MATT FEDDERMANN

How did your love affair with rock & roll begin? As a kid listening to Buddy Holly, The Beatles, Elvis, Jerry Lee and more on 104.3 the oldies station in Chicago. My Dad was/is a big oldies fan and that radio station was all he ever listened to. “Smoke on the Water,” “Wild Thing” or “Iron Man” are the first songs most guitarists learn. Mine was “That’ll Be The Day” and “It’s So Easy”.

What were the first three albums you ever purchased and which of those holds up best today to you? Michael Jackson’s Thriller, Run DMC Raising Hell and Motley Crue’s Dr. Feelgood. Thriller holds up best to me, hands down.

When did you start writing songs and how do they ‘come together’ for you most often? 7th/8th grade with my very first band, Vertigo. Songs come in many ways. Sometimes I’ll be driving a melody with pop in my head, or, I’ll hear a phrase that I like and will write a song around it. Sometimes, I’ll be jamming with other musicians and we write the music and then lyrics will follow.

You’ve managed to carve out a nice niche on the north shore by being a respected ‘jack of all trades’, how has your business model evolved over the past few years ?  My business model hasn’t changed all that much. With the internet and all of the social media resources as my disposal, communicating with fans is much easier on one hand and on the other takes three times as long. I literally work all day to book shows, promote shows, create content to increase my brand awareness, etc..

What advice do you give to young bands trying to build a following and, in turn, get better gigs? A few thing. The BIGGEST thing is to be friendly and outgoing. I try to meet as many people at gigs as possible. Anytime someone gives me a tip, a compliment, a thumbs up, a high five, anything, I make sure to introduce myself and ask them their name. A 30 second engagement can mean a new long term fan. Your fans can be and are your biggest promoters. The more people that come to your shows, the better the bigger the gigs will grow, the more opportunities will open up along with making more money.

Do you have to become Facebook (say hey to Matt) exhibitionists to play the game?  If you are not on social media, you are at a severe disadvantage. Facebook, Twitter, Instagram, Snapchat, etc.. Ever walk into a bar to play a gig and everyone is staring at their phones and not you. Chances are they are on one of the previously mentioned sites. Get your “b(r)and” in front of as many eyeballs as possible. A large number of the population spends hours a day staring at their electronic device.

Years ago it seemed as if the Chicago music media shunned artists / bands that came out of the north shore as if they didn’t deserve the coverage; in fact many bands sought to hide the fact so they weren’t labeled as ‘rich brats: does this hold true at all today? Ya know, the scene is so much different these days. Music oriented local Chicago media has shrunk considerably in the last 10 years. Local Anesthetic on WXRT is only 30 minutes on Sunday nights (does anyone listen to terrestrial radio anymore?). Illinois Entertainer only seems to cover the south and western suburbs. Cover bands are a PLENTY these days.

In Chicago, much as in NYC, often musicians get put in one category or another: either your a working musician or an artist…. Is one the dream job and the other vehicle? I’ve been struggling with that for YEARS and I think I’ve finally found a balance. I have two very different song writing styles. One of very acoustic based and the other electric guitar/keys/synth based. I market them differently. I do my acoustic singer/songwriter originals and covers thing in the suburbs where you can make money and use some of that money to pay for my “original artist” project called Monsoons. I keep specific email and facebook lists that are geographically based. I rarely send updates regarding my acoustic covers thing to gatekeepers and decision makers in Chicago and abroad, I send them Monsoons updates. It’s not an easy thing to do and it takes a lot of time, but, it’s doable. My gigs at local restaurants and bars in the burbs has paid for the recording sessions & music video first few Monsoons songs. In fact, producer/mix wizard Sean O’Keefe (Fallout Boy, Plain White T’s) is mixing the first single. – Matt Feddermann

ANNA P.S.

When did you get the music bug ?  I don’t know if it started as a bug.  My parents made my siblings and I all take piano lessons and we had to play a band instrument as well.  I think I started piano when I was around 7 years old, and I started playing flute when I was in 5^th grade.  I don’t remember not being able to read sheet music, that’s how ingrained it feels in my life.  I went through certain ages where I was mad at my parents for making me take lessons and making me practice, but I’m grateful that I’ve always had music to fall back on when I’ve had nothing else, or no one else.

When I was in college, I found myself pretty miserable when I didn’t have time for music, so I figured out how to make time for it.  I was probably better at it then than I am now.  I took a few classical guitar lessons when I was in college.  It’s something that I have always wanted to play, but always thought would be too challenging.  It still is challenging, but that’s probably good for me.

Who are your ‘core’ favorite artists ? Maybe it’s just because I feel like I need role models, or I’m trying to emulate them, but I really love women who are singer-songwriters.  Corrine Bailey Rae, Eva Cassidey, Lisa Hannigan, Abigail Washburn, Tracy Chapman.  I also love folk and bluegrass, which I never thought would happen, but when I started to run sound for folk bands, the musicianship blew me away and I was hooked.

These probably don’t influence me as far as writing goes, but I really like Ratatat, Beats Antique, Sufjan Stevens and Noah Gunderson, to name a few. I grew up in a pretty conservative home and we weren’t really allowed to listen to music (kind of ironic, I know).  I grew up listening to the Nutcracker and Psalty the Singing Songbook.  I’m still discovering music that my peers listened to years ago.

What was your first concert and what strikes you about it now?  I’m not sure if you want me to tell you about all of the band concerts my siblings played in.  I was pretty young and I fell asleep a lot, ha.  I often was more interested in playing then I was in listening.  The first show that I went to as an adult was to see the Flaming Lips in the Aragon Ballroom in Chicago.  Marnie Stern opened for them, another great role model.  What comes to mind is that it was like magic, and I don’t know how else to describe it.  I think that’s what it is, when it comes down to it.  We go to musical shows because we want to feel the magic that is part of this world; we lose a hold of that sometimes when we’re distracted with living our everyday lives, at least I know that I do.

What was your first public performance and how did it go?  As an adult, my first public performance was as a senior in college.  You could put on an event called an Hour After.  It was a sit down affair; students would dress up, drink coffee and eat dessert.  It was a really amazing experience because I had never collaborated with that many people before, or led something like that.  I think I got together 10-12 people, some of who were good friends, and some of who I barely knew.  I didn’t know anything about putting together a show, orchestrating music, or asking people what to do musically.  It was a blast.  I think people enjoyed it, but I don’t really remember now.  I wish I kept better track of those things, because it feels important now.

