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Derek Trucks and had together, we were so deep in to our own solo group, the Clapton thing (at the part you’re proud of, but it was always burgeoning music careers before they things at that point and we were learning time), the Allman Brothers, two kids and Duane’s band and then Dickie’s band and met. These days, as husband and wife, how to be married and have kids. We a marriage, it was a lot of stuff to juggle. then something else. and the principals behind The Tedeschi weren’t even thinking about adding to I really wanted to get down to just one or METRONOME: You and Warren Trucks Band, they’re charting new musical that (laughs). two groups full time. [Haynes] really buoyed the act and territory that melds blues, R&B, soul and A good eight or ten years in to our METRONOME: At that point, how long brought it back to life. I can see how funk while creating a groove-filled blues- relationship, I was at the point where I had you been in the Allman Brothers that 40th Anniversary show would based pheromone that’s hard to resist. was trying to step away from the Allman Band? effect you that way. Their latest , finds Brothers and trying to get down to just I think at that point it was ten years. I Absolutely, and you know that deep the couple surrounded by ten of the most one thing. I was of the mindset that when ended up staying another five, so it ended down there’s a finite window when you amazing young musicians of our time. I did that, I was going to start something up being fifteen total. I felt like when can really kick the door down and get Collectively, this band displays not only fresh- even aside from my band. I told we did the 40th Anniversary, musically things done. At this point, I’ve been on their songwriting savvy in the studio, but Susan that’s what I was thinking of doing there was some amazing stuff, but a the road for 25-26 years. You become a their preeminent musical prowess, night and she was in to it. I was going to make lot of that was the guests. We had Eric veteran at a young age doing it. I knew after night, stage after stage. a move one way or the other and do Clapton come in, it was Levon Helm and I wanted to start a new project with full I caught up with Derek and Susan just something else. - there were some amazing energy and you wonder how long you’re before the band was leaving on going to have the full energy to a tour of Europe and they talked do everything it takes to do it. about their new album, Let Me With Susan and with me, there’s Get By, and why this exciting name recognition, but starting a collection of players is firing on band from the ground up, you still all cylinders... have to happen. You want to make sure you hit that with a METRONOME: How is the tour full tank of gas (laughs). going? METRONOME: When you came : Good man. We out in 2011 with Revelator, you just did a handful of runs where turned everything upside down we were doing multiple nights with that album. That record in theaters. We did the was unbelievable. Theater for a few nights and the Cool man. It felt really good Keswick outside of Philly, the making that record. There was a Warner in D.C., and then three lot of excitement inside the band. nights at the Ryman. It was fun. It was a new group with a lot of We hadn’t done that many multi- great chemistry. The studio was night stands in different places just starting to hum and working before. with Jim Scott was great. There METRONOME: Were you was a handful of songs on that playing strictly material from record that I think are really going the new album, Let Me Get By to stand up. I think when you’re or a mix? making a record, that’s the secret A mix of everything. We played almost METRONOME: So it didn’t have shows at that Beacon Theater run. In a ingredient. every song on the record over the course anything to do with staying busy in lot of ways, I felt like we wouldn’t top that METRONOME: Were you writing with of the three nights. We try to vary up the between Allman Brothers’ tours? again. As I said earlier, I’m of that mindset Susan leading up to Revelator? How set list from night to night especially if Oh no. My solo band was on the road where you want things to end great. I did the songs for the you’re in the same place. We see a lot of before I joined the Allman Brothers close felt like this is a good time to step away. record? familiar faces from one night to the next. to three hundred days and when I was But I get it, for the other guys, I wouldn’t It was a mix of things. Some of them We try to make every show, hopefully, with the Allman Brothers we were filling leave something that I started and went were the band in the studio coming up quite a bit different. every possible space. We’ve always just forever with. It’s a different mentality for with things on the fly. There were a few There’s a lot to choose from. There’s been kinda road dogs and that’s what the original members, but for me, I was that had been around for a little while, but all the records we’ve done with this band, you do. fully aware that no matter how many never really found a home. “Midnight in then we dig a little in to Susan’s back METRONOME: Without getting in to shows I did or how many years I played Harlem” was a tune that catalog and the same with my group. We the details of it, were there rumblings with them, it’s not your baby. brought the sketches of to my solo band. did that Mad Dogs & Englishmen thing back then of The Allman Brothers They were in the Rock & Roll Hall of We had tried it and it just didn’t mesh yet. early in the year, so there was a bunch of disbanding? Fame before I ever stepped on stage with When we first got in the studio to write tunes from that show that are fun to play. I think it was really just me and it wasn’t them (laughs). You don’t get that twisted with this band, Mike and I sat down and METRONOME: What was the initial necessarily being all that unhappy in it. I’m in your head. You’re happy to be a part I had the guitar pattern that starts the reason for starting the Tedeschi/Trucks just cut from that cloth that if you’re not of it and it’s an honor and in a lot of ways tune. Immediately it became another thing Band? moving forward and doing new things and I thought we brought it back to at least entirely. It found a home. The first time I guess from the time I met Susan I writing new material and it’s not inspiring the level of musical respect it had at one we played it with Kofi [Burbridge] and the had it in the back of my mind that it would you, then you have to shake it up. I think point. That band went through a lot of rhythm section, it finished itself. be great to form a band with her. Then it it was that, plus for me, there was only changes and ups and downs. I think it METRONOME: It was obvious that was kind of timing too. When we were first so much time in the year. Between my ended on an extremely high note. That you and Susan had a clear idea for this group. How did you hand pick the happens where you have those moments records and have somebody else around was a bit of a reunion. I was done touring members for the band? where you say, We’re lucky to be in a so it didn’t feel like I was taking the same with him and the Crossroads happened a It was years of seeing these players band with that (laughs). It’s the same with role as my solo band. Five years in to the month or two later. perform. I remember seeing J.J. Johnson the singers now- Mike [Mattison], Mark band, everybody has their roles and it was I think we’ve done two since, three total, (drums) playing in a trio with Gary Clark, [Rivers] and Alecia [Chakour]- it made time to do it that way. We know the studio and it’s always amazing the collection of Jr. They were opening shows for my it go from two background singers to a now. We know what the band is capable people he has showing up and getting solo band seven or eight years ago. I small choir. It feels like this massive vocal of. I’ve been around Susan long enough to hang time with him. He’s a great guy. remember thinking, That drummer is section. The horn section is in a really know when there’s more that you can get METRONOME: Is that how you met bad-ass! Doyle Bramhall had talked about great place now too. It’s just a different out of her vocally. Unless you’re around Doyle [Bramhall] or did you know him J.J. too because he had played with him. feel when you have the right personalities all the time, you’re just not going to fully before? Kebbi Williams (saxophone) is in place. know. So it was time to self produce it. I’m pretty sure that’s how I met him. somebody that Susan and I had both METRONOME: What was the sentiment In a lot of ways, it was me and the band He had worked on one of Susan’s records been fans of in and around . So going in to the new album, Let Me Get self producing. before. Eric was talking about bringing in yeah, certain people you play with you By? It feels different than the other two METRONOME: Did you play your a third guitar player and Doyle threw my put in the back of your head and if the records. SG for most of the songs? name in to the hat and Eric reached out. opportunity ever comes up, you