The single, which was released on Cabrera’s 2004 album “Take It All Away” featured Goo Goo Dolls frontman John Rzeznik on backup vocals. The single reached #15 on the Billboard Hot 100.
Michael L. Smith
The single, which was released on Cabrera’s 2004 album “Take It All Away” featured Goo Goo Dolls frontman John Rzeznik on backup vocals. The single reached #15 on the Billboard Hot 100.
Michael L. Smith
“That’s my favorite tour story and I never tell it. I never felt comfortable telling it really until recently. So I’m really glad that we’re coming back there. I’ve got lots of good stories about Pensacola because we basically lived there for a couple of days after that.
I was excited that this interview was with someone in Pensacola because one of my favorite memories from Lagwagon touring happened in Pensacola; we actually broke up onstage at a gig at Sluggo’s. “
– Joey Cape of Lagwagon
I don’t know how long Joey Cape had been keeping it in.
I don’t know when he made peace with it all, but Cape talked about the band’s onstage fight at Sluggo’s, his drummer’s addiction, and the days he spent in Pensacola while Derrick Plourde was in detox.
Earl’s Killer Squirrel frontman Earl Lyon witnessed the fight and also gave his account for my Pensacola News Journal “Music Matters” column “Lagwagon back in town that nearly spelled its end” before the show at Vinyl Music Hall.
The full interviews with Cape and Lyon follow bellow.
Joey Cape Interview
MS: With all of the touring with Lagwagon, your solo work, and new band, what’s the most exciting thing for you?
JC: It’s always been just the creative side of things. I much prefer working on new music and the recording process. That’s always, for me, been the most rewarding part of the gig.
MS: What’s the craziest thing you’ve seen at one of your shows?
JC: (Silence) Well, it’s a funny thing you bring that up, actually because I was excited that this interview was with someone in Pensacola because one of my favorite memories from Lagwagon touring happened in Pensacola; we actually broke up onstage at a gig at Sluggo’s.
JC: Back in 95. It was insane. It was just insane. It makes that Billy Joe thing-freaking out on TV or whatever, that Radiofest-makes that look totally weak. (Laughs) The only difference is back when we did it, there weren’t smart phones and the internet wasn’t in everybody’s hands. I’ve wished forever and ever that somebody got it on film because I would love to see it but no one did. Because, when you really think about it, it’s funny.
Basically what it was, was that, the drummer that toured with the band was really…he was having a real hard time…he was a drug addict. He was getting worse and worse on tour and we were…the tension in the band, in other places as well, was getting heavier and heavier and everybody’s come to terms with this stuff now, we’re all at peace with it. There were many, many good years after that when Derrick (Plourde) was fine and we’re all friends, so I’m not saying anything that’s going to cause anybody grief, but it was bad. Derrick was a mess, he couldn’t stay awake on the stage. People in the band…we hated each other. (Laughs). I’ll never forget, we’re onstage at Sluggo’s and our drummer just nodded out and then Shawn Dewey our rhythm guitar player, he started yelling at somebody in the audience for running into the microphone and hurting his face, he was bleeding or something. And I start yelling at him, I start saying, “Well, I don’t care what he says. We don’t agree with him.” to the audience and then we started into it and then our other guitar player-you got to remember, these guys are giants. Like Shawn Dewey is like 6’7” and Chris Flippin, other guitar player, who came to my rescue there and they started fighting, he’s 6’9”, almost 6’`10”, he’s 6’9 and three quarters, so the two of them start fighting, and they’re fist-fighting onstage.
Our stage-tech guy pulls the kick drum out from in front of Derrick onto the ground and Derrick falls in the middle of the stage and starts kicking him and calling him an f’n you know what like, “You’re ruining this band.” (Laughs) I know it’s not funny at all, but it was so…it was so surreal when I look back on it now. And Jesse (Buglione) bass player, he’s kind of standing there cross-legged with a cigarette smoking really awkwardly, looking at me and I looked at him and I just kind of made this face like “Oh, well!” because that’s it! And Jesse nods to the right and I look over and there’s this crowd; like a full Sluggo’s room of kids with their mouths going “Oh my god. What am I watching?”
That’s my favorite tour story and I never tell it. I never felt comfortable telling it really until recently. So I’m really glad that we’re coming back there. I’ve got lots of good stories about Pensacola because we basically lived there for a couple of days after that. Me, Brian and Steve was our stage guy, our one roadie; we had one roadie back in those days and so he’s part of our team. He and I stayed there while Derrick went to a detox facility in Pensacola. We got to know the locals pretty good. It’s a cool town. I haven’t been there in many years, so I don’t know.
MS: Did you go to the beach when you were here?
JC: I don’t remember going to the beach in Pensacola, Florida. I remember going out every night, late, going to clubs and hanging out with a couple people that we knew a little bit. I kinda knew that guy Gus (Brandt), who ended up working with the Foo Fighters. You know, it was like weird. It was more like a David Lynch movie back in 95’ to me being an unlocal. It was like this guy that had a cab that wasn’t a cab and he called it Ramen Cab and you gave him Top Ramen, he would drive you anywhere. I don’t know if you ever heard of that. And…uh…yes, so we would just stock up on top ramen and give it to the ramen cab guy and he’d drive us around to these bars and hang out with the local punk kids. It was just super fun. We were having a great time while our buddy was trying to…you know, it was for the better of course. I remember going to the beach in Florida towns on the east coast on the other side.
MS: Glad you guys are coming back to Pensacola. Just you saying Sluggo’s, I remember those memories of old shows back then.
JC: The other thing was the Nite Owl.
MS: Oh,the Nite Owl. That closed down back in 2000 something. I saw my first show there in the late 80’s. That was an awesome club too. The Handlebar is still around in Pensacola.
JC: Oh yeah! I remember that place. Cool. Yeah. I’m sure we’ll go out. We’re not a band that shies away from hanging out after the shows (Laughs). We pretty much go out every night and-to our detriment, I’m sure. We like to have a good time. I’m going out in Pensacola for sure. Provided that I’m not sick, you know what I mean. Which is the only thing that keeps me from going out is if I get sick. I don’t think that’s going to happen. That’s great. I’m looking forward to seeing you, It’s been a long time. Like I said, we spent a few days there so I kind of feel like I got to know the place a bit. It was so long ago.
MS: The box set came out last year, what Lagwagon songs get you off the most when you’re playing them live?
JC: It’s cool because we’re playing songs from the first five records. There are some songs in the set that we really haven’t played much since the early, early days and those are ones. They feel new and they feel refreshed and sometimes that effects the other songs in the set that are old as well that we have been playing for years because when everything is in the same setting that old feeling that the band had, that vibe, somehow it kind of elevates everything to a little bit higher intensity. I can’t really figure it out, but I know some of those songs…well, if you…there’s a song called “Lazy” that’s a song on our second record, and we didn’t play that song for so many years and I think that was mostly my fault…it’s a really hard and high song to sing, super intense; kind of a voice killer, but I think that I finally got my shit together. I’ve finally gotten strong enough now to do those songs, so that’s really cool. Just anytime you’re doing something you haven’t done in a long time, it feels fresh and good.
