An EXCLUSIVE Interview with SHOES!

If The SHOES Fit….

An EXCLUSIVE interview with

JOHN MURPHY,

GARY KLEBE

and JEFF MURPHY

By Stephen SPAZ Schnee

     In the world of Rock, there are two standard models that musicians adhere to when putting an original band together. The more common of the two is built around a single songwriter who brings in a few friends to help him (or her) shape the sound he has in his head. He may be open to some input from the other members, but it his ultimately his vision. The second model revolves around two strong creative forces leading the band. Whether they write together or separately, the band’s oeuvre is ultimately more varied and exciting. But sometimes, there are bands that come along and up the ante by adding a third creative presence into the fold. While it’s not an entirely rare occurrence, it isn’t as common as you think.

     In 1977, most Punk, New Wave, Rock and Power Pop bands tended to follow one of the two standard models. But then along came Shoes, a Zion, Illinois quartet and their first widely-distributed independent album, Black Vinyl Shoes. With drummer Skip Meyer in tow, the band was led by a trio of immensely talented singer/songwriters: Gary Klebe (guitar) and brothers Jeff Murphy (guitar) and John Murphy (bass). Though crudely recorded at home on a 4-track machine, the album’s songs were other-worldly: melodic, atmospheric and unlike anything else at the time. While each of the trio of songwriters had their own style, the three of them blended together perfectly, creating a sound that was uniquely their own.

     In 2012, Shoes have returned from an 18 year hiatus with Ignition, their best album in 30 years. With their pop smarts intact, the long period of inactivity has done nothing to dull their musical charm. Whether you prefer to call them Power Pop or Rock ‘n’ Roll, Shoes have created an album steeped in their own history yet totally modern. In fact, the album is a timeless collection of great songs that will satisfy their legion of fans and even bring in a whole generation of new ones.

     If that wasn’t enough, Real Gone Music has just released 35 Years: The Definitive Shoes Collection 1977-2012, a stunning compilation that features songs from all of their studio albums beginning with Black Vinyl Shoes and taking the listener right up to date with a song from Ignition. When most of their ‘70s and ‘80s contemporaries winded down their careers decades ago, Shoes have continued to create an extraordinary body of work unlike any other.

     While compiling and writing liner notes for the 35 Years… collection, Stephen SPAZ Schnee was able to catch up with Jeff, John and Gary to discuss their career thus far. Here are previously unreleased excerpts from those interviews. You can read the full Shoes story in Real Gone Music’s brand new compilation, available now…

SPAZ: When you first came together, was it your intention to work on your own material, or did you start out playing covers like most bands normally do?

GARY KLEBE: In the big picture, we did envision playing live at some point, but early on, writing songs and making records was by far our primary goal. Eventually, we did play live, and we reluctantly agreed to play some covers. No venue was interested in booking an unknown band that only played original material.

SPAZ: Were you interested in playing live in the early days or did you focus on recording?

JEFF MURPHY: Initially, the band only existed on tape. We started recording tidbits of songs that we wrote to learn how to play and write and record. We always envisioned that we'd eventually learn to play together live, but that didn't happen until after Gary returned from France (where he had been studying). Our first live gig was April 8th, 1976, almost 2 years after we made our first recordings together as Shoes. Skip joined in mid-1976 and by 1977 we were playing out more regularly.

SPAZ: Your early recordings are legendary amongst fans and collectors. Do you remember much about writing and recording Heads Or Tails and One In Versailles?

JOHN MURPHY: Yeah we were still tickled by the fact that, with the help of the Simul-Sync feature on the TEAC 4-track, we could make a group sound by building up individual tracks. It was way crude but these were our first steps. We had to do a lot of punching to get through a take but all we needed was one complete pass. If it was a guitar or a bass, you would just play along with the track and Jeff would hit ‘RECORD’ just before you had made your mistake. For Heads or Tails, Gary and I shared songwriting credit on most of the tunes; Jeff composed the one that he sang. Gary was in Europe during OIV so Jeff and I worked independently; he was at home in Zion and I was away at school in Champaign, IL. Jeff would have his songs ready when I would come home on weekends so I’d add bass or we’d do harmonies. I recorded most of my songs during the week of spring break…we were trying to finish in time to send Gary a cassette.

SPAZ: The band is referred to as a Power Pop band, but how would you classify the band’s music, then and now?

JEFF: The best bands define their own category: Who would you say The Beatles sound like? Or The Stones? Or Fleetwood Mac? Even the term Power Pop was originally used by Pete Townsend to describe The Who, yet today, most people wouldn't consider The Who to be power pop!

SPAZ: Black Vinyl Shoes was the album that really set things in motion. Do you remember much about the recording of the album?

JOHN: Jeff’s house was basically a converted garage so it was pretty cramped quarters…the kitchen had the TEAC tape machine and the Peavey mixing console and Jeff could keep eye contact by the pass-through into the living room that was packed with guitar amps, guitars, drums, mic stands and cords. He had to pre-plan the order of instruments and voices because of the limited number of tracks; some things had to be combined onto one track, in order to maintain audio quality.

SPAZ: What made you sign with Elektra and not continue going the indie route?

JOHN: Well there wasn’t an indie route that we were aware of in the 70s, not like there is today. The goal of every band or artist at that time was to try to hitch their wagon up to a major record company. We had cut a single for Bomp! Records and sublicensed BVS through JEM, which mostly dealt with import records, but we regarded these as steps toward what we considered the Big Time. We also had serious discussions with Sire Records, who were building their roster up with bands like Talking Heads and the Ramones and they had just secured a distribution deal with Warner Bros. But when Elektra approached us, they were very enthusiastic and, frankly, had all the right answers.

SPAZ: Your first major label album, Present Tense, certainly lived up to the songwriting standards of BVS with the extra added bonus of big-time production. At any point during your time on Elektra, did you have any input on which singles would be pulled from the album?

JEFF: We always had input, but we figured they had a better feel for what radio would play and what was getting a response. We could have lobbied for this song or that song, but ultimately, we mostly left it up to the label, in the mistaken belief that they knew what they were doing. In reality, they didn't know anymore than we did and they often put things out and waited for radio to decide what songs to play.

SPAZ: Your next album, Tongue Twister, was much more edgy than your previous output. Was it a more conscious decision to move in that direction... or more of an organic one?

JOHN: Yeah we consciously tried to strip things down. We wanted to keep the background vocals leaner so that it wasn’t so much a giant faceless choir and some of the guitar sounds were kept rawer. In hindsight, some of the tracks have a demo-like, slightly undercooked quality, especially compared to the pop music of 2012.

SPAZ: Boomerang was yet another great collection of edgy pop songs. Were you frustrated by Elektra's inability to break the band beyond your loyal fanbase?

GARY: Yes, we were very frustrated. By this time there was a huge downturn in the music industry. Financially speaking, Elektra and most major labels were in dire straits due to plummeting record sales. Their energy was spent struggling to sell records by previously multi-platinum artists. Breaking non-established artists like Shoes suddenly became a low priority.