think, I’d It was me stepping away from the Yeah, same guitar and setup generally. In a lot of ways, I owe that gig to Doyle. love to see what happens. Allman Brothers. It was our first time METRONOME: I heard soul, R&B, funk, He’s the one that first turned Eric on When we first started, we played with away from a major label. We were really and influences. You really to our stuff. The first time I really met and a lot of different people. We definitely had in between labels when we made the mixed it up on this record. Did that just hung with Doyle was also the first time I a feel and a thing in mind, but you realize record. It was just total freedom in the happen organically or did you have a hung with Eric which was on the J.J. Cale that you can’t force it. It doesn’t work if studio. It was the band getting together plan in mind? sessions, The Road To Escondido. That you’re just doing it on paper (laughs). You before a little tour trying to get some tunes There was a sentiment that we were was a pretty fateful recording session have to get people in a room together. together and it immediately turned in to a going to be more open and experimental (laughs). We did a lot of open rehearsals and just songwriting session. The beauty of being this time around. We were at no point METRONOME: You got thrown right in having people down at the studio. Just out there, rehearsing in a studio is you can thinking about how long a tune was or to that one... jam sessions where you’re writing and throw up a few mics and all of a sudden what format it would fit in to. We were Yeah. Billy Preston was on that session seeing where it goes. We played with a you’re making a record. just going to let this record be what it too. It was over the top. lot of different people and there were a lot METRONOME: Really? It was like that? was. Whatever direction it goes, we’re METRONOME: As an accomplished of great things that happened, but when Yeah. It was very relaxed that way just going to record it. slide player, what was it like playing you get the right collection of people, it’s when we started making it. There was If anything, we were trying to represent with the late, great ? instant. The light bulb goes on. no schedule. We just kinda eased in to what the group does live a little more Johnny was great. I remember being METRONOME: You’ve managed to it. We started listening back to things honestly as far as all the different places eleven or twelve and playing a show in keep a big core lineup together since and then it dawned on us, Oh, we’re that it goes. In the course of a two or two Gainesville, Florida at the Florida Theater. 2010. That’s no small feat. What’s your making a record. Everybody in the band and a half hour show, this band hits on We opened a show for Johnny and I secret? got excited and any time off that we had a lot of different things. We wanted to remember looking side stage and seeing There’s been a little bit of change over scheduled, people were looking to get represent that, but it really was the tunes. Johnny there checking out the set. He and that’s just the nature of any band. back down here. We turned all that in to It was the songs that everyone wrote. was super sweet and I got to hang with But yeah, it’s in a really strong place at band songwriting and recording. METRONOME: When you come in with him afterwards. I had him sign my guitar. the moment. We work hard and we gig The big difference this time around a song idea, how does the process I didn’t really see him a lot after that. a lot. The reason you do that is because was, we did it all in house. Everything was work for you to make the songs come When we had a chance to see him that’s how you keep a band together. written here in the studio with the band to life? again at Crossroads, it was awesome. You’re not going to keep twelve people on and recorded here. In the past, Susan All different ways. Really it comes To see him in front of a crowd like that stage on the road if you’re too scattered and I worked with outside writers, which down to me and Susan and Mike Mattison and just throw down, he was on fire and sporadic. Also, the music gets better was great, but it was really something for writing the lyrics. The three of us wrote that day. It was awesome. When I first the more you play. There is a tipping point the band to write the songs. There was a the bulk of the lyrics on the record. We started playing, those early Johnny Winter there that if you’re grinding it too hard feeling through this whole session that it all contribute in different ways. records were in heavy rotation. It was a you can lose a little steam, but you don’t was a band record. METRONOME: What was it like playing mix of getting to be on stage with one learn to trust each other and the E.S.P. METRONOME: You produced Let with at his Crossroads of your idols, but also see a guy who is doesn’t come out if you don’t gig. It’s a Me Get By. Was it your first time Festival? maybe under-appreciated and getting to working band that way. The musician’s producing? I was on the road with him for the end of his road, but really light it up. there now- J.J. Johnson, Tyler Greenwell, With this band, it was the first time about a year before we did the first I was a student, but there was also a lot & - those four that it was just me. For the first two, Crossroads with him. In some ways, the of pride watching him whip ass (laughs). together, it’s special. I co-produced them with Jim Scott. I first Crossroads I did was the end of me Every night on stage, something definitely wanted to go in to the first few touring with him. It was cool because it Continued on next page >>>

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That was a highlight for sure. to do. It was nice to see how a record “Anyhow.” What was the genesis of hear funk, I hear R&B, I hear old soul... METRONOME: When you were a kid, came together organically with this group that song? you guys really captured all of them did you ever think you’d be where you without really trying. We didn’t really try That song came out when Derek was without pigeonholing you in to any are today musically? Playing with the hard other than just trying to write songs messing around on the guitar. He was one genre. Allmans, being married to Susan and and have a good time and also stretching turning Sophia on to “Jolene,” which is Well, thank you. That’s the thing that’s playing around the world? out a bit more and showing what the band a song that had done. They so hard about this band- putting us in a No. We talk about that a lot, me does live. were watching a video and her guitar box. People want to stick us in a category, and Susan. You have to pinch yourself I also really wanted Mike [Mattison] to player at the time was playing a fingerpick but they don’t know how. I say, What sometimes. My dad was a roofer and be singing some lead because he used style. Derek thought that was really cool. about just a music category? my mom was working part time at an to be Derek’s main singer and he also So he took a different chord and learned METRONOME: “Don’t Know What it elementary school. Lights were getting had his own band, . He’s an the picking style from watching the Means” was really funky and featured a cut on and off. It was an awesome amazing singer. He’s one of my favorite video and came up with the chords for sing-along chorus which was very cool. upbringing (laughs). We would go out singers out there. I just think it helps to “Anyhow.” Then Mike and Derek and I sat That song is such a fun party tune to blues clubs on weekends and it and so fun to play. People just start was an amazing thing, but you never dancing right away because Tim thought you’d be traveling the world Levebvre’s bass line on that is so playing music the way we are- flying funky. It’s amazing. He did such a my dad over to the Royal Albert Hall great job on that. for those Clapton shows. That song came along from J.J. Some of the real legit hangs that Johnson, our drummer. He said, “I we had with B.B. King, me and Susan have this melody.” He got together and our kids, or with , it’s with Kofi to put some chords behind just things you would never imagine. it. Then, Mike and I came up with a You’re never arrogant enough to think couple of different scenarios for the they would happen to you (laughs). chorus. We wrote a bunch of lyrics It’s been a pretty insane run. and presented them to J.J. and asked him what he thought. He said, I begin my conversation with Susan “Cool. It sounds great.” Tedeschi... When we recorded it, we went in and made sure that we had METRONOME: Hi Susan, how are all the basic tracks and that the you? rhythm section was really happening. Susan Tedeschi: I’m doing great. Then we said, “Why don’t we get METRONOME: You have come everybody to sing on it?” We had such a long way since playing everybody in the band pretty much local clubs in . Did singing. Everybody is on it. It’s a you ever think you’d be where you communal thing. We’re all clapping are now? and having a great time. I love that I don’t know really. I don’t think I show people what the band really is. To down and said, “What are we going to do tune. It’s