DEANNA DEVORE

>>>>> How was your disc release show at Schuba’s  for Half & Half, your 3rd release?  It was a super great show! The turn out was really good and so we had lots of energy on stage.
>>>> What is your live format in terms of instrumentation? has that evolved over time?  The live instrumentation is electric guitar/vocals, backup vocals, bass/synth, wurlitzer/synth, live drums/electronic drum pad and a laptop playing some tracks from the recordings. It has evolved over time…I had a hard time over the years recreating the sound of the recordings live and my current live arrangement does just that. I’m really happy with it.

>>>>>> How do you get in the right head-space to perform? do you have a ritual at this point?  Alcohol… kidding. I try not to over think it, because it’s when I do that it causes me to second guess things. I have so much to think about while I perform – between playing guitar, singing, pedals, live looping etc. It’s hard to not get in my head.

>>>>> What’s the biggest high for you:  writing, recording or playing your stuff for an audience?  I’d say the writing/recording process. Playing is great too, but writing is really where my passion lies. When I record, it brings the songs to life, and I like seeing how the song transforms from the bare bones where I started, to the song after production.
Did you have a goal in or specific approach to recording the new songs?  This album is called half and half because it features two different production styles and a spectrum of sound – from electronic to acoustic. Half the songs are more electronic, while the other half are more acoustic. 
>>>> The production on each track is stellar and concise: how do you know when a song is done?  Production is a big part of what I do in the studio since I’m mostly self-produced (some tracks from the new album had additional production, but most of them were produced myself). It depends on the individual song, but sometimes the song goes through different production/directions until I get the right vibe from it. That’s usually the case when it’s a song that was written on guitar and then I end up making it more synthy/electronic in the end. Other times, I know right away what sound I want from the time I’ve written it. Production is fun because it can really make the song come to life.
>>>> With the file sharing as the life blood of social media, and the widening gap between talent and compensation, what drives you to do this? Things have definitely changed over the years, but it’s important to keep up with the times. I just want to get this new music out into the world.
>>>> Today artists are in a way forced to see each tune as an island onto itself that can stand alone as a promotion: do you think of the songs as individual pieces or as part of an overall statement that is the album?  Hmm I’d say both. I think they can stand alone but also be heard in the album as a whole. I had released 3 singles previously, before the album came out, so maybe that’s why I feel that way.
>>>>>> What were the first few albums you picked up as a kid? are they essential to who you have become as an artist?  I remember my first albums as a kid were Ace of Base and Green Day, but I don’t think there’s an overlap there haha. My taste has definitely changed since then.
>>>>> If you envision yourself on stage in an arena sized venue, what role do you think theatrics would play in delivering your music?  I think there could be something cool in a visual component being added to the live sound – especially at such a massive venue. Not saying dancers etc but I mean more in terms of a screen with images being shown, tying in with the music.
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RON WEIMER @ BUCK LAKE RANCH

——— How did you originally get the rock & roll bug? What music did you hear in the house growing up?  My Dad listened to Bluegrass & Country. The Statler Brothers, Flatt & Scruggs, Johnny Cash, Alabama, Oak Ridge Boys. Watched Hee Haw! My Brother listened to Kiss, ELO, BTO, Foghat, Peter Frampton.

———— What was the first record you ever bought and how does it grab you today? Boston, Don’t Look Back. Still love it but it is considered Classic Rock now.

———- Since you don’t actually play an instrument or sing (outside of the beer tent or car), how do you explain your love affair with ‘Outlaw Country’ to new friends?  Just love Johnny Cash, Merle Haggard, Hank Williams Jr., Willie Nelson style more than ever because Nashville has always dissed them thus become the “Outlaw” term. Today, Nashville created Pop Country thanks to Scott Borchetta and changed Country music. You either love Pop Country or hate it. The hatters love Outlaw Country. I really love the new Outlaw Country artists Chris Stapleton, Sturgill Simpson, Cody Jinks, Jamey Johnson etc.

——— Who is on your shipwrecked island playlist today?  Sturgill Simpson, Chris Stapleton, Marcus King, Billy Strings, Government Mule, Doyle Lawson & Quicksilver.

