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COLOR 8 | www.SFLMusic.com SEPTEMBER 2018 | Issue #75 10. Bobby G

12. Umphrey’s McGee

13. PUBLISHER Imagine Dragons Sean McCloskey 3 DOORS DOWN [email protected] 14. ’s MC50

SENIOR EDITOR 18. The Kelsey Theater Todd McFliker [email protected] 22. Taylor Swift PENTATONIX DISTRIBUTION MANAGER 28. Melissa A. Smith Warped Tour [email protected] 30. In The Studio Vol. 1 with Day 4

CONTRIBUTORS 34. Ray Anton OAR Lori Smerilson Carson Echosmith Panic! at the Tom Craig NONPOINT Paul Evans 36. Megan Garzone & Journey Aaron Gilbert Peter “Blewzzman” Lauro 40. Sean McCloskey Bumblefest Todd McFliker Angel Melendez 44. Jason Bieler Nathan Rose HAYLEY KIOKO Jay Skolnick Lit Melissa A. Smith Jason Valhuerdi Joseph Vilane

ADVERTISING INFO [email protected]

COVER PHOTO Sean McCloskey

SFL Music Magazine is a community newspaper that is published monthly in Sunrise, . All contents are copy- right The Sweet Music Group, Inc. 2018 and may not be reproduced without writ- ten permission of the publisher. Joywave

B&W himself, Mr. Johnny Rawls on background my favorite song of the batch. With the silky Bobby G vocals, rhythm guitar, keyboards and song smooth and soulfully sincere way in which compositions. he lets his lady know: she can change PHD In The Blues the color of her hair; she can change the As Bobby G very soulfully and very clothes she wears; she can change her PHD in the Blues is Bobby G’s second sincerely tells it, similar to getting an point of view; and anything else she wants release in just about a year. Since he education at the “school of hard knocks,” to, as long as she doesn’t change loving waited ‘til the age of 73 to release his first, the blues is his teacher, his preacher him. Bobby is at disc’s best on vocals. On it appears that he just might be trying to and his friend. Musically, it’s as stellar as top of that, the track also features Cadillac make up for lost time. At least that’s what the vocals and lyrics. The rhythm work Dan putting on a flawless keyboard I’m hoping. I’d surely welcome a release is precision work, the Toledo Horns are performance from start to finish with every year from this powerful soul singer. heavenly horns and Larry Gold’s stinging several monster solos in between. This blues guitar licks are as good as gold. one drew a handful of replays. Since a line I used in my review of his debut album Still Standing back in July of This opening line of “Just Can’t Stop I promise you that by the second time you 2017 is once again true, I›m simply going Loving You,” “Oh man! Boy I’m a mess,” hear Johnny Rawls, Ramona and Trez to say it again. With Johnny Rawls, the cracked me up. Bobby’s in a bad spot, sing this songs chorus line you’ll be singing perennial nominee and often winner of thanks to being dumped by a woman. “Where Did the Blues Go” right along with many soul blues awards, having written or Because he just can’t stop loving her, he them. Paying homage to B. B. King, Albert co-written the disc›s ten tracks, you›d be stopped smoking. He stopped drinking. He King, Freddie King and Albert Collins, correct in assuming that this one is loaded stopped cussing. He stopped gambling. Bobby voices his displeasure for today’s with soulful blues. That said, let me just He also stopped flirting. He even stopped music. With the rhythm section doing their add that these are all new tracks written cheating. usual smoking stuff behind them, Danny expressly for Bobby. and Larry light it up with some seriously Although those are indeed hot harmonica and guitar leads. On PHD in the Blues, lead vocalist Bobby great accomplishments, they were all to G is joined by Larry “Entertainment” Gold no avail. You see, the truth of the matter Other tracks on PhD in the Blues on guitar, Johnny “HiFi” Newmark on is that although it breaks Bobby’s heart, include: “Ain’t That a Good Thing”, bass, Scott Kretzer on drums, Danny Pratt they’re much better apart. Once again, the “No More Picking Cotton,” “How Can I on harmonica, Ramona Collins and Trez rhythm is right in the pocket, Larry’s lead Miss?” and “Whole Lotta Money.” To get a Gregory on background vocals, Cadillac guitar shines and Bobby’s vocals, along copy of PhD in the Blues and to learn more Dan Magers on keyboards, Eric Sills on with smooth harmony and backup support about Bobby G and Third Street Cigar shakers, Rick Wolkins and Mark Lemle, from Ramona and Trez, highlight the track. Records, just go to the label’s website a.k.a. The Toledo Horns - on trumpet and at www.thirdstreetcigarrecords.com. - saxophone and special guest, the maestro “Don’t Change Lovin Me” may very well be Peter “Blewzzman” Lauro 10 | www.SFLMusic.com

Umphrey’s McGee | The Fillmore Miami Beach By: Todd McFliker On August 17, Umphrey’s McGee had SoBe jamming for hours cheers from the audience. at the Fillmore Miami Beach. Stemming from Notre Dame Uni- versity in 1997, the boys successfully mesh easeful with Concertgoers didn’t get to experience some of Umphrey’s Mc- rock, metal, , blues, reggae, electronic, bluegrass and folk. Gee’s intriguing covers of the Beatles, Pink Floyd, Nine Inch Umphrey’s McGee is constantly putting out records. In fact, two Nails or even Sugar Hill Gang. releases have already been released this year. Regardless, spectators were happy to settle for the band’s fun However, the crew of six has earned a name for themselves on take on Talking Head’s “Making Flippy Floppy.” Another conve- the live scene. In fact, Umphrey’s McGee has played nient choice, considering Talking Head’s iconic frontman David thousands of shows, including the first-ever Bonnaroo and a Byrne is headlining the Fillmore Miami Beach at the end of the three-night stand at Red Rocks. At the legendary Fillmore, three month. generations of music lovers enjoyed the concert’s general admis- sion seating and open floor in front of the stage. While a major- “There’s something uniquely Umphrey’s McGee that could never ity of the people were somewhere between 30 and 60-years- be mistaken for another band,” keyboardist says old, there were plenty of children and grandkids with earphones on the band’s webpage. “I hope it makes people think a little bit plugged into their iPads. The laidback crowd of Dead Heads or shed a tear or two. Maybe, you smile or laugh. Life is hard. We didn’t seem to mind. still believe music can heal and motivate.”

Following an impressive set by Spafford, Umphrey’s McGee kicked into full-gear with a live staple, 2011’s funky “Nipple Trix.” The vivid light show of blue, green, purple, yellow and white danced above the grunged out boys in jeans and black t-shirts. The skilled guitarist shredded metal in the heavy conclusion of the “Remind Me.” “We love this room,” said vo- calist . “We’re going to have a good time.” Led by Kris Meyer’s and ’s percussions, attendees cre- ated a slow, but steady wave of movement during new songs, like “Xmas at Wartime” and “What We Could Get.” At the same time, there was no shortage of familiar favorites, including “White Man’s Moccasins,” “Phil’s Farm” and the geographically suitable “Miami Virtue.” Throughout the evening, there was minimal talk- ing from the talent, but plenty of improvised wallops onstage and

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B&W Imagine Dragons | Coral Sky Amphitheater Photo: Larry Marano put on my thinking hat and figure out who might be available. I’m glad I started a year in advance, I think probably I called Kim (Thayil) first and or maybe no I called Brendan (Canty) first, Actually, he was the first. Yeah, I called, and Brendan said, “Count me in and sign me up, I’m down.” Then I called Kim and he said,” It sounds it would be fun.” Then I called Marcus, and he said,” It works for him.” And finally, we started off I had Don Was on bass and then I had Doug Pinnick from King’s X.