been really fun to play and I like would be doing all the stuff that I’ve done, have him singing lead on some stuff is with this song?” it because I get to play some guitar on it. that’s for sure. I thought I would be on the nice. We had an outline, but we really didn’t METRONOME: You added Alecia road, I just didn’t know in what capacity. It’s such a diverse band. The band have a melody or lyrics yet. So we sat Chakour on background vocals METRONOME: Early on, what was it can really do anything. I love that this is down and put some ideas and verses along with Mark and Mike. That really that made you want to put the Tedeschi the first time we didn’t get together with together. expanded your vocals didn’t it? Trucks Band together? other . We just got within the The “anyhow” stuff kinda came out. It really has and live especially because For one, a great idea is to play with the band. Kofi helped with “Let Me Get By,” I was just saying stuff that came to my we added her after the fact. We made the best people possible. I’ve always wanted and Tim had a lot of great ideas on some mind. That’s how the chorus came out. record and then we put her on as we were to play with Derek. He’s one of the best of the songs. His bass playing alone The lyrics for the verses came out sitting finishing it up. She wasn’t in it from the guitar players out there. Music wise, we really helped define some of the songs... down with Mike and Derek. We really beginning of the making of the record, but have a lot in common and then there’s and having J.J. write a song. It was really wrote it out and tried to think of some she really adds a lot. a lot of little things he does that I like cool to see everybody have more of a cool imagery while leaving it up to the Now it sounds like we have a real that has open my eyes to a whole other hand in it. interpretation of the listener to decide choir behind us because she has a side of music- Indian classical, Pakistani METRONOME: It makes everybody what it actually is about. It can have a few really beautiful, powerful voice. She’s Qawwali music and - things feel a part of something bigger than different meanings, but really at the end of a very talented musician. She can play like that. Honestly, I just wanted to be with themselves. the day it’s about going in and out of good all sorts of instruments. Alecia is a huge him more and see him. We were like ships Absolutely. I’ve heard the guys say that. and bad relationships and learning from upgrade for us and it’s just great having in the night all the time. His bus would They feel like they’re more involved and life and realizing there are certain people more women in the band- having her and go in one direction and mine in the other. more a part of it. That’s important. If you’re that you would do anything for. Elizabeth Lea now. It’s really awesome. Having children and raising the kids, I felt out there doing this all the time, you want METRONOME: Has radio latched on They’re both super sweet girls that know like I was going one way with the kids and your guys to feel a part of it. to that song? how to be on the road and know how to be he was somewhere else. So part of the METRONOME: Since 2010, you’ve kept Oh yeah. “Anyhow” has been #1 or around twenty men. That really helps and plan was to do a band together so we a large core of your band members #2 on four different formats of radio. It’s it really balances it out a bit. It’s nice to be could all see each other more. intact and that’s a big achievement. been on AAA and Americana radio. It’s in a band with so many great musicians. METRONOME: Revelator had a very You’ve really managed to keep things even been on the Billboard Top 200 since Everybody’s listening to each other and progressive feel to it where Let Me Get together. it came out. It’s doing better than any of to have a few women in there now, it’s By is distinctly different. What was your Amazingly, they want to be here. We our other records, solo or combined. really great for me. I’m not the only woman sentiment going in to this album? want them here and they want to be here. METRONOME: This album is a broader anymore, so I enjoy it. I think doing it all in house and not We’re all having a good time. sounding record. I hear New Orleans, I METRONOME: Who sings lead on the having a bunch of people telling us what METRONOME: I really dug the tune song, “Right On Time?” your face with a George Harrison vibe it every day now. The original Telecaster made you feel completely comfortable. That’s Mike singing lead and then I on the next track, “Hear Me.” How did that I use to play all the time, I’ve taken off Years later, B.B. was playing Royal sing it as a duet with him on the second you develop the segue in to “Hear Me?” the road. I don’t want all the signatures to Albert Hall and they asked if Derek and verse. That’s one of my favorite tracks on Yeah, that’s a beautiful song. That come off because it has I would sit in and play. They had other the record. I was going to write with Derek one is interesting. Originally, it was just and B.B. King and they’re all gone now. guests and B.B. was up there. They were and Mike that day, but they had already Derek and Doyle playing two acoustics I’m sentimental about that. trying to produce it a certain way. They started on the song and they were in a together. Then we built tracks around that METRONOME: That’s a museum piece were telling him what songs to do and room in our house jamming and making by adding bass and drums. now. how to do the show and that just didn’t stuff up. They sounded great. I was just METRONOME: When I hear you sing It is. It’s got my whole life on there. work for B.B. He had to do it at his pace. going to leave them to it. They wrote that you remind me of . You’re METRONOME: Before we close tell us He liked to talk to the audience and do beautiful song in just a couple of hours. right there with Bonnie... a good B.B. King story. the songs that he was feeling. So Derek METRONOME: I couldn’t help but hear I always get, “How do you sound like Oh man, there are so many. One time said, B, just do what you do. that whole New Orleans vibe with the and Bonnie Raitt?” When I we were on the road and my band was He had met Derek a bunch of times at horns in there... was younger I use to do the Janis thing opening for him in Switzerland at the that point, but had never heard him play. Yeah, yeah, and you should hear a little more, but then I went from Janis Montreaux Jazz Festival. He said, “Susan, So we’re up on stage watching B.B. and I Elizabeth and Ephraim play that live. It and learned about and Aretha I want you to sit in with me tonight. Do ran back to do something in the dressing sounds so great. It’s great to see the horn Franklin and developed in a different way. you want to come out?” I said, Sure, room. I heard Derek yelling for me, “Come section getting along so well and being Honestly, Bonnie... I can see that. Her okay. So I’m standing side stage at the up here, he’s calling for us.” It was 45 really productive lately. The three of them birthday is the day before mine. She’s end of the night and he says, “My favorite minutes earlier than we were supposed really work well together and they’re not exactly twenty-one years older than me. guitar player in the world is here tonight to be on stage. I think he just got nervous afraid to keeping working at stuff. It’s an We both have a lot of similar influences. and I’m going to have him come out.” I and wanted us up there. So Derek gets exciting band. We both loved all the old blues guys knew it wasn’t me so I’m looking around me and we’re up there with B.B. He starts METRONOME: Track #7, “Crying Over and they were really sweet and some to see who’s on the side of the stage and telling stories and he’s really comfortable You” and then the “Swamp Raga” thing how loved us back. We do have a lot in it’s George Benson. I knew that was one now and we start playing together. We did is completely wild. Does Mike sing lead common and I just adore her. She is a of B.B.’s favorite guitar players. So he “” and then he had on that song? sweet, sweet woman. says, “I’m going to invite some friends Derek play. The first time he heard him he Yes, Mike is singing lead on that. Mike METRONOME: Are you still playing out. George, Susan...” I was, Holy shit, basically almost screamed. He said, “Oh wrote most of that. Derek and I helped your ? I’m going out on stage with George my goodness. People do you hear that? him a little bit, but Mike wrote a big chunk I do. I play a Telecaster, but I also play Benson and B.B. King? I can die now. That’s what guitar is supposed to sound of that. I loved that we put strings on that a Strat. I play my birth year Strat. Derek When I got out there I looked and he had like. That’s how you tell a story.” He was too. That sounds really cool and it was bought it for me for my birthday a couple George Duke on . I thought, What hearing Derek for the first time playing live something new for us. of years ago. He said, “What do you is happening? That was a life moment for with him at Royal Albert Hall. He was so METRONOME: Then you went in to this want?” I said, I want my birth year Strat. me where I had to pinch myself the entire enamored with him. He said, “Now I know wild solo instrumental ending, where it A 1970 with a rosewood neck. He got it time. B.B. is just one of those guys. He why Susan married you. I would marry you quiets down and then gets right back in for me. It’s beautiful and I love it and I play was always down to earth and he always too.” He loved him from then on. Hearings by Douglas Sloan, Alex Gecko, or Brian M. Owens