MS: What would Joey of today tell a younger Joey just starting out?
JC: I would say, “Remember that band that you had that sounded kind of like Nirvana before Nirvana existed? Maybe you should’ve rolled with those dudes.” (Laughs) That’s only for my daughter’s sake. Yeah, I don’t know. I’m pretty happy with the way we’ve done things. We’ve been pretty true to ourselves and self-indulgent the whole way. I don’t know that we’ve ever really made any decisions that weren’t serving our immediate needs. That sounds weird, but that’s the way to do it. When people start planning and calculating for success and those kinds of things, you can make a lot of bad decisions in music and in general in the business of music. And we’ve stuck with the same label the whole time; we didn’t really promote ourselves in a way that put us into a different perspective to those that like the band. I don’t know. I don’t have a lot of advice. Maybe drink less.
MS: As far as advice, since you mentioned it; what’s the best advice you’ve ever been given?
JC: Oh, boy. It’s usually me giving the great advice out here (Laughs). Boy, that’s a really tough question. I mean, I’ve been given lots of great advice by people. I don’t even remember who, but somebody must have told me sooner or later, somewhere along the line really early on, that the best thing to do is to “Just be yourself when you play shows.” Because-and maybe I just figured this out, but I’m sure somebody said it to me somewhere along the line as well. This is good advice, “If you can figure out a way to do something that embodies entertaining people and completely maintain your own personality without creating any kind of alter-ego or…there’s a way to do it where you just literally walk around being the same person you are offstage, you can have a much better run and a much better time and it’s never going to get weird.
MS: This is a crazy one; do you prefer crunchy or creamy peanut butter?
JC: Oh man, that’s a really tough one…well it depends. I mean, you know, my initial reaction was crunchy because it’s more exciting (Laughs)…but, I mean, I would say…I’m going to go with creamy because-first of all, creamy is just an awesome word. For some reason, all I can think of right now is peanut butter on celery and I think that smooth is better on the celery.
MS: That’s true. You’re making me hungry Joey.
JC: You’re making me hungry, man. I haven’t eaten yet today. I got to get a peanut butter sandwich somewhere.
MS: You guys are in New England tonight, where?
JC: We’re in Massachusetts…we’re playing Boston tomorrow night and we’re just in a parking lot somewhere in Massachusetts with the day off. Literally in a dirt, parking lot parked nowhere near anything. It’s not going to be a very fun day, but the Smoking Popes are playing in Boston tonight and the word is we can get a shower from a hotel nearby the airport, then we can take the Blue Line downtown to Cambridge and we can see the Smoking Popes. We’re probably going to stay in the bus and watch the Chappelle Show. (laughs)
MS: This is my last question for you. Is there anything else you’d like to add for the fans coming out to Vinyl Music Hall in Pensacola?
JC: I hope they show up. It’s been a long time. I don’t know what that means; I don’t know if we have any. I hope there’s a lot of them. I don’t know what night of the week it is, but I would always say the same thing, man, “Just come on out and have a good time with us cause’ we’re fun.” Introduce yourself when you get a chance.
Earl Lyon (Earl’s Killer Squirrel) Interview
MS: What do you remember? First of all, why were you there?
EL: I worked there at Sluggo’s back in…the one on Palafox and Intendencia; the three story one and one night, Lagwagon’s playing, everything’s going fine and in the middle of the show, they cut the set short because, obviously, some people were out of it and couldn’t perform. And the next thing you know, people are leaving and they had a big fistfight between the two guitarists.
MS: Did you see the fistfight?
EL: I was in the dressing room cleaning up while they were fighting right there on the side.
MS: Where you shocked or did you see it coming?
EL: I wasn’t really shocked, but for seeing Lagwagon for, that was like my fourth of fifth time seeing them and they seemed tight and you didn’t think anything like that would happen, but obviously, there was a breaking point, you know.
MS: Hell yeah. Is there anything you want to add? Are you going to the show next week?
EL: Oh yeah. I’m going. I love Lagwagon. They replaced those two members, the drummer and the guitarist after that and moved along and kind of really got kind of-I wouldn’t say emo-, but he really started thinking out his music when Lagwagon got back together and started their fourth album “Double Plaidinum”. It was really thought out after that. You could tell that everything that happened that night affected him.
– Michael L. Smith
Man or Astroman? were the first surf/rock punk band I ever saw. They were also the last band I ever watched at the old Sluggo’s on Intendencia Street.
Leaning on the the second-story railing watching the floor and a stage crammed with TV’s and spacesuits, I experienced sensory overload when the Alabama group started their show.
Led by Brian Causey (Star Crunch/guitar), Brian Tesley (Birdstuff/drums), Robert DelBueno (Coco/bass) and Samantha Erin Paulsen (Avona Nova/guitar) MOAM rocked sleeker suits and the same multi-sensory assault of surf punk rock.
DelBueno teased the Vinyl crowd with promises of a theremin duel between both bands. The promise was kept at the end of the show with TOP’s Yvonne Lambert winning the contest.
- Michael L. Smith
Here is a link to additional show photos taken exclusively for GoPensacola.com/Pensacola News Journal.
There is no choice. When your manager says you won’t make it and you lose two of your bandmates to an “American Idol”, you either keep rocking or give up the dream.
In This Moment not only kept rocking, they got harder. In a month where Vinyl Music Hall had a show for almost every night of the week, the LA band touring with their new release “Blood”, lit up the calendar and everyone in the downtown Pensacola venue. One week before their show, guitarist Chris Howorth answered a few questions about their music, meeting Maria Brink and more for my weekly “Music Matters” column in the Pensacola News Journal.
-Full interview with Chris Howorth
MS: Congratulations on “Blood”. That is a brutally amazing album. You guys faced some incredible odds before that album was even created. (lost two band members and a manager) What pushed you to overcome those events and make such an amazing album?
CH: It wasn’t something we planned, “This is how we’re going to overcome it.” With everything that happened, what it did to us mentally, why it turned out the way it did. Maria and I were both determined more than ever, we want to do this and show everyone that we deserve to be here and we need to make an album that’s going to show everyone that’s doubting us, ‘oh, they’re good.’ That was our main driving force and we just worked like that. And also our producer Kevin (Churko), he’s been believing in the band since 2008 and the first album we did with him. He’s always thought that we should be fuller than we are and we haven’t got quite the right chance that some people we were working with before the split were questioning whether we should work with Kevin and I explained that to him and he was all pumped up and doing the same, “I’m going to show everybody” and the three of us having that vibe came through in the record.
MS: Hell yeah and it shows.
CH: Thanks man.
MS: What gets you off the most about playing live?