SPAZ: After Boomerang, you left Elektra. Were you disillusioned by your experience with a major label?

JEFF: By the time we finished the recording for Boomerang, we could see the label was crumbling. People were getting fired and we were very nervous. Shortly after Boomerang was released, the VP that signed us to the label was fired and we knew our days with them were numbered. But we still saw major labels as the only way to exist professionally, as a recording band. We were certainly disappointed in many of the decisions that Elektra made during our tenure there, but once we finished recording a record, we didn't have much say in the process of promotion of that record.

SPAZ: Skip Meyer left the band at this point. Was it a difficult task to continue without him?

JOHN: Well, the three of us were responsible for coming up with the material and the general direction of the band…the drummer is kind of the moveable piece within our structure. Skip was always a little lost when we hunkered down to record; he’d prefer to play live gigs. But, when he left, we missed Skip as a pal to hang out with. Every drummer we’ve ever worked with has something special to bring to the table and Skip certainly made his contributions.

SPAZ: Although you used them before, the band began to experiment more with keyboards than ever on Silhouette. Did you enjoy the challenge of adding something new to your sound at this point?

GARY: The band was doing a lot of soul searching during that period. Our contract with Elektra was over, and I think the disappointment with our major label experience left us weary and maybe a bit self-doubting in what direction to head. The keyboard injected some welcome energy into the songwriting and recording process. It served as a springboard for getting the ball rolling and providing a new perspective.

SPAZ: There was a lengthy time period between Silhouette and your next album Stolen Wishes. You managed to set up your own label and began releasing your back catalog on CD. How was it that you managed to retain rights to your Elektra recordings?

JEFF: The time lag between Silhouette and Stolen Wishes was a result of us moving and building a new studio. From early 1983 until later that year, we were building our first studio, so we could continue to record after our time with Elektra ended. It took us about a year to build the studio and record Silhouette. We able to secure deals with three European labels in England, France and Germany to release the album in late 1984. By late 1985 we realized that we needed to move our studio, due to a conflict with the new landlord and we spent the first half of 1986 building a new studio in a new location. By 1987, CDs were becoming the new music medium and we asked Elektra to release our back catalog on CD. Our Elektra deal allowed for us to reacquire the rights to our catalog, if they refused to release it. They declined and returned all of our master tapes to us, so we released the original Shoes Best CD on Black Vinyl Records in the fall of 1987. We began releasing more CDs on Black Vinyl Records in 1988 and writing and recording more new songs until we released Stolen Wishes in early 1990.

SPAZ: Stolen Wishes was yet another feather in the band’s cap, resulting in an album that was more focused and mature than ever. Do you remember much about this period of the band’s career? It seemed to be right in between the original New Wave/Power Pop days of the early ‘80s and the Power Pop revival in the ‘90s.

JOHN: By the time we were writing for Stolen Wishes, it had been 4 years since Silhouette came out overseas and 6 years since our last Elektra release. In the meantime we had built another studio, which was bigger and better than our last, and we revived the Black Vinyl label and dipped our toes into the digital waters with the release of Shoes Best on CD. We had new gear and were anxious to use it but soon found we had a fair amount of problems with the software. Also, we had to work around the ever-growing amount of sessions needed to fund the place. Week to week, we were making progress, but it was draining: Jeff engineered session work with other bands during the day and Gary and I both had full-time jobs outside of the studio so most of our recording was done in the evenings and on weekends.

SPAZ: Propeller followed in 1994. The production on the album was more intricate than ever and the album featured some of the band’s greatest songs thus far. Any memories of this period in the band’s evolution?

GARY: From the beginning, we set out to make Propeller an edgier record than its predecessors. The guitars were mixed more to the forefront, the bass was punchier and the drums were recorded with more ambiance. Also, we had upgraded from a 16 track to a 24 track analog tape machine which resulted in better fidelity. In general, the songs had a heavier, darker mood and lyrical content… possibly, a reflection of the times.

SPAZ: 2012’s Ignition is one of the best albums of your career (and certainly the best since Boomerang). What inspired the band to go back into the studio and make a new Shoes record?

JOHN: We had been strolling down Memory Lane for at least a year as Mary Donnelly was gathering material for her book, Boys Don’t Lie. With those remembrances fresh in our minds, Gary, in the meantime, had carved a space out of a section of his basement and installed recording gear that he had acquired over the years. He unveiled the new studio to us in the fall of 2010. Even though Jeff had his home studio for a few years, this was a step up, as far as the quality of the gear goes. We didn’t know we’d get a full album out of it, but we began with a couple of songs and quickly booked time with our drummer, John Richardson, so that we could begin doing final versions of the songs. Every few months, we’d have him come down—he lives 5 hours north of us—so we’d have a handful of new tunes for him to drum on. In the meantime, we kept writing and building up the tracks that were already recorded.

SPAZ: How much input do you have on each other’s songs either in the writing or recording phase… and are you open to receiving creative suggestions from the other guys?

JOHN: Oh yeah we’re all open to suggestions/input from the others. It sometimes depends on how much the writer had initially done. Ideally, we’d all like to be a part of every tune, but it doesn’t always work out that way. Gary has pointed out to me that the more parts I want to play, in addition to the bass, it gets harder to fit in other ideas. But I think that holds true for all of us.

JEFF: While one writer steers the ship on their respective songs, we each toss out ideas and suggestions as we go. Sometimes, major changes happen (as in Ignition’s “Out Of Round”) and sometimes, it stays truer to the writer's original idea. But we all certainly have the opportunity to contribute. Even if we don't change the structure or make chord changes, etc. we all work together on the backing vocal parts, which are typically concocted in the studio, on the spot. We are all completely open to receiving creative suggestions at any point from demoing to mixing and all points in between.

SPAZ: The music industry was a different beast back when BVS was released. Although it’s been 35 years, do you feel that you are facing just as many challenges today as an indie band as you did then?

GARY: The challenges are quite different. The record industry has been decimated by the digital age. On one hand, few people are crying about the decline of major labels, who for decades took advantage of recording artists. On the other hand, independent labels and recording artists have also suffered. Today, I think it’s even harder for artists to making a living when so many listeners think that music should be free. Hopefully, some new platform will emerge that will offer music at affordable prices while fairly compensating artists for their work.

Thanks to Jeff Murphy, Gary Klebe and John Murphy

Special thanks to Gordon Anderson, Gabby Castellana and Linda Lester

IGNITION

Available NOW

35 YEARS: THE DEFINITIVE

SHOES COLLECTION 1977-2012

Available NOW

An EXCLUSIVE Interview with SETH SWIRSKY

THINGS WE SAID TODAY:

An EXCLUSIVE Interviewwith SETH SWIRSKY

By Stephen SPAZ Schnee

     The Beatleschanged the course of music history. There is no doubt about that.  From their humble beginnings in Liverpool to their massive success between 1963 and 1970, The Beatles became the most influential quartet of musicians in the world.  Though some may disagree, The Beatles have even eclipsed Elvis in terms of popularity over the years.  Elvis may have kick started Rock ‘n’ Roll, but he managed to lose the plot when he churned out loads of b-movies in the ‘60s.  The Beatles never had the opportunity to overstay their welcome.  They came, wrote some of the most amazing tunes ever, changed the world and then broke up. 