Top 3 for • BEEP DURPLE sung by vocalist Christie Dashiell, the Blessed Isles members. • SMILE Afro-Cuban swagger of “Fly Little Bird “Caroline” is a very sensual and July 2016 Fly,” and the magnificently played, melodic tune with lots of space and (In NO Particular Order) Winner of the 2014 Thelonius Monk frenetic Thelonius Monk cover “Straight, big production. “Dreaming,” on the International Jazz Competition, 29 year No Chaser.” [B.M.O.] other hand, has an upbeat start and old trumpeter and band leader Marquis Contact--www.marquishill.com an absolutely riveting chorus with fuzzy • Curtis Salgado Hill is one of the most innovative jazz distortion tuned to perfection, making • Jaggery players on the scene today. On his it the choice rocker of the selection. latest album, The Way We Play, for the THE BLESSED ISLES “Round and Round” is nice and bouncy • Marquis Hill Concord Jazz label, Hill reaches back to STRAINING HARD with a shuffle-type electronic beat pay tribute to some of the jazz heroes AGAINST THE STRENGTH OF NIGHT that’s catchy and stands out as another ______that influenced him by revisiting some 10- SONG CD potential single. of his favorite jazz standards and great Aaron Closson already has a very American songbook numbers. • CAROLINE clear and soft voice which allows him to JAGGERY Accompanied by his regular unit, • LIKE I AM DREAMING lean toward his feminine side, effectively CRUX the Blacktet, that features saxophonist • ROUND AND ROUND cloning Alison Moyet to perfection 11-SONG CD Christopher McBride, vibraphonist • CONFESSION on the vocals of “Confession” which Justin Thomas, drummer Makaya • GIVE reminds one of the band Yazoo for a very • WAR CRY McCraven and bassist Joshua Ramos, • CHASE AWAY THE SUN sensitive retro-synth pop sound. The • GARDEN Hill delves deep in to the groove of • TOUCH robot-like ‘sorry’ intonations at the end • WALLS ARE WINDOWS the songs while delivering inspired • ASSUMPTION are very effective. After 4 killer tracks, • ICY interpretations of the compositions. Hill • WINTER MOON the band lean back with some soft mid • VENUS IN TRANSIT also proves to be a benevolent band • PROXY paced yet well produced tunes that • CRUX leader giving ample improv room for his lull you into a relaxed mode. Here you • RASKOLNIKOV bandmates to chart new territories. Best The time watching MTV in the early get good interplay between the clever • THOSE WHO tracks: the staccato jive of “The Way 1980s was well spent. The synth pop keyboards and the machine rhythms • THIS WAY THAT WAY We Play” featuring a spoken word rap tunes from Human League, Depeche as well as the guitars carefully buried in • THEORY OF EVERYTHING by Hill, the funky “Moon Rays” featuring Mode and Erasure running in the the mix which make a very orchestrated • NIJINSKY’S DIARIES a stellar showing by drummer Joshua background as well as some later overall sound. Ramos, “My Foolish Heart” beautifully shoegaze infiltrated the DNA of the two If you leave the repeat function on, Led by the innovative genius of singer- the CD starts again, but you won’t mind -pianist Mali Sastri, Jaggery because you will continue to find new returns to the fold with a compelling Top $$$ Paid hidden sonic treasures. [Gecko] album of theatrical compositions that For Used Gear Contact-- www.facebook.com challenges listeners both emotionally /The-Blessed-Isles-217838284909337 and spiritually. Accompanied by bandmates Tony Leva on upright & electric bass, Daniel Schubmehl & Dylan Jack on drums, THE 7CS Rachel Jayson on viola & piano and LONG ODDS & LOOSE ENDS Petaluma Vale, Maeve Gilchrist & Mary 8-SONG CD Bichner on harp, Sastri writes beautifully • ONE BIG HOUSE poetic songs filled with an emotive • ROCK N ROLL JONES tapestry of music and sounds. This 240 Main Street 17 Sack Boulevard • LIVING BY CANDLELIGHT is complex material to perform and Gardner, MA. Leominster, MA. • MONKEY BAR LOVER compose, however, Mali and her troupe • CALL ME LESS make it look and sound easily achieved. (978) 630-3620 (978) 534-8989 • WICKED WICKED WAYS Tracks of note include: the pondering •THE PROBLEM & THE CURE “Walls are Windows,” the airy sparkle of Find Your Happy Place • ROCK N ROLL Y’OWN “Icy,” the gorgeously played and sung album title track “Crux,” the raved up with 1000+ Pedals in Stock The 7CS serve up good old fashioned “Raskolnikov,” and the sweet lilt of “This [Mention this ad and get an extra 10% off your purchase*] rock & roll in the best sense of the Way That Way.” [D.S.] tradition. Mott The Hoople, Contact--www.jaggery.org and other Brit-pop rockers come to mind when listening to 7CS’ guitar driven hooks and unpretentious vocals. MARQUIS HILL Fronted by singer-songwriter-guitarist THE WAY WE PLAY Jack Kelleher, he’s ably joined by players 11-SONG CD Wink on keyboards, Mike McMahon on bass, Glen Johnson on drums, Mike • WELCOME/BULL’S THEME Hlady on tambourine, Laura May on • THE WAY WE PLAY/MINORITY vocals, Dennis Flaherty on guitar, Alex • PRELUDE Dertouzos on bass, Bob Goldman on • MOON RAYS drums, Andrew Innes on saxophone • MY FOOLISH HEART *some exclusions apply and John Murphy on vocals. Check out • POLKA DOTS AND MOONBEAMS favored tracks “One Big House,” the • FLY LITTLE BIRD FLY Visit citymusiconline.com and click on “Annex” Alice Cooper infused “Wicked Wicked • MAIDEN VOYAGE Ways,” and the bounding acouysyic • STRAIGHT, NO CHASER to order or stop by and check one out. borne closer “Rock n Roll Y’Own.” Girlfriend,” and the drivin’ blues shuffle [D.S.] “Ring Telephone Ring.” Outstanding. Solo Artists, Bands & Record Labels are welcome Contact--www.reverbnation.com/the7cs [B.M.O.] to send CDs and DVDs for review along with candy, gum, Contact--www.curtissalgado.com decals, t-shirts, promo pins, mugs and other cool stuff to: CURTIS SALGADO THE BEAUTIFUL LOWDOWN ROLAND PEARSALL METRONOME MAGAZINE, 12-SONG CD SELL YOUR SOUL 11-SONG CD P.O. BOX 921, BILLERICA, MA. 01821 • HARD TO FEEL THE SAME ABOUT LOVE • SELL YOUR SOUL approach. California. His low yet not overly thick • LOW DOWN DIRTY SHAME • YOU WON’T BE SEEN Flowers kicks off with a lighter less voice comes off as very matter-of-fact. • I KNOW A GOOD THING • THE WAY THAT I’VE COME retro cover version of the extremely The band does achieve the desired • WALK A MILE IN MY BLUES • RIDING ON tasteful 1960s “Abba” by the Paragons. results again with “When Will I Be • HEALING LOVE • IN THE NIGHT It establishes the keyboards in the mix. Your Man,” which is both romantic • NOTHING IN PARTICULAR • FOG COUNTRY “Buried As A Child” is more upfront and and powerful with a searing solo. It’s a • SIMPLE ENOUGH • I WILL NOT country rock oriented, ala Tom Petty. potential hit and here the emotions match • I’M NOT MADE THAT WAY • RADIANT VESSEL Flowers achieves an early peak with the the intent. Flowers gives you a look into • IS THERE SOMETHING I SHOULD • NEXT TO YOU epic “Fire In The Air” which would fit his spirituality with the thoughtful “I Don’t KNOW • AEROSOL CAN great on an early Brian Adams disk, next Believe In Anything” which is tinged • MY GIRLFRIEND • AND WE MEET to “Run To You.” It’s just perfect. The with country licks. Flowers is quite the • RING TELEPHONE RING band then really rock out on the more philosopher. • HOOK ME UP Roland Pearsall wrote, played, up-front “Evil Head” with its driving beat. The record was reaching its logical sang and recorded the eleven songs “The Girl Who Lives On Heaven Hill” is conclusion with the rockin’ yet romantic Curtis Salgado is one of the finest on Sell Your Soul along with drummer a reprise from his Shanes days, but less “The Way You Are” and the bouncy yet white soul singers tearing up the scene Lloyd Munroe III with backing vocals ethnic but just as effective. poppy “The Right Way”, until the sudden today. From co-fronting The Robert Cray from Sumitra, Mary Kate and Abijah “Thousand Times” is a bit repetitive, about turn at the end. “Hall Of Fame,” Band to leading his own band (recording Fowler. Culling his topics from personal but has hidden depth. The band tries the is essentially a sailors song with the nine solo ) to helping transform experience, Pearsall plays clean & simple full on rock thing again with “I Declare keyboards tuned to accordion mode, John Belushi into “Joliet” Jake Blues to track after track. Album highlights: the War,” but the more basic, nearly 2/2 which seemed a bit hokey. That aside, touring the country with Steve Miller and rowdy “Riding On,” the swampy “Fog beat, limits the impact. You’re a lover, here you get an extremely professional Santana, Salgado has proven himself to Country,” the postpunk “Next To You,” not a fighter, Kornelius! Still, Kornelius disk from Germany emulating the be a true musical titan. and the droll “Aerosol Can.” [D.S.] delivers