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 1^st 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. 

Eddy: Of 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.

Eddy: My 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.

Eddy: For 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 1^st, 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.

Eddy: This 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!

Eddy: In 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.

Eddy: I 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 1^st 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!

LYLA JUNE

Photo by Priscilla Peña

———– What role did music play in your upbringing in the Diné tradition?  In the Diné language (Diné Bizaad) Hataałii means both “singer” and “doctor”. Also, in our language Sodizin means both “song” and “prayer.” So in my upbringing, music was all about deep intention to make the world a better place. Music was seen as a healer and singers were viewed as doctors. I was born into a world of struggle, as Native Americans continue to live in post-war conditions after the Native American holocaust. There’s a lot of work to do to improve our communities. I was raised by strong people to live my life deliberately and to view every one of my creations as an opportunity to heal my people, all people.

———– Were you discouraged at all from getting into American pop music and it’s culture as kid?  I was never discouraged from this. In fact, society encouraged me to listen to this because it was “cool” and it was the only thing on local radio stations. I drank the Kool-aid for a lot of years and went along with the programming of American children. There was a time though, around age 10, when I actually stopped drinking soda and I stopped listening to mainstream music. I started to see that mainstream music often times was part of the problem of keeping the public ignorant and distracted.

———– What artists / songs got through to you early on and how did their music, vibe and lyrics influence you and your outlook on your place in the world?  The Beatles were a heavy influence growing up. My father was born in 1954 so he brought a lot of his music from the 60s and 70s into my life. When I picked up the guitar, the first songs I started to learn were Beatles songs and I think that continues to influence my song structures today. Other influences from all different genres included System of a Down, Lauryn Hill, Shania Twain (I know… funny right?), Blackalicious, Rage Against the Machine, India.Arie, The Glitch Mob,  Led Zeppelin, Ulali and others. These artists showed me that music is a powerful launchpad for bringing joy, inspiration, hope, education and unification to the oppressed. None of these artists were Native American because it seemed at the time there weren’t a lot of Native American role models in the music world for me. There was Buffy Saint Marie but I never really got into her music. Myself and a number of others are trying very hard to generate a new genre of Indigenous music that inspires the youth.

—————— You have a track record for winning poetry jams at a statewide, and nationwide level, when did music become an extension of your drive to share your message?  I was always a writer. I remember reading poetry in public places as early as 4th grade. I remember winning writing competitions that early as well, for whatever that’s worth. When I stumbled upon spoken word at age 14, I was an instant fanatic. I travelled all of the world in my teens performing spoken word. I also started picking up the guitar in earnest at that point. So my poetry and my music development started around the same age, but I was slower to become a decent musician, whereas writing and speaking came more naturally. I didn’t feel confident in my music enough until very recently, perhaps five years ago, to really include it in my public performances. But since then, it has come to be appreciated as much as my poetry is.

—————— What was your musical life like while at Stanford?  I think that a lot of the drug addiction and sexual abuse I was experiencing in high school and at Stanford muted my musical confidence. I didn’t feel worthy as a woman to do much of anything because I felt like a bad person. I didn’t realize that just because bad things were happening to me, didn’t mean I myself was bad. But because of that, I was very creatively stunted for a long time. It wasn’t until my junior year of Stanford that I started to heal from the rape, get sober and pick up my guitar again. At that point the songs started flowing through me all the time. I didn’t feel comfortable releasing them at that point, but now I do!

———— How does the song writing process work for you and what does it take for you to feel a song is finished and ready to be performed or recorded?  Everything is in prayer. Like my ancestors, I treat life like a ceremony. So first thing I do, unless I’m being rushed and careless, is I pray. Maybe go outside and offer some corn pollen to the earth and ask her to give me some good words. One of my mentors has a prayer that he says every morning: “May you help me help at least one person today.” That is a very beautiful prayer to me. So I pray that with each song it can help at least one person. I don’t have a real unreachable standard for when a song is finished. I try to be laid back and allow a song to go out even if it’s not perfect. I used to do that and I would never publish anything because it wasn’t flawless. Now I kind of rest in my imperfection and do my best and be happy with that. I’m often pleasantly surprised with what “my best” ends up being.

