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Archive for September, 2012

28
Sep
12

* Yellow Dubmarine @ Vinyl Music Hall. 07/14/12

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Categories: Show Pics and Show Write-Ups
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“Word on the street is that DMX cut out on you.” said Yellow Dubmarine guitarist/lead vocalist Jonathan Sloane “We’d never do that to you.”

What DMX failed to do, Yellow Dubmarine were more than willing, as the reggae-styled Beatles tribute band performed for the crowd at Vinyl Music Hall. The Washington D.C. group played Vinyl days after rapper DMX cancelled two back-to-back concert dates at the popular Pensacola, Florida venue.

As a unique tribute to the Beatles, the members of Yellow Dubmarine, Robbie Cooper (drums), Jonathan Drye (percussion), Mario D’Ambrosio (sax), Aaron Glaser (bass), Matt Hotez (trombone), Luke Schuster (keys) and Sloane travel the world playing Beatles classics and have even recorded dub-laced remake of “Abbey Road” entitled “Abbey Dub”.

- Michael L. Smith

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20
Sep
12

* 10 Years, Fair to Midland @ Vinyl Music Hall + INTERVIEW W/ LEWIS COSBY. 07/03/12

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10 Years bassist Lewis Cosby found himself in the same position as the artists he admired as a child. Touring the world and making amazing music, but also fighting for creative control against a major label.

As the band prepared for the release of their latest album “Minus the Machine” and their concert at Vinyl Music Hall, 10 Years founding member/bassist discussed the group’s newfound independence, the pressure of corporate labels, naked crowd surfing and more for my weekly music column in the Pensacola News Journal.

*** Lewis Cosby Interview***

MS: July 30th is the date, “Minus The Machine” is the album. What does this new album mean for the band and more importantly what does it mean for you?

LC: For us, it’s a rebirth of this band, back to the way it was when we were unsigned. We’ve started our own label and it’s been an uphill battle creativity wise for us for probably six, seven years. We got on a major label and there’s just a lot of cooks in the kitchen. And our deal with our structure, we had a higher percent of creative control, and we were able to write what we wanted to write, but at the end of the day, there was still a battle to get those songs actually on the record. We record 20 or so songs and only so many can make the album. And the label has a huge say in it. That’s a tough thing for us because we want to put songs on there that represent us. We want to put singles out there that represent us, but that just doesn’t happen. You can scream until you’re blue in the face, but ultimately, they either have a say in what goes on the album or the album doesn’t come out. It’s just been really frustrating for us for the past few years. We’re not one of the bands that likes to go in with the mentality that we have to write some hits. We’ve got to write some singles “quote, unquote”. We just want to make a great album. If a single happens, it happens, but we’re not going to force anything. There’s a lot of bands that do that these days. We finally are able to do what we want to do. And this whole record, man, top to bottom, from the first track to the twelfth track are, I’m so proud of. There’s nothing on there like-the records before have always been like “Oh God! I love…”There’s some songs that I’m so passionate about and then there’s other ones on there, that I just cringe when I hear. And there’s nothing like that on this album.

MS: I just listened to a copy of it and for example, my favorite track on that whole album is “Forever Fields” and it’s like, I love the heavy fast stuff, but that song right there, it’s like the piano intro, it just blows me away…

LC: It’s cool that we’re able to do that. There is nothing out-of-bounds on this album for us. We built a studio here at home in Knoxville, in (10 Years drummer) Brian Vodihn’s house so anytime when we’re feeling creative, we can go in there and record. It’s also one of those things where we had all the time in the world for a while to do this record. If we recorded drums and then started tracking the other stuff, and they were like, “you know, we just came up with a cooler part and it doesn’t fit with these drums, we got to re-record drums”, we can do that now, where in the past, we were not able to do that. You go in on a major label and you got a budget and you’ve got studio time, you’ve got a month to do it. So you go in and once you track something, you track drums first and once the drums are tracked, you can’t go back and change it. So, this time if we didn’t like something, cause after you’ve been able to hear it recorded and sit with it a little bit, sometimes you just kind of like, “Ah, you know, this doesn’t sound as cool as it could be” and this time we were able to go back in and change stuff. It’s really an exciting process.

MS: With all of the touring, the recording and performing, what is the most amazing part of this entire 10 years experience for you?

LC: Being able to travel the world and play music live. I think that when we started this band, it was really centered around the live show. That’s really all we wanted to do. The recording’s cool. Sure, you get to go in and record new songs that you’ve written, but that stuff gets old really fast. When you’re recording, you hear these songs a thousand times. By the time the records done, you’re pretty much over that. You’re already ready to do another one because you’ve already heard your song so many times. So the fun part for us as playing in a band is actually playing in the band part of playing these songs live. If anybody’s ever seen a 10 Years show, they know that we’re friggin’ looking like we jumped in pools by the end of the show because we get into. We really do love what we’re able to do for a living. For us, all we ever really wanted to do was tour and by getting signed and having a little bit of a backing enabled us to do that. That’s been the coolest part. It’s not been the radio success or selling records and stuff, it’s just been being able to get in front of people and watch our music transform people’s lives. It’s been cool.

MS: What’s the craziest thing you’ve seen at one of your concerts?

LC: Naked crowd surfer. And she was a female. And I can remember looking and going, “God, I hope she’s not a virgin because she’s not anymore.”

MS: What kind of music did you listen to growing up?

LC: The first albums that I remember getting; I had Michael Jackson’s “Thriller” on tape. My parents really listened to that kind of music a lot. I would hear some James Brown growing up. I don’t know, maybe that’s where I got my interest in stops and stuff like that. I listened to the first real tape that I got a hold of that changed my musical perspective and shaped it to where it is now is Guns N’ Roses’ “Appetite For Destruction”, Metallica “And Justice For All”, really loved all the Pantera stuff, I don’t think they ever did anything bad. And then Deftones’ first record, I really got into that whole scene; I’ve always admired the Deftones cause they’ve, I don’t think they ever put out a bad record. They’ve always maintained an artist’s integrity. None of their music sounds forced. Meaning, that it’s never sounded like it’s been forced to write stuff that they didn’t want to do. They’ve always made just really well-rounded cool records all-together. We’ve made an attempt at doing that, but it’s been tough. But I think we’ve done a better job dealing with the circumstance that we were under, we’ve done a pretty good job of trying to maintain our artists’ integrity.

