mtt

MTT Fest - March 24th & 25th 2012

2012-02-24T21:12:00.000-07:00

http://mttfest.eventbrite.com

Music Times Two and Nuvo Hotel Suites presents MTT Fest 2012:

DAY 1 - MARCH 24th 2012:

Royal Canadian Legion No. 1 Branch Broken City

DEAN AND BRITTA PERFORM GALAXIE 500 (NYC)

Dean Wareham & Britta Phillips, former members of Luna. Started by Wareham in 1992, Luna made 7 studio albums and played their final shows in February 2005. "Tell Me Do You Miss Me" is the film documentary about the band's final tour. Prior to Luna Dean fronted Galaxie 500. Britta joined Luna in 2000. Before that, she played in several bands, starred in the movie Satisfaction (with Julia Roberts and Justine Bateman and Liam Neeson and Steve Cropper), and was the singing voice of 80s cartoon character, JEM.

Dean & Britta have scored several films, most notably Noah Baumbach's "The Squid & the Whale ".

At MTT Fest, Dean & Britta will be performing a set of songs from Dean Wareham's early influential outfit, Galaxie 500.

http://www.deanandbritta.com/

SONIC BOOM (Rugby, England)
Sonic Boom, founder of Spacemen 3 with Jason Pierce, went on to form Spectrum in 1990 and has since released a number of albums in that name and continues to perform live as Spectrum.
Sonic also created the Experimental Audio Research (E.A.R) project creating music with luminaries such as Eddie Prevost and Kevin Shields.
He has many collaborations to his name and has been involved with The Silver Apples, Delia Derbyshire, Dean & Britta as well as mixing duties for The Psychic Ills, Amon Tobin, Moon Duo and Cheval Sombre.
in 2009 he produced MGMT’s Congratulation’s album and this year completed work on Panda Bear’s Tomboy.
He just finished a successful tour with Panda Bear.
http://www.sonic-boom.info/

DAMO SUZUKI (Japan)
Damo Suzuki was with Can from 1970 to 1973, recording a number of well-regarded albums such as Tago Mago, Future Days and Ege Bamyasi.
He returned to music in 1983, and currently leads what is known as Damo Suzuki's Network - as he tours, he performs live improvisational music with various local musicians (so-called "Sound Carriers" [4]) from around the world, thus building up a 'network' of musicians with whom he collaborates. As far as more recent recorded material is concerned, Damo is featured on electronic/hip-hop producer Sixtoo's album, "Chewing on Glass and Other Miracle Cures".
http://www.damosuzuki.com/

CHEVAL SOMBRE (NYC)
One man-band Cheval Sombre emerged in the early 2000s, writing and recording songs in a studio apartment on the Hudson River, NY.
After sending demos to Sonic Boom a recording session took place in 2006, supported by guest musicians Dean Wareham and Britta Phillips which resulted in his debut self-titled album released on Double Feature records.
He has also released three 7” singles It’s A Shame/ Little Bit of Heaven, I Found It Not So/ Where Did Our Love Go and I Sleep.
Cheval is in the final stages of work on his next album.
http://www.myspace.com/chevalsombre

THE FAMINES (Edmonton, AB & Montreal, Qc)
The Famines are a focused and purposeful two-piece noise-garage combo once described as "berzerker barrage" and based out of Edmonton and Montreal, Canada. Garrett Kruger plays drums and percussion, Raymond Biesinger sings, guitars, and executes the aesthetic end of things. They've spread their DIY minimalist-maximalist beams across Canada coast to coast four times since 2008, put out five 7" records, four editions of a visual art book, countless B&W posters, an 8-track, an educational pamphlet, and a seven-song live cassette coupled with a 268-page liner note book. They have rare heat, volume and tension, matched with a visual-audio synthesis to be jaw-dropped at. It's all true.
http://thefamines.ca/

FAUX FUR (Calgary, AB)
Calgary has produced a lot of great music in the last decade - the likes of Feist, Braids, & Women come to mind. Well, soon you'll be adding Faux Fur to that list. Poised to blow up BIG in 2012, with sounds that will surely appeal to fans of bands like Sonic Youth & Real Estate. Faux Fur is currently recording their debut full length with the maestro Chad VanGaalen, so I'd definitely recommend marking them as Calgary's new band-to-watch. The buzz at their shows is reminiscent of early Braids shows in Calgary, so come watch them at MTT Fest before they are back in a couple years selling out huge venues & getting even more blog buzz.
http://fauxfurband.bandcamp.com/

EXTRA HAPPY GHOST!!! (Calgary, AB)
extra happy ghost!!! used to say, "happiness is not found at the end of a rainbow, it lays in a sensory deprivation chamber with 'red headed stranger' playing on repeat". it turns out, that requires sound - now they say nothing.
https://www.facebook.com/extrahappyghost

KETAMINES (Lethbridge, AB)
Mammoth Cave owner Paul Lawton teams up with Lethbridge's finest to write songs that could only be created by a group of musicians that probably got into Pet Sounds and 60's psych rock at too young an age. Formed from the ashes of bands such as The Square Waves, Myelin Sheaths, and James Leroy. To get a good idea of their sound, imagine the end result of Robert Pollard collaborating with Curt Boettcher while listening to Nuggets on repeat.
http://www.myspace.com/ketamines

DEADHORSE (Calgary, AB)
Easily Calgary's trippiest band, Deadhorse brings the rock. And the roll. And some psych. They also usually bring some instruments when they play.
http://deadhorseab.wordpress.com/

DIRTY SILL (Edmonton, AB)
Dirty Sill are a new band, a fresh band (first show!) , the type of band whose sonic vibrations could only be created by veterans of all things mind bending. Featuring members of Service:fair, and Brazilian Money, these guys are guaranteed to make the stage shine with a lysergic glow.

WILD ABANDON (Calgary, AB)
Wild Abandon's the rock and roll brainchild of ex-Dude, current A-team, Dan Mackinnon. Originally conceived in the kitchen of the legendary Rock Central following the death of Hellride To A Bloodbath rockers The Staasi Quartet. Wild Abandon has been a rare outing for the past decade. If you're a fan of Guided By Voices, Pavement, or just rock n roll in general, these guys are a band you won't want to miss.
http://www.myspace.com/wildabbandon

KRANG (Edmonton, AB)

Four good friends with many creative outputs - Krang is of them. For the last couple of years, they've been touring their psychedelic caravan across the vast Canadian Prairies expanding ears, eyes and minds along the way. Amazing shows with Hair Police, Awesome Color, Ketamines, Deadhorse, Shooting Guns and Famines. Records out on Mammoth Cave Recording Co. and Totally Disconnected. Musically, there are no restrictions, no pigeonholes. Call it what you want - psych rock, space rock, heavy dad-blues - with Krang, anything goes.

http://krangalang.bandcamp.com // http://krangalang.blogspot.com

Lab Coast (Calgary, AB)

The You Are Minez (Calgary, AB)

DAY 2 - MARCH 25th 2012
Shelf Life Books — Local 510 — Broken City — Republik

SUN ARAW (Los Angeles, CA)

Cameron Stallones began his musical career as a founding member of the experimental psychedelic rock collective Magic Lantern. Soon after, demos originally intended to light the Lantern became the first Sun Araw LP: The Phynx. Sun Araw blossomed as a solo project in attempted geosynchronous orbit with the Eternal Now: oblique six-dimensional transmissions from changeless environs. Structural and spiritual inspiration for Sun Araw comes primarily from Cameron’s first artistic love: film and filmmakers, especially those invested in the long-take (Tarkovsky, Altman, Bela Tarr, Greenaway). Devoted to long-form mantric music, the ethos is similar: straight lampin’ in deep focus, angle after angle on the melodic object, gaining strength from the subsequent breakdown of the illusion of fixed perspective.

Since 2007, 4 full-length LPs, 3 EPs, and 5 cassettes have walked the mind-planes from psychedelic drone to melted afrobeat, from warped dub to minimal composition. These releases have been praised in Wire Magazine (who selected Heavy Deeds as one of the top 50 records of 2008, and On Patrol in the top 50 of 2010), The New Yorker, The New York Times, the Los Angeles Times, Uncut Magazine, Mojo, Pitchfork, and beyond.
http://www.sunaraw.com

MATTHEWDAVID (Los Angeles, CA)

Matthewdavid's live performances are akin to watching a sorcerer conjure spirits from the deep. He pulls tones like artifacts from an astral trail that ebbs and flows with fresh discoveries. Along the way Matthewdavid collects exotic sound figures: spiraling amethyst cones and wild flowering buds. He treats each found sound like a bright fiber to be weaved into new waveforms. Outmind pulsates with this sense of constant discovery. It is a mosaic sparkling with mystic, radiant matter.
http://www.myspace.com/matthewdavid

DIVA (Los Angeles, CA)

Diva is the solo project of Los Angeles’ Diva Dompe, formerly of the bands BlackBlack, which also featured her sister Lola and Phantom Planet's Alex Greenwald, and Pocahaunted, which also included Best Coast's Bethany Cosentino and Bobb Bruno. Dompe, also a member of the L.A. Ladies Choir, struck out on her own in 2010, releasing her debut album, The Glitter End, on cassette late that year. Mixing Pocahaunted-like spacy atmospheres with touches of gamelan, Afro-pop, and electro, the album drew acclaim and earned a wider release in 2011, appearing on the Critical Heights imprint in August of that year.
http://www.myspace.com/divaprojections

JULIA HOLTER (Los Angeles, CA)

Julia Holter is a Los Angeles-based writer and performer. Her scored compositions and homemade recordings consist of instrumental sounds and sung text, as much brand new as they are borrowed from work anywhere (Burma or Paris, Saturn) and anytime (Middle Ages, ancient Greece, the future). She has released full-length recordings on Leaving Records, Engraved Glass, NNA Tapes, and Sleepy Mammal Sound, and participated in compilations on Human Ear Music, Anticon/Dublab, and Monika Records. Future plans include a release on RVNG Int'l.

http://juliashammasholter.com/

M. GEDDES GENGRAS (Los Angeles, CA)
Since 2005, M. Geddes Gengras has been a fixture of the Los Angeles experimental music scene. He has collaborated with many L.A.’s finest avant acts (such as Pocahaunted, Robedoor, L.A. Vampires and Warm Climate), both as a multi-instrumentalist, and as a go-to producer/engineer at his East L.A. based Green Machine Studios. His solo work over the past 4 years has been concentrated on his eurorack modular synth system, where he explores generative music concepts and deep timbral manipulation, creating a deeply spiritual and cosmic approach to music that ties in both the academic and the emotionall. In 2011, he travelled to Jamaica with fellow psych-o-naut Cameron Stallones (SUN ARAW) to make an album with legendary roots-reggae group The Congos (coming out on RVNG INTL 04 / 2012) and founded the label DUPPY GUN PRODUCTIONS, an outlet for his work with Stallones in what they call ‘outer orbit dancehall selections’. He also launched the first release in a series of collaborations with acclaimed video artist Miko Revereza, the >2 hour VHS tape REFRACTIONS. 2012 will see the release of his first official LP on L.A. label LEAVING RECORDS, as well as the first 12” by his minimal-techno influenced side-project PERSONABLE, and many tapes, some on his own PECCANT imprint.
http://mgeddesgengras1.bandcamp.com/

THE NOW FEELING (Calgary, AB)

Formed in Calgary spring 1983. Died in Toronto spring 1988. Terry Tompkins wrote most of the songs and sang and played a Fender Duosonic. Neil Sanderson played Farfisa through a Leslie. Allen Baekeland played a Fender Mustang bass, sang and contributed a few songs. Andrew Pearce played drums. His first kit was shitty but he bought better ones. Joe McCaffery joined in 1986 after playing in the Will, he played a Les Paul and also contributed some songs. Other than a couple songs at Allen's 50th birthday party, they have not played in Calgary in 25 years.
http://www.youtube.com/watch?v=t-W6H3poFoE

MAC DEMARCO (Montreal, QC)

DeMarco’s a weird cat cultivating an affinity for occult imagery, nudity and social satire. But his most impressive trait is his undeniable and instinctual ability to compose magical pop jangles, of which he’ll likely refer to as “jizz jazz”. His dusted jams have garnished him accolades that are as ever-increasing as his song writing abilities; his sound rendering comparisons, but in a nomadic fashion alluding no distinct origin.
http://macdemarco.bandcamp.com/

BARNABY BENNETT (Calgary, AB)

Barnaby Bennett has a penchant for mixing traditional music of the 1920s & 1930s with contemporary production sensibilities, often with a twist of doo-wop influence. His debut release Fläshbax was recently released as a free digital album. This album was written, recorded & produced by Barnaby himself and is an exercise in lo-fi sensibilities/classic folk songwriting. He is currently readying a 7” vinyl single recorded in Nashville in June 2011. These tracks were produced by Wayne Moss at the legendary Cinderella Studios and were recorded with Country Music Hall of Fame members Charlie McCoy & Russ Hicks (who’ve recorded with a veritable who’s who of music such as Bob Dylan, Elvis Presley, Ween, etc); featuring Lorrie Carter Bennett – niece of Johnny Cash, granddaughter of Mother Maybelle Carter – on backing vocals. Not one to rest on his laurels, he is flipping his musical style on its head and is spending February 2012 in Berlin working on music using digital synthesizers and programming, then touring Europe in March before MTT Fest. A selection of his work is available online and for free at: http://barnabybennett.bandcamp.com

BEN ROGERS & THE BLACK OATS (Vancouver, BC)

Ben Rogers and The Black Oats are a four-piece Acid Country/Americana bandresurrecting traditional forms through electronic folk fuzz, Gram Parsons click-clack, sun-damaged velvet chants, Ennio Morricone crow-hammer guitar, underwater twang, and drums clanging like a last heartbeat. He was a street performer in Los Angeles when he was noticed by record producer Max Martin. He has shared the stage with the likes of Luke Doucet, Josh Martinez, and Basketball. Rogers recently performed extensively throughout the UK and Canada and will be touring North Americana in the Spring in support of his second album, Bloodred Yonder.
http://www.myspace.com/benrogersmusic

7113 Oc7o4u5 (Calgary, AB)

7113 Oc7o4u5 have been transporting minds 'live' since 1997. Formed as a studio project in 1993 to overlay reality with psych-rock and magic, this trio jumped into the live world at the request of those who heard the strangeness. Gibson SG, synthesis, and process. One cat plays guitar, one cat synthesizes, and a third 'plays' the other two. Rather than take the audience away, 7113 Oc7o4u5 strives to transport them back into the present. The music is sometimes referred to as 'Deep Head'. Artist in residence for the 2001 High Performance Rodeo, also performed at the opening of public art on Stephen avenue, and have melted through various house parties, bars, raves, and art galleries. Enjoy.

FERAL CHILDREN (Saskatoon, SK)

with a fixed gaze deep into the future, Feral Children come alive in the skin, they take hold and then break on through. shifting from solo project to full blown rock band Feral Children is a strange and intense take on pop music filtered through the glorious tunnels of psychedelia, rock, noise and electronica. characterized by sample and beat driven structure carved by live instruments and wyld croons. transfixed by the delicate detailed layering of delay and reverb into maximum transcending white noise bliss outs.
http://feralchildren.bandcamp.com/

HAPPY TRENDY (Edmonton, AB)

HAPPY TRENDY is Dylan Khotin-Foote, an 18 year-old electronic music producer from Edmonton, Alberta. Like other bedroom musicians situated in suburban stretches across Canada and the United States, Dylan has used producing music for the past two years (under the names Kumon Plaza and HAPPY TRENDY) as a way to deal with the realities of suburban isolation and also to reach out across the internet and connect with a network of similar-minded musicians.

http://happytrendy.bandcamp.com/

RAM HOSS (Saturn)

Hailing from the home planet of Sun Ra, Ram Hoss is the solo project of Jordon from the acclaimed Azeda Booth. Jord is a veritable song-writing machine & is surely going to be ready with a fresh batch of homespun delights to serenade you with come March 25th.

http://free-ram-hoss.blogspot.com/

ROB ROY AND THE SULTANS (St John's, NL)

Some people call him Two Pair Pat, some people call him Rob Rob & The Sultans, some people call him a real mellow tripper on a trippy trip. Mr. Roy sounds something like what would happen if Neil Young accidentally ingested a Avey Tare record and puked it up. Come vibe out to the salty Sultan!

http://robroyandthesultans.bandcamp.com/

Yàocavé (Calgary, AB)

Swollen with an uncontrollable urge to scream, Yàocavé was tied together from tiny strands of dirty dust by the tiny, teenaged Man Durian. Man Durian was always a drifter but not much of a floater, that is, until he uncovered the sultry sounds of the desert dunes and the plickin' pluck of the forest floor. It is now believed that he chooses a life of space dance and sun cheese, but nobody knows. Yàocavé's debut full-length "Itchy Urbanity" is expected sometime in mid to late-2012.
http://yaocave.bandcamp.com/

SMOOTH SAILING (Miami, FL)

Setting sail on the seas of smooth, these dj's spin only the smoothest jams. Making the 1113km sailing trek up to Calgary for MTT Fest, these bros will be docking their boat SS Trips at Vancouver's port then breaking strict Smooth Sailing code *just* for MTT Fest by flying in for their first ever performance in a landlocked city. From the ports of Monaco to Bermuda, Bahamas & Jamaica, these sailors are one of THE most in demand party DJ duos and have entertained many of the wealthy elite on private yacht shows. Get ready to kick MTT Fest off in the smoothest style imaginable with Smooth Sailing!
http://christophercrosssailing.tumblr.com/

THE NANCEES (Calgary, AB)
What happens in a city with rock ’n’ roll roots, underground garage undertones and mainstream indie music disenchantment? There comes a snotty, reverb-drenched, punkish, young reaction! Ladies and gentlemen, I bring you The Nancees. In a binary musical world where lo-fi and reverb are linked to a “garage revival” style, The Nancees come out with their live show, a bone-crushing wall of sound that maintains a killer four/four caveman groove. The Nancees are sophisticated primitives in an electric world.
http://www.myspace.com/theenancees

ROBERT DOWNEY SR. (Vancouver, BC)

Hailing from the downtown east-side of Vancouver British Columbia, Robert Downey, Sr. is the solo project of David Adrian (formerly of Shipyards/Greenbelt Collective). Ostensibly a solo-electronics depressive-vocal-pop project; drum machines, cheap children's-synths, feedback and a theremin stand side-by-side with the twisted cast of characters lyrically present.
http://soundcloud.com/robert-downey-sr

DARREN WANTZ (Calgary, AB)
After starting garage project The You Are Minez, frontman alter-ego Darren Wantz brached further into the realm of basement produced pop ballads, only now, drenching them in chorus and synth. Choked croon, tear-laden melodies and an essentially light-hearted overall sound are one of many things to expect from a Darren Set

GREYSCREEN (Calgary, AB)
GreyScreen is the chiptune moniker of Kevin Stebner. Formed while living in Korea, all the usual musical outlets were on hold, thus Stebner delved back into music his childhood - that of the bleeps and bloops of the video games he was weened on. Now armed with a lunchbox full of Gameboys, GreyScreen seeks to bring the adventure back into your lives, twisting the chiptune sound into something wholly danceable and undeniably fun.

CODY SWINKELS (Calgary, AB)

THUNDER EQUALS LAVA (Calgary, AB)
http://www.myspace.com/thunderequalslava

FIELD+STREAM (Edmonton, AB)
http://www.fieldandstream.ca

NATHAN GODFREY QUARTET (Calgary, AB)

Several more local bands are to be confirmed. Follow MTT on Facebook for updates. Facebook: http://www.facebook.com/events/326852644000876/

Ticket prices:
$40 single day
$65 full weekend pass
$100 VIP full weekend pass (only available online!)