CH: One of the best things…what made me want do music was seeing my favorite band in concert, seeing the videos on Headbangers’ Ball on MTV back in the day. The “live” thing, you know. It’s always been (the) pre-live show feeling of “We’re doing this. This is going to be great.” And then we get onstage and have a great crowd that knows the words and gives it back to you, it makes it so easy for you to give it them. When it all comes together to have a great show, it’s hard to top that.
MS: Was there ever a moment when you were like, “This is it! God, I’m doing what I wanted to do since I was a kid.”
CH: Yeah. It happens all the time. You’re going from one great awesome moment through a little peak and valley to the next big moment. Part of it’s just kind of realizing when you’re in those moments that are so epic and appreciating it. Because it doesn’t last forever, everyone knows when you’re really stoked, it’s not like you’re stoked for the rest of your life; you go through pits and valleys your whole life. I guess, you know, having those moments when we did the Ozzy Osborne tour; it was us, Rob Zombie and Ozzy. I’ve been a fan of Ozzy since I was a kid; you see him on the side of the stage watching Ozzy play “Crazy Train” or “Mama, I’m Coming Home” and you’re part of the tour. I was a kid watching him from the outside and now I’m part of the tour. It’s like that moment where you’re thinking, “Wow. I can’t believe I’m really standing here right now. This is the most amazing feeling I’ve ever had.” Those happened throughout our career and those are the moments that you hang onto forever the most.
MS: Speaking of live, what’s the craziest thing you’ve seen at one of your shows?
CH: We don’t have the craziest Motley Crue type fans, but one of the best things was Mayhem Fest 2010, San Bernadino. The amazingly huge massive pit, like savage pit-dust flying up and there’s this huge circle and in the middle of the circle there’s four or five metal dudes going all nuts and they start burning stuff and burning shirts and flags in the middle of this huge circle pit with dust in the air…it was just insanely epic…from our vantage point anyways.
MS: You’ve got the album, you’ve got the tour, you’re joining Halestorm soon; what’s the next big goal?
CH: The CD’s selling awesome and we’re on the charts, we’re #11 on the Active Rock Chart and getting in the top 10 will be a huge thing for us-that’s really close. We’re also, we’ve been a band since 2006 and we’ve never managed to break that 100,000 sales mark and the album is selling like crazy right now and we’re rapidly approaching that, that will be a huge milestone for us too. And since we’ve been together and we’ve never really gotten to that next level, this album is getting us to that next level so all the things that come along with that is what we’re looking forward to and what we’re going to be seeing this year and the next year and we’re looking forward to our guarantees increasing and actually making a little bit of money from all of this…because Maria and I have been doing this out of love. We haven’t made money until just recently, we’re now sort of turning the corner where we actually put money in our pockets personally. We’re paying everybody else that works for us, but not ourselves and there’s a lot of great things we’re looking forward to like that.
MS: How did you meet Maria? You have such an amazing dynamic.
CH: We kind of met by chance out here in L.A. I was in a band and one of the guys in my band had met Maria and found out that she was looking for a band. He thought she was awesome-I’d never heard her-he brought her over and she was trying to get us to try her out and I never really wanted to be in a band with a girl-I support girls and everything, but I just never really was giving it a lot credibility and I was going like, “Ah, whatever” and never tried her out and then a couple of weeks later, she came again and forced herself into the band session we were having and sang. And right when she sang, I was like, “Oh! I dig this.” And right from that moment on, her and I just started working on getting a band going and we’ve been in a couple of different things, but we just stuck together ever since then.
-MS: What’s the best advice you’ve ever been given?
CH: That’s a good one. I’m trying to think. The funniest advice I’ve ever been given was our first manager-I think it was like…we were still in a band touring in a van trailer and we were all in one hotel room, our first album had come out, we were all really excited, everything was going so good, we were thinking big and we told him, “We’re going to sell a million albums” and he was like, “I don’t want to be the first one to tell you ‘You’re not going to sell a million albums’, but you’re not going to sell a million albums. (Laughs) And we were devastated, man. We were like, “What? We can’t think like that.” We all sat there like, “That was fucked up!” We’re going to call him back and just like, “I just want you to know that that is unacceptable. We need people that are positive working for us; people that believe!” We’ve been given some pretty weird advice and different things because some people are believers and some people are practical, you know, in the business. So you gotta’ deal with the bad, but we’re believers and so we always shift from that and just, it’s all about being practical, it’s about what you can do when you’re dreaming in your head and working towards that and wanting to keep believing it and seeing it and working to make it happen; it can happen. That’s how things happen, man! So, sorry it wasn’t good advice. Advice I have for anyone is, “Don’t give up.” Because Maria and I-before we met, we’d both been trying to do this for a long time, ups and downs and thinking “oh, this one is going to do something” and doesn’t do anything. The only way to really make it happen for yourself-and this can be for anything in life-is not giving up. That’s the first key thing. Is to just not give up on something, because once you stop trying for something, you’re never going to get it. That’s my advice.
MS: Let me backtrack, I have another question; you guys toured with Rob Zombie and Ozzy Osbourne…are there any other great artists that you would love to tour with or work with in the studio?
CH: Yes, man. Maria’s a huge Deftones fan and we’ve been trying to play with the Deftones or get with Chino on something…anything that we can do with them. And that’s one band that it has never happened, they’ve never invited us and our paths have never really crossed where we have been on tour with them or anything. So that’s a huge one and I’ve always said Metallica. We’ve got to tour with Ozzy, why not tour with Metallica? For me it’s like-I know it’s a little heavy, but I think we’d do good. There’s a few that are really good ones that we’ve always kind of wanted, but it hasn’t happened yet. You never know. We’re not saying anything is impossible.
MS: Chris, I have to ask you, this question is a crazy one; do you prefer crunchy or creamy peanut butter?
CH: Oh, crunchy, man! Crunchy. Put a whole peanut in there and I’m fine with it.
MS: This is my last question for you, Chris; is there anything you want the Pensacola fan to knows about the show, the tour before you hit Vinyl Music Hall?
CH: Well, we’ve never been there, so I’m really excited to see who shows up and what’s going on. If you haven’t seen us, come see us because we’re better than ever, we’re pretty much a theatrical production. You’re going to see more than just us standing up there in our shorts. You’re going to see a full production as much as we can do in that club. And we’re also learning a bunch of new songs at practice, so we’re going to be playing some brand new stuff that no one’s ever heard live. It’ll be really cool, man.
MS: Is there a chance you’ll have a new album out soon? I know that “Blood” just came out not too long ago, is there a chance for a new album soon within the next year maybe?
CH: Not soon, but I guarantee you, man, by the end of next year everyone’s going to be going, “Alright, well, I guess you’re going to start working on something else.” It depends on where we’re at. If this album’s blowing up even more next year, we might ride it a little longer. But it seems to be a good year and a half is how long an album’s success usually goes. We’ll start working on other stuff, because you know, they’re immediately going to want a follow-up right when we end the tour. Nothing too soon though. Come say hi, introduce yourself.