MS: If you had a time capsule and you could only put one song or album in that time capsule for future generations to hear, what would you put in it to say, “Hey, guys! This is music.”

LC: Oh my God…that’s so tough, man. That’s hard for me to answer that right now because I’m just thinking about the stuff I’ve currently been listening to. I would have to say Led Zeppelin…either “Houses of the Holy” or “Led Zeppelin IV” I believe. I’d say definitely a Zeppelin record. They were one of those bands that combined rhythm and melody and hard rock and soft rock and all those things just absolutely perfectly. They just really nailed it for me. I don’t think any of their stuff has ever gotten old to me. They’re just one of those bands that…Jimmy Page is so good, Robert Plant is so good, I mean the drums, I think John Paul Jones is the most underrated bass player of all time. It’s like he is surrounded by so much talent, but if you listen to that guy, he played all of the piano stuff and all of the bass stuff. And who…they don’t have bands like that that are so well-rounded as far as talent goes anymore. I’d throw some Zeppelin in there.

MS: As far as this year, what else are you looking forward to in this 2012?

LC: I guess I am looking forward to…I’m really looking forward to seeing the reaction to this album. I don’t really necessarily think this record is easy to digest at first. It’s not something…I’ve heard it on the radio a couple of times like Backlash and it, being played next to a lot of the other stuff out there, it stands out like a sore thumb to me. I think that it’s either going to do really well, or it’s going to be really bad. I’m cool with that. I know that we’ve put ourselves out there on this one. A hundred thousand percent. Our management and stuff was even like that; they manage a lot of bands like Theory of a Deadman and Puddle of Mudd, bands that are pretty stock, stuff is pretty easy to digest and our manager is like, “Guys, I’ve listened to your record three times in a row, I freakin’ love it, but this is either going to work or this is going to tank.” And we told him, “You know, we’re cool with it.” The whole process of writing this as we were turning in songs to management and they were like, “Shit’s really cool, but we’re not hearing any definitive singles.” And we’re like, “You know what? That’s fine. You’re going to have to take what we gave you and you can throw it out there and it either work or it won’t, but there’s bands like System of a Down that put stuff out there that’s crazy weird and I think the reason that it stuck out like a sore thumb is cause it was an individual band amongst a lot of just stock normal shit. It stuck out in a good way. We could have released other songs off of it, there’s some other songs that were safer. And they were trying to get us to release the safer ones first and we’re just like “No. we’re not going to do it. We just don’t want to do it.” That’s why we started our own label so we can do what we want to do. It’ll be interesting to see how the public reacts to this.

MS: What’s the best advice you’ve ever been given?

LC: The best advice I’ve ever been given in this music business is to stay true to yourself because if you don’t ultimately and especially if you fail, you’re going to always wonder, you’re going to go “God! If I hadn’t listened to everybody else’s input and tried to do what I thought everybody else liked, then maybe me being myself would have been that thing to take the band over the edge.” You know to write that song that I wanted to write rather than write that song that everybody else wanted me to write. Because that way, if you fail, you know that you were still true to yourself and you don’t have to live with knowing that you were being fake or whatever reason. So, yeah, I definitely agree with that you got to…in this business, the best advice was “Write great songs” ultimately. Just write a great song. It will unfold on its own. It’ll reach the people on its own. I definitely say “Staying true to ourselves was the best advice” and “Watch your finances”.

MS: Very true. Very true. This is a crazy question, but I’m going to ask it. Do you prefer, crunchy or creamy peanut butter?

LC: I used to always be into the creamy peanut butter, but now I’m more of a crunchy guy in my ripe old age. My palette is changing, I like a little texture these days.

MS: Last question. Is there anything you want the fans at Vinyl Music Hall to know?

LC: Just that, this is our first tour on this album and we’re just really fortunate to have such great fans that have stuck with us through all this. We’ve had our ups and downs but at the same time, even at our lowest points, where we’ve wanted to just give this up, we go and play shows and our fans are so passionate about this band, that when you get up there on stage and you play, whether it’s in front of a hundred people or a hundred thousand people, our fans, we can pick them out of a crowd. They give back to us like we give to them. We want to thank everybody for giving 100 percent every time we play. We notice it. We do a lot of festivals with a lot of bands that are mix-match and we play shows with like 3 Doors Down and you know in these big amphitheatres and all these people that don’t know who we are and probably don’t care who we are, you can always spot the 10 Years fans down in the front that are going ape shit and it motivates us. We really appreciate our fans.

MS: I thought that was my last question, but I just thought of something. This will be my first 10 Years show, I missed you guys the last time you came around. Of course the classics you guys have, but what about the stuff from the new album are you going to throw some of the new songs in there? In your set.

LC: Yes. Definitely. We played two songs off the record for the last little mini-run that we did, so yeah, we’re going to at least play two tracks. I know that people don’t have it yet, so sometimes it’s kind of difficult, you know, we have to teeter back and forth like, “Do we want to play a bunch of shit that people don’t know” but at the same time, people are itching to hear it. I don’t know, we’ll see. We might try the first couple of shows and play maybe more than two, maybe three or four. See how they go over, but as far as I’m concerned, I’d rather play the whole new record. I’m so tired of playing old shit.

- Michael L. Smith

18
Sep
12

* Eric Johnson @ Vinyl Music Hall + INTERVIEW W/ ERIC JOHNSON. 06/26/12

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“Thank you very much” was the only introduction given by the humble guitar god as he started his cover of Band of Gypsys’ “Power to Love”.

The thunder of Jimi Hendrix as told by Eric Johnson was one of many highlight’s during the Texas musician’s concert at Vinyl Music Hall.