     The Beatles’ story is known by anyone with a passing interest in music.  There are hundreds (if not thousands) of books written about the Fab Four.  Their songs are played 24 hours a day somewhere in the world.  Beatles fans have taken it upon themselves to set up websites totally devoted to John, Paul George and Ringo, either together or apart.  It seems, at times, that you can’t escape their influence, whether it’s musically or in pop culture.  The Beatles are everywhere.  But have we really heard all we need to know about The Beatles?  Judging by the new documentary, Beatles Stories, there is plenty more to tell.

     Singer, songwriter and artist Seth Swirsky began piecing Beatles Stories together, almost by accident, in 2004.  Beginning with an emotional off the cuff story by a Liverpudlian tour guide, Swirsky slowly put together this rather compelling and enormously entertaining documentary, which features interviews with fellow musicians and unlikely celebrities who have had encounters with at least one of the four members of The Beatles.  With stories from a wide variety of artists, this is an extremely enjoyable documentary that delivers great story after great story. 

     From producer Jack Douglas’ hilarious tale of recording Double Fantasy with John Lennon to Henry ‘The Fonz’ Winkler’s encounter with Paul McCartney on the streets of New York, Beatles Stories is a truly unforgettable experience that will leave viewers wanting more (thankfully, there’s extra interviews included in the DVD’s bonus features).  Throw in great stories from Brian Wilson, Sir Ben Kingsley, Art Garfunkel, Susanna Hoffs, Davy Jones, Jackie De Shannon, Bob Eubanks (yes, Bob Eubanks!), Graham Nash, Peter Noone, Justin Hayward, Denny Laine and many others and you’ve got yourself a documentary that shows the human side of The Beatles that tends to be overlooked elsewhere.

     Stephen SPAZ Schnee was able to catch up with Seth Swirsky, who can now add ‘successful film maker’ to his resume, and they chatted about all things Beatles Stories…

SPAZ:  Beatles Stories is just about ready to drop.  How are you feeling about the release and the reaction you’ve received so far?

SETH SWIRSKY:  I am so pleased.  I do projects that really tap into my passion: I give them all I have and I pay for them myself.  I had no profit/loss statement on this if you know what I mean (laughs).  My biggest goal is…. I just love The Beatles so much and I wanted to share these stories. For me, it was, “How do I express that feeling?”  Well, I’m a songwriter and I’ve written many hit songs. I’ve written albums myself. I’ve won many awards… all those different kinds of things. That expresses what I learned about songwriting being a very young child in the ‘60s and the ‘70s.  But that didn’t quite express my love of The Beatles, which is very, very deep. So, I started filming these things and putting it together and it was such a joy to do.  I would show little bits to friends and I thought that I’ve got to put it together in a way where it’s not 4 hours long and you’re not looking at your watch. You’ve got to edit it in a certain way.  It was the editing that really took a lot of the time. You want it to have a certain flow. The whole first half of the movie is The Beatles of the ‘60s. I had to do a slow progression all the way up.  It’s not literally year by year.  It’s era by era.

SPAZ:  Hearing people tell Beatles-related stories throughout the years obviously inspired the film, but can you pinpoint the exact conversation and moment when you decided that this movie had to be made?

SETH:  That’s a great question.  Usually, what I do with any of my work, it’s like having a big slab of clay that you put down and you know you want your hands on that clay but you don’t know where it’s going.  Then, all of a sudden, it starts appearing. You want to do a clay figure of a woman and you don’t know exactly what it’s going to look like but then it starts to appear…and that’s when you know the moment.  I was asked to play at the Cavern Club in Liverpool for my first solo album.  And I was like, “Oh my God, are you kidding me?  Play the Cavern Club?  The Beatles? Unbelievable!”  I flew over there. I had my guitar and I had a handheld camera. I wasn’t planning on making a movie. I had a break before I went on and I took that Magical Mystery Tour Bus where they show you John Lennon’s house growing up, George Harrison’s house, the Strawberry Fields gate and all that stuff.  The tour guide, Eddie Porter, he showed us the Strawberry Fields gate and I just said, “Hey, Eddie, can I just film you over here. Can you just tell me a side story?” And I’m filming just for myself and he tells that story of Sean and Yoko with the picture and he said, “I almost cried my eyes out,” and I thought that was so poignant.  So, I go back to L.A. and I get online and I somehow stumbled upon May Pang’s website and I wrote her through the contact page.  I didn’t think I’d hear back from her. She writes me back and says that she’ll be in L.A. and I asked if I could bring my video camera.  She says sure and then she shows me around the apartment where she and John lived when they landed in L.A.  So, now, I’m thinking I’ve got two of these things. And then a friend mentioned to me that he knew Peter Noone.  You’re actually inviting people to a party.  You’re not inviting Sir Ben Kingsley and Brian Wilson first because they’ll never come to your party.  Graham Nash is not going to be the first at your party. So, you’re building a mountain.  I had these three people and when I had those three, I asked Denny Laine and he said yes.  And then Justin Hayward said yes. So then it dawned on me: these stories, if I can cut them down to a minute and a half each, telling the stories with the photographs and try to reconstruct the story, then what is it really?  It’s Beatles Stories. And I thought that’s nice and simple and tidy and it tells the story of what I’m doing. Done!

SPAZ:  You’ve got a wide variety of celebrities involved, from actors and comedians to athletes and musicians.  Was it difficult to get them involved with the project?

SETH: My whole philosophy when I’m doing something artistic is: yes.  Just the word ‘yes’.  Why not?  They are people, too? Let’s talk about Art Garfunkel for instance.  I really wanted Art Garfunkel because I had heard about his story, I had read about it.  You don’t hear it very often.  I started thinking, “How am I going to get to Art Garfunkel?”  I already know that to go through his PR people, they’re never going to get it to him because it’s not money-making.  And I’m not saying anything about Art Garfunkel.  I’m just saying that he is presented projects over the years, so many of them.  So, I always try to go a different route and I try to be creative about it.  I’ve produced records, so I went to the back of the album covers that I’ve made and I thought to myself, “These guys are very good musicians.  I wonder if any of them have played with Art?” And wouldn’t you know there was one overlap: a guy who played guitar on records I produced and he had also played with Art.  So, I wrote him a long e-mail: “Hey, I haven’t seen you in a long time. What’s going on?” Then I made sure I described the project.  In three paragraphs, I described the exact project and what I had done before. I made sure that I described the project as if I was speaking to Art.  I said, “If you like this idea and can get it to Art, fantastic.”  He loved it. He e-mailed me back and said, “Yeah, I know Art.  I’ve played on his records. Can I just forward it to him?” I’m telling you, that night, I go to my answering machine.  I clicked it on and he goes, “Hey, Seth. Art Garfunkel here. Yeah, I’m in.  I love the project. That sounds amazing.  Next time you’re in New York, look me up,” and then he gives me his address. Then, I called him immediately, and he says “I read what you wrote and I’m totally in.  Next time you’re in New York….”  And I said, “Hey, I’m going to be in New York tomorrow!” Do you think I was really going to be in New York ‘tomorrow’? No.  But when somebody says ‘yes’ to you, get on a plane!  Find a way because they aren’t going to remember this conversation in 6 months.  You’ve got to lock it down. That’s how they happened.

