting there debating what I should say. Should I be a fan and say, “Oh yeah, it’s great,” or should I be a friend and be honest? I really wanted to be his friend, so I told him I thought he could “beat” that line. That’s a specific line that I use when working with somebody. It’s not that the original work is bad. It’s just that I think you could do better. He looked at the line and said, “I think you’re right.”

Later, as we were hanging out, he said that we should write a song together. I don’t know if it was a life changing moment because I was honest with him earlier, but there it was. He called me not long after to tell me about an idea he was playing with for a song called “Even Now.” I remember thinking, this is great. I started thinking about some lyrical ideas and we set up a time to meet the next week. We met and Neill laid down a finished lyric, a full lyric. It occurred to me, “of course. This is how he brings music to the Rush guys. His job is to write the lyrics of the songs.” So I sat down with a guitar, and within 15-20 minutes, it was all done. It was one of those incredible moments, and I remember him saying to me, “is this something that you had?” It wasn’t. This is what I got from his lyrics.

So I sheepishly had to ask him to play on this song and his response was “nobody else CAN play drums on this song.” When in the studio, we hammered out this song in about forty minutes, but I had the studio all day. So I asked him to work on a few more songs. So he played on “Save Me From Myself” & “Welcome to the Bottom” and just hit the ball out of the park.

VA: I saw on Twitter the other day that you are going on the road. Where are you going to be heading?

Scannell: There are going to be a lot of dates added. We are estimating 30-40 dates through the end of this year. It’s going to start in the northeast and head west. We’ll go back out after Christmas and I hope to get up to Canada and also around the world. This next year is going to involve a heck of a lot travelling.

VA: You guys have been around a long time. Now that you have come back from the hiatus, is this a one album thing? Where will VH be in five years?

Scannell: I don’t know that I’m worried about where we’ll be in five years. People are too concerned about “what ifs.” What if people stop buying records? What if they don’t come out to hear music anymore? I’m more concerned about “what is.” And I know what is with my band is that we are absolutely true to ourselves.

We write honest music that comes from a sincere place. We want people to come to our shows and feel uplifted, and we also want them to feel whatever it is that they want to feel, because we want everybody in that moment, in that audience to have a true experience. If we’re true to ourselves, than it doesn’t matter “what if” in five years. All that matters is “what is.” And that’s today, right now, it’s the next show we play. It’s the next note I sing. It’s the next guitar solo that comes off my fretboard and that’s all that really matters. Hopefully everybody else can enjoy the moment.

See Victor's Review of Burning The Days Here.

Gallows - The Warped Tour Interview

editor@cwgmagazine.com (CWG, Inc.) — Mon, 21 Sep 2009 11:17:00 +0000

Story and Photos By: Chris Martinez
(Sacramento Live Performance Columnist)

Gallows recently released their second album, "Grey Britain," on Warner Bros. after switching from Epitaph Records earlier this year. They were confirmed to co-headline the 2009 Vans Warped Tour. I got the chance to sit down with Laurent Barnard, the guitar player and back up vocalist of the band, a little after their set at their stop in Sacramento for the Vans Warped Tour.

CM: You guys just played your set, right? How was that?

Laurent Barnard: Yeah, that’s right. We played at 3:15PM. It was one of the hottest shows of the tour, actually. We’re from England, so we struggle with heat. We’re used to the nice cold weather.

Even when we play shows, they’re usually air-conditioned venues. It’s hard work, small show with many people, but still fun.

CM: What’s the major difference in touring in the UK and touring here in the US?

Laurent Barnard: The major difference is the size and space, like we’ve never toured in anything bigger than a van and like right now we’re touring in a bus. We’re going to do a tour with AFI, and we’re going to be in a van for that, so. We’re going to be touring the East Coast, maybe West Coast, and Canada with Flogging Molly.

The drives out here are absolutely insane, like back home we tour the UK, and the longest drive will be like two to three hours, and some of the shows here take two days driving.

CM: How do you guys pick your set list before the show?

Laurent Barnard: Dude, we never have a set list, really. We just go on stage, start and we go from there.

CM: You guys just released "Grey Britain," so tell me about how the recording went.

Laurent Barnard: It was good, man. Like, we recorded it in London with Garth Richardson, he did the first Rage Against The Machine record, so he knows his stuff. It was a good time and without using a cliché, it was really intense. We got to live in London, Weinberg, a really rich area for like two months. It was awesome. It was really fun.

CM: You guys still play songs from "Orchestra of Wolves," right?

Laurent Barnard: Yeah, we do. We try to play the new stuff, to try and get the kids into the new stuff. But yeah, we still play “In the Belly of a Shark”

CM: Do the kids actually sing along in the crowd and get into the music?

Laurent Barnard: Its weird, like Warped Tour has been like a Jonas Brothers concert. Not really the kind of audience we’re used to. A few hardcore kids come out to the show, but a lot of them are here for bands they remember like A Day To Remember. Most of the hardcore kids stay home and don’t want to spend $40 to come out.

CM: What’s your favorite song to play live?