One week before his concert at Vinyl, I interviewed Johnson for the Pensacola News Journal and in our discussion, Johnson talked about the advice given to him by B.B. King, the beauty of Jimi Hendrix’s music, and the most amazing part of the entire Eric Johnson experience.

Here is a link to the Pensacola News Journal article “Guitar hero Eric Johnson heeds King’s advice” and the full interview follows below.

*** Eric Johnson Interview ***

MS: Between the composing, recording, performing, what is the most amazing part of the Eric Johnson experience for you?

EJ: The thing that’s most important to me is finding a special musical thing that’s a real thrill and brings joy to me that I can bring joy to other people. You surf that wave that’s real magical and it’s just a matter of trying to find it. That’s the best part of all it. You try to learn through the school of hard knocks, you try to learn to let go and get out of the way. We’re always getting in our own way. There’s so many different ways that we can use…we have all these crafty ways that we can get in our own way, either competition and our ego or our insecurity or thinking about it, it’s all just worthless luggage. The real thrill to me, the most important and the greatest part is trying to get out of that.

MS: With the ego. Of all the guitar heroes that I remember growing up, in the early 90’s, you’ve stayed out of that trouble. Is that just a testament to you, your family? How did you avoid getting into all of that crap that some of those guys got into?

EJ: Oh, you mean as far as drugs and stuff you mean?

MS: Drugs and the whole “Greater Than God, Almost” complex some guys have. In the interviews that I’ve read with you, you’ve always seemed really humble.

EJ: It’s kind of an interesting…I’ve met actors, like famous actors before, some of them are really these amazing people and then they bring that into their set and then there’s these other people that are real prima donnas, but they’re still amazing actors. And I was always perplexed how they’re able…it’s like sometimes somebody doesn’t have themselves together very well, but they can just flip a switch and become this omnipotent, selfless thing for their music, art, their acting, or creative whatever. So I don’t know if it really is…different people…people can get to the same place…but I don’t know. That’s always been kind of perplexing to me. But really, regardless, we’re on this planet to try to get ourselves together and not proliferate our own greatness. That’s such an illusion. We build these huge pyramids and we think we live forever and we don’t. It’s here for three seconds and then we’re on to something else. In the big scheme of time, it’s just a grain of sand on the beach. We’re the ones that puff up that illusion. And it’s destructive, it’s an impediment, it compresses your potential, but I don’t know. I guess we do it anyhow. The human condition, with the mind and wanting to grab some talent that you get from some universal force. We’re given this special talent and then we want to grab it, and we alienate ourselves and run off to some corner and go, “This is mine. I created it. Look what I got.” And we pump ourselves up and try to convince people. But really, the reality is that anybody that has artistic talent, it’s kind of a gift. There’s a lot people that put discipline into crafting that gift, but in the big picture, it’s just a gift that’s been given to us, so we’re living in the dark, in illusion when we decide to separate ourselves from the gift and pretend, “Oh, I created this gift. This is mine and I’m this and you don’t have it. And so I want you to honor me.” It’s just kind of like, really not very, I guess it’s just dysfunctional really.

MS: With your career in music, what advice would you give to someone who wants to be where you are?

EJ: In this day and age, it’s a tough business, so really having other ways to make a living is probably very smart for kids. If somebody has an undeniable, unique talent, and they want to pursue it, you should. That’s what the arts are about, but it’s really important that you have something really just, it’s got to be pretty great, pretty phenomenal, pretty unique, pretty powerful and something that really is attractive for people to listen to. To get to that point, you have to look at all aspects of whatever you’re doing and learn how to edit yourself to be all the best you can be.

MS: As far as concerts, what’s the craziest thing you’ve ever seen at one of your concerts?

EJ: I played this Steve Miller show once in Oklahoma. It was a Summer festival and all the girls started taking all their clothes off. It was like, “O.k. This is cool.” It was just totally off the hook. It was “Ok. We’re turning this into a nudist concert.” That was pretty crazy. It was hard to concentrate on the set.

MS: I can imagine; the power of Eric Johnson…taking off clothes.

EJ: It was probably more Steve Miller’s music.

MS: What song or album would you put in a time capsule for future generations to hear and say, “This is music.”?

EJ: Wow. “Are You Experienced”, Jimi Hendrix.

MS: And why so?

EJ: I think it’s one of the greatest rock records ever made. The Beatles are kind of in their own niche’ because they created this amazing thing, right with it, The Beach Boys’ “Pet Sounds” because those guys, they were forging all this at a play that had never been used. It’s not rehashed. It’s like they…I mean it was taking stuff from the 50’s obiviously, but the whole pop sound. They had to forge something relatively very new. And in that same place is, to me, is Stevie Wonder with the records he made in the 70’s. They’re right up there with The Beatles. It’s some of the greatest pop music ever made as far as the musicality, the songs, the performance, everything is such a high thing. And then right there is Hendrix. If you have to look at all aspects, proficiency of playing, the uniqueness of the songs, the vibe and it’s just such a departure, such a creative departure compared to those others. And the “Are You Experienced” record, it just blows my mind how that record is…what is it almost 50 years old? I mean, it’s unbelievable. That record is so fresh and so timeless. You listen to it and it’s like, whenever a song of it comes on the radio and it’s just as fresh as what they’re playing right next to it. And there’s so few records in pop music that are that timeless.

MS: What is it like for you? I know you regularly perform on the Jimi Hendrix Experience Tours. What is that like for you playing his music in front of those large crowds?

EJ: It’s great. I love it. It’s like going to school for me. I get to study his music and then present it to people that maybe didn’t grow up with him or hear him all the time. It gives me a chance to say, “Hey, here’s some of Hendrix’s music. These are the songs I like. I’m going to try and do the best I can here.” And some people go, “Wow! That’s cool.” It has to be remembered; I think it’s important, there were three records that Hendrix really worked on and wanted out. And “Band of Gypsies” he did…I guess I should say four records. “Cry of Love” is a great record, but it was finished after he passed away and he didn’t get to quite finish it. You could consider those five records, but there is hundreds of records on Hendrix since then. And there is some interesting stuff there, but when kids, many, many years later hear those records-maybe they don’t hear the ones that Jimi really did himself, you know, those five records-and then they get a completely, “Oh, wow! I get it” It’s not so much a jam that somebody had a tape recorder on.