What perspective does being a pro sound man (woman) and working with so many acts live contribute to your feelings or /philosophy about ‘the stage’ as an artist in your own right?  The biggest impact it’s had on my mentality is to always be kind to your sound people/stage hands.  They are usually trying their hardest; the ones that aren’t won’t be working for long anyway.  I try to be kind to people anyway, but I have run into many musicians who are downright rude, and don’t treat you like a person.  If you treat me like that, I am not going to help you sound good.  That said, the majority of musicians I’ve had the chance to work with have been really gracious and appreciative of the work that happens behind the scenes for their show to go smoothly.  In short, kindness will always get you further than a bad attitude, or bossing people around to try and get their respect. Also, I would much rather be backstage than onstage.

Side note:  I refer to myself as the ‘sound guy’, because that’s who people are always asking for.  I was called ‘the sound lady’, affectionately, while I was running sound for the metal/hardcore scene in Goshen.

How do songs ‘happen’ for you as a songwriter?  The best songwriting has worked for me is when I’m doing it everyday.  I write a lot of crap songs, but I believe that quantity leads to quality.  Always, if inspiration doesn’t find me working, then I’m not going to get a good song out of it.  That said, I should practice what I preach.  The hardest part for me is finishing songs.  I get a lot of ideas and have many more finished songs than I do finished ones.  I used to journal a lot and I’m trying to get back into it.  A lot of the time, I jot down thoughts, or feelings that I’m struggling with, and sometimes they later develop into lives of their own with songs of their own.

What’s up with your band Shiny Shiny Black these days?  I played with Shiny Shiny Black for about three years.  We dubbed it ‘coffeehouse rock and roll’, mostly because we play electric guitars, but quiet enough to play in a coffee shop.  SSB has definitely been a big part of my musical experience.  It got me on the stage, even when I didn’t want to, got me playing my electric guitar, when I wasn’t sure that’s the guitar or kind of music I wanted to play, and gave me an amazing group of people to collaborate and create with.  I didn’t do any writing for SSB, that was all Nate Butler.  I refer to it as ‘Nate’s band’, because it is.  It’s his vision, his dream and his songs.  I feel as though there is little better than helping other actualize their dreams.

I toured with Nate and Amber, and their toddler to Nashville, St. Louis and back again.  They took a break to add another little when, and when they returned, it made sense for them and for me to not continue being part of SSB at this time.  It’s a little sad when I hear songs play on the radio, or that I don’t get to hang out with Nate and Amber every week, but it’s giving me the time to work on my own projects, both musical and visual art, as well as giving more time to developing as an audio engineer.

How is the approach different writing for sway them versus your own ‘voice’?  I’m honestly afraid to collaboratively write.  Maybe it’s just because I haven’t really tried it.  I’m a very private person, which I find slightly ironic.  It’s hard for me to get up on stage and share because it’s not an act for me, it’s just who I am.  Therefore, what I write is really personal.  It’s taken me awhile to become comfortable with sharing my music, but they few people I have shared it with have asked me to, so I’m trying to do that to a wider audience.  I think I’m afraid that someone will hear one of my songs sometime and realize it’s about them.

So many artists pigeon-hole themselves by clinging to tightly to an indie image / vibe to appear sufficiently counter-culture enough to be have credibility with hipsters but are you comfortable with being a huge, national pop star?  If there was an image I wanted to uphold, it would be authenticity.  For me, playing music isn’t really about how many people come out to hear me play, where I get the opportunity to play, or who I’m getting to play with.  The reason that I started writing music is because I felt alone, and unseen.  That’s not really something I struggle with right now, but there are a lot of very human things I struggle with constantly.  What I want when people listen to my music and hear me play, is I want them to feel that they are seen, that they are not alone in their struggles, that there is hope in this often dark world.  Maybe that sounds idealistic, but I’m pretty sure that’s the point of art.  I never thought about being a huge, national, pop star because I think that people don’t want that much honesty in popular music, in a popular stage presence.  I want to be who I am on stage and I want to invite everyone who listens to be who they are, fully, and accept that.

You are offered one wish from a legit Genie with actual powers but it must involve your music career: You consider carefully and offer her the following humble request:  I want my music to have meaning.  I want it to speak to people.  I want it to invite people to dig a little deeper, to have hope, to pursue dreams.   ~ Anna P.S

BRAD PETERSON

photo by KIM SOMMERS

How did you come to fix on the Fleur-de-lis as moniker / title for your new release? It seemed to same itself at the last-minute of the last recording, which is atypical from my previous works. Last autumn, I had a couple of songs that I had recently recorded before I came to California for a respite from the Chicago winters: Vale of Tears, and 45.  I played them for an old friend, Peter Bowers, who has been in the music and film world for decades and, in my opinion,  is someone with a unique perspective and proven good taste. After listening to them while we were winding through the serpentine roads near Topanga, he was clearly excited and asked if I had more new songs; I said yes, but they’re in a crude state. He tacitly gave me the go ahead and I proceeded to play for him: Rock Fight, and minor. Being a musician himself, and no stranger to hearing potential in a demo recording, he promptly suggested I finish the work for, at the very least, posterity (and for whatever opportunities that may bring). It was just the encouragement I needed to set up a barebones recording outpost in his garage/office in the beautiful canyons nestled betwixt the Santa Monica mountains, Los Angeles, and the Pacific Ocean. I’m not sure at which point the idea developed to add an additional track, but I half-heartedly presented my least favorite and hardly developed of the bunch: Fluer-de-lis, for which the title lyric had yet to be written. I acquiesced in its procession but as the spirit moved me, and I reconnected to the moments of its inception, those words just came through: “Fluer-de-lis” – like they were always supposed to be. Ureka! The song finished itself. The counterpoint in the last verse was the very last thing recorded and almost has a feel of a reprise-medley trope at the end of an epic film from the late sixties. When I listened back to it, I felt that it was divinely gifted; I had just participated in its revelation as the title of this work.

What was the most difficult thing about making Fleur? The most difficult thing in anything, is the discipline or faith to work in the face of doubt and negativity that plague me every day. The ultimate goal is for me to share what I do and connect with other souls. The periods between such moments are long and dark in which I often wonder if what I do is folly and meaningless.

 

Do you see it as a continuation of your other releases, an update, or something unto itself? Depending on context, it could be any of those; it could even be a prequel, chapter, or a supplemental. In literary terms, I think of singles as anecdotes, albums as books, and EPs as short stories. But I think in most cases, to say: “the Fluer-de-lis EP” would refer to something unto itself.

Why did you decide to do a EP this time versus a full album? Albums take a while and I didn’t want to wait. Full disclosure, there’s a part of me that would be happy to just release singles from here out. If I had the resources, I think that’s the direction I’m heading.

How does the song writing process work for you? The evolution of every song is different but the most rewarding songs come in the form of everything-at-once. Melody, lyrics, chords, feel, and arrangement pour over me in a torrent of inspiration. Those are also the songs that tend to get finished.