SPAZ:  How long, from beginning to end, did it take to put the project together?

SETH: It started with Eddie Porter, the Magical Mystery Tour guide.  I filmed him in October, 2004. I didn’t know I had a movie until the next year as I continued with Justin Hayward, May Pang and Denny Laine... I knew I had a movie around the middle of 2005.  I stopped shooting around 2009, 2010.  2010 was really about finishing the editing and then getting it into film festivals. There were a lot of film festivals in 2011: it played in Paris, it played in London…  And it’s coming out now in 2012.  So, it’s been eight years from since I filmed the first person until now. 

SPAZ: Was there a lot of research involved with the project?  I don’t think anyone would link Sir Ben Kingsley with the Beatles, but there’s a very logical connection there…

SETH: You know, the word ‘research’ sounds like you’re going to the library and you’re writing a 15 page paper.  Those are days I think most of us want to forget, right? (laughs) But for me, I do like doing research when it’s something that is so totally enjoyable. I go to look up certain Beatles stores to get different ideas.  I think, “I wonder, when The Beatles first came to the United States, if there was a 16 year old girl that screamed her head off and loved The Beatles so much… one that would really stand out.”  That started me thinking about somebody who ended up being Lucy Baines Johnson, the daughter of the President Of The United States! They lived in the White House, she’s 16 years old and The Beatles come over and wouldn’t you know, she tells me this story about wanting to invite The Beatles to the White House!

SPAZ: Jim Irsay, the owner of the Indianapolis Colts owns one of George Harrison’s guitars.  Wasn’t this the same one George gave to Badfinger member Pete Ham?

SETH: Yes. It was originally given to Pete Ham.  George was always giving guitars away.  He kept a lot himself, but he was always giving things away to people.

SPAZ: Do you have any personal Beatles stories yourself?

SETH:  I was at my gym in late 2009.  I’m on the treadmill and guess who is right next to me? Paul McCartney!  And Paul gives me a look as if to say, “OK, you’ve got a Beatle haircut.  I can see you’re a Beatle person.  I am going go give you 1/10^thof a second to ask a question. Go ahead, I’m waiting.” So, I turn around and said, “Sir Paul, I’m doing this movie, Beatles Stories, and I interviewed Norman Smith (Beatles engineer up to 1965),” and I hit the jackpot.  He goes, “Norman Smith? You interviewed Norman Smith?” I said, “Yes, I did.” And he said, “Ah, we loved him. When we all were young lads…,” and I’m thinking he keeps saying ‘we’… he’s talking about The Beatles. Paul McCartney is talking about The Beatles to Seth Swirsky! I mean, come on! We’re talking and a crowd is starting to gather around us and he’s telling Beatles stories and talking about Norman.  Then he takes my hand and says, “You gave me a great gift today. By reminding me about Norman, you’ve given me a great gift.” I just got an e-mail from Nancy Shevell (Paul’s wife) telling me that she and Paul watched the film. She said, “My husband and I loved the movie”. The fact that he loved it is amazing to me.

SPAZ: What’s next for Seth Swirsky?

SETH: Well, I’ve been painting a lot.  I’d like to maybe do a show of my paintings.  That’s going to be in the near future.  I’m also getting my masters in clinical psychotherapy. And I’m making a brand new record that’s coming out next year.

SPAZ: What’s currently spinning on your CD, DVD or record players?

SETH: I have a mix of things.  On my current playlist in my car, I’ve got “Pumped Up Kicks” (Foster The People), “You Never Give Me Your Money” (The Beatles), “Black Or White” (Michael Jackson), “Empire State Of Mind” (Alicia Keys), “Sowing The Seeds Of Love” (Tears For Fears), “No One’s Gonna Love You” (Band Of Horses), “The Game Of Love” (Santana with Michelle Branch), “True Faith” (New Order), “Dreams Of Leaving” (The Clientele), “Marlena” by Frankie Valli & The Four Seasons, “I Saw Her Again” (The Mamas & The Papas) and then a new song that I’m writing for my next record so I can hear it in a mix.

Thanks to Seth Swirsky

Special thanks to Mike Schnee and Rick Reiger

BEATLES STORIES

10.2.12

An EXCLUSIVE Interview with DRAGONETTE!

Our Work Is Done:

An EXCLUSIVE interview with DRAGONETTE’s Martina Sorbara

     While Electro Pop may have dominated the U.S. charts in the early to mid ‘80s, it has been decades since a new band has come along and made an impact on American radio…or any other music platform for that matter. Sure, there have been plenty of Electronic artists who have left their mark in the states including Moby, Skrillex, David Guetta and deadmau5, but nothing Pop-oriented enough to appeal to the greater masses. That may change with the September 25th arrival of Bodyparts, the third album from Canadian trio Dragonette.

     Bodyparts is an album so strong that practically every track could be a hit single. The band has released two bona-fide hits from the album already (“Let It Go” and “Live In This City”), but, to be honest, this is a full-length packed with virtual wall-to-wall smashes… and when was the last time that happened? With infectious melodies, playful arrangements and driving beats, this is an album that will be adored by fans of ‘80s Synthpop as well as those who prefer a more modern take on Electronica.

     Dragonette was formed in Canada by vocalist/songwriter Martina Sorbara, producer Dan Kurtz and drummer Joel Stouffer. From the very beginning, Dragonette mixed soaring Pop melodies with an assortment of real and Electronic sounds and topped it with Martina’s confident vocals, creating a unique sound that was commercial yet filled with attitude and undeniable charm. With two hit albums behind them (2007’s Galore and Fixin’ To Thrill from ’09), the trio went from strength to strength.

     Aside from their own releases, they found themselves collaborating with an assortment of DJs from all over the world. Luckily, Dragonette hit paydirt with French DJ Martin Solveig when they finally broke through American airwaves in 2010 with their collaborative track “Hello”. While Bodyparts may be a tad bit less Techno-heavy than “Hello”, it still manages to be as joyfully dancefloor friendly as that hit. From the opening track, ‘Run Run Run” to the mid-tempo closer “Ghost”, Bodyparts is a feast for the ears and a call to arms for the feet.
     Stephen SPAZ Schnee was able to catch up with Martina Sorbara and discuss the album and all things Dragonette…

SPAZ: The album Bodyparts is just about to drop. How are you feeling about the album and the reaction you’ve been receiving so far?