in perfect English, which would masters of the 1980s as well as a few On his new album, The Beautiful Contact--www.rolandpearsall.com not be out of place anywhere from the new tricks. [Gecko] Lowdown for the Alligator imprint, west country of England all the way to Contact--www.korneliusflowers.com Salgado wrote (or co-wrote) eleven of the album’s tunes while injecting Johnny KORNELIUS FLOWERS Guitar Watson’s, “Hook Me Up” in to VINTAGE HEDONIST the set to close out the album. Salgado 12 SONG CD also stepped things up co-producing the disc alongside Marlon McClain and Tony • ABBA Braunagel. • BURIED AS A CHILD Salgado employed a long list of top • FIRE IN THE AIR shelf players that include Johnny Lee • EVIL HEAD Schell, Vyasa Dodson, Marion McClain, • THE GIRL WHO LIVES ON HEAVEN HILL Alan Hager, Terry Robb, Chris Hayes, Igor • THOUSAND TIMES Prado, Mike Finnigan, Jim PUgh, Brian • I DECLARE WAR Harris, Larry Fulcher, James Hutchinson, • WHEN WILL I BE YOUR MAN Tracy Arrington, Tony Braunagel, • I DON’T BELIEVE IN ANYTHING Brian Foxworth, Lenny Castro, Lewis • THE WAY YOU ARE Livermore Dave Mills, Gary Harris, Lars • THE RIGHT WAY Campbell, Tim Bryson, Margaret Linn, • Hall Of Fame LaRhonda Steelke, Erica Warren and Tony Ozier. All these good folks added Kornelius Flowers has quite a pedigree their respective talents to one of the in Trier, Germany as the singer/guitarist finest sounding records Salgado has of the Shanes, who delivered extremely ever recorded. Radio friendly tracks authentic Celtic tinged folk/ include the opener “Hard To Feel The for years, both live and on record Same About Love,” the testifyin’ “Walk through their Sumo Rex Records label. A Mile In My Blues,” the sweet sentiment This time, Kornelius Flowers branches of “Healing Love,” the uptempo swagger out with Veronique de La Chanson of the of “Nothing In Particular,” the jivin’ “My Cherrypops for an airier more pop/rock

www.Facebook.com/MetronomeMagazineBoston Jeff Root by Brian M. Owens

Singer-songwriter-multi-instrumentalist that all the time growing up. own with a guitar. I had a Silvertone bass to The Kinks. Jeff Root is a talented guy. Whether he’s METRONOME: Looking back on it now, that my folks had bought me. At fifteen I METRONOME: What was the first turning the knobs for someone’s recording you got the best of the best. started listening to records and learning major group you were in? project, acting as sideman to one of New Yeah, we were very lucky I have to say. chord shapes and playing bass riffs. I The first band of note was The Hot England’s finest singer-songwriters or METRONOME: How old were you when was having fun with both guitar and bass. Dates band that I did with Grant Clark who performing with his own band, Root you started playing? I always loved the bass. I think it was is actually the drummer on the current remains the consummate music man. As soon as we caught the Beatles on the Paul McCartney thing. It was such a record. He’s a high school buddy that Riding the crest of an outstanding new television, it showed us how cool it was melodic and magical style I grew up with. He’s a very successful album, My One and Only, Jeff took time and how much fun it could be. I was nine that he had. That really hit me. I ended lawyer who works for Lockheed. He’s one out of his busy schedule to explain the or ten at the time and I had been reading up trying to develop a knack for that. I of their top guys. He still likes to have fun framework of his career and the making Superman and Batman comics and still really love the bass. I actually play and rock out (laughs). of his new release... playing superhero games with my friends. with Marty Nestor now and have a lot of He’s been flying out and doing sessions with my son Zack and I, who is the other METRONOME: Your new album, My member of the band. Zack is an incredible One and Only, is outstanding. I heard bass player, writer and collaborator. I feel influences from the 60’s, 70’s and 80’s very privileged to have my son playing on the CD. It’s hard to escape those with me. It’s a real thrill. He’s actually influences isn’t it? showed me how to let go with the live Jeff Root: That’s very true, but it was thing. It’s a totally different animal than a really great period and I think a lot of the studio. people continue to look back on it as a METRONOME: Why? You must have time of real innovation, super creativity, played in front of thousands of people high standards and lots of great writing. over your career? It was really an incredible period. It was Because of the creative side I was art for arts sake really. always looking at the live thing as needing METRONOME: Are you a Massachusetts to be a reproduction of what was done in native? the studio. I was always thinking, thinking, Yeah, I grew up in Littleton and had a lot thinking. I watch my son perform and of friends that had big musical interests. realiz, He’s just going for it. He’s up there We were fortunate to have so many having fun and he has a tremendous folks that shared the same interests and sense of the absurd. He gets up there and would collaborate and enjoy the passion puts himself out on a limb and the crowd together. just goes wild. That’s what performing is I started out playing accordion when about- playing the moment, playing the I was eight. That was just before the crowd and creating a connection that is Beatles hit. Then everyone got wise to purely momentary. I’d say the last ten the cool stuff (laughs). I loved music. My years for me have been a total joy and it dad introduced me to Chuck Berry and has a lot to do with watching him. music from the early 1950’s. He grew up METRONOME: What kind of success in Jackson, Mississippi so he was always did you have with The Hot Dates? aware of the early blues and R&B, and The Hot Dates band was fairly Chuck Berry in particular. successful. We had several hits. One of METRONOME: Was your father a them was #1 for about eight weeks on player? WBCN and WAAF in 1981. It was called No, he wasn’t. He tried to play a little bit. “Tune In To Me.” We were produced He was an engineer and his dad was an As soon as the Beatles hit the television fun with it. by Wayne Wadhams who was from the engineer. They were both innovators and set it was like, Wow, this is real. Let’s stop METRONOME: How would you listen Fifth Estate which was a band from the pioneers of early radio and TV. His mind thinking about the fantasy stuff and have to music back then, radio? Records? 1960’s that had a hit called, “Ding Dong was more wrapped around engineering a slightly more real thing to focus on. I The Beatles and The Dave Clark The Witch is Dead.” He did work with and science, but he loved music and think I started writing songs as far back as Five really pulled me in to wanting to John Sebastian and those kinds of folks came from an area of the country where that point. It wasn’t until fourteen though do something with music, but I think it in . a lot of that started. that I actually could craft something that was when I was a little bit older... my So Wayne produced us. We did an On my mom’s side, she grew up in was listenable. grandmother was part of a Columbia album with him and a single and were Maine. A lot of the French-Canadian METRONOME: Aside from the record club. She would buy all these doing very well. We were neck and neck relatives were very musical. They would accordion, what was the first instrument records thinking they would be good for on the radio locally with Charlie Farren pick instruments up and play them by ear. you started to play? her, but she would end up passing them and Balloon just before he went off to join Those were some of my early influences. It was easy to move over to the on to me. One of the ones she passed to the Project. That was really the METRONOME: It sounds like you grew piano from the accordion. I just had to me was the Lovin’ Spoonful’s Greatest band of note. up in a pretty hip musical environment ? learn the left hand. That was an early Hits. It must have been 1968. It had all of After that, I was in a couple of smaller Yeah, yeah, but there was some square thing. Then when I was about fifteen, their amazing stuff in one package. That bands in the Boston scene just before stuff as well... the Lawrence Welk stuff. I quit the accordion. I was upset that I record really floored me. That stuff is still Zack was born. Once Zack was born If you looked under the veneer though, had studied reading for seven or eight total magic to me. The whole writing style I decided to find a way to make some there was some pretty cool stuff there. years, but still didn’t understand anything and the sense of fun. Sebastian’s lyrics money and pay the bills. My dad was also a big fan of Chet Atkins about harmony and how everything went were absolutely incredible to me as a METRONOME: Didn’t you open a and that kind of country thing, so I heard together. So I decided to explore it on my young guy. From there I started listening recording studio? Yes. I still have a studio. About fifteen engineering cookbook on how all these METRONOME: You were pretty an incredible ear and sense of humor. years ago I was doing a lot of outside