SFL Music: Right. Wayne: But we ran into some scheduling problems with Doug and his band. Billy Gould was available, and Billy and I had been friends for years and I called him. And he was available. So, it all kind of fell into place wonderfully.

SFL Music: It’s certainly an exciting lineup and I’ve followed it from March or April when your first announcement to the chang- es with everybody and there is also a long this tour, you are hav- ing at some point, Dan Was and Matt Cameron and I thought I read Greg Dulli. Wayne: Yeah, and few more people. You know, depending on who’s around, in what city that we are playing in. I’m trying to collect the hometowns of everybody I know in music right now. That way, I can start to arrange some guest appearances of different people for the second part of the show. The first part, we going to play “Kick Out the Jams” from top to bottom. And the second part we’ll play a hand full of songs from the other two albums.

SFL Music: That’s great. I hope Dennis Thompson, will be able to come out . I figure at least the shows, but hopefully he can come out too. It would be great. Wayne: Yeah, hopefully. Would love to have him.

SFL Music: Do you have any plans along this 35-date tour to re- cord any of it, either audio or video? By Tom Craig Wayne: Yes, we are going to film a couple of shows and we’re going to record a number of them. I was just thinking today it would be nice Wayne Kramer founder and lead guitarist of the radically influential to have bookends of “Kick Out the Jams” circa 1968 and “Kick Out the sixties band MC5, will be bring his supergroup MC50 to Fort Lauder- Jams” circa 2018. Kinda, A and B ‘em dale’s Revolution Live on September 5th. SFL Music had the opportu- nity to chat with Wayne about his band’s history, their influences and SFL Music: I agree with you. I know you got, the soon to be re- what happened to the “Kick Out the Jams” outtakes. leased MC5 “The Total Assault” on vinyl. Wayne: That’s right. The whole box set of all 3 of MC5 albums on SFL Music: How excited are you after such a great summer with red, white and blue vinyl. It’s got great new photos and wonderful liner MC50 and get this kicked off in the U.S.? notes by Jaan Uhelszki. She really did a great job of telling the story in Wayne: I’m chafing at the bit. I’m getting a chance to play this music the liner notes. She is a great writer. that I helped create so long ago, umm with this line up of players is kind of a dream come true for me. To really be able go out and play SFL Music: Since you’re doing “Kick Out the Jams” in it’s en- it as well as, you know, all these musicians, , Billy Gould, tirely, I know that you guys recorded that album over October Marcus Durant, and , they are all guys who are working 30th-31st back in 1968 at The (Detroit). Do you at the peak of their artistic skills and they’ve approached the music have any plan to maybe release a deluxe edition with the stuff seriously. They are playing it just beautifully. I can’t be more excited that didn’t make it onto the original album? more excited about it. To tell you the truth. Wayne: I’ll tell you a very sad tale. We re- SFL Music: When and how did this idea come to you for MC50? corded for 2 nights and Wayne: Well, I love to play music for people and I love working with we also recorded and good musicians and when I saw the 50th anniversary of the recording in the afternoon in the of “Kick off the Jams” was on the horizon I thought well, maybe if I got empty ballroom. You my book done in time, we could tie the two projects together. Then that know, just getting things would make both of them a little bit special and so far, so good. I think in tune, mic placement that, you know, it’s at least it this point. Everything is going well. It’s and all that kind of stuff. just an excuse for me to get a chance for me to jump up and down, on But at a certain point, stage and rock out with my friends. Jac Holzman the presi- dent of Elektra Records, SFL Music: There’s nothing wrong with that. Who was the first had his brother-in-law musician you reached out to about this project? go into the tape library Wayne: Well, I made some lists of all my favorite guitar players, bass and anything that was players, singers and drummers. As I started to work through my lists, I not released on a al- found out that it was going to be more difficult than I thought. Because bum. He instructed him everyone that plays well, is usually working. So I had to really had to to throw away the old 14 | www.SFLMusic.com tapes. And all these out takes and other versions went into the trash. little rough. That’s why I’m hoping that we get a good crowd this time. I know there’s a lot of hard rock fans in South Florida. And just look SFL Music: WOW! forward to seeing them all at the gig. Wayne: Yeah, it’s a heartbreaker. The engineer, the wonderful Bruce Botnick, has a copy of a version of “I Put A Spell On You”, that we SFL Music: Who were some of the guys that came to the Grande recorded that night and I think and one other song. But otherwise, all Ballroom, that you opened for or played with that were some of the rest of it is lost to the ages. your favorites back then? Wayne: Canned Heat were a big favorite of mine. Because they really SFL Music: Missed marked? Or missed named? got down, When they played, they played all out, balls to the wall and Wayne: I wish. I have had several people go on extensive searches they worked hard on stage and that’s what I was always looking for. I for them and that in the end the story that finally came back. That Hol- hated when bands would get up there and just stand there and pluck zman had to give his brother-in-law a job, you know, so he said go in their guitars and I wanted to see people feel something. Because I there and you know, anything that didn’t come out on a record, throw it needed to feel something. So I liked Canned Heat a lot. Moby Grape away. It’s taking up space. Nobody thought of reissues and collectors came through I liked Skip Spence, I thought he was great. We played in those days. Sad but true. with , one weekend. We opened for them. In those days, we did 2 sets a night and both bands for 3 nights and Sly SFL Music: Does that go for the 2 other albums as well? opened and closed every set with the song “Dance to the Music.” 2,4,6 Wayne: It does. had a fire. And they said our tapes times, I heard him play that song over the weekend. But I loved that went up in smoke. Terrible! they were high energy and they looked good and the danced and they were exciting. That’s what I was interested in. Those were the bands SFL Music: I’m speechless. I’m just , wow, I’m so sorry to hear I enjoyed the most. that, because , no more than you are, as a MC5 fan from way back, I’m just, wow. SFL Music: What would you like to tell the fans down here South Wayne: Would have been nice to have some of studio out takes and Florida that they can expect from your show at Revolution? different versions and different songs that we recorded. Also there Wayne: Well, I’m carrying a message. Me and the guys in the band were a number of songs that ended up on “Back in the USA” that are carrying MC5 message to a whole new audience, a new genera- we had recorded in Los Angeles when we were still on Electra. We tion of rock fans. But the message is one of self-determination and couldn’t find those either. They were about 8 songs that we cut in a self-efficacy. The message is one of you have endless possibilities, couple days of recording with Bruce Botnick and they were good ses- but you have to take action. You can’t sit around and talk about it. sions. We really were being creative in the studio and we can’t find You have a get out in the world and do something. You have to make those tapes either. It’s really the whole aspect of the MC5 legacy had something happen. And you can make a difference. You can make a been a great disappointment for me. difference in your own life. You can make a difference in your com- munity, in your family, and we are at a time right now where, people of SFL Music: Oh gosh, I can only imagine, Wayne. I’m so sorry. For conscience, people of good conscience and young people are really, the 2 songs that Bruce has do you think you guys will be able to the ball is in their court now. work something out, where those will be released? Wayne: Oh sure, we’ll find a way to get those out. Cause -they re corded well and they kinda show the MC5 being the original power ballad band.