MARTINA SORBARA: We love this record…. in fact, Dan thinks it's the best one we've made so far. Our neighbors (who have listened to it a fair amount through our common wall) also really like it.

SPAZ: The album sounds like it’s filled with wall to wall hits. Was this collection of tracks conceived as an album or did you approach each song individually and then create an album from there?

MARTINA: Ha… IF ONLY we could conceive of a whole album in advance! It would probably save us a year of messing around; trying to figure out what kind of songs we're going to end up writing. Every time we've started writing "our next album," we've always felt like we're clutching at straws, clinging to any tiny idea that might turn into a song. We do that about 6 or 7 times in a row until we realize that we have some kind of sound starting to form, and then we relax a little bit into that sound and take some chances. This album ended up feeling like more of a daytime-sounding record vs. a darker, more clubby vibe.

SPAZ: Bodyparts was recorded in three different parts of the world. Did you manage to find different types of inspiration while you spent time in London, Rio De Janeiro and Ontario? Do you find that different environments stimulate your creativity?

MARTINA: The main reason for us writing in all these places is because of where we were touring or living at the time. The one exception is Rio, where Dan's dad lives, and where we wanted to go for longer than just a couple of days. Going there to write was a great excuse to spend some time there. We wrote two songs in an apartment looking out over the water, neither of which sound anything like what you'd expect to come out of being exposed to Rio's sunshine and people.

SPAZ: Some may refer to the band as ‘80s revivalists, but I hear so many more influences including Glam, Rock ‘n’ Roll, Power Pop and modern Electro-Dance. Does it frustrate you to be lumped into one category when you clearly have a lot of other influences?

MARTINA: We never fault people for trying to come up with the most reductive way of defining our music… it happens all the time, and it happens to every band. Probably every band feels that their music is broader than just one genre, but then again, probably every band is happy to spend 5 minutes describing their sound to anyone who will listen. In an effort to keep it short and simple, I'll just say that I agree with all the influences you hear in our music!

SPAZ: How did the recording of Bodyparts compare to your work on the previous two albums? Do you still find yourselves pushing the envelope a little more each time when you are in the studio?

MARTINA: We did very little "in studio" recording for this record…..to begin with, we recorded no live drums, which was a new thing for us. We also kept a lot of the original, poorly-recorded demo vocals because we thought the vibe was better than in any subsequent re-record. We didn't consciously try to push any envelopes, but when we listen to this album vs. our previous records, we can hear that we're still getting better at making records.

SPAZ: What is the normal songwriting process for Dragonette? Do the songs end up going in different directions than you initially envisioned?

MARTINA: They almost always end up sounding different that how they first start out. The process is almost always a "just make it as good as we can" approach, which generally means over-polishing it and then stepping back to the stage just before the vibes started giving way to "perfection".

SPAZ: The album already has spawned two ‘singles’ with “Let It Go” and “Live In This City” and you haven’t even touched what could be the most obvious choice for a single, “Run Run Run”. How do you go about choosing singles from the album? Or do you leave that in other people’s hands?

MARTINA: Luckily we get to have a hand in these decisions, since WE are still the record company in most countries. Our manager/svengali Neil sees all these sorts of things in a Big Picture kind of way, so we generally let him lead the way, and we willingly follow. We thought to keep "Run Run Run" back a bit since it will be a nice change of pace after the more banging "Let it Go" and "Live in this City."

SPAZ: Did you have a lot of material recorded for this album that ended up NOT being used, or did you just focus on this set of songs while you were creating the album?

MARTINA: For the first time ever we have not only a couple of B-sides, but even a couple of songs that are written but not yet fully produced. We're hoping to keep writing through all of the touring we expect to be doing, if only just so when we start on album #4 we won't be starting from Zero.

SPAZ: For being in close proximity to the U.S., Canada sure seems to have a vibrant music scene that unfortunately doesn’t always get caught by our radars. Do you think you had an advantage to musically grow on your own terms and on your own turf before taking Dragonette global?

MARTINA: We actually left Canada for the UK a few years ago, in part because we felt at the time we were making music that had little to no relevance to the Canadian music scene. That has now changed, but for the first few years, it would have been hard to grow just within Canada's borders. We were really lucky to get a really global experience over these past few years, while at the same time beginning to grow our band in Canada as radio moved towards playing pop and dance.

SPAZ: How did you hook up with DJ Martin Solveig? Your collaboration, “Hello”, has become a pretty big deal all round the world? Did you imagine that it would be as popular as it has become?

MARTINA: We met on an airport shuttle bus in Australia, and Martin took our email address. He wrote a little while later to ask about collaborating on the first track we did together ("Boys and Girls"), and it worked out well enough that we did it again with "Hello", and a couple of other songs for Martin's album "Smash". None of us had any idea how big that song was going to become.

SPAZ: What’s next for Dragonette?

MARTINA: Touring. Touring. Touring.

SPAZ: What do you currently have spinning on your CD, DVD and/or record player?

MARTINA: Santigold. Lucinda Williams.

Thanks to Martina Sorbara

Special thanks to Mike Logan and John Allen

     

 

DRAGONETTE

 

BODYPARTS

 

9.25.12

An EXCLUSIVE Interview with RODRIGUEZ!

Only Good For Conversation:

An EXCLUSIVE Interview with

RODGRIGUEZ!

By Stephen SPAZ Schnee

     If patience is a virtue, then Sixto Diaz Rodriguez should be applying for sainthood right about now. Over four decades since the release of his 1970 debut album, Cold Fact, Rodriguez (professionally known by his last name only) is more popular than he has been at any point in his career. Not only has Cold Fact and it’s 1971 follow-up, Coming From Reality, been lovingly reissued by Light In The Attic Records, there’s even an award-winning documentary, Searching For Sugar Man, that is currently making the rounds and bringing audiences to their feet. But it wasn’t always that way…

     Rodriguez was discovered in the late ‘60s while playing a gig in Detroit. A 1967 single appeared on the Impact label, but it would take another three years for an album to appear. Cold Fact was an album that mixed social awareness, politics, Folk Music and Psychedelia, sounding not unlike a mixture of Donovan and Dylan during their heyday. Unfortunately, the album didn’t fare well in the states commercially. He went back into the studio and recorded his second album, which met the same fate as his debut. After the failure of both albums, Rodriguez’s musical career seemed to be over. Or was it…

     Cold Fact was released in South Africa in 1971 and was a huge hit. The album ended up going platinum. In Australia, the album met with even bigger success, selling 5X platinum! Oddly enough, Rodriguez was completely unaware of his enormous popularity in those countries. It wasn’t until decades later that he realized that his music had a profound effect on so many people in these countries.

     But in South Africa, even though Rodriguez was one of the most popular cult artists around, his fans knew nothing about him. Rumors began circulating that he had committed suicide on stage during one of his performances. From a self-inflicted gunshot wound to lighting himself on fire, the rumors grew more elaborate as time moved on. They myth and the mystery that surrounded Rodriguez fueled his popularity even more.