VIP Passes include:

Guaranteed access to all venues
Access to Beatroute after parties
Access to an exclusive artists lounge at the Royal Canadian Legion on March 24th with 2 free drinks

Tickets can be purchased at http://mttfest.eventbrite.com/ and Sloth Records (Calgary, AB)
They are also available at Black Byrd (Edmonton, AB), and Blueprints (Lethbridge, AB)

Sponsored by Mammoth Cave Records, CJSW, Beatroute, Calgary Sound Rentals, Shelf Life Books, Nuvo Hotel Suites, Small Ghosts, Steamwhistle, Exclaim!.

Powered byEMF Form Builder

Report Abuse

MTT Fest Makes National News in Exclaim!

2012-02-24T15:33:00.001-07:00

There's one month left until MTT Fest and word of our little festival that could has made national news by being mentioned in in the latest edition of Exclaim! Magazine.

This on top of all the awesome support and mentions from local media outlets like the Calgary Herald, FFWD, and The Edmonton Journal.

We can't thank everyone enough for their support and positive vibes so far.

Share these stories on your Facebook and Twitter feeds and spread the word: MTT Fest is not to be missed.

And be sure to keep your eyes open for more in-depth media coverage as the big day nears.

Cheval Sombre

2012-02-14T10:39:00.001-07:00

Cheval Sombre is the musical personality of New York based Christopher Porpora. Since he's released his debut album, on Dean Wareham's, he's made a small handful of appearances, and has more or less disappeared for the better part of the last year. Only to re-emerge recently, playing his first show in a year and 2 days at our very own MTT Fest, as well as gearing up to release his second album later in the year, titled Mad Love.

Chris took the time to do an e-mail interview with us about working with Sonic Boom, and what he's been up to for the last year.

MTT: Can you tell us a little bit about how you got into music?

CP: I got into it early on – as far back as I can remember. Luckily, there was usually some music on, in the house, in the car, coming from somewhere. I was using it, music, as a means of escape from the cruelties of a dull world before I could walk. One of my earliest memories is lying on my back, watching the coloured lights flicker on the Christmas tree, watching the reflection of the star on the ceiling, anticipating the precise rhythm of the flickering. All the while a pristine, high-pitched voice going on in the background. I strived to match the lilt and nuances of the voice to the changing of the lights – from red to green, green to gold, gold to orange, and so forth. I was grateful for that angelic voice, for that diversion into light, rhythm, and colour. It kept me. Later I would learn that the voice was Joan Baez, and that it was my father who introduced it. I’m so glad he did. Unknowingly, he gave me a way out from an otherwise dreary, mundane existence. So I was always on the alert after that. A neighborhood kid gave me a cassette of “Yellow Submarine” at an early birthday party. I loved “Only a Northern Song” especially, and “It’s All Too Much.” Thanks to him, or his folks! My older brother turned me onto to The Doors at a tender age when he gave me a best of, and my aunt showed me all I still retain on guitar. So it’s sweet – my family really helped in that way. My father always had a Spanish classical guitar tucked away in a closet, and after the rigors and dissatisfaction of school, so ready for another life I was, well, all someone really had to do was drop a match on me. I played in a few wild bands before I started seriously writing on my own, and it was all just extraordinary – both experientially, and sonically, even spiritually – but that’s a long, long story.

MTT: What are some of the things that have inspired you?

CP: What a lovely, vast question – perhaps both possible and impossible to answer. My first thought is kindness. Kindness never ceases to put me in a place of awe. Understanding – sincere understanding – be it in a conversation between any two people – between strangers, friends, lovers, between musicians on a stage, backstage, in a hotel after a drink – to witness and be a part of true understanding just floors me. And beauty. Beauty. Capitalize it. Beauty gets me – every time. And grace. Grace too.

MTT: Since the release of your debut album in 2009, I haven't heard too much about what you've been up to since. What have you been working on lately? Any exciting plans for 2012?

CP: I suppose I’ve done a lot of living really, just experiencing. Some glorious things and some awfully hellish things too. All the while writing though, as I always have. But Nick Kramer and Sonic Boom got me into the studio again and woke me up to the fact that I had another album in me. So we got down to it and began recording. It’s almost finished. It’s called Mad Love. We did it at Blanker Unsinn, which turned out to be right around the corner from my brother’s place – so it was wonderful – I got to see him more than usual. Literally right around the corner. We actually played as a duo ages ago, my brother and I, just a few shows, sort of dueling guitars, a really charming thing. And everything really just unfolded beautifully from there. I did the first tracks with Nick, patient as he is, and then Pete did a marathon organ playing – just amazing performances on his part, just bringing tears to the eye. He was in such good form, and what a musician he was, just bringing out such orchestrated, gorgeous parts right on the spot. Our jaws dropped that day. Pete gets much well-deserved credit and praise for producing, but he just moved me so much as a musician while we made this album. I turned up a bit early one rainy day and he was upstairs, looking out the window, composing a tune on the organ – a really heartbreaking piece. He asked me to grab a guitar and it just happened there, our first co-write. We put it down and I wrote the words later, the vocal melody. It really turned out. Then Dean put some downright incredible twang on a few in his unmistakable style, along with Britta’s deep soul holding down the airy ones. We wanted strings so I think Andrew (VanWyngarden) or Ben (Goldwasser) suggested Gillian Rivers, as she did some work on MGMT’s Congratulations. She came in, and what a revelation – a master player, technically and soulfully. Andrew played beautifully too, such a natural musician – a whole range of things from tympani to acoustic guitar on several tracks – even strange whistles. Between Nick and Ben meticulously and thoughtfully engineering and troubleshooting, the possibilities of sound truly were endless. Really it was a miracle of music unfolding – an extraordinary, organic evolution. Everyone involved brought heart and soul in this age of unsentimentality, and what a coup. Bravo to all of them. And so, 2012 looks good. First, there is my first outing in nearly a year with you in Calgary, then Trensmat is doing the first proper single from Mad Love on wax called “Couldn’t Do”, and thirdly, the excellent London label Sonic Cathedral is putting out the album later in the year. Sharon Lock is doing the sleeve for “Couldn’t Do”, and just wait till you see it. Stunning. So – that’s more plans than I’ve had in a while…

MTT: You've said in more recent interviews that you plan on disappearing for a while. Is this still the plan?

CP: Some of the ideas explored on Mad Love very much address this. When we discover that we have not been made for this world, we must pursue, as they say, other avenues. This world, or the one in which we are expected to participate, often demands that we be other than we are. That we behave in ways which are antithetical to our very own natures. I believe that this promotes a kind of disaster – a fatal inauthenticity. So one must disappear at certain times, to avoid such disaster, to have the space and time to create another world – of his or her own making. So yes – I do it when I must.

MTT: How did you become involved with Dean and Britta, and Peter Kember?

CP: Really just through our love for music – both listening to it and playing it. And I suppose also our collective desire and ability to create new worlds, as evidenced by the one we built together.

MTT: It's obvious your sound is largely influenced by Spacemen 3. What was it like working with Peter Kember, who's an original member of Spacemen 3?

CP: Perhaps the notion is inevitable because I am making records with Pete, but the sound we are making we are making now, in the present. We let it happen. I bring what I’ve got, and he brings what he’s got. Sometimes it’s a handclap, sometimes a voice, a guitar, an organ. We go from there. That said, while Pete and I were on our way out to Nick Kramer’s studio in Jersey City way back on the first album, in the car I told Pete that his Rugby demos record very much rescued me from an otherwise miserable existence while I was in school. I didn’t want to embarrass him, or put him on the spot, but I wanted him to know how grateful I was. He took it well – just smiled, nodded his head, blew his smoke out the window.

MTT: Reading other interviews, its mentioned fairly often that you're "protected" by Peter Kember. How do you feel about this statement?

CP: Well – he ain’t the mob or anything like that.

MTT: Any interesting stories about Peter Kember you could share?

CP: Much of what I’ve said previously, for instance. Much of what goes on with us I would say is ineffable, really. One can hear it in the songs though. It’s all there.

MTT: Listening to your music, there definitely is some really unique tones. What type of gear do you use?

CP: Primarily I use the guitar and my voice, and I enjoy pushing both beyond any preconceived limits I may have had. If there is a sound in my head, I feel I can chase it down with either, and sometimes with both. Discovering a strum which works, infinitely, pleases me very much – something to carry me away. The myriad dimensions of voice fascinate me. A lone voice, a lone note, a chant, a chorus, a silence, a harmony – anything which will work forever. Anything which can go on and on, and on.

MTT: I've never got the chance to see you live, but I've heard that there's a few different configurations to your live band. Can you tell us a bit about this?

CP: I’ve done shows in all kinds of ways. The easiest, and, strangely, in some sense the toughest way, is to do it alone, and just lay it all out there with guitar and voice – if I mess up, just break down, and start again. Just be as natural about it as I can, and hope for a little mercy from the crowd. Though challenging, there’s an elation in being so vulnerable in front of an audience, doing it stark, alone. It takes a particular courage. But I’ve played with some extraordinary folks too. I’ve done some shows just Pete and I, and it’s hard, you know, to stay focused on what I’m doing because I’d love any day to see him live. Sometimes I have to keep my head straight, keep tears back, when he gets to it on organ, while I’m singing. I forget the words of the songs, forget which chords do what. I’m all mixed up in front of a crowd. What he does moves me profoundly – I can’t help it. They all tell me I better keep it together and when I can, you know, it’s good and all, but sometimes it’s just overwhelming. I can’t apologize for breaking down because I’m moved. In all configurations, I’ve been impressed by how wonderful the music has been on stage. I’ve done gigs with Pete, Dean, Britta, Matt Wells, Matt Sumrow, Nick Kramer, Gillian Rivers and Russell Simins thus far, all in different formations. All of them have brought something brilliant to the live thing. And all of them in their ways have caused me to lose time, because the very sounds they bring out I want to lose myself in, so elemental and wonderful they are. In other words, these are all folks for whom I feel a great reverence. Every time is different, a whole different feel – and that’s a great blessing, because I’m not interested in doing the same thing twice.

MTT: From videos I've seen on youtube, it looks like the omnichord is absent from live shows?

CP: Hmmm. It may not be in youtube, but it does get around on its own! I think we’ve used it live, but I’m foggy – I don’t know…

MTT: I know you've also published two books of poetry. Since it seems like you've been working more prominently on music lately, has most of the poetry you've written recently just became lyrics? Do you keep poetry and lyrics as two kind of separate entities, or have any of your poems eventually evolved into songs?

CP: The waitress here suggested a Chopin martini, and brought it in a pint glass, on the house she says. Goodness. There are two books of poems floating around out there, or more likely, collecting dust out there. Is anyone reading poems these days? I rarely hear it – poetry – mentioned. I don’t look at poems too much, so I do understand. There is something much more immediate about music, I think. But yes, I did two books – In Mine Eyes and Becoming. The last time I moved, I had the occasion to sit amongst my belongings, open them up, and read a few. I found that I was still fond of them, after all this time. There is a great deal of truth in those books. Some read like songs, it seemed. But no – none of the lyrics have been evolutions of poems. Song lyrics come to me in a wholly other way, and I see poetry and song lyrics as very different entities. But I have allegiance to neither. It’s what happens in the moment – however it comes. In whatever form. I’m just grateful that it continues.

MTT: Looking back on the past year, what were some of your finest memories of 2011?

CP: It was a very difficult year, for me and for many folks I know. There was a lot of darkness, all around. But even at its worst I learned that the light comes through, from the most unexpected places. And that is priceless. It is what I cherish, and it is what I take with me as I go.

To Hear more of Cheval Sombre's music, check out: http://www.myspace.com/chevalsombre

By Ben Simbirski

Nina Persson

2012-02-08T09:15:00.001-07:00

As part of an on going series about the late, great Mark Linkous from Sparklehorse, we got the opportunity to have a chat with Nina Persson, from The Cardigans, about working with Mark Linkous on projects such as Sparklehorse's It's A Wonderful Life, and Dark Night Of The Soul albums, as well as her own A Camp.

MTT: How did you begin working with Mark Linkous?
NP: I think it was in 1998, I was already a huge Sparklehorse fan and Mark invited me to come to their show in Lund, near Malmö where I lived. I was gonna go anyway, of course, but it was such a big thing for me that he invited me! He must have read somewhere that I loved his music. I went, cried at the show, and got to meet him afterwards. I had made some A Camp recordings, so I gave him a cassette. A bit later he told me that he and his wife Teresa loved the music, he asked me to come sing on his record and that's when I asked him if he would produce the A Camp record for me.

MTT: Mark Linkous has said in interviews that he was a little apprehensive about getting other people to work on It's A Wonderful Life with him. Did this cause any issues during recording that album?

NP: Well, not really, he seemed quite sure of what he wanted when I came to Tarbox to record my vocals. He was working with Dave Friedmann as a producer, maybe it helped him to have a producer around when guest musicians came.

MTT: I've heard that when Mark Linkous first flew to Barcelona to work with you on It's A Wonderful Life, all his gear was held at customs for a while. Can you tell us this story?

NP: Hm, I actually never met him in Barcelona, I don't know this story! But I'm curious, what's it about?

Editors note: During an on air interview with Mark Linkous on the radio program Mornings Become Eclectic in 2001, Mark Linkous states what when he first flew to Barcelona to work with Nina on It's A Wonderful Life, his luggage and gear was held at customs for days with no explanation. When he finally went to pick it up, he was told it was held because a cat was nursing her kittens on his luggage.

MTT: Can you tell us a little bit about working with Mark Linkous on the A Camp sessions?

NP: Once he agreed to do it, we spoke on the phone a few times before the actual recordings began and he would suddenly be almost apologetic, he said he was afraid he would destroy my songs and not do the right thing. I had to assure him that I wanted just what he is and what he does. He would fall back into that occasionally throughout the sessions, but I think he felt alright about it in general and I think that's how we got close - early on we dealt with the issue of his self doubts and his concerns and I also got to early on learn to read him and to talk to him on a very honest level, and that was helpful to me too, I had had some years of making very effective hit records so I thrived in that emotional state. At the time, it was the perfect recording environment for me. And musically, things really took a new form, Mark was very particular about sounds and tempos and the way all musicians played, as a singer I liked the way he worked, he was very sweet and encouraging in the way he advised me. We had a lot of fun, we would take a lot of breaks and listen to music and we all drank and smoked a lot back then, so we just... hung out and talked a lot.

MTT: I've heard that at first, Mark Linkous felt the A Camp demo you gave him was actually a finished album, and he didn't want to work on it because he already thought it was good enough. How did you convince him to finally work on it with you?

NP: Oh, I almost answered that question already... Well, yes, it was recorded to become an album, but it had been a while since we'd done it and I wasn't happy with it, it sounded too generic and clean and that wasn't how I felt about the songs. I really asked Mark to help me because I was in a rut about is and I needed help to make the songs more organic and human sounding. I guess I convinced him by telling him this! The recordings sounded... good, and since he hadn't produced anybody else before really, he couldn't at first see what his job would be.

MTT: Mark Linkous has compared your songs on the first A Camp record to Jimmy Webb. How do you feel about this comparison?
NP: Oh, I don't know that I ever heard him say that, but it's of course amazing to hear that, Jimmy Webb is an amazing songwriter, I love the songs he wrote for Glen Campbell. The songs for A Camp are written by me and Niclas Frisk, my A Camp partner, so it's a lot of his songwriting in there too. Mark loved emotional pop songs, and so do I, and it makes me so happy to know that he liked what I do.

MTT: What was the recording process of Dark Night Of The Soul like? Did all of the artists meet in the studio, or was it kind of a long distance thing? Did you co-write Daddy's Gone?

NP: I hadn't seen Mark for a long time when that project came about, he had written the song and asked me to sing it. I flew to North Carolina and we recorded in his studio there, it was just us two. I stayed with him in the house on top of the hill and I'm so happy I got to do that, it was the last time I saw him.

MTT: Did you ever so any work at Mark Linkous's Static King studio, and if so can you tell us a little bit about it?

NP: Yes, we did some work on the A Camp album there. It was so beautiful, in a field behind his and Teresas house, a little cottage with his signature kind of recording gear, duck taped keyboards and surrounded by a forest of retired italian motorcycles. I can't remember exactly what work we did there, I more remember the visit. I stayed with them, we wrote the song "elephant" and rode motorcycles.

MTT: What are some of your favorite memories of Mark Linkous?

NP: Oh, many... But I will always remember the last time I saw him, we talked a lot and he was clearly struggling, right then he was doing pretty good, he was off meds and he was trying to get things working. He told me some stories about ghosts and he showed me a plot of land where he wanted to build a house if he got some money. He was terrible with eating, he just didn't eat if Theresa was not around. I like to eat, so I had to ask him for food, so he drove me to a subway and he himself went into the next door gas station to but some... devil dogs I think they're called, the weird american sponge cake snack. And I loved when we listened to music together. And when we (me and my manager) asked him what his producer rate was, he just sent us a picture of a new Moto Guzzi that he wanted to buy, that was funny. I have lots of stories! I loved him a lot.

MTT: The last A Camp album came out in 2009, 8 years after the first album. Have you been working on anything new for A Camp?

NP: No, since the last A Camp record I had a baby and I'm still in that zone.

MTT: You're also a part of The Cake Sale collective. Is anything new happening with that?
NP: Not as far as I know! I think it was a one-off thing.

MTT: In November 2011, Magnus Sveningsson hinted that a new Cardigans album was in the works. Can you tell us anything about this?

NP:Not a record, but we're gonna do something, we're gonna perform the record "Gran Turismo" live next summer, in festivals.

MTT: Is there anything else you'd like us to know?
NP: No, I think that's it! Well, my son's name is Nils Oskar Linkous Larson, Teresa has blessed the choice and she's Nils' honorary aunt. And Mark's his honorary uncle.

By Ben Simbirski

Daevid Allen of GONG!

2012-01-16T15:24:00.007-07:00

MTT was thrilled to have the chance to speak with the legendary prog maestro Daevid Allen recently. Daevid Allen was the co-founder of The Soft Machine, and is the driving force behind the band GONG. Daevid spoke with us about his views on anarchy, artists, air and all sorts of other things in his uniquely cosmic way. Enjoy!

through the years you have used poetry and music as a medium to express your political and spirtual ideals. I understand that you consider yourself to be an anarchist, why do you feel this is blah blah blah

Music Times Two: Through the years you have used poetry and music as a medium to express your political and spiritual ideals. I understand you consider yourself to be an anarchist - so, why anarchy?

Daevid Allen: Clearly the social and economic systems we use in 21c world are out of date. They were invented in 19c Europe for a time we have left behind but still we are saddled with their inadequacies & numbed by their limitations. So where is the new political system?

If politics is simply the way we want to live, it is my opinion that the evolved form of Anarchy means that each individual takes full responsibility for their own actions.

Given the freedom of mind & ethical will power required to fulfil this potential as a society, it is clear the human race has not yet reached this point.

So it remains as a potential political un-structure, waiting for us all to grow up.

But we can begin to evolve towards that point by introducing a form of bio-politics which recognises anew the need to respect the laws & consciousness of the planet we live on.

Meanwhile, I hope somebody's got a better idea!

MTT: Does the phrase 'Floating Anarchy' correspond to a specific concept or is it just an interesting phrase?

DA: I see Floating Anarchy as a way of living which requires a certain detachment from outcomes in the world of commerce.

A floating anarchist shows little respect for greed, lives like a material minimalist, and is symbolized by the urban sadhu who will sacrifice everything to expand consciousness and accelerate spiritual growth by passionately practicing the arts.

So a floating anarchist is an art anarchist.

MTT: The idea of Floating anarchy only seemed to emerge towards the late '70s corresponding with the Punk movement. Did the idea exist before Punk and did it have a place in the earlier incantations of Gong?

DA: If one half of Gong music is a study of head-banging earth rhythms born from dancing and fucking, then the other is the high flying spirit that seeks wisdom and understanding thru the floating life.

The combination of the two brings into play a spiritual material fusion.

These concepts fulfil the purpose of psychedelic music as I experience it myself and were consciously embraced at the beginning of the GONG experiment.

