I find the cover art of Bushmaster aka Gary Brown's latest release "Drowning on Dry Land" beyond suitable; an outstretched arm-clenching a guitar or as most musicians call it-an axe, busting through cracked dry land. For years Brown has been establishing himself as one of the premier musicians in music, busting through clubs with the swagger and ownership of a wild west outlaw. His guitar playing rivals the great blues and rock stars that helped establish what it means to be a true rock star. "Drowning on Dry Land" is filled with energetic and fierce guitar riffs that would make the guitar Gods of a time long past--Clapton, Hendrix, Page, to name a few, proud to know that their work of establishing the ability to master the guitar an art in its own. Brown summons their goal to keep "real" rock music alive and beating wherever he travels (which Brown calls, addictive). Like most musical road warriors, playing show after show, night after night, winning over the crowd with his larger than life presence. That presence is what makes Brown very popular. He commands the stage, sometimes shirtless, contorting all the muscles in his body, from face to toes, as he maneuvers chords, resulting from years of practice. As long as there is life in Brown's body, I believe he will keep on astonishing audiences...and right now Brown's life seems to be rolling along rather smoothly. Have axe will travel. Read his XXQs to find out more.
XXQs: Gary Brown
PEV: How and when did you first get involved in music?
GB: Almost from birth. My parents had an extensive collection of blues, big band jazz, and R&B that I would listen to almost non-stop. I got my first guitar at age 12 (a guild acoustic), and I haven't looked back since.
PEV: What was it like the first time you stepped into a studio to record your own music?
GB: Exhilarating. Terrifying. And yet somewhere I belonged.
PEV: Is there a certain atmosphere you surround yourself in when you write music?
GB: Yeah, life (LOL). Seriously though, I know some people immerse themselves in settings that facilitate relaxation, and therefore creativity. That's generally not how I do it. Songs just come to me and there's really no rhyme or reason to it. I just try to get out of my own way.
PEV: Tell us about the creation of your latest album, "Drowning on Dry Land"?
GB: Writing the album was a reaction/statement inspired by that aforementioned "life" thing. I wasn't living in the safest of neighborhoods, or necessarily keeping the best company. But I think ultimately, good did come out of it. You know, from the grain of sand grows the pearl, from pressure coal becomes diamonds, and all that.
PEV: Describe the feeling when you first started to write " Drowning on Dry Land".
GB: In a word, liberating.
PEV: What do all your friends and family think about your music?
GB: I generally get the impression they think I'm doing the right thing, and they really seem to be feeling it. I can't overstate how gratifying this is, and how much I appreciate them for it. There has been the odd person here and there for whom my music is not their cup of tea, but no one likes everything, right?
PEV: How has life on the road been for you? GB: Addictive. It's where I feel I belong.
PEV: If I were to walk into your house/and studio right now, what is one thing I would be surprised to find?
GB: Me there (ha ha). Let me see, hmmm, that would probably be my pair of musk turtles.
PEV: When you are not working, what do you like to do?
GB: Think about working. After that, watching movies with my wife, and my guilty pleasure - boxing.
PEV: What can someone expect from a live Gary Brown show?
GB: To be transported (albeit temporarily) away from your troubles and worries, and brought with us to a place of joyful celebration, and funkiness.
PEV: What is the best part about playing live?
GB: Hmm, that's a hard one to answer. There are many different good things about playing live, catharsis among others.
PEV: What other artist right now should people be watching out for?
GB: Geez, I'm afraid I'm really out of the loop as far as current artists go. I can tell you which of my current peers totally kick my butt. Jay Turner (www.jayaturner.com) writes some great stuff, is a great musician, and a hell of a nice guy - check him out! Another good friend of mine, Dayne Shannon (guitarist), has a band called Serving The Industry (www.servingtheindustry.com) that totally rocks! These are the first guys that come to mind.
PEV: In all your travels, which city do you think offers the best music scene?
GB: All of them. (laughs) Lemme see... Baltimore is pretty jumpin', it seems to be the place where the players interact in a mutually beneficial manner.
PEV: What drives you to continually create great music?
GB: The satisfaction of exposing your innards and having people not only understand you, but empathize with you as well.
PEV: Which venue is a favorite place to perform and why? GB: I'd have to say the Ram's Head Tavern in Savage Mill, MD, Ôcause those people really know how to party. And though I know you asked for one venue, I also have to mention the Frisco Grille in Columbia, MD, it's also a very happening place (with the coolest owner and staff).
PEV: What is one thing we'd be surprised to hear about Gary Brown?
GB: Sometimes I tear-up watching a particularly poignant movie. I'll still take anyone in a fight though (LOL).
PEV: Which artist do you feel has had the most influence on you?
GB: Oh no, this question... I just can't single out one person. But if you're gonna make me say... I dunno, Freddy King? Yeah! (I also could have easily chosen fifty other guys including Hendrix, Eric Gales, Robin Trower, George Clinton, Sly Stone, Frank Marino, Johnny Winter, Miles Davis...)
PEV: What is a normal day like for Gary Brown? GB: There is no such thing, is there? I play guitar, go for walks, watch cable, same as anybody else.
PEV: Finish this sentence, "The most embarrassing moment at a gig was when." GB: I can't really think of anything since I tend to take things in stride (although my band mates may beg to differ - LOL).
PEV: 20. So, what is next for Gary Brown? GB: Hopefully just to keep making more music, and keep on keeping on
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July 4-5: Darden Smith
Once called "a Texas Van Morrison" and named after a rodeo cowboy, Darden Smith is a unique character. He started playing clubs back in the early 80s but his career began long before that, as a teenaged Smith started putting pen to paper, honing his skills on the guitar. His first gig he notes was at (oddly enough) a rodeo show, which had a not so pleasant ending for one of his band mates (I'll let him explain). However, little did the erratic rodeo fans know but that kid in the announcer's box strumming his guitar and blaring out his own music would some day grow into one of the most talented, versatile and respected musicians today. Smith's fusion of folk, Americana, country, blues and rock-pop songs on his latest release Ojo, are a testament to the passion for music he found as a teenager. It is hard to think, that teenager could grasp the concept of building their life and professional career as a musician but Smith's earlier days of the "less glamorous life" on the road has helped formulate his personality today. With Ojo, Smith's first ever, live 15 track CD lets us in on how talented this University of Texas (Austin) alum, truly is. Smith's past albums all had a unique sound that resonated his idea of modern music married with an old soul. Ojo's live performances provide us a better example of the mind behind Smith as a performer. It's a mind and talent that we are pleased to have shared with us. That kid at the rodeo has come quite a long way since then. Find out more by reading his XXQs.
XXQs: Darden Smith
PensEyeView.com (PEV): How and when did you first get started in music?
Darden Smith (DS): Playing in Clubs around Austin in the early 80's. Before that, I was writing songs all through high school in north Houston, playing in bad garage bands.
PEV: Did growing up in Austin have a large impact on your musical style?
DS: Didn't grow up in Austin, but being in Texas in the 70's definitely had an impact - lots of Townes Van Zant, Guy Clark, etc. Houston had a great radio station - KLOL that played everything; Dylan, allman Brothers, Marshal Tucker, Elvis Costello
PEV: Was there a certain time or event that made you decide music is going to be a profession?
DS: Saw Guy Clark on Austin City Limits; my dad told me that he was getting paid to play and I said, Ôthat's for me.'
PEV: What was it like the first time you performed live and when was it?
DS: My first paid gig was at a rodeo in Wimberley, TX that my cousin booked us at. My brother and I played in the announcer's booth up above the chutes while all these cowboys stood in the dirt of the arena and listened, and yelled at us. My brother got beat up that night by this badass bull rider guy. I knew the music biz was for me then. I had a song I'd written about these other cousins who were cowboys, the real deal. I stood behind the pens and played it for them and their friends. I was this 13 year old kid, and they all slapped me on the back, one gave me his hat. Then they gave me some beer and we proceeded to get really drunk. The mystery began.
PEV: Your career has spanned many genres of music, from folk, country and pop. Which do you find to be the best fit?
DS: It all works; it's all music. I think I just get bored with one form and then move on. As well, who says you have to do the same thing all the time? Who would want to? If you don't move, you're dead. Every couple of years I get the itch to do something really out, like a dance/theater thing, or a symphony. Those projects people outside of Austin rarely hear about, but they're key to me exploring music and what I can do in it. If you only think of yourself as one thing, you're cheating yourself. Plus, music without lyrics for a songwriter is a pretty freeing thing. Then when you come back to regular songs, it's even more delicious. But you can't go back to where you were because you've changed.
PEV: What was it like the first time you stepped into a recording studio?
DS: Scary, but very cool, and I wanted more. North Houston. 17 years old. Buzz Smith was the engineer. Still have the tapes around somewhere. I recorded 20 of my own songs and my dad made me record 5 of his favorites - part of the deal as he was helping me pay for the session.
PEV: When you write music, what kind of element do you prefer to surround yourself in?
DS: I do it wherever I am, try not to get attached to any one place or setting. Any time you depend on setting or surroundings you cut yourself off from an accident. I love a hotel where it's all anonymous or an airport lounge during a layover.
PEV: Is there one aspect to your music, be it the type of songs, acoustic/electric, range in vocals; you find yourself leaning towards more then others?
DS: No. I don't think about it that much, and try not to repeat myself
PEV: What can we expect from your latest release, Ojo?
DS: Ojo is a solo disc, recorded in an adobe house on the grounds of the Ojo Caliente Hot Springs in New Mexico. There were a few people sitting around listening. It's pretty loose.
PEV: How is music on Ojo different from earlier works (Circo, Sunflower, Deep Fantastic Blue, Extra, Extra, 'Evidence', Trouble No More, Little Victories or Field of Crows, to name a few)?
DS: This is the first live disc I've done, and the first one solo.
PEV: How is Ojo different from other albums out today?
DS: On it I make an atrocious mistake, and leave it in the song. Don't see that everyday, I would guess.
PEV: In all your travels, which city has been your favorite to perform in? And which offers the best atmosphere for music appreciation?
DS: I love playing in Austin. Glasgow is always fantastic, as is Belfast. New York is great because dinner after the show is ripe with possibilities.
PEV: You collaborate with many people on Field of Crows, however, is there someone that you wish to collaborate in the future?
DS: Neko Case; T-Bone Burnett; Buddy Miller; Paul Tiernan, who's an Irish singer I met in France. He's fantastic. I've always wanted to do something with Branford Marsalis, just because it would be weird. The people from Massive Attack are pretty outrageous as well.
PEV: In your opinion, who is an artist to watch today?
DS: Brett Dennan is killer and he's going to be around for a while. I also think that Beck is one of the people that will be making interesting music 20 years from now. My friend Michael Ramos has this thing called Charanga Cakewalk which is fantastic. Leila Downs is a great singer from Mexico.
PEV: What's something we'd be surprised to hear about Darden Smith?
DS: When I was young, I had an egg business with 100 chickens, my dad sold vacuums door to door and my mom was a renegade tennis pro. I'm addicted to swimming, and have a fascination with buttons and cool fabric.
PEV: How have your friends and family reacted to your success?
DS: Awe that someone hasn't told me to grow up and get a real job.
PEV: What can people expect from a live Darden Smith show?
DS: Songs, stories, a good number of mistakes.
PEV: How has life on the road and touring been for you?
DS: As a kid, my family rarely left Texas. So, my job has shown me what it's like out there in the big world. Playing music is the best way to get to know someplace because the people want to talk to you. I've grown to love a good hotel room, especially if you can be there for a couple of days. There's nothing quite like writing in a hotel room for three days. It's like being in a time capsule. You get really weird. Traveling around, I know a good place to eat almost anywhere.
PEV: Describe the feeling of hearing fans sing along with you when you perform?
DS: Umm, very cool. What do you think?