- Michael L. Smith
It’s all about momentum for Tim Kasher. Through books, through music, the Cursive frontman is constantly moving.
Here is a link to the Pensacola News Journal “Music Matters: Live concert crowd connection thrills musicians.”
The full interview follows below.
Tim Kasher Interview
MS: My goddaughter is a big Cursive fan. Weird coincidence, but she is a sophomore attending the University of Nebraska (Kasher’s home state), graduated high school from Springfield, Missouri, where you are playing next week, and she was born in Pensacola, Florida where you guys are playing a few days after the Springfield show.
TK: It’s fairly sensible that we get as many first show starts before Gainesville and our set up in Omaha , so that’s just kind of weird that we’re playing Springfield and Pensacola on the way.
MS: How is the tour with Minus the Bear going?
TK: It’s great. They’re just great and they’re old friends of ours. It’s time well spent, very positive.
MS: What’s the craziest thing you’ve seen on this tour?
TK: The craziest thing…huge new restaurant that was across the street from the Best Buy Theater we played in Times Square in Manhattan. Kind of joking that we’d seen Guy Fieri’s huge new American Roadhouse restaurant across from the Best Buy Theater, we played in Manhattan in Times Square.
MS: What gets you off the most about playing live?
TK: Mostly when you can…what I’m after the most when I’m playing, there’s a momentum that you can build where you and the crowd are building together and you’re able to keep that momentum and build it into a great show, but it’s not always easy to do. It’s great, but you have to get off stage and you really feel like you did something that night.
MS: Let me ask you about politics. As powerful as “Happy Hollow” was when you released it, it really is resonating now. How is the 2012 political climate influencing your art or your songwriting now?
TK: I don’t know that it is so much; I’m kind of just impatiently waiting to get through it. In a lot of ways it just seems like we’re, as we get older, we get used to the political process and you recognize that it’s just a lot of posturing, going through a lot of similar motions that we’re familiar with at this point. For the most part, I feel like the political climate is terribly…last week was upsetting (first Presidential debate between President Obama and Republican Presidential candidate Mitt Romney) but I don’t think it’s going to, any way, ultimately shape the outcome. In my opinion, the only true negative politician out there right now is Paul Ryan. I’m not a fan of Romney, but I also don’t think he means much harm.
MS: “I am Gemini” came out in February, are you guys working on a new album?
TK: No. We’ve been pretty steadily touring that album since it came out. Usually after a Cursive album comes out we turn to other projects. Ted (Stevens) is working on a solo record.
MS: Are there any artists that you haven’t worked with that you’d love to work with?
TK: Oh yeah. Sure. I’m sure the list is bountiful. I don’t know…like David Bowie.
MS: What kind of music was playing in the Kasher household when you were a kid?
TK: It was pretty good. I guess I grew up-to be young is a lot of fun-a lot of older brothers and sisters listening to Michael Jackson and the Go-Go’s.
MS: What is the best advice you’ve ever been given?
TK: Well, you know, I’ve been offered advice a lot about (the) music industry…I see a lot of bands that have this one-and-done attitude with albums where if it doesn’t catch on then, they break up. I think we’ve all seen that’s just not the way it works. There’s always bands out there where their debut album is a big smashing success and that’s great for them, but it’s not the case for most artists. You got to want to be in the business and get like a 15 year plan. Put your own money into it; you know you’re not going to get it back and get out on the road, play out in front of people.
MS: What other creative outlets do you have, aside from music?
TK: I write quite a bit. When I’m not writing songs, I also write short stories.
MS: Who are some of your favorite writers?
TK: I’m a big fan of Philip Roth.
MS: What would Tim Kasher of today tell a younger Tim who is just starting out?
TK: I don’t know, I guess I would…probably just… “Don’t make such hasty decisions.”
MS: Do you prefer crunchy or creamy peanut butter?
TK: Crunchy. A lot better.
MS: Is there anything you’d like to add for the fans that are coming out to Pensacola, Florida next week?
TK: Just that we’re playing a lot of pretty complete mix of the catalog.
- Michael L. Smith
Friday October 5th, 2012. 9:59 am.
Nervous? In one minute I’m going to call Buzz Osborne.
What Jimmy Page and Tony Iommi did for musicians of their generation, Buzz Osborne has done for mine. Teenage years of reading guitar magazines and music interviews of “King Buzzo” was minor preparation for the “Do’s and Don’ts” of interviewing the leader of the Melvins.
DON’T ask about Kurt Cobain. Obviously, he has said all that needs to be said about their friendship, but I had to ask about Mike Patton, frontman for Mr. Bungle, Faith No More and countless projects including Fantomas with Osborne.
DO Ask about the music; A complex and crushing sound that has inspired countless bands. Ask about their Guinness World Record attempt; touring the country, playing every state (the Pensacola show at Vinyl Music Hall was the Florida show) as well as Washington DC in 51 days. Keeping with tradition, I also have to ask Osborne the question that triggers the answer he’s given every time he’s asked how the tour is going.
I sat down to coffee on the table and Escambia Bay outside my window. Fingers resting on the laptop, my left shoulder shivering in sync to the thoughts of “What in the hell did I get myself into?” I dialed Buzz’s number as soon as the clock hit 10:00 and said “Hello…”
Buzz Osborne Interview
MS: Exactly one month ago, you embarked on this record breaking tour of 50 states (and Washington D.C.)in 51 days with no days off. How are you holding up?
BO: Good. We just played our 30th show last night so…so far so good. We haven’t killed ourselves. The police haven’t caught up with us yet, so. It’s all good.
MS: What made you want to attempt this Guinness record breaking event?
BO: Mmm. Thought it would be a good idea for some reason. I don’t know exactly.
MS: I know a few years ago Mike Watt attempted it; he did 50 and he had a day off or so, but you guys are going non-stop…
MS: What’s the craziest thing you’ve seen so far?
BO: Oh god, I don’t know. Some coked up club owner who doesn’t give a shit, maybe. Nothing too crazy. We’re pretty much business out here. That’s it. We’re not having coke parties with teenagers or anything.
MS: I know Jared and Coady are playing here Saturday, how do you decide when to tour as the Melvins and when to tour as Melvins Lite?
BO: Well, the Melvins Lite thing is a new thing, so we haven’t had that be much of a problem. We plan this stuff out well in advance so we never meet any trouble. Those guys have their own thing going on which gives them an opportunity to do whatever they want to, it’s good. No bad side to it.
MS: How did you hook up with Kevin and the Electrical Guitar Company? Your model, the King Buzzo is pretty popular.
BO: We rehearsed in the same place as the guys in Isis and they have his guitars-I don’t know how they found those-they eat…they somehow got in contact with him, so I tried one of them and I thought it was amazing and I just called him up (and) that was it. That was a few years ago; I started using his guitars pretty much exclusively. It’s all good.