——— Was your first concert experience really Alabama at Buck Lake Ranch?  Yes, I went with my Family in 1982. I remember every moment so well and even still have pictures from my photo album.

———– You’ve spent a good deal of time & love now revamping Buck Lake Ranch, once the ‘Nashville of The North’. What color can you share on the lay of the land for Midwest promoters in 2018?  Cut throat more than ever. People just do not realize the cost to put on a show these days. There are a couple big promoters who keep driving the costs up to try and keep small guys out. They buy massively which keeps their costs down.

———– You cut your teeth as promoter of the highly successful, annual BBQ, Blues & Bluegrass Festival in St. Joseph MI over the last 5 or so years, how does that experience inform your belief in and approach to the revival of Buck Lake?  Well as any promoter knows, it takes 3 years to build something out and become profitable. We are so excited for Buck Lake Ranch because of the Rich music history it already has. It has been awhile since Buck Lake has had anything going on so 2018 is going to be the “ Come Back” year. We have over 75 local, Regional & touring bands booked for the season. We have created our “Jammin in the Bowl” Series to be held every Saturday from Memorial Day to Labor Day. We have Blessing of the Bikes & Abate biker rides to The Ranch. We created the Americana Music & Arts Festival & many more events to come.

————- What new artists are you keeping an on eye for future festival plays who you’d love o see at Buck Lake someday soon?  First and foremost, Jake Kershaw. The kid is another amazing Blues artists who will be on everyone’s radar real soon. As you know, I have been following Marcus King to stardom and Jake is right behind him. Jake has a new CD “Piece of my Mind”, everyone should go buy! Also, a young lady Erin Coburn who also has a new CD “Queen of Nothing”. These are two very amazing young artists who you will see on the legendary Buck Lake Ranch Bowl Stage real soon. 

———— If you could book a dream 3 band bill, to be broadcast worldwide, dead or alive, who would be on the bill and what’s the ‘theme’ as you see it?  Well right now it would start with the Eagles. I am a huge Glenn Frey fan God rest his soul, but I just am also a huge Vince Gill fan and I love the current sound. Next would be Stevie Ray Vaughn, a man who had a relatively short career in just 7 years but made a massive impact on musicians worldwide. Third would be Hank Williams Sr. To most it may seem like a strange lineup but it goes with my love for versatility. As a promoter & music fanatic, I love many styles of music. So I love to bring in different styles from Blues, Classic Rock, Southern Rock, Outlaw Country to Indie, Progressive & Traditional Bluegrass, Folk & Jazz.

————– If you ever did become a musical artists, what would you call yourself and what song do you cover your first time on the Grammys?  That is a tough question to answer. Music is written about life experiences, tragedies, heart breaks, failures, successes and so on. So thinking along those lines, I would name my band Gullible. I have had a life full of challenges because I was over trusting, deceived, believed if someone gave me their word they would stand up to it. Not so anymore, you can trust no one except for a few closest to you. As for a song, Chris Stapleton is my favorite song writer. I would sing “Tennessee Whiskey” on the Grammys. Also, “Nobody to Blame” by Chris as well.

THE NEW ZEITGEIST

——- Duo musical couples seem to be rarer and rarer these days, was the potential to work together on music part of what brought you two together? 

Eddy: The first night we met was at a singer/songwriter open mic in Wrigleyville. Jen was expecting to meet a friend. That friend never showed and I eventually offered her my guitar so that she could perform after she noticed me performing and turning her way from two feet away over and over. After some good conversation, I offered her a ride to the train station downtown since I lived close to there. I mentioned that we should make some music together sometime and she gave me her MySpace card. The rest is history.

Jen: Strictly…at 1st J Eddy also possessed the alluring quality of a man of culture. I wanted 2 things in a man that were not easy to find:  1.) Finding a rock star to do music with 2.) Marrying the musical rock star

—————- Your personal musical influences seem as incongruent from one another as possible yet they find a comfortable balance with The New Zeitgeist, did it take time to develop its cohesion or was it immediate? 