————- In a way what you’re doing harkens back to the late 60’s folk rock peace movement – do you feel any affinity with those artists and their music today?  I feel very connected to this movement, even though there aren’t a lot of highly visible Native American’s in that movement. I feel like even though it was mainly a White movement, it still had some very good messages and was trying hard to generate a new way of seeing things. I pray to further that movement by grounding it in Indigenous rights. I feel that before this country can have peace it must contend with its “original sin”: the fact that this country is founded on the genocide of Indigenous Peoples. Until we give lands back to what little Native people are left, and until we make serious efforts to uplift these communities on their terms, then we will always be a farce of justice.

—————– What do you do to get in the right head space before playing (or speaking) to an audience? Do you have a day-of-show ritual?  Again, prayer is the first thing I do. One of our old songs says, “Great Mystery, first I pray to you. Because of this, I will live well with my people.” This song reminds me that prayer is the first step to any process. I used to say a little mantra I’d say to myself before stepping in front of hundreds and sometimes thousands of people. I would say, “I am always confident, calm, humble and strong before I speak to the people because I know I carry a message of truth, love, healing and peace.” I would say that all the time. But now I think it’s woven into my being so it is understood without being spoken.

—————– How was your experience last year at the Newport Folk Festival?  I loved being in Newport and not just for the seafood! I remember my set was sandwiched between a lot of amazing musicians on one of the side stages. I was the only woman in that section, the only person of color and definitely the only person who identified as Native American. So in many ways I was an anomaly. A lot of people in the audience were not expecting to hear an Indigenous activist/musician. They were overwhelmingly grateful for the set I brought and bought a lot of albums, the proceeds of which I donated to Lakota youth projects. These audiences often don’t know what to make of me, but they are always pretty moved by it and describe my set as a cathartic process.

————– You are asked to perform a song on The Grammy’s to further ‘First Nation’s’ causes / pride. You are to be allowed a brief introductory sentence or two and then to play a cover song of your choosing — what do you say to and play for America?
First of all, I should say, I try to refer to this land as “Turtle Island” and not as “America.” Because that is the original name given to this continent by its original peoples. But, I hope this day comes, not for the sake of my fame but to bring my people’s message to those who might not hear it otherwise. If I were in that position, I would say, “My people are busy working to revive languages and land stewardship techniques that were brutally destroyed by the processes of Manifest Destiny. We can no longer destroy what we do not understand. The systems of my people are not savage, but incredibly sophisticated and have the ability to bring solutions now, to a world in crisis.” And then I would sing an old song of my people, a song of overcoming called, “Shi Nishaa.” This song is the song that the elders sang when they saw their southern sacred mountain for the first time in four years. They didn’t see it for so long because they were being held in a concentration camp by the US military from 1864-1868. It is a song of joy and resilience. Not even the US military can stamp out this medicine. We are here to bring it to everyone, even those who tried to wipe us from the face of the earth. This is the unconditional love that my elders told me was the deepest medicine. – LYLA JUNE

Visit Lyla June on Facebook or her official website at www.Sodizin.net

ADRIAN DYER w/ MOON TAN

—————- How did you get hooked on rock & roll?   I’ve always been drawn to music that has either a really catchy melody or something that gets me pumped up. Back when I was younger the iTunes library at the house was riddled with tons of classic rock bands from my sister and brothers tastes (Zeppelin, Sabbath, Hendrix, Beatles etc.) so before I even had my own music player these guys had been priming my brain. I think the major turning point was when my brothers friend Eric had popped by the house and pulled up the music video “Dani California” by the Red Hot Chili Peppers back in 2006. That ended up dragging me down the rabbit hole of music and becoming a musician, and I can honestly say I don’t know where I’d be if I hadn’t discovered RHCP.