SFL Music: Well I must say that I’ve seen it written many ways, but my take on it was you guys were the blueprint for punk, alter- ative rock and you were certainly in my feeling from back in the day which we are about the same zone, one of the hardest driving bands out there. You know and unfortunately, I never got to see you guys live. I had one opportunity and I’ll share it with you and get your take on it. You guys were headlining the Easter Rock Festival in Ft. Lauderdale in 1969. I had tickets to that show. I’ve read stories that apparently something went down in California and I don’t know if it was got a hold of you guys and said “Hey, don’t go to Florida, you’re going to be arrested.” But that was… Wayne: Yeah, but what happen was a photographer happen to be in a hotel room when we were having group sex with a young woman. And he took a picture and they published in the Berkeley Barb. It was an underground newspaper, they were very bold in those days. There was nothing, you know, no genitalia were exposed in the photograph. But you could tell that these people were, you know, doing unorthodox adult things and it was right about the same time that Jim Morrison got arrested for exposing himself in South Florida. So when the local police found out that the MC5 was coming, they issued a warrant for our arrest if we entered the state. So we decided the better part of valor was to go back to Detroit instead.

SFL Music: As a solo artist did you ever come down here and record or do anything at Criteria or any of the studios in Florida? Wayne: I never recorded in South Florida, I did come down there on tour a few times. When I was with Epitaph. I came down there on Visit www.SFLMusic.com for those van tours that we use to do. And to tell you the truth, I never did that well down there. I ended up playing for 30-40 people. It was a the full interview 16 | www.SFLMusic.com

you see behind here. That’s the original, it’s been there for 3 years now and then every four months we redo a part of it. The first part never changes cause it’s the original, the rest of the mural is always updated.

SFL Music: You have a nice eclectic group of shows here at Kelsey Theater. Tell me how you go about booking. Brockman: When I started this, I had no idea about the music in- dustry and I got ate up and spit out. Basically, the first 2 shows we did were extreme financial loses. When that happens, you learn re- ally quick. Really the first year we were just kind of getting our shit together figuring out how to do a successful show. We cast a big net of what we wanted to do: national acts, tribute bands, plays, movies, Tucked in about 15 minutes north of downtown West Palm and then really after that picked what was working and what was Beach is one of south Florida’s coolest and most unique ven- not working. ues, the Kelsey Theater. Located in the town of Lake Park, the Kelsey Theater and its older sibling the Brewhouse is the It’s defiantly a long process and if anybody is looking to get into the brainchild of Palm Beach’s AJ Brockman. SFL Music had the music industry its probably one of the hardest things you can pos- opportunity to chat with AJ about the Kelsey Theater, the Bre- sibly do. The fact that we have even been open for 3 years says a whouse and their very cool mural project. lot I think. There’s a lot of venues that have ten times the budget that we have that only last a few months, so I think that says a lot and we SFL Music: Tell me about the Kelsey Theater. are here. Really the most marketable thing for me is being an indoor AJ Brockman: Kelsey has a long history, In the late 90’s/early venue and are not subject to the elements. The room can also be 2000’s it was Kelsey Club, when The Buzz (103.1 FM) was around, extremely intimate, so we can host a lot of different artists. this was the Mecca., Huge bands coming through like Alien Ant Farm, and Janes Addiction. Bands that SFL Music: What’s that one band that would be a dream? were coming through on the radio tours, so this was like the prime Brockman: If I could do it, The Strokes, I would love that, that would venue back then. I came here for shows when it was the Kelsey be my dream, if we ever hit it big that would be a fly date for sure. Club and knew that vibe and we always wanted to honor that and when we took over we wanted to make it an all arts performing SFL Music: Tell me about the Brewhouse. One thing that really venue movies, music, live entertainment, stage shows, you name it stands out to me is all the art. and we’ve been open three years now. It’s really come into its own Brockman: I’ve been a digital artist all my life so I started in com- in the last few years. mercial graphic design, I mean the commercial world doing websites but I really fell in love with using a computer to create art. I always SFL Music: Is there a partnership with the city? wanted to have my own gallery but it’s really hard to pay bills on art Brockman: So, we are under CRA, community redevelopment alone so we came up with this concept of having kind of a gallery co- area, that basically spans from 10th street Park Avenue all the way op, where you split the overhead between many different artists and to 6th street. It’s about four or five blocks. The city is in a weird spot they each have a spot on the wall. Then we took that a step further where they have these great programs set up but the tax base isn’t and said alright well what is the one thing that artists need and the here and the programs are just not yet fully funded. answer to that was exposure. So how do we get you the most expo- sure and still have a gallery? We started doing events and brought We are in a weird spot as far as that goes, but the city has been in live music and then we expanded our craft beer menu. extremely helpful. They are very easy to work with when it comes to doing special events and permitting and stuff like that. Lake Park We have a different model. At Brewhouse each artist pays a low is the only underdeveloped part left in Palm Beach. It’s set for a monthly fee to be on the wall. A traditional art gallery model is com- cultural revitalization. mission based where it doesn’t cost anything to be in a gallery, but the gallery owner can take up to 50 percent of your sales, by the SFL Music: The murals on the back of the building are incredible. time you pay for your materials and your time you don’t make any Brockman: I’ve always wanted to do a mural project, even when I money and I didn’t want to do that. The artists that are really in this first started Brewhouse in 2014. I’ve always had that vision of turn- doing it for a living and put in the work to market themselves they ing that entire back wall into something cool. I started the process make way over and above their monthly rent, so it works out really way back then and it took 2 years to lobby the city and build a com- well. plete code from scratch that determines what mural can be done and how big it can be and how long it can be up. We did the first To see what’s happening visit www.KelseyTheater.com or www.Bre- mural when we took over, that was October 2015 and that’s what whouseGallery.com

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Taylor Swift | By Megan Garzone • Photos: Sean McCloskey