MTT: A much loved Biology teacher of mine took part in the raid of Virgin records in the late seventies. Could you describe the events of that evening and what were you speaking out against?

DA: Jean Karakos of BYG RECORDS, FRANCE had been chosen over Richard Branson/VIRGIN as promoters of the first GONG REUNION in Paris in 77.

Since we had abandoned BYG for Virgin, Richard Branson was unhappy and had tried to sabotage the departure of bus loads of English Gong fans bound for the gig.

Shortly after I gave a public lecture at London's ICA on "Roccultism", the Histories & Mysteries of the Gong Mythology.

During the Q&A section at the end, a group of indignant art activist fans pushed for a revenge occupation of Virgin Records Offices next day.

So at 1.15PM when the majority of the office staff were at lunch, I led a long line of maybe thirty gong freaks from the nearby pub in the front door and up the stairs into Branston's office. Here we graffiti'd the walls and played the Pistols "Anarchy in the UK" while Branson and crew hurried back.

A freelance journalist who often worked for popular Rock Broadsheet NME asked Branson awkward questions while I locked myself in a toilet. Branson threatened to withdraw Virgin advertising from NME unless the journalist was sacked and tried to clear the office which remained in party invasion mode for some time. In the end we had paralysed Virgin for the better part of an afternoon which was satisfying enough for me.

MTT: Would you care to have a small rant about the music industry?

DA: For a time in the late sixties/early seventies we artists held sway over music industry commercial interests. These were the golden years of unfettered creativity. Maybe it was the acid we secretly spiked their tea with but they foolishly began believing we were all musical geniuses. Of course we took full advantage while we could since history indicates it had always been the other way round.

Indeed the music business today is more repressive, manipulative and greed driven than ever. The purest form of capitalism.

Little wonder then that I have so little respect for industry structures, practises and outcomes when they now consistently stand in the way of innovation, experiment and risk. These are the very elements that GONG depends on for its longevity.

In 2012 we will break free of the smell of corporate rock and return to our grass roots playing small clubs and pubs throughout the UK.

Once again it is time to re-occupy the planet Gong and refresh the vision of what Gong has been packaged to represent.

MTT: During the 70s Gong were living just outside Oxford on a farm in Whitney. What are your fondest memories from this time on the Gongfarm?

DA: We used to call it Middle Class Farm because it was just a bit too posh to be friendly. We had previously lived in a 15 room French Chateau 100 clicks south of Paris which was SO much more romantic and fun. I don't really have a fond memory of living at Middle Class Farm since it enclosed us at a time of schism and dissent.

It also left me with the feeling that, for an intelligent conversation in a picturesque pub, I vastly preferred Cambridge.

MTT: What's the most beautiful reason for being an artist?

DA: It can be the highest expression of purified matter.

MTT: The least?

DA: It can be the lowest expression of concentrated density.

MTT: Any inspiring words for anyone reading?

DA: Fame is the most difficult spiritual path of them all.

So don't worry about that.

It is enough to just DO your art, whether it is appreciated or not.

Never give up.

Post Modernism is dead. Now nobody says it is easy.

By Ashley Bray

Dean Wareham

2012-01-05T14:59:00.001-07:00

Dean Wareham was the creative force behind Galaxie 500 and Luna. Lately he's been releasing albums with his wife, Britta Phillips. We recently got the chance to talk with Dean over the phone about what he's been up to lately, his plans for the future, Occupy Wall Street, and The Beach Boys.

MTT: Can you tell us a bit about the beginnings of your music career?

DW: I started playing the summer I graduated from high school. I had a friend who wanted to start a band so he could get a girlfriend, so he bought us all instruments. It was good. We were pretty awful. It was myself, this friend of mine Mark, and Damon from Galaxie 500. We all kind of learned to play together.

MTT: Did he end up getting the girlfriend?

DW: He did get a girlfriend, yeah haha. I don’t think it was because of rock n roll though.

MTT: So after that band, you started Galaxie 500 with Damon?

DW: Yeah, that band was called Speedy And The Castanets. We did that band in college, and like I said we weren’t very good. That kind of fell apart. I graduated from school and went away to Germany, and came back and started playing with Damon again. We were looking for a bass player and Naomi decided to play bass. That’s when Galaxie 500 came together. That’s when things started making sense.

I think it’s better for people if you’re looking for musicians, to just teach one of your friends to play, better than to place ads and hold auditions and that sort of thing. For so much of it it’s just about sensibility, ideas, and personalities.

MTT: Last year you completed a concept album that provided music for 13 of Andy Warhol’s screen tests. How did you get involved in that?

DW: We received a call from the people at the Andy Warhol Museum in Pittsburgh. They have all these films, about 500 of them. Not a whole lot of people know about them, and I think they were thinking “how can we get more people to see these?” So they came up with the idea of commissioning someone to write some music to go with these silent films. Luckily we got the call. We’ve been doing that show for about 3 years. Not solidly, but like one or two gigs every month. It’s starting to show down lately though. We’d do them at like festivals, art festivals and film festivals, and museums. Mostly places that would have some sort of public funding or corporate funding. If you go over to Europe you’ll see that there are all these musicians or performance artists making a living off these festivals.

MTT: What was the writing process for that album?

DW: It was different. We picked 13 different little films, and the ideas are different for each one. Things start with just watching I guess. It was unusual. I’ve scored films before, but this was different, because it’s like when you score films you don’t have music continuously from beginning to end, you just have it in bits and pieces. In this it was kind of like almost like making a music video, but doing it backwards. Like having an image and then putting music to it. The films were just kind of perfect. They’re kind of captivating on their own, and they’re all 4 minutes long, which is the perfect time for writing a song for. They’re beautiful and mysterious. You learn about the people and the story. A lot of these people have kind of interesting lives.

We’re kind of finished doing that show for a while.

MTT: So you’ve pretty much just been doing the two different shows, the Galaxie 500, and the Andy Warhol shows for the last few years?

DW: Yeah, with both them it started with just a handful of shows, and then it turned into a whole lot more. We just kept getting more and more calls.

MTT: What are you planning on doing now that you’re planning on being done with those shows?

DW: Now is the time to write and make another record before I forget how to do it. It’s kind of different now from back when I was with Luna where I was making a new album every year. It was kind of like a treadmill. Making an album, and then releasing it, and then touring to promote it, and doing that over and over. Now things are different. It’s harder to sell cd’s now, you don’t go on tour to promote a cd. If anything, we’re gonna have a cd to help promote a tour, it’s kind of backwards. The nice thing is I feel like I can do things at my own pace now, and not have the pressure to make a record every year.

But yeah, the plan is to make a solo album. Britta will play on it, but it’ll just be a Dean Wareham album. We put out a few albums in a row with like duets with both of us singing all the time. It’s been great, but the formula probably has its limitations.

MTT: With what you said about how the music industry has changed, do you feel it’s for the better?

DW: For me personally, I like it. I feel for younger people in bands, because it’s much harder. I guess on the one end it’s easier to get noticed, but it’s harder to get money to make a record. At least all the people I’ve talked to have had trouble finding to get people to put their album out. I mean the reason is, people have to understand, that if you’re going to get the music for free, than the label can’t make any money, and if the label can’t make money selling music, then they can’t afford to give the band any money. I don’t know, a lot of people are discussing this, the problem with everything being free. I’m all for everything being free, if the post office was free, and rent was free, and everything else in life was free, but unfortunately it’s not.

MTT: What do you think of the Occupy Wall Street movement?

DW: Well this is the problem. I went down to visit the one in New York, and everyone’s like “yeah, we’re gonna stay here, the plan is to occupy all winter”, and I’m like “Really? You wanna do that? You wanna be out here in the freezing cold?” I mean, I can see why they don’t wanna go away, but it gets to a point where it’s silly just to stand out here in the freezing cold.

I support it. I think it’s good that people are finally complaining. There are things about it I don’t like. When I was down at the one in New York I didn’t like the drum circles, like the guys sitting in the corner playing drums all day long. I just think that has very little to do with politics really, it just pissed off everyone in the neighborhood, and you couldn’t hear people speak. I don’t know if they’ve had that issue elsewhere.

It’s nice that people wanna go out there, and I think they’ve been successful in making people more aware of the gross inequities in American society. It’s like we’ve gone back to the 1920’s in terms of income distribution. We’ll see where they go.

MTT: Haha, alright, got a bit sidetracked there. What do you think of The Beach Boys reunion?

DW: I’ve heard of it, and I guess it’s gonna happen. I guess they’re in the studio. I read they were supposed to announce they were gonna play at the Grammy’s, but it never happened. I guess you never know what the new album will be like. I’d like to see them though. I’m going to see Glen Campbell in a couple weeks; he was in The Beach Boys briefly.

MTT: Oh awesome, I’d love to see Glen Campbell.

DW: Yeah, he’s doing his final tour now. I liked a couple songs on his newest album, but I liked the one he put out a couple years ago more.

I also just got the Smile Sessions, just the 2 disc, and I think it’s just about enough.

I read this biography about Phil Spector, and I guess at one point Brian Wilson went to one Phil Spector session, and I’m sure that was not healthy for him. Phil Spector would be doing the same parts over again and again and again and again, and for most people it would just be like “what the fuck?”

MTT: After you’re done with the Galaxie 500 shows, are there any plans to do a Luna show?

DW: No, no plans. I wouldn’t entirely rule it out at some point. We all like each other, we all get along. If it was gonna be a Luna thing, I’d like it to be with actual Luna members. But no actual plans.

For more info on Dean Wareham, visit: http://deanandbritta.com/

By Ben Simbirski

Ram Hoss

2012-01-02T01:44:00.005-07:00

Ram Hoss is the solo project of Jordon Hossack (formerly of Azeda Booth). Jord is a veritable song-writing machine; always ready to serenade you with a fresh batch of homespun delights. He recently took the time to sit down with us here at the MTT HQ and chat about his plans for 2012...

Ram Hoss

MTT: So, what’s going on these days in the world of Ram Hoss? What you got coming out this year?

RH: The first Ram Hoss release, 777. It’s 3 7-song albums. One’s a rock record I did with Michael Wallace (from Women) on drums, called Michael Jordon. One’s an acoustic record I recorded in a tree, called Itty Bitty Ditty Committee. And one’s an electronic record I did with Morgan Greenwood from Azeda Booth, called PrixQuills.

Also, I’m playing a cd release show in Calgary on wed jan 4th @ broken city & an all ages cd release fri jan 6th @ the area.

777 is gonna be the 1st real release for my label St Inn, but I’m also doing a limited cassette run of a split I did with Barnaby Bennett soon.

MTT: Is Itty Bitty Ditty Committee all just live from the tree or are there any effects added?

RH: Just live. They’re all 7 tracks each

MTT: Oh sweet, 3 7 track releases – I’m into that. Are you doing anymore MJ sets before Mike leaves?

RH: No more MJ sets... for now, Mike’s got a drum gig in New York. And yeah, three 7 song albums – haha, not 37 songs.

MTT: That’s a sweet idea though, funny too!

RH: Yeah, my little sister told me that ram’s “bible” is divided into 3 parts, but you’re not supposed to read the last one, ‘cause it “give’s ya bad luck”.

MTT: I wanted to ask you about playing live. You always seem to be playing new songs and stuff right away… How does playing your songs for people affect how you end up recording them? Do you usually change things up after playing songs live for a bit or do they generally stay the same as when you first wrote ‘em?

RH: Yeah, it seems that way cause I write a lot. The songs generally stay the same. Although, as my skills as a musician improve & my confidence in what I’m doing grows, the music becomes more playful & loose with each performance. Sometimes a song will start off as something I’m writing by myself & and then another musician will get involved when it comes time to record.

MTT: How much of what you write ends up on record? Roughly...

RH: Well, if I see the writing of a song to it’s completion, it usually means that I thought the song was good enough to perform & eventually record. I write a lot of half songs, or little short A.D.D things for the shower/in the shower that never really see completion. But I keep a list of all the shit I’ve got to possibly record in the future. Got about 70 unrecorded songs to choose from for my next release. I’m getting better at recognizing my own trash talk though. I used to think everything I did was amazing.

MTT: Sweet! I’ve noticed you’re always playing new material. Do you ever go back to old tracks and play them live? Or do you like to keep moving forward for the most part?

RH: I just keep movin’. I mean, I might play a song or two from whatever current release I have at the time, but other than that I always play new stuff.

MTT: You seem to play live a lot. What are some of the sweeter shows you’ve played?

RH: Morgan and I played one Ram Hoss set at Sled Island 2010 & it went really well - but that was most likely the only time that will happen, maybe. Other than that, I had my first “official” Ram Hoss show last December @ Vicious Circle that went great. It was just a solo set... in the style of itty bitty ditty committee. I also had a lot of fun playin’ some Michael Jordon sets recently with Mike.

If you want to hear more from Ram Hoss, send your web browser on over to http://free-ram-hoss.blogspot.com/ or hit up his Facebook page. He’s also playing the first annual MTT Fest & is currently planning a 2012 European tour. Download his tracks! Hit up his shows! Don’t sleep!!!

Happy 2012!!!

2012-01-01T19:07:00.001-07:00

hey guys, happy 2012 and thanks for all the support last year! things blew up faster than we ever expected for mtt + we've been taking care of business (and working overtime)

on our new website, and setting everything up for mtt fest. we also have a big mtt stampede event, as well as a really exciting fall event in the works.

so if you were wondering why the interviews slowed down, its because we're working 23/7 (1 hour of sleep per day yo) on getting all the infrastructure in place to make mtt a go-to hub for music lovers year round. and eventwise....if yr in calgary, we got all sorts of great surprises in store for you!

as far as interviews go - we have ones from members of nitty gritty dirt band, kaleidoscope, wilderness road, galaxie 500, the microphones, azeda booth and a bunch of other really sweet ones we can't announce yet. its all on dock, be patient b/c once this all comes out things are gonna really shift into high gear. thanks again for all the support, we love ya! have an amazing year, its gonna be the best one yet! ~mtt

The New Tigers' Appu Jasu

2011-12-02T08:59:00.000-07:00

MTT recently discovered an artist from Turku, Finland, who's been blowing us away. His name is Appu Jasu. He has a few different music projects on the go, his main one being The New Tigers, who play a unique 1960's sunshine influenced style of shoegaze. We recently had the opportunity to chat with Appu over e-mail about the future of The New Tigers, sunshine pop in Finland, and his other projects.

MTT: How did The New Tigers get together?

AJ: Almost all of us were friends already when we formed the band. First the idea was to try to play something using the guitars' tremolo arm heavily, but ever since we started rehearsing as a full band it's been more about seeing what happens than trying to be something specific.

MTT: You were also one of the masterminds behind Airline To Moon and Anselmus. I haven't heard much from Airline To Moon in a while, are they still in the picture?

AJ: Yeah not really, Airline to Moon happened a long time ago, with a friend of mine that now lives far away from me so we haven't really been playing together. Maybe some day.

MTT: Anselmus released a split this year with Pieno. What's the story behind that?

AJ: Anselmus and Pieno are both one man projects, we've been recording stuff and sharing it with each other, and a while ago decided to make some sort of split release to kick off the projects. We did the songs separately and then just compiled them.

MTT: With the recent release of The New Tigers debut album on Soliti, what's the current status of Anselmus?

AJ: Well Tigers have taken quite a lot of time, but I've been slowly recording songs for a full album. It's taking very long, but every time I get back to work on those they surprise me in a positive way, so I have a feeling that it's going into a good direction. We've also been rehearsing with Pieno and few other guys to get to play the songs live, it's sounds very good so far as well.

MTT: The New Tigers, Airline To Moon, and Anselmus all have an entirely different sound. Airline To Moon has a total 1960's sunshine Curt Boettcher-ish vibe, The New Tigers sound like if My Bloody Valentine and Dinosaur Jr. went surfing together, and Anselmus sounds like what I would imagine would happen if a band like Mum or Four Tet became obsessed with The Beach Boys "Smile" or "Pet Sounds", Tommy Roe's "It's Now Winters Day", or even newer artists like Spectrum. Writing and working with so many different styles must be kind of difficult, what are some of the problems you face with writing songs that cover so many different genres?

AJ: I wouldn't say that it causes so much problems within the writing process, as I don't feel the music of those projects should fit any specific genre anyway. I love working with many types of music, so maybe it's actually helping more than troubling - when something comes up I can just think where it would fit best. There can be moments later in the process though when I might think "would it be too 'new tigers' if I did the song like this," but mostly there's no such trouble. At least that's how I see it now, maybe I've gotten used to it.

MTT: The one thing that's constant amongst your projects and your unique but familiar sound is that it's clear you're obviously influenced by 1960's California sunshine pop. Who are some of your favorite artists from that era, and what do you think makes the music so special?

AJ: Curt Boettcher is my #1 favorite from that time with all his productions, The Beach Boys and many psychedelic bands like Love are also dear. I think it's interesting when someone like Boettcher who has strong roots in soft pop starts to make more experimental music, as it's not just about looking for weird sounds but really trying to do something out of the ordinary with the composition and arrangements. And although a lot of that stuff is very sugary, I feel like it couldn't be further away from being pretentious.

MTT: It's almost surprising to me that you're from Finland but influenced by music that came from somewhere half way across the world, decades before you were even born. Do you feel like this music almost comes from another planet, or is it something that you've found ways to relate to in the environment you live in?

AJ: Living in a country where melancholic music dominates the charts, I guess The Beach Boys really felt special. I think it had quite an impact on me as a teenager hearing something that could be so filled with joy and beauty still having as much depth. But that sort of stuff doesn't feel so detached now, but a natural part of my world. I don't consider 60's as my main influence but I guess it's quite strong if it comes through in the music.

MTT: How is the music scene in Turku, Finland?

AJ: This is a quite small city, and some great Turku-based bands like Cats on Fire and Kiila have their members kind of spread over different cities, that's the deal with The New Tigers as well. There's a couple of nice venues, and a good bunch of great musicians live here, but I don't know if some kind of special Turku scene really exists.. But that keeps the stuff quite down-to-earth.

MTT: A lot of the 1960's music and culture was influenced by the drug culture of the time. How do you feel that music holds up today in a world where the drug culture doesn't exist as strongly as it used to?

AJ: I've heard many records from that era that are too much about just being psychedelic, that kind of stuff sounds quite useless, but I believe that if the music is done with honesty and a good idea it will last. Like the just released original "Smile" album, it holds up now as well as it would've in '68, at least in my opinion.

MTT: Since you're so interested in vintage music, are you also interested in vintage equipment to make your own music?

AJ: I'm somewhat interested in vintage instruments but haven't yet been able to collect much gear. Pieno's Fender Rhodes is at our rehearsal place, that's one sound that'd be hard to get any other way. Analogue instruments always have their own special sound, but I also use digital synths a lot because you can do almost anything with them.

MTT: What gear do you use?

AJ: The most important gear for me is probably my Fender Jazzmaster guitar and the Music Man amp, along with my delay pedal. Otherwise I usually just use what I happen to have around.

MTT: I've heard some old recordings of The New Tigers, all of which have been re-recorded for the new album. The versions on the new album are much better produced, sometimes longer, and also sometimes slower. Are your songs kind of in an ever-evolving state, or was this just based on the production?

AJ: Those old recordings were made before our bass player Janne Kauppinen joined us, before we really even had played as a band. The New Tigers' songs take their form in the rehearsals, that's where most of the producing happens. Usually, songs fall into their place quite nicely quickly, but they keep searching for new shapes within time.

MTT: Who produced the new album?

AJ: We produced it by ourselves, the main tracks (two guitars, bass, drums) were recorded simultaneously in the studio, and the arrangements turned out to be so ready that we didn't have to add much. Vocals and a bit of organ and tambourine.

MTT: What are the plans for the future of The New Tigers now that your debut album's been released?

AJ: We've already been rehearsing some new songs, and in december we're going to play in Belgium, and I think we'll do some more gigs abroad in the spring. We also just released a few songs that didn't fit the album.