———- What’s your favorite live album of all-time?  I haven’t listened to too many live albums, more so watching live concerts on YouTube. I’ve probably clocked a few hundred hours of watching live Red Hot Chili Peppers concerts, so if I had to pick one (which is tough) maybe I’d say “RCHP Live at Slane Castle”, “RCHP Live at Pinkpop 2006” or “RHCP Live at Pinkpop 1990”. In terms of CD’s, Iron Maiden’s “Flight 666” is pretty solid. Brady and Nick introduced me to Thin Lizzy “Live and Dangerous” which I also thought was excellent.

———- Is there anything about the band that could have only emanated from Winnipeg? or Canada for that matter?  A crippling fear of being attacked by a bear, a large wolf, or a pack of coyotes whilst leaving the jam space. 

——— Was bass your first instrument?  Years back my brother had a guitar laying around the house that I would pick up and mess around on. I’d actually watch RHCP’s “Live at Slane Castle” on my computer and try to learn certain licks by ear and play along. Later that year I asked my parents if I could rent a bass, to which they replied “they’d think about it”. At Christmas there was a bass starter kit under the tree, and my mind was blown.

————- How did Moon Tan come together?  The band originally emanated from Nick Knock’s desire to start a cover band along with another singer at the time. I heard about the band from a guitar player who I had jammed with a couple times. I auditioned along with him, and I got in, but he was not selected. Nick’s Dad (who is a music teacher) knew the music teacher from the city of Gimli, which is about an hour away from Winnipeg, and that music teacher recommended a guitar player from Gimli High School – Brady. Brady auditioned and was selected. Eventually we decided that we wanted to do original material, and ended up parting ways with the original singer in the process. After a few years of enduring a revolving door of Kijiji-sourced singers, I decided to take on the task of singing. We’ve been truckin’ ever since.

———— Originality aside, did you guys have a vision for yourselves a definable brand or is it all natural?  I can only speak for myself, but the main thing I’ve always focused on is creating music that I actually like listening to. That’s the most important thing to me. Everything else is secondary. The live presentation developed from us wanting to make our shows more of an experience, and in turn THAT has naturally led to us developing into more of a definable brand. In my opinion people go see shows, watch movies, play video games etc. to de–stress /  have a good time / seek inspiration / escape reality, so if you can do a good job of providing an opportunity for this with your brand then you’re well on your way. We have some interesting ideas for live production we would like to experiment with in the future. 

————— What do you think Moon Tan fans have in common socially?  They’re all heavily into Baccarat. Other than that, lots of them seem to like Rush, prog, sci-fi, be musicians themselves, or have a genuine love for rock n’ roll.

————– What gets you off more — writing, recording, or playing live?  1,000,000% writing. Sitting alone with nobody around, my laptop & Garageband open, and just freely creating with 0% judgement but my own.

————— Since you have a prog rock thing going on, is there any pressure to do shorter numbers for more airplay or a ‘hit single’?  It’s interesting, because in all honesty I don’t really see Moon Tan as a prog band, but people who watch us tend to categorize us in that way. I guess that brings forth the question: “What is prog?” Maybe I don’t even know.. haha. I find my natural songwriting style is actually in a pop style format, perhaps disguised by the odd time signature here and there or a flashy lick from one of us. Circling around to the question with all that in mind, you need to give the song enough time to mature and finish, and if can we find a way to do that in 17 seconds, we will.

————- You guys won Indie Week last year in Toronto and got to play in Manchester as part of your bounty: how did it go in England?  England was fantastic. It was our first international gig, and we received tons of great feedback from everyone over there. I think I ate a whole margarita pizza every night for six nights straight, and Brady and Nick we’re hooked on the fried chicken. We are definitely planning our return as we speak, so fans of rock – and vendors of margarita pizza & fried chicken – beware!

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

SCOT COOGAN w/ACE FREHLEY

When did your love affair with the drums start?