Laurent Barnard: My favorite song to play live is, “In the Belly of a Shark” simply because the crowd definitely goes nuts for it. That helps me get into the set and rock out and stuff.

CM: Before releasing "Grey Britain," you guys rereleased "Orchestra of Wolves," why?

Laurent Barnard: Yeah, like we re-released it here and there between record labels.

CM: You guys added on some songs to the re-release right?

Laurent Barnard: When we released it in the states, it came out in the UK first, and then on Epitaph in America and we added a few songs at the end, a few b-sides.

CM: Have you stage-dived into the crowd?

Laurent Barnard: Out here, the barrier is quite far away from the stage, but back in the UK there’s a bunch of videos of us, the whole band like jumping off stage.

CM: Have you hurt yourself before by diving off into the crowd?

Laurent Barnard: I broke my rib cage once with my guitar. I remember once, I played a show back home and I dived in, but no one caught me and the guitar hit my ribs. Quite painful.

CM: You guys are pretty hardcore when on stage, right? You really get into it.

Laurent Barnard: Yeah, definitely, man. I mean, if you believe in the music then you’re going to put that into your show.

CM: How do you feel about all the other bands on Warped Tour using Auto-Tune and back tracks?

Laurent Barnard: Yeah, its like the band just use backing tracks and I mean its not like a real live show.

CM: And you guys play everything live, right?

Laurent Barnard: Yeah, everything is live. Otherwise it’s just like watching a band do Karaoke show.

CM: Alright, thank you for your time. Great show today.

Laurent Barnard: Thanks, man.

Click here to see all of Chris' Warped Tour photos.

The Chelsea Girls Just Wanna Rock - And Have Fun!

editor@cwgmagazine.com (CWG, Inc.) — Sun, 20 Sep 2009 07:10:00 +0000

Written By: David Carr
Photo Credit: Genie Sanchez

If you are a music fan in Hollywood, you have undoubtedly heard of Camp Freddy, the cover band made up of ex-members of The Cult, Guns and Roses and so on. Well, coming on the scene like a hard rock freight train are The Chelsea Girls. The Chelsea Girls, are an all-female supergroup who offer up some serious covers of a lot of classic hard rock and heavy metal.

The band features lead vocalist Tuesdae, guitarist Allison Robertson (The Donnas), bassist Corey Parks (Nashville Pussy) and drummer Samantha Maloney (Motley Crue, Hole, Peaches, Crystal Method). Their set includes songs by Guns and Roses, Judas Priest and AC/DC. The last band makes sense considering the group's motto is, "for those about to rock, we will seduce you!" The Chelsea Girls are equal parts musicianship, attitude and alluring appeal. They not only have a few residencies in Hollywood and San Diego but they have also secured a couple of dates opening for Motorhead! I had the pleasure of chatting with drummer Samantha Maloney to get her take on how the "Girls" came together and where they are headed.

David Carr: Samantha, tell me how the group got together and why?

Samantha Maloney: I actually thought about doing this a couple years ago, but I was just really busy with other projects, things -- you know life happens! I got a message from Corey Parks. She said that she had an idea of starting a cover band like Camp Freddy -- she wanted to do an all female version. I told her that I was down to do it but only if we could get Allison Robertson of the Donnas to do it.

DC: What was the hardest part with regards to putting the band together?

SM: The toughest part was finding the right singer. We really wanted to get someone who would take this seriously and who could really sing! I mean we knew we were going to be doing some classics so we wanted someone who would do right by the songs. Allison had a friend named Tuesdae. She actually had DJ'd her birthday party two years earlier. We went and saw her live and we were floored! She was super cool, easy on the eyes and she had this amazing four octave voice!

DC: So is the goal of The Chelsea Girls to play songs you like and have fun?

SM: The goal is to be the best cover band in the world! We pick songs that we like and they are songs we can play and pull off live. Playing the songs is fun. There is a whole new generation of kids getting into this music thanks to Guitar Hero and Rock Band.

DC: Have you seen the age break down with regards to younger kids and folks who grew up with this music both coming to your shows?

SM: Oh yeah I have seen it! We had one guy who is forty-five years old come to one of the shows with his son. He wants us to play his son's Bar Mitzvah!

DC: HA! That's gonna be one heck of a Bar Mitzvah! So would you say that the notion of female artists not being able to rock has hard as their male counter parts is a thing of the past or do you still run into that perception?

SM: You know I never really think about the issue until I am asked about it. I mean the last time I had to confront it was when I was in hardcore band in the 90's. I was the only girl in the band and I guess my band members heard these guys saying that we could not be that hardcore because I was a female -- I mean we started this band for two reasons.

We wanted to show girls that they CAN do this and we wanted to show guys that yes, girls CAN do this. I mean we all love rock and roll but you rarely see women playing rock and roll on TV. We want to show girls that this can be your reality. You can learn an instrument, play it, join a band, and write your own songs, the whole deal. And as for the guys, we are stopping the whole, "I play really well for a girl." No, it's I play really well!

DC: You mentioned Guitar Hero and Rock Band. Both games seem to be exposing a new generation to some great music but do you ever think to yourself when you see someone playing these games, "man why don't you get a real guitar or drum set?"