MS: Speaking of future generations and kids in music, how do you want the future musicians to see you and your art?

EJ: Oh, well, you know, just a student of the electric guitar, just trying to figure out a way to make it sound elegant. I don’t know…electric scientist, I guess.

MS: Awesome. I love that. I love your music. Last two questions. We talked about advice before, but with all the great musicians you’ve played with, I mean people in general, what’s the best advice you’ve ever been given?

EJ: Sometimes it’s the most humblest, simplest advice. I was doing a tour with B.B. King and I went out to his bus and I was visiting with him, which was really a special moment for me and I just finished doing soundcheck and I was playing this blues thing and I can play blues guitar and I can play…I’m better at blues rock, but I can completely play blues because I grew up on it, I studied it and everything. I don’t play blues guitar like B.B. King does..you know..and really the thing is, is there’s 24 hours in a day, we’re here, maybe, 70 years, or 80 years or whatever if we’re lucky, B.B. said to me, “Do what you do.” “Do what you do that’s unique and the most…that shines you.” Like if I did that song “Cliffs of Dover” that’s more me than me trying to be a great blues guitar player, you know what I mean? His advice to me was “Find that niche’, find that light that you’re unique in the world and try to develop that”. Be that rose that you are and don’t try to be the dandelion and the dew love and the violet, if that’s not you. Regardless of whether you do it well or not, there’s a certain spirit spark of what you do unique and that’s what you need to find that frequency. That was the best advice I ever got as far as musically.

MS: From the legend himself. Last question for you Eric. Time flies. This is a crazy one; Do you prefer crunchy or creamy peanut butter.

EJ: Oh man! Crunchy probably.

MS: I’m a crunchy man myself.

EJ: I actually prefer almond butter over either one.

MS: Oh wow. Almond butter. I have not tried that yet. Stephen Perkins from Jane’s Addiction said the same thing. Almond butter.

EJ: Oh man, yeah. Almond butter is and it’s much better for you than peanut butter. Plus they made some great records in the 70’s (total deadpan and I laugh like crazy).

MS: You know Eric. I didn’t know you had that kind of humor. Thank you, I appreciate that. I didn’t know what to expect.

EJ: You’re welcome, man.

MS: Before we wrap it up, is there anything you want the fans to know about your show next week or your tour coming up.

EJ: We’re just happy to come back to Florida and do some playing. I’m looking forward to it. I’m just delighted to be able to come there and play.

MS: I will be there. I’m pretty excited. I’ve listened to your music and I’ve even read your interviews. I’m a guitar geek from the 80’s and 90’s so I’m looking forward to my first Eric Johnson show next week.

EJ: Well, thanks. And bring your earplugs because I’m bringing the big wooden amps this time. (a piece of advice for the fans that are coming out to Vinyl Music Hall…

- Michael L. Smith

17
Sep
12

* Grayson Capps. Cancer Benefit for Sherri Butts @ Vinyl Music Hall + INTERVIEW W/ GRAYSON CAPPS. 06/22/12

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Categories: Interview, Show Pics and Show Write-Ups
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“Know that I’m always trying my best to be honest and not just be there for blind entertainment, but for growth and harmony and goodness.” – Grayson Capps

When Vinyl Music Hall contacted Grayson Capps to headline the Cancer Benefit for Sherri Butts, the Alabama artist accepted without hesitation.

One week before the concert to show support for the Butts family and help with their medical expenses, Capps took time to give a music history lesson, discuss his involvement with the benefit concert, the loss of Levon Helms, his latest album and the beauty of the birds singing in his front yard.

*** Grayson Capps Interview ***

MS: Can we expect a new album soon?

GC: Yeah, I’m working on something for the Fall. Probably, realistically trying to get something out by the spring next year, but I’ve been traveling so much that it’s just ends up being about survival on the road. It’s a gig every night. Wake up, take a shit, shower, buy food, make it to the gig (laughs).

MS: How do you make it through? What gets you through?

GC: It’s easy when the shows are great ‘cause just the energy of people giving back energy; it’s like a combination, like a self-perpetuating energy machine. I don’t know, the older I get…I started running, man. I’ve been trying to run every other day-and that’s hard on the road-but I still find places to do it keeps my stamina up. I’m a vegetarian. That helps a lot too…

MS: Congratulations.

GC: So I do everything I can to support my drinking and smoking habits (laughs)

MS: Are you still drinking and smoking with the vegetarian? Some people cut back…

GC: Yeah, man! I’m trying to get that dealt with. I’m not one of those dudes that wakes up smoking in the morning. I just associate it with playing, go to the bar, get the guitars up. There’s too much down time before, in between sound check and the show. And then I just always associated it with having a few beers and smoking a cigarette or two and playing. And then coming down after the show entails the same thing; I might go through five or six cigarettes in an evening.

MS: That’s not bad. I know chain-smokers that smoke like crazy.

GC: Oh, no man. A pack of cigarettes will last me four days or five days.

MS: You mentioned beer. I’ve got to ask you a beer question. I love liquor, like whiskey and vodka. What
kind of beer do you like, what’s your favorite?

GC: I like dark beer. I like brown ales. My most reliable favorite one is Newcastle. And wherever we go, I like to try the local brown ale. We just got back from West Virginia, one of my favorite beers-it doesn’t travel-cause it’s the live beer, like they do in England with cask ales. It’s called Oatmeal Stout. This guy Willie makes it in West Virginia…Oh, man! You can drink growler upon growler of that stuff and wake up feeling fine. I like beers that give me a hangover. I can’t drink Budweiser or none of that stuff because, for some reason, it just hurts me.

MS: Let me ask you about the show next week. How do you become involved with the cancer benefit for Sherri Butts?