I was about 5 years old, went to my Uncle Frank’s house and saw a real drum kit set up. The Beatles “White Album” was on, guess I didn’t see any sticks around, so I picked up a Barbie Doll Leg and a Lincoln Log. I started hitting the drums in time with the music, after that, all I wanted to do was play drums!

What was your first full kit? 

When I  was 11 yrs old, my dad bought me a used mid 70’s Butcher Block Maple Ludwig Kit. I still have the kit, it’s very sentimental to me. I use it for recording sometimes. It’s in mint condition.

Which band was ‘the one” for you growing up, or were there many? 

Hands down, The Beatles.

What’s it like playing now with someone like Lita Ford versus say Sinead O’Connor?

Besides hairstyle, nothing compares to… lol. Ok, seriously, they each have a completely different approach and style to their music. Sinead is a melodic pop artist, Lita Ford is the Queen of Metal, her tracks are more guitar driven. Interestingly enough, I performed with both artists during a time in their careers when they were making a come back of sorts. Sinead’s “Faith and Courage” was her first original release in three years. Lita’s latest effort “Living Like a Runaway” is a return to her rock and roll roots. Both women are very empowered by their music. They both pour their heart and soul into their songs and performances. It has been a pleasure and an honor to work with each of them.

How did your gig with Ace Frehley come about and what was your favorite part about working with him? 

I flew to New York for the audition with Ace 2007 and he offered me the job immediately. Besides having the opportunity to perform and interact on a regular basis with one of my childhood hero’s, I would say singing lead vocals while playing drums for a good part of the set list was my favorite part of the gig.

Drummer jokes aside, do you have an overall philosophy that you bring to the table as a musician?

Yes, music for me is about feel, emotion and personality. Whether I am writing music on  a piano or an acoustic guitar, I find that creating a melody, which moves over chord changes, while establishing a proper drum groove is the foundation for a song.

Do you have a pre-show ritual to get you in the right frame of mind for a show?

Before a show I stretch, warm up by doing rudiments on practice pad, perform vocal exercises and drink hot throat coat tea with honey.

“Moby Dick” aside, what are the three hardest Led Zep tunes to get on drums?

I would say these are the most challenging:

1. “D’yer Mak’er” because there is no consistent or repeating pattern.

2. “The Crunge” because it’s one of a few Zeppelin songs that changes from an odd meter, 9/8 to 4/4 time.

3. “Fool In The Rain” because it’s one of Bonzo’s sickest shuffle drum grooves next to Bernard Purdie and Jeff Pocaro.

What advice would you give to a younger player joining a veteran touring act?

It’s a great opportunity to work with veteran artists, you can learn a lot by LISTENING and use this experience to further your career. Have a positive attitude, perform your best at each show, be respectful of space on the tour bus and BE ON TIME.

You are given one free time-travel-ticket to any concert in history, what are your coordinates Scot?

January 26, 1969 Led Zeppelin at the Boston Tea Party in Boston, Mass. It was the last of four nights at the venue. They only had an hour and a half of music to play, but they performed four and a half hours. They played their set twice and then did music by The Who, The Rolling Stones and The Beatles. Epic Concert!

Visit Scot online at, you guessed it, ScotCoogan.com or say hello on Facebook

CRAIG ELKINS

1.0 – How long did it take you to write, record, and finally mix the new disc, “I Love You”?

Most of the songs on “I Love You” were written over a 3 year period -2008-2010 where I was struggling in every conceivable way. I’ve always struggled. But the walls were really starting to collapse inward financially & relationship wise. Los Angeles is an expensive ride and we literally didn’t have enough money to get a tire fixed.

Most of the record was recorded at the Pass (RIP) in Studio City, CA (a studio once owned by Tom Jones!) in 2 days. 99% of the vocals are live. All of the rhythm tracks are live. My friend Rynne came in and did some background vocals for us (she’s now in the band), Marko, our bass player and producer/mixer of most of the tracks on the record, had his 11 year old son play tuba on “Most of the People”. Mixing was a slower process because it took us a while to figure out that Marko was going to mix the whole thing (or most of it – Zeph Sowers, who works with TV on the Radio mixed “Gravel”, and Todd Solomon recorded and mixed “This House”). Then it was a matter of fitting it in around the daily minutia of middle aged white-guydum.