SM: Well I think both games are really getting more kids into the idea of playing a musical instrument. I mean, I think there are kids that never thought about playing an instrument who are now playing these games and are buying real instruments and starting to take lessons -- the games are getting kids to want to do it for real and that's good.

DC: How did you get started playing drums?

SM: When I was twelve years old I discovered Headbanger's Ball on MTV and I was hooked! The more my dad hated it, the more I loved it. I was really interested in the physicality of playing drums. I finally got a drum set, a private instructor and then I auditioned for, and got into, FAME high school in New York.

DC: What else do you have going on?

SM: Well, I'm in a band called The Ingeneues. We are a cross between Massive Attack, Lady Tron and Depeche Mode. I am an actress and I was on the show "Californication" last season. I am in a new movie coming out called "Adventures in Power." It's a movie about air drumming! I also DJ with Tuesdae.

DC: Wow sounds like you are one busy woman! You remind me of some of my relatives who are West Indian. They are always bragging about how they have fifteen jobs!

SM: HA! Yeah it's a lot but for now the priority is The Chelsea Girls. We have residencies coming up in Hollywood, San Diego and Las Vegas.

DC: I believe you will also be opening up for Motorhead correct?

SM: Yeah! We will be opening the Southern California Motorhead shows. Lemmy has jumped on stage with us before. He loves us and we dig him!

DC: Samantha thanks for chatting with me and good luck with your up coming shows.

SM: Thank you for taking time out to talk to me!

The CHELSEA GIRLS' fall shows are:
9/18 Brick By Brick San Diego, CA
9/19 The Roxy Los Angeles, CA
10/7 House of Blues Anaheim, CA w/ Motorhead
10/9 Club NOKIA Los Angeles, CA w/ Motorhead
10/10 House of Blues Las Vegas, NV w/ Motorhead
10/31 Brick By Brick San Diego, CA
11/20 Brick By Brick San Diego, CA
11/21 The Roxy Los Angeles, CA
12/18 Brick By Brick San Diego, CA
12/19 The Roxy Los Angeles, CA

www.myspace.com/chelseagirlsrock

The Color Morale Garret Rapp Testifies

editor@cwgmagazine.com (CWG, Inc.) — Thu, 17 Sep 2009 02:48:00 +0000

Interview By: Pablo Cortez

PC: What’s up guys, so what is the hardcore scene like in Rockford, Illinois?

Garret: Rockford has been kind of stagnant and non-existent for a while when it comes to music. Lately, there seems to be a few bands really starting to try again and that's awesome. Kids need productive positive outlets.

PC: You have a pretty solid fan base, what has fan reaction been to the new album ("We All Have Demons")? Fan reaction at your life shows?

Garret: The reaction to the album so far has been pretty surreal. We did a Hot Topic in-store release on our release date and almost 400 people showed up, that following Saturday we played a local CD release show with our friends Gwen Stacy, and over 550 kids came. The thing that really brings me the most rewarding feeling is that kids aren't coming to our shows since we got signed just because it's "cool" or because it's something big and new for Rockford or the Midwest. Kids are coming because they hear something honest in our music, and they're connecting to it. There is nothing that makes me happier than knowing that kids are coming to our shows for the right reasons.

PC: What’s your favorite venue that you’ve played so far?

Garret: Man that's a tough question. In 5 years we've played quite a few awesome venues and established a lot of great relationships. I would say our all-time favorite venue we've played is Chubby Rain House of Tunes in Poplar Grove, Illinois. They are like family to us there and the sound and atmosphere is great.

PC: How did you guys hook up with Rise Records? What has that relationship been like?

Garret: We had a chance to meet Matthew at Rise after posting a couple demo tracks on Myspace. Our manager had been discussing a few label options, and in the end, Rise was the best fit for us. We are very pleased with that decision and very excited for the future in the Rise family.

PC: What are some influential bands/singers for the Color Morale?

Garret: Collectively, we are heavily influenced by bands such as Life in your way, Beloved, Poison the Well, Misery Signals, and countless others. Personally one of my biggest vocal influences is Jim Adkins of Jimmy Eat World.

PC: How do you distinguish your sound from all those post-hardcore/metalcore bands out there? How would you describe your music to a first time listener?

Garret: We try to touch on all of our personal genre preferences while at the same time not compromising originality or integrity in our music. I think we all personally wanted a CD that was dynamic and really pressed on being experimental while at the same time not being genre confused or trying too hard. We wanted to sound like "us."

PC: Are there any bands out there that you guys are particular fans of? What sort of tracks are playing while you make your way to a show?

Garret: I know lately on the way to shows I've been woken up in the back seat of the van by the following: Periphery, Life in your way, Poison the Well, As Cities Burn, and Gwen Stacy, to name a few.

PC: Congratulations on your new album, “We All Have Demons”. What does your tour schedule look like and what city/cities are you most excited to play for?

Garret: We're going on for about two months with our friends in Miss May I, and we'll be on an Attack Attack! headlining tour with them as well. We're STOKED to go out with Attack and start learning life on the good ol' open highway.

Thanks so much for the interview guys!