Describe your head space when playing live in front of an audience?

How the hell am I supposed to pull this off? Because I thrive off of the symbiosis of all who participate in a live performance, it’s quite vitalizing and I experience the joy of communion. However, there is always a delta between what I want it to sound like and what I’m able to produce. I’m figuring out that “not to try” is the trick for all involved.

Did you like to sing as a kid or did you begin playing guitar and start singing later on? I always sang for as long as I can remember; maybe before I could talk.  But, it was when my aspirations for being a drummer were squelched by mom (who didn’t want that sort of racket going on in the house) bought me my first acoustic guitar, that I became the defacto singer/rhythm guitarist at about age fifteen.

Many artists talk about ‘the album’ that changed their life, is there one for you? Yes. From all accounts, in the spring of 1971, my older brother and father were listening to music in the living room of our old farmhouse in Baltimore, Maryland. Mark was around thirteen and my father was a bit of an audiophile with an impressive sound system composed of mammoth Bozak speakers, Scott amplification, and Ampex reel-to-reels. They put on a store-bought reel of the Beatles’ Revolver and it boomed throughout the house. That was the moment I became sentient and aware. To describe the experience using my abilities in the English language that I have since learned, I’d say I was in awe and asked: “what is this wonderful thing?” as I crawled on the carpet. I don’t know what it was or who it was but I’m certain that it was a pivotal moment in my relationship with music and my development as a human being. A few years ago I wrote about this earliest memory of my life called “Crack and Boom”:

What was the first concert you ever attended and what strikes you about it today?  For my first large rock concert, it was either Billy Joel or Roger Waters with Eric Clapton. Both of them were at the Rosemont Horizon when I was around thirteen years old. My opinion then, is as it is now: that is sounded horrible and I would have maybe preferred to stay home and listen to the recordings. The highlights of each were the improvisational element where I gleaned variations of expression in the arrangements of the musicians. I do enjoy live music but I gravitate to smaller venues or living rooms.

If you could take a time machine to any one moment in history (rock or otherwise) what would it be and what would you do once you got there?  It would probably be to a moment that I’ve already experienced, perhaps one from my childhood when I was near my family who I love very much. And, it would be simply to live it again with greater appreciation and notice every little detail. – BradPeterson.com

LISA HELLER

How did you choose “Life On The Run” to be your first iTunes single?  I chose to release “Life on the Run” as my first iTunes single because I think it is a good representation of who I really am as an artist. As the first thing I’m really putting out into the world, “Life on the Run” is kind of saying I’m going to be myself, and march to my “own beat of the drum.”  I think it is an inspiring song to people who want to strive for a dream and don’t know if they can do it.  I think you can do anything you want to do if you work hard enough.

You are in a unique position releasing material at such a young age: do you ever worry that you may look back later in your career and go ‘OH NO!!”?  I don’t think that releasing material at such a young age (my 19th birthday to be exact) would make me look back and worry. It’s all a learning process and you have to learn who your audience is and feel for what they like and don’t like and work from there. If I never put my songs out into the world, how would I know if people would fall for them? I also think an audience likes to see an artist evolve over time and I plan to continue to grow.

How do songs take shape for you typically ? For me, my songwriting varies from song to song- sometimes I am driving on the highway and have to pull over because I get this one phrase stuck in my head and I have to scribble it on my coffee cup before it goes away. Other times I sit down and start playing different chord progressions on my piano and guitar with varying rhythm, and once it sounds right to me I start humming along until I find a suiting melody, and the words just kind of flow from there. Each song is such a different experience- with some it takes an hour to write the root of the song while with others I could spend 6 months on it just to find the right words.

What’s the bigger high for you: writing, recording or playing live?   Wow that’s such a hard choice! Can I say all three? They are all so different it’s difficult to compare. Writing is something that has been a huge part of growing up for me. I write down the experiences that I’ve had or are new to me, then I compare them to ones I haven’t yet had a chance to experience. But recording is also amazing because it’s like I’m taking all of these ideas that are kind of jumbled up in my head, and they’re put into real solid music. I really get in such a deep zone when I’m recording that I can’t explain. Sometimes I forget what I’m doing and that other people are there listening while I sing into the mic. And lastly, performing is such an amazing experience. The second I step on stage it’s like I feel this connection with the audience that they understand me. It’s like we’re all one, and as I sing about the adversity I’ve faced, as many others have, I’m singing for them, not me. I want to tell them it will all be ok, empowering my audience as well as myself.

What do you want your audience to see or feel when you are in front of them?  When I’m in front of my audience, I want them to feel welcome. There are so many opportunities for people to feel excluded or doubt themselves. But when I’m in front of people I want them to feel like it’s ok to be themselves, and feel empowered.

If you could open for any artist or band on a spill of east coast dates this summer, who would it be?  There are so many artists that I aspire to open for.  Of course Taylor Swift comes to mind, as such a dynamic player in the music industry.  She flawlessly switched from Country to Pop, a task no artist has surmounted with such supportive fans. I also would love to open for Christina Perri – her song “Jar of Hearts” was one of the first songs that I ever performed live and it really inspired me to write down-to-earth, relatable music. Sara Bareilles is also an amazing headliner – she is an artist I emulate and aspire to be like with her words of empowerment without a hint of cliche. Of course I would also be thrilled to open for bands with whom I am connected, such as Waiting for Henry, a group of great guys who have been supporting my hard work from the beginning.

How did you pick up guitar and what advice do you give to others who want to learn how to play?  I taught myself to play some simple chords on the piano which is how I started songwriting. After a while I really wanted to play guitar too so I started looking up how to play chords on google images! This really jump-started my ability to write songs, before I started taking lessons. My advice for someone learning to play guitar is to look up chords if you don’t want to pay for lessons, and keep repeating them until your fingers bleed. After a week or so you will stop hurting and your fingers will just remember where to be placed. From there, you can start writing songs! And for piano, you just need to learn the basic triad structure and go from there!

What were the first few albums you ever bought and what do you think of them today?  The first few albums I ever bought were from my parents, which definitely had a huge impact on my choice of music. As a young child I would listen to Dave Matthews and Coldplay in the car, so it really made me appreciate the deep music where the words had so much meaning and the instrumentation that was so captivating and complex. The upbeat party music was always fun too but that never really affected me the way that songs like “Yellow” by Coldplay did.  U2’s “Beautiful Day” was a perfect song when I needed to appreciate the little things in life or get motivated.

What’s your favorite song of all-time?  I would probably say “Fix You” by Coldplay – It was the song I resorted to throughout high school and it brought so many different emotions each time I listened to it. “Fix You” has this certain indescribable power to heal and unite people.