     In the ‘90s, a South African fan, Stephen ‘Sugar’ Segerman, began a search for any information on Rodriguez. Journalist Craig Bartholomew-Strydom became involved, as did Alec McCrindle, who helped Segerman set up a website in 1997. Budding Swedish filmmaker Malik Bendjelloul became intrigued and decided to document the search for the enigmatic singer/songwriter. What they all discovered changed the lives of everyone involved…

     The award-winning documentary Searching For Sugar Man details the Malik’s search for the truth in regards to the artist and his supposed suicide. Thankfully, Rodriguez was alive and well and was about to finally receive the accolades he so richly deserved. With rave reviews, awards galore and a buzz across the internet louder than feedback at a Motorhead concert, Searching For Sugar Man is not only an artistic triumph, it is also a successful one.

     Stephen SPAZ Schnee was able to catch up with Rodriguez, and discuss the film, his musical career and his belated (and well-deserved) success…

SPAZ: It’s been over 40 years since the release of your debut album. Light In The Attic has reissued your two albums to great acclaim and now, there’s a well received documentary that focuses on your career. How are you feeling about the film right now?

RODRIGUEZ: Malik Bendjelloul, the film-maker, it’s his first film. It was chosen out of like 4000 entries at the Sundance festival. It’s a masterpiece. He does narration, he does animation in this film and, in regards to South Africa, he brings up issues of Apartheid… It’s certainly a creative thing he’s done. He’s been working on it for five years now. At Sundance, he got the Audience Award for Documentary and the Special Jury Prize. It got standing ovations at six screenings! Like I said, it was his first film. Malik and Camilla (Skagerstrom, cinematographer) were the ones that did it. They had worked on it awhile before I even got involved. He did great. He is deserving of all the accolades.

SPAZ: Is it kind of surreal for you to be the subject of this critically adored film?

RODRIGUEZ: The climax of the film takes place in ’98. We’ve been touring since then and I’ve had a lot of experiences since that time. But this film thing… it’s a different medium. It’s the meeting of film and music. The film is distributed by Sony Pictures Classics and they are really behind it. We got picked up, which is another thing: Malik didn’t know that was going to happen, which is quite something for him. And since I’m the subject of it (laughs), I’m a lucky guy. I’m really fortunate that it’s happened at this pace. I really appreciate it.

SPAZ: Both Cold Facts and Coming From Reality are highly unique albums that have remained timeless, both musically and lyrically. What were your influences when making the albums, both musically and otherwise?

RODRIGUEZ: The guitar is essential in music ensemble. The guitar itself has changed. You can do more with it now. I follow that instrument. So, whoever is doing anything on guitar… the Blues guys. And I mean I listen to the ‘40s, the ‘50s, the ‘60s, the ‘70s, the ‘80s, the ‘90s, the ‘00s, the ‘10s (laughs). I take in any kind of musical influence. We all have that capacity, we all listen a lot. And in Detroit, we hear a lot of stations. It’s like urban influences as opposed to rural influences. Classical and Jazz are kind of the same because there’s more instrumentation. But I follow more vocal and guitar, songwriters…. That vein of popular music. I listen to a lot of stuff… just like everyone. Just following the guitar, the chord changes of The Beatles, the different vocal expressions of Dylan… Each decade has had its own showpieces.

SPAZ: Your lyrics are most often personal and political, addressing issues that are still relevant. Are you pleased that your songs still resonate with listeners today? That’s quite an accomplishment…

RODRIGUEZ: The issues of the late ‘60s and ‘70s, if you look at those placards at demonstrations, they are pretty much the same kind of stuff. They are saying ‘Jobs! Jobs! Jobs!’, you know, they want work… the same kind of social issues. Now, we’ve become more aware through the internet and through (smart) phones. These issues haven’t gone away. I think that tazers are another word for cattle prods. It’s kind of punishment before the crime, you know? I think that they could use better judgment and that it can be fixed. I describe myself as a ‘politico musico’. I do the music and I love that, but, really, there are other issues that haunt us as well. In the same way, through technology, I have become a better known musician, and who would have thought, you know? Another part of it is that it opens up another area of music. I think most commercials have music in the background. Music is everywhere now.

SPAZ: Musically, you have been called Folk, Psychedelic, World Music, pop and Rock. Listening back, how do you feel about your two albums today?

RODRIGUEZ: I had great production. Steve Rowland (producer of Coming From Reality), he used full violin section, cellos, violas… He used a lot of different approaches to the material. The quality has had longevity and it has proven itself.

SPAZ: “Sugar Man” is your most well-known song. Can you tell us a little about the song’s origins?

RODRIGUEZ: “Sugar Man” is almost like a prayer, you know? That’s all that that is. It’s a tune with words. I describe ‘Sugar Man” as a descriptive song, not a prescriptive song. When I play to an audience, I can explain things. It makes it much easier if someone has a question. I’m accessible to my audience when I’m out on stage. When they call out and talk to me, I talk back to them. (laughs) It’s a great time because it’s live performance. Any questions, I try to clear up.

SPAZ: While your albums are musically focused, there’s also an adventurous feel to the recordings. Did the sessions end up the way you envisioned it, or did you have to make compromises along the way?

RODRIGUEZ: I think that’s down to the producer. I’m the musician and vocalist. They say we should add this or that. When we play up there live, it changes.

SPAZ: How do you feel about the internet and the effect it has had on you and your music?

RODRIGUEZ: It’s a global thing now. You don’t have to worry about the domestic market as much. I’ve been down to Australia four times, South Africa four times, Wales, London… To be a successful Rock ‘n’ Roll musician, you need to be able to handle disappointment, rejection, criticism…. If you get that break, you better ride it out. I’m lucky. I’ve had resurgence through Light In The Attic and now through this film.

SPAZ: Apart from your two initial albums, there was a live release as well. Before Light In The Attic’s official reissues, there were other titles by you on the market…

RODRIGUEZ: There are other things, but some of them I wasn’t conscience of. I really don’t know much about those.

SPAZ: So, there’s no unreleased third album? There have been rumors…

RODRIGUEZ: No, and I think that should be clarified. I think people should know that. I am currently working on new stuff, but there’s no third album.

SPAZ: What’s next for Rodriguez?

RODRIGUEZ: We’re going to have movie more screenings and we’ll be tagging along with the film.

SPAZ: What are you listening to these days?

RODRIGUEZ: I listen to NPR a lot. And we’ve got some great stations in Detroit.

Thanks to Sixto Diaz Rodriguez

Special thanks to Josh at Light In The Attic

COLD FACT

COMING FROM REALITY

SPAZ reviews SPEAR OF DESTINY's new 2CD Singles Collection!

SPEAR OF DESTINY

THE SINGLES: 1983-88 (2CD)

Available NOW!