My first introduction to Taylor Swift was inevitable; as a sixteen Joan Jett’s “Bad Reputation” kicked in and the Swifties erupted year old overly emotional girl living in the Bible Belt of Georgia, into cheers against the setting sun as Queen Taylor’s time had how would I not find myself pining over three-week old relation- come. The bass-pounding electronic opening track off Reputa- ships while crying to “Teardrops on My Guitar.” I probably even tion, “...Ready For It?” boomed throughout the stadium as smoke picked up my guitar and strummed along, because she got me. flares shot from the stage. I can tell you, I was not ready for it, Despite being a rock lover, my grandfather raised me on old- the fans were not ready for it, we were not ready for it. Taylor school bluegrass, so country has thrived in my veins for just as danced her way around the stage, followed instep by her danc- long as the alt- scene of the 90’s. And when Taylor’s mu- ers, in a glittering hooded black bodysuit. Red Taylor who? 1989 sic shifted from country, to country pop, to pop – I was with it. The what? Fireworks followed during “I Did Something Bad” as Swift genre melding of her career felt natural as I aged with the CD’s. crooned “I never trust a narcissist / But they love me / So I play The more heartbreak and young love she sang about, the more ‘em like a violin” as her dancers spun her around as she was I experienced in tandem and had music to fall back on. And now, seated atop them. Taylor closed out Act I of the night with a med- as an independent woman finding her way in the world with no ley of older fan favorites – “Style,” “Love Story,” and “You Belong apologies, Taylor has emerged a queen, setting the soundtrack With Me.” of our timeline in the fiercest way possible – with Reputation. A giant cobra rose up out of the floor, flanked by a series of The Reputation Stadium Tour is so much more than a concert. smaller yet still imposing snakes, taunting and chasing Tay- Young girls, moms, teens, lor across the stage as she and families pack in line performs “Look What You hours before doors, most Made Me Do” donned in a donned in some of the most black and gold boxer robe. elaborate Taylor themed Oh, you didn’t know about costumes you can imag- the snakes? Well see, some- ine, just to see everything one called Taylor a snake on the tour has to experience. social media a while back, Thrones from her music which exploded into a bar- videos, outfits from perfor- rage of emojis and comments mances, Taylor trivia and aimed in her direction. But karaoke are just some of she’s flipped the script and the preshow museum style embraced the imagery, with set ups through the Miami her fans dubbing the pit in Hard Rock Stadium. Upon front of the stage the Snake entering each guest was Pit, and snake jewelry deco- gifted a white bracelet, or “a rating her both in videos and gift from Taylor” (so cute) as on stage. Bringing the lights they were presented to us. down, Taylor addressed her 22 | www.SFLMusic.com adoring audience about how her music has always been about each city hearing their own personal tune for the tour. For Miami, emotions and experiences you go through. “You guys are sing- we were treated to potentially the only live performance (she’s ing these words at the top of your lungs, I’m singing these words 99% positive) of “Breathe” from 2008’s Fearless. And while the into a microphone, and it’s really great that you guys are here, fireworks and the fountains and the outfit changes are mesmer- and have always been here for the most delicate emotions,” she izing, there is something so relatable and so spectacular about finishes with a smirk before kicking into Reputation’s “Delicate.” watching Taylor return to her roots and sing heart-to-heart to her During the song Taylor stepped into a fans. gleaming gondola that took her high above the audience, landing at the sec- The final act of the night began with a ondary stage in the crowd; there were video montage of Taylor in the wilder- some serious Tinkerbell Main Street ness of the American West. Canyons Electrical Parade vibes going on. and deserts sprawled along as “Get- away Car” began. “Getaway Car” may More snakes, this time following Tay- just be my favorite song off of Repu- lor to the B-Stage and towering over tation, and its live counterpart is just as Charli XCX and Camila Cabello re- as enthralling. The night ended in a turned to perform “Shake It Off.” It was full blown party on stage with “This Is at this time that crowd’s bracelets (gift Why We Can’t Have Nice Things” en- from Taylor!) really shined as they twin- tertwined with just a tinge of “We Are kled to the beat flashing different colors Never Ever Getting Back Together” like mini-fireworks. Oh and then there and over 60,000 screaming fans. was the real fireworks, of course. The crowd stared in awe as the light display “And in the death of her reputation, bursts overhead of the stadium and she felt truly alive” read emblazoned confetti rained down continuously. on the screen as the music faded and the stage lights came down. Since the Despite the mega-production of The show I’ve learned that Taylor Swift is Reputation Stadium Tour, personally only the second woman to have sold I think the highlight of the night came out the Hard Rock Stadium, the first about midway, when Taylor stood solo being Madonna in 2008. This unapolo- on the stage, with her guitar and trans- getic Taylor is the fiercest Taylor we’ve ported the crowd back to her early seen, but she still exudes sincerity acoustic routes. Taylor has been using when it comes to her fans, and puts on the eleventh song as a wild card, with one hell of a show.

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Photos: Sean McCloskey & Tanya van Kampen

28 | www.SFLMusic.com B&W “When they first came to the studio (Power Station), they gave me their back story and that they were try- ing to achieve, what their goals are and also what their limitations were. Paul (Kronk -Chief Engineer) and I sat down and listened to them. Afterwards, we listened to their Sound Cloud page so I kind of under- stood what they were doing. Part of what Heather just said was they’re looking for a studio that understands their style, their sound, but also help them to get to a direction. Now that borderlines producing and record- ing, which are two different things because to come in and book the studio is one thing, then to bring in a production team like what we’re doing here with Paul, NiK (Dee), and Brennan (Fulton), and taking it to that next level, that’s usually the part that most bands don’t have the ability to do just for budget, I mean, simple math. You rent a studio, you have the engineer, but now you have three other people that have to come in. It’s a challenge with the budget.

They (the band) came to me, they want to take their songs to the next level, they want someone to give them guidance and opinions and at least give them some extra tools to kind of fuse things together. So I sat back and they asked me “what can you do to help?” Our engineers always offer our production ad- In The Studio – Vol. 1 with Day 4 vice in recording sessions, but Day 4 is wanting focused production By: Lori Smerilson Carson like a label artist. So now we’re looking at budget, we’re looking at time, we’re looking at resources. Unfortunately, in this world every SFL Music and PowerStation Recording Studios joined forces to give minutes got to count and there’s only so many hours that we can bill a local unsigned artist the opportunity to experience a recording ses- as a studio in a day. So my thought was “how can I bring something sion as if they were a signed and funded label artist. The artist will to these guys that they normally may not have the budget for, and experience the process from song choice, to working with a producer that’s how we came up with this whole thing.” and a production team in a world class studio all the way to the final product. “I respected them” he continued, because they flat out knew what they wanted to do, and they were honest to me about their situations It all started with the building that powered over 40 and resources.” They wanted help to get from point A to point B. So years ago. Legend Producer Tony Bongiovi explained how he start- I said, ‘OK, how can we bring things that we would do with a record ed Power Station Studios in an old Con Edison power plant on the label budget to these guys to get them from Point A to point B while west side of Manhattan. It is currently Power Station at BerkleeNYC everybody benefits.” since in bought the building in 2017. Fortunately, Power Station is still thriving right here in South Florida Day 4 then played their song “Save Me” live in the Pompano Beach in the original state of Bongiovi’s successful concept and technology. rehearsal studio where we were interviewing so we could see and Which brings us to this series. Power Station Studios joined forces hear the pre-production version. The minute they finished, Bongiovi with SFL Music Magazine allowing a local act the opportunity to re- immediately addressed Mitchell. “You play really good. You’re right cord at a full line production studio under a top-level producer and on top of the beat. That’s a hard thing to do.” “Thank you, thank you,” engineer. SFL is conveying this three-part series: she replied. Roy then confirmed, “So that’s the song we’re going to do for this project. They are doing three songs in the studio. Obvi- ously, everything is wrapped around this one.” Phase I – Focus

Local band Day 4 (Lead Singer Heather Curi, Guitarist Adam Arma- ganian, Bassist Harley Mitchell and drummer Justin Marsch) are get- ting ready to enter the studio (Power Station) to experience a profes- sional recording that will boost their musical career. They’ve played locally for the past several years and have won over audiences with their amazing, unique songs and stage presence abilities. Now they are ready to unveil their talent.