2.0 – Did you have a vision for how the album should sound before going in or did it evolve?

It evolved – pretty quickly. My friend Jason Karaban, who I wrote “Tumbleweeds” and “Tell em My Story” with (he’s got his own version of “Tumbleweeds” coming out on his record this summer as well) is friends with a handful of super great, generous musicians – Pete Thomas (Elvis Costello), Dave Immergluck & Charlie Gillingham (Counting Crows) and Niel Larsen (Leonard Cohen). We had no idea how it was going to sound, I don’t think, until Niel played the piano solo on Gravel – then everything sort of started to take on the same flavor. Later on, I brought in Dr. Steve Patt – family practitioner to the stars and ridiculously talented musician – to play pedal steel and we ended up with a kind of mid 70’s Merl Haggard record.

3.0 – Did you approach the record on a strictly tune-by-tune basis or were there themes you wanted to get across?

I wrote these songs during a tumulteous time in my life and so everything fits nicely together theme wise. I didn’t set out to write an album of 9 melancholy songs about middle aged angst but I wasn’t writing about anything else either so, yes & no.

4.0 – Which tracks are fans and friends gravitating to so far?

The ones where I get the girl or where my lady does me wrong and I exact revenge by buying a nice car.

5.0 – It’s been over a decade since the Huffamoose Billboard Hit, “Wait” (#34, 1998), and yet the new stuff maintains the dry wit that was a hallmark of the band, where does it come from for you?

hmm – well, I’ve spent most of my life in music pretending to know what I’m doing. I never had the intellectual staying power to really dig into song crafting, the language of songwriting, etc. I barely listen to music- so maybe that’s how I can muster up just a smidgen of originality –  I sort of found my way to my own voice in this ass-backwards way. I know my dad and I like to laugh at the same things. So do my daughter and I.  The other members of Huffamoose seemed to share this sensibility too.  I know that I’m extremely attractive and attractive people tend to be really creative and fun to be around.

6.0 – Has living now in California impacted your music or outlook on life in any way?

Well, I’m not sure if it’s California, but I certainly have had my toughest years here. I’m pretty sure I wouldn’t have written these songs in Philadelphia, but who knows. LA can be this amazingly gorgeous prison. You look outside at the wonderful sunshine and the air smells divine but you can’t go out and enjoy it – you’re too busy trying to make your rent – at least that’s been my experience – no mortgages in my present or near future. That’s another odd thing about LA…I feel like I’m the only one who struggles. Everyone else just drives to and from meetings at Starbucks in their BMWs.

7.0 – What got you hooked on rock & roll as a kid?

The way the towel looked on my head when I was pretending to be a rock star in the bathroom mirror. That and the Bread song “Guitar Man.”

8.0 – What was the first song you ever learned to sing and play at the same time?

“Where Have All the Flowers Gone”

9.0 – What three 70’s albums should be in every music lovers collection?

1. Presence – Led Zepplin

2. Tapestry – Don McClean

3. Something Anything – Todd Rungdren

10.0 – Is it really true that you “Can’t Stop Being A Dick”?   

It is 100% true. It is an absolute truth. I literally wake up every moring with the best of intentions and by the time I shuffle out into the kitchen and ignore my wife or yell at one of my 5 cats, I’m back.

DUSTY WRIGHT

Your new record If We Never sounds immediately comfortable – how do you view it in relation to your other musical incarnations?

Very personal and uncomfortably comfortable. The songs were written for me in most instances. Two of my friends died while I was recording it. My son’s godmother Patti and my best friend Buff. It made me examine my life, the life of men my age, my relationship with my family (wife, children, friends, etc.). In many ways, it’s a rumination of a middle-age man’s life; all the lust, love, betrayal, sorrow, joy, the finality of life. It’s no doubt my most personal effort as I’ve really examined my own ego and id on this one. (hear track “Sometimes I”)

How do you approach song writing for a solo release versus, say, GIANTfingers?