To check out The New Tigers: http://solitimusic.com/thenewtigers/

To check out Appu's other project, Anselmus: http://soundcloud.com/anselmus

By Ben Simbirski

Vashti Bunyan

2011-11-25T13:28:00.002-07:00

Vashti Bunyan is a favourite musician of mine and I was thrilled to have the chance to chat with her for MTT. She began her recording career smack dab in the middle of Swinging London of the 1960's. Her first single was written by The Rolling Stones, as they shared the same manager in Andrew Loog Oldham (impresario for the perma-hip Immediate Records). Her sole full length from that era was the now cult classic Just Another Diamond Day. Vashti spoke with us about her memories of those times as well as her great story about how she got back into performing music again. Enjoy...

Music Times Two - So you decided to pursue being a musician on a trip to New York in the mid-sixties? It must have been a cool place to visit at time....do you remember any major differences between NYC & London at the time that stood out to you?

Vashti Bunyan - I had just been thrown out of art school (for not attending because I found music more interesting) and was nineteen and a little scruffy. I expected some like minds but instead felt like I had been sent back to the fifties where girls were young women who mostly wore what their mothers wore. Sadly I didn’t find my way to the village where I might have found some kindred souls - but what I did find was the album ‘The Freewheelin’ Bob Dylan’ which opened my eyes and my mind. I had always been a bit of a musician – and was already writing my own songs – but this album made my mind up that I wanted to make music my life from then on.

MTT - How soon was it after you made the decision to go for it so to speak until you were recording the demo reel that is on the 2nd half of the Some Things Just Stick In Your Mind collection?

VB - Very soon. I had decided to return to the London where I felt my songs might be better understood. My brother laughed when I told him I wanted to be a pop-singer – which only hardened my resolve and sent me into the nearest recording studio where I sang my twelve songs all in one go with just guitar. (That tape turned up in my brother’s attic a just few years ago. I had forgotten its existence.)

MTT – Were the tapes what led you to working with Andrew Loog Oldham on your first single, or how did that come about? Cutting a Jagger/Richards tune in '65 must've been exciting!

VB – I had four of the songs put on to an acetate demo and took it around record producers and agents in London – most of whom were old-school, patronising and a bit sleazy. I met Andrew Oldham through an agent friend of a friend of my mother’s who sent for me to come and sing to Andrew in her plush Mayfair office. I was amazed when I heard he wanted to give me a Stones song to record as a single. I wanted to record my own songs. It was exciting though and I wouldn’t have missed those times for the world.

MTT - You were a part of the London scene that's documented in "Tonight Let's All Make Love In London", did vocals on a great Twice As Much single that came out on Immediate and were hanging out with people like Donovan....what are some of your fondest memories of those times? Is there anything about that period you feel people should know about, or is not necessarily documented accurately by historical reports? I'm sure at times it seems weird that people are still so fascinated by something that happened quite a while ago now...

VB – I do want to write about it some day from that point of view. That the time was extraordinary – that the new youthful energy that was pushing back the old guard in music was unprecedented. Nothing quite as world-changing has happened since. It all took place over so few years but the effects have come down the generations in ways that maybe the young don’t even recognise now. My own young life was clouded by strong adult disapproval for any kind of questioning of long-held beliefs and I am proud of my generation for having the courage to keep going and for having changed so much.

Vashti: Winter is Blue

MTT - Did you write most of the songs for Just Another Diamond Day in the Hebridean Islands? It seems like the vibe of that album is much more tranquil than the usual hustle and bustle of London, did the Hebrides afford you the space to stretch out and let things happen a little more naturally than they perhaps would have been if you stayed in London?

VB – Most of the songs were written during a long journey by horse and wagon from London to the Outer Hebrides – with boyfriend and dogs – leaving the ‘hustle and bustle’. Looking back I think I wrote them to keep me going through what was a fairly difficult couple of years. We had left all our friends and families and taken to the road with almost nothing in our pockets.. just to prove we could. The songs are deceptively calm and dreamlike, mostly written by the side of a road through harsh industrial landscapes and the bleak, wet moorlands of England and Scotland. But the sunny days in beautiful landscapes – the feeling of freedom and hope for the future – the best of memories, worth all the mud.

MTT - I know you worked with guys from Fairport Convention & the Incredible String Band, as well as Robert Kirby (arranger for Nick Drake and more) on the record. How long did it take to cut and what was the process like?

VB – It was JADD’s American producer Joe Boyd who introduced me to these musicians. I had been without electricity or record player or music papers for a long while and so had never heard of them and knew nothing of their recordings with Joe. The whole album was recorded in three evenings. I was a little uncertain about the folky treatment of some of the songs as I was so used to playing them by myself but Robert Kirby’s arrangements really delighted me. However my favourite song on the album is Rosehip November – which was recorded in one go with my friends John James and Christopher Sykes on harmonium and dulcitone. Robin Williamson (ISB) played penny whistle on the track with us.. and then in an unusual move for Joe he had Robin overdub his Celtic harp. I thought it was magical.

MTT - After the record came out you seemed to have gotten out of the music industry....what were you up to in the 30 years before you started working (at least in public) again? Do you remember what it was like to learn that your record had sort of quietly built up this reputation amongst music fans?

VB – It was a year from the recording of JADD till it eventually wandered out into the world with no fanfare and no help from me – as by now I had a young baby and my mind was elsewhere.. The few reviews made it clear that most thought it songs for children and that hurt. Nobody –even friends and family – seemed to understand the album. Even Joe Boyd has gone through all the years thinking of it as wee songs for children which were unsaleable. I decided that I must be no good as a musician and that I should give it up. So I did. I didn’t pick up my guitar again. For nearly thirty years. Then the internet showed me that a whole new generation did in fact understand it and this made me organise a re-issue in 2000. I was pretty much hiding under my bed when it came out again – expecting the same indifference and ridicule I’d had the first time around. What a pleasure it was to have the songs heard and understood for what they were – a document of a journey.

MTT - In 2005 you released Lookaftering, what was it like to make that record and how did it differ from your earlier efforts?

VB – A very different experience. I had written the songs and recorded demos at home with a computer music program, and had learned a lot of what I had always wanted to learn back in the sixties when I was not allowed anywhere near the faders! Max Richter - who produced the album - was generous enough to include me in the whole process – and also to wisely hold me back from using every electronic instrument I could find.

MTT - You also appeared with Animal Collective on the Prospect Hummer EP in 2005? How did that album come about? I really love the way your mutual styles blend on that record, do you see it as essentially the same type of thing as when you sung on a Twice As Much single or does each artist you collaborate with require a different approach in order for the collaboration to be a success.

VB – The first collaboration (and also the first time I’d been into a studio since 1969) was with Glen Johnson of Piano Magic in 2001. I had no idea if I could sing at all – but when I came out of that studio I was walking on air. I met Simon Raymonde (Cocteau Twins) that day who in turn introduced me to Kieran Hebden (Fourtet) who was touring with Animal Collective supporting him. When Kieran came to Edinburgh with AC we had dinner and they said they knew JADD and later they asked me to sing on some recordings they were going to be doing in London. Those three days were a great education for me apart from the fun that it was to be working with them. The recording was for the FatCat label.. who were to later hear my demos and offer to release an album of the songs. FatCat introduced me to Max Richter and Lookaftering was born. So – thankyou Animal Collective. A joy to look back on.
As for different approaches – I don’t usually have any preset ideas when approaching anything. I did love the Twice As Much recording of Coldest Night Of The Year though.. especially the time we spent arranging the harmonies. (It was never released as the single it was meant to be. Broke my heart a bit.)

MTT - You also hit the road for the first time in quite a while after your new record came out. Are you enjoying being a contemporary live performer? I'm sure it must be nice to play for people who really appreciate the music you've written. I was at the Olympics last year at the Neil Young tribute show you performed at and thought the version of After The Goldrush you played was absolutely stunning, the highlight of the show for me!

VB – That is kind of you! That show still gives me nightmares as my guitar was feeding back, my voice was cracking up and the second verse lyric page was missing from the music stand. In fact I had that same dream the other night – that I forget the lyrics and get bundled into a big cardboard box and carted off the stage...
I never imagined I would ever play live. I couldn’t do it when JADD came out and I never sang in all those music-less years. It is good to be able now to walk on to a stage without feeling my knees buckle, though it is still nerve-wracking. But once I am out there and singing then it’s fine and the audiences have all been quite wonderful.

MTT - And finally I was just hoping you could share your plans for the future with us. Do you have any projects or plans on the go? Thanks so much for chatting with us Vashti, it was a pleasure to ask these questions

VB – I am writing.. it is taking me a while but I hope to have enough songs to be recording a new album before too many years have gone by.
These last few years have been an adventure in returning to a ground I thought I would never visit again. Shows of my own and also shows with other people. Two years ago I was asked by Joe Boyd to sing in his Nick Drake tribute show – ‘Way To Blue’ which has since played in many places and hopefully will be going to the USA and Canada some time – and also I have just been working on a song with Andrew Loog Oldham. Who knows what will happen over the next while – but what I do know is that I won’t be turning my back on music anytime soon if I can help it.

By Barnaby Bennett

Independent Music Spotlight: Oliver The Great

2011-11-11T07:59:00.000-07:00

For this Independent Music Spotlight, we decided to check out what was going on in Montreal. We came across a band called Oliver The Great, who are originally from Calgary, and are gearing up for the release of their debut self-titled album on November 14th. Oliver The Great's singer/trumpet player, Chris Parasiuk, took some time to give us a call and chat a bit about what's been going on with them since they moved to Montreal, the influences they find in day to day life, and their plans for the future.

MTT: How are you doing?

CP: Pretty well man. Just getting shit rolling finally. Took a lot longer than we thought. We all moved out here a few years ago, and were sort of naive and thought "we'll find a drummer, and start playing and tour". It took forever to find a drummer that wasn't a complete flake, which is pretty much the case no matter where you go. It's hard when you come to a place where you don't know anyone, and trying to integrate and what not. Like if we were in Calgary playing what we're playing, we'd probably have some people who know who we are already. But here we got a small following but nothing to write home about yet.

MTT: What's your role in the band?

CP: Sing, and play trumpet.

MTT: When did you start playing trumpet?

CP: I started playing in Jr. High. Played it from grade 7 until about grade 10, but dropped it until about a year ago. Sorta off and on for a bit. I played it for like 4 years and learned the basics while I was in school. I got a good deal on a trumpet here, so we decided to integrate it into the sound.

MTT: What's the story behind the recording?

CP: Well, we applied for a couple grants. One of them was through a company was called Factor, but that didn't work out. We tried another one, which was sort of a EI sort of thing, where they give you a lump sum for recording or whatever, and then they pay you per month to live and sustain yourself while you do your music. We couldn't really finalize the deal because we needed a sponsor in the industry to sign off on all our cheques, and we didn't really have the resources to finish that. So we ended up just paying for everything ourselves, equipment wise. We found a drummer who's also a sound engineer and we recorded it in our living room. Sent it to Casey Lewis in Calgary to master, and did some final touches back here, and that was it.

MTT: You mentioned you recorded the album in your living room, do you guys all live together?

CP: Yeah, when we first moved here there was the four of us all living together. Our drummer's the only member actually from Montreal. We put out an ad on craigslist trying to find a sound engineer to do the album when we had sort of a electronic percussion sound, but the guy ended up being a drummer as well as a sound engineer.

We used to just jam in our house, but we recently all moved out, so we're jamming in a different space now. It's actually a really sick space, it's kind of like an after hours venue for parties, shows, and underground things too.

MTT: Your band has a unique sound, how would you describe it?

CP: I never really know what to say to that. Umm.. fuck... haha that's a hard one. We got some pop, some jazz, and some sort of punk influences.

MTT: I get a bit of a Radiohead kind of feel from you guys, who would you say your influences are?

CP: We all love Radiohead, we've gotten that a couple times. At first it was kind of like "oh shit, everyone things we sound like Radiohead". After a while we realized people just hear what they relate to. We love that band and it's a compliment to us now.

I guess we draw influence from a lot of different things, not just music. A lot of books we read, a lot of poetry we read. Just walking down the street, you kind of get ideas just doing day to day things. That's sort of where we draw it from. We try to have an overall concept to most of our songs, lyrically and sort of the way the song moves with the music, and we take those influences from everything that we experience.

MTT: What are some of the books and poets that have inspired you?

CP: Well, for myself, as far as literature goes, it's kind of been all over the place. A book that really changed my life, and definitely I can't tell you exactly how it changed my writing, but The Grapes Of Wrath really changed the way I look at the world. I'm sure that effected the way I write.

As far as poets go, Tom Waits is on another level as far as poetry in music goes, same with Nick Cave. T.S. Elliot blows my mind. Whether we can pin point how or not, these things have definitely changed the way we write.

MTT: What's the songwriting process of the band?

CP: We're super collaborative generally. Basically, someone will come to the table with a concept, kind of like a story almost, with lyrics and some music. We'll all just sort of jam it out a bit, talk about it, and bring up different ideas, and mix different ideas that we might have had before we even brought the idea to the table. We all write lyrics, we all play a bit of everything. So we all kind of collaborate with that.

MTT: You mentioned you moved to Montreal from Calgary 3 years ago, and had trouble finding a drummer, what are some of the other troubles you've had living in a place like Montreal?

CP: Yeah like I said, when we moved out here we were really naive and hopeful, and thought that Montreal was the place to be, and it really is. But the thing is, what we didn't think about is how unbelievable saturated it is with extremely talented people in every sort of art form. It was very humbling to come to a place and try to be a part of that. At the same time, trying to get noticed is quite difficult when every time you go to a show you're just wowed by random bands that you've never heard of. It's amazing to be a part of, but trying to get shows, and press, and whatnot when you don't know anyone, and none of you are really extremely social people is also a bit of a setback. The process has been a bit slower with us, but we bust our asses. Slow and steady.

MTT: What do you think sets you apart from other bands in the city?

CP: I can't really tell you an answer to that as far as music goes. I believe our sound is somewhat unique, but everyone draws influence from somewhere else, and people can think "oh they listen to a lot of this band, or that band". You'll find every kind of music possible in this city.

I think what sets us apart from it is that we have an outsiders perspective coming into the scene. Just trying to see what some of the bands are doing, seeing whats popular, seeing what people are listening, and how people are marketing themselves. We can kind of take an objective seat as far as viewing what's going on in the scene right now. That allows us to plan and come up with interesting ways to present ourselves, rather than just putting out a disc and playing shows.

MTT: What are some of the coolest shows you guys have played in the few short years you've been together?

CP: As far as like setting and surroundings and stuff, Echofest, was definitely the coolest venue we've played. It's this beautiful stone amphitheater in the middle of the woods in this provincial park. Fucking beautiful man. We were gonna play it again this past summer, but right before we were about to go on stage it started thunder storming, so we had to shut it down. We ended playing just a couple songs accoustic for some of the band members that were still there, and it ended up being a really good time. I think that show, as far as venue, is probably the coolest place we've ever played, if not the coolest place we ever will play.

MTT: You said you used to have more of a electronic sound, have you changed your sound a few times over the few years you've been together?

CP: Yeah, I'd say so. We sort of started out a bit more mellow, a bit more focused on melody, definitely darker sounding. We sort of turned a bit more rock n roll, upbeat, with more focus on rhythm. Especially because we have a drummer. Brian, the bassist, and the drummer, when we're jamming. just can't help but getting in a rhythm. I think the main change so far has been less electronic beats, still some effects and stuff, but definitely more focused on rhythm and poetry.

MTT: What made you decide on the name Oliver The Great?

CP: When we decided on a band name, we decided to call our band Machine Kid. Basically, after a few months of that, we discovered some other bands with similar names, even some bands in Montreal with really similar names, so we decided we didn't like that name. At the same time, we had a song called "Oliver The Great". We just kind of tried to find a word or a name that didn't have any notion. Like when you think about it, it doesn't bring anything to the table. But it's something that means something to us, like Oliver definitely makes us think of sort of an entity to the band, like sort of this childish adventurer kid, as you'll see on our album cover. It was hard to really pin point what we sounded like with the name.

MTT: What are the plans for the release of the album?

CP: Well like I said we just moved into this really sick jam space/venue space, so I'm trying to get something set up around the 24th of November to actually have a official CD release show. We've got some cool ideas that we haven't really seen before, as far as hardware goes, that we've never really seen before, as far as releasing actual music. Doing it some ways that are a bit more exciting than just releasing a CD. We're gonna be getting the album out on November 14th, on our bandcamp, which we'll have a link to on our facebook: http://www.facebook.com/oliverthegreatmusic That's basically what we got so far. We have some other ideas as far as trying to integrate some local artists with their interpretations of our songs, sort of monthly. Trying to present other artists artwork with what they got from our music on our tumblr website. Gonna try to keep that going over the course of the next few months. We're trying to make it something that people can be a part of rather than just releasing a CD.

MTT: Is there anything else you've like to know?

CP: Album comes out on the 14th online, check out our website and facebook page. Feel free to send us any sort of piece of art: stories, pictures, paintings, poems, anything that our music might distill in you. We'd be more than happy to post it on our pages online and get people to check it out.

Here's an exclusive preview of "Eyes In A Forrest Fire" off Oliver The Greats debut album:

Oliver The Great - Eyes in a Forrest Fire by musictimestwo

Be sure to check out Oliver The Great's Facebook page for more info: http://www.facebook.com/oliverthegreatmusic

By Benson Simbirski

Steve Wynn

2011-11-10T14:20:00.003-07:00

Steve Wynn's career initially started in the California-based band The Suspects. Shortly after, he became a founding member of The Dream Syndicate, who were a huge band associated with the Paisley Underground scene of the 1980's in California. He later on formed indie rock super group Gutterball.

In recent years, he's put out several solo albums, as well as two albums with his band The Baseball Project.

We recently got to chat with Steve Wynn about his career, and of course, one of our favorite sports and pastimes, baseball.

MTT: I heard you're a big fan of baseball, who's your favorite team?

SW: I grew up a Dodgers fan out in LA. But when I moved to New York about 20 years ago I wanted to be able to follow a local team and picked up on the Yankees since they weren't in the same league as the Dodgers. Now, this was before they went on that late 90's tear of world series wins so it seemed like a safe, modest bet. I have to admit it was fun to watch them win even though they are the most hated team in baseball. A small price to pay

MTT: I personally am a Yankees fan, and people are constantly giving me shit about how they're only the best team because they have the most money and buy the best players, current manager puts millions into the team to keep it top, and it's pretty much like cheering for the house at the casino. How do you feel about this?

SW: Yeah, but there are a lot of teams that spend a lot of money--like the Cubs or Red Sox or even the Mets--and don't win anything. Sure, the money helps but I think the Yankees are just a classy team and have had two managers--Torre and Girardi--who are smart enough to respect the players and treat them like adults and professionals. That's rare in sports.

MTT: I'm sure you watched the World Series this year, what do you think about all the errors during game 7?

SW: I was actually in Switzerland for Games 6 and 7 though I was lucky enough to wake up from jet lag in time to see the last few innings of that amazing Game 6. I gotta say that going into the series I had absolutely no enthusiasm for either team but it turned out to be a pretty exciting series. I mean, they almost never go to 7 games anymore

MTT: What's the story behind The Baseball Project? I heard you're playing during spring training games?

SW: The band is a complete labor of love and the result of a late night drunken conversation between me and Scott at a lavish party for REM the night before they got inducted into the rock and roll hall of fame. It just seemed like such a fun and unique idea but I think we were both surprised that we actually saw it through--our enthusiasm, love of the game and desire to write and record as often as possible (not to mention like minded bandmates like Linda and Peter) made it all happen. We did play a week of gigs at spring training in Arizona last year as well as a few minor league games and a gig before a Brewers game. These are the kinds of fringe benefits and unique experiences that makes the band so different from our "day job bands."