work things work in the recording process. Hats industrious coming up with fourteen She’s the total musician. The other person which was a lot of fun. Lately I decided to off to John for all of the info he passed songs for the album. Were they all new was my youngest daughter, Rebecca back off a little on studio clientele and do on to me. tunes? Rocheleau who played clarinet on the things for myself. I’ve been a successful The first record I did after I came back There are eight brand new songs that “Betty Boop” tune. She played a couple software engineer for thirty years and still was called Spirit of ‘67. It was my first solo are mine- two which I collaborated with of different parts. enjoy that. release. That was done at John’s studio. Zack on. Zack played a majority of the bass METRONOME: Who do you work for? I also recorded some of it on my own. METRONOME: Which two? and Grant played all the drums and all Right now I work for a place called METRONOME: What year was that? I collaborated with Zack on “In The the other percussion- the conga, the Seachange. They do the video-on- That was 1999. I started getting back Day” and “Bump and Grind.” There were tambourine and castanets. It was mainly demand systems for all the big cable in to it. Since then I’ve been going full also two songs that Zack wrote that we the three of us. companies. They have a strong business tilt almost every year with a new record. decided to include. He has the lead vocal METRONOME: Who did the album going. Prior to that I was working for the For this last record, I finally reunited with on them. They came out great. “The Low artwork? ProTools company, Avid, for about ten Grant. He’s a very professionally minded Way” and “New Black Dress” are his. My niece, who goes by the artist name, years. That was a lot of fun. The last guy. He said, “If we’re going to do this, The other thing that’s relative to the Alex Mack, did all the illustrations that project I worked on was on ProTools and let’s do it right.” I decided to slow things album was I revisited four songs that I I’m using in my artwork. My wife Diane trying to get it to the Cloud. That was down and really take some time with the had previously recorded that I was never Root, does all the design for my albums. actually last year. Prior to that I had a . I had the fun of crafting really satisfied with. They’re also four of Diane does it for a lot of other folks as software company on my own for about all the arrangements myself and playing the most popular tunes that I get a good well. She does a great job. She’s taken ten years. I worked with Lockheed. That all the guitars and keyboards. I’m more reaction from when I play out live. Those Alex’s illustrations and created some great paid the bills and I was able to do music of a George Harrison type player. That’s songs are “Bingo Night,” “Won’t You Be album artwork for My One and Only. strictly from an artistic outlet. It’s been what I really enjoyed on this record, taking My Betty Boop,” “Kerouac King Kong” METRONOME: Did you have a CD a blast. time doing the arrangements slow and and “Finnegan’s Wake.” “Kerouac King release party for the album? METRONOME: During that time period, methodically. Kong” is one that Ray Davies pulled me Our CD release party was May 22nd were you still performing out regularly The cool thing is that live, it’s still aside and said “Oh, that’s a great tune. at The Bull Run in Shirley, MA. with a band? very stripped down but it still works. The That’s the best song that I’ve heard you METRONOME: How many albums do There was only eight years from 1990 live thing has a whole set of different play.” We were actually in Devin, England you have to your credit? to 1998 that I totally retired from the elements that are magical that many times and he was running a workshop there. I This is my twelfth album since I got music business. It was Zack that dragged can’t be reproduced in the studio. Live played it for him and he took me aside back in to it in 1999. In total, I’ve been on me back in to it (laughs). I said, Wow, I performance is a whole different thing. and told me that. nineteen records. remember that. That was a lot of fun. So I METRONOME: When did the idea for METRONOME: Grant and Zack appear METRONOME: Where can people go started acquiring some studio equipment My One and Only come to you? on the new album. Did anyone else on the internet to buy your albums and and putting things together. I guess it was 2014 when I started play? find out more about you? To start out, I recorded with John writing. “My One and Only” was one of Yes. There are two other people on the You can find my music on iTunes, Little from Ashburnham who was really the first tunes. It seemed really strong album. One of them is Mary Carfagna. CDBaby.com and Spotify. My dedicated great in sharing advice on compression right off the bat and sounded like it would She played cello on “My One and Only.” web site is www.jeffroot.com. Everything and equalization and giving me the be a good name for an album. She’s a tremendous musician and has is linked from there. The Time Machine

Sam Black Church

Photo circa: 1997 Band Members: L to R: J.R. Roach (drums), Ben Crandall (guitar), Richard G. Lewis (), Jesse “Jet” Crandall (lead vocals). Musical Achievements: Forming in 1988, hardcore band Sam Black Church named themselves after a West Virginia community called Sam Black Church. The band was known for their energetic live performances playing a wild mix of hardcore, metal and thrash. After releasing three EPs on Taang! Records: Unincorporated (‘89); Sam Black Church (‘93); Let in Life (‘93), the band signed on with Wonderdrug Records where they released Superchrist (‘95); That Which Does Not Kill Us... Makes Us Stronger (‘97); The Black Comedy (‘98); and For We are Many (2001). SBC disbanded in 2000. Where are they now?: Sam Black Church reunited for a sold out show on September 22, 2007, at The Roxy in Boston with Unearth, Madball and Darkbuster. They played the “ 16” with The Mighty Mighty Bosstones at House of Blues in Boston December 29th, 2013. This year, film maker Duncan Wilder Johnson released a documentary of the band, Leave Behind a Groove in The Earth - The Story of Sam Black Church. In celebration, SBC will play two Re Alive 2016 shows at The Sinclair on June 30 and July 1 and one at the Brighton Music Hall on July 2nd. Making Families Happy for Over 75 Years! by Alex Gecko

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Karlo Takki is a longtime veteran of the until that release. Ric Rondeaux (Skin’s singer Human Flesh” on my YouTube channel. Barney, then CEO of Tarragon Interactive) Boston music scene who has a wealth of and guitar player) and I booked time with Howie Eventually, I got kicked out of my own band. and we completed the job, an interactive stories to share. On his new album, Bad Weinberg at Masterdisk in New York, a choice It was 1992. My substance abuse was getting shipbuilding kiosk for the Nauticus Museum Behavior, Takki shares some of those tales based solely on looking at our favorite albums out of control. The Mississippi boys went on to in Norfolk, Virginia. That project won some with clever aplomb while delivering equally and noting where they were mastered. form Mother of God, then Quintaine Americana. awards at the New York Interactive Festival compelling music. This is his account of events Stepping off the elevator into halls METRONOME: You were a founding member and we were off and running. and a narrative you don’t want to miss... lined with gold and platinum records into a of the Stumpworld collective and SW Now, this is 1994, right before the web luxurious, grey-carpeted mastering lab. A Systems during the 1980s and 1990s. Was broke big. “Interactive” was everyone’s METRONOME: You had quite an extensive dozen different pairs of speakers along one that music based? Can you tell us more favorite buzzword, everyone was on 14.4K early music career in the Boston scene. Who wall, from giant Altec VoTs to tiny boom box about that? dial-up, and CD-ROM was going to be the were some of the acts you played with? transducers. Leather couch, glass coffee table I fell into a second career without even big delivery platform. But we caught a whiff The very first Boston band I was in was a with crumbs of a suspicious white powder, a trying. This is the Stumpworld origin story, too. of some early web software, the CERN and Berklee joint called “The Flying Particles.” We massive Neumann lathe to cut the master, and In 1987, Tim Halle, one of Skin’s former sound NCSA web servers, Slackware Linux, Perl, had three guitar players, all named Dave. Our tall flasks of liquid nitrogen to cool the cutting engineers and the lead singer for AEF, invited beta versions of Mosaic. We registered our own first gig was at the Rat, on two day’s notice. needle. Big science, heavy wizardry. Howie had me to move into a big old Victorian house in domains, started doing dog-and-pony shows We rehearsed in the parking lot, in the back of just finished the David Lee Roth solo EP that Allston. At the time, most of the people living for people in suits. We were early players in the the van, singing all our