 Jen: Ha, really?  There was immediate chemistry, yet as we explored places we had never been between his twangy-blusterous grit and my tailored velvet, our songwriting individually wandered untested roads, and our sound became more intimately entwined.  I suppose what helped our unlikely and risky launch is the somewhat later exploration in my 20’s of my personal music taste and, therefore, probably the largest genre evolution out of the two of us.  For me, mostly Church Gospel songs to uh, rap and punk in middle school, then indie folk, and finally, what we identify loosely as roots/Americana now.  I was definitely at a point in my music where I wasn’t being challenged creatively and feeling a musically plateau as a solo artist just before we met.

Eddy: Jen had such a remarkable natural ability to sing amazing harmonies. When we met, I was asking her to accompany me on my old material and she made it ten times better! She was working on her sound at the time and wasn’t sure she wanted to abandon that and start a new band. We started the first album in the summer of 2103 and released it in December of 2014. That was The New Zeitgeist. We met as acoustic artists but she had encouraged me to return to playing electric guitar and, I couldn’t have been happier getting back to my rock roots on our second album which was released in summer of 2017.

————— How does the writing process work for you? does it vary song to song? 

Jen: I’m really great at listening for arrangement and structure (Evaluating Eddy’s songs), but Eddy’s also greatly improved the musical riffs of my songs. I’m currently trying to expand my writing process beyond waiting for the inspiration of that flaky muse, but traditionally it’s very lyrically dominant for me and the melody drives the song.  The voice creates the music and the instrument, many times comes later.  Since my main instrument is my voice, I feel if you have a strong melody you have a strong song.  We’re also opening up our songwriting experience to collaboration in smaller ways, but not necessarily co-writing.  We’re both very dominant songwriters and I think it’s an intimate and personal experience for each of us.

Eddy: I am not at all disciplined as a songwriter. I listen for the music in my head. Either I will find a hook or a riff that I like, or stumble across one while practicing guitar. It may be a thought or an idea. I think choruses are meant to connect with. If I find one, then I try to write a song around it. I do enjoy using a word processor, using word documents to create a poetic structure, and then filling it in around the hook. I still will write down a phrase on a piece of paper if it comes to me. When I was at NIU in the late 80’s, I had the privilege of attending a poetry workshop with the legendary Gwendolyn Brooks. I read a song of mine to her and she responded with something I have taken to heart until this day. ‘Revise, revise, revise.’ I try to practice that.

————— Is there a tune of yours that you feel is the quintessential representation of who and what you are?   

Jen: Definitely “Desert Rose,” since it’s the most original on lyrics and music, and a classic sappy love tune. I never wrote a personally real or convincing love song before that, and also pushed myself to write outside my genre zone of comfort—an ode to classic country. 

EddyOf my songs on our recent album, “Myths and Mortals”, I have a difficult time choosing one.  I think it has to be “Lack of Linear Thought”. It is my 60’s dream pop song. The cast of characters playing on this track includes Alton Smith on the Farfisa, whom I think takes it over the top! I was playing though a sweet little vintage Supro amp on most of the album and made the most of it on this track, too!

—————- The New Zeitgeist has a lot in common with the late 60’s folk movement in terms of lyrics and messaging: were your parents hippies? What did you grow up listening to in the house? 

Jen: My Dad was definitely a “Jesus Hippie”!  Definitely no for my mom!  They were opposites musically as he would have the oldies playing in the car and he was especially a lover of classic folk like Dylan while my Mom preferred Italian opera.

EddyMy dad was definitely not a hippie, but he did appreciate the pop music of the 60’s era. His favorite groups were The Everly Brothers, The Righteous Brothers, The Ventures, and The Animals. He would say that once The Beatles went to see the Maharishi they became too “out there” for him. I remember my parents having Elton John’s Greatest Hits, Jim Croce, and the red and blue vinyl Beatles Greatest Hits. The blue album, which included “While My Guitar Gently Weeps”, was my favorite, of course! My mom and dad listened to the radio with us a lot throughout the 70’s and the 80’s. My mom wasn’t a hippie, either. She liked to dance to good music and we would watch American Bandstand. Her favorites included Bob Seger and the Silver Bullet Band. On a further note, my grandfather was an accomplished accordionist and he performed with my father on drums at VFW halls around the SW suburbs. We would hear them practice often and that would include hearing a lot of polkas and waltzes. I loved it! Hearing that made me want to make music, too!