SFL Music: How did this all come about? Curi: We were looking for somebody who had the ability to take our music to that next level. We really wanted a fully produced song that people can relate to that still sticks with the integrity of how we wrote it, but better quality to sound awesome and rockin. A Song that will be in everyone’s head once they hear it.”

Producer/ owner/ Bongiovi partner Rob Roy further elaborated, 30 | www.SFLMusic.com SFL Music: Why did you choose this song? Roy: “So, the ultimate goal was to record three songs. Our motive here was to take one of these songs and produce it for this exercise. I got Paul in and also Brennan and Nik because they’re in this stuff every single day and each bring unique and highly skilled production abilities to the table. What would be the song we think would translate the best, represent them as a band stylistically and also translate to what’s happening today. They came back into the studio where we met (Power Station) and we were all on the same page, the band, myself and the production team. There was a short list of songs that made sense. From that short list came the three “Save Me” which is the one for SFL Music. The other two are “Let Me Know,” and a song called “Show Me.”

Those are the three they’ll be doing in the studio, but this particular song (Save Me), first of all there’s a hook that was very clear. The arrangement made sense in that it gravi- tated from one part to the next part all the way through to the end of the song. I understand what’s out there today, always took to heart.” what these guys sound like and the time we had to do this to coincide with three articles, I felt this song would deliver a good overall bal- They already had some ideas of how they were going to record the ance of the sound of the band screaming, singing, features the bass, song but make no mistake about it they knew where to focus. Roy, some cool guitar licks and freaking animal over there on the drums,” “the three key elements to a hit single are very simple. The song, the he motioned to Marsch. “It just seemed like a good song to start with song, the song. That’s one thing Tony taught me. One of the things that we could get done in the time in which we want to do it.” that sets us apart from studios down here is the ability to use ana- logue, digital, vintage, modern, all types of tools to be able to utilized. SFL Music: As for the engineering, what are you guys looking We have a gigantic 72 channel Neve Console which is arguably the to do with this song? best sounding console of all time.” Kronk: Well the biggest thing for me is something that Tony taught me. When you are working for the band, my vision for the record SFL Music: What made you decide to come to Power Station? must be what the bands vision is and just getting them there in the Curi: We had some bad experiences with other studios that would best way possible. So, that essentially is what I go for. Listening to say they want to work with us and then it didn’t turn out well. We what the band is, what they want to sound like and then using all the weren’t happy with the product. So we did a lot of research and little tricks that I know of in the studio to get the sound what it is that came across Power Station. A few bands that we knew, that we had they’re going for.” done shows with had used them for recording so we listened to their sound and were like, this is so spot on. This is where we want to go, Starting with Power Station approximately 16 years prior Kronk ex- this is the sound we’re looking for. These guys get it.” plained how he came onboard. “I knocked on the door of the studio, I was 18 at the time and said, ‘hey, I’ll make your coffee, take out your Mitchell: That was the other thing too, it was hard for us to find a trash, sweep your floors and try not to annoy you. Can I hang out studio, engineers, whatever that understood our type of .” and watch what you do?” Roy jumped in, “he’s being a little modest. He took it under his belt and worked and worked and worked. He Armaganian: Or any modern music to be honest. None locally. showed interest and was tenacious and got to the point where he was running things on a day to day basis. Fast forward 12,13 years Roy: That’s an interesting thing about where rock music is today as and the next wave of Power Station came around and it was time to opposed to say 25 years ago, rock dominated the airways where anoint a new Chief Engineer. Paul was the one I knew would work for today it doesn’t. it the most, work the hardest, had the talent and skills. I offered it to him and I said two things. ‘Don’t disappoint me and don’t fuck it up! Marsch: I swore I’d never sound like my father, but I don’t know what Along that path he was subjected to my torture, then Tony’s torture the fuck is out today!” which is what we call: Bongiovi boot camp.” Marsch’s father however, was also a musician who played in an 80’s Kronk explained, “nothing makes you work faster than having Tony cover band as a second job. He recalled, “I grew up sitting on the literally kicking the back of your chair.” Roy, “as Tony is bellowing, basement steps watching him practice. I just took to the drums over faster, faster, faster.” Kronk, “it’s a good thing because I know he’s a guitar. I grew up on a lot of 80’s stuff. A lot of Robert Cray, Phil doing it to push me to be better.” Roy then revealed, “Tony is also a Collins, , the more 60’s, 70’s stuff from my dad. I didn’t pilot, one of his hobbies, his passion is flying his twin engine Coman- get into the metal stuff until Middle School when I found out about che plane and I say this because his analogy being in a studio is like Metallica and Slayer. My whole upbringing was 60’s, 70’s, 80’s and being a fighter pilot in the middle of a dog fight and you have seconds then to incorporate some of the metal stuff kind of developed a little to make the right decision. If you make the wrong decision, bang, of my own style.” you crash and burn. So that’s one of the things he always taught was making decisions quickly and making the right decision which I He and Mitchell both hail from prior to moving here in came up with a cool idea. We’re really into astrology and stuff like the sun and the moon.

Mitchell: “We’re both Gemini.”

Curi: “Yeah, we’re both Gemini so there’s like four of us.”

Mitchell: “True, true. There’s four of us here, it’s not just two.

Curi: “In every version of the bible on the 4th day it said that God created night and day.” Mitchell, “the sun and the moon.” “It also had a reference to recovery,” Curi added that this name also was in remembrance of some friends who passed away from drug abuse. “They said on the 4th day they started to feel some of the relief from the systems and they’d start to feel better.”