     "While he hasn't quite achieved the fame and fortune of his contemporaries, British post-punk icon Kirk Brandon has remained one of the genre's most beloved artists. From his late-‘70s recordings with the Pack to his groundbreaking work with Theatre of Hate between 1980 and 1983, Brandon's unique musical vision gained him an enormous amount of respect from critics and adulation from fans. When he suddenly split up TOH in 1983 and formed Spear of Destiny, it came as a complete shock to those who had followed them from their early singles to their album Do You Believe in the Westworld (produced by the Clash's Mick Jones). But Brandon's musical vision had changed and he needed a new vehicle in order to showcase the next musical step in his career. While not entirely dissimilar to TOH, Spear of Destiny allowed Brandon to both expand and streamline his sound. While not exactly the most commercial of bands during their most successful period in the mid- to late ‘80s, SOD were one of the most unique bands of the era.

     While SOD may not technically be a punk band, or even a post-punk band for that matter, Brandon was still a punk at heart and didn't bother ironing out the rough spots for the sake of commercial consumption. On the other hand, his music was much more accessible than TOH's, introducing him to a larger audience. Although many of his punk fans followed this new venture, many of Spear of Destiny's new fans were either unaware or uninterested in what had come before, which gave Brandon's unique vision a new lease on life.

     The Singles: 1983-1988 is the best SOD collection on the market, and is a must-have for fans and newcomers alike. Disc One focuses on the single versions of every A-side they released during this period, from their Gaelic-tinted debut single "Flying Scotsman" to the slickly produced "Radio Radio" five years later with the addition of a dub version of "Liberator." Covering both their Burning Rome (Sony) and Ten Records (Virgin) output, this is the most complete overview of their singles so far. Some of the recordings sound dated (as ‘80s releases usually do) and slightly over-produced, but the passion behind them is undeniable. "The Wheel," "Come Back," and "Never Take Me Alive" are standouts, but there are no duds here

     If that wasn't enough, Disc Two offers up 12" remixes of most of the tracks on Disc One (including an excellent dub mix of "Come Back," which brings its reggae vibe to the fore) plus an extended mix of "Land of Shame" (from the Outland album). Though some may not have considered SOD a band worthy of many 12" mixes, this second disc is a true revelation.

     Some 30 years after SOD first stepped on-stage, it is a total mystery as to why they are not as fondly remembered as they should be. Perhaps it is because of their ever-changing lineup? Maybe some folks don't care for Kirk Brandon's emotional howling on some of the tracks? Whatever the reason, it's never too late to give them the credit they deserve!"-Stephen SPAZ Schnee/ALL MUSIC GUIDE



An EXCLUSIVE Interview with SEBASTIAN from FAMILY OF THE YEAR!

All In The Family:

An EXCLUSIVE Interview with

FAMILY OF THE YEAR’s

SEBASTIAN KEEFE

 

By Stephen SPAZ Schnee

     While Family Of The Year were officially formed in 2009, the band’s origins began more than a decade before when brothers Joe and Sebastian Keefe formed Unbusted in their hometown of Boston back in 1997. While the band achieved a moderate level of success (including three songs used in the Farrelly Brothers’ 2003 film Stuck On You), the Keefe brothers decided to head out west to Los Angeles in hopes of expanding their horizons. In the course of chasing their dream, Unbusted dissolved and splintered into several different projects.

     By 2009, Joe Keefe had already traded in his electric guitar for an acoustic and had mastered the art of intimate songwriting: pure and honest without being pretentious. Armed with a bunch of home recordings, Joe formed a band around the name Family Of The Year, recruiting Sebastian and longtime bandmate James Buckey. While other musicians have come and gone, the Keefe brothers and Buckey have remained the core of the band ever since. Keyboardist/vocalist Christina Schroeter soon joined, adding even more depth to their expanding sound

     With public support from artists like Ben Folds and Steven Tyler (who described them as “The Mamas & The Papas on acid”), FOTY have managed to build their career from the ground up, releasing their debut album, Songbook, and EPs on their own label. While they enjoyed keeping everything at a grass roots level, they eventually decided that creating music and running a business did not go hand in hand. Eventually, FOTY inked a deal with Nettwerk and begin recording their second album with producer Wally Gagel.

     Due for release on July 10th, Family Of The Year’s sophomore full length, Loma Vista, is one hell of an album. The melodies soar and swoop, surrounded by angelic harmonies, creative arrangements and a sense of excitement that is rarely found on albums these days. No matter whether the song is joyful or introspective, you get a sense that the band is enjoying the experience of sharing their songs with the listener. It’s as if the band is inviting the listener in as opposed to smacking them across the face and demanding their attention. Songs like “Hero”, “The Stairs”, “St. Croix”, and “Diversity” and ‘Everytime” are instant gems, but there are no missteps on Loma Vista. It’s acoustic, electric, eclectic and eccentric. It’s upbeat, sad, warm and embracing. It is a timeless piece of art that will sound just as fresh and exciting years from now.

     Stephen SPAZ Schnee caught up with drummer Sebastian Keefe, who was kind enough to discuss the band’s past, present and future…

SPAZ: Your album, Loma Vista, is just about to hit the streets. How are you feeling about the album and everything leading up to this point?

SEBASTIAN KEEFE: We are super excited to get this record out. It’s been a couple years since we released a full length and the band has gone through many different evolutions since we released our first record. We’ve done quite a lot of traveling and experienced a lot. We’ve all been through a lot of personal and musical changes. We really want to get this new record out because it’s more in step with where we are now!

SPAZ: You and your brother, Joe, are originally from Boston. What inspired the move to L.A.?

SEBASTIAN: To pursue a career in music, really. That was it. We were playing with another band then. It had been high school band that had tried to make it. That project had come to an end, more or less, in Boston so we decided to move out to L.A. with that project to pursue it further about five years ago. We quickly morphed into a few different projects. About three years ago, we started Family Of The Year. It was James, he was in that first band that moved from Boston, my brother and myself. We had a couple of other musicians but the three of us have been together a long time now.

SPAZ: You’ve gone the indie route in the past, producing and releasing your recordings yourselves. What made you decide to go with Nettwerk for Loma Vista?

SEBASTIAN: Well, it’s a lot of work! (laughs) It can be very rewarding to be doing it all yourself but I think you end up with too much on your plate and you can start to focus on the wrong thing. If you are acting as your own record label, your own distribution, your own everything… you kind of start thinking like that. We started thinking and feeling that we were really busy with the wrong things. There was a moment for me when I realized that I was spending an overwhelmingly large amount of time talking about music and writing e-mails and all that jazz as opposed to playing music. So, we kind of got sick of it. We still own our imprint and have releases on our label and haven’t signed those over to other labels. But we really wanted other people to help and we really wanted to expand. As much fun as it is to say that you did something entirely on your own, it’s very difficult. We felt that we wanted to have some other people on board to help us and Nettwerk has just been amazing. I don’t think that we’d be as happy if we had signed with a different label. It’s such a good company and they support us. They are very cool.

SPAZ: How did it go working with a producer (Wally Gagel) this time around? Was that different?