—————- Would you guys ever consider expanding the presentation to include a full band and, if so, what would be your instrumentation wish list?   

Jen: Oh, yes! The recent album Myths and Mortals (2017) was the real creative impetus for our dream instrumentation at every turn.  The opportunity to work with some really great Chicago musicians, including Gerald Dowd (drums), John Abbey (bass), Alton Smith (organ), Nora Barton (cello), and Austin pedal steel extraordinaire Lloyd Maines, strengthened us to be tighter musicians and more intimately entwined as a duo.  A lot of those songs inspired Pedal Steel, Bass, and Percussion to be added to our duo’s mandolin, acoustic, and electric, but I can see also stripping it down to an even more simple roots package with an upright, chains/rattles, and dobro.

EddyFor me, there is nothing like playing in a great band situation. Jen was very conscious of the different sounds she wanted when planning ‘Myths and Mortals,’ and those included a rhythm section. She insisted on the pedal steel and after hearing the initial takes in the studio, I was convinced of almost every idea she had. Playing with the truly great musicians that performed on “Myths and Mortals” was a dream come true and I would wish to bring them together again in the future if possible.

——————— What were the first 3 albums (for each of you) you purchased as a kid? Which is the best? 

Jen: I probably didn’t purchase my own music until I was 12.  My very 1st, ahem, (cassette!) was The Beach Boys’ “Surfin’ USA” with the cartoon cover…I mean, hey, I grew up in Florida. J Then to CD’s, Grammatical Revolution (1999) by Christian hip hop group named Grits, and definitely my most memorable album, The Anatomy of the Tongue in Cheek (2001) from punk-rock band Reliant K, which is very worn and whose several albums really motivated my learning of guitar chords.

EddyThis has been challenging to remember. My parents were in the habit of occasionally purchasing a new album. I remember receiving as a gift the album ‘Double Vision’ by Foreigner in what must have been the Christmas of ’78. In the following year with my own money for the first time, I must have wanted to buy a Kiss record, but my parents “encouraged” me to buy something else first, so I bought the first Foreigner album and then the Ace Frehley solo album! I think the third album I bought was ‘Double Platinum’.

——————– What do you guys like to listen to together these days if you are going to pop on an ‘album’?

Jen: Hmmm…it’s not that easy!  It depends on mood, flexibility, and activity—like driving, or…other things!  I think Zep has done us no harm, some Johnny Cash, some Neil Young, or even U2, but usually it’s nothing newer than the 80s or 90s. J  I’m embarrassed to admit how much we just listen to our album!

EddyIn the car, Zep is our go to, or 93.1 WXRT. At home, it’s U2.

—————- What’s the best thing about Chicago and ‘our scene’? 

Jen:  I’ve found that it’s sometimes the less appearance-driven and smaller profile neighborhood dives that have the strongest music influence because they operate more at a community grassroots level and are not caught up with ticket sales or official advertisement.  While we greatly respect some of the finest names in Chicago’s music scene, some of the best recent times for us have been the meaningful connections we make up-close like Lizard Lounge’s 2017 Ugly Sweater Party singing ‘Silent Night’ to be followed by an outstanding woman just from Ireland jumping on stage to belt a cappella a traditional tearjerker.

EddyI really enjoy all the different little bars and the different music scenes at each one, especially those places that haven’t changed much since the 90’s or at which no more that ten people regularly attend! Also, the Old Town School of Folk Music and the singer/songwriter scene there has been really important for us, and we really appreciate all the great people and musicians that we’ve had the pleasure to get to know there. We attend a lot of shows that the people we’ve met at the Old Town perform.

A new show bubbles up in which musical duo couples compete for the affection of millions of young Americans. In the finals, you are forced to dress up like and perform a couple classic couple duo number by Donnie & Marie, Captain & Tennille, Sonny & Cher, Paul & Linda McCartney, John & Yoko, Stevie & Lindsey, Ike & Tina or any other of your choice, what songs do you chose and which do you think you could pull off best?  