MS: With your experience and your history, you’ve outlasted bands that have been influenced by you. What keeps you going?
BO: We still like a lot of stuff that we’re doing. If we don’t like it, we’ll change it. That’s pretty much it. I’m not ready to quit just yet. I don’t know when I will be. I have some plans. There’s not much we do that’s not planned out totally, every angle.
MS: Do you have anything else coming up with Mike Patton?
BO: No. We have absolutely nothing coming up with Mike Patton. The last time we played a gig with him was in 2008. The last time we were in the studio was in 2003. So it’s clear that this is not a big deal for Mike. Fortunately, I have my own things going on and if Fantomas wants to do something…but I’m not going to hold my breath.
MS: As far as now, any plans to do anymore studio work with the Melvins?
BO: Of course, we never take too long between records. We have all kinds of things planned. None of which we can talk about now, recording-wise.
MS: What is the best advice you’ve ever been given?
BO: You mean just in general?
MS: By anybody, in life, in general.
BO: Stay out of debt. That’s the best advice, definitely. A very good piece of advice is, “Never go into business with someone who cheats on their wife.”
MS: I’ve experienced that.
BO: What was that?
MS: I’ve experienced that. That’s very true.
BO: Very true.
MS: What would Buzz of today tell a younger Buzz just starting out?
BO: “Don’t worry, everything’s going to be fine.”
MS: With the recording, the touring, the performing, what’s the coolest part of the entire Melvin’s experience for you?
BO: Well, they’re vastly different. So, I don’t know, maybe playing live. Recording, it’s such a different kind of thing. I can’t really compare the two. I really try to keep the two completely separated if at all possible. Don’t feel like they’re the same animal and all.
MS: On this tour, as far as the music how do you keep it fresh? Do you guys mix it up?
BO: What do you mean?
MS: As far as setlists.
BO: How do I keep it fresh? Well, it’s always fresh, no matter what we do. We play pretty much the same set every single night. And we have it planned out from the beginning. And people get a better show that way. Because what we do is not normal rock. We’re not playing, “Here’s a song for you, here’s another song for you.” It’s performance art from top to bottom. It’s an hour and a half performance that has little or nothing to do with what songs we’re playing. That’s it. Now, if people want to paint us with a traditional rock n’ roll brush, then they’re already losing. I don’t view us that way. So, I’m just not going to compare myself to any other bands that think along those lines. I don’t feel comfortable doing that.
MS: Any chance that you guys could work with an orchestra?
BO: Nah. That’d be a pain in the ass. The orchestra thing, it’s all well and good, but pretty much musicians’ union hasn’t really isn’t a chance of any of that really working. I really have no time for that kind of bullshit. Dealing with that horseshit; no, thanks.
MS: Do you prefer crunchy or creamy peanut butter?
BO: I don’t even really care; it all tastes the same to me.
MS: Is there anything you’d like to add for the fans coming out in Pensacola next week?
BO: I don’t know when we’ll be back to Pensacola. So if you have any idea that you want to see us, maybe you should.
Email Q & A with Kevin Burkett of Electrical Guitar Company
How did you hook up with Buzz, create his model and what does the Melvins music mean to you? And if you could throw in a your top 10 albums, I’d appreciate it. Thanks!
We met through Mike Gallagher of ISIS. ISIS and Melvins practiced in the same place in LA. Mike was a huge fan and decided to go show Buzz his new metal guitar and he loved it. We basically took my Standard model and added Gibson 498T (which is the pick up that he played in all of his LPs). We have made acrylic versions and a few other models for him.
Melvins are the beginning of everything cool. Everything I love can be traced back to them. They also have stayed relevant and ahead of the curve for over 20 years. Pretty bad ass.
Top albums…not really in any order.
1.Peter Gabriel, UP
2.Nirvana, In Utero
3.That Dog, Retreat From The Sun
4. Sunny Day Real Estate, Diary
5. Shellac, At Action Park
6. Melvins, Houdini
7.Foo Fighters, Color And The Shape
8.Tegan and Sara, Sainthood
9.ISIS, Wavering Radiant
10. Hem, Funnel Cloud
Here is a link to my Pensacola News Journal column “World Record Attempt brings the Melvins to Vinyl Music Hall”.
- Michael L. Smith
The Pensacola Beach Songwriters’ Festival has enjoyed a lot of history in just four years. Co-founders Reneda Cross and Jim Pasquale have witnessed it all.
One week before the artists, organizers, volunteers and music lovers kicked off festival’s 2012 event, I interviewed Cross for the Pensacola News Journal’s “Music Matters” column.
Cross shared her memories of the festival and the people who’ve made it a special part of Pensacola music history. Here is a link to the PNJ article “Songwriters’ Festival has a mission to entertain and educate.” The full interview with Reneda Cross follows below.
MS: What has been the most memorable moment of all the Pensacola Beach Songwriters’ Festivals for you and why was that moment so special?
RC: Now Michael, it’s really tough for me to pinpoint one special moment because it just ranges through so many things from the midnight guitar pulls, to hearing the new creations that have evolved from being at the festival, to hearing the songs that I love everyday on the radio or in hearing them by performers that are actually writing these songs and hearing the words and stories behind them. It’s so difficult to pinpoint one special moment that’s any more special than the other ones.
There are just so many different events; I could say the sunset cruise last year was just unbelievable. It was our first year with that and it had that magic moment going on. But then, I can’t say that would over shine the wonderful listening rooms that you go to and you’ll really be able to hear these stories because it’s kind of a quiet atmosphere and they’re getting to talk and actually talk to the people in the audience. It’s just a warming feeling with all that. So that’s what makes it so difficult to highlight any one particular thing being more special than the other.
MS: What can music lovers expect this year?
RC: Wow. This is going to be totally amazing, the talent we have coming in. It’s just overwhelming to me, the fact that I’m getting bombarded with so many wonderful artists and when I say artists-I refer to writers as artists sometimes-but they’re not always artists, some of them write and they don’t perform out a lot. We do have some artists coming that are actually writers.
This year we have Beth Nielsen Chapman coming in, which is just phenomenal. We’ve got Chas Sandford, Jim Brown’s coming in. These guys have written for so many wonderful people and “Moose” of course, Jim Brown, not only did the “It’s Five O’ clock Somewhere”, but he’s also Bob Seger’s lead guitar player. So it’s kind of hard to pinpoint anything with them as well because they’re all so engrossed with everything that they do.
MS: This is an amazing gem for our area. How did the Pensacola Beach Songwriters’ Festival come into creation?
RC: Actually, Paradise Renee Mack at Paradise (Inn) contacted me and asked me if I would consider-I ran another festival for 14 years, so my experience with that-Renee was familiar with it because I’d put some writers in Paradise many years prior to…so that was kind of stopped…when I was gone from the other festival, she called me in the middle of all that and said, “Can you please come over here and do something?” and I thought, “Well, this is the perfect time we can do something the first of October, which would be not right on top of the other festival and everybody could just join together and make this one big Gulf Coast Community Songwriters Festival.” I think it’s a really awesome thing that the coast has down here with the music scene and we decided to go for it and we’re in our fourth year.