SEBASTIAN: It was different. We had a bunch of songs that we had spent 18 months writing and we did a lot of pre-production with him. We were actually in a real studio and had to block studio time, as opposed to throwing together recordings and then mastering them. It was a much more condensed process. I must say that Wally is a good friend of ours who we worked with in the past on a different project of ours (The Billionaires) and he had mixed and did some production on that. We knew him from that and he wanted to get involved with FOTY. He was a big part of this record coming out the way it did. If it wasn’t for him, it probably would have been another bedroom recordings album, which is fine, but not as good, basically.

SPAZ: The songs on Loma Vista, much like your previous releases, are very earthy and warm yet anthemic and joyful. How does the songwriting process work in the band?

SEBASTIAN: Its kind of like you describe it to be honest. We might be feeling very earthy or very grounded or something. Or maybe we’ll be feeling retrospective, nostalgic or maybe down and out. Or even joyful and gleeful. We are very honest with our feelings when we’re writing the songs. We’ll write together and come up with an idea. The majority of the song will be done in one night. Typically, Joe will lead the charge on melodies and chord changes. What was exciting about this record is that we all contributed lyrically quite a bit. The last album was mainly Joe, but the biggest difference on this album was that we all contributed to the songs either fully written or as a group, sitting around in a circle, literally, at our rehearsal space and writing and being excited about it.

SPAZ: The arrangements of vocals and instrumentation are creative and uniquely FOTY. Where does the inspiration for those dynamics come from? Or is it all organic?

SEBASTIAN: We just experimented. But it all comes from Joe, especially. Wally was doing a lot of it, too, but Joe is quite an arranger if you ask me. He would just ‘hear’ something and we would just try it. We’re really happy to say that it is actually our voices: it’s not auto-tuned. We try our best to sing our very best. There was a moment for us when we were recording when we were like, you know we are going to have to try to do this live, right? (laughs) You can get carried away having all these possibilities in front of you.

SPAZ: While definitely a modern band, there are so many elements to your sound. What were the band’s earliest influences when you first came together in 2009?

SEBASTIAN: There was a swing towards ‘70s songwriter stuff like Jackson Browne, James Taylor, Bob Dylan, and Carole King… more of that kind of songwriter route. That was where our musical tastes were heading, as far as our musical aspirations. It’s what we were listening to. After practice at four in the morning, we’d be listening to “Mexico” by James Taylor. People have constantly compared us to Fleetwood Mac, and we’ve always been flattered but never understood it. We’ve never done much to emulate them. We haven’t really listened to them as a group together, even though everyone loves them.

SPAZ: Has it been difficult building your own sound and avoiding all the trends that have come and gone in the few short years you’ve been together? Or do you just not pay attention and just get on with it?

SEBASTIAN: We just get on with what we are doing. I feel that everything moves so fast, yet you have to remain stoic in what you do.

SPAZ: Did you have an excess of material left over from the album sessions?

SEBASTIAN: There are probably two tracks from the actual sessions that actually haven’t been released yet. And then there are tracks that just never made the cut to be recorded: I think we picked from 25 songs.

SPAZ: While the press and fellow musicians have been singing your praises over the last few years, how do you feel about Loma Vista raising your profile even more?

SEBASTIAN: I can’t wait for that, to be honest. We’ve had certain measures of success in certain areas, but we can’t wait for our profile to be raised. We’ve done a lot of behind the scenes work, we’ve put in a lot of time working on this and good opportunities are coming our way. We definitely feel ready for it.

SPAZ: What’s next for FOTY?

SEBASTIAN: We’re going to be touring quite a bit. The East Coast, the Midwest… we’ll be going to Europe again in the Fall. Can’t wait for that. Then more U.S. touring…

SPAZ: What do you currently have spinning on your CD, DVD and record players?

SEBASTIAN: (CD) Cat Stevens’ Catch Bull At Four. (DVD) The Unforgiven. It’s amazing.

Thanks To Sebastian Keefe

Special thanks to Jason Croke, John McCormack and Cory Vick


FAMILY OF THE YEAR

LOMA VISTA


7.10.12

SPAZ slobbers all over THE BEACH BOYS' That's Why God Made The Radio!

THE BEACH BOYS

THAT'S WHY GOD MADE THE RADIO

Available NOW!

And to think I thought that they don't make albums like this anymore....

I have to admit that the thought that it would be strange to hear THE BEACH BOYS singing about surf, music, love, cars and all the other stuff that goes with growing up in California. I mean, they were young when they started the band and it was OK back then... but c'mon, that was then and this is now!  It's been 50 years since they guys first came together and it seemed kind of creepy for someone pushing 70 to sing about teenage love...

But that was until I heard That's Why God Made The Radio!

What I wasn't comprehending until I heard the album was that Brian Wilson, Mike Love, Al Jardine, Bruce  Johnson and David Marks aren't really literally singing about young love, they are singing about the FEELINGS of being young and in love.  They are singing about the emotions that rule the mind, body and spirit when you are at an age when life is sweet.  And for many of us, those feelings still ring true, no matter what age.  I mean, who doesn't remember the golden years of our lives right before responsibility and adulthood robbed us of our hopes and dreams?  It is those wonderful memories that rise to the surface as the listener experiences what is the best new Beach Boys studio album since the deliciously off-kilter music they released in the '70s.  For the record, while I like the tune "Getcha Back" from '85, the self-titled album that song was pulled from was killed by '80s production.  And furthermore, I'm still not quite sure about "Kokomo"... still on the fence about that one!

While the five members are augmented by session players and vocalists, this is definitely the work of Brian Wilson and his lifetime friends. From the glorious intro that spotlights the BB's signature harmonies, this is a special treat for fans, new and old.  It is obvious that they try to recreate some of the sounds of their golden years, but they also sound fresh, vibrant and alive.  Nobody sounds quite like the Beach Boys and believe me, there are some great artists out there who successfully re-create the style but they end up lacking the true spirit of the BB's California sound. 

"That's Why God Made The Radio" speaks of an era when the radio brought people together, brought joy to the listener and spread the gospel of the power of music.  It is a song that does just that.  While the chorus' melody is faintly reminiscent of the them from "Midnight Cowboy", that doesn't stop it from reaching down inside you and stirring up emotions of a time in your life when the radio was your best friend when you were alone...

And the magic doesn't stop there!

"Isn't It Time", "Spring Vacation", "Shelter", "Beaches In Mind", "From There To Back Again", "Pacific Coast Highway" and "Summer's Gone" are amazing slices of Beach Boys pop filled with harmonies and hope. Only "The Private Life Of Bill And Sue" falls flat, but that's a minor complaint that I won't spend any more time talking about.

That's Why God Made The Radio is one of the best albums of the year and ensures that the Beach Boys' legacy is stronger than ever.  By the time the sound of the waves close the album, there's a certain sadness that is washed away when you start the whole album again.  

This is the sound of the California dream.... something that every generation can understand and relate to. And it will touch you right down to the core of your being.  The album encapsulates the band's career while delivering a bittersweet joy that can only be felt by those with a heart and soul. God Bless The Beach Boys!