MTT: Are all the members of The Baseball Project huge baseball fans as well?

SW: Scott, Linda and I are huge fans. Peter enjoys the game for the history and literary connections and has become more of a fan since we started the band. And our auxiliary members and subs in the last year have been pretty hardcore baseball fans like Mike Mills and Sal Maida as well as Josh Kantor whose regular gig just happens to be playing organ at Fenway Park.

MTT: Alright, enough about baseball. It's said that after you finished college, you went on a cross country trip to find Alex Chilton. What happened when you found him?

SW: Thanks. I was just going to suggest we talk about something else. Yeah, that was pretty crazy. I was 21 and completely enthralled by Big Star 3rd (as well as the first two albums) and had a few months off from school and work so I decided to take a cross country Greyhound trip with one of my main goals being to track down Alex. Complete stalker stuff, right? All I had to go by was an address on the back of the first single by the Panther Burns, a band nobody really knew at the time but I had heard that Alex was in the band. It turned out that the address was the home address of Tav Falco who was a complete southern gentleman and he led me to Alex. Alex was great. I spent a week buying him beers and smokes and even stayed with him at his parents' house one night. He made me grits for breakfast! He was a great conversationalist as LONG as we didn't talk about music. He did NOT want to talk about Big Star at ALL. After a week, I finally said "Alex, I don't think I can afford to keep buying you beers and cigarettes" and he said "well, you don't have to hang around either, do you?" And that was that. Postscript--I saw Big Star play their last show in Brooklyn 2 years ago and had a very nice chat with him, just months before he passed away.

MTT: The Dream Syndicate are said to be influential partially because while other bands were experimenting with more electronic forms of music, you were bringing back the guitar. What do you think of this statement?

SW: It seemed really weird to me. We were treated almost like a novelty because we played guitars. Can you imagine that? But at that brief ugly time in history, it seemed like a weird thing to do. It just was the sound that we loved. But nobody else seemed to want to do it, so we did it ourselves. I've always said that if someone else had been making the music we wanted to hear, we wouldn't have bothered.

MTT: It's obvious that The Velvet Underground were a huge influence on your sound, what are some of the other artists that influenced the sound of The Dream Syndicate?

SW: Well, that was it. We got compared so much to the Velvets--which is fair enough--but we were also big fans of, and borrowing liberally from, bands like The Fall, CCR, Bob Dylan and others.

MTT: I heard that you recorded the first Dream Syndicate EP for only $100. What can you tell us about these recording sessions?

SW: Well, it was pretty quick, as you might imagine! We just piled into a friends' home studio--we played in the living room, he and Paul Cutler mixed from the kitchen and a few hours later we were done. I don't think we did more than one take of anything. To be honest, we just wanted to get our sound on tape so that we could get gigs but then we fell in love with the sessions and I knew a little bit about DIY production and distribution since I worked at the Rhino Record store so I put it out myself.

MTT: You were also involved in the LA Paisley Underground movement, though when I listen to bands like The Bangles, or The Three O'clock, I get a completely different vibe from you guys, a lot louder, and way more feedback. How did you fit into the Paisley Underground scene?

SW: yeah, we were certainly the least paisley of the bunch (more in kinship with Green On Red who were, in fact, our closest pals in the scene). We were just as much into 70's rock and punk rock as the groovy 60s stuff--which we loved as well. But we were all more closely aligned to each other than to anything else at the time and we were all mutual fans--I LOVED all of those bands--so we bonded together for that first year.

MTT: I asked this following question to Michael Quercio from The Three O'clock in an interview I did previously, and never really got a straight answer: The Paisley Underground was a 1980's revival of sorts of the 1960's psychedelic music scene in California. Were drugs just as important during the Paisley Underground revival as they were during the original 1960's era?

SW: Well, I guess each person would have to speak for themselves. To me, it seemed just as much revolving around whiskey, but that was mostly us and Green On Red and maybe Matt Piucci from Rain Parade. The other bands always seemed pretty straight to me. And, well let's just say that my song "Amphetamine" had sufficient research behind it from those days.

MTT: Do you perform Dream Syndicate songs live with your other projects? If so, do the songs remain fresh to you? It must be interesting to see how people react to these songs so many years later.

SW: I've never stopped playing those songs. They're my songs and I still love them. I really don't make an differentiation between songs I wrote in 1982 and songs I wrote last year. I just play the ones I want to play each night and those songs from the Syndicate are still very fun to play. And, yes, they make people very happy.

MTT: You've been a part of two kind of supergroups, The Baseball Project, and Gutterball. Do you think people have higher expectations for these bands than they would for any other band, and how do you think this effects the over all reputation of the band?

SW: In both of those cases, the bands formed kind of accidentally with no expectations whatsoever. Each of those bands' debut records were just done to get the songs on tape (like I said about the first Dream Syndicate EP as well) and not with any idea of having a band or career. In fact, neither band had a name or had played a gig when the first record was made. But, in both cases, the actual music and concept just connected with fans and new listeners as well once the record was out. I think in both cases, it was the music more than the pedigree that drew people in.

MTT: Do you feel like people are attracted to your newer projects mostly because of what you've been involved with in the past?

SW: Yeah, I"m lucky to have pretty devoted fans and also that people tend to pay attention to what I do. I'd like to think that I always am motivated by not much more than just making music that I love and that tends to make people want to see what I'm doing next.

MTT: How is your music received in different markets (USA, Europe, etc.)?

SW: For most of the last 20 years, Europe has been my bread and butter and I tend to play up to 100 shows a year over there but the Baseball Project has been so well received over here (as has my music with the Miracle 3) so I've been touring more in the US in the last five years than I had in the years before.

MTT: You debuted a new band, Hazel Motes, in 2007, and I haven't heard anything about it recently. Is Hazel Motes still in the picture?

SW: ha ha. That was just the result of a dare between me and my friend Tim Adams of Teenage Prayers, a band I produced, to put together a garage gospel band. It was a good idea and a fun show but it began and ended with the one gig we played. I'd love to revisit it but there's so much more going on right now. Who knows? Maybe someday

MTT: What are the next projects you'll be working on?

SW: Most likely my next record will be a solo album, somewhat in the spirit of "Crossing Dragon Bridge," a more lush, orchestrated, eclectic record I made in Slovenia a few years ago. But I also have the idea to set aside one month next year and write and record a new song every single day and then put it online immediately. I think it would be fun and challenging and in keeping with where music and communications are going. I'm surprised that it hasn't already been done (as far as I know anyway)

MTT: Any plans for touring in 2012, and with who? Baseball Project doing the spring training camp thing again?

SW: I think the Baseball Project will lay pretty low next year since we toured SO much this year. But you never know. Having said that, we're beginning the year with five nights of shows in Mexico in January. That's going to be fun.

MTT: What are you favorite films and albums of 2011?

SW: Hmmm.....That's always tough. I really liked "Moneyball" (of course!) and "The Ides of March" and "Midnight In Paris." As far as music, I loved "Darker Circles" by the Sadies. I"ve been playing that a LOT lately.

MTT: Anything else you'd like us to know?

SW: hmm. you got me there. just stay tuned. 2012 is going to be an interesting year.

For more info on Steve Wynn, check his website: http://stevewynn.net/

By Benson Simbirski

Ken Stringfellow

2011-11-08T07:24:00.001-07:00

Ken Stringfellow is a musician that seems like he's played with just about everyone. Being a founding member of The Posies, and The Disciplines, a touring member of R.E.M., and Big Star. He also has a solo career, and a very successful producing career. Ken recently chatted with mtt from his home in France about his career, musicians he's played with, and what he's up to now.

MTT: How did you first start playing music?

KS: I expressed a clear interest in it when I was very young. I was very deeply obsessed with my parents record collection. I started singing a lot. I would sing along to any record I could find that had the lyrics in it. My parents took note of this, and got me some piano lessons, which I was terrible at. I wasn’t really interested in the structure of learning to be a pianist. My parents, not being musicians, didn’t really have any other way of encouraging me. They kind of just went the normal route.

I kind of fiddled around with that for a couple years. And one time we were at a dinner party at a friend of my parents house, and I was 11. IT was all adults having dinner, and being pretty boring. I found a guitar in this house, and a book of guitar chords, and over the course of the night I kind of taught myself how to play.

MTT: What were some of your favorite records from your parent’s collection?

KS: I liked things that were very expressive. Being a kid, it was not about subtlety, it was about big statements. I liked a lot of very propulsive classical pieces. Tchaikovsky is very bombastic, big large statements that really appealed to me. I was really into the Planets Suite by Gustav Holst. They were all extremely personal, expressive, and very intelligent, and those kind of things appealed to me.

My parents also had a couple Beatles records, and of course, I was really into those.

MTT: Growing up listening to The Beatles a lot, it was probably pretty cool when Ringo Starr covered one of your songs…

KS: Yeah, it was a real trip.

MTT: Did you work with Ringo at all?

KS: We (The Posies) opened a show for him at that time, when that album came out. First of all, there was an album release party in LA. We went to that and hung out with Ringo, and that was really nice. He’s really kind and funny, and really cool. I really liked him. I haven’t seen him since the 90’s, but when I ran into him those few times he was really really nice.

So then we opened a show for him when he played here in Seattle. That was really cool, there was a great meeting of drummers there with Jody Stephens from Big Star, our drummer at the time Mike Musburger, and Ringo all hanging out. I thought that was really nice.

Then he came back to Seattle a couple of years later to play, and he invited me to the show and invited me on stage to sing with him. So I was on stage singing the background vocals to “With A Little Help From My Friends”. When I was singing, I was sharing a mic with Randy Bachmann. Gives me some Canadian cred haha.

MTT: How did you get involved with Big Star?

KS: Of course the music came first, through various people telling us about it, and seeing the name referenced in countless record reviews. We came upon the music of Big Star and became big fans. To the point that we were covering their songs, and even investigated recording in Ardent Studios in Memphis, where all the Big Star albums were made to make our first major label album in 1990. So we contacted the studio to inquire about the possibility, and got a brochure and cover letter from Jody Stephens. And we said “Hey that’s the drummer of Big Star. Holy shit he works there? How crazy is that!” We didn’t end up recording there. We decided to stay in Seattle to record the album. But we stayed in touch with Jody. He became a real supporter of ours, a real fan, and we became friends. IT basically stemmed from that.

MTT: You’ve worked with countless artists over the year: REM, Big Star, Ringo Starr...

KS: Lots of ‘stars’ anyway, haha

MTT: Haha, yeah, on your blog it says you’re also working with a band called Cheap Star?

KS: Exactly, yeah haha.

MTT: Who are some of your favorite people you’ve worked with over the years?

KS: A lot haha. They’re all kind of favorites. I’ve had basically good experiences as far as the people I’ve worked with. I can count the negative experiences I’ve had on one hand really. I don’t know if that’s a reflection of just good luck, or all musicians are cool, or I work well with others, or I don’t know. But so many great things.

I would say sort of a career highlight for me was working with Neil Young. He’s really an inspiring figuring for me. We played together not many times, but he’s really quite intense. He really lived up to the expectations. He’s very cool and had a great feeling about him. Playing on stage with him was really powerful.

MTT: Your first show with REM was at Neil Young’s Bridge School, was this also the first time you played with Neil Young?

KS: Yeah, that was my first time. I started playing with REM in the fall of 1998. I had known Peter Buck for a few years at that point. He had moved to Seattle and was quite active in the music scene there. Somehow I ended up with the invitation to play with them, which was great. I was basically told “Show up on San Francisco on this date. We’ll send you a plane ticket, and here’s what’s happening. You’re gonna be busy from ear to ear, learn these songs” and so on and so forth.

The first day I was in San Francisco, I met Mike (Mills), and Michael (Stipe). We just got down to playing, and then the second day I didn’t know what to expect. I was feeling a little overwhelmed by this huge set list we were trying to learn in different formats, the acoustic format and the rock format. I was just trying to get my head around all these songs. Day two was pretty much just to jam with Neil, and he came down to the rehearsal space and we just played together for hours, it was amazing.

The next day was the sound check at the venue, and that night was a big get together with all the bands playing that year, at Neil’s ranch. It was quite a thing really.

MTT: It seems like lately, The Posies, only release an album every 5 years. Will it be that long of a wait for the next album?

KS: That’s the thing, it’s a reflection of all the kind of things that I’m interested in doing. For me, 5 years goes by really fast. I’ve got a lot of ideas, and a lot of projects going. When you consider that when an album comes out, for whichever project it is, it’s likely to include several months of touring. If you do 3 or 4 albums, that’s kind of like 3 or 4 years if you add the writing, the recording, and the touring all together. An album is like a year of stuff.

I’ve been doing The Posies, my solo stuff, and a couple other bands like my band The Disciplines, all kind of in a cycle, and time goes by really fast. Always there are ideas to do something soon, but life just shoots by. We did a tour of the States and Canada a year ago, and it really seems like that just finished. But since then I’ve probably made 6 or 7 or 8 albums with different artists. You get so into working on stuff, like I do as a producer, that really you just put your head down and start working, and then you look up and it’s 3 or 4 weeks later, and you’re like “oh my god, time has flown by so quickly”.

Right now I’m concentrating on making my own album, which I’ve started already and will really get into in earnest this month, and I’ll be touring that a lot next year. I got a couple other big projects lined up, sort of around that.

So I’d be happy to do another Posies album, but I couldn’t see it happening for another couple years, at least.

MTT: Does all the other projects you work on get in the way of The Posies, and upset the other guys in the band, or do you guys all kind of try to work on a ton of things at once?

KS: Well I’d say it definitely gets in the way, but I could also make an argument that any one project, at any time, might be more important. Some people know me from one project or another, so the same thing could be asked by another interviewer if The Posies gets in the way of my solo thing, or any of these other things.

For me, The Posies was the main thing I did for 10 years, and then the band ended and I figured we were never going to play together again. But then it started again a few years later, much to my delight. But even in that short amount of time I really developed a whole other life. Making solo albums and touring with R.E.M. came after The Posies. Just doing all kinds of things.

There was a period where John, my band mate in The Posies, was really unreliable for various reasons. I wasn’t sure if that period was over, so some time went by with me thinking “can I even take this band seriously?” because at any given moment John would just disappear for a year and not answer his phone or whatever, because he was prone to doing things like that. So it really stopped being my main thing at that time, 13 years ago when we started playing together again. Since then, it’s just like a thing, that’s a facet of my life, and a really nice one, and I love the guys, and I think we’re playing really great, and made a great album last year. But it’s just one thing that I do, and all the projects I’m involved in as an artist are really quality and have their own followings.

To be honest, being in a band can be a real pain in the neck. You have to get several people to agree on a number of steps just to make any progress forward. Whether it’s can we play this show? Are you available? Would you like to do this project at this time? You know, that kind of thing, and everyone has to agree. Of course, from my point of view, being a solo person, or just being this musician that plays with whoever is so much more liberating. If I wanna do something I just go do it.

Check out Ken Stringfellow's personal blog here: http://www.kenstringfellow.com/

By Benson Simbirski

Jorma Kaukonen: Legendary Guitar Player

2011-11-07T11:45:00.002-07:00

We recently had a chance to catch up with Jorma Kaukonen, legendary guitarist from the Jefferson Airplane & Hot Tuna. He was kind enough to talk with us here at MTT about his career and the projects he is working on at the moment. The Peace Fur Ranch is a unique place where musicians can go to study playing with Jorma and his musician friends in an intimate setting. He is also on the road with Hot Tuna & playing solo. Check out what he had to say...

MTT: You got your start playing old blues, country & bluegrass.....as your career progressed you continue to revisit these old tunes, especially on the album Blue Country Heart. What do you think it is about this depression era American music that gives them the longevity that warrants being continually revisited?

JK: Well, in these troubled times the answer seems obvious... but even in good times the specter is always looming around the corner. The reality of hard times and the strength to overcome them are timeless.

MTT: You still spend a lot of time on the road....what sort of material have you been playing at solo shows? And how do you feel the solo shows differ from Hot Tuna gigs?

JK: Obviously I would leave the pure electric rockers for the band... On solo shows or shows with Barry, I concentrate on delivering the song rather than leaning on the jamming possibilities that Jack and I have.

MTT: What kinda gear are you using live these days?

JK: For electric shows I use a Les Paul Standard and a Chet Atkins SST (both Gibson items) My amp is a Louis Electric and I use Alfonso Hermida Zen Drive pedals as well as a Zen reverb pedal. For acoustic shows I use a Jorma Kaukonen Martin M-30 guitar and a Fishman Aura and a Fishman Loudbox.

MTT: In addition to recording and playing live you spend a lot of time on Fur Peace Ranch. Can you talk a little bit about what you got going on there for people who may not be aware of the ranch. Its a pretty cool, unique situation for music making....

JK: The good old Fur Peace Ranch offers an opportunity for folks to study with some really remarkable instructors in a peaceful country setting where one can invite one's musical soul. Check out www.furpeaceranch.com and see some of the great folks we have teaching. The food is great too!

MTT: Hope you don't mind if the next couple questions are about some projects you've been a part of in the past.....I'd like to talk about Hot Tuna first as you still tour with this band. What made you decide to form Hot Tuna with Jack in the beginning? Was it the breakup of the Airplane that spurred you guys to go electric?

JK: Hot Tuna truly evolved in a totally organic way. We started out with the acoustic music and wandered into electric territory because we could. We say the rabbit go down the hole and just followed him to see where he would go. The Airplane demised when Jack and I left... the rest just seemed to follow.

MTT: With songs like "Embryonic Journey" the Airplane ventured into some pretty heady territory....what was it like being a part of what has turned about to be a rather special part of our cultural history? When did you first have the sense that the psychedelic, SF scene of the mid to late 60's was a unique community? One which turned to out to continue to influence us culturally to this day....

JK: Heady territory indeed... the Airplane was a heady band. Great writers and singers, idiosyncratic players. You couldn't script a project like this. What a blessing to have been a part of this band. As for the second part of this question, when you're young you think you're the center of the universe anyway. The thought at the time that we were all in some way part of something bigger that would have very long legs seemed logical. That it came to pass is amazing. Hard to wrap your head around it today.

-Who were you hanging out with a lot in 1967? Who were the best bands in concert? What were the happening clubs and studios? And whats left of the era in your opinion?

In 1967 we were running like big dogs and were pretty busy with our career, such as it was. The best band I ever saw in concert was Cream... in my opinion perhaps the finest performing band of all time. As for the last part of this question, I don't hang out so it's hard for me to know what is really going on. As best I can figure it, studios are always going on although the advent of new technology makes it possible for anyone to have a studio. Clubs are just clubs...

MTT: You probably jammed in some pretty interesting situations back in those days..... How did you end up on say, David Crosby's first solo record?

JK: When David did 'If Only I Could Remember My Name,' we were all working at Wally Heider's in San Francisco at the same time. To get together on projects just seemed to make sense.

MTT: Another band you were in that not as many are aware of is Vital Parts. What got you into a more of a punk rock type sound at the end of the 70s there? I think in terms of the sound of the times the Vital Parts have dated really well compared to some of your contemporaries of the era....

JK: I'm not sure that Vital Parts could qualify in any way shape or form as a punk band, but what do I know? It was me being me with some new musician friends which certainly opened some nifty musical doors for me.

MTT: Finally, what's on the horizon for you in the upcoming year Jorma?

JK: Yow... well there's always the Ranch and there's always touring. I continue to write and look forward to the next project... Steady As She Goes with Hot Tuna being the most recent one. We have a five year old daughter and that keeps us pretty busy to say the least...

Life is good... thanks for being interested.

By Barnaby Bennett

Some of our favorite new music videos from 2011

2011-11-05T15:38:00.002-06:00

Hey guys, as we work on the site redesign we are going to start rolling out some of the features that will be present on the new site. Every so often we'll be posting about new music we think people should check out. Below are a bunch of cool music videos that have been made this year. Check them out!