MS: I’m glad you did.
RC: I’ve gotten that from a lot of people. Everybody’s like “Oh my gosh. We had no clue.” because they hadn’t heard of the other festivals. There are festivals on both sides of us. There’s festivals in Orange Beach, Perdido, there’s festivals in Destin now, Port St. Joe and Panama City and I’m talking about songwriting festivals; they’re just going down the coast. I think it’s just a wonderful thing that these writers are getting acknowledged.
MS: What is the main goal of the Pensacola Beach Songwriter’s Festival?
RC: That’s another thing, Michael. Sometimes I feel like that “festival” is not the correct word for what we do because it’s such an educational process for what we do as well. We go to schools and we talk to the kids about their songwriting, they write lyrics, they send them to Nashville; some of the writers up there that are participating in the festival they put melodies with their lyrics and they come down and perform for the kids. It’s just amazingly awesome and one of our writers from Nashville joined up with Ross Orenstein, a writer down here who is also on the board with the festival and they have created the most amazing Team Green, Save the World. It’s just amazing and you’re probably familiar with what Ross does with that, but I saw a performance at the Seafood Festival on Saturday yesterday and they blew me away. It was just amazing and that’s with the songwriters. The songwriters are doing this and it’s bringing everything together.
MS: Let me ask you, you have so much experience in the music business, what is the best piece of advice you’ve ever been given.
RC: That’s a really hard question. “Get out of the business” (laughs), “Are you crazy?”(laughs). Oh, no. Somebody told me one time, it was a guy at ASCAP which is…I don’t even remember what his title was; I think he was vice-chair or something like that. He’s with ASCAP which is one of the P/R’s for the music industry business and he made a statement to me one time; he said, “For someone to actually do a songwriting festival, it has to be done from the heart, and I see that in you.” It kind of stuck with me. It is my heart and you can tell that, of course, by talking to me and me wanting to go on-and-on about it.
It is very dear to me and it’s dear to me because I do want everybody to know about the songwriters because, I tell you Michael, music is the one thing in this world we’ve got and I feel that music is the only thing that really joins people together. It’s everywhere-you don’t realize-but it’s everywhere you go. Whether it’s an elevator, or whatever, there’s going to be music somewhere in the background, in a commercial. And I just feel like that the recognition with these writers; whether it’s the lyrics or melodies it just needs to be out there. I guess him telling me that was just something that stuck with me. I don’t know that you would say that’s advice, but to me, it was. It helped me keep believing in what I was doing.
MS: Is there anything else you’d love for the readers to know about the festival?
RC: We’ve got so much going on. We’ve got the seminars, Beth Nielsen Chapman’s got one…when is this coming out, is it coming out Tuesday? She’s going to do a concert after the seminar. Wednesday night we also have a kickoff party, a meet n’ greet at Sabine Sandbar and the music really unfolds on Thursday, Friday, Saturday, and Sunday. We’re having a gospel on Sunday at the Paradise Inn, we’re having another boat cruise on Friday night, which is going to be just incredible. Oh gosh, there are so many things. A big luau on Saturday, everybody’s invited to this. This is a big luau at Aloha Wine & Liquors. We’ve got a pit going on, the whole nine yards, so it should be a fun afternoon from 12-2pm with pig roast and meet n’ greet songwriters, just a fun day and the shows, that the most important thing, so please come out and see the shows and support these guys. Give them your love, show them your love and let them know they’re appreciated.
- Michael L. Smith
The group, who have been with Suburban Noize Records since 2006’s “Back 2 Base X, are expected to release their latest album before the end of 2013.
- Michael L. Smith
Jerry Dawson isn’t human.
Standing in the spotlight inches from the edge of the stage, Dawson kicked the solo into overdrive.
“That’s not how it is sounds on the record.” I thought to myself. “This is…explosive.”
Falling into a fury of notes, Dawson pushed his guitar and the audience over the edge. This wasn’t Pink Floyd anymore, this was the White Tie Rock Ensemble.
It was supposed to be a re-creation of a rock classic, but this encore performance became much more. From their final preparations before showtime, to the last (and surprise) encore of Mark Ellis leading the group through Led Zeppelin’s “Kashmir”, the cast of local musicians and students rocked the Pensacola Little Theatre.
One week before the White Tie Ensemble’s encore performance of Pink Floyd’s “The Dark Side of the Moon”, I interviewed Jonathan Clark for the weekly Music Matters column of the Pensacola News Journal.
“Why attempt the performance again?” I wondered. It would be difficult nearly impossible to match the group’s first performance. There were so many questions to be asked and Clark was willing to answer them all.
There was only one caveat for my column in the PNJ; keep the surprise ending a secret.
Here is a link to my Pensacola News Journal Music Matters column “White Tie Rock Ensemble revisits “The Dark Side”.
The full interview with Jonathan Clark follows below.
JONATHAN CLARK INTERVIEW
MS: The first White Tie Rock Ensemble was amazing, how do you plan on topping the previous Pink Floyd performance with the encore performance?
JC: We all felt that it actually went much better than any of us had hoped and we just sat down and made a list of things that we could have done better. One was the video; the actual projector was locked in a position and we did not have the tool to get it fixed and that now has been fixed. So the video will play a much larger part this time. Some people missed what was going on, because some people said, “I looked up halfway through and was like ‘Oh! Wizard of Oz was on.’ We want it to be more of a focal point to be part of the show. The lights are going to be set up so that the video can be more of a focal point. We’re going to bring the orchestra closer in and use some risers to get the band sort of on the backline and have the orchestra more of another focal point when we’re there to have the orchestra a little more present in what we’re doing. It is a lot of work, I’ll tell you that much. It’s a little easier the second time around here.
We’ve been going through rehearsals, we’ve got a new singer, Jocelyn moved to Philadelphia. We have Charlyne Kilpatrick singing with us this time. She’s an old-school Pensacola rockstar in her genre. My father and she played together way back in the 70’s and 80’s. That should bring some more experience to what we’re doing here and some more soul.
We had some sound issues that we plan to take care of. We’ve got a new sound system that we’re going to use also, so we’ve got new towers on both sides. There’s a VIP section, where we’re going to rope that off and have it where you have to have the VIP tickets to get in there and I think I’m going to put a couple of “Hammer” bouncers at the front of that, rag on the people as they walk by and yell at them to sit down. We want to get some more of the theatre aspect involved.
MS: The first time, what was going through your mind on that stage in May?