parts so we’d at least morning, so we got to hear “California Girls.” there were Hampshire College refugees. A band e-commerce game. end at the same time. I played keys and sang Down the hall, called High Speed Scott, Tim, and I formed the company about a third of the songs. The Particles lasted someone was Vomit rehearsed known as “Stumpworld Industries”, or “SW about a year. We ended up as a four-piece, mastering Big in the basement. Systems” (a necessary compromise for the with Mike Hausmann (‘til tuesday) on drums, Audio Dynamite. Maura, who did corporate types). We began doing contract recorded a demo in a studio in New Jersey, We were Dinosaur, Jr.’s work: graphics, animation, audio, video, played , and broke up. starstruck. album covers, software development, database design, Then, there was The Dark, Roger Greenawalt’s Anyway, was nailing meat and web development. People were throwing band. It started as a sort of post-punk/jazz Skin released to the wall and money at us. It was a heady feeling: not only fusion band. Stu Hamm was the original bass the Pointless drawing it as it were we doing some bleeding edge stuff, we player. I replaced him and dumbed things down Spearhead decomposed. We were making some serious dosh, too. The first immensely. We began doing fast, edgy songs cassette, the threw legendary web sites of and Phish, Artist Direct, in odd time signatures, or we’d do covers at Saddle 12”, a parties. All in all, e-commerce for Shop Therapy. I was doing amphetamine tempos, like Bowie’s “Heroes” 7” with “Trouble a typical Allston print work for Houghton Mifflin, animations (sung in German) or the Carpenters’ “Sing Sleep” b/w ”Stand household. for Digital Equipment, a virtual course for the a Song.” It was more performance art than Up,” and then Over the next 100th anniversary of the Boston Marathon. anything. the Sanity LP. couple of years, Companies like Sony and Warner Brothers, The Dark’s “personalized tapes” got us a Plus a bunch of most of the who wouldn’t have pissed on us if we were lot of attention. Instead of just sending three- videos, a lot of Hampshire people on fire when we were shopping our bands, song demo tapes to booking agents, radio, t-shirts, and a line moved out, Skin were having us in for lunch and picking our and press, we’d write songs for each person, of Skin-branded replaced HSV in brains about what we thought this newfangled dubbed over backing tracks we’d record in condoms. It was the basement, Internet thing was going to do to the business the kitchen at Darkworld, where we rehearsed. the Eighties, and I installed of selling music on shiny little discs. We’d package the tapes with personalized after all, and we my little project Being in the middle of the dot.com bubble swag. The Don Law Agency got a bottle of encouraged our studio on the third in 1995 had the same heady feeling as Chivas Regal re-labeled as “Don Law Brand fans to have safe floor, with a home- playing in 1978. We were going to Scotch.” We left a box full of stuff like this on sex. Lots of safe sex. With us. made multi-line snake running downstairs. democratize information! We were going to their lawn in Cambridge. They put up a large METRONOME: What was your role in each Stumpworld, named for the stash of amputee create virtual worlds! We were going to connect wooden fence soon after. of the bands? porn the previous occupants had left behind, everyone on the planet! Not to sound like the crusty old curmudgeon Utility outfielder. Played keyboards and became a house full of musicians. Now We were totally drinking the start-up Kool that I am, but the scene in the early-1980s, trumpet, sang a bit for the Particles. Bass and the legendary parties had live music in the Aid. We had the three-word mission statement: centered around the Rat, the Underground and some vocals in the Dark. Keys and vocals basement. Again, typical Allston. “Make Cool Stuff.” What we really ended up Thayer Street, was something special: Mission in Red. Keys, trumpet, guitar, and backing Scott Matalon (Modern Art, Squid, Matalon) doing was make some money, do some drugs, of Burma, Someone and the Somebodies, vocals in Skin. In all of these, some songwriting moved in and brought an Amiga computer and drink a hell of a lot of coffee. We worked Young Snakes, Bound and Gagged, Pastiche, and production, some business and road with him. Pretty advanced graphics for the 15 to 18 hour days, and when we slept we Human Sexual Response. The old major label management. It wasn’t until Skin that outside time (1989); I had a Mac 512K running in dreamed in software (sleep deprivation is a edifice was developing cracks, and indie labels people (agents, managers, entertainment my studio, doing sequencing and acting as hell of a drug). were just beginning to emerge. In Boston, lawyers, etc.) got involved. Until you reach that a sample editor for an Ensoniq Mirage. So, I split with SW Systems when the company there was Ace of Hearts and Modern Method. point, you do it all yourself. Poorly. we started doing animations on the Amiga. moved towards a venture capital-funded Alternative Tentacles in San Francisco. Factory Skin ended a pretty good run in 1988. By I began recording Scott’s projects, and, with software development model, rather than and Rough Trade in the UK. It was almost like that time, I had a small project studio and was the addition of some really old, but usable 3/4” multimedia client services. I formed K Takki the mid-1970s New York of my wasted youth. writing and recording my own music. I put out video gear, we began to make music videos for Media Services and soldiered on for a few more After I parted ways with the Dark, I played a cassette (Byzantium) in 1989, while I could our respective bands. years. Tim split as well, doing video production, keys in Ottmar Liebert’s Red for a spell, living still trade on Skin’s good reputation with press Frank Coleman (Bent Men, Satellite something he’s still working in today. Scott in his loft at 24 Thayer St. in the South End. and radio. Paradiso), whom I’d met at Berklee, was owns Stingray Tattoo and Body Art in Allston. Then I sort of wandered in the wilderness until In 1989 I fell in with these three dudes looking to create a virtual corporation of METRONOME: Why did you leave the music I hooked up with Skin in 1982. from Mississippi who had listened to a lot “musician technologists” called business in 2001? METRONOME: Did you record any CDs or of Bauhaus and Pink Floyd. We started Art (we’re now at 1993 or so). Through him, I had a brief stint as the bass player in Serum, albums with any of those bands? playing songs I’d written, then began to write Scott and I hooked up with a company that but, of course, my drinking got in the way, so Cassettes, cassettes, and more cassettes. collaboratively. The band was called Hunger was desperately in need of animators to finish they justifiably fired me. I had long abandoned Until Skin: I lost my vinyl virginity with the Moon; I sang lead and played guitar. Our writing a project that was nearing its deadline. Mind any thought of putting my own band together. “Saddle” b/w ”You’re the Best” 12”. together began to get harder and louder. We you, neither of us were looking for this work. We First, I’d rather just record and play all the parts I’m serious about the virginity part. I had no changed our name to Bonesaw. Things got didn’t even have portfolios or demo reels. But myself. Second, I was feeling a bit too spent idea what was involved with mastering vinyl really dark: there’s a video of the song “Eating we hit it off with the head of the company (Steve to be playing T.T.’s on a Tuesday night, and I’d hit a wall in 1996: an epic, epic case of writer’s working, but it’s one that’s been in use for over instincts. Really made the project. would make “Springtime for Hitler” look like block. Or maybe I just ran out of things to say. a thousand years. Contrary to my initial assumption, my “Les Miserables.” I’m picturing Nathan Lane The dot.com bubble burst around 1999, METRONOME: When did the idea for your friends managed to save and store all my in the lead role, and Kristin Chenowith as the and with the economy in general tanking after new album Bad Behavior come to you? old tapes and a lot of my studio gear. The fifi. (Kristin! Call me!) 9/11, I ended up doing systems administration I really did not have a specific project in only guitar I have left from pre-prison days is METRONOME: You made light of the song, work. It’s like the Witness Protection Program mind when I was writing. I was just ecstatic my old Duco red bass. “Maximum Security” with an upbeat tempo for exiles from the Nineties start-up scene. that I was writing again. When you’re in the I could have done this the old way, on 1/2” and swagger. Can you tell us about that METRONOME: You were sentenced to middle of what looks like an endless series of tape, with Linn and Oberheim drum machines, tune? prison in 2009 for a computer-based crime. grey metal and cinder block days, the future, through a Studiomaster board, but it’s 2016, I just felt like writing a pop song with a jazz Can you tell us what happened? a life after prison, is hard to conceive. I knew