Gruff Rhys - Whale Trail

Deadhorse - I'm A Lawyer

Gross Magic - Sweetest Touch

The Tetraktys - Mystery Grrl

R. Stevie Moore - Runny Nose, Money Woes

Free Nude Celebs - Mermaids

Michael Quercio

2011-11-04T08:59:00.001-06:00

Michael Quercio is the former bass player, singer, and lead song writer of The Three O'clock. Also known for coining the term "Paisley Underground", which was used to describe the psychedelic revival of the 1980's.

MTT: In your bio, it looks like you were in more bands than I can even name. What bands were you in?

MQ: The Salvation Army..The Three O' Clock...Game Theory... The Imperial Butt Wizards...Permanent Green Light...The Jupiter Affect.

MTT: What's the story behind the law-suit with The Salvation Army?

MQ: They had a lawyer chase us down..he came to like seven show's before he could get a hold of us....what did that cost them?

MTT: On The Three O'Clocks "Baroque Hoedown" EP, at the end of the recording of The Byrds cover "Feel A Whole Lot Better", it sounds like you say something along the lines of "Was that too serious?". What's the story behind that?

MQ: I was asking Earl Mankey what he thought of the vocal I had just laid down.

The Three O'clock - Feel A Whole Lot Better by musictimestwo

MTT: What was it like being signed to New Alliance Records?

MQ: D, Boone from the Minute Men saw us and asked us if we had any material recorded...we had just done four songs in an 8 track studio. I gave him a tape and he loved it..Mike Watt was not a fan (that's what D.. Boone told me) but D. Boone insisted that they put out a 45 by the band "Happened Happened"/ "Mind Gardens" Nov. 1981...great 45 in my opinion.

MTT: I heard that in 1988 you were auditioning new musicians for The Three O'Clock and had considered becoming a 5 piece before Jason Falkner auditioned. What was the decision behind wanting to become a 5 piece, and how did Jason Falkner change this?

MQ: We had two guitar players that we loved.. Jason and another guy..in the end we just went with Jason....great guy...great talent!

MTT: Do you have any stories you'd like to share about working with Prince?

MQ: He just sent us a tape of a few songs he thought would be good for us to cover...we went with "Neon Telephone"..I met him once....he was nice. Really quite nice.

MTT: The Paisley Underground was a 1980's revival of sorts of the 1960's psychedelic music scene in California. Were drugs just as important during the Paisley Underground revival as they were during the original 1960's era?

MQ: A little pot....a bit more coke...hey it was the early 80's

MTT: What's the story behind the name "Paisley Underground"?

MQ: I was asked what I called the The Bangs, The Rain Parade, and The Three O' Clock all doing show together.

MTT: What do you remember about The Bangs (before they were The Bangles)?

MQ: Just four girls who could sing like there was no tomorrow.....very sweet...we became fast friends.

MTT: What do you remember of The Negro Problem?

MQ: They were great! My dear friend Gwynn Kaun became their bass player and turned me on to them...we shared a manager at one point...Stu was swell.

MTT: Do you remember rehearsing at Karmann Ross Studios, where the Chipmunks World Headquarters was?

MQ: Loved it....Simon used to hit on me all the time.....not my bag baby....at least that's what I used to tell him..

MTT: What are you working on now?

MQ: Jupiter Affect broke up in 04...I have been toying with a solo recording. "The Restoration Of Culture After Genghis Khan" was the last Jupiter Affect cd..it came out in 03..It was my first and perhaps last "rock opera".

Michael Quercio's Myspace: http://www.myspace.com/jupiteraffect

By Benson Simbirski

Blake Sennett's been Elected

2011-10-28T18:39:00.002-06:00

Blake Sennett's a jack of all trades so to speak. Known for his acting rolls in shows such as Boy Meets World and 3rd Rock From The Sun, he's also a musician, and director. Musically, he's known for Rilo Kiley, and The Elected. Earlier this year, The Elected released their third album "Bury Me In My Ring".

Blake Sennett: Hey man, I just looked up what a sawbuck is, have you ever heard about a sawbuck?

Music Times Two: Haha, no.

BS: It's a pretty old term, I guess. The roman numeral for 10, is an X, which is the same shape as like a saw horse, so the name for a $10 bill, is also a saw buck.

MTT: Haha, thanks man.

BS: Haha, yeah. So is the interview over now?

MTT:Yeah, I guess that's all I really needed to know haha.

BS: Hah, so should I actually hang up?

MTT: Haha, no, lets keep this going.

MTT: How did you first get into music and when did you start playing?

BS: I guess it was just like, my mother just kind of put an instrument in my arms and I started playing it. I started off playing drums, but I guess I kind of got jealous of my friends writing songs so I learned guitar.

MTT: What are some of the artists from Southern California that have influenced you?

BS: Hmm… probably Tom Waits, and Jackson Browne, those are the only two really west coast artists that come to mind. I was actually thinking about this the other day, and I think I grew up listening to a lot more east coast music. You know, like Paul Simon, and Carole King’s from the west coast isn’t she?

MTT: Yeah, I think so.

BS: Yeah, she sounds like she’s from somewhere out there. And Bob Dylan, I think he’s from like Minneapolis or something. My mom never really made me listen to much of The Beach Boys when I was growing up really.

MTT: Recently on your website, you talk about how the Jimmy Tamborello remix of “Babyface” brings you back to your childhood. What are some of your favorite childhood memories?

BS: Oh god, I used to really like going into my closet when I was a child, and like put on a suit, like a formal suit, like a blazer and plants and stuff. And I used to like play with like toys or whatever it was, but like in my suit. I took a lot of comfort in that. I know my mom got annoyed with me once because I dirtied up my suit, and it wasn’t for playing with, it was for formal occasions. But mostly she was pretty into it. I think I felt like James Bond was pretty cool, so I wanted to dress like James Bond.

MTT: Are you still wearing the suits?

BS: Not currently. Currently I’ve got, uhh... not a suit on.

MTT: When I first heard The Elected, I was actually really surprised to find out that Joey “The Rat” was in the band. Do you have any funny stories about people recognizing you from roles you used to play?

BS: No, not really. Funny stories? Not really. I mean, it’s usually not funny, it’s not really not not-funny, it’s just definitely not funny. It’s not humorous, or exciting in any way. It’s like anything. Like if you went to high school with this random person, and you didn’t notice them, but they noticed you, and they were like “oh shit! We went to high school together!” and you’re like “oh god, I don’t remember you” but you don’t wanna be rude. It’s like that.

You know, like people when they see you, and they grew up watching a show you were on… I mean I have it too, I was walking down the hall this time and I saw Ben Stiller, and I was like “Hey man!”, and I literally thought I knew Ben Stiller for one second, I was just like “oh I know that dude”, and he was like “oh hey man”, but he’s not sure if he knows me or not, he was just being polite, and I was like “oh fuck, that was Ben Stiller, that’s so embarrassing”. So I think it’s like that, it’s not that exciting, it’s just nothing. I don’t really know how to describe it. But I don’t have any funny stories, I’m afraid.

MTT: Recently, you did a small tour of California, where you travelled by motorcycle and played in peoples living rooms. How did the tour turn out?

BS: It was great. It was one of my favorite tours of my life. It was super fun. There were no sound checks, everyone was super nice. Everyone was really respectful and generous with their house. People came and were really awesome. Everybody was really great.

On a motorcycle, you’re confined, it’s like camping. You can’t bring too much if you’re camping. On a motorcycle, you only have saddle bags on the side of your motorcycle, so it was pretty awesome. Really fun. Great experience. Me and my buddy Jake went, and it’s something I’d like to do again, because it was pretty special.

MTT: What type of motorcycle do you ride?

BS: I went with a Triumph Bonneville. I own two motorcycles, one of them’s an old 70’s Honda, but I took the Triumph Bonneville. Which isn’t exactly the best for touring. But it did the trick, it did the best it could.

MTT: Why did you decide to quit music in Spring 2010?

BS: I don’t know, maybe you just wanna like feel something sometimes. See what it would feel like without it, and looking back. In the moment I felt like it was time to truly move on with that chapter of my life. But now, having returned, or whatever, looking back, maybe I wanted to feel a strong emotion, or see how it would feel to quit, or see if my life felt more full without it. If it was creating a void, maybe it was an experiment that I didn’t know I was conducting at the time. So yeah, something like that.

MTT: What made you decide to come back and record another Elected album?

BS: I guess my buddy called me up and was like “Let’s go record something, just as an experiment, just as an exercise. Let’s just go have fun, and not treat it like it’s gonna be anything, let’s just go record something”. It was good times, I enjoyed it.

MTT: What sets “Bury Me In My Ring” apart from the other Elected albums?

BS: It’s a little less mired, and self-reflective, and self-loating, and maybe self-pity. I think it’s less diary entry like, and a little more fun, a little less bed roomy or something.

MTT: What’s the meaning behind the title, “Bury Me In My Ring”?

BS: I don’t know. I’m not sure, still not sure.

MTT: Before you came back to music, you were working on a film, are you still working on the film?

BS: Yes I am, off and on.

MTT: Can you tell us a little bit about the film?

BS: No. Not really.

MTT: It’s well known that Elliott Smith was a friend of the band Rilo Kiley. Do you have any memories of him you’d be willing to share?

BS: He’s like a super sweet and generous soul, and a guy who seemed happiness when he was making music. Just like a really nice and generous dude. Just that over all, kind of an arching impression of him.

MTT: I know this has been asked to death, but would you ever entirely write off a Rilo Kiley reunion?

BS: Hmm, wow, no I guess I wouldn’t entirely write it off.

For more info on The Elected, check: http://theelectedband.com/

By Benson Simbirski

Dwight Twilley

2011-10-28T14:58:00.000-06:00

Dwight Twilley is a power-pop artist from Tulsa, Oklahoma. He was originally a member of the Dwight Twilley band, who were originally known as Oister, before going solo in 1979. Mostly known for his hits "I'm On Fire", and "Girls". He's recently released his newest album "Soundtrack", which is meant to accompany an upcoming documentary on Dwight Twilley and features some of his most autobiographical music to date.

We were recently given the opportunity to chat a bit with Dwight about his career, his recent releases, and the state of the music industry.

MTT: What originally got you into music?

DT: I fiddled around with music relatively young, probably in grade school. Had an interest in playing drums, you know, just like every normal American kid.

MTT: In the early years of The Dwight Twilley Band, you went from Tulsa, to Memphis, Tupelo, and ultimately Los Angeles, only to end up signing to a label based out of Tulsa. Do you think all the moving around was necessary in the grand scheme of things?

DT: You know, who can really plan those things? Certainly we didn’t expect it at all. When we were going up here and kind of getting going, Leon Russell was living here, and the whole town was just taken over by Leon fever. But it wasn’t really the kind of music, kind of area, and the kind of artists that were on his label, Shelter Records, that we were really interested in. The thing was, we were little kids and I was starting to write these songs, and we started recording them. We just thought we wanted to go and have someone in a real record company hear our songs. But we couldn’t really afford to go all the way to L.A., or New York.

We knew that they had record companies in Memphis, so we thought “well let’s just get into my little ‘58 chevy station wagon, and we’ll just drive to Memphis”. So we were literally just driving down the street in Memphis, looking for what looked like a record company. Sure enough, we saw something that definitely looked like a record company. We literally just walked in the door with our little cassette and played it for some guy named Phillips, and he liked it.

He sent us down to Sun Records, but that meant nothing to us at all, we knew nothing about it. He sent us down to Tupelo, Mississippi, to work with this early Sun recording artists named Ray Harris, who had turned producer. He worked with Bill Black Combo, and a lot of these early Memphis recording artists. And it was a real education for us because we were among that age group of people that thought The Beatles invented rock n roll, and Elvis was just a guy in movies.

So we really got an education down there. He really kind of slapped us around, set us straight, and told us we sang like pussies, and we did. He liked my songs, and thought I was a talented little boy who needed some meat and taters under my belt, and he was right.

So we came back after working with him for a few years and going back and forth from Tulsa. We had a little 4 track demo studio, which was kind of rare in those days, and we recorded a lot. We finally got to the point that we were confident we wanted to go out and pursue a record deal. At that point, we were able to drive out to Los Angeles because we had some contacts out there. The way that it all happened was, we were recording on a little Teac 4 track machine, and we had all these songs recorded, and we needed something to mix our 4 tracks down to a 2 track stereo, so we could play a stereo tape for a record company as like an audition tape. We knew somebody that had another Teac 4 track, so we could balance it down on his machine. And he said “Well, I’ll let you balance your takes down on this machine, if you will take one of your songs, and take your lead vocals off of it”, so that he could put his lead vocals on it, so he could shop it himself as an artist. We said “fine”, so he took one my songs, erased our vocals, and let him sing the lead on it, with us playing everything, and getting all the harmonies and things like that. He was happy with it, and we were happy with it, so we went on out to L.A.

We were there a day or two, and he had followed us out to L.A., and unlike us, we were getting ready to talk to some people and he went right to Shelter Records, of all places. This was the last place we would have gone, especially because it was just down the street (in Tulsa). Low and behold, he played them his songs, and they heard the song that was my song that he put his voice on, and they freaked out on the song, and they said “Where did this song come from?” And he made the mistake of saying “Well, it came from this other band that’s out here too, that’s from Tulsa too, and they got a whole lot of these songs!” The next thing we knew, these people at Shelter in Los Angeles were dying to meet us.

We went over to meet these people, which were kind of a completely different crowd than the people that were in Tulsa, it was basically Denny Cordell. We started sitting around the office talking with them over a day or two period. One day I was just sitting in the publishing department at Shelter, and Denny Cordell just threw a recording contract in my lap, and said “I think you need to go see an attorney”.

We ended up signing a recording contract with Shelter Records, which was just a mile from where we lived, so who can really plan the way life works?

MTT: It seems like after Shelter Records rejected “Shark”, you guys were cursed with a bit of bad luck, not gaining another hit single until “Girls” in 1984. What were some of the problems you dealt with during this time, and how did you get through them?

DT: Well, the record business is a tough business, who can predict the things that happen? Who could predict that the very first record we had ever recorded would be a hit, and then who could predict that the very next single that was released, that just as it hit the charts, the record company would disappear? Then, I went through a number of crazy legal problems. Who could plan on it?

One of the employees at Shelter Records was overseas, and forgot to pick up the option for the Dwight Twilley band, and that became a legal dispute that lasted for several years. So kind of for me, it was just one legal problem after another. There were periods of times where I couldn’t record. If you’re serious about the music business, and you’re in it for the long time, you just have to roll with the punches. Loving the work that I do, and being determined, it was a big achievement for me to come back from that total mess, and come back with a big hit like Girls.

MTT: What were some of the strangest things you’ve had to deal with on tour?

DT: Touring is an interesting cosmos within itself, so it would be hard to pick which would be the strangest thing. Nothing is coming to mind. Yeah, haha, I’m drawing a blank. It’s kind of like trying to tell the history of the world in one sentence.

MTT: You’ve worked with numerous artists over the years, Leon Russell, Tom Petty, Susan Cowsill, to name a few. Who are some of your favorite people to work with?

DT: All of those people were great people to work with. Recently we had the pleasure of having Taylor Hanson come over and play on the new album, “Soundtrack”. That was really a lot of fun. Really talented group, the Hanson’s. Really kind of proves the amazing talent that comes out of Tulsa, Oklahoma. It was really enjoyable, and a great contribution to the record.

MTT: In the last decade you’ve been releasing material like crazy, either archived rarities, live albums, and even brand new recordings. With all the archive recordings you’ve been releasing, are there any plans to finally release “Blueprint”?

DT: First place, we haven’t been releasing that. There was a deal made a few years ago, where I basically just had a bunch of old masters that I’d had up in the attic for years, and somebody that we’d been working with on another project expressed interest in just purchasing and having the old masters. We didn’t really have any idea at all that their plan was to just release all this material, and we’re not even really that happy about it. We wish a lot of it hadn’t been released, and if it had, we would have liked to have handled it a lot better. We would have liked to be involved in the artwork, and choosing the songs, and the actual mastering of the music itself. That’s really not me doing that, and it’s not my choice, so I kind of play it down as much as possible. I’m more interested in the new work that we’re doing. I think it by far over shadows just putting out a lot of the old rarities.

MTT: From my understanding you’re now in charge of Big Oak Records?

DT: Uh huh, Yeah.

MTT: Did you start Big Oak Records up to kind of deal with the problem of people releasing material of yours that you weren’t really happy with?

DT: Not really, it was just a way of having more control. The record business has became so crazy these days. There’s really not much of a record business left anymore. Ever since we built our own studio and really became self-contained here in Tulsa, making records on our own. We had less and less reasons for it really be necessary bring another party into the mix. We are however with a label for “Soundtrack”, but “Green Blimp”, for instance, was released entirely by us.

MTT: After all the label problems you dealt with through your career, do you feel that the changes that have happened to the record industry are for the better or for worse?

DT: For me, it’s definitely not for the better, there’s really not rock n roll anymore. The days of the hit record are kind of gone. I feel blessed that I was around during that period that there was really like the charts, and you could release a record. You know, back in the day everybody knew what the number one song was, and who did it. And today, if you asked somebody on the street what the number one song was, they wouldn’t have the faintest clue, or they might ask “on which chart?” It used to be like, you’d hear The Beach Boys on the radio, and then right after you’d hear James Brown. Today it’s all separated, and there’s one category of music, and then another and another and another, it’s been divided and conquered. It’s been diluted, there’s so many different forms of music that it’s kind of a wish wash, so no I don’t think it’s for the better.

Technology is for the better, being able to have a $5 million studio in your garage for a fraction of that cost, making it easier for new artists to be able to record their music with a certain amount of high quality, without having to have the support of a major label. A professional recording studio is right at your finger tips these days, that parts good. As far as the overall music industry, and the creativeness it was when I was growing up, I miss that a lot. It’s sad really.

Dwight Twilley "My Life" from Jan Twilley on Vimeo.

MTT: Your newest album “Soundtrack”, is meant to be an accompaniment to an upcoming documentary film on your life. Your quoted as saying that this collection is the most autobiographical music you’ve ever wrote. Would you like to share some of the stories behind some of the songs?

DT: I suppose when you write music all your life, the songs in some way are always kind of autobiographical. For this record, it was absolutely the rule, and it was meant to be an autobiographical record. So I just sat around, and as I worked on it, I kind of began to think of periods of time that I thought were really important, or had some kind of influence on my life, so I would write that way. Much like we discussed, travelling to Memphis and Tupelo, with my early partner Phil Seymour, hints the song “Bus Ticket” from “Soundtrack”. I would just kind of think about these little spikes during the time that I’ve been whacking away at this, and actually write about it. It was a challenge, it was a fun in a way, but a real challenge.

The strange thing is, that during the period of time that I was writing about all these sort of life changing events in my life, or things that affected me, so much happened while I was doing it that it became kind of emotional in a way. I lost my guitar player, Bill Pitcock IV, which was a big loss to so many people in the music world, but a serious loss for me. He was working on the record, and we lost him while we were recording it. We had finished probably about 80% of the record. So I don’t feel like it damaged the quality of the record, but it was really hard to finish up with this big gaping spot in the studio.

We even lost one of the original drummers that worked with the Dwight Twilley Band, Jerry Naifeh. He went as far back as playing on “TV” on the “Sincerely” album. That was all within a few short months.

It was kind of interesting to be trying to kind of document the events that were life changing events, and then some of these events were transpiring right in front of my face while I’m writing the songs. It was a pretty interesting challenge.

MTT: What are the plans for the release of your upcoming biography film?

DT: That we don’t know, I don’t have any control over the film. The only thing I signed on to do was to write the music. When I first so the proposal for the film, I would have to sign off on the fact that they’d have the right to tell my story, and I’d do interviews, and that I’d let them have access to my video archives, and photographs, and that sort of thing. But I noticed in the proposal, that it said they’d be hiring someone to write music that sounded like Dwight Twilley, and I thought that was weird. I just came back to them and said “You know what? Why don’t you let me write the music for the film?” so that’s about as much involvement as I have in the film.