JC: I told one of my students today-I teach 10 years olds how to play violin-one of my students asked if I got nervous when I play anymore and I said, “Truthfully, I’m very nervous until the downbeat.” And I said, “Once the show starts, my mind just goes into performance mode; it’s just always the way that I’ve done it. The jitters keep me focused, but once we start, a lot of it, you could say, moves very slowly, almost slow motion. But at the same time, it’s over before you know it and you can’t remember what happened. (laughs)
In my life, I’ve been with my wife for 21 years (and) more often than not, I come off and I say, “How was it?” That’ the best I can get. I know she’s going to be honest with me. Or my dad, my dad was in the audience, so you know, I can go up to somebody and ask. Really, a lot of it is the equivalent of me jumping out of an airplane and hoping everything works on the way down. I was lucky enough that we had a fantastic crew. It’s all the same guys coming back to work the crew stuff. And when you put people in place, in positions that you know they can succeed in, then you don’t really have to worry about a lot of stuff. I told one of the guys that was back, Dana Daniels, “You know, those guys have been doing it for so long that, I need somebody to where, if a fire breaks out, normally everybody runs the opposite direction. I need guys that run toward it. And Dana’s that type of guy. I don’t have to really worry about things going wrong and that type of stuff.
What was going through my mind? “Be as defected as Roger Waters sounds on the CD.” (laughs) Try to sound as something really bad has happened in your life. Which if anybody knows me, I probably have the easiest life in the world, so it’s kind of hard for me to dig up that stuff you know, you’ve got to play the part.
MS: I know that the last time we talked, you mentioned doing other albums. What made you decide to do an encore as opposed to doing another album?
JC: We had so many people afterwards, like apparently I was inside all day setting up gear, apparently there was a big storm that came through while we were playing. We had some people, even some kids in the back, playing in the orchestra that said they were getting dripped on. So it was bad enough to be coming through the ceiling of the Little Theatre. They were getting mists and all that kind of stuff in the back. But we had so many people that didn’t come and immediately afterward, “We missed this.”, “We want to come to this.”, “When are you going to do it again?” That was the biggest question I had. “When are you going to do it again?” So we thought about trying to get a different venue and do it pretty quickly, like say June or July, but it was very difficult to find a place that would be open that short of a notice, so I got this thing, my ECHO orchestra, Emerald Coast Honors Orchestra starts rehearsals back in September, so it just worked out well that we can use this as one of our concerts at the end of September. The band knows it.
The first one felt so much just like, not an experiment. That’s the best word I could come up with. Can we do this? Will it work? Will it be successful? We went into this and it came off so well, to where I think now, we kind of feel like that was preseason and now the season’s starting. We all wanted one more shot at it and the next one is going to be a different album.
We’re going to do Led Zeppelin IV, which, I don’t know if you want to put it out there yet because we’re going to do “Kashmir” as the encore-encore. We’re going to take our armbands off and say, “February, Led Zeppelin IV, here’s a taste of it.” I don’t want people to know that beforehand. We’re going to try to do that in February.
MS: Which one is more pressure to you; the first time or the second.
JC: I was just talking to somebody right before I called you…the first time, it was like waterskiing. You’re being pulled behind this boat and it’s going very fast. You have to really think and concentrate. This time, it’s more like we’re driving the boat. So you have a little less of that adrenaline, that total rush of excitement and that kind of stuff. We’re more in control. With this show, it will be more steady.
We’ve added two songs. We’ve added “Is There Anybody Out There” which has a beautiful acoustic guitar solo and a violin that plays. And we incorporate that with the orchestra and we’re also adding “Nobody Home” which is a huge staple from “The Wall”.
Down the road, we’re planning on doing “The Wall”, so we’re sort of preparing ourselves now by getting-I think I did the math the other day- We’re about 40% of this side of “The Wall”. We’ve learned enough about that now where we can put that together, and it repeats itself a little bit. That’s on the horizon, but I’m trying to get my friend Billy to figure out how we can build a wall on that stage. Roger Waters is out there doing it right now with a ten million dollar production. We’re certainly up against somebody that’s had a little more funding than we do, but it’s still fun and it’s just exciting trying to do this on a local scale.
MS: As far as supporting the White Tie Rock Ensemble, what can readers and fans do, aside from buying tickets to support your organization?
JC: We would love to get to the point where-what would be fantastic would be to do a Friday and a Saturday night at these things. We’ve got a pretty good Facebook page up and people come on there and send messages and stuff. A lot like that, we still have to figure out how we can market the whole Album Preservation Society thing. If we can turn this into a four or five concerts a year event, then we can do these different albums because you can do Led Zeppelin II, Led Zeppelin IV, like I said, I want to do The Police. You could do “The Wall”, “The Darkside of the Moon.”
The other day, I said, “What Pink Floyd songs would you like to hear?” on the Facebook page and people came back with all kinds of great suggestions. We could put up a poll and say, “What album do you really want to hear?” We were probably 80 seats away from a sell-out last time, and that was just fantastic, so I really hope everything works well this time. The Seafood Fest is going on that weekend, but I think a lot of people will go to the Seafood Fest and then come over to see a show, so it works out pretty well that way.
MS: This is my last question for you, Jonathan; is there anything else you would like the readers to know?
JC: Probably the number one thing-I’ve been in coverbands nearly all my life, I’ve also played in original bands with WAVE and all that kind of stuff-before we started doing this, I always thought how difficult it was to come up with quality, original music and that a lot of times it was easier to pick out these other tunes, but when you start really looking at recreating an album and doing all the little things that are in that, the nuances and the tones even-I got to have a bass this time, Michael, the black bass with the maple neck just like Roger Waters plays. In trying to find all the tones and all these sound effects that we had to locate for Pink Floyd, that was one thing, I looked up other bands that do tributes to Pink Floyd and a lot of them leave out these sound effects and that was the number one thing I wanted to do.
I went back and found some of the original interviews that Roger Waters did on “The Dark Side of the Moon” where he took the vocals from and used it, where the guys would say, “I’ve been mad for years.” or those types of things. I found entire interviews and I’d have to find where he said that, cut it out and put it in, because there was no music behind it.
The scope of what Jerry’s done to learn all the guitar parts and Joel’s learned all the keyboards and even the inflection that Mark Ellis has to use to sound like David Gilmour and we discussed “Well, are we going to sound like a 1971 David Gilmour or are we doing the 1994 David Gilmour?” and the differences between that kind of stuff. I would hope that that is what is appreciated. And when we did the first one, I’d have to say that it was, because when the kids did their part when we did “They Don’t Need No Education” or the sound effects that happened here or there, you heard the crowd response and that’s when you go, “Ok, these people know this album as well as I do. And you asked me earlier, “What can people do to support what we do?”… listen to these albums and come and put us up to that threshold of what you know in your head and see how well we do. And that’s when somebody really knows their stuff and says, “Man, I’ve been listening to Pink Floyd for 30 years and you guys nailed it.” That’s what really makes it worth the time that we put into it.
-Michael L. Smith
As of April 4th, 2013, the future of DeLuna Fest is unknown. There are plenty of questions and the biggest one has yet to be answered.