If you could have an alter ego performing in an alternate universe, what might she sound and look like?  If I were given the chance to be someone else, I would still choose to be me. There are billions of other people in the world but only one me, so if I’m not me then who am I? ~ LisaHeller.com

NICHOLAS BARRON

You started as a youngster busking on the streets of Chicago: is there a telling memory that still informs you today?  I just wrote a song that’s on my new CD called “When The Fat Lady Sings” about following ones heart and dream. There is this line:  “dudes in 3 piece suits telling me they wished they was me cause I was following my heart and living my dream”. That’s a true story. That and playing the mostly southbound Black el stops and having it feel like Baptist church. I learned to sing  Black music from Black Folks singing with me and playing Electric Blues every weekend in the summer with my band on State street in downtown chicago and the huge crowds! That spark and immediacy are rare and profound!!!

What is your favorite new Nicholas Baron song and why? “When the fat lady sings” is my new “I’m not superman” which is the song I’m known for. It’s a true story. I found a way to be honest and poetic at the same time. It’s got a direct feel from Van Morrisons “Domino” and Rickie Lee jones “Chuck E’s in love”. It finally expresses my truth and is like a quick bio. I love language and beat poetry and this has that feel.

How do songs manifest themselves to you? They happen either effortlessly like  they were waiting for me to catch them like butterflies or intellectual endeavors where the words are like math and science. It happens all possible ways. Words or chorus first or music first or just chords.

Do you have a philosophy when it comes to the recording?  All my records have been somewhat different.  I like it to be organic and sound and feel live but have a sheen to it as well. I have to have a relaxed and honest environment.

What was the first real concert you ever attended and what impression did it have on you? I heard Jimmy cliff when I was 10 with my hippie parents at an outdoor concert. I remember the sky and the feel of it being live and soulful and folks dancing up a storm.

What is your approach to playing live and what is your vibe pre-show? It has recently changed and evolved . I am working on total relaxation and letting the audience come to me. I’ve been trying not to be big the whole time or loud. I’m going for a range of emotions and dynamics even in one song. I have the ability to be mellow and soft and then rise up like Otis Redding or James Brown. I warm up a bit vocally but mostly everything’s changed because I’m relaxing my mind and body when I play. It’s magic!

What are your favorite 3 albums of all-time?  Van Morrison’s Astral Weeks , John Martyn’s Solid Air, Joni Mitchell’s Blue

What’s the best live performance you have seen by a Chicago artist? My dear friend Wes John is insanely great and has great songs and his band destroys!

Out of nowhere the Empress of the Universe beams you on board her ship and demands you write a song for her on the spot — any ideas?  All my songs are about the same things disguised as different characters. Love in all its forms, integration, and working through suffering to find resolution. World peace through the microcosm which is self love. Relax yourself before you tax yourself. – Nicholas Barron

SCOTT MADDEN

You have probably played more gigs in the last decade than anyone in Chicago: is that why your known as ‘Madman’?  The nickname Madman comes from my days in the Record Biz when cohorts liked to call me that instead of my last name, Madden. Now I have to live up to it.

You have worn a number of hats in the music business, what’s the state of the union?  I’ve gone back to my roots, playing live music. Folks don’t support recorded music like they used to or should.

If you could reset and meddle with history, what rock era would go by the way-side?  Is there a Rock Era today?

What was the first concert you ever attended and what impression did it have on you?  Badfinger played @ my high school field house. It was also the first time I saw people smoke the kind bud.

How do you feel deep down about smashing guitars and the like?  I did that twice in school but felt bad because that is somebody’s livelihood and sometimes a piece of art.

What are you listening to at home circa 2015?  Davie Allen & the Arrows, “Blues Theme”(60’s biker music)

If you could tour with any artist in a time machine who would it be?  Cream: they taught me how to jam and to sound full for a 3 piece.

What are your favorite 3 albums of all-time?  More of the Monkees, Sgt. Peppers, Wheels of Fire.

What’s the best live performance you have seen by a Chicago artist or band?  Heavy Manners ….

Jesus appears in front of you and graciously asks for a custom 5 song set, in what do you play him? “Porpoise Song” (The Monkees), “A F Wittek” (Madman), “Talk Talk” (Talk Talk), “Well Allright” (Buddy Holly), “I Need You” (Fab Four).

ADAM MITCHELL

What music grabbed you most as a kid?

Well, the first actual “rock” record I ever heard was “Rock around the Clock” by Bill Haley and the Comets. At age 12, I couldn’t verbalize why it was great. I just knew it made me feel glad to be alive! The next record I heard after that – and I was still living in Scotland at the time – was “Heartbreak Hotel” by Elvis Presley. Then we moved to Canada and boom, it was rock ‘n roll all the time. Little Richard, Chuck Berry, Buddy Holly, Elvis. My parents, like most parents at the time, didn’t approve – they thought Lawrence Welk was the height of musical sophistication  – but they weren’t too hard ass about it.  But from then on, yeah, it was rock ‘n roll every moment I could get.  Then, of course, Dylan and the Beatles changed not only my world but the world.

What was the first song you ever wrote and what do you think of it today?

Don’t remember the actual very first song I wrote but one of the early ones, right after the Beatles had first come out, was a Christmas parody I wrote called “God Rest Ye Hairy Gentleman”.

Did it ever make the light of day in another for form?

No, no way, but it was pretty funny!

Artists have so many different approaches to writing, what is your general philosophy?

Strive for excellence. That’s it. And do whatever it takes to achieve excellence. Trying to do that, even when I didn’t know what I was doing, is the only reason I can think of to explain the career I’ve enjoyed.  Strive for excellence. No one buys average.

Great songs give people a certain feeling: is that one of your barometers in determining whether a track is ready to be recorded or is that reserved for the listener? 

Learning to be a songwriter is learning to be a bridge builder.  A good songwriter builds bridges of understanding between himself or herself and the audience.  it might be emotional understanding, it might be intellectual understanding, but that’s the whole deal.

You have written with a whose who of international talents from Linda Rondstadt to Waylon Jennings to KISS: which collaboration, or collaborations, were the most challenging?

Well, the collaborations that turn out to be most  “challenging” are generally those that, in the end, don’t work – and consequently, are ones that don’t produce work that lasts or you’ve even heard of.  If you’re working with another writer, especially a writer who’s an established artist, every song you come up with has to get a thumbs-up from a lot of people before it makes the record; the artist, the record company, the producer, the promotion department and so on.  Did I mention striving for excellence?

You offer personal song-writing coaching online @ AdamMitchellMusic.com: how does it work and do you end up sharing a writing credit if it’s really good?

Really, the best way to think of this is as one-on-one, song aid.  Personal tuition. And no, since it would be a work for hire, I would not take part of the song. Anyone who’s interested should contact me at info@AdamMitchellmusic.com.