for chrissake. Evolve or die, right? swing feel. There’s a Mark Eitzel song that I Yeah, no. I’m gagged as part of my plea deal. I’d record these songs, I just did not have any METRONOME: Did you play all the love (“Three Inches of Wall”) that has this feel. At least I didn’t get extradited to Azerbaijan. idea of how, where, or what. The concept, the instruments on the album? METRONOME: The piano etude “Foot That Something like 94% of Federal indictments shape of the album didn’t really emerge until Yes, except for drums: those are all sampled. Walketh” is outstanding. Is that something end up in a plea instead of a trial. Prosecutors I was free. I recorded about thirty tracks and I’d start with Logic’s algorithmic drummers, you had been working on for a long time? like to pile on the charges, no matter how picked fifteen for this release. convert these to MIDI regions, and tweak, That was an early morning piano song. I spurious, so a defendant will have to choose METRONOME: How long did it take to write tweak, tweak. would get up at 5:30 am in order to get a piano between going to trial and facing 20-to-life the music for it? METRONOME: The opening track “Truelove room at Rec before the place filled up. It’s quiet if found guilty, or pleading out to a three-, Hard to say. I wrote a lot of music in that (revisited)” is an excellent song. It reminded then; prison is usually such a loud place. So a five-, seven-year bid. On top of all this, you five-year burst of creativity. I was working on me of something by Crowded House. What lot of the piano music I wrote came from those have overworked public defenders, police the assumption that there was nothing left from inspired that song? early mornings, before the sun came up over lying under oath about illegal searches, and my life before prison. Tapes, notes, albums, I have an old song called “Truelove.” The the hills. Just me, a piano, and a cup of instant juries consisting of people who weren’t clever instruments: all gone. So I really started spoken part before the third verse quotes those coffee, screwing around with some hybrid enough to get out of jury duty. writing down songs that I’d already written and lyrics. Kind of pastoral, kind of idyllic: “Truelove chords like D with G in the bass. METRONOME: How long were you in recorded, just so I’d have something to do, lives in a house, by the river that flows through METRONOME: “When Pigs Fly” had a prison? something to have. New songs just began to the evergreen trees.” This song is the flip side psychedelic edge to it. What inspired that I was sentenced to seven years, but served appear. I’m sure being sober had a great deal of that: “Truelove is like a rock of crack.” The song? about six. The Feds make you do 85% of your to do with it, that and being in a place with few “a beetle on its back” line is a Gang of Four I used to love progressive rock when I was time; the rest is “statutory good time” that distractions. reference (“Anthrax”). younger. ELP, Yes, Jethro Tull, Deep Purple, they can yank back if you misbehave, which I METRONOME: How did you record the There is something bittersweet about love Curved Air. Then I lost my virginity. From then did. I also earned time off for completing the project? and incarceration: the fifteen minute time limit on it was all Stooges, MC5, et al. I just felt like residential drug program. It’s all Logic Pro X on a MacBook Pro. I on phone calls, the letters or the absence of rocking some clichés: the “Stairway to Heaven” The Federal system is well-funded, and have a Kurzweil I use as a keyboard controller. letters, doing time because you wouldn’t testify intro, the distorted B3 solo, the arpeggiated the staff, for the most part, treat inmates in Taylor acoustic 6-string, Fender Strat, Fender against your significant other or because they guitar outro. a professional manner. I can’t say the same Jazz bass, and a cheap tambourine. One testified against you in court. Looking back, I realize that I was enjoying for state prisons, county jails, or the private large-diaphragm condenser mic from Sterling Of course, being the total dick that I am, the luxury of writing in a vacuum. “Pigs,” “Day prisons run by corporations like CCA. The and a Focusrite Scarlett interface. Various I also wrote a song called “My Fifi,” about of the Dead,” and “Maximum” were written prison-industrial complex preys on the poor. third-party plug-ins. Keeping it simple in the an inmate that falls in love with the artificial purely for the enjoyment of writing in a certain Forty dollars to make a ten-minute collect call digital domain. vagina he crafted from a latex glove. It’s part genre, a particular mood or feel, without having via GlobalTelLink? Unacceptable. Mastering was done at New Alliance East, of “Hellkton,” a musical comedy/rock opera. to consider whether the band would like it, how METRONOME: How did music help you by Nick Zampiello. Great ears on him, good I wanted to write something so bad that it it would sell, or how it would be received by a while you were incarcerated? club audience. I cannot begin to describe the role music METRONOME: “Etude 43C (Snow Falling played. I entered prison not fearing for my on Razor Wire)” is another amazing musical physical safety, but for my mental health. piece. How did that come to life? Playing and writing music provided the I was having an American Beauty moment, mental stimulation necessary to keep my though instead of a plastic bag being whipped head on straight. Mind you, I’ve already paid by the wind, I was watching the snow fall on a cognitive debt for all the drugs and alcohol a triple-razor-wire fence. So much beauty in I’ve consumed, but I never expected to live this this world, even in a place like that. I was also long. The Bureau of Prisons makes it very, very listening to a lot of piano music, like Bartok’s hard to kill yourself, so I just had to get through “Mikrokosmos” and Satie’s “Gnossiennes.” my bid with sound mind and body. The Etudes were mostly meant for my piano In practical terms, teaching guitar and piano students. Some are simple, some are complex. was a decent hustle, earning a little extra cash METRONOME: You wrote a companion book for things you can’t buy at the commissary, like to accompany the CD. How did you come tobacco. Teaching music theory classes for up with that idea? the Recreation Department also got me out of I love to write. Reading and writing were working in food service. both part of my cognitive survival plan. I kept a Having a battery-operated radio was a huge daily journal throughout my incarceration that part of day-to-day life. I wouldn’t say that it weighs in at almost 800 pages. I wanted to made prison life pleasurable, but it definitely send out the CD with something other than the made it more tolerable. Being able to listen to usual press kit. I mean, the reviews my bands Stevie Van Zandt’s Underground Garage, the and I received back in 1980, ‘85, ‘90 are pretty news on NPR, or a Sox game late at night on a much irrelevant. Tabula rasa. faint, distant AM station keeps one connected METRONOME: Will you be playing any live to the world. shows in the Boston area to promote the METRONOME: Were you able to play music CD? If so, who will be playing with you? in prison or did you just write lyrics and I never say never, but I don’t have any plans music? to play live or put together a band. Bars and I was quite surprised to find that the Rec nightclubs are terrible places for recovering Dept. had music rooms with , drum sets, alcoholics. I regret that the music industry is and acoustic guitars (with nylon strings only -- so tied to drink sales. steel strings make serviceable tattoo needles). METRONOME: Where can people go to find When I started writing again, I had to go out more about you on the internet and to back to the old model of writing notes on paper. buy Bad Behavior? Recording devices aren’t allowed. For years I The album is on iTunes, CDBaby, Spotify, had written music either by playing guitar and Amazon and Google Play, the usual suspects. singing into a recording Walkman or creating I’ve got links to all these places, plus my keyboard sequences on computers. Now, if YouTube channel, Twitter account, SoundCloud I wanted a permanent record of the music I stream, and all the other expressways to my was making, I had to refresh my transcription skull at takkimedia.com. Buy my songs, be my and notation chops. It’s a very different way of friend. Karlo is love, Karlo is life. Metronome Madness

Hello friends and welcome to the July always the ultimate goal. And last summer, as installment of Metronome Madness. This Trout headed out on a comeback tour that blew column offers up music news as well as DVD the roof off venues from theRoyal Albert Hall reviews, musician’s obituaries and things we to ’s Legends club in Chicago, literally have no control over. So get comfortable every fan in the house saw that the man wasn’t and please read on... Boston band, The Forz just back, he was better than ever. “That whole featuring Cole Tyler, Anthony Graziano, Dave tour was kinda triumphant for me,” Trout Gambon and Ryan Hottenrott released their reflects. “Just to be back, after