Will there be another DeLuna Fest?
If 2012 was the last year of DeLuna, then the festival ended with the biggest bang possible. It was the diverse, rock-solid lineup that made it special.
PEAL JAM, FOO FIGHTERS, ZAC BROWN BAND, FLORENCE AND THE MACHINE, BAND OF HORSES, JIMMY CLIFF, DWIGHT YOAKAM, FITZ AND THE TANTRUMS, BEN FOLDS FIVE, JOAN JETT AND THE BLACKHEARTS, DJ JAZZY JEFF, THE JOY FORMIDABLE, THE GASLIGHT ANTHEM, THE WALLFLOWERS, SUPERCHUNK, DIPLO, GUIDED BY VOICES, BAD BRAINS, TRAMPLED BY TURTLES, BOB MOULD PLAYS COPPER BLUE, CITY AND COLOUR, BAND OF SKULLS, 12 PLANET, OFF!, PAPER DIAMOND, THE WOOD BROTHERS, WALKER HAYES, KERMIT RUFFINS AND THE BARBEQUE SWINGERS, MIKE DOUGHTY, THE CORIN TUCKER BAND, REBIRTH BRASS BAND, FISHBONE, REDD KROSS, BLACKBERRY SMOKE, THE SILOS, MOTOPONY, IVAN NEVILLES’ DUMPSTAPHUNK, AC SLATER, ANDERS OSBORNE, TWOTHIRTYEIGHT, BONERAMA, THE PARLOTONES, BEN SOLLEE, HONEY ISLAND SWAMP BAND, WASHBOARD CHAZ W/ TIN MEN, ERIC LINDELL, MISHKA, CHARMAINE NEVILLE, LIGHTS RESOLVE, CHRIS THOMAS KING, THE LEGENDARY JC’S, ANTOINE KNIGHT, ASTRONAUTALIS, THE VILLIANS, THE CANVAS WAITING, KITT LOUGH, HIP KITTY, DEADLY FISTS OF KUNG-FU, BRASS-A-HOLICS, PALOMA, DLP, PIONEERS! O PIONEERS!
Comparisons were always made between The Hangout Music Festival, DeLuna (both started in 2010) and Mobile’s long-running Bayfest. The Hangout (which began the same year as DeLuna) had the top lineup its first two years, but DeLuna edged everyone in 2012. No festival could touch what happened for those three days on Pensacola Beach.
It was pure Pensacola in every way (positive and negative). A city that dreams a little bigger and fights a little harder than the rest of the world thinks we should.
Will there be another DeLuna Festival? Has the festival on Pensacola Beach gone the way of Springfest? Will there ever be another music event to match what happened here in 2012?
As long as there are people in this town that are willing to play, pay, book, and listen to live music…there is always hope.
While interviewing bands for the Pensacola News Journal and GoPensacola.com’s coverage of DeLuna Fest, I included a game of word association for the local artists and one extra question; What’s your all-time favorite concert…in Pensacola?
Zac Hobbs and Jason Hurt of Deadly Fists of Kung Fu
ZH: Aw man, well there was that GodSmack show. (chuckles) Best show in Pensacola, Florida is…the Archers of Loaves shows where, what’s his name from Man or Astroman, played with the Archers. That was a really good show.
JH: I’m going to go with the Flaming Lips at Sluggo’s when they filled the entire building with fog machine smoke and they were so loud you couldn’t hear them.
MS: Deadly Fists of Kung Fu.
ZH: We’re all taller except for you.
JH: No, I wish I was taller.
ZH: That makes a lot of sense.
MS: Pensacola, Florida.
ZH: You can’t say taller again.
JH: Actually, my first thought was “Broken-in shoes.”
ZH: Comfy couch.
JH: It’s got that big ol’ butt dip right…
ZH: It sure does. It’s got the remote for the TV that doesn’t work anymore.
MS: And the last one…DeLuna Fest.
JH: Kick Ass! Guided by Voices!
ZH: Bob Mould!
JH: Bob Mould!
JH: At this point, I don’t even care that we’re playing. I just want to see Bob Mould.
ZH: Yeah, I’m pretty sure we get in for free now (laughs). That’s pretty exciting.
GIO LUGO OF PALOMA
MS: I’m glad you mentioned shows, let me ask you, What is your favorite concert of all time in Pensacola, Florida?
GL: Man, in Pensacola, I’m still a really big fan of the Torche’ show at Sluggo’s on Cervantes Street. That was probably one of the most epic, most powerful guitar onslaughts I have seen. And one the shows that struck me as far as bands playing to their peak was the Sharon Jones and Dap Kings show. It was just like putting on a vinyl and traveling back in time. You don’t hear bands play their instruments like that. That’s like a whole other level. They whispered, they screamed, they jumped, it was like every aspect of dynamic sound that could be covered by instruments, they were in it. It was totally a pocket situation. I was really impressed with that show.
MS: Pensacola, Florida
GL: Really, immediately, it’s just…it literally is…it’s just…Home. Man, I’m probably thinking about this too much. Just “Home”. I wasn’t born here, but I’ve most of my life.
MS: DeLuna Fest
GL: (Laughs) Momentum.
MS: Raw Panda
GL: (Laughs) Family
MS: Anything else you would like the readers to know?
GL: Yeah, like I said, we’ve been trying in so many ways to-as far as our friends, as far as what the Raw Panda Showcase is- these are all our friends all bands that we enjoy, are proud of and it’s a the best way to come out to listen to Pensacola original music. It’s all about originality and you also listen to a lot of friends making music all on one stage. It’s all good. It’s a family. It’s a good collection of musicians.
MS: It’s seems like it’s an awesome time for Pensacola music. You’ve seen the crazy times, you’ve seen the dead periods and stuff.
GL: Even the dead days brought out some pretty good folk music and it’s temperamental, but I don’t know. You always got to write and you always got to listen and be prepared for anything.
MS: What’s your favorite concert of all-time in Pensacola, Florida?
CS: I have to think. I’ve seen so many good shows. I used to go to the old Sluggo’s on Palafox when I was in high school. Probably, there was a band called Weston, they were a fun pop punk band, they were really tight, but really funny dudes. That was one of the funnest…I’ve seen them twice. Weston and probably Hot Water Music. I saw Hot Water Music, probably one of my favorite shows, I saw them at the Nite Owl, that was in probably 97, 98. It was really exciting. Awesome show. I think the Nite Owl closed pretty soon after that too.
CS: I just thought of the beach, which is like really obvious.
MS: No. that’s awesome. That’s how you feel. You’re coming from your heart.
CS: Actually Cordova Mall. I’ll just put Cordova Mall. (laughs)
MS: DeLuna Fest
CS: Beach Ball.
CS: I don’t know, man. Can we pass that one?
MS: Discover America
MS: Christian Metalcore
- Michael L. Smith
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