GC: Well (Vinyl Music Hall Talent Buyer) Chris (Wilkes). I’ve been corresponding with him a good bit, I don’t know her, but he knows my band. We’ve played there once, but I’ve been corresponding with him. We just were asked to be a part of it and come home; Pensacola’s home to me. It’s an hour away and whatever I can do…it sounds like a really good cause.

MS: The last show you played at Vinyl, it was like a party. Not like a crazy party, but like a party. That vibe.

GC: It’s like our little Pirate’s Cove group. We started building up a big following at Pirate’s Cove and that kind of has its own kind of energy. We have some wacky people come see us, but I love em’.

MS: I expect plenty of nuts to come out next week. Good nuts.

GC: Yeah. Everybody seems to be this kind of eclectic; varies from age, the age groups-from young to really old to rich to poor. Nice teeth, bad teeth (laughs) you know. Just covers the whole spectrum; Literate and illiterate too, just crazy.

MS: We’ve lost some amazing artists just this past year. Did you have any reflections on…I know Levon Helms was a huge one for me. Any artists that you look back on with any reflections…

GC: Oh man, well two of my favorites was Doc Watson and Levon Helms. Man, it’s been a bad year. Etta James and Donna Summer. Everybody’s just dropping like flies. But Doc Watson and Levon Helms were the closet. Docs one of my…If I had to go to a deserted island and take some recording of one artist, it would be Doc. To me just the purest and Levon, nobody can sing quite like him. I did a bunch of stuff in upstate New York. I did this thing at the Brooklyn Bowl. Kind of helped…I didn’t realize he didn’t have any damn money. You know that whole Midnight Ramble thing was to pay his medical bills because he had medical problems for quite awhile and now they’re still threatening to..they’re trying to keep the barn going. I don’t know if you know much about the Midnight Ramble…

MS: Yes. And I saw where you had that benefit to help save the barn.

GC: Yeah, it was cool. I played with Mark Tobin Avento, Bass player for Wing. It was like an All-Star thing. Yeah, I guess Robbie Robertson owns all those songs. Levon never got credited for writing anything, so you don’t get money, you know. Just gig if you don’t write.

MS: Wow. I didn’t know that. Robbie couldn’t even…wow.

GC: Yeah. I mean “The Weight” is all Robbie Robertson. “Ophelia”, “The Night They Drove Old Dixie Down”. For me, those songs wouldn’t exist if it weren’t for Levon.

MS: Makes it alive.

GC: He owns the songs. It’s just crazy.

MS: I know we spoke last time, you mentioned your favorite album, but I want to ask you-almost along the same line-If you could put one song or one album in a time capsule for future generations, what would it be and why?

GC: I’ll give you just an answer. I don’t know what I said before. There’s a compilation of songs by Doc Watson called “Memories” and it’s got about 22 songs on it. (Capps pauses and I hear birds chirping in the background) He has recomposed quintessential versions of old traditional songs and all the melodies and stuff that we have in American music-you can say it’s American music-it’s a combination of old ballads that came from English, Irish, Scottish tradition, but then the slaves brought into the mix banjo because banjo’s an African instrument, those songs, being that slaves were able to get away with singing songs like that also making up words that the slave owners didn’t know about. Like Doc Boggs was the son of a slave owner and he learned banjo and learned a lot of the tunes that the slaves were doing and he was a white guy up in maybe the North Carolina, Virginia area and he inspired all the mountain people to play banjo, so the banjo and fiddle tunes kind of make up the backbone of our musical history and Doc Watson was named after Doc Boggs and he brought to light a lot of those things like Clarence Ashley, the original version of “House of the Rising Sun”, all that stuff was first written down and recorded in the 20’s so it was the perfect starting point of American music and where it came from. It’s the white and the black and you had probably the divergence came with Jimmy Rogers, the “Blue Yoddler” who was around the same time as Charlie Patton and Robert Johnson. You know Robert Johnson does that falsetto thing cause’ he was trying to be Jimmy Rogers and yodel, but he couldn’t yodel. And then that’s where blues and country kind of converged. You got Woody Guthrie, Hank Williams comes of that Jimmy Rogers realm and Sunhouse. Sunhouse was before Robert Johnson. Muddy Waters then you got blues, but anyway, to me Doc Watson ‘s “Memories” is the quintessential versions of old songs that make up the backbone of American music in the pure, pure professional form.

MS: That’s beautifully said. I have one more question for you, but before I ask that question, I hear this amazing sound of birds. Are you in the back yard or the front yard?

GC: I’m in the front yard (laughs).

MS: It just sounds gorgeous. I hear you talking, it’s like story time; I’m listening to you, listening to your words and taking it in and then all of sudden the birds are like nice background music. It’s a great experience.

GC: Cool (laughs)yeah, man. There on the loose.

MS: My final question. Are there any things that you want your fans in Pensacola to know for next week.

GC: Oh man…I don’t know. Know that I’m always trying my best to be honest and not just be there for blind entertainment, but for growth and harmony and goodness. I see a lot a performers that are excited to get people dancing no matter what it takes and I, sometimes, forsake that to always sing to the ugly fat lady in the back of the room. You know, instead of the pretty ditzy chick in front who has a spoon…(laughs)

MS: Oh yeah, spoons and sugar daddies.

GC: Yeah, I don’t know. That’ a hard question.

MS: You answered it honestly. I wish more people would do that, honestly.

- Michael L. Smith

16
Sep
12

* Lil’ Kim, Big Lo, Body Head Bangerz, Big Bone @ Vinyl Music Hall. 06/20/12

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If concerts were sex, then Lil’ Kim delivered a set that was long on tease and big in delivery. The crowd at Vinyl Music Hall waited nearly 2 hours after the final opener to watch the “Queen Bee” deliver a 30 minute stick of dynamite to her diehard fans.

It was also a big night for Pensacola performers as Big Bone kicked off the show with a set that included his latest single “Skateboard”. Following Big Bone was Roy Jones, Jr.’s group Body Head Bangerz, who were led by 2piece and a top level assortment of local dancers.