The industry has changed radically in the last two decades: do you think it is harder today for a songwriter to break in with major artists to get
songs out?

I think in some respects it’s much harder to be a songwriter now because, unlike in previous times and even up until very recently, publishing companies very rarely now give a writer, particularly a new writer, a substantial enough draw – that is, advance against future royalties – to live on. In my own particular case, when I moved to Los Angeles, Warner Bros. was paying me to write songs for them and it was a paltry amount but I could get by. But by the end of my first year, so many artists had cut my songs that WB decided to renegotiate my contract and suddenly I was making about ten times what I had previously. I’m not sure you can do that now.

On the other hand, in many respects it’s much easier now. You can do great demo recordings at home, the Internet puts the whole world at your doorstep and I still believe that excellence prevails in spite of all difficulties. Everyone gets a break, sooner or later. The trick – the key thing – is to be ready when it happens. All the breaks in the world won’t help you if you’re not prepared.

What advice would you give to aspiring artists in regard to refining their craft or brand of music?

Join me at SongCoachOnline.com. Great songs are at the heart of everything in music and I’ve helped many people improve dramatically in that respect. It’s what I love to do and you’ll get a lot of other information about recording, common career mistakes, great gear and so on. Remember, when you’re trying to get somewhere in music, it’s a competition, like anything else. And the most prepared – and those willing to work hardest – will win. It’s a cruel logic I know, but it’s true.

 Jagger once famously sang “it’s the singer, not the song”, was he being ironic?

With all due respect to the His Majesty, the Prince of Darkness, I say “Bollocks!” The song is the most important thing by far in any performance. Look at it this way…You can have the greatest singer in the world singing a crap song and what do you then have? Zero.  A well polished turd. Here’s an absolute, universal, once – and – forever, truth. If you don’t have a great song at the heart of what you’re doing…a hundred times nothin’ is still nothin’.

In a recent interview you said ACDC’s *Back In Black* would make it to your island playlist: would it have been even better with Bon Scott?

Not in my opinion. I think Brian Johnson is phenomenal. It’s very rare for a singer to do a great job replacing an original guy but I think Brian has done it. He and Bon are both incredibly good.

JESSE BREWSTER

What is your favorite moment on your last record Wrecking Ball at the Concert Hall?

That’s a tough one. The theme of that record is big sounding Americana tracks countered with heartfelt ballads. I think working on “God Fearin’ Man” was a blast, but there were some really tender moments too, especially on songs like “Sometime” and “Sorry Ain’t Enough”.

You’re taking a new approach to your latest release March of Tracks, it must be liberating in some ways and yet daunting in others?

Man, it’s a departure as far as the process of making a record goes. On the last album much of it was tracked live, with the same 5 people. Now I’m using a multitude of players, studios, engineers and gear, and it’s been incredible. I’ve been hand picking my favorite West Coast players for each song that plays to their individual strengths. Being able to focus 100% on one song at a time is so refreshing. There is the ever present and motivating factor of my own self-imposed deadlines (new song released 1st Tues. of every month) which can be a little stressful. But it’s also a response to the demand for single songs- don’t get me wrong, I’m a huge fan of albums and will make more in the traditional way in the future, but this time I want to get my music out there in the most effective way, and have gotten a great response so far. What was daunting was the idea of starting work on a 12 song album that people wouldn’t be able to hear any of for 6 to 9 months. Ah the world of instant gratification!

How’s it going so far; do you already have the future tracks mapped in order?

Right now I do have a rough order, and am trying to be conscious of the tempo and style of each release. I want to be sure to mix it up and not, for example, release all the big up-tempo stuff up front so that all I’m left with is ballads. The other struggle is that any time I’m recording (and I think many artists would agree with this) I hit a creative stride with new material. So who knows, some of the stuff I’m writing right now could still make the record.

When you start writing a song, what comes first for you?

As a guitarist and sideman for years before I starting performing and touring as a lead singer/songwriter, that’s where things usually begin. I’ll find a progression that inspires me in some way, and 90% of the time the feel leads me to the subject matter. That being said, on occasion I do start with a theme and work from that side.

How do you know when a song is done and ready for recording?

That’s a great question, and something I think a lot of songwriters struggle with. As I’ve self-produced most my songs, I usually have a pretty good idea of when they’re ready to track. For songs that I send out to my players I try to give them a decent demo without getting to specific, because I like to allow people to approach their own parts creatively. But working with a producer is also a great way to finish that last 15% of a song, and something I hope to do more of.

What’s the state of rock & roll in California?

I think there’s a ton of amazing music out there, and it never ceases to amaze me how often I discover new incredible bands who are miles from where I live. So from that standpoint it’s as prominent as ever. From the industry side that’s a different story, I think with the internet era, people are less drawn to genres now than they are to good (sometimes not so good), catchy songs. That’s why every 15 year-old has 1000 songs on their iPhone from 1000 different artists. The way we as artists make out living has also changed, with an emphasis on licensing and placements becoming a more the norm.

Is there anything left of San Francisco of the 60’s?

Yes, and they’re all still performing! Every band who had a hit in the 60’s is still doing it, and they’re drawing all the same folks that came to their shows way back when. The boomers are the demo that can consistently afford to go out and see shows. Overall here though there’s a great collective support system in place of local artists, not as dog-eat-dog as other markets I’ve seen. I think it’s a great place to live and to foster your creativity, but I don’t see much opportunity here. I can’t think of many bands who have gotten really huge coming out of SF since Counting Crows or Train.

What were the first 3 records you ever bought and how do they rank today?

I’m not sure if they were the first 3, but I remember getting vinyl of Bob Marley Live, Willie Nelson and The Eagles.  All of which still measure up pretty strong compared to the music of the last 30 years

When did you start playing guitar and what was the first song you really got into to the point where you owned it?

I had a couple of false starts. At 7 or so I learned a couple chords, then again at 9 I picked it up again and went through a Bob Dylan songbook and learned “Don’t Think Twice”. I had a pretty good foundation when I kicked into higher gear at 12

By an amazing breakthrough in technology, you are to be awarded a role as a rock & roll deity with an expanded life span of 250 years (congrats) but, as a condition, you are forced to choose between electric or acoustic guitar from here on: would you be able to face the anguish?

That would be tough. I think I’d have to go with the acoustic, because that’s where 80% of the songs I write begin. Even the hardest hitting, slamming electric guitar driven tunes were usually started in my dining room on an acoustic. Also then if I’m still alive and kicking after the next major war or calamity, I won’t have to worry about finding a place to plug into in the post-apocalyptic hellscape!  :)

JOANNA CONNOR

1.0 – As a kid, was it the blues or rock & roll that grabbed your attention?