Hence the scream in the song. Curi said,” I love scream- ing. I actually prefer that over singing to be honest.” Armaganian (who met Curi while working a business type south Florida, but she was influenced by a different rock genre. “I job): “The crowd seems to like it too!” grew up on a lot of classic rock,” She revealed, “like Led Zepplin, the Stones, the Beatles, even Creedence; but is my favorite Curi: “Screaming just gets out so much more emotion.” This, from band as far as style goes. What I want my Bass guitar to sound like the girl who took a pitch test in middle school which she revealed, “I in the studio.” As for her instrument choice. “I started on the guitar nailed it.” Ultimately starting her path as a singer since the teacher first when I was 12 and then at 16 a cover band said, ‘we’re looking requested she join basically every music group in the school. for a bass player.’ So I said, ‘hello, I am here.’ I just picked it up at 16.” SFL Music: To sum up the Day 4 sound... Curi: “The way we describe our style is like Mariah Carey and Slip- Armaganian, the native Floridian had it all figured out, or sort of. “I knot. Some kind of collaboration, maybe a balance between the two.” was going to be Eddie Van Halen. Then I was gonna be . Then I was gonna be . Then I was gonna be Testa- These four, Day 4, will be heading into the studio, so check out Octo- ment. Then I was gonna be Slayer. Then I went to school to learn ber’s issue to see how their next step toward success is going. how much knowledge you could have and still not get paid.” Every- one laughed! “Basically,” he elaborated, “every person I could find that was a great musician I tried to absorb everything I could from 1987 to here. I love hard rock. I love Classical music. I love Jazz. Of course, I like shit that’s technical and guitar player friendly, but I also watch a lot of movie scores, like I am a huge John Williams fan.”

Curi, originally from Wisconsin, leans more toward a bit heavier mu- sic. “I’m more into , industrial stuff like In this Mo- ment, Def Tones, Slipknot, . I also like Beyonce’, Whitney Houston and Mariah Carey is my favorite. She’s such a fantastic singer. She has the greatest range of all time.”

SFL Music: Heather, are you the main on “Save Me?”: Curi: “Yeah for the most part. I had this bass guitar that a friend let me borrow for a while and I had this idea in my head so I just picked it up and started playing on it. That’s where I got the main riff from originally.” She sang the main riff. “Yeah, pretty much all the lyrics I write. I write in fragments so I’m super cool about when people have ideas, I am totally open to creativity if somebody has a word that works better, like she’s (points to Mitchell) helped me with a couple of songs. Why don’t you try this word it makes more sense.” Mitchell, “yeah we definitely collaborate. Sometimes she’ll have a guitar riff or I’ll have a bass riff and we’ll just show each other and build from there.”

This collaboration is how they came together to start playing in 2013. Curi recalled,” We met. I had some ides. We started jamming in her garage and it just clicked.

SFL Music: How did you decide on the name? Curi: We were going back and forth with names for a long time. We 32 | www.SFLMusic.com

B&W

OAR | Pompano Beach Amphitheater Panic! at the Disco | BB&T Center Photo: Sean McCloskey Photo: Megan Garzone

Echosmith | Coral Sky Amphitheater Photo: Sean McCloskey

34 | www.SFLMusic.com

Def Leppard & Journey | BB&T Center By Ray Anton • Photos: Sean McCloskey

Remembering the success of their tour Escape and Frontiers. The instrumental place, . After the next in 2006, of Def Leppard and led into one of their biggest hits ‘Sepa- song, ‘Loving, Touching, Squeezing’ Neil Schon of journey decided to team rate Ways’. That’s when Arnel came was a piano solo performance by Jona- up and tour once again. This years ver- out and started belting out the lyrics than Cain. sion started in May and will have 60 that took me back more than 30 years. shows ending in early October. The His voice is so similar to Steve Perry’s A ninety minute set is not nearly enough bands will take turns and each ‘head- it’s astounding! Next up was a song off time for Journey to play every single line’ 30 shows. They visited us here the movie ‘Vision- Friday night August 18th at the BB&T quest’ soundtrack center in Sunrise and we South Florid- ‘Only the Young’ ians greeted them with a packed house. then right into ‘Es- cape’. Then with- Journey was first to hit the stage just out a breath in be- about half past 7. The band started off tween came ‘Stone with an introductory instrumental as a in Love’ and ‘Be huge video screen behind them lit up good to Yourself’. several of the logos and the scarab From there came beetle the band has used over the de- an instrumental cades. The singer, Arnel Pineda, had featuring the pro- not come on stage yet. At that moment, digious Neil Schon We were witnessing the core lineup that fed right into (minus Steve Perry) that created argu- ‘Lights’, the ode ably the bands most successful albums, of the bands birth- 36 | www.SFLMusic.com one of their hits, so the piano solo in- cluded bits of ‘Send her my Love’ and ‘I’ll be Alright Without You’. As the rest of the members re-emerged on stage, the guys broke into ‘Who’s Crying Now’ and then slowed the pace with ‘Open Arms’. ‘La Do Da’ preceded a spotlight stealing drum solo from Steve Smith. He made the sticks dance across the heads!!! The opening notes of ‘Any Way You Want it’ closed out the drum solo. The band then went into ‘Liberty’ and paid homage to as images of her flashed across the big screen. They cranked the tempo back up with ‘Wheel in the Sky’ and then slowed it back down again with ‘Faithfully’. Due to time con- straints, the first band on stage in this tour doesn’t have the luxury of leaving the stage and waiting to be summoned back for an encore, therefore Journey ended the set just before 9 pm with the rock standard, ‘Don’t Stop Believing’. would lead into ‘Foolin’. The way Joe El- ence alike lingered well after the music liot talks to his fans he really is master- was over, just trying to make the magic After that musical workout, a timer on ful at being one with his audience. ‘Ar- last a little longer. the stage let us know there would be a mageddon it’ follows ‘When Love and 30 minute intermission. It seemed most Hate Collide’ and ‘Let’s Get Rocked’. The energy both these bands have is in the audience would need that time Joe talked about the bands love of rock nothing short of amazing. All the mem- to recover from the juggernaut we just music when they were younger and bers were continually engaging the fans witnessed! about the tribute album ‘Yeah’ they re- throughout the show, and the crowd corded that featured some of their fa- loved it! While many bands today rely As the timer dropped to zero and the vorite songs and David Essex’s ‘Rock on impressive video displays behind lights went out, the opening chords of on’ which was the next song up. them and stand bored as if their feet are ‘Rock it’ sounded thru the arena while stuck in concrete, Journey and Def Lep- the big screen showed various fiery The guys then broke out the acoustic pard have the massive video screens rocket launches. With the same energy guitars and all gathered for the bal- simply as a backdrop. They do not stop and top notch musicianship that just lad ‘’. They picked moving! All this while playing their in- wowed us an hour ago, Def Leppard the pace back up with ‘Man Enough’ struments at a high level singing in key! proceeded into ‘Animal’ then slowed the and then went into one of their big- – Ray Anton pace down with the opening notes that gest hits ‘Love Bites’. Going way back to 1981 the band next played ‘Bringing on the Heartbreak’ and the instrumental ‘Switch 625’. A drum solo by accompanied by bassist preceded the song ‘Hysteria’, where classic images of the band including deceased rhythm guitar player showed on the big screen behind them. They closed the set with fan fa- vorite ‘’. They came back to do an encore of two other fan favorites ‘Rock of Ages’ and ‘Pho- tograph’. Both bandmembers an audi-