Keeping with the 850 onslaught, Big Lo played lyrical hitman with shots from his latest album “Magnum Opiates” including “Peace is for Buddhists” featuring Inferno, who joined Big Lo and DJ Bodyslanga on the Vinyl stage.

As Big Lo exited the stage, the crowd anticipated a standard wait between acts, but minutes turned into near-eternity while waiting for Lil’ Kim. The only break from stage stillness was provided by the Body Head Bangerz dancers.

After the one hour mark, anticipation turned to worry among the crowd as speculation grew that Lil Kim might not show up. Rumors were killed by reports that her tour bus had finally arrived at the venue.

Entering with her DJ, dancers, singers and even a documentary film crew, Lil’ Kim finally brought her long awaited show to the Vinyl stage. The highlights for me were “How Many Licks” and a medley of hits from her extraordinary career.

The crowd came, the diehards saw and Lil’ Kim conquered. Post-play cigarette not necessary.

- Michael L. Smith

15
Sep
12

* The Bouncing Souls, The Menzingers @ Vinyl Music Hall. 06/19/2012

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What do you do after 20 years of making New Jersey-born punk rock glory? How do you follow-up a career that includes the album “Hopeless Romantic” and singles like “Lean on Sheena”?

Jump back to the Bouncing Souls of 2009 and here is what you do/did…Catch your breath and work an EP collection of 16 new songs called the “20th Anniversary Series” which contributes to the heart of your first album in four years, “Ghosts on the Boardwalk”.

Fast forward to June 12, 2012 and you (The Bouncing Souls) release the album “Comet” and hit the road again. Seven days after the new albums release, Greg Attonito (vocals), Peter Steinkopf (guitarist), Bryan Kienlen (bass), and Michael McDermott played Vinyl Music Hall with The Mezingers and Luther opening the show.

- Michael L. Smith

14
Sep
12

* Chris Thomas King @ Vinyl Music Hall + INTERVIEW W/ CHRIS THOMAS KING. 06/15/2012

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Categories: Interview, Show Pics and Show Write-Ups
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Once you’ve tasted the Hollywood life of working with superstars and seeing yourself on the big screen, how could anyone ever go back to their “day job”?

It’s seems crazy to push that all aside, but when your “day job” is making the music of Chris Thomas King, there are more important things at stake.

Days before performing at Vinyl Music Hall in his last Pensacola performance before DeLuna Fest, Chris Thomas King talked about his new album, how he approaches a guitar solo more for my column in the Pensacola News Journal.

Here is a link to the article and the full interview follows below.

*** Chris Thomas King Interview ***

MS: The last time we spoke in January, you were getting ready to go to Asia and we discussed your rededication to music. How has the new focus on music rewarded you?

CK: I’ve really been enjoying myself. Taking our music to the blues fans, we’ve been in a van going from club to club, juke joints, little small towns, we’ve played some major cities and stuff but for the most part we’ve been seeking out the most authentic blues experiences we could find and it’s been really rewarding. As far as Thailand, that was pretty eye-opening. That was my second visit to Thailand and Thailand now has a blues festival in Phuket. They brought me over for that. I went to some schools and shared some stories about the music. The blues is a worldwide thing, I just want to remind people that this is who I was and who I am before I became an actor. I was a blues musician first.

MS: In your eyes, how does the world see your music compared to America?

CK: When I’m outside America, people don’t always understand the stories because the lyrics become a little bit less important because-using Thailand as an example- very few people speak English. But the guitar playing, the musicianship, the emotion and the rhythm behind the music, those things are universal.

MS: Are you doing any other projects now? Is it strictly music?

CK: I’ve started a foundation. The Chris Thomas King Foundation and we’ve done a benefit concert. We plan to do some more to help some of the senior members of the blues community. And also an opportunity for me through the Chris Thomas King Foundation to raise money and awareness and also reach out to young kids and try to introduce them to the music and let them know that the blues is there and they can take that blues and mold it. I don’t go to kids and try to preach to them or talk down to them and tell them this is the blues and this is how it’s done. This is another choice, there’s hip hop out there, there’s rock, there’s classical music, there’s also blues and it’s just one of those choices that you can make, that you can take this music and shape it. You can do it traditionally or you can do it, whatever feel you want to do it and be the future of it. Through the Chris Thomas King Foundation, it allows me to give back and it allowed me to do some things that in my normal day-to-day business, I don’t normally get a chance to do.

MS: You mentioned hip hop, I got a good laugh when I read your website and you tweeted about how hip hop guys now are counting their record sales like they’re counting the stock market, the Dow Jones.

CK: Yeah, with hip-hop fans, they seemed to be obsessed with how many records the artists are selling and usually fans don’t really bother with that type of stuff. But yeah, Hip hop fans are brutal. They are brutal man.

MS: I read an article recently in Guitar World about the return of the guitar solo. In my opinion, it never left, but what does a guitar solo mean for you?

CK: For me as a guitarist, the guitar solo is a chance to let your guitar do the singing. It’s a chance for me to have an emotional burst, hopefully, that’s real musical, but at the same time, whatever I’m feeling at the moment I can express it through my instrument. And the guitar, unlike the piano which is more rigid, the guitar is so flexible, if you bend those strings and vibrate those notes-the way everybody bends and the way everybody vibrates is just a little bit different-your musical DNA comes to the forefront when you chose to solo and express yourself with your instrument. Your DNA really gets revealed when you’re soloing and bending and manipulating the strings on the guitar. It’s a real personal instrument and it gives off a real personal sound. At least to my ear, a lot of times you can tell the player by the tone of the guitar. When you hear a note by B.B. King, you just know it’s him or when you hear a note by Wes Montgomery, you just know that’s Wes Montgomery.

MS: When you’re in the studio, what is your approach to the solo? I know people do different things, but how does it work for you crafting that solo?