The first record I remember vividly was Louis Armstrong singing “Hello Dolly”… I can still remember trying to sing like him.  It was a hit on the radio.  The craziest thing is that I did the math and realized I was 2!  The first two albums to grab me between the ages of 4 and 7 were Taj Mahal’s Giant Step/The Ole Folks at Home and Sgt. Peppers.  I also loved Beethoven, Fiddler On The Roof, and James Brown.  Later came Hendrix, Zep the Rolling Stones. I saw Buddy Guy and Jr. Wells when I was 10 in 1972… . It blew me away.

2.0 – What was the first record you ever bought and how did it make you feel?

I don’t remember the first record I bought. I was poor growing up.  I remember the first one I stole… a 45 of Billy Preston… Nothing From Nothing… Ha! I loved the radio then. I loved soul and funk and Steely Dan and Joni Mitchell and jimmy Cliff and all kind of stuff.  Music was my escape, my world.  I spent hours every day dancing, singing, and playing air guitar in front of my parent’s Zenith stereo.

3.0 – What was your first guitar and do you still have it ?

My mom bought me a Sears classical guitar when I was 7.  I asked for ballet lessons. She gave me guitar lessons. Lord knows what happened to it.

4.0 – What was the first actual blues lead lick you learned, from what song?

I took blues guitar lessons from an amazing guy in Worcester named Ron Johnson when I was 14.  I played acoustic.  He turned me on to the early delta, piedmont, ragtime and slide stuff.  I think the first blues lick I learned was a Mississippi John Hurt tune.

5.0 – What’s the blues scene like today in Chicago versus when you originally moved here?

The blues scene now is still jamming in terms of the clubs being packed and bands performing but it is a pale 3rd string version of when I first moved here talent and skill wise.

6.0 – As a blue guitarist, are there still classic ‘showdowns’ that determine a pegging order among and between the players?

It’s a boys club. It’s like high school. The cool table in the cafe.  They are all peacocks.  The king in my opinion right now is Carl Weathersby.  There are always battles here.  Each guy thinks they are the champ!

7.0 – How do you retain vitality playing a form of music that is nearly a hundred years old, if not older?

I always played the blues in my own way when I went on my own, mixing all of my influences in what I did. I was never a purist. It always stays fresh for me that way.

8.0 – Which release of yours do you feel is most representative of what you are all about?

Big Girl Blues.

9.0 – Do you enjoy writing lyrics and titles or is that ‘work’ part of the song writing equation?

I almost always  hear the groove first. With Big Girl Blues I wrote the words first.  My second love in life is literature.  I have been a huge reader my whole life. I have written a lot of poetry. I find song writing a chore however and only write for projects… I don’t know why.

10.0 – What gets you off more live: when you know you are singing really well or playing guitar at your best?

Playing the guitar is my passion. It takes me out of myself and also drives me into my soul.  Singing can be cathartic but I have to sing 4 to 5 hours a night and it is physically very taxing, and more of a chore.

See Joanna Connor’s 2013 tour schedule at SongKick

CHRISTMAS DAVIS

1.0  – How did you catch the rock & roll bug?

Ha ha, “Catch” is funny word. I believe that my fever was congenital, and my condition is probably genetic. Connie’s definitely is. There were no “rockers” in my family, but my great-great-grand father used to play a single string gourd instrument at local dances in the turpentine towns of north Florida. According to some accounts he was the only musician at these events, which would make for a pretty strange dance party. My father had the hi-fi on all the time, mostly big band stuff. It made an impression. The first time I saw a rock band it was at a school assembly to promote a talent show. They brought my elementary school class in to fill some seats. It was the first time I saw an electric guitar in person. I think the older kids in the band were playing Skynyrd, but I can’t be sure. I was hooked though. That was it for me. Connie definitely has music deep in her, and she was absolutely born with it. For her music is like an extra limb. It’s just a part of her. Her dad played sax in bands her whole life. He’s an amazing guy. Connie grew up in music. I had to go exploring.

 

2.0 – What was the first guitar you ever owned?

When I was 12 I borrowed a guitar from a friend who’s father had an old harmony acoustic, the jazz kind with f-holes and painted on “wood grain.” The action was terrible, but I bloodied up my fingers and tried to learn some chords. The older kids on the school bus used to ask me why I played such a big violin. Then a kid up the street sold me a terrible no-name electric. It was plywood painted candy apple red and shaped like an SG.  The action was even worse than the harmony – a real archery set – and to sweeten the deal the bridge had sharp screws sticking out of it. I had resolved myself to guitar playing being a painful sport.  But that was my first guitar, bought the old fashioned way – with money from my paper route.  I was glad to have it.

 

3.0 – What was the first song you learned to play well?

Play well? I’m still working on that. But the first song that I got up enough confidence to play in front of anybody was “Tangled Up In Blue,” the Bob Dylan song.  We were cruising in a friend’s car in high school. My friend and his girlfriend were up in the front seat and the radio was busted. I was too young to drive so I was in the back seat alone with his guitar. “Tangled Up In Blue” was the only song I knew all the way through so I played it while we drove around. They didn’t seem annoyed. They were very kind.

 

4.0 – When did you start writing songs?

When I was 15 I started a punk band with two other kids from my high school, and we needed some original songs. As far as song writing goes, I didn’t think anything of it, we needed songs and somebody had to write them. So I wrote 12 songs in one week – all power chords and shouting – just so we’d have something to play. Nothing seemed unusual about this. Back then I figured anybody bored enough could write a dozen songs. Only one of them was any good though, and it was only good because it was funny. I think it was called “Vomit Omelet.” Yup, funny stuff. I don’t think that I ever really wrote a song that I was satisfied with until I started writing for Connie and The Tall Pines. Hearing her sing the songs that I write makes them feel real to me.

 

5.0 – as your style changed much over time or did you find your thing early on? 

It always changes. It has to. Tall Pines Music is just a mash up of everything that Connie and I have ever loved. You can make collages forever if you have enough material,and they should all look different. We’re always looking for material. Your style is just how you combine and present the things that you’ve always loved anyway.  

 

6.0 – How long have you been playing with Connie Lynn Petruk and how did you meet?

Connie and I have been playing together for a few years. We dated for a while before we started making music together. She is such a great singer – really incredible – and I had all of these songs that I’d started writing, so we just began to put things together one night and found that we really enjoyed collaborating on music. We met because I was a huge fan of a band she sings with in New York called The Losers Lounge. I used to go see them all the time, and because I had a huge crush on her I would try to “accidentally” meet her at the shows and around town. Unfortunately my efforts to casually cross paths with her all resulted in failure. She is a truly elusive person. At one point I expressed my frustration to a mutual friend – Sean Altman, who founded the group Rockapella – and he said he’d set me up on a date with Connie if I promised to be a gentleman. I did not want to be “set up” and I told him to forget it. But, he set us up anyway and we’ve been together ever since. Thanks Sean.