From what I understand, these documentaries can take 2 to 3 years to complete, so I don’t know. I really went to work on it, right around the time of the release of the last album “Green Blimp”, and we didn’t have any intention of waiting to release the album until the film came out or anything like that, it was an album of its own. We figure that whenever the documentary is finally released in whatever fashion it is, we might like to upgrade “Soundtrack”, and reissue it with the film. Add a couple bonus tracks, maybe change the artwork, whatever everyone feels at the time.

MTT: Where did the name Oister come from?

I’m not really quite sure. I think Phil Seymour came up with that. I think it’s because we were like two people, and it was like two halfs of the shell with a pearl inside, or something in that area.

For more info on Dwight Twilley, visit: http://www.dwighttwilley.com/

By Benson Simbirski

Peter Kember is Sonic Boom

2011-10-21T14:52:00.004-06:00

Peter Kember, also known as Sonic Boom, is the mastermind behind Specturm, E.A.R. (Experimental Audio Research), as well as a founding member of the legendary Spacemen 3. Recently, he's produced records for bands such as MGMT, and Panda Bear, and runs New Atlantis Studios. He's currently on tour with Panda Bear.

MTT: What first got you into music, and when did you start playing?

PK: I guess I picked up on good music through my parents. The Beatles, The Stones, The Kinks, The Beach Boys & firstly Buddy Holly. I didn't really understand or have much interest in music until i was about 10 . I hated much of the stuff I heard on radio 1 -10cc etc . hearing 'I'm Not In Love' age 8 didn't do it for me ....though I admire the intro now for its boldness , it just made me queasy back then......

MTT: You were born in England right in the middle of the British Invasion, so I'm sure you grew up hearing tons of garage and mod rock, which is also apparent in the sound of Spacemen 3 and Spectrum. Which bands from this era influenced you the most?

PK: 'Get Off My Cloud' by The Rolling Stones was number 1. The Who from that '65 period were a big influence too , ditto the 13th Floor Elevators answer to the British invasion , and The Velvet Underground. Of course , I didn't discover most of these until i was a teenager . I still like that period a lot . The Joe Meek stuff , Graham Bond Organization etc.

MTT: E.A.R. reminds me a bit of some of the stuff Bruce Haack was doing. Have you heard him?

PK: No, but I have heard friends mention his name .

MTT: One of the main reasons I mentioned Bruce Haack, is because a lot of the music he made was with synthesizers and electronic instruments that he built himself. I remember reading in another interview that you're also interested in creating your own electronics. What have you built yourself?

PK: I haven't done it for a while , but i circuitbent and modified a host of instruments. Mostly speech synths -the speak + math is a favorite .

MTT: You're well known to have an interest in vintage synthesizers and electronic equipment. What are some of your favorite pieces of equipment?

PK: I like modular stuff a lot. I like knowing my patch intimately. My most recent joys have been the Ekdahl Moisturizer (an open tank spring reverb with inbuilt lfo & multiband vc filter. It's fully modular & well designed. Also the Moog MurF pedal has been making me happy the last few years & I recently got one of Moog's Mini-moog voyager, which offers a good compromise between a live performance synth but with full modular control if needed in the studio. Obviously live, having the chance to recall pre-programmed sounds reliably is critical .

MTT: I've heard that during your live shows, you physically tape the keys on your keyboard down. What's the idea behind doing this instead of just using something like a loop pedal?

PK: It's just the way I've always done it.....I wont hold down a key I can tape if I can help it . the drones go from 5 - 50 minutes usually . I also have visual reference of what I'm doing.....

MTT: Spacemen 3 were, and still are, extremely influential in indie rock and neo-psych. Was anyone else doing anything similar to you at the time?

PK: No, not until later. The Jesus and Mary Chain were maybe the closest , but it was markedly different .

MTT: Much to your disliking, Spacemen 3 was commonly compared to Loop. Do you think Loop ripped you off?

PK: Think ? haha. unfortunately, I know. but that's boring. My whole distaste for loop stemmed from their denial of where they got it from. A bit of dis ingenuity that I think served them poorly .

MTT: On Spacemen 3's final album, Recurring, there's a much stronger electronic influence than on your previous albums. What was the decision from changing your sound from the droned out psychedelia you were known for, to more electronic dance pop songs like Big City?

PK: If you check, we changed a lot between each lp, within our framework. All have pretty different concepts to them. I like electronic stuff too. Big city is still pretty droned out. I'm not sure the decisions were massively conscious - it was just kind of natural evolution. Trying to keep it fresh for us & our fans. I think it was valid to group all these different influences into our little drone fest .

MTT: There's a lot of drug references in Spacemen 3, and you were shrouded by drug references in the music press. How do you think the reputation of being a "drug band" effected your career?

PK: I don't know. I'm sure many would say it effected us badly, but it wasn't really something i can imagine being different. Drugs defined our music, to a certain extent our tastes & lives, It's kind of strange to imagine it any other way. We were spades & it was just calling it that. Our main interest was in re-defining peoples pre-conceptions of 'a drug band ' . Hippies we were not.....

MTT: How much of an influence did drugs actually have on your music?

PK: I kind of answered that above . we considered ourselves soul punk & the religious aspect and many elements were informed by drugs . having said that , it is not necessary to chew khat to appreciate west African music, or take/have taken drugs to appreciate in its fullness the music of Spacemen 3 .

MTT: Would you ever rule out a Spacemen 3 reunion? I know for a lot of people it would be a dream come true

PK: Yes . I cant see it. Jason chooses not to communicate with all the core members. He did some pretty shameful shit. I cant see him coming to terms with that.

Some things are final. I'm sorry it has turned out like that, but I think re-forming in any current circumstance is something well avoided Without new work, and only for reformings sake? That'd be sad.

Like the Spacemen 3 book. Touching that people care, but to read -as these books invariably are - the twisted rantings of what some might term 'minor band members'.

MTT: How do you feel about Spiritualized recording and performing Spacemen 3 songs?

PK: I don't care. I'm touched he should still want to do those songs.

MTT: I've always wondered what the idea behind the members of Spacemen 3 using pseudonyms was, and why you, and Jason both still continue to use them.

PK: Jason only adopted 'Jason Spaceman' after S3 split-up. He was just 'Jason' if you check the sleeves etc .

I was the mainliner , then Peter Gunn, then finally Sonic Boom. Just being goofy really.....I like it . A lot of my good friends call me Sonic, though not all.

I think its also a little more memorable than 'Peter Kember'. It's not a big deal either way .

MTT: How are your two on going projects, EAR, and Spectrum, received in different markets? It seems you play America with Spectrum a lot more often than you have with EAR...

PK: Luckily, I get pretty even spread after the years. Europe & USA are the main spots, but i get to go to Japan & Aus & NZ on occasion .

Yeah - EAR is more suited to an European sensibility . Its a lot less rock i guess .

MTT: It seems like for the last few years you've been focusing mainly on Spectrum. Is EAR still in the picture?

PK: Yeah, its on the back boiler on slow-cook . I've been working on an LP for Important records since forever . I dont want to release a lot more records . Just a few . Just enough .

MTT: Are there any plans for an upcoming Spectrum release?

PK: Yes. I've started work long since, but I'm taking my time. I'm not interested in having a lot of records. A few good ones is what I'm trying for .

MTT: Can you give us a little bit of background on New Atlantis Studios?

PK: I've mostly been working at Blanker Unsinn studios in NY . It's co-owned by an old friend of mine & MGMT. I started working there when I was working on the MGMT 'Congratulations' LP. & I really like the vibe there. I like people coming through & hanging out & the characters attached to the building are all good souls and often invaluable feedback .

I'm thinking of moving New Atlantis in the next year or so.....but I only add to it.

MTT: Lately you've also worked on a lot of production for other artists such as MGMT, and Panda Bear. How did you get involved in producing these bands?

PK: It happens in different ways . but generally its from being mutual fans. I'm really into working with bands of that caliber whether its a punk band or psyche or whatever. It's better than drugs ...... It's really refreshing for me not to be driving the whole thing, and just being able to try & help them achieve what they're looking for & be able to concentrate on the essential elements . It's a pretty magical process ......

I have a joy bell that I ring when i'm in the studio. haha. Each time I feel really good about something. It gets a lot of use . I'm lucky to've been able to work with a bunch of hard to classify bands - Sun Araw, Cheval Combre, Teen, Wooden Ships, Moon Duo, Panda Bear, MGMT. Mixing, mastering, producing, playing. It keeps it interesting. I'm lucky to have been able to work with some of my favorite contemporary artists .What more could you want really? My life's a dream.

MTT: You're also credited for re-mastering some reissues for the 13th Floor Elevators. What was it like re-mastering recordings of songs that had originally inspired you?

PK: hmm....no, the re-mastering was for the red crayola . i did the first 2 LP's. mono & stereo . I did do an Elevators remix , but I didn't remaster their stuff. The 13th Floor Elevators 45 were songs that had never been released before and were very poor tape quality. I mastered it but I didn't re-master it.

In answer to your question , its cool. It was pretty amazing to hear the original masters of those discs as the copies that were around before were pale versions of it.

MTT: How has the tour with Panda Bear been going so far?

PK: It's a dream job ........These live shows have been a trip. no holds.

I think we're just getting up to warp factor now.

I watched some stuff on youtube & i'm pretty jealous of the audience .haha .

The whole show is pretty 'other planet '. He's pulled together a great team to work with .

I think Panda Bear is slowly getting his show to where he wants it to be .certainly , his performances sound pretty astounding from where I am ( as well as playing my parts & some outfront mix effects , I do the mix for him on stage )

It evolves slowly i guess . he doesnt do many shows which definitely puts a fine edge to the experience . It's nice to read peoples reviews of the shows & see it seems to be hitting the spot.

MTT: What do you think of the "Occupy Wallstreet" protests?

PK: I'm not a politician , thank god - and my opinions are best kept to subjects i understand!

MTT: What is the perfect prescription?

PK: A smile sent out ......... that'd be in the eye of the beholder no doubt .

For more info on Sonic Boom, visit: http://www.sonic-boom.info/

By Benson Simbirski

Independent Music Spotlight: Calgary Blues Singer Kirby Sewell

2011-10-21T09:28:00.005-06:00

The Kirby Sewell Band is an Alternative Blues band based out of Calgary, Alberta. In November they're releasing their new album "Bought Myself A Hammer". We recently got the chance to chat with Kirby Sewell about his upcoming album as well as the state of the Blues scene in Calgary.

MTT: How did you first get into music?

KS: Music was in me. Some people say your born with a singing voice. I'd have to agree that it is a gift like that. My mom said I was humming melodies before I could speak. Don't know if they made sense really, but it was a start as a very young toddler ha ha

MTT: How and when did you put The Kirby Sewell Band together?

KS: It all started when I was hanging out at Mikey's on Sunday's at the Jams and jamming with Derek Littlejohn and John Lacey. Those guys are great country players, and I found singing some covers from my past bands very pleasing slanted in that style. I released a solo 6 song EP "A Southern Country Fried Blues Serenade" in August of 2008 at the Calgary International Blues Festival when I last performed there as a guest vocalist with a throw together band.

I was writing with Neil Gunhold (Guitarist, Songwriter - Musical Director) at the time, on songs like "Beautiful Tomorrow" and Melanie, that appear on that disc, and we both agreed we wanted to start a band. Then I then ran into Morgan Turk our lead guitarist at Black Cherry Perry's jam then at the Lord Nelson. The rest is kind of history as all the other players followed suit shortly there after. Jim Johnston had played drums with Neil in several projects including Pop Debris and I had always wanted to have Lisa Jacobs play Bass in one of my bands. We have had a rotating door on keyboards since the inception of this band, but for now Brandon Smith helps out when he is available. We played our first gig at the Calgary Lilac Festival in May of 2009 and it has been a nice musical ride in the last couple years.

MTT: Were you a member of any bands prior to The Kirby Sewell Band?

KS: Yes, I played in a blues cover band called The Rippers prior to this Alternative version of the Blues we are experimenting with on Bought Myself A Hammer, the new Kirby Sewell Band CD coming out in November.

MTT: What's the most memorable show that the Kirby Sewell Band has played so far?

KS: This summer we have played some great shows, including opening for Trombone Shorty, Edgar Winter, Monkey Junk, Savoy Brown & Bedouin Soundclash, and all of them were memorable. I would have to say though our off the hook shows where in California this summer like the San Jose Jazz Festival, and especially the show co-billed with John Nemeth at Biscuits & Blues in San Francisco. It was surreal walking into a place where so many great players like Keb Mo, Shemekia Copeland, Duke Robillard etc have played, as it is part of the international circuit for Americana and Blues artists. I remember walking down the stairs and seeing all these wicked artists that have graced that stage, and thinking s**t I am singing here tonight :-) I got stage fright for the first time in a while in that moment, but the nerves made me work hard that night. It was an incredibly humbling experience to be given that opportunity, to grow and to learn in that spotlight. There is so many incredibly talented people in this world, we can all learn tricks from, and technique. John Nemeth is an amazing singer. Wow... I got to get to work!

MTT: Calgary's had a pretty rich blues history, with historical venues such as the King Edward hotel, a successful blues festival which just completed it's seventh year, and a history of extremely talented musicians. I'm sure you've had the opportunity to share the stage with some amazing people, in some amazing places. What are some of your favourite memories of being a part of the Calgary blues scene?

KS: I would have to say recording with Amos Garret when he played on my first CD. That was really cool, hearing all the stories about him playing with the Muscle Shoals rhythm section on some hip and happening records in the 70's. His story about playing on Stevie Wonder's record was really funny and enlightening. He is a great man, and a wonderful player. I hope to share the stage with him sometime. As far as jams, my favourite moments have been at Greg Godovitz's and Mike Watson's jam down at the Blues Can as of late... it has been really awesome to get up there and sing with local legends and Rock Royalty like Greg, and of course Paul Dean from Loverboy. That has been a lot of fun. In fact if it wasn't for Greg, I would not have met Andrew Cole who opened for Tom Cochrane this past summer at the Cowboy's Stampede tent. Andrew saw our show at the Blues Can and invited me up to sing backups on Life Is A Highway the next night. That was a really cool experience.

MTT: It seems like one of the biggest struggles in Calgary is the lack of venues for blues. There's been many losses over the last 10 years, ranging from places like the historic King Eddy, to the 17th ave hotspot Kaos, and short-time suburban pubs like The Red Onion. Why do you think blues bars seem to have trouble keeping their doors open in this city, and how does it effect you as a musician?

KS: I think the answer is clear on that. The iPod, CD changers, Internet & Satellite radio have changed the listening habits of people, and they now prefer variety. You can't book a room with just 12 bar blues bands, as it is just going to sound all the same, and it doesn't feed the musical desires of most people. Blues is not 12 bars, it's a spirit, a soul, a swagger. All music has come from the Blues, first from the broken hearts of the Slaves, and the souls of the downtrodden, and it came out in a very raw way. It has morphed, and has definitely came out in Gospel, and the Rock N Roll of the 60's & 70's and it has influenced many a Pop Star since, but some people just worship that 12 bar structure. I think that was a mistake, because we have seen the result of it in the club business. So I think it forces us as musicians that want to make a statement to look outside small paradigm's and try to re-invent something that still on a musical level feels, tastes, and feeds the soul like only the Blues can. I guess your hope as a musician then, is that you can find new venues and festival stages with a sound that is unique to you. I am really proud of what Neil Gunhold has been crafting in his studio and what will be heard on our New CD, "Bought Myself A Hammer." I think there is some of the best vocals I have ever recorded on this record. I am proud of it. It has a lot of influences and styles and I think it's an Alternative look at the Blues made by some modern broken hearts.

MTT: Even though a lot of bars have shut down over the years, there's still the few that have remained open and I've noticed that almost every one of them also hosts a weekly jam. Mikey's Juke Joint hosts a Saturday afternoon Jam, and Gary Martin hosts a Sunday jam session at Hexter's, just to name a couple. Do you ever take part in these open stage jam sessions?

KS: Yeah I try to get out at least once a year to each jam. There are so many, I doubt I make each one, as I don't know them all. I can't forget how I started, and I got inspired at Mikey's Sunday Porch jam, and of course met by friend and excellent lead guitarist Morgan Turk at a jam (thanks Perry). So Jams play an important role in developing talent and giving people the opportunity to get up there and win over the crowd with their talent. They also serve as a place to find players of like interest and start new projects. This is obviously true in my case.

On a side note I think there are two many jams (not just blues) and bar owners use musicians for FREE music instead of the standard Karaoke fair. This is not good, and at times I have heard some establishments doing jams on Saturday nights, which competes with live music from bands that earn there living playing on the weekends, which I think is very dis-serving, and is not appropriate.

MTT: How important do you think it is for jam sessions such as those to exist in the blues scene?

KS: I think they are important to develop young talent and help people gain confidence on stage. I think their real importance is to spot true exceptional talent, so that will allow mentorship to take place and hopefully help make a better music scene overall.

MTT: I'm sure you've heard Cantos Music's plans to build the National Music Center on the site of the King Eddy. How do you think the opening of this center will effect Calgary's music scene?

KS: Yes, I have been close to this, and been a part of many workshops to develop their new National Music Center brand etc. as I think this is such a rare and invigorating opportunity for Calgary.

I think the team they got in place with Andrew Mosker, Camie Leard, Candace Elder, Ian Menzies, Jeni Piepgrass, and our keyboardist on the new CD, Brandon Smith are just exceptional people. These are the few I know, but, the organization is incredibly behind local talent, which when it opens its doors will allow great opportunities for our talented population to mix with the International Acts that will also be gracing its stages. Its all good news there.

An example of that is for now they produce First Thursday's, where every month they give the room at Cantos to a local band to put on a show. They gave me the space back in Sept 2009, and I used it, to record the show and video it, and that became the back drop to add 4 new live cuts to my first 6 song EP, and release a new 10 song CD "The Blues Found Me" in 2010. That was a fun show.

I also started going to their Blue Monday's Jams when the first started a couple years back, and I am happy to announce I am hosting that Jam this coming Monday October 31st at 7 PM at Cantos Music Foundation - 134 11 Ave S.E.

MTT: I was able to catch you guys at the Shamrock back in March and one thing that immediately drew me into your music was your song selection. I really dug how you chose non-traditional blues songs, and covered them in your own style. One song that really stuck out for me was "White Light White Heat" by The Velvet Underground. What was the inspiration behind turning songs such as "White Light White Heat" into blues songs?

KS: Actually, Neil Gunhold (musical director for the band) was walking in setting up at Christmas Party we were playing at in December 2009, and it was playing unrecognizable to me in the background, and he started freaking out on how we could slow the old Lou Reed classic down and make it more of an old rock bluesy gospel feel. I went home and actually heard it on the internet and I was like 'what the hell'? How is he going to do that as it's so alt-noise and pre-punk. Well, it worked out rather nicely, and I am happy to say "White Light, White Heat" it is on the new CD coming out in November. As well we recorded a blues grass feel of Def Leppard's "Pour Some Sugar On Me" which was one that I fount that had a real bluesy scat feel we could screw around with. It has been fun to re-invent these songs to match our style for the Kirby Sewell Band. This has been a conscious decision of this band, to spot songs you would never think a band with a soul found in the blues would even touch, and give people something totally different to reflect on.

MTT: You're getting ready for the release of a new album in November. What can you tell me about the new album, and what plans do you have for it's release?

KS: The new CD is called "Bought Myself A Hammer," which kind of speaks for itself :-) The CD is very eclectic, embracing lots of styles that the Blues have influenced. It's very much a singer/songwriter alternative approach to the Blues of the past while experimenting with similar themes lyrically. We have a little Country Blues hoe down story of whose using who in "Money's All Gone" with a sad dark story of loss in "Own Way Home" So there are lots of surprises in the original songs, as well as the two re-invented cover songs on the new disc.