CK: On the stage, it’s more spontaneous; I may solo as long as I feel I need to say what I have to say musically or maybe as short as I need. You’re more improvising on stage. In the studio, it’s more of a process. A little bit scientific, you’re trying to create an illusion sometimes in the studio that you are on stage. You might be recording your music in a sterile environment like a recording studio, or you might be doing it in a bedroom or you might be doing it wherever. But a lot of times you’re going to add reverb, you’re going to add effects that make it sound like you’re recording it at Carnegie Hall or wherever. It’s more technical in the studio and at the same time, you’re playing a solo that people are going to hear over and over again. Every time they play that record, they’re going to hear that solo, so you have to put a lot of thought into it, or at least make sure it has a melodic and pleasing tone to it that people will want to hear a thousand times because every time they play that record, they’re going to hear that solo. So you better make sure that it’s very musical and pleasing to the ear.

MS: Speaking of songs, if you could put one song in a time capsule for future generations to hear, what would it be and why?

CK: Wow. That’s a tough question, man. You really asked a tough one there. One song…(pause) I don’t know. I have to think about that one. It’s hard to narrow it down to one song.

MS: Let me ask you about the new album. Is the album complete, is it done?

CK: My new album. Yeah. The final mix is done and we’re just getting it to the mastering stage of it. We’re expecting to have the album all wrapped up definitely by the end of the month and I’m hoping that it will be released in late August, early September.

MS: Are you playing any of the songs on the current tour?

CK: Yeah, we’re definitely going to put a few songs in there. One of the songs that’s on the album is, (I) recorded my first Jimi Hendrix track “When the Wind Cries Mary.” And some of the songs from the new album will be part of the set, but to be honest with you, we’re coming back to Pensacola more by popular demand as opposed to…because actually and ideally I would have like to come back to Pensacola later in the fall when the album is released. I’ll have a new set of songs to play for everyone, but everybody was vibing so much from the last time we were there that we’re back by popular demand and that’s a nice thing. People will hear more of the same, people will hear “Oh Brother” numbers, they’ll hear me doing “Antebellum Postcards” and they’ll also hear some of the new music too. This is probably our last time at the Vinyl this year, so the next time we play Pensacola will be DeLuna Fest.

MS: That’s right. I’m excited. Are Danny and Jeff going to join you on this tour?

CK: Yes.

MS: The question about the song…I was curious about what song you would you put in the time capsule?

CK: (laughs) I was hoping I wouldn’t have to answer.

MS: That’s fine, I’ll ask it again before DeLuna Fest. I’m always curious. Is there anything you want to add for the rest of the fans in Pensacola?

CK: You know-the time capsule-can I just say an album maybe?

MS: Oh yes.

CK: I think “Oh, Brother! Where Art Thou” soundtrack would make a nice time capsule. I think it captures American music, but I also think that those songs are times, “I’ll Fly Away” and “Lonesome Valley” some of those songs where African-American hymns from way back in the 1800’s. Those Antebellum Songs. And those songs got people through some really tough times and we think it’s tough today, but, believe me, it was a lot tougher 150 years ago. And those songs got people through and they’ve lasted and endured and they still have meaning and they make people still feel good. So I would say, put them in a time capsule and they’ll probably do the same 100 years from now for people.
I mean hopefully, who knows, downloading of mp3’s probably won’t exist in a hundred years, I’m sure, but however people listen to music a hundred years from now, maybe there will be some musicians that’ll take those songs, rearrange them, re-record them for their generation because when a song endures that long, you better check it out because that means there is something special about it.

- Michael L. Smith

Link to an additional gallery of the concert by the PNJ/GoPensacola.com crew

06
Sep
12

* Dash Rip Rock @ Vinyl Music Hall + INTERVIEW W/ BILL DAVIS. 06/02/12

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Categories: Interview, Show Pics and Show Write-Ups
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“Pensacola used to be such a punk rock scene, college music, alternative…we’ve seen a good bit of wildness here in this area, which is always fun.” – Bill Davis of Dash Rip Rock

On the day I finally got to meet Bill Davis, my girlfriend and I broke up. Maybe it was the right time for a break up because the corner turned on the downward day when Davis shook my hand and any post-break up blues were silenced by a Godfather of Southern Cowpunk.

Sadness be damned when you’re sitting in the comfort of a spacious greenroom listening to Davis talk about music, crazy punk moments in Pensacola, Florida, and Jello Biafra just before a Dash Rip Rock show at Vinyl Music Hall.

*** Interview with Bill Davis ***

MS: What’s the craziest thing you’ve ever seen at one of your shows?

BD: Well, you know we were just talking about the old Handlebar (historic bar/music venue in Pensacola, Florida) and that place was just nuts and it would be so crowded inside and the crowd would be spilling out into the street and the train tracks go right by the old Handlebar, so some of the old punk rockers would go- when a train would go by, going real slow-they’d jump on the train and they’d ride it and swing off it and I’d go, “Those guys are going to get killed!” Pensacola used to be such a punk rock scene, college music, alternative, I don’t know, whatever, but yeah, we’ve seen a good bit of wildness here in this area, which is always fun.

MS: With you and your history, it’s insane. But growing up, what did you listen to? What did you get into?

BD: When we started, I was really into punk rock. When I was in high school everything sort of changed when I started listening to the Sex Pistols and then I got turned onto The Ramones. When I went through college, I was a DJ at the college radio station; I really loved R.E.M., I loved other bands like Jason and the Scorchers, and some regional acts, a few bands out of Austin like The Fabulous Thunderbirds and LeRoi Brothers were really cool. That’s what got me started in wanting to play music and in the years since I started the band, my tastes just run everywhere. Like the last record we made “Call of the Wild” it was almost like an Archie Bell & the Drells record, it was like a dance record. So we’ve done everything from stuff like The Black Crowes or Georgia Satellites, just Southern Rock n’ Roll to things that are real aggressive punk. It’s a wide array of music.

MS: How is the new album coming out?