Jen: That sounds like loads of fun…well, my 1st instinct is to be our real-life heroic couple, Piggy and Kermit.  However, there’s a history behind the song “I’ve Got You Babe” by Sonny and Cher being played at a party in our pre-dating hangouts which really sparked the idea of getting romantically involved with Eddy.  We also walked up the aisle to that song. J

Eddy: It was at my long-time buddy Jeff’s birthday party singing karaoke in the summer of 2011 at which Jen and I sang “I’ve Got You Babe”. I think that would be the one!

GREGG YDE w/ BLACK LAUREL

How did you get hooked on rock and roll?  It was unavoidable in the house I grew up in. I had four older siblings who were all into music. My brother Mike played drums and my brother Mark played guitar. We had the jam room in the basement with tapestry covered walls with Mateus bottles everywhere. Illegal ashtrays. This was the 70’s and everybody who came into my orbit had long hair and KISS or UFO shirts on. I was baptized into Rock and Roll and have been a devout follower ever since.
What was your first public/live performance like?  It was probably sometime around sophomore year in high school at our local community center in Libertyville Illinois. They hosted a weekly open mike. I don’t remember much about it except I played solo acoustic. I don’t remember being nervous. I rarely get stage fright and when I do it is usually for smaller crowds. The intimacy of playing to a handful of people can be intimidating. Throw me up in front of a packed room and I’m ready to go.
Favorite albums growing up?  The first truly great record that entered my world was the Jackson 5’s Greatest Hits. The J5 were still a young outfit and pre puberty Michael. Such a great album when Motown was still on top. Around the same time my Sister brought home the Beach Boys Greatest Hits and that really struck a chord with me. The first album I bought with my own money was around 4th or 5th grade. The Beatles Revolver. My brother Matt who was a couple years older bought the Rolling Stones Black and Blue on the same outing. By the time I was in 7th grade you could find most Beatle albums, some ELO, Chicago, Queen and the Who in my young collection. I also had that Steve Martin album with King Tut on it…..but don’t tell anybody.;)
 
Do you hear their influences still in your new stuff?  Sure, it’s all rolling around in there. I’m trying to push out the pre Jackson 5 / Osmand Brother period and I think I’ve been successful.
How did Black Laurel come about?  I was new to New Orleans and looking to get back in the game after a long sabbatical as a family man. I just started asking around for like-minded musicians. My buddy and co worker at the hardware store I worked at in the Quarter played, so we got together, wrote some songs. When we felt we had a set, we went to Craigslist to find a rhythm section. The rest will hopefully be history. Of course, I’m the only original guy left. It has been addition by subtraction ever since.
Did you have specific goals for the recording sessions for debut EP?  We just wanted to capture our sound as economically as possible. The EP is just us playing live with a quick overdub session for vocals and some doubling of rhythm guitar and solo’s. It was produced by Rick Nelson of Afghan Whigs at Marigny Recording Studio, just down the street from my house. The next one we hope will be more relaxed, but money for diy bands is always tight.

Were the songs all new or were there some that you had been sitting on for a while?   Two of the songs were written by our bass player, Rade Pejic and I’m assuming are current. Of my five songs, all were newer, with the exception of ‘Set Your City Free’ which was written awhile ago. The line “were gonna march into your town. Knock all your statues down” was about the invasion of Iraq but in New Orleans, everyone thinks it’s about the removal of Confederate monuments.

How would you compare Chicago and New Orleans in terms influence to Black Laurel’s music?  New Orleans references are sprinkled  throughout our lyrics. Not so much musically. Chicago had a great rock scene when I was active there. Jesus Lizard, Ministry, Smashing Pumpkins, Liz Phair, Boom Hank, Veruca Salt, Red Red Meat. New Orleans is a Jazz and R&B town. There is a nice underground rock scene starting to bubble to the surface, but the tourists don’t want anything to do with it. I will say that living in New Orleans has been great for my playing as there are so many unbelievable musicians everywhere. Shake a tree and a great musician will fall out……along with some beads and discarded crawfish shells.
Songwriters often say they think of their songs as almost like their children — how do you feel about the old Nurv material when you hear it now?  Some need to go to their rooms without supper. Some deserve to go to College.
You go down to the crossroads, your rider by your side and come across the Devil  listening to “Judy Brown. He wants to strike a deal — he wants your guitar; what do you ask of him? 
Depends on the guitar and what Trump…..er…Lucifer is offering in return.