38 | www.SFLMusic.com

The halcyon ’90s saw the rise of touring music festivals that sights and sounds. paired iconic headliners and cult powerhouses with their respec- tive scenes’ up-and-comers. , Warped, , Bumblefest belongs to a breed of hometown festival such as Fun H.O.R.D.E., and the less genre-bound, more gender-powered Fun Fun in Austin, Texas and III Points in Miami that absolutely Lilith Fair — before they all dwindled down from cutting-edge wants your freak flag flying. They’re here to connect you with the to “meh,” discontinued or stopped traveling, they formed a mov- fresh, good-vibe and sometimes strange music you didn’t know able ecosystem you needed. Sure, you could pile into Sunfest to see the Pix- that broke major ies or Ice Cube or whichever legacy act is playing a waterfront musical groups in jammed full of people who aren’t really interested in music. Or their infancy and you could head farther west to the 500 Block of Clematis Street connected audi- to see the bands that everyone else will be talking about one, ences with many five or ten years out. Thirty-three bands will play on six stages acts they other- from 6pm-4am. wise would never have seen. Here are a few of the touring highlights:

Where do you Hailing from Oakland, California, LUMERIANS are what Silver go today for that — to support the insurgents whose first big step up would have been from creaky vans to back-of-the- pack tour buses? Who showcases, as their mission, the offbeat emerging talent that used to be the festivals’ forte?

Here in South Florida, there’s BUMBLEFEST, a block party of great indie performers assembled at a quintet of West Palm Beach venues on one downtown street, in a sort of scavenger hunt of fun. Voltaire and Respectable Street anchor this year’s Bumblefestivities, with Hullabaloo, Kismet Vintage and Sub- culture Coffee rounding out the Clematis Street circuit — noth- ing so far apart that one can’t wander on foot to take in all the 40 | www.SFLMusic.com Apples and Kraftwerk would sound like keyboard-driven pop song about forlorn collaborating on a psychedelic space love on a sand dune someplace. rock opera. The group, formed in 2006 with a name that references “Star Trek: Santoros embrace both their Mexican and The Next Generation,” is known for in- Southern California roots. Mostly raised credible live shows with trippy visuals to in the San Fernando Valley, the band enhance the equally out-there sounds. members cut their teeth on L.A.’s Echo A Lumerians audience is basically lulled Park music scene, starting out as drink- into a trancelike state that is captivating ing buddies who decided to jam and liked to behold and insane to be a part of — a what they heard. The brotherhood that is full frontal-cortex assault that is part cult Santoros was raised around music, surf- of personality and part alien abduction. ing and the west coast lifestyle. It doesn’t Listening to albums such as “Transma- hurt to have oldies stations and the linnia,” their slow-to-gestate 2011 debut, mighty KROQ-FM to nurture bourgeon- or 2013’s “The High Frontier,” is like a ing musical passions, and it’s no surprise Marshall Applewhite ascension ritual that this combination of surf, sun and fun that you actually get to live through. would translate into the sounds the band is making; it’s been the West Coast rock ”I guess we live in a spaceship that bends muse since forever. PureHoney booked the universe around it rather than flying,” Santoros for an amazing Delray play al- a Lumerian explained to Dangerous most four years ago when they tripped Minds in 2012, “or maybe it’s a beach through town with Psychomagic. house, except instead of sand and water outside, it’s got taco trucks and human trafficking.” SCOTT YODER could easily be mistaken for the 21st century version of Marc Bolan. He’s a glam rock-inspired folk fella based Veterans of bills with the Butthole Surfers and more recently in Seattle who spent his formative years playing in the Phar- My Bloody Valentine, the band is presently touring in support of macy for Burger Records, and a self-described “glitter-folk elf “Call of the Void,” an album exhibiting shades of John Carpen- … touring the world with his backing band of glammy ter movie music and the Tangerine Dream-channeling Survive freaks and misfits.” — they of the “Stranger Things” theme. It seems fitting that an act from Oakland, one bridge over from the birthpod of hippie Yoder’s specialty is the dreamy, spell-casting ode to impossible culture, would be the new ambassadors of envelope-pushing, love. Think and Donovan at their most turned-up shar- audiovisual sex, drugs and space travel. ing a cloud with Nick Drake in a dreary sky and you’re starting to get the picture. All pomp and circumstance that’s simultaneously SANTOROS is a pure Mexican garage-rock, psychedelic-surf way too much, but never enough, the music is psych-pop and act straight from Los Angeles. The group is currently touring in punk raised on the promises of T-Rex and Ziggy Stardust, and support of “Bad Habits,” a four-song EP that’s all jangly, beach- filtered through a lo-fi dreamscape. Check out Yoder’sGoodbye “ kissed fun in the sun. “When You Cry at Night” starts off as Lady Day,“ and be prepared for the possibility of numerous in- an instrumental throwback to the Ventures and evolves into a concert romantic breakups, with people so transported by the experience of Yoder in person they ditch their significant others to go live among elven royalty. The band snuck into town on a Tuesday night three months ago and performed an intimate su- per secret surprise pop up for us at Kismet Vintage. If you were there… you know;)

GUSTAF, the nom de plume of New York-based artist Lydia Gammill is, in the band’s own estimation, an irresistibly dance- able combination of ESG, Jonathan Richman and Alan Vega. Dropping those names in an official bio sets the cool bar very high, but Gustaf sounds confident enough to deliver. A debut al- bum is due this summer, in time for Gustaf’s Bumblefest debut.

The group itself — Gammill with Tine Hill, Tarra Thiessen, An- gela Tornello and Vramshabouh — hasn’t been around for long. But Gammill is a veteran player and has put the work into making people sit up and take notice in a place, Brooklyn, where you can’t swing a cat without hitting a musician.

PLEASURES are our local (Saint Petersburg) heroes dabbling in experimental psych rock and dark noise abstractions that wouldn’t be entirely out of place in a David Lynch film. The band describes itself as dark and stormy space rock from the Swamp- lands of Southwest Florida and quite frankly it would be hard 42 | www.SFLMusic.com

COLOR bird and Duval County’s Rickolous. Its pop/hip-hop with a healthy dose of indie inspiration and psilocybin mutation. The Party just finished recording two songs at Fuzzbaby Records, Pampel- mousse and A1A have shades of the Strokes, meets party rap from the golden era of hip-hop. In anticipation of their appear- ance at Bumblefest this year, the duo were kind enough to com- miserate on 5 questions we thought were important. Below is a transcript of that interaction.

1. Everybody likes a party, what makes Hurricane Party the best party around? Because we are partying like a giant storm is about to take us away and destroy everything. Like it’s 1999 man. Like if spirit Prince road a giant purple wave into your house and told you this is the last chance u get to Party. Except we aren’t Prince. But he was way cool and could probably surf because he was good at everything.

2. If you were at a party during a hurricane, where would be the best place to hang out while the house is coming down? With all the pets and beers and speakers in the bathtub.