BD: The new one is just really coming along great. We’ve worked this week and did four new songs, I was amazed that we were able to get that done in two days, but it’s really turning out great. It’s a typical, cool old Dash record. We went way back into our catalog and I went and found a bunch of old songs that we never recorded, that I demoed years ago and we’re working with old material and new material and it’s all coming together to be like the ultimate Dash Rip Rock record. The material is very representative of what we’ve done through the years which is really hard to do because in twenty years we’ve changed several times because when we came out, we were straight rockabilly like Stray Cats and then as we progressed, we became harder and harder and more punk. The new record is going to span the years of Dash Rip Rock which is really cool. I’ve always wanted to try something like that.

MS: Any more work with Jello (Biafra)?

BD: Yeah, Dead Kennedys, DK. We’re definitely releasing this on his label Alternative Tentacles. We’ve made four records with him and I don’t think we’re going to stop. We’ve found our home as far as a record label goes, namely because Jello is a great guy, a great friend. I don’t know if you realize this, but he came to New Orleans last year during Jazzfest and we put together an all-star band; it was our old drummer Fred LeBlanc, who is now in Cowboy Mouth, it was Pepper Keenan who was in Corrosion Of Conformity, he’s in Down now and they’re playing here (Vinyl) in a couple of weeks. It was Jello on lead vocals, a piano player from Houston named Pete Gordon, and we did all New Orleans classics; we did Professor Longhair, we did Ernie K-Doe”, we did Lee Dorsey and it’s Jello Biafra in his voice, you know (Davis starts a perfect impersonation of Biafro’s distinct singing voice) and we called it Jello Biafra & the New Orleans Raunch and Soul All-stars and we did one show during Jazzfest last year and we recorded it and he’s releasing it on his label. I’m super excited about that project because it’s Jello with his Dead Kennedy’s voice, but he’s singing like Fats Domino, which is, to me, it boggles the mind to hear it, but it really is cool.

MS: With all of the collaborations you’ve done, the touring, performing, what is the most amazing part of the whole Dash Rip Rock experience for you?

BD: For me, I’ve got to meet some of my idols. Before I was a musician, I was a huge fan of other great guitar players and great singers. A couple examples are Glenn Tilbrook from Squeeze cause I used to love Squeeze when I was a kid and then he came through Nashville and we became friends and then we recorded half of a record together and we remain friend to this day. Other than Glenn Tilbrook, there’s Alex Chilton, he lived in New Orleans and he and I became close friends; we had the same birthday, so we would all go out to eat at Galatoires on our birthday night which is right after Christmas…

MS: When is your birthday?

BD: December 28th. So that was me and Chilton. And so the best thing about being in Dash Rip Rock is meeting my heroes and actually becoming friends with them which is, I think (with) any fan, that’s their ultimate dream; to hang out with these great musicians who they really admire. So, I got to do it.

MS: Mentioning the influence of meeting your heroes, who are the young guys now that are looking up to you and that you’re taking under your wing.

BD: That’s a good question. Surprisingly enough there’s sort of a new movement through-like on Sirius satellite radio they have Outlaw Country which is really aggressive country music- there’s a lot of bands in that area that have told us that we made them want to start playing and all that. We get lumped together with bands like Rev. Horton Heat and Southern Culture on the Skids, so yeah, there’s lots of local bands around New Orleans that sort of come to our gigs and say, “Hey, you’re the reason we started playing music.” But I mean as far as exactly what we’re doing, I don’t think there are any young bands that are totally following in our footsteps because ours is a real unique niche’ in the whole music thing. It’s something that you really have to be dedicated to do, to sort of…we’re hard to pinpoint and we’re hard pigeonhole so I believe that’s probably why there’s not a lot of people imitating us cause we’re too weird.

MS: What’s the best advice that you’ve ever been given?

BD: In the music business everyone’s giving you advice and most of its all bad so, I would probably say the best advice I ever got was maybe from Country Montana or Mojo Nixon and they would give you drinking advice like, “Don’t drink whiskey if you just had a margarita.” Ok (laughs) something like that. The advice that we get doesn’t have much to do with the music itself. We’ve been given good advice, but it’s hard to say.

MS: What advice would you give to the young guys that are coming up now?

BD: That’s kind of easy because it’s gotten so much better in the music business now and easier for beginning bands to break out because it’s no longer in the hands of the record label managers, the A/R people and it used to be these record moguls. It’s no longer in their hands, it’s more in the hands of the public, it’s more spread out with Youtube and everybody can record at home on their computer. You’ve got Facebook, Reverbnation. It’s so much easier to “make it” nowadays…not “make it”, but you can go around all the old channels that used to hold all the good bands back. My thing is to embrace the internet, that would be my advice to anyone is embrace the internet and what it’s come down to is just playing live shows because it’s getting to the point where you don’t sell a lot of music because most music is becoming free now through Spotify and stuff like that, so the truth is, the only way to make money in the music business is to tour and be a great live act and that’s what we concentrated on.

MS: This is my last question for you, Bill. It’s a nutty one; do you prefer crunchy or creamy peanut butter?

BD: (Laughs) I’m totally crunchy. Cruncy, but my girlfriend’s creamy so we keep both in the fridge. (laughs)

MS: Is there anything you want to add before we wrap up the interview?

BD: We’ve had a good year and everything; we were inducted into the Louisiana Hall Of Fame and going in with people like Fats Domino and Jerry Lee Lewis and the Neville Brothers, just being in that group of musicians makes us finally feel like we’re getting recognized for our years of toils. This year has been a really good year for us so far and continues to be a success, we’ve got some big festivals and we’re going to Europe in August of this year. We feel like we’re on a roll. It’s been kind of a rollercoaster ride for us and it feels like at this point, we’re climbing back up, so it’s pretty exciting.

MS: I think they need to rename South By Southwest (SXSW) Dash Rip Rock Festival.

BD: Oh, I know. I know. Well South By, we’ve played it almost every year and I was even in a film; they did a film called “Outside Industry” and they put me in the film and interviewed me because we’re one of the few bands that have played every single SXSW…I think we might have missed one because our van broke down, but we were at least booked into every single one (laughs).

- Michael L. Smith

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