 

7.0 – Is it a challenge writing tunes for a female singer in terms of perspective or attitude when it comes to lyrics or titles?

Sometimes.  Some songs I just write from a male point of view and then change all the gender based words when I give them to Connie. “Always True” and “Because I Love You” are like this. Other songs I write for her, but more for her as a “female character” than for her as the real person that I know. That makes it easier. I have been accused of writing songs for her that are sexist or that praise the man in her life a little too much. Bill Bragin from Lincoln Center called me out on this after he heard “Good Woman” and “Love You Better” from the Campfire Songs record. He’s a friend and we had a laugh about it, but I felt like a bit of a jerk because I’d never thought of the characters in those songs as being Connie and me. As strange as that sounds, I had written both songs about other people, and I almost always think of the couples in my songs as being like two characters in a film or short story that I made up, but not us. Now that I’ve had this pointed out to me, I realize that I may be on to something. How many guys can get their lady to sing their praises – literally – into a microphone every night? Thanks Bill.  

 

8.0 – You just re-recorded Howlin’ Wolf’s “Wang Dang Doodle”, is that branding by association or did it come about more innocently?

Connie and I host an incredibly fun monthly juke–joint party in New York City called “The Tall Pines Review.”  “Wang Dang Doodle” is hands down one of the all time greatest songs ever about throwing a party. We’ve always loved it and wanted to cover it, even played with it some at rehearsals a long long time ago, but we never had a reason to do it before. Once we started putting on our monthly “Tall Pines Review” parties we wanted a theme song that represented what we were doing, and all of the great characters that come out of the wood-work when people have a good time. No song does that better than “Wang Dang Doodle.” We usually hang up a picture of Howlin’ Wolf on the side of the stage, but we also have a picture of Koko Taylor which we swap out from time to time. Heroes.  If you’re ever in New York on the third Thursday of the month you should come by. We always have a great time, “…all night long!”

 

9.0 – What song would you say captures the quintessential essence of what The Tall Pines are all about?

There are a few, “If The Devil Knows You By Name,” is our choice at the moment. It’s about redemption, eternity, and the dark and light sides of human nature, which are some of the recurring themes in our songs. Also because it rocks live, we love playing it, and because we both get to sing together. We have some new songs that we’re working on now which I hope will change this answer, but for this interview, “If The Devil Knows You By Name” is the one.

 

10.0 – Are you ever torn by the struggle to experiment and yet be a relative purist?

Experimental and Pure don’t need to be mutually exclusive. I don’t think about things in those terms.  I just write songs that come from an honest place and that feel like something that I would like to hear and share with my friends.  Connie let’s me know if what I’ve come up with is worth working on, and then we take it from there. I may write the songs that we do perform, but she’s the arranger, and the editor in charge of what we don’t perform. I can be hard headed, so she’s got a big job too.

JAMES McMURTRY

Since “Live In Europe” is your 2nd live album, what led you to the decision to record again live? The project was originally supposed to be a DVD project. A web stream company had rigged up a multi camera shoot at the Paradiso in Amsterdam. They asked if we wanted to video our show. We said “you bet” and we paid an extra three grand to multi trac the audio so we could mix it properly. They forgot to mention that they were not going to save the raw video footage, meaning we would not be able to edit the video. Consequently, most of the video looked like hell, cross stage shots at McLagan through a forest of mic stands, quick cuts from my face to the kick drum pedal in the middle of a vocal line, etc. . . There was no way I could charge money for the video. But the audio sounded pretty good and we had to get that three grand back somehow, so we mixed the audio for a record and included the few decent looking videos for a bonus DVD.

As far as “the band” goes, how did you prepare for theses live sessions?
We gigged every night for a month or so.

How does your European audience differ from playing stateside?
The West Germans and the Dutch and the Belgians pay extremely close attention. They speak english, but they’re about three words behind usually, so they’re silent. It can be a bit unnerving. The East Germans generally don’t speak any english, but some of them go crazy for any kind of rock’n roll. They’ll get on their feet. The British and the Irish can get pretty rowdy too. Stateside audiences also vary in temperment, depending on the venue and the region. Seems like it’s easier to get them moving in mountainous country, don’t know why.

Did you have multiple live recorded versions of each track to choose from?
We recorded two shows, the one in Amsterdam and another in Geislingen Germany

Which tune on “Live In Europe” is the trickiest to pull off live?
Just Us Kids used to seem tricky for me. The right hand clutch took a while to feel natural.

7.0 You have a uniquely warm electric guitar tone throughout this and your other records, any hints? Got lucky this time, rental gear. Always play through two amps if you have room. One of them might not suck.

8.0 Do you have a philosophy when it comes to being comfortable on stage?
Remember to have fun.

What do you feel is the high point of “Live In Europe”?
I like that version of “Hurricane Party”.

Now, imagine a movie called “James McMurtry” – which of your tunes would be playing in the background as the finishing credits roll out? I’d rather it were a Kristofferson song off “Silver Tongued Devil”. I believe the title is “Pilgrim Chapter 21”, something like that.

NATE SCHWEBER

1.0  How was it recording with Eric “Roscoe” Ambel? Recording with Roscoe was a great learning experience. As a producer Roscoe demands a lot, but his results speak for themselves. It was a real challenge to step up to his expectations, and that caused a lot of growing pains. But it was for the best. I’d wanted to work with Roscoe for years, and since I moved to New York in 2001 I slowly got to know him; hanging out at his bar, the Lakeside Lounge, and going to hear him play. He’s one of those guys with the Midas Touch. Whether it’s his work playing guitar with Joan Jett or Steve Earle, his playing in bands like Del Lords, the Yayhoos and his own group The Roscoe Trio, or bands he produced like the Blood Oranges, the Backsliders and the Bottle Rockets; everything Roscoe touches turns to gold.  Roscoe sees projects on a macro and micro level. On the micro level, he’s got a great sense of what sounds need to be where; what parts of songs need guitar licks, what tracks need an overdubbed acoustic guitar with Nashville tuning, where a harmonica break fits, etc.. On a macro level, he’s always got his eye on the big picture like how to make the best use of studio time, the order that songs should go in, how to tell players to prepare and a whole lot more. My background is in writing for newspapers. I liken Roscoe to an excellent editor.

2.0  How does the new CD “Hello Disaster” differ from your debut “Heathens Like Me”? First and foremost, Hello Disaster was produced, unlike Heathens Like Me. It took four fun days to make the first record. It took three hard years to make the second. The first record is the sound of a band coming together, going into the studio and just bashing out the songs. The second record, to me, is the sound of a band busting apart. But the sound of the shattering is pretty glorious.