All I can say is it time to party. It has been a great year for our band. We have played some incredible venues & festival stages and opened for some great artists. At the same time we have been slaving away creating this new CD. So it's going to be nice to just relax and party with the fans that can make it out to hear the new CD in advance of its release.

We are having a big CD Listening Bash called Big Blues Funhouse - Nov 10th at 7 PM at Headspace in Calgary.

The band will be performing a special acoustic set of some new and old songs. Its a catered, and a licensed event, and as its a holiday the next day for Remembrance Day, so it's going to be off the hook.

The actual CD release will be at the Ironwood on November 25/26. We have two great opening acts like the Du-Rite Aces on Nov 25th, and A Little Voodoo on Nov 26th.

For more information on Kirby Sewell, and to listen to some tracks off his upcoming album, visit: http://www.kirbysewellband.com/

The Big Blues Funhouse is a private event, If you would like to attend, please e-mail bsimbirski@hotmail.com for more info.

By Benson Simbirski

Angela Faye Martin

2011-10-20T08:03:00.001-06:00

Angela Faye Martin is a singer/songwriter. Born in Atlanta, Georgia, but now living in North Carolina. Her 2009 release "Pictures From Home" was Mark Linkous of Sparklehorse's final full production. We recently got the chance to talk with Angela about memories of working with Mark, and her plans for the future.

MTT: What first got you into music and when did you start playing?

AFM: Probably the vinyl my parents & brothers had around the house and the sway music seemed to have over them impressed me. It ranged from disco, to rock, to country. I first attempted guitar at age 11. My grandmothers died before I was born but one was a palm-reader & guitar player. They say things skip a generation.

MTT: Growing up, and living most of your life in the Southern States, you've been surrounded by many great artists, musicians, and authors. What are some of your favorites?

AFM: For literature, I'd say, Charles Frazier and Wayne Caldwell because of how they write about the mountains, where I live. Frazier's latest novel, NIGHTWOODS is the last thing I read. He gave me a British edition at one of my husband's poetry readings. Oddly, I know more authors than I do musicians! But it's a long way out for me to go see music. For music, Sparklehorse, of course. And for art, Howard Finster, having spent a lot of time at Paradise Gardens as a teen.

MTT: Your first solo effort, One Dark Vine, was released in 2005. Had you been a part of any bands before this?

AFM: I fronted a couple of bands out of NW Georgia, during the late 1980's. But leading bands was then, and remains, a very difficult undertaking, rife with sexism, to me. While I may form bands for specific projects, I will always attempt to keep personnel to a minimum.

MTT: Your 2009 album, Pictures From Home, was produced by the late great Mark Linkous. How did you end up working with Mark?

AFM: An 88 year-old friend, who lived in the next county, introduced us. Once we were friends, Mark offered to record a 3-song demo for me. When he realized labels had no interest in helping me complete an album, he took matters into his own hands and we made a truly independent album.

MTT: When you began working with Mark, was it something that kind of just fit together perfectly? It definitely sounds like it.

AFM: In spirit, it was a perfect fit. Mr. Jackson, who introduced us, was determined that we meet. But in practice, days were rife with cancellations, Mark's schedule, transportation problems and his physical and emotional pain. He was very open about things he was doing to try and improve his daily life yet on the other hand, he seemed to be destroying himself.

Personally, I quit a good job in order to make myself completely available, at a moments notice, to make sessions with Mark. But he'd always talk with me, was so kind and up-front about his struggles and I wouldn't take anything for the experience of working with him. For one thing, there was no higher functioning person than Mark, in his studio. I've haven't seen such genius and hard work before or since. Not to mention his love of order. In the brief time I knew him, he mentored me and taught me some of the best lessons of my life, from the mundane to songwriting. I'm only just beginning to understand and put into practice things he showed me. The practice of noting what he taught me also helps to alleviate some of the grief. It carries you in the opposite direction. It takes such technique to survive the kind of grief a suicide enacts, I'm discovering.

MTT: What are some of your favorite memories of Mark?

AFM: It's difficult to narrow this down, but my favorite was a motorcycle ride we took, before a session on Easter Sunday 2009. He said to squeeze him if I got scared. I was scared the whole time, but still waving at people in their yards.

Another time was a time he asked me to sit after tracking the album. He had a great sense of humor, especially when working, and was very playful that way but for this he stopped joking to make sure I listened to what he had to say about the songs and my playing. Can you imagine someone being so thoughtful? And he'd give me these little trinkets from his garage. A bag of watch parts, barrettes, insulators. . . We'd sometimes not begin a session until hours after I arrived. That was just how he was. He'd visit, like a true Southern host. He'd dig Sparklehorse posters out of a closet for me to take home while telling me great stories of his writings and experiences.

He only came to my house a few times but he was the sweetest guest. Carrying on about how well he slept here. A moment I'll never forget, was the second time he visited, we were trying to talk but couldn't find a break in the greater dinner conversation. So I asked him if he wanted coffee and he followed me to the kitchen and told me, while I was making coffee, that he'd listened to the demos I gave him and that he'd produce my songs.

Eventually, I'd begun a kind of memoir of working with Mark, I'd share things I wrote for him and one day I asked him if he was like some artists who can't bare to listen to their own work? He said, "No one should ever commit something to media they can't bare to listen to, again and again." I agree with that.

MTT: You took a hiatus from music from the spring of 2010, until early 2011. What was the inspiration behind your recent return to music?

AFM: I shed the band I formed to perform the album. It was stifling me. So, when I got quiet and began to approach the subject of Mark's passing with honesty, I was able to write songs again. A heard a song by Reza called, Desert Land, which completely voiced my feeling about my writer's block - a kind of survivor's guilt regarding Mark. And with repeated plays, this song, performed by an Iranian in Paris, released it. I couldn't enjoy anything new, until that song came across. I was creatively numb.

And finally, going to the geographic place where Mark passed away helped me create a mythos around his passing, helping me write again. By noting the way the birds were assembled on power lines, anthropomorphizing their take on Mark, the names of the streets. It was almost clinical. And by describing these things and my memories, I wrote a song for him called, Swifts & Swallows. I believe, like a religion, that imagination when properly used, helps us survive. It's just that despair can inhibit the transmission and people have to help you. I'd be remiss not to mention that friends really kept after me. I wish I had pestered Mark more. But 'what if's' can't be verified, ever, and lead to insanity. What's important now, is to honor his legacy.

MTT: Now that you've begun playing shows again, are there any plans to write and record some new material?

AFM: I only just now have the songs I think could be a new album. I would like to begin recording again in January but I've no firm plans. It's still difficult for me to accept that I can't work with Mark again. But sometimes, when I pay close enough attention, I can sense his presence in the weather. I sensed it at a show I played this month. Back in 2009, when we were sending tracks to the mastering house, I told him that I would miss working with him. He said, "You will always have this album and every time you listen, you will be right here, in the studio, with me." So, of course, I still listen to it.

For more information on Angela Faye Martin visit: http://www.angelafaye.com
By Benson Simbirski

Blues Legend Johnny Winter

2011-10-15T00:29:00.009-06:00

According to Rolling Stone, Johnny Winter's the 74th greatest guitar player of all time. He's produced 3 Grammy Award winning albums, and has been nominated for several more. He's played and worked with countless notable musicians including Jimi Hendrix, Stephen Stills, Muddy Waters, Rick Derringer, and of course, his brother Edgar.

Johnny Winter's recently released his first studio album in 7 years, which is titled "Roots", and is currently in the middle of a world-wide tour to support the album.

We were thrilled over here at MTT to be given the opportunity to do this interview with

Johnny Winter.

MTT: What first got you into music and when did you start playing?

Johnny Winter: My father started singing when I was five, he was a banjo player, and a sax player

MTT: Growing up in Texas in the 1950's probably gave you a lot of great opportunities to see some of the great Southern blues musicians in their prime. What are some of your fondest memories of seeing blues artists perform during this time?

JW: BB King, saw him when I was seventeen; Clarence Garbo a guitarist from Bowmont; Ray Charles, when I was a teenager; Fats Domino; I never saw Muddy Waters until I was twenty three, in which I then opened for him in nineteen sixty seven.

MTT: During your early years as professional musician you released a few singles with Johnny And The Jammers, The Traits, and more. A lot of this music has more of a classic soul and Chuck Berry rock and roll sound. What made you decide to play primarily blues-rock?
JW: It was my favorite kind of music, couldn’t really play it for white people until nineteen sixty seven, alot of the English guys help make it take off, like the Yard Birds and The Stones, those English guys made them start liking Blues.

MTT: Over the years you've been able to play with many other great musicians. Who were some of your favorite artists to play with, and what was it like to work with them?

JW: Muddy was probably my favorite, in fact he was definitely my favorite. And John Lee Hooker, Sonny Terry, Willy Dickson, Albert Colins, Clapton, Carlos Santana, Jimmy Reed, Slash.”

MTT: There's a recording of you playing in New York at the Record Plant in 1969 with Jimi Hendrix, Stephen Stills, and Dallas Taylor. How did this session come together and what do you remember of it?

JW: Scene closed in about four o’clock in the morning, untill the city killed the scene, and we were just sitting out in the street, and Jimi came out and asked if we wanted to record, “Things I used to do” by Guitar Slim.

MTT: Did playing with someone as talented and legendary as Jimi Hendrix affect your playing at all?
JW:I loved Jimi’s playing, we learned from the same people, so I didn’t learn too much from Jimi. I loved the way he played hes one of my favorite guitar players.

MTT: There's no denying that there was a lysergic glow to much of the cultural movement of the late 1960s. What stands out to you looking back on those times? Seems like hanging out with the Hendrix crowd would've resulted in a psychedelic adventure or two..

JW: Maybe takin a lot of drugs, hahaha…… It effected me definitely. I dunno about the peace part, but I was definitely into the free love.

MTT: In the late 1970's you became involved with Muddy Waters, producing and playing on a couple of his albums. How did you become involved with Muddy Waters, and was it intimidating producing albums for someone who had been a major player in the blues scene for much longer than you'd been a professional musician?
JW:Four albums! In which I won three Grammys, it wasn't intimidating I loved it. His manager asked if I wanted to do it and I said of course, I didn’t really get intimidated by anybody. It was very flattering. Ron Lexenburg from Colombia Records suggested that we do it. I was thirty three at the time.

MTT: You recently released your new album Roots, in which you cover 11 blues classics. What made you decide to record an album entirely of covers, instead of an album with a mixture of originals, contributions from current and previous collaborators, and covers like 2004's I'm A Bluesman?

JW: Paul Nelson, came up with the idea, a couple years ago. He’s my co-guitarist. He produced and played on “Roots” and is one hell of a guitarist in his own right…

MTT: What was it like laying down recordings of songs which I'm sure you've not only grown up with, but have also played for much of your career?

JW: It was a lot of fun, a lot of songs I loved I didn’t have to learn em’ I love doing old sings that influenced me.

MTT: There's been a ton of major changes to the record industry in the last few years. How is it different releasing an album in 2011 after all these major changes have taken place
JW: The way I do things hasn’t changed at all, but the industry has changed, but that doesn't effect me. I don’t deal with all the changes, but it effects everything else. I know what I like no matter what the process.

MTT: What's your favorite key to jam in?

JW: Open “A” turning, I don’t have a favorite key, just depends on the key I have to sing in.

For more info about Johnny check out www.johnnywinter.net

By Benson Simbirski

Q & A with Margo Guryan

2011-10-08T16:40:00.015-06:00

We were really excited here at MTT to have the chance to chat with legendary 60's songwriter Margo Guryan recently! Below is our Q&A....enjoy!

MTT: What first got you into music & when did you start playing?

MG: My father taught me the melody of "Tea For Two" when I was 4 or 5-years-old. He played the accompaniment. My parents enrolled me in ballet class at 5 (continuing until I began high-school) and formal piano lessons at 6. Though I periodically asked to stop piano lessons, the answer was always "no". By mid-high-school, I was certain I wanted to study music in college.

MTT: Your bio states your musical background was jazz piano & composition. How did growing up nearby the jazz music scene in New York City influence you as you were starting to compose your own music and which jazz artists were you into at this time?

MG: The "jazz music scene in New York City" didn't influence me at all as a child or teen-ager. I didn't know it existed. I was into pop music (and studying classical music, of course) as a child and never fell in love with jazz until I got to college in Boston.

MTT: There is a picture of you at a session with Ornette Coleman & Don Cherry, what was it like to work with these heavyweights and how did this session come about?

MG: That picture was taken at the Lenox School of Jazz, which I attended the year I graduated from Boston University. Ornette Coleman and Don Cherry were fellow students. No one knew they were "heavyweights" at that time. The real heavyweights were John Lewis (seated in front) and Max Roach (standing next to the student drummer). I was asked to write something for this student group, which is the only reason I was in that picture. It was exhilarating to hear what Ornette was doing (both with his own music and mine).

MTT: You also had some of your earlier compositions recorded by Chris Connor & Dizzy Gilespie....were these compositions just pitched to these artists by publishing houses or did something else happen that resulted in them getting recorded? It must have been cool to have Dizzy record one of your pieces! Do you have any memories of your reactions when these first few records were cut?

MG: I was signed by Atlantic Records while I was still at B.U. The first (and only) session was a disaster. I was not a singer, and double-tracking was unknown at the time. But Nesuhi Ertegun and Jerry Wexler (who had signed me) took one of my songs ("Moon Ride") and had Chris Connor record it. It was a single which came out while I was still in college. I was thrilled! The Dizzy Gillespie recording was a song of Arif Mardin's (also a student at Lenox) for which I had been asked to write lyrics. I don't remember even being told about it.

Moon Ride - Chris Connor:

MTT: I've read a couple places that you decided to focus more on pop songwriting after hearing God Only Knows. Can you talk a bit about the cultural climate at the time & how you decided to make the stylistic switch and move to Los Angeles to pursue songwriting?

MG: I was firmly planted in the jazz world after college (and especially, after the Lenox School of Jazz). I had married Bob Brookmeyer (a well-known jazz trombonist and composer) and listening to anything other than jazz was out of the question. Pop music was pretty bad the last I heard and I totally missed the advent of The Beatles and other groups who were expanding and changing the "pop"/"rock" scene.

After Bob and I divorced, a friend turned me on to The Beach Boys. This friend was Dave Frishberg, an excellent jazz pianist and composer. He played "God Only Knows" for me and I was floored. It was melodically beautiful and harmonically rich and interesting. It showed me a way to incorporate all my musical influences into my songs. It was a most natural way for me to make a "stylistic switch". I continued to write in New York (where I made "Take A Picture") and didn't move to Los Angeles until many years (and another husband) later.

MTT: Were the recordings of your songs by artists such as Jackie DeShannon and Spanky & Our Gang catalysts to you recording the Take A Picture album?

MG: Perhaps, yes, in a way. I had made demo recordings with my then-publisher (David Rosner, who later became my husband...many of which are on "25 Demos"). David was the one who discovered that double-tracking my vocals smoothed out my range-break imperfections. When taking these demos to record companies for the purpose of having their artist record these songs, several record executives came up with "why don't we just record her?". I'm sure the Spanky & Our Gang recording influenced their interest, as it had been something of a hit. David chose Bell Records for this project...and voila!..."Take A Picture".

MTT: The Take A Picture LP features some of my favorite arrangements on any 60's era pop record, they are very lush & really bridge the orchestral world with harmony pop. One example in particular, Someone I Know is actually written to the Bach piece Jesu, Joy Of Man's Desiring. Can you speak a little bit about how this piece came about & why you decided to put your twist on this well-loved piece.

MG: The first producer/arranger hired by David for the album was John Simon. (He left the project after arranging and recording "Don't Go Away" to produce Janis Joplin...and who could blame him?!) When I had played "Think of Rain" for John, he pointed out that the changes were very similar to Bach's "Air on the G-String". He did a wonderful arrangement of this song incorporating the "Air..." for The Cyrkle. Unfortunately, he lost the group before it was ever recorded. But it gave me an idea: Why not write a song where a familiar Bach piece could be used as an accompaniment throughout?

I chose "Jesu, Joy Of Man's Desiring" and set to work. I wrote a counter-melody to work with "Jesu...". Then I wrote words to the counter-melody. This became "Someone I Know".

Someone I Know

MTT: I was wondering if could you talk about the work you did with John Simon and what it was like to work with him?
MG: John Simon was a very talented guy! I've often wondered how "Take A Picture" would have turned out if he'd arranged and produced all of it. You might notice that "Don't Go Away" is quite different from everything else on the album. He had me write out what I had done...both hands...(it was very new, thus no demo) and then came up with that arrangement. (That's not to take anything away from John Hill; obviously his work was quite good. It's just that Simon had much musical thought in common with me...like Bach, for instance.)

MTT: I saw you mention once that Harry Nilsson had recorded a cover of one of your tunes he ended up splicing from a tape, very unfortunately. How did you hear about his recording? And did you ever spend time with Harry?

MG: I "met" him over the phone in David's office. He loved "Think of Rain" and did indeed record it. We later met (again, in David's office) where we listened to the newly mastered "Take A Picture" and his forthcoming "Aerial Ballet". And we were invited to visit him at his home in Los Angeles when we travelled there. So we did spend some time with him. It was Harry who told me he had recorded "Think of Rain"...but he didn't like the way it came out. He gave it to Judy Carne who performed it on "Laugh-In". He promised he would let me hear what he had done, but never sent it to me. Many years later, after Harry's untimely death, David was in touch with someone who was archiving Harry's recordings. My title was found on a tape box, but the recording itself was spliced out. Harry was known to remove recordings he made which he didn't like...so I never heard it.

MTT: After the release of the album, what made you decide against touring and essentially leave the music industry in favour of teaching music?

MG: I had never wanted to be a performer. I never really liked the "business" part of the music business. Performing required associations with a lot of people: agents, managers, lawyers, accountants...people who told you what to wear, what to say, when to be where, who to be!! I wanted to be a writer, and I stuck to that desire. It wasn't until many years (and many songs) later that I moved to Los Angeles and began classical piano study again. My teacher, Howard Richman, encouraged me to teach. One summer, when Howard left for vacation, he left my (unlisted) phone number on his answering machine with the message: "If you're calling about piano lessons, call Margo Rosner at....). That's how I began teaching. I found that I enjoyed the children, still loved music, and continued (even to this day) to teach. I didn't really "leave the music industry". I continued to be involved (with David) in producing other artists ("Wool", Van Dunson, Dave Frishberg and continued writing ("California Shake", "Hold Me Dancin'", etc.).

Dave Frishberg - You Can't Go (produced by Margo)

MTT: And finally, looking back at the period you were active in the music industry what are some of your favourite moments that took place at that time? And what are some of your favorite records that other artists have cut of your work?

MG: Some favorite moments: Being signed by Atlantic, the Chris Connor recording of "Moon Ride", working for Creed Taylor (as a secretary...he taught me a lot about how records were made), the whole Lenox School of Jazz experience (meeting Gunther Schuller, Max Roach, Jim Hall and many others...being signed to MJQ Music), making "Take A Picture (including the fierce ping-pong matches in the Columbia Studios game room), working with Van Dunson on his wonderful 2-piano album, playing "The Chopsticks Variations" for Dave Frishberg, I could go on....and on, and on.

Chopstick Variations: Round

Chopstick Variations: Allegretto

My all-time favorite recording by another artist is Jackie DeShannon's "Think of Rain". Since other artists simply attempted copying my demos, I was often disappointed with the lack of anything original in their versions. But Jackie's record was both original and extremely well done. I also love a rather obscure recording by pianist Dick Wellstood of "Sunday Morning". And George Schuller (Gunther Schuller's son, and a wonderful musician) has recently re-arranged and recorded "Edwin"...an instrumental piece I wrote at Lenox. It's superb!

Jackie DeShannon - Think Of Rain

By Barnaby Bennett
Photos & Moon Ride/Chopstick Variations courtesy of Margo Guryan