3. Is there a dress code for the Hurricane Party party? Freak what you feel

4. Finish this sentence: bee keeper is to bees as Hur- ricane Party is to ____. Party?

5. Why is love? Baby don’t hurt me . Don’t hurt me...no more.

BUMBLEFEST (33 bands on 6 stages) takes place on Sep- tember 8 on the 500 block of Clematis Street in downtown West Palm Beach. facebook.com/bumblefest - Tim Moffatt to argue against that description. They’re part BATTLES, part Tame Impala, with a dose of Grizzly Bear, but completely origi- nal in their stage presence and sound

SEAFOAM WALLS are making a name for themselves in these parts for their take on heavy jazz. It’s a mellow affair that the band likes to use as a reference for comfort. They describe their sound as: “Seafoam WALLS is the concept of using a hue of the color spectrum that brings one comfort. Surrounding oneself with walls of that color is a way of creating a comfort blanket with music. This is coupled with the idea that when in that comfort zone, one will encounter their deepest (or shallowest) thoughts. Everyone ponders their existence. This helps it act as a method of inclusion.”

This is an apt description of a band that relies on good vibes and great sounds to bring colorful performances and great tunes to the masses. The contemplative songs provided by Seafoam WALLS will bring a different dynamic to Bumblefest where the stages are soaked in hip-hop, psych rock and all other genres of mind bending music. Seafoam WALLS are a little more re- strained and perfect for kicking back, closing your eyes and imagining some very chill scenario. Comfort, Seafood WALLS is all about comfort, so come get comfy with them at Bumblefest.

HURRICANE PARTY is the brainchild of Broward’s own Blue-

COLOR Jason Bieler

By Todd McFliker • Photos Christopher Brickman

SFL Music: Jason, you are certainly ago, I decided to strip my catalogue ing about 150 songs via Bandcamp. one of the most underrated guitar down to a one-man storytelling, poor Things took on a life of their own in players and in the music man attempt at comedy, singer-song- an organic way. I thought it would be industry. Your band, , was writer show. So I went back there. entertaining to reinterpret everything, huge back in the day. You toured the For me, I’ve never had more fun than along with the catalogue from my past. world and had a couple Gold Records in that type of relaxed environment. When a song is a good song, whether with Platinum Singles. To top it off, Not to date myself, but my crowds are its prog-metal or alternative country, you are a local to South Florida. a little more mature than they were 20 you should be able to get the essence or 30 years ago. The idea of tables, of it across with a voice and a guitar. Jason Bieler: I originally grew up in chairs, quality food and cocktails in a So I wanted to challenge myself. We New York. When I was about 11-years- high-end environment really works for are not necessarily on a big tour, but old, I moved to Coral Springs. I’ve me and my current shows amazingly I am playing Los Angeles, New York, spent a majority of my life down here. well. Chicago, and Paris. I’ve been all over Florida, Atlanta, North Caro- SFL Music: Are you looking for- SFL Music: What are your shows lina and D.C. ward to your show at The Funky like these days? Biscuit? SFL Music: Out of all the cities you Bieler: I just wanted to get back to just mentioned, are there any that Bieler: Of course. A few years ago writing music with zero commercial stand out to you as a performer? when I had first heard about The aspirations whatsoever. That’s why I Funky Biscuit, we were excited to do put together this improvisational writ- Bieler: Sure, South Florida will al- more jam-type of stuff. I had a drum- ing thing that would take about 24 ways be special because that’s where mer with me, who hours from conception to release. I I am from. I have friends and family played with Aretha Franklin, Mick Jag- didn’t want to get tied down by mix- everywhere in Miami, Fort Lauderdale ger and . When we played ing and spend four months on a snare and West Palm Beach. My son grew the Biscuit, we did a weird interpreta- reverb. Not that any of that stuff isn’t up playing travel hockey for the Junior tion of our songs. I immediately fell in fun, but I just wanted to sharpen my Panther program. Saigon Kick was love with the venue. About two years tools as a writer. So I ended up releas- at Revolution Live a year ago to do 44 | www.SFLMusic.com a benefit for the horrible shooting that first concert I ever saw as a kid was SFL Music: Any final comments to took place in Parkland. South Florida Ozzy with Randy Rhodes at Sunrise South Floridians? will always be special because it is Musical Theater in 1981. Def Leppard my home. While I am not a household opened up with their original band. Bieler: I encourage everybody to at- name like Dave Grohl from Foo Fight- This was before (1983’s) Pyromania. tend the gig. First of all, it’s a wonder- ers, I am fortunate to have a group of I saw them and was completely blown ful venue. If you haven’t been to The die-hard fans who get what I do. They away. As Saigon Kick grew, we got Funky Biscuit yet, you’re doing your- are the ones who show up to support to go to Japan and open for Ozzy at self a disservice regardless of who’s me, and these shows have been spec- the Budokan. That was around 1991, playing. When I am on the bill, it’s go- tacular. I don’t want to say ‘interactive’ so it was the “” era. I ing to be a musical hot yoga/Pilates because that makes my shows sound became friends with who class for the middle-aged rocker. So digital. It is a give-and-take with talk- I am still friends with to this day. He come out to enjoy a cocktail while ing and explanations. The shows take even had me onstage behind the gui- hearing a bunch of songs and colorful on lives of their own based on what’s tar rig. To go from a kid watching Ozzy stories. happening in the room, like a question onstage to being friends with his gui- that will be asked or a story that’s told. tar player and opening for him, I have The shows are never scripted. been very lucky. I also toured with the . We did shows with Sound- SFL Music: Where you get the proj- garden and Cheap Trick. I have been ect’s name Owl Stretching? fortunate to play with some incredible Jason Bieler bands over the years. Bieler: When I started the project I of Saigon Kick was just discussing, the whole point SFL Music: What does the future was to not be commercial. And I al- hold for Jason Bieler and his fans? Friday Sept. 28, 2018 ways loved the name Owl Stretching Bieler: I am kind of adrift in a sea of because the name of Monty Python’s non-direction. (Laughs). I am simply Doors: 5:00PM TV show was Owl Stretching Time making music that I want to make for Show: 9:00PM before it became Flying Circus. As it the reasons that I started making mu- began growing, I was convinced to sic when I was a kid. It’s rather easy to The Funky Biscuit change the name to something peo- lose sight of it all and get caught up in ple would recognize. That’s where the insanity. I just do what I do for the $20.00 - $50.00 “An Evening with Jason Bieler of Sai- people who actually care. Strangely gon Kick” comes from. enough, that is the formula for me to be very happy. SFL Music: Are you a producer as well?

Bieler: In year 2000, I started a label through Universal with my brother, Bieler Bros. We worked with the metal band, Nonpoint, from Fort Lauderdale. I produced their first two records. We also signed bands from the UK. For instance, we signed Fiction Plane, the band of Sting’s son, Joe Sum- ner. There’s also an Australian band known as Carnival that is fantastic. I have been extremely fortunate not to ever have a real job.

SFL Music: I know your heroes range from and to Barry Manilow and Tom Waits. Have you gotten to play with any of your idols?

Bieler: Yes. Strangely enough, the 44 | www.SFLMusic.com