3.0  What’s up with the New Heathens? I don’t want to air dirty laundry, but some of those growing pains I mentioned led to us stopping performing out as a band midway through making Hello Disaster. We had been going pretty strong there for a couple years, hauling up and down the eastern seaboard in a big, purple van, but we hit the rocks in the studio. It was painful. It wasn’t how I envisioned it – and believe me, I had meticulously planned this project for years and worked my ass off – but I came to a fork in the road during the recording process where I could salvage one of two things: the band or the record. I chose the record. Note that the record starts out with five people wailing together in a room, and ends quietly with me by myself. That’s a good metaphor for how the recording process went. I find myself in the curious position now of trying to promote a good record by a band that isn’t really around anymore. I’ve been playing plenty of solo acoustic shows, difficulties of promoting a full-band record as a solo acoustic artist be damned. Don’t be surprised to see some “Nate Schweber and the New Heathens” shows soon.

4.0  What sort of music did your family listen to growing up? My mom is the partially-reformed pseudo-hippie of the family and she’s a huge music lover. Growing up she I remember her playing the Beatles and Emmylou Harris, who looks like her sister. She was the one who turned me on to the Rolling Stones and Steve Earle. My dad, a self-proclaimed “bean-counter,” actually has great taste in music, though I didn’t realize it when I was younger. I learned about Warren Zevon from my dad.

5.0  What was the first album you ever purchased? Aerosmith’s Pump. Power ballads be damned, if anybody’s recorded a cooler song than F.I.N.E. in the past 20 years, I ain’t heard it.

6.0  Does being from Montana originally have any impact on your style? I’m sure it does. Montana has wide open vistas and not a lot of people, so growing up I had wild, fanciful notions of what I wanted to do with my life and not a lot of people to tell me I couldn’t. I noticed a definite change in my mindset when I got to New York and found myself hemmed down at the bottom of concrete canyons all day (lo and behold some of those “fanciful notions” didn’t quite work out). Montana also affected my taste in music. The Pacific Northwest has a psychic connection with the south, I imagine because they are both big, rural areas where agriculture dominates. So things like country music and southern rock resonate up there. Growing up a weirdo, I figured out fast that a lot of the chaw-dipping, wrangler-wearing guys who cranked modern country in their pickups wanted to kick the shit out of me, so in high school I hated country music. It wasn’t until I got to college that I luckily fell in with a hip, bar-band scene who turned me on to country that was Stonesy, relevant, smart and cool, like Steve Earle, the Bottle Rockets, Todd Snider, Doug Sahm and the Supersuckers.

7.0  Did you have a band in high school/college? what did you call yourselves? what did you play? I sang in rock bands all through high school and college. Some names I remember include, “Blue Monday and the Cockroaches,” “The Spice Boys,” “Aces & Eights,” and “Moxie.”I played tuba in school band from fifth grade through when I graduated college. To this day the longest lasting and most popular band I was ever in was a German polka band that spanned elementary school through college called “The Hungry Five.”

8.0  Why did you move to NYC? I tell people that having grown up in Montana, I wanted to find out what life in a big city was like, and boy have I found out. The catalyst was I got an internship at Rolling Stone magazine in 2001. I came to New York to see what I could do in journalism and rock ‘n’ roll.

9.0  How do you approach song writing? That’s a tough one. A lot of my favorite songs are what I like to think of as “smart.” Like “Lawyers, Guns & Money” by my man Warren Zevon, it’s a wild concept for a song, totally original hook, fantastic riff and it’s funny. Zevon is a master at that. Same with Brian Hennemann of the Bottle Rockets, particularly when he co-writes with Scott Taylor. Their songs “$1,000 Car;” “Welfare Music,” “Zoysia” and a slew of others are new, smart, descriptive ways of looking at common things. So that’s always my goal when I try to write a song. I usually fall far, far short.

10.0  What do you prefer – writing, recording, or playing live?  It used to be playing live, because that’s all I did. As I get more experienced at writing and recording, I’m enjoying them more and more.

SAM GJOKAJ

1.0 How long have you been ON-WE? Officially its been almost 3 years.  We just passed our 3-year anniversary as a band.  I remember the date because our first show was 07-07-07….oh yeah, jackpot!

2.0  How did it start? How did it become a band? I had been in and out of bands/projects since the late 90’s for a while and I met Bridget back in 2003 at an open mic while in BBMT. After listening to a self-produced demo she had done, I thought “I have to be involved in a band with her.” She was quite unique, had an amazing voice/sound and had recorded everything on her own.  We wrote and jammed from our first days together but never had organized the music enough to create a band around it because we were seriously involved in other bands at the time.  I went to an O’Callaghan Christmas party with Bridget and met her brother, Brian O’Callaghan, in 2006.  He played bass and I thought this was a great opportunity to start “the band.”  We played several shows before we had a drummer or a complete line up.  Once we had enough material, we recruited the rest the band and, in a matter of months, began playing out.  Sometimes you just have to go for it instead of waiting for the right line up or moment.

3.0 How has the Chicago scene changed since your days in BBMT? The scene hasn’t changed much but my fans have; they’ve grown up.  There is this new demographic that we are trying to capture while enticing the old at the same time.  Chicago has always been a great launching ground for local music if you have the right material, vibe and look.4.0 Why do you do this? I do it because I am addicted to making music – it is an instinctive part of me.

5.0  What are ON-WE’s immediate plans? We are working on incorporating more of an electro vibe with a rock & roll edge because I write on the guitar and so hear guitar in our compositions. I like pretty melodies and ambient sounds but like a bit of grit too.  Its a signature dynamic that I like and strive for no matter what I’m involved in. I like walking that tight-rope of tension in my arrangements; it mimics life which has no constants and can change on a dime.6.0  Are you guys planning on releasing a proper ON-WE record?  We are and will soon. I think our aim is to release something we have no regrets about.

7.0  Does a band need a shared philosophy beyond the music to stay together? I’m not sure that the a shared philosphy keeps a band together.  I know that you have to keep things fun, creative and be mindful and respectful of others involved. That will give a band the staying power they need to persevere.

8.0  Why do you always wear black, Sam? I am a big fan of Johnny Cash and of the path not taken, could be part of black allure.

9.0  When you think about artistic purity, is there any room for pop music? Not unless you are creating the music that becomes popular.

10.0  Will robots ever conquer rock music? They just may if they can tap into what makes us human.  Humans can be as predictable as they are unpredictable. The path we choose is decided by what some call ” the human factor.” Maybe there will be a mathematical preset in the future for this but I doubt it will make great music ~