PEV: So, what is next for Darden Smith?
DS: Marathon, a new theater work I'm creating here in Austin. It's a combination monologue written by this cool writer here in town, Jesse Sublett, and songs by yours truly. The story combines Greek myth and Texas images to tell the story of a guys search for his lost father - sort of a Theseus and the Minotaur. It's killer. There'll be a CD of it soon.
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July 6-7: Fools & Horses
It seems like Fools & Horses has been around forever, but only recently (as the music world goes) they have literally come out of nowhere...quickly. Making a name for themselves, doing more in the past year than most artists do in ten. They have a dedicated following born from the Mid Atlantic college scene. Even their own dedicated street team, the FAHternity. Lead singer, Matt Hutchison jokes that his friends and family think the band is more successful then they really are, which I find it quite funny. Their new CD, Pop Filter has been getting regular radio play and has become an underground indie hit (labels, WAKE UP!), they've had song placement on A&E as well as MTV and recently voted "Best Modern Rock Band", "Best Album" and "Most Likely to Succeed" in Music Monthly Magazine's annual Reader's Poll. They even took home a Wammie Award for "Video of the Year". Now, granted I don't play music so maybe I can't put myself in their shoes, when this doesn't register as "success". However, when a pretty well known coffee shop out Seattle by the name of Starbucks decides to put Fools & Horses' hit song "Therapy" on their latest CD, I think the guys can finally face the fact that they are quite successful. You can also ask Bon Jovi, when Fools & Horses recently opened for at MCI Center in Washington, DC. With original lyrics and strong guitar, held together by unreal percussions, Pop Filter makes a strong argument for calling them one of the best bands in America. Pop Filter has a "punkier" Counting Crows vibe, a more upbeat Radiohead style, draped over some Arctic Monkeys to round it out. A bold statement? Maybe, but when you have so much success so early on, you can easily say that Fools & Horses are on to something long lasting. Don't worry fellas, the big tour bus with a hot tub and a dozen wide screens, may seem a little out of reach right now but it defiantly isn't far off. Read their XXQs to find out more.
XXQs: Fools & Horses
PensEyeView.com (PEV) How and when did Fools & Horses begin?
Fools & Horses (FH): F&H started in 2002 when Tim and Kent hooked up with Matt and another guy from college. Matt was in a band called Random Order that Tim would often fill in for (Tim and Matt incidentally are brothers). They all met in high school and banded together shortly after. Steve joined the group in 2006, responding to an ad the band left at Towson University. And it seems like they've only just started.
PEV: What was it like the first time you stepped into a studio to record your own music?
FH: Humbling, frustrating, very eye opening. It was really thrilling to be recording properly though, with a guy who knew what he was doing and knew what to get out of us.
PEV: What can people expect from you latest release, "POP FILTER" and how is it different from other music out right now?
FH: Listeners are going to get a unique experience, in that each song is its own entity. There is a common thread that binds each one together, but it is very dynamic and takes the listener on a cool little journey. It's most different from other music out there for that very reason. Most albums today milk the style for all its worth and then some. Take the new Maroon 5 for example. While each song could be a single, it takes one vibe and runs many a mile with it. That probably sells millions of records : ) We might learn something from that.
PEV: Tell us about how your song, "The Therapy" became an official selection on the first Starbucks Entertainment Partner Music CD; "Off the Clock Vol:1". How does it feel to be a part of such a large platform?
FH: The Therapy was one of three songs we submitted to Starbucks. Frera and In Becky's Car were the other two. We gave them the most Starbucks friendly songs, or what we thought would sound the best coming out of the speakers in the store. Some of our songs might be a little too heavy for your typical Soy Latte drinker. The Content department at the company liked the Therapy the best and slapped it on the CD. We're honored to be out there nationally on such a cool project. The other bands on the compilation are outstanding, and we're doubly flattered to be among them. Plus, we're talking about free promotion. And that costs a lot these days.
PEV: Fools & Horses have become a favorite on the college scene. Which college has the best fans and why?
FH: Loyola College (Maryland) is full fantastic fans. It's a Catholic College, but these chicas and fellas know how to get down, and they often choose to with Fools & Horses. They're always out en masse at our big shows and whenever we're on campus, we feel like super stars. Seeing them move in and out of time to our music the way they do makes it all worth it.
PEV: Fools & Horses have played all over, which city offers the best environment/appreciation for music?
FH: Home. The clubs here are great, the variety of life here is excellent, and we feel very appreciated. We've traveled quite a bit, but nothing gets us off like a hometown crowd.
PEV: Is there a certain atmosphere you surround yourself in when you write music?
FH: If it's on our own, isolation. I think that's key. We could be in the john, on the bed, at the computer, in front of the TV, or wherever. As long as we're alone I think the creative juices flow better. But when we write together, it's always just the four of us, and maybe a few beers. Sometimes, Tim and I will just make stuff up on the tops of our heads. The Therapy, and Fly Me to the Moon came out that way.
PEV: What do all your friends and family think about your success?
FH: They think we're more successful than we think we are : ) Guess they don't see the frustration and exhaustion this life can bring sometimes. It keeps us going, cause they see all the good stuff that's happening, and we can lose sense of that sometimes being in the thick of it.
PEV: How has life on the road been for you? And what is the best and worst part about "road-life".
FH: Life on the road hasn't been too bad. We've recently just done the longest stretch away from home last week. We were tired, but weren't tired of each other, which is key. The best part is meeting new people who like the music. Partying down in foreign lands is great too, cause it's like a constant vacation. The worst bit is not having your own room, your own bed, or your own shower. Plus we drive a beat up granny van and some of the doors don't open. It smells of only what 4 guys smell like, living in it for weeks at a time. We even have a pair of Ice Skates that we've found at the bottom of a pile of stuff.
PEV: If I were to walk into your house/and studio right now, what is one thing I would be surprised to find?
FH: It's clean. We were expecting you
PEV: When you are not traveling or performing, what do you like to do?
FH: Go to the pictures with our ladies, write, read, and believe it or not, hang out together. We usually couple that with some promoting, so we feel like we're working too.
PEV: People can download your music (and even video) from your website. What is your opinion on the heated debate over downloading music off line?
FH: I think we all come from a different angle on this. At this point, money is not crucial to me (Matt), but I know it should be. People who download our music from the site are generally getting demos anyway, so we don't feel stiffed from giving them away. But they're usually our biggest supporters and will totally play the tracks for friends and promote the band.
There will come a time when I'll have to change my tune, because a label wouldn't share my sentiments and I understand that. But right now, I'm for building the biggest buzz we can.
PEV: What can someone expect from a live Fools & Horses show?
FH: ENERGY! Not contrived. We're not choreographed or anything. But we have a lot of natural energy, and be prepared to have as much fun as we'll have playing for you.
PEV: What is the best part about playing live?
FH: Seeing people move to our songs and singing along. The absolute best is seeing drunken individuals singing along to our songs that I know they've never heard before. Which is great, because they think it's a cover. And that makes us smile.
PEV: If you could collaborate with one artist, living or passed, who would it be and why?
FH: We're not really sure...We've never really collaborated on our own with anybody outside of F&H, but to play with Paul McCartney, Radiohead or Travis would be stellar.
PEV: Who do you think is an artist to watch for on the scene right now?
FH: My Morning Jacket hasn't had a record out in a while, but they're a very organic band that loads on the reverb on the vocals.
They're almost like a jam band, but they've got such terrific songs that you don't notice. Not a lot of improvisation one would expect from Jammers.
PEV: Saturday Night Live asks you to be the musical guest, who would be your dream host?
FH: Ali G
PEV: What's one thing the fans would be surprised to hear about the guys of Fools & Horses?
FH: We have no phobias of any kind.
PEV: Finish this sentence, "The most embarrassing time for Fools and Horses was when..."
FH: We were booed off the stage at Fatty J's in Fredericksburg. It was Hip Hop night, but they managed to hire us as the band. We played only two songs to jeers and boos from the Hippity Hoppers, and the manager had to come over and tell us we were done for the night. We had people there to see us and everything. It was very humiliating. But not as humiliating as our Free Bar tab was to the manager. We sucked him dry after that.
PEV: So, what is next for Fools and Horses?
FH: Recording, and negotiating with labels. That's a carnival in itself, we've learned.
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July 8-9: Georgie James
John Davis and Laura Burhenn openly admit that forming a band together was an unlikely possibility. They would run into one another here and there at gigs but timing and logistics weren't working. John, toured around the world with Q And Not U, while Laura stayed solo, balancing east and west coast shows, while managing her own label, Laboratory Records. Regardless of their backgrounds, they had very similar tastes in artists, which slowly erased any doubts. I imagine that first conversation being something out of John Cusack's "High Fidelity" ("Ok, top five, The Beatles, The Kinks, Simon & Garfunkel, The Who, Neil Young, no wait, Emitt Rhodes, no wait...). Once again, the international language of art bringing people together...I love when that happens. Practice turned to shows, turned to more shows, turned to an intense following and repeat...the normal recipe for success. Right off the bat, everyone seemed to connect with Georgie James' unique style and bond. Right now, Georgie James seems to be doing quite well with their "unlikely" method and style. Their MySpace page boasts roughly 35,000 combined views of four samples. It is this kind of following and dedication that makes Georgie James' "Places" which is due out this fall, highly anticipated. In talking with John, he is very laid back when asked about the band's life and success, which is a good sign that humble can lead to good things. If "Places" will do what Georgie James have planned, then I think John and Laura can bank on many good things coming their way. Read their XXQs to find out more.
XXQs: Georgie James (Interview with John Davis)
PensEyeView.com (PEV): How and when did you first get involved in music?
Georgie James (GJ): I've been around music for my entire life. My dad is in the radio business, so many of my early memories revolve around music. I had access to all kind of music and was able to go to concerts and see bands play from an early age. That said, I feel like things entered a different gear for me when I was 12. That was the year I started playing guitar and also was the year that I seemed to start taking music a little more, well, "seriously." Like, I guess that was when it started becoming more of my identity. I went headlong into bands like The Doors, U2, The Replacements, The Pixies, The Who, Led Zeppelin and stuff like that. I feel, in many way, it all kind of really started for me then.
PEV: How did the band form?
GJ: Laura and I were introduced in 2004 and saw each other here and there. At one point, we talked about playing music together and thought it might be a good idea. Although my old band, Q And Not U, was still together, we knew it was going to be ending soon, so I was particularly looking to start something new, as well as something that was a little more to my taste of music. So, basically, we started writing together in May 2005 and wrote songs and recorded demos for the rest of the year. We started playing with a backing band (at that point it was Adam Robinson on bass and Andrew Black on drums, though it's now Andrew on drums, Michael Cotterman on bass and Paul Michel on second guitar) in January 2006 and played our first shows two months later.
PEV: Was there a certain time or event that you realized wanted to make a living playing music?
GJ: I've wanted to be in a full-time band since high school, though I can't really remember any specific moment where I decided that. But it was with Q And Not U that I first would've been in what could be called a full-time band. I've still always worked part-time jobs when I was at home, but Q And Not U was able to provide enough when we were working at our peak that I could just do that for the most part. I certainly hope that Georgie James can be a full-time thing very soon. Working on music for a living is definitely my goal.
PEV: What was it like the first time you stepped into a studio to record your own music?
GJ: I was 15 and it was the summer of '92, so I don't remember a whole lot about it. But my high school band was recording its first demo and we went to a basement studio in Rockville, MD, called Bebop Productions. It was in the basement of a house (though I think they later moved to a proper facility within a few years), so it was a little more low-key than stepping into a big studio. I'm sure I was intimidated by it all, but it was a pretty fun, comfortable experience. The guys who ran the place were a little more "rock and roll" than we were. I remember playing then Fugazi's "Repeater" saying that we wanted the drums to sound like that and they gave us a pretty quizzical look. Their claim to fame was recording Basehead's "Play With Toys," so it wasn't like they were clueless to what we wanted to do. I'm sure they just didn't quite know what to think of the five of us and what we wanted. I guess we didn't really know either. But, thinking back, my main feelings are that I learned a lot and I had a good time. I also learned what the word "parameters" meant, thanks to one of the guys there who used it in some talk he gave us about the biz.