No difference, really. Just different players. Interestingly enough, this record began as the second GIANTfingers CD and the morphed into my own solo effort. I recorded some tracks with the band and then started laying down more personal tunes, very sparse, in some instances just my voice and guitar with a few embellishments. But I don’t know if I really approached this record any differently than any of my other records, song-writing wise. I don’t write a song and think of who will play what. I just let it flow and then decide what works for me vs. what may work better for GIANTfingers. I’ve always felt that a good song can be played just as readily on an acoustic guitar as it could be on a cello. Melody is (the) driving force.

Do you think the concept of a full-length record will be spun out in 50 years or stick like the symphony has, as a revered format?

Very good question. I think the full-length is dead right now. How many people ingest a full-length album today? I’d like to see that poll. We buy tracks. Artists like  CeeLo Green have been done well by releasing killer tracks like “Fuck You” or earlier with “Crazy” by Gnarls Barkley that made folks stop and notice. And they were done before the albums were released. Besides, did it matter to the Beatles or the British Invasion bands way back when? Nope. They just released singles that got compiled into albums. There is just too much music, too much culture for people to pay attention to an entire album.  Much of my favorite hip-hop has always been best ingested by individual tracks and not entire albums. However, if an album is a magnificent effort and the songs flow into one another, then it rewards the listener like a novel or short movie. Even my own CD is stupid, even though it’s a concept album about middle-aged angst. I’d be a fool to suggest that anyone spend the 40 odd minutes to listen to it. But if they do, I hope they’ll enjoy the experience. I think it works best while driving or riding the subway. Ingest it like an audiobook. I also think that providing strong visual components for your music can act as a barker for your brand. Recently my video for the track “Secret Window” featuring the French actress Stella Velon won Best Music Video at the LA Film & Script festival. And the cover art was rendered by artist Jeff Zenick.

Do you see rock & roll as a reasonable raison d’etre?

Reasonable? No; necessary. Two guitars, bass, and drums. A garage. Some dudes that want to let it all hang out, and voila… Let there be rock! Rock and roll will never die. Long live rock! Rock is just like any other musical genre. Once you introduce it to the status quo, it will ascend, peak, descend, and then settle in to itself. Rock probably had its Renaissance during the late ’60s/early ’70s. Those bands and tunes have stood the test of time. Just like jazz in the ’50s, classical music in the 19th century. But then again, punk rock kicked it in the arse and it had a rebirth. Rap kicked it in the teeth. And on and on…

Did you have to fight or embrace cynicism to keep on keepin’ on?

Not at all. FIrst and foremost I have to be engaged myself. I don’t look at songwriting, or painting, or writing a great novel as any different. It’s all about the journey for any artist. You have an idea, you produce the idea in some format, and then feel compelled to share that idea with other people. Then you leave it up to others to embrace it or reject it. An artist need only worry about pleasing oneself. Any attention after that is extra gravy. But it’s easy to be cynical given today’s music culture. Especially when so many people feel that music has so little value that they have no qualms stealing it. I often ask these same folks why they don’t steal art off of walls. Normally they have no irrefutable rebuttal. Musicians need to make a living, too.

If you had to pick, what one year in rock is your all-time favorite? 

Wow, great question. Certainly my pre-teen years in the late ’60s defined me, and probably unconsciously informed my own musical style, my ethos, pathos, id, etc. ’69 to ’72 were memorable for me because my older cousin who was attending Kent State bought me Abbey Road and Led Zeppelin and introduced me to heavier music. I was already a Beatles fan, but Abbey Road was the album, especially side two, that made me appreciate the album as an album.  Wasn’t long after that I began ingesting Cream, Bowie, Dylan, Santana, Hendrix, The Doors, The Allman Brothers, Neil Young, et al.

Sometimes artists reach similar places completely unaware of one another and that cohesion is what creates a ‘scene’. Was there ever an artist you heard that made you think “yeah, that’s my scene man!”?