PEV: Is there a certain atmosphere you surround yourself in when you write music?
GJ: Heat, humidity, mildew, insects. Our practice space is kind of hellish in the summer, which was the time that we wrote most of the songs we're playing now. I haven't been able to finish any songs since the main run of writing in 2005 and early 2006 'cause we've been working on playing shows so often. I have tons of raw materials ready to be sorted through when we sit down to focus on writing more songs, but nothing is finished right now. I play guitar every day and often come up with something I like and I just record it to keep in mind for later. Anyhow, since we're not touring much this summer, I think we'll try to get a few songs written so we'll have some new stuff to play on tour this fall.
PEV: Tell us about the creation of your debut single, "Need Your Needs".
GJ: The first two songs on it, "Need Your Needs" and "Cake Parade" are songs that will be on our upcoming full-length, Places. We finished recording the album back in October and we knew it was going to be a while until the album would be out. So, in the meantime, we figured we'd release a single on Laura's label, Laboratory Records. We took of our favorite songs from the record and decided to add a cover that we recorded of "El Condor Pasa," the Peruvian folk song that Simon and Garfunkel recast and covered on Bridge Over Troubled Water. The single came out back in February and served as our first release, even though it's a limited run.
PEV: What do all your friends and family think about your success?
GJ: I'm lucky to have very supportive family and friends. I've really never met with any resistance on any of this. I suppose part of it is in who you choose to surround yourself with, but a lot of it is luck as well.
PEV: How has life on the road been for you?
GJ: It's demanding, but I do like it a lot. Playing live is great and I'm enjoying it now more than ever. After seven years of playing drums in Q And Not U, moving to guitar and vocals in Georgie James was just the change I needed. So, I'm very much excited about touring again. It's hard to be away from home for a long time, but since I am a musician, that's what it entails at this point.
PEV: If I were to walk into your house/and studio right now, what is one thing I would be surprised to find?
GJ: It's hard for me to say. I don't know what your expectations of me would be, so I don't know what would surprise you about me. I know what you're getting at; like, do I have a collection of rare stamps or a large pyramid of oatmeal containers stacked in the corner. But, there's really nothing in my home that surprises ME, so it's hard for me to say. Maybe you'd be surprised by some of the records I own?
PEV: When you are not working, what do you like to do?
GJ: Hang out with my wife. Read. Watch movies. Play sports. Listen to music. Search for good records.
PEV: What can someone expect from a live Georgie James show?
GJ: That's another question that's hard for me to answer. I can't really say "an awesome show," 'cause I'm in the band, you know? I guess I could, but I'm not going to say that. Perhaps I could say that it might be different than what one may expect. A lot of people think we play live as a duo 'cause they see press photos and it's just the two of us. But our live incarnation has been as a quartet and we're about to expand to a quintet. Laura plays keyboard, I play guitar, Andrew Black plays drums, Paul Michel play bass and is about to switch to second guitar and Michael Cotterman is about to join us on bass. We've started practicing with him and the switch should set in by mid-summer. I've been told that people were surprised we were as loud as we were. I definitely look to a band like The Who or The Jam as a live role model, as opposed to Bread or America.
PEV: What is the best part about playing live?
GJ: I'm really enjoying playing live music more than I ever have before. I guess I really enjoy the communication. I enjoy the chance to reshape the songs. I love the subtle ways that a song changes the more you play it live.
PEV: What other artist right now should people be watching out for?
I'm a really big fan of Antelope, from here in D.C. They recently put out a record on Dischord and I think they're great. Granted, we share a practice space and we're friends, so I'm biased, but they really are one of my favorite bands right now. As far as D.C. goes, they're one of the best bands I've seen since I started going to shows in '91. It's hard to define why they're so good, but you should just hear their record.
PEV: In all your travels, which city - outside of the US, do you think offers the best music scene?
GJ: The best scene outside of the U.S.? That's a tough question. I've played in Europe, Japan and Africa, but it's hard to say what scene was the best. I generally didn't like the bands we played with in most of those places, though some of them could he good. I felt that the scenes were very supportive in most of the places we went, though. I really like playing outside of the U.S. I don't think there was a single country I'd never go back to, even though some were certainly better than others.
PEV: Is there a certain theme or concept you find yourself leaning towards when you write music?
GJ: Not really. I'm sure there are exceptions, but generally we just go with the way the song is flowing.
PEV: Describe your writing process.
GJ: Laura and I co-write the songs, but frequently one of us will bring in the general outline of the song and we'll take it from there. Since I write the music for guitar, bass and drums and she writes for keyboard, the songs that I bring in tend to be a little closer to done. But it all breaks up pretty evenly. There are some songs that arose from jamming, there are some that she had mostly together and there are some that I had mostly together. Then we take that core and build around it; adding more, taking some. Generally, Laura brings in music and lyrics, whereas I usually finish the music first. Really, there's no set way that our songs are written. They all have different births.
PEV: What's the hardest part you about the music scene right now?
GJ: I'm not sure. I suppose there are a lot of bands out there, but that's probably always been the case. I don't really think there's anything too hard about it at all. I just focus on doing our thing and letting it get out to people. Then we'll see what happens from there.
PEV: Having played on both the east and west coast, what is the major difference between the two?
GJ: I suppose that the biggest difference is proximity. I know that's not really what you were driving at, but that's the biggest difference to me. There are fewer places to play and longer drives on the west coast. If you were to tour the east coast, you'd certainly play twice as many places as you would on the west. Both places have distinct feels, though, and I'm always happy to get out west to play.
PEV: What is one thing we'd be surprised to hear about the band?
GJ: I have to refer to the previous question about what may surprise people. I just don't know what people's expectations of us are.
PEV: So, what is next for Georgie James?
GJ: Our album comes out in September on Saddle Creek and we'll be touring for the rest of the year. After that, we'll take a little time off and then do more touring in the spring.
For more information on Georgie James, check out: www.GeorgieJames.com
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July 10-11: Bryon Friedman
I find Bryon Friedman's life a tale of "what if" events. What if he never left Atlanta, Georgia for Park City, Utah? What if he never had success as a professional skier, became a member of the U.S. Ski Team and traveling around the world, all the while putting his stories to music? Or what if Bryon never hung up his skis after a severe leg injury in a World Cup downhill in Chamonix, France in January 2005? All these events, the ups and downs, have brought Bryon Friedman to where he is today; Santa Barbara, California-the beach, the sun, his music. Not many athletes can say music, let alone a singer/songwriter, would be their "retirement plan" (so to say). However, I think it is the polar opposite of lifestyles in which Friedman has encountered that makes his story so unique. For the greater part of his life, he was set on getting down that hill as fast as possible. He was a competitor, a champion and a national hero. Now his life is music, which he'll admit was there all along but sometimes it just takes little time (or an injury) to point us in the right direction, allowing our true passions to surface. Thus is the case with Bryon Friedman. His December 2006, release, Road Sodas, is a folk rock, acoustic work that unveils Friedman's natural ability. Friedman and Road Sodas have become popular fixtures on the indie and west coast circuits, as well as finding fame on Sirius Satellite Radio (The Coffee House). His voice is smooth, calm and true; no filler, no sound machines, no tweaking. You will hear on the album what you would hear at a live show. Throughout Road Stories, you can't help but think how this laid back, west coast troubadour, was once more worried about speed and strength, rather than creating stunning music. You also can't help but wonder what if Friedman decided his leg injury was just a hurdle, a small obstacle in the life of a professional athlete? What if he stayed in the mountains, rather than the beaches? Luckily, wondering if Friedman never decided to become a musician, is something, we don't have to worry about. Check out his XXQs to find out more.
XXQs: Bryon Friedman
PensEyeView.com (PEV): How and when did you get involved with music?
Bryon Friedman (BF): I've been involved with music in some shape or form for most of my life however, I didn't really get seriously involved until 2005. That's when I broke my leg skiing and had a lot of time on my hands to devote to playing and songwriting. At first it was just a way to cope with my emotions but it eventually turned into something more. Some of my closest friends suggested I record an album and start sharing more of my music so I did and "Road Sodas" is the result.
PEV: What was it like the first time you stepped into a studio to record your own music?
BF: It was exciting. I was a little nervous at first because I didn't know what to expect but I loved every second of it. After spending a 15 hour day on our first day of recording I knew the process was going to be fun and I couldn't wait to get back in there the next morning. Building a song and an album from scratch is an amazing process, which is very rewarding in the end!
The cool thing about my first recording session was that I found the studio online, it's called Cornerhouse Studios, and I decided to give the owner a call. He was very easy to talk to and seemed like he knew what he was doing so I booked the time and showed up a month later. I had never been to the studio prior to our first day of recording so it was a little stressful because I didn't know what to expect or how it would work out. As it turned out the studio is an old brick house with a lot of character built over 100 years ago. Craig Sowby, the owner, was great to work with and I've been back twice since to lie down a few scratch tracks.
PEV: What can people expect from your latest release, "Road Sodas" and how is it different from other music out right now?
BF: People can expect a nice relaxed acoustic sound without an overproduced feel, which I feel is different than a lot of the bells and whistles you hear these days. A good description of Road Sodas is music you can rock to, sleep to, groove to, or just plain ignore depending on the mood that you're in. We are a four piece so a lot of the songs are played with a full band, but two are stripped down to just me and my guitar doing live takes. Overall I think it flows nicely and the sound is very clean.
PEV: Tell us about how your song, "How Can I Get Back", was chosen for Sirius Satellite Radio (Coffee House Channel 30). How does it feel to be a part of such a large platform?
BF: "How Can I Get Back" is a new song that is currently unreleased. We recorded it during our live in studio session with Sirius this winter and they liked it so they chose to play it on their Coffee House channel since it fits the acoustic vibe. The song is about feeling good again and realizing that it's ok to have a rough patch every once and a while because it makes the good times feel that much better. As for being on Sirius, of course it feels great to be a part of such a large platform and I'm excited that it was chosen for and is being played continuously. So far there has been some good feedback and I've had people contact me asking where they can get the song. We are going to release it on iTunes soon.
PEV: For many years, you were a professional skier, traveling the world skiing the most beautiful yet challenging mountains (guitar in hand). After a severe leg injury in a World Cup downhill in Chamonix, France in January 2005, you decided to leave the ski life behind. How has this affected your music?
BF: I haven't actually left the ski world behind for good. I'm still on the U.S. Ski Team and have the opportunity to come back and race World Cup again if I can prove that I'm healthy and able to do so. Regardless the injury has affected my career, life, and music tremendously. I would say breaking my leg was the catalyst that led me to write more, play more, and eventually record "Road Sodas." Because of the injury I had all this time on my hands and was able to put myself out there by playing more shows and putting an album into the world. I would say that being fortunate enough to ski around the world gave me a lot to think and write about and those experiences have undoubtedly influenced my writing.
PEV: What is the best part about the west coast beach life?
BF: For me it's the surfing. I've spent the majority of my life skiing and trying to master the art of arcing a turn on snow and now I'm trying to figure out how to do the same in water, only instead of the water being frozen it moves towards you at 20-30 mph. Learning a new sport at this stage in life is a humbling yet valuable experience and I can't imagine my life without it. I firmly believe the ocean and mountains can heal all wounds and I look forward to surfing and skiing for the rest of my life.
PEV: In all your travels, which city offers the best environment/appreciation for music?
BF: Although I've never played a show there I think Austin, Texas has the best appreciation and environment for music. My college roommate is in a band there called The Band of Heathens and they are doing quite well. Their music isn't mainstream, but that doesn't necessarily matter, especially in Austin or Texas for that matter. Everyone seems to come to the show to "listen" and enjoy the craft of the songwriters as well as their musicianship, which is what it's all about. When I get a chance to play to a crowd that really listens to the songs I get really excited and thank the audience for "listening." Of course there are times when it gets rowdy and everybody is letting loose but it's important to an artist when people come to the show and respect the vibe if it's going to be quiet. That's the type of respect a lot of musicians get in Austin.
PEV: Is there a certain atmosphere you surround yourself in when you write music?
BF: It really depends on the mood that I'm in. Usually I like to be secluded when I sit down to write music, however I've written songs next to people on airplanes, in cars, trains, and with friends. There's something about traveling to foreign places that makes you reflect and transcribe what you are feeling at that moment so I write a lot while I'm traveling. Then again often times I won't write until I'm home and it's late at night when it's quiet and I can focus on the task at hand without distraction. I also find that after exercising, surfing or skiing I'm in a clear state of mind, which in my opinion is the best for creating new ideas.
PEV: What drives you to continually create music?
BF: You know when you hear a song and you immediately feel the chills run down your spine? That's what drives me to write music. That feeling of euphoria, nostalgia, and excitement is why I love it so much. I guess I strive to pass that feeling along to others and hope that I can affect them the way I have been affected by music.
PEV: What do all your friends and family think about your success?
BF: My friends kind of laugh at me and take it for what it is. To them I'm still Bryon the skier who occasionally picked up the guitar and wrote songs to make fun of them. However they also encourage me to write more and do more with my music, as they would like to see me take it as far as it can go. My family is very supportive of everything. My parents just want me to be happy and work hard towards achieving my goals and my brother is always keeping an eye out for me as he is in the music industry now.
PEV: How has life on the road been for you? And what is the best and worst part about "road-life"?
BF: The good far outweighs the bad. My favorite part about life on the road is the constant state of awareness to your surroundings that goes on. Each new country I visit my head is constantly on a swivel taking in as much of the culture and landscape as possible. I love the experiences such as walking down a street in a random city, poking my head into a shop to check it out, and after a few words with the owner he invites me and a friend to join them at a BBQ out back. The next thing you know we are drinking their wine, eating their food, and singing their Chilean folk songs with complete strangers. Come to think of it, maybe I should write a song about that experience?
The worst part about road-life is living out of a bag for months on end. At times you feel groundless and wish you could just stay put for a while. The catch 22 is that once I do get a chance to stay put for an extended period of time I get the itch to hit the road again. The reality is I'm a spoiled traveler.
PEV: If I were to walk into your house/and studio right now, what is one thing I would be surprised to find?
BF: You would probably be surprised to find an old 1930's standup piano that I bought on Craig's List for $250. I'm not much of a pianist but I can play enough to get around a few songs and helps me write new material as is lends a different perspective.
PEV: When you are not traveling or performing, what do you like to do?
BF: Right now I like to surf whenever I'm not traveling or performing. I've also been working with a documentary filmmaker here in Santa Barbara who was interested in my story and wanted to do a project with me. If all goes as planned it will get into the Santa Barbara film festival next year.
PEV: People can download your music from your website. What is your opinion on the heated debate over downloading music off line?
BF: A friend of mine burned a copy of my album for another friend who apparently coaches ski racing. In turn he burned it for all of the 17 others, young kids that he coaches, and so it begins. In my case since as a fairly new artist I think that file sharing is good because it allows my music to travel places it never could without the internet. I firmly believe that if someone really likes your music they will buy it from you, even if they already got it for free.
PEV: What can someone expect from a live Bryon Friedman show?
BF: I usually start off the evenings with a couple songs that I perform alone and then the band jumps in and we get things moving. A lot of my friends will ask us to speed it up early on but I think it's important to gradually build throughout the night and finish strong when everybody has waited with anticipation for some of our faster songs. We've had a few shows when the night moved from a quiet listening audience to everybody up and out of their seats dancing around and singing along. We also throw in a couple covers each show...lately we've been playing a Ray Lamontagne song "How Come" and Van Morrison's "Into The Mystic."
PEV: What is the best part about playing live?
BF: The energy, the sound, and the rush. When I was rehabbing from my injury I couldn't find the same rush that I felt while ski racing until I started playing shows. Although skiing is a much quicker fix I find that playing live music provides a similar rush, only it's more drawn out and tends to last longer. There are certain moments during a show when everything is noticeably fluid, the band is totally locked in, and it feels like everything is in slow motion. It's those moments that I can take a step back, breath deeply, and realize how truly amazing the feeling of playing live is.
PEV: If you could collaborate with one artist, living or passed, who would it be and why?
BF: That's a tough question...I would have to go with Brett Dennen since he is one of the most talented song writers out there right now. Judging from his lyrics he just gets it and it would be a lot of fun to learn and collaborate with him.
PEV: Who do you think is an artist to watch for on the scene right now?
BF: This may seem redundant... but although he's already broken through so to speak, I would watch for Brett Dennen. The guy is an amazing songwriter, very poetic yet real, and addresses a lot of political issues in a creative and non-invasive manner. He's very unassuming and if you see him live, which I highly recommend, you'll ask yourself, "is that sound really coming out of that guy's mouth?" In my opinion he's our generations' Dylan, unfortunately nobody pays much attention to folk anymore. I think Brett Dennen is going to turn folk music around.
PEV: What's one thing the fans would be surprised to hear about Bryon Friedman?
BF: That I have and insatiable appetite for chocolate chip cookies and Will Ferrell quotes.
PEV: So, what is next for Bryon Friedman?
BF: Right now I am just trying to get my leg back to 100% so I can be a functional skier again. Regardless of whether or not I return to competition I'm planning to record another album next year and play as many shows as possible in the meantime. I hope to grow as a musician, songwriter, and performer and continue to chase down my second dream job if I am forced to retire from skiing. Of course I'll be surfing as much as possible along the way.
For more information on Bryon Friedman, check out: www.BryonFriedmanMusic.com
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July 12-13: Jonathan Coulton
XXQs: Jonathan Coulton
PensEyeView.com (PEV): How and when did you first get involved in music?
Jonathan Coulton (JC): I've always been into music, and grew up in a musical family. When I was just a kid I used to sing harmony with my Mom when we were in the car, and I took piano lessons, messed around on the guitar, and played drums in the school band.
PEV: Was there a certain event that made you decide to leave your job for music?
JC: It was when my daughter was born - suddenly I felt particularly mortal and it seemed like there was never going to be a better time to give it a shot. I also felt like a role model, and it seemed important to set an example by living honestly.
PEV: What was the first day like, after you left your job (writing software) and realized you were really going to do this project, "Thing a Week"? Fear? Excitement? Nerves?
JC: I think the first day was probably pretty awesome, just in that way it feels when you're playing hookey. And I've always found it thrilling to make big changes - it's awfully scary leading up to it, but once you pull the trigger it always feels great.
PEV: What can someone expect from a live Jonathan Coultan live performance?
JC: I mostly play solo with an acoustic guitar, though I'm frequently joined by friends and fellow musicians Paul and Storm. When we play sets together they add vocals and some shaker action to a few songs, which is always really fun. And of course, you never know if there will be a ukulele player joining me on a song or tow.
PEV: What is the secret to coming up with a song a week? What has been the oddest theme for song?
JC: The secret is just to do it. Actually, there are quite a few of those weekly songs that I think are not very good, but that's the nature of the thing. It's actually very easy to do SOMETHING every week if you're not concerned about it being perfect every time. Though I always was pretty concerned about it being perfect, which is why it was often sort of excruciating.
PEV: Personally I'm a fan of "Code Monkey" but out of all your songs which one tends to get the most attention or comments?
JC: Code Monkey is definitely up there. But the Baby Got Back cover still gets a lot of comments - many of them along the lines of "this sucks LOL!"
PEV: Describe the feeling of knowing that you could actually make a living as a musician.
JC: It's very satisfying. I feel incredibly lucky that things have worked out for me the way they have, and I'm surprised and delighted every time I run the numbers and discover that I'm still making a living.
PEV: When you are not writing or performing, what can we find you doing?
JC: Answering emails.
PEV: What is one thing we'd be surprised to hear about Jonathan Coultan? JC: I have never played Dungeons and Dragons.
PEV: What kind of environment do you prefer to be in when you write music?
JC: I usually have to mix it up. Sometimes it's good to be alone in a room with a guitar, but there are definitely times when it's better to be riding around on a bike singing whatever pops into my head. And of course a lot of the process happens when I'm not actively writing, so I need to remember to relax and have fun doing other things too, especially when I get stuck.
PEV: You've been compared to major artists such as "They Might Be Giants", "Barenaked Ladies" and "Loudon Wainwright III" (to name a few) but which artist today would you most like to collaborate with?
JC: I'm a huge fan of They Might Be Giants, and I'd be thrilled to collaborate with them. Although they're so awesome that they scare me a little.
PEV: What is the weirdest response you have received about your site/music?
JC: I posted a link to a funny recording of a guy trying to cancel his AOL account, and still continue to receive comments on that post from people who think I am with AOL and ask me to cancel their account for them.
PEV: Your dedicated fans, people have volunteered their services to design videos, sites, CD covers and many other items for you, free of charge. How does it feel to know that you have such a dedicated following?
JC: It's great - I'm obviously very grateful to all the people who have contributed, and it's amazing to me that people have the kind of free time it takes to put stuff like that together.
PEV: You often refer to yourself as a "geek". Why is it so important for people to embrace their inner "geek-factor" (this interviewer included)?
JC: Well, I think that in many ways being a geek is about having a passion. You can be a WoW geek or a law geek or a finance geek - whatever it is, denying your inner fan boy keeps you away from the things you care about.
PEV: What do you do when you hit a "creative brick wall"?
JC: It's always important to get away from it. I find that when I'm playing guitar my fingers actually decide what to do more than my brain does, so if I get stuck there I just have to put it down and do something else for a while. And then usually something just pops out of my brain.
PEV: What is the best advice you can give to a guy working a desk job, who dreams of a career in music or art?
JC: It's probably a good idea to do both things for a while until you get the art thing going a bit - your day job is your friend. While you're making money you actually have the freedom to do whatever kind of art you want without worrying about how you'll make money.
PEV: Living in New York, what is your favorite part of the city and why?
JC: I think the parks are pretty amazing - it's surreal to be in this big city, walk a few blocks, and then suddenly find yourself in the middle of a forest with no city in sight.
PEV: What is the music scene like in New York and how is it different from the other cities you've played?
JC: It's always been harder for me to draw a big crowd in New York than in cities like Boston, Seattle or San Francisco. I think there are not many geeks here in NY, or if there are, they are afraid of enjoying themselves. I know I am.
PEV: What is in your CD player or on you iPod, right now?
JC: I'm listening to XTC Skylarking.
PEV: So, what is next for Jonathan Coulton?
JC: Still waiting for the next big thing to present itself. I'm enjoying playing live a lot now that there are actually audiences, so I'll keep touring. And I've starting writing again, which feels good. The last song I did this live streaming of the recording process, which I found interesting and fun, so I'll probably do some more of that. Who know!
For more information on Jonathan Coulton, check out: www.JonathanCoulton.com
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July 14-15: InF-1
I remember one Saturday morning I was just flipping through the channels when I came across this guy rapping about Britney and KFed's embarrassing parenthood as well as Lindsey Lohan vomiting somewhere outside a LA nightclub. That guy was InF-1 and I couldn't help but be completely fascinated to watch InF-1 make pop culture sound like something you would hear in a club, not on a gossip show...I was hooked. Granted these are all in good fun, but week after week, whether goofing about celebrities or talking about the hottest plays on Fox's The Best Damn Sports Show Period, InF-1 finds a way to entertain an array of crowds. InF-1 is an artist, first and foremost. However, these on the spot rhymes don't even touch his ability to create great music. As an artist, InF-1 is making his mark on the hip-hop world. He kids that he is still "an up and comer" but I don't know how many "up and comers" have been featured at the NBA All Star game and regular air time on two major cable programs; The Best Damn Sports Show Period and The E! Daily Ten...just to start. And when Kanye West, his old college buddy, decided to add spots on his latest album, even InF-1 has to admit that he is on to something. Check out his XXQs to find out more...
PEV: How and when did you first get started in hip-hop?
InF-1: I've been writing since right before High School. That's when I really started getting good at it.
PEV: Who were your early inspirations? Maybe someone your fans would be shocked to know you listened to or really drew from?
InF-1:I would say the first rapper that really grabbed me when I was young, and that was like 7th grade, was DJ Quik. That was the first tape I had taken from me for being to explicit when I was young.
PEV: You grew up in Chicago. What was the hip hip scene like when you were growing up?
InF-1: The same as it is now. It was weak then and it is weak now! It's never been easy if you are a talented artist coming from Chicago.
PEV: How did the first time you performed on stage go?
InF-1: I really started by doing a lot of battle rapping at first. I wouldn't call it a performance, but it was good on-stage experience. That was back when I was around 17...a few years later, like around 19, that is when I first started really performing with my own, real songs. And that was just hole-in-the-wall clubs around the city.
PEV: What can people expect from a live, Infinite-1 (Inf-1) performance?
InF-1: A lot of confidence and a lot of energy when they see me do my thing on stage. I always throw a little something different in there to keep the crowd involved and on their toes!
PEV: How would you describe your style? And how is it different from any of the other emcees out there today?
InF-1: My style is very unique and original. You know, when I first started college, I quit rap. I had enough. But during my freshman year I had a class with Kayne West. Back then he was just like he is now. Full of confidence. He convinced me to keep going, finish what I started. So I got back in the game and started listening to every rapper out there. To get better, I started writing raps in the style of these artists. For instance I would pick a Run DMC type song and then write a song just like. Once I perfected the different styles, I was able to formulate my own, unique style. It was like I had a mainstream style as an underground artist.
PEV: Your mixed tape, "I Got This," which was put out in 2003, turned out to be a huge street classic. Did you think that would turn out to be as big as it did?
InF-1: "I Got This" went big because I put it out there. A lot of emcees around here just want to be the king of Chicago, the king of the city. I want to go bigger than that. Also, I gave a lot of tapes out for free. I want people to hear my stuff and start to respect me. People will remember when you give them something for free. They will remember that when the big album comes out.
PEV: You said Chicago might not have the best hip hop scene. What city to you think offers the best scene for hip hop?
InF-1: I would say anything from down in the South, especially Atlanta. See, those dudes stick together. They want to put the next person on. They want to help out the next person behind them. Like T.I. He came out and did his thing now he is helping out. Some people get addicted to the fame and they don't want to help the ones behind them. That's why the South has been running hip hop for years now. They all want to help out and see each other do well.
PEV: You mentioned the South, but back to the classic debate. What is really the main difference between East Coast and West Coast sounds?
InF-1: The East coast has a lot of underground. They don't really care about record sales or Grammy's, none of that. They just want people to know that they are nice. That they have sharpened their craft as emcees. The West coast is more Hollywood. They want to make the songs that will be in the clubs and people will listen to while they are in their car. The East coast mixed tape scene is like no other. Artists will sell thousands of mixed tapes and be happy with that. They don't have to change their style just to get mainstream. The West coast guys want that big deal. And being out in California, you are gonna bump into somebody. Whether it's at the club or the gas station, there is always the chance of meeting someone that will help you out. That's one reason why the West coast guys get the big deals.
PEV: You have become nationally known from your appearances on Fox's The Best Damn Sports Show Period and E!'s Daily Ten. How did you get involved with these shows?
InF-1: The Best Damn Sports Show was like a lucky break for me. That was the year the Piston's won the Championship and they wanted to put together a song for the NBA playoffs. They originally wanted Method Man and Red Man to do it. But they were busy with their sitcom for Fox and the details couldn't be worked out to do both. Well, my best friend since kindergarten was just hired with Best Damn Sports show. He heard they were looking for a rapper and dropped my tape off to the producers. They gave it a listen and thought I had a lot of great songs and a good style. So they flew me out there and I did a song for the playoffs. I started doing other work for them until there was some changes with management and the deal fell through. Well, the old executive producers with Best Damn was now working at E!. He called me and let me know about the Daily Ten and said he wanted me to do the same thing, just with celebrities. He wasn't sure how it was going to go, but when everyone heard what I came up with, they just flipped. Loved it!
PEV: How fun is it making up raps about different celebrities week after week? You must get tons of material from just the crazy stuff they do.
InF-1: The E! Thing is always fun. At Best Damn, a lot of people thought I would watch highlights, then make up a rap. But what really happened was I would make up a rap, do a rhyme about what happened during the playoffs and then they would cut the highlights reel around my song. On E!, they would send me a small paragraph about whatever celebrities, maybe 2-3 paragraphs, I'd take it and formulate it into a song. It's fun for me. It can be a challenge and it helps keep me sharp as a writer.
PEV: What is your opinion on the issue of downloading music for free from the internet?
InF-1: I've done it! I'm not going to lie! But I think one should only download something they know they would never buy. I'm a big mixed tape fan and a lot of these artist, the only place I can get it is online. As far as downloading a Jay-Zee album or a Nas album, I don't think it's fair because these are great artists that put a lot of hard work into their craft. I think the record companies need to do something. It's not right that some of these artists aren't getting big record sales. That's why everyone wants to be an independent now. It's kind of like, "What's the point?"
PEV: What is in your IPOD or your CD player right now?
InF-1: Right now I'm listening to Big L. Big L is like my favorite rapper. A lot of people don't know Big L because be was killed at a young age. He was one of the most phenomenal I've ever heard. And every Nas song you know, Jay-Zee, Biggie, Eminem, Outcast. A lot of early 90's stuff.
PEV: Who is an up-and-coming rapper or emcee you think people should take note of right now?
InF-1: You mean some people might not know about...you mean besides myself! I'm not there yet you know. But as far as other artists, I would say Royce Da 5'9". He was one of Eminem's, but they had some differences, but he is going to be a super star.
PEV: You do some producing as well. What's it like being behind the scenes as opposed to out in front, performing?
InF-1: I like being a producer and doing tracks because I like bringing out something from an artist that they didn't know they had. At the same time, I'm an artist first. I love being on the mic. Being an artist, that's what is in my heart, that's my first love. Being a producer, that is something I would like to do long term. I would love to be like Dr. Dre. To be 39-40 years old and make the illest beats on the planet...and not ever have to do a show.
PEV: Who would you like to collaborate with most?
InF-1: I would like to work with Kayne {West}. A lot of people here are real mad at Kayne, but I think we need another movement in this city. We need something to let people know that artist here can stick together and we can get some good work done. I think Kayne is a phenomenal producer and I think if we got together we would produce something special.
PEV: What's one thing your fans would be surprised to hear about you?
InF-1: When I'm not working, I'll still go to some of the most ridiculously bad areas of Chicago to hang out. I don't care. I still have fun just going out to certain parks and see people hanging out, having car shows. A lot of people, when the get to certain parts of their careers they don't like to go to certain parts of there cities. They don't want to get robbed or messed with. I don't want to live that life where I feel like I can't enjoy myself in my own cities. Some artists even have deals where they can't walking around certain places. I just like having fun where ever I go. Also, another thing people would be surprised to know, I'm the king of NBA 2K7 on the XBOX. If anybody wants some, they come get it. Nobody gets over me on that game. I'll take on all comers when it comes to that.
PEV18:What's next for you and your career? What do you hope to accomplish in the next year?
InF-1: Hopefully in the next year I'll have some kind of label situation. Right now I'm working on an independent album entitled "Formula." I'll still be doing my thing with E!. I hope to be doing that for a long time because I really like what I do with that. They've given me a lot of exposure and they have opened a lot of doors for me. I could never turn my back on them. I'm also trying to get involved with the movie industry. Anything outside the norm, we're working on.
PEV: Is it wrong to have a ridiculous crush on Debbie Matenopoulos?
InF-1: Everybody says that! Debbie is very attractive and we hung out a few days ago while doing some work on E!. We had a few drinks and Debbie is like the coolest girl on earth! Some people think she is super Hollywood, but Debbie is down to earth. She is like one of the fellas. She is also some one who wants to help someone out. She and Cat (Sadler) are very cool
For more information on InF-1, check out: www.Infinite-1.com
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July 16th and 17th: Sister Hazel
Recently I had a chance to sit down with Ryan Newell, lead guitarist for one of the most popular and original bands around; Sister Hazel. I first saw Sister Hazel live, in college at a downtown Baltimore (Maryland) outside venue. Going to the show, I knew a good amount of songs and of course the classic "All For You" was (and arguably still is) a college anthem. The one thing I didn't know about a Sister Hazel concert, were the "Hazelnuts", or die hard fans. I like to think I know a good amount about music and art, and I like to think that I can anticipate what usually goes on at a live show, but I just remember at that moment thinking I stepped into an entirely different world. EVERYONE knew the songs...ALL of them. Not just a few, not just the "classics" but if Sister Hazel left the stage and just played instrumental tracks, I am pretty sure the crowd would have covered the rest. Granted that wouldn't have made for a great show since the five guys who started out in an abandon trailer, driving everywhere it would take them, put on one of the greatest live shows I have ever seen. They do this without the effects of your average over budget-pop performance, those of which have electronic instrumental as the only talent on the stage...if you get my drift. This is due to the fact that Sister Hazel is comprised of musicians, who if they weren't selling millions of records would still be playing. One of the reasons why Sister Hazel has been able to remain so successful is because the band has one of the most on hands, interactive communities in music. They oversee every aspect of the Sister Hazel brand. From the cover art of CDs, to promotional photos, to the style of navigation bars on their website (which by the way, their site is state of the art). There must be five levels of "Yes" before anyone in the public lay eyes on it. Sister Hazel is also responsible for currently, four projects: The Rock Boat, The Rock Slope, The Hard Rock Park and Lyrics For Life. I was immediately blown away by the concept and goal of Lyrics For Life, which involves musicians and celebrities putting their lyrics and/or autograph down on everything from a pair of jeans to an airplane propeller. All proceeds going to benefit kids with cancer. All this hard work is for the fans, not because they have to...they want to. Where as other bands are content in their over the top celebrity status keeping them on the cover of various gossip magazines, Sister Hazel is only worried about making great music. The proof is in their recent release, BAM! Volume 1, which contains songs that were never released on previous recordings. Whether I'm working out to "What Kind Of Living" or lounging poolside, drinking a cold one to "Sail Away", BAM! allows the listener to experience the bands growth through the many years. Is it too early to wish for a BAM! Volume 2? Read their XXQs to find out more...
XXQs: Sister Hazel - Ryan Newell (Lead Guitar)
PEV: How and when did Sister Hazel start?
RN: We formed in the early 90s in Gainesville, FL. The four of us, everyone except for Mark went to University of FL and we were all in a couple of different bands. There was a huge scene in the southeast back then and we would always see each other in the clubs. We had all talked about forming a band but we all had other commitments at the time and Ken was doing a gig with Andrew, acoustic gigs and decided he wanted to put a band together, so he put up a flyer and our bass player was the first one to answer the flyer. Then little by little we all came into the band. We did all on our own without a major label for a long time. We got an abandoned trailer and traveled the southeast, took out a loan, made a record. Then we actually got All For You on a couple stations; Tallahassee Orlando and it was reacted really well and then a major labels started coming around...then we signed with Universal. That's basically how we got our kick start.
PEV: All For You was such a huge hit and everyone still loves that song, were you surprised about well it was received?
RN: The surprise came to us a lot earlier then when it was on the radio. We would play a whole set of songs before a crowd in a bar and everyone would react to that song even if they haven't heard it before. So we new it was really special before it was even released. Then it became a real cult classic in the southeast. Before the major labels even got a hold of it so we new that we had lighting in a bottle and we new that as soon as hit the airwaves it would take off.
PEV: What were the earlier days like of Sister Hazel? How was the first performance?
RN: I don't think there was a first performance that I can remember. I would jam with the guys in the band on and off again. For a while in the beginning there was a different drummer and he would play on and off. I want to say that we all played with this line up, around 1994 and it was great....we were all poor, riding around in this abandoned trailer...and we didn't really have a worry in the world. We all graduated from college, so none of us had to bail on school, although our bass player bailed on graduate school. So we all were just saying this is what we want to do. A lot of people take time off after college to find themselves and we decided to seek out what music could do for us...I guess this is exactly what we're still doing.
PEV: Speaking of that, was there a certain time that you thought, "it's rough but this is what I want as a career"?
RN: Yeah...we've all been playing music our whole lives, so its not like one day we decide to one day play music. This was an aspiration for all of us since childhood, so we were definitely going to do it no matter what. But as far as would last...everyone's got to pay the light bill, you know. We were just fortunate to have enough money to get by. Of course we had some success and sold a couple of million records and that bought us a couple of houses, so we felt worthy and now its just a blessing being able to play music and do something you love to do.
PEV: When you guys get together to write what kind of element do you prefer to be in? Is it outside, laid back, in the studio?
RN: You know we've done all the above. Typically the last couple writing sessions we've done the bass player Jett Beres and our lead singer Ken and I would meet at a hotel in either Gainesville, FL or Atlanta, GA, we would basically get together and see what happens. A lot of times things fall out or things work and that is where the best songs come out. But when that doesn't happen you just have to drudge forward and make things happen. Sometimes when we've done that and tried to force a song, at the end of a day you are tired and frustrated and you say to yourself there has to be an easier way to do this. And believe it or not a lot of our songs come at the end of the day after we've been banging our heads on the ground for a song that wasn't really working...someone will just pick up a guitar and start playing something and then a new song just shows up out of now where. Then you have to see it till the end.
The single on our last album, "Mandolin Moon" was that way. We've been working all day on a song that was going nowhere; it's the end of the day, I picked up a guitar and started strumming something. We started singing along and put melodies to it...those are usually the best songs. But we write all kinds of ways. Sometimes we'll each bring a song that we've written ourselves. Andrew goes to Nashville to write and we all collaborate with each other. It really just depends on the song.
PEV: How is the music on Bam Volume 1 different from any of your albums?
RN: Well BAM is interesting because it has a couple songs from the whole span of Sister Hazels' career. We normally write 40-50 songs per record and we'll put on a record 15 or 16 of those. So we have a lot left over. BAM is a group of songs that was left over from all the other records. Whether they were demos recorded or full blown studio tracks. The interesting thing about picking songs for a record is it doesn't come down to which songs are better then the others, it comes down to which songs go together the best to make a cohesive body of work. You can't have 12 ballads on an album. So over time we just had a collection of these great songs, then a couple of times one would leak out and our fans would eat it up. We just decided to put it all on one disk and put it out there. You can kind of see the growth of the band through the record.
PEV: Are we going to see a Bam Volume 2?
RN: Yes, I mean like I said earlier we overwrite and record for every record so I like to think that BAM will be a continued project for us. We'll just have a home for a lot of songs that didn't make the record.
PEV: Were do you find the creative force to make all these great songs? Is there a certain theme you tend to keep going back to?
RN: There are 5 writers in the band and that alleviates some of the weight to be distributed between us. Ken, our lead signer is the most prolific songwriter in the band. He writes songs that are very rapid pace. But as far as inspiration, we write all the time, so whenever the inspiration hits, you never know when its going to hit, sometimes it lands in your lap and sometimes you have to try harder. We constantly need songs so were constantly under pressure to always be writing.
PEV: I'm always fascinated by the creative forces. One thing I find interesting about the band, is the album covers; they are very unique and that is something that always catches my attention. How much input does the band have on the total package of the product?
RN: We've always been hands for anything and everything that has to do with Sister Hazel. I mean even when we were with a major label, when we shot "Somewhere More Familiar" which was a million selling record. We grabbed a buddy of ours who had a pretty decent camera and we were driving around and shot the cover of the album ourselves. We've always been hands on with our website we designed all our artwork we approve all the photos...we are very hands on from top to bottom. We are very much a democracy in the band, so everything for better or for worse, has to go through all 5 people before anything is ever seen.
PEV: One thing I the openness with your fans or shall I say the Hazelnuts. I actually saw a live show myself a few years back and the connection with the fans is overwhelming. How does it make you feel about the fan sing your songs back?
RN: I think that is one of the best feelings in this job. We all got into this to play music live and hopefully in front of a lot of people and when you look out there and see people singing your songs that got started in your bedroom, or started out in a hotel room, it is an amazing experience. To be for example in Deadwood, South Dakota where I am right now and have people come out of the woodwork, so to speak and hear them sing our songs and line up for our shows, it blows me away. The gratitude we have for that is that we are very accessible to our fans. We try to meet people, shake their hands, get to know them. We have an extremely busy online community that is always connecting the fans with the band. We also try to do events for our fans to try to create a lifestyle as well as people just coming to the show.
We have an event called The Rock Boat which is a four day cruise out in the Caribbean. We charter a Carnival Cruise ship, we do this every year. We've done 7 of them our 8th is this year. Basically it is us and 30 other bands. Collective Soul, Gavin DeGraw, Better Than Ezra have all done it (to name a few). People get to come on board and see the bands play, even free form jams. You can sign up through our site or Rock Boat.com and it usually sells out in a week.
We do a similar event in Colorado, called The Rock Slope, we do that once a year, which is the same principal, with a bunch of bands that get together, play for people. You can ski all day and watch music all night.
We are also involved in charities. Ken Block, our lead singer founded our charity which is called "Lyrics For Life". Basically an acoustic show that we bring a bunch of our friends that we've made throughout the years. We auction off hand written lyrics, anyone from Elton John to Motly Crue and they write their lyrics on pretty much anything. You can write it on a napkin, a surfboard, paper plate, whatever, we frame it up, auction it off and all the money goes towards stopping children's cancer.
We try to stay connected to our fans and give them lots of reasons for them to be a part of our lifestyle.
PEV: What's one of the more interesting objects that an artist has written lyrics on?
RN: Edwin McCain is a pilot and he wrote lyrics on a propeller. And of course we had records with lyrics on them...a couple surfboards, always a pair of jeans, lots of guitars. A lot of sports celebrities sign balls, jerseys and those kinds of things.
PEV: When you were playing in the colleges, Sister Hazel is a college cult classic. Which college do you think has the best fans? (Out of all the ones you've played).
That's kind of hard to answer. Each college is known for there own deal. I think just in general we love playing colleges because it is such an interesting time in somebody's life. They are trying to figure out what they want to do with their lives, what kind of music they want to listen to, what kind of job they want to have and if your there while they are making those kinds of decisions, hopefully you can become one of their long term go-to- bands. They're deciding who they want to marry in their personal life, and in a lot of ways they are deciding who they want to marry in their musical life too (laughs). You kind of settle into what kinds of music you want to listen to. Your parents aren't buying JayZ records, you know (laughs). They kind of know what they want to listen to at this point. Not to say that people stop forward motion but I think that you form a strong bond when you are there as a soundtrack for them at such an important time in their lives.
PEV: On the same note, in all your travels, is there a certain city that offers the best music scene?
RN: I think Austin is great. You can walk up and down 6th street and see 30 bands. It's an incredible music scene. The southeast in the 90s had an amazing music scene as well. And I think a lot of that had to do with the bars allowing for great music to come through and really put their trust in to the fans that they would fill these clubs up if they booked these bands. A lot of that has changed and a lot of these clubs have turned into rave and techno type clubs. So, as far as original bans and live music goes especially in the southeast scene for live music, it has been few and far between. It is pretty hard to do what we did then, which was just get in a trailer and go around and do it on our own. But you know, I think music comes together in cycles and I think that live music and people actually playing their own instruments will always be an appeal. It comes in and out of fashion and will always be there.
PEV: Just by watching Sister Hazel on stage, you can tell that you are all such good friends. But when you get some down time, alone what can we find you doing?
RN: First and foremost is to spend time with my family. The only downfall of this job is being away from home and being away from loved ones. So, there is a lot of catching up on quality time when you go home. You know, you have to remind your wife what you look like and sound like. As far as hobbies go, I am really into working out now, which is fairly new for me. Life as a musician, you are pretty much hanging out all night and that takes a real toll on your body, so am taking up exercising; biking and being active in the outdoors. Also, I like to paint. The problem is, the main thing...this may sound strange but I still love playing music. Even though I can be so burnt out from playing on the road but when I come home the first thing I want to do is grab a guitar and start playing. It's just something I've always done that it's really hard to stay away from. I have a studio in my basement, so I am always going down there mixing around and inventing new grooves, writing songs and experimenting with the equipment. That is my first passion, luckily I can make a living doing it.
PEV: Is there a certain band right now that we should all be looking out for?
You know, there are quite a few bands out there now who are really good. There is a band from Nashville called Flora. I've always run into people here and there, who may not have as much exposure, one of them being David Ryan Harris, he's the guitar player for John Mayer. He's got a long history of being in a band called "Fallen for Now". He's an amazing solo artist. I think everyone should check him out.
PEV: What is next for Sister Hazel?
RN: As we speak we are finalizing the mixes for a Christmas record for this year. And then probably early next year we are going to put out a live acoustic album from a tour we just did, promoting Hard Rock Park, which is a theme park being built right now in Myrtle Beach. We did a tour of the east coast promoting the Hard Rock CafŽ promoting the Hard Rock Park and we're going to mix them and put those out. Besides that we are constantly writing and constantly touring and trying to put out as much music as we can.
For more information on Sister Hazel, check out www.SisterHazel.com
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July 18th and 19th Jessica Wohl
I often get asked, "Where did you find this person?" I love when people ask me that because it means that we are showcasing people outside of the norm in today's pop culture and creative world. I think after today's feature I will be getting a lot more of that question thrown my way. I learned about Jessica Wohl after a colleague told me about this fabulous artist out of Kansas City. I trusted the source, so I took a look. To say I was extremely impressed is an understatement. The minute I looked at Wohl's work, some of my favorite artists came to mind, most notably Norman Rockwell, whose Saturday Evening Post paintings depicted every day people in America. As Rockwell once said, "Without thinking too much about it in specific terms, I was showing the America I knew and observed to others who might not have notice" (www.nrm.org
XXQs: Jessica Wohl
PensEyeView.com (PEV): How and when did you first get involved in art?
Jessica Wohl (JW): I was always inclined to drawing and creative activities more than competitive or athletic ones, but I began to draw seriously in 7th grade. Other people starting noticing and paying attention to my drawings, and when the popular kids came up to me and told me what I was doing was 'cool,' I just kept at it.
PEV: As an art educator, how has working with students affected or inspired your art?
JW: Other than practice, working with students is the biggest influence in making me a better painter. It's a never-ending journey, and it's such a fun ride, because I never know what I will take away from a class. I tell my students to not be afraid of failure, to experiment, that there is no wrong way of executing an idea, and when I get really hard on myself in the studio, I hear my 'teaching voice' echo in my head, and it's as if I've got a teacher breathing down my neck challenging me.
I am inspired most by preschoolers. As 'artists,' preschools operate 100% on instinct. They are not concerned with whether or not something looks 'right', or if something is the wrong color, is too big or too small, and you'll never hear a preschooler say "I messed up." They just attack their work. They go at it with such confidence, and most of their ideas have not been molded or corrected by adults yet, so they initiate such incredible responses to their materials and processes.
PEV: Nationwide you hear all the time that public schools are cutting funding for art classes. How does that make you feel?
JW: Ill. In fact, I was just speaking with a friend of mine who teaches art in a small town in Minnesota, and she told me they have cut 100% of the art programs in their Elementary schools. Can you imagine? Art is the one subject where there is no one right answer and it is one of very few outlets at that age for imaginations to thrive. Let me tell you, I've lived for a long time using simple 5th grade math skills; I couldn't tell you what units I studied in my elementary science or English classes, but I can recall every painting the picture lady brought to school, all of my elementary art projects, and what I learned from them. The creative processes I learned in school are what have shaped me into the person I am today, and it sickens me to think that schools are depriving our youngsters of these experiences. It basically tells children that like to draw, paint, etc. that those types of activities are not only useless, but not valued or validated.
PEV: What is your advice for kids who want to get involved in art?
JW: Grab a pencil and some paper and start drawing. Draw from your imagination and draw what you see. Train your eye to see: Be aware of what you ACTUALLY see, not what you think you see. If you can draw, and you can learn to see, you can create anything.
PEV: Explain your creative process. Sketch things out first? Go right to canvas?
JW: Lately, my ideas have popped right into my head without any need for me to work them out with preliminary steps. I haven't needed to think "what should I paint today," because I'll just get an idea, remember it or write it down, and then make it happen. For my current work, I start with a drawing on a primed, masonite (hard wood) panel. I draw an outline that places the objects/figures in the right space and proportion. After the line drawing is done, I use burnt umber paint (a semi-transparent dark brown) and draw and paint in all the details, laying down where all the darks and lights will be. While that dries, I draw the ornamentation in the background with line, and then paint over it or fill it in. While the ornamental pattern dries, I rework the figures, adding the full color palette. Then I add thin, dripping layers to the background in the final step.
PEV: What has been the hardest part for breaking into the art community?
JW: You know, I don't think it's been that hard. Kansas City's art community is closely tied to the Kansas City Art Institute, where I graduated from, and I've been fortunate enough to have a strong enough network of people that have helped put me in touch with contacts that result in shows. One difficult thing for me is that I'm pursuing a career as a painter, but I was not a part of the painting department at the art institute; I was an Illustration major, and typically painters and illustrators don't sit on the same side of the fence. It's been an unusual experience to be a painter in a community where I don't know many other painters.
PEV: Which city, outside of the US, has the best environment for artists? Also, do you find one in particular place that works best for you?
JW: I'm not sure about that. I'll assume the top two non-US cities are Paris and London, though I've never been to either. I'm fine working anywhere, as long as there is a conducive studio environment.
PEV: What is your preferred medium to work with and what is it about that, you find a connection with?
JW: I work with predominately with oils. I love the versatility, the texture, the creaminess, and the way the medium can be worked very thick or thin. When you mix oils, the dried color is true to the wet color, as opposed to acrylic paints that dry darker than the color you see when you mix them.
PEV: What do you say to the people that don't quite "get" or don't appreciate art?
JW: Well, you win some you lose some. I think it's fine that people don't get or appreciate art. I typically find that the art people don't get or appreciate is the art where an inherent talent cannot be seen, i.e. a solid red painting, or a pile of trash in the corner. Typically 'non-artists' are impressed by works that display a skill that they don't have. When someone says, "I could have done that" or "I don't get why this is art" I try to explain to them that more often that not, it is not the final product that manifests the 'genius' of the artist, rather it's the idea the artist had that led to a final piece. The piece is often just a physical manifestation of the thought, or rather, proof that that person thought of their idea. It's not necessarily a work where someone is out to prove how talented they are. Most of this work also has its place in art history, so I try to put it in a historical context. But don't get me wrong, I've seen plenty of crappy art that I look at and say "I don't get it," because there are tons of artist/art students out there making poorly thought out piles of shit.
PEV: If you could sit down for dinner with one artist, alive or deceased, who would it be? Why?
JW: Oh gosh, I don't know. Jenny Saville, Francesco Clemente, Alberto Giacommetti, John Singer Sargent, Toulouse-Lautrec, Degas, Lucien Freud, Burton Silverman, Alex Katz, Moshe Gat, Chuck Close, Warhol. Don't get me wrong, I wouldn't turn away a dinner with any artist who's got some kind of presence in the art world.
PEV: What is one thing people would be surprised to hear about you?
JW: I'm in love with pop music and I drive a minivan. I guess that's two things.
PEV: What do you do when you hit that "brick wall" and feel like a project isn't working right?
JW: Let out a large yell/shrug and wipe the painting completely away.
PEV: Describe the feeling the first time you walked into a gallery and saw your paintings displayed.
JW: Well, my work's been displayed in many shows all through school that weren't such a big deal, but last year I had my first solo show in a large venue with my name in vinyl on that wall...that was really the highlight for me, getting my name in vinyl. Ha. But it was a feeling of pride, and in this particular show, I'd painted some elderly friends of mine, all of whom attended the show. It was an amazing feeling to see these people, some of whom could considered abject, standing next to a painting of themselves feeling like the stars of the show. People were paying so much attention to them, and that was the best feeling.
PEV: What was it like when you realized that you wanted make a living in the arts?
JW: Liberating. While many of my friends struggled to find a major in college, I always knew exactly what I wanted to do. I've never worried that I'll have to have a job I hate, and know that I never will. I will only do what I love, and will live within my means so that I can do it. I'm not a starving artist, and I revel in the fact that I'll never have to work a day of my life in a cubicle.
PEV: What is a normal day like for you?
JW: Normal? Ha. There's no such thing as normal. I teach at 3 schools, am a program director for a synagogue, and paint in the studio when I'm not doing either of those jobs. I bounce around between all those things at all different times.
PEV: A lot of artists listen to music when they work. Do you? If so, what are you currently listening to?
JW: I listen to music, sing and dance when I paint. Oh gosh, I have what most people would arguably call terrible taste in music, and am well aware of this, but right now I'm listening to Lily Allen, Damian Rice, Justin Timberlake, Kelly Clarkson, and many other teeny-bopper songs. But I do love classics like Johnny Cash, Ella Fitzgerald, Ray Charles, etc.
PEV: Which do you prefer to do, an original painting "for yourself" or a commissioned piece?
JW: Original painting for myself. I'll do a commission, but I'm starting to get pickier and pickier.
PEV: What do you do when you are not painting or teaching?
JW: I'm an email junkie. I love my email. I check it many times a day if I can. I like to eat too.
PEV: Is there one theme or aspect behind your work you find yourself always looking to?
JW: My family history is really rearing its head in my work lately; you'll probably see a lot of my family in my work for awhile.
PEV: So, what is next for Jessica Wohl?
JW: In August I'm moving to Athens, GA to get my Masters Degree in Fine Arts from the University of Georgia.
To find out more on Jessica, check out: www.JessicaWohl.com
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July 20th and 21st: Michael Terry
We all have that one friend in our group that is funnier than everyone else. The friend, who when their names comes up, it is usually followed by the phrase, "The funniest person I have ever met, seriously!" I'm not talking about your buddy who gets wasted every time you go out and is constantly making a fool of himself but the smart one. The one with the one liners that always sting the most, the one who always knows when and when not to point out something embarrassing about a situation, the person you ask to help you write a witty wedding toast. As well, that person is usually the one you can't help but wonder, "what if they decided to do something with their talents?" Now I don't know any of Michael Terry's friends or the group he hangs out with, but I can't imagine him not being the funniest one. He won't admit to it, that wouldn't be his style. He'd probably just make a joke that somehow or another makes you sound stupid for even assuming that...and still you can't help but laugh. We all know this person, and you maybe reading this, you are that person. Regardless, Terry's comedic career is on the rapid up rise. As I reviewed my notes for Michael Terry, I imagined all the smart remarks that would come my way...I'd be eaten alive, I thought. Luckily however, Terry went easy on me, only leaving me with a few embarrassing scars, even when he takes shots (no pun intended) at my hometown of Baltimore, Maryland. "Baltimore, a town that coined the slogan [The City That Reads] to shake its reputation as a drab, crack-addled hellhole." I had no good comeback...and I had to laugh. Michael Terry, as you will probably think as well, looks like a younger Steve Carel CHECK SPELLING and performs with the intensity of a seasoned Broadway showman; wit, charm and charisma. He says that he was pushed into the comedy scene after a friend's encouragement but then realized comedy was his true passion. He helped create the comedy trio, Party Central USA (PC USA), which has performed around New York City to sold-out audiences, been seen in comedy festivals and even appeared in an MTV2 television commercial. On large note on their success is PCUSA's videos have been featured on iFilm and vmix.com, totaling more than 100,000 views. Terry and PC USA are and intricate component to bring back smart comedy; the kind of comedy where curse words are not the basis for all jokes and derogatory terms are not the punch line. Don't get me wrong, PC USA love to poke fun at all aspects of daily life but when done right, you can see where the real art lives. Intelligent comedy writing tends to get in our pop culture, thanks to reality shows where producers, thanks to clever editing, make us laugh at a plastic celebrities and their casual misuse of everyday terms and exploiting their lack of talent, allowing us to laugh at them not with them. The opposite is to be said about what team PC USA is doing and time will only tell when PC USA is a standard on national television. I laugh louder every time I watch his work. Every time I notice something different that I missed before. Lucky for me, I know that Terry and PC USA will be around for a long time to keep me heavily entertained.
XXQs: Michael Terry
PensEyeView.com (PEV): How and when did you first get involved in comedy and writing?
Michael Terry (MT): While a lot of the comedians I know got started young Ð in high school or college, I was much later to the game. Four years ago a friend of mine urged me to take a sketch writing class. I kept refusing, but she was persistent. So I finally gave in Ð mainly to get her off my back Ð and ended up taking a class with Kevin Allison from The State on MTV. It's hard to explain how strange it was to unexpectedly find something that instantly became an all consuming passion. In a matter of weeks, comedy became my second full-time job.
PEV: Tell us about your first standup performance.
MT: My first standup was at an open mic at an ironic tiki bar in New York's East Village called Otto's Shrunken head. It was at 6pm and there were only five other people there, all comics waiting to try their stuff. It was brutal Ð nobody laughed at anyone else, either because they were still memorizing their material or because sometimes comics just don't laugh at other comics. Standard open mic. I was so focused that, when one of my jokes bombed, I lost my train of thought, and everyone had to wait while I pulled out a paper with my jokes written on it to finish out the set. Talk about the sounds of silence...
PEV: What is the New York comedy scene like and what are the best and worst aspects about it?
MT: As you'd expect, New York has a pretty robust comedy scene. It's amazing how many venues there are to go and try or see comedy. The best aspect is the amazing array of talent. There are so many excellent and often unappreciated comics out there. What's the worst part? I suppose I continue to be surprised at how frequently dick jokes and pure shock humor are considered "edgy." I'd rather have an audience member say "That was hilarious" instead of "I can't believe he said that." I think there's a word for it - oh, yeah "na•vetŽ."
PEV: I may regret asking this, but what was your favorite part about growing up in Baltimore and how has the transition to New York been for you?
MT: The best part about growing up in Baltimore were the slogans the tourism board came up with to try and convince people to come visit a city that is best know for its hard core crime (and resulting crime dramas like Homicide, The Wire, The Corner). My favorite was "Baltimore: The City That Reads." Of course the best part about this is the unspoken lead-in, as in: "We know you probably think we're illiterate crack heads, but actually we're...the city that reads." I lived in Tokyo for five years prior to moving to NYC, so I'd already lost any sense of personal space. That said, people in Tokyo are much more polite than the average New Yorker, and a lot more Asian.