You know I’m often inspired in the least likely places. Sometimes it can be a tiny jazz club in the Village or rock club or even a private party, but I think that when Americana hit in NYC in the late 90s it was a scene I really felt a kinship and bond with. Many of the bands played the same venues, sometimes sharing the same bill. That was also was period during the mid-to-late 90s where I was producing a series of Americana gigs at CB’s Gallery (next to CBGB’s) called The Front Porch Series. And if was often my band and 4 other bands sharing the night. Most of us waved the flag of roots-rock, alt-country, Americana. Then one day I was a playing a BMI showcase at the original Living Room and Ollabelle was performing before us and it was like, “Holy Shit! That’s it man, that’s the sound, that’s the vibe, that’s the band. That’s all of what I wanted to convey. I turned to the dude next to me and said, “wow, they should be signed immediately.” And he said, “they just were. T-Bone Burnett is bringing them in to CBS.” I was stoked for them because they so deserved it. They just nailed it! Ditto for early Daniel Lanois and his solo records and gigs.

Any goofy behind-the-scenes stuff at Creem that like to laugh about now?

Nothing goofy really. But I do have some cool rock and roll stories. One of my fondest memories involves riding around Glastonbury during the festival with Robert Plant. He was headlining the main stage that Saturday night and I assigned myself to cover that event while at the helm of Creem. I took the train up from London and met him at his hotel. We climbed into his Mercedes and he drove me around Glastonbury sharing stories of King Arthur and the Holy Grail and the Maidens of Tor. He then asked me if I was a Moby Grape fan. I was even though I was introduced to them much later in my rock and roll life. He proceeded to try to ring up Jerry Miller, one of the guitarists and songwriters in the band. When we got back to the festival, we caught some the Velvet Underground’s reunion set, some of Midnight Oil, hung out with the Black Crowes backstage, and then Plant finally played. He was magnificent, as one might imagine.

What is your take on the new media and where does Culture Catch fit in?

New media is now. As I say, “converge is the word.” Web content has converged with TV content. The content is delivered on multi platforms and devices. Most consumers have access to two of the three screens — mobile, laptop, and desktop. Most folks in America could care less what size the screen might be. Plus, you can watch your content when you please in any environment. CultureCatch.com was one of the first companies to actually produce and post audio podcasts and vidcasts/webcasts on iTunes when we launched 6 years. My show featured compelling, long conversation with celebs in all areas of the arts. I think because I had this great access I was able to draw attention to our website. So we were part of the birth of new media. We even ran the podcasting symposium at Macworld the year they launched the iPhone. It was quite the event. Apple has been very kind to us. Really helped promote our programming across multiple platforms. Ditto for Verizon Wireless and some other forward thinking brands. Just this week we were mentioned in the New York Times by Mike Hudack, CEO of Blip.tv, as one of his favorite shows on his network. Am I getting wealthy from it? Not yet. But I’ve got no gatekeepers telling me what I can or can’t program. As long as there are interesting artists willing to share their stories, I will keep producing my content.

Rumour has it you were once purified in the waters of Lake Minnetonka, how was it working with Prince?

No rumors, nothing but the truth! Yes, I was the only journalist to interview him in the early ’90s while I was at the helm of Creem.  He was then known as “the-artist-formerly-known-as-Prince”. I had agreed to a cover story with him, but I had to accept certain conditions. Interview would be conducted at Paisley Park, in person. However, I couldn’t bring a tape recorder, pencil, pen, crayon, et al. to document said interview. I would have to create an interview with my memory and creative moxie. I was up to the challenge as I felt he’d appreciate my humble Akron, Ohio roots. Hung out all day at Paisley Park. Met all of his band and folks that work there. Finally got to meet and hang with him towards the middle of the afternoon. He was too cool, a bit shy, but deep. A few months later, he ended up hiring me to publish and edit his fanzine New Power Generation. That lasted for a few years until he got distracted with other things.