PEV: Tell us about Party Central USA. (who they are, how did they form, etc.)
MT: Party Central USA formed out of the sketch class I mentioned. The three of us gelled right away. Mike is an advertising creative and Bri is a publicist in publishing. We all have an extremely dark sense of humor, but love to wrap it up in a cheerful package. With PC USA you'll see a lot of humor about the weird or bleak moments of daily life.
PEV: How is working/writing with a group, like PCUSA different from your solo performances? Which do you prefer and why?
MT: Writing with a group is great because of the different viewpoints. Three minds are better than one and you get immediate feedback on how funny something is. With standup you usually don't get feedback until you're onstage. Group writing takes longer, because there are invariably disagreements, but I think you get to a finished product faster. Performing as a group is a little less stressful, with standup all the pressure is on you and you alone Ð which is, of course, part of the thrill. At the end of the day they're both fantastic ways to get the attention and approval you missed out on as a child.
PEV: What can we expect from a live Michael Terry performance?
MT: About 67% of the time people mix up my names, so you might actually get a Terry Michaels performance. In sketch I'm usually playing some kind of insane or delusional person. As a standup, I'm kind of a nerd and I talk like one. You'll probably hear words like "juggernaut" and "molybdenum."
PEV: Who were some of your comedic influences and why?
MT: I love clever comics Ð nothing's better to me than really sharp material that's well delivered. For standup I'm a huge fan of George Carlin. His ability to deliver social commentary without being heavy-handed, while seamlessly sliding in good old observational humor is amazing. His focus on language is fantastic. I worship at the altar of deadpan, and Bill Murray has been an influence for a long time. Stephen Colbert has inherited the mantle Ð one of the greatest moments of my comedic life was making him laugh by asking him earnestly who invented the umlaut. For sketch I used to watch Mike Meyers on SNL Ð Sprockets was a favorite, and later Wayne's World. Christopher Guest is a legend, and his form of deadpan absurdity is a genre all its own.
PEV: In your opinion, what is the single greatest comedic movie of all time and why?
MT: Rushmore with Bill Murray and Jason Schwartzman. Wes Andersen manages to create these incredibly rich, oddball characters that we love and invest in completely. And his attention to detail is meticulous Ð Max's notes in the hymn book while Bill Murray is railing against the elite (Rich kids Ð bad? Best chapel speaker I have ever seen). Hilarious. I'd argue it's Bill Murray's greatest performance, and his chemistry with Schwartzman is incredible. As for Schwartzman, I can't imagine anyone else pulling off the role the way he did Ð faux cosmopolitan, perennial over-tryer and underachiever Max Fischer. Perfection, for me at least.
PEV: Which comedian on the scene today should we be looking out for?
MT: John Mulaney is a shooting star as a stand up. Sometimes you see someone perform and you can't help but think "That person has IT" Ð that mix of talent and charisma that can't help but lead to fame. He's been on Conan a couple of times, and I suspect you'll be hearing his name a lot more. Matt Higgins is a longstanding improviser here in NYC whose one man shows are so incredibly original and hilarious, it's hard for me to understand why he isn't more famous.
PEV: How has the internet and "online exposure" impacted the success or promotion of comedians?
MT: Everyone is gearing their work toward the internet. This is great because 1) it allows comics to deliver their material to a huge audience and get the recognition they deserve - quickly and 2) YouTube has single-handedly lead to a golden revival for sketch. With so many websites and outlets, the demand for original content has never been higher Ð this is great news for comedians. And there are some real talent discovery stories. That said, because anyone can post anything, you have to sift through a lot of material to find things you like. It also means people have incredibly short attention spans Ð most sites won't promote sketches that are longer than three minutes.
PEV: What do all your family and friends think about your comedic career?
MT: My family is horrified that I'll quit my day job for comedy. My friends are split between those who think I've finally found my calling and those who think I'm insane. Actually, those groups overlap sometimes.
PEV: Which city to do feel offers the best environment for good comedy?
MT: While I know I'm expected to say New York, Chicago has a pretty amazing comedy scene. Second City was the seed for a comedy culture that is not only deep, but perhaps the most tightly knit and supportive that I've seen. I love performing in Chicago.
PEV: What do you find to be the best source for material?
MT: Real people. The funniest ideas and moments come at the strangest and most unexpected times in daily life. Or when I make a social blunder. Which is often.
PEV: Is there a certain atmosphere you surround yourself in when you write your material?
MT: I can only write comedy if everything in the room is swathed in white Ð white leather couches, white linen draperies, white lilies in white vases, etc. Also Air Supply or an Air Supply cover band must be playing.
PEV: What is one thing we'd be surprised to hear about Michael Terry?
MT: I speak Japanese.
PEV: When you are not writing or performing, what can we find you doing?
MT: The New York Times Crossword puzzle. Going to movies. Trying to figure out whether there's a God and if (S)He loves us.
PEV: What is currently on your iPod or in your CD player right now?
MT: Idlewild Ð the band, not the Outkast movie, Neutral Milk Hotel, a customized One-Hit-Wonders-of-the-80s mix that would make your mind implode
PEV: So, what is next for Michael Terry?
MT: Fame. Fortune. Several appearances on MTV's Cribs. Drug addiction. Novelty pets and/or cars. An E! True Hollywood Story that contains the phrase "Just when he thought he'd hit rock bottom Ð the bottom fell out." For more information on Michael Terry, check out: http://www.michaelterry.com/ and Party Central USA at www.partycentralusa.net
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July 22nd and 23rd: Luka Bloom
A true musician has one goal when they write a song, walk on stage, or sing in a packed concert venue. The definitive high, the ultimate achievement, is to be able to produce a song that truly affects a listener. To piece together a tune that means something in the lives of music followers around the world is a feat any artist dreams of. Most go through careers, long and short, without ever realizing such a dream. Luka Bloom of Ireland however, is not one of those artists. The folk-rock sound of this Newbridge native allows him to take over a crowd with only his words and his guitar. The first time I heard, "I Am Not At War", I was surprised and fascinated by the simple yet significant message of the song. I fell asleep that night with Bloom's words echoing in my head, "We could live as one / Between the sea and sun / I am not at War with anyone". Even with such wonderful talent, Bloom still remembers, the best part is the privilege of singing for people.
Luka Bloom has been playing in front of captivated crowds since he was 14 years old and has played with The Pogues, the Violent Femmes, The Dixie Chicks, Hothouse Flowers, and The Cowboy Junkies. This singer-songwriter continues music today with his latest release, Tribe. It is a collaboration with Irish composer Simon O'Reilly, and a bit of a departure for Bloom. Bloom's unwavering dedication to his craft and his sound is hard to find in today's music industry, and it's our privilege to witness it. Read his XXQs to find out more.
XXQs: Luka Bloom
PensEyeView.com (PEV): How and when did you get involved with music? Luka Bloom (LB): I grew up in a house of songs. Our mother encouraged us all to sing. I sang in a Christmas concert when I was 7 in the local cinema. The song was 'my singing bird'. Its been downhill ever since...
PEV: Coming from a family of singers and songwriters, did that have a large impact on your music?
LB: Yes, though I was the first songwriter in the family...But my brother Christy's singing and the people he introduced me to was very influential to me.
PEV: Describe the feeling of stepping into a recording studio for the first time.
LB: It was Keystone studios in Harcourt Street in 1977, and I was recording my debut record Treaty Stone. Christy was producer, and the engineer was Brian Masterson, who has since recorded many of my records. The feelings were a mixture of excitement, fear, respect, and a strong sense of privilege. Not many people got to make records in Ireland those days.
PEV: Was there a certain moment or time when you said to yourself, "music is going to be a career for me"?
LB: I was about 15. I was in a trio in school with my brother Andy, and Pat Kilbride. We were called Aes Triplex, and got into the final of a talent contest on TV called Reach For The Stars. But in truth from the moment I wrote my first songs it was inevitable.
PEV: Tell us about the "beginning years" of Luka Bloom, when you toured with older brother, Christy Moore, at only fourteen.
LB: From a very early point in Christy's career it was obvious he had the ability to command the attention of people. I really saw this when I first traveled a little in England with him in the mid 60s, going around folk clubs watching him work his magic
PEV: What can people expect from you latest release, "Tribe" and how is it different from your other albums?
LB: Tribe is a big departure for me. It is a collaboration with Irish composer Simon O'Reilly. Simon created most of the music on the record, providing me with the backdrop for songs in a very different mood. It has been a gorgeous project, allowing me to be a singer without guitar for many tracks, and for the first time. I love the sound and the atmosphere of the record. It's important to be challenged, and to attempt to create outside one's comfort zone from time to time.
PEV: You have traveled and performed all across the world, so in your opinion, which city offers the best environment/appreciation for music?
LB: Tough one, and unfair to the cities omitted. I have found myself at home in rooms in many places...If really pressed, I guess I have to say New York, because it was there in the late eighties and early nineties, where doors previously closed to me were suddenly burst open; and the journey I've been on ever since truly began there. Every time I return to New York, I feel a deep need to simply say thank you for giving me a true sense of possibility in my songlife.
PEV: Is there a certain atmosphere or environment you surround yourself in when you write music?
LB: Solitude, quiet, detachment, otherwise I won't get started....
PEV: What drives you to continually create music?
LB: The insatiable desire to write a truly fantastic song, and the reward of getting to sing it for people.
PEV: What do all your friends and family think about your success?
LB: Pretty stupid question if you don't mind me saying so, only because the answer is pretty obvious yes?
PEV: How has life on the road been for you? LB: Life on the road is normal for me, because it is what I've done for most of my life.
PEV: And what is the best and worst part about "road-life"?
LB: The best part is the privilege of singing for people, and the worst part is the post 9\11 insanity in airports. The worst parts are diverse and numerous, but always worth it, because of the simple truth of the best part....
PEV: If I were to walk into your house/and studio right now, what is one thing I would be surprised to find?
LB: Normality.
PEV: When you are not traveling or performing, what do you like to do?
LB: See my sons, my family and friends. Sleep, walk, sleepwalk! Drink the delicious tea never found on the road.
PEV: What can someone expect from a live Luka Bloom show?
LB: 100%.
PEV: What is the best part about playing live?
LB: Everything.
PEV: What kind of places do you prefer to play; large venues, smaller clubs, etc.? Why?
LB: Big, small, round, square, rectangular...the only thing they have to be is full.
PEV: You have worked with many of the top artists in the business (The Pogues, Violent Femmes, The Dixie Chicks, Hothouse Flowers, The Cowboy Junkies, to name a few). If you could collaborate with one artist, living or passed, who would it be and why?
LB: Why do Americans say passed instead of dead? Someone 'passed' has just walked by; someone dead is....dead. Anyway, I'd love to have worked with Miles Davis, because it would have frightened the living daylights out of me, and would have taught me in ways I can't really imagine. I'd love to sing with Sinead O'Connor again, because the one collaboration I had with her was simply sublime.
PEV: Who do you think is an artist to watch for on the scene right now or you think is on a fast track to having a long career in music?
LB: Sabrina Dinan is an Irish singer who has toured with me for 2 years, and makes everyone incredibly happy wherever she sings with me. She is the most successful opening act I've 'ever known, and will be singing her songs worldwide for a long time.
PEV: What's one thing the fans would be surprised to hear about Luka Bloom?
LB: I like Desperate Housewives.
PEV: So, what is next for Luka Bloom?
LB: Bed. Goodnight.
For more information on Luka Bloom, check out, www.LukaBloom.com
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July 24th and 25th: Rocco DeLuca
I'm always fascinated with the way people explain their reasons for becoming musicians. Some say they just fell into it, needed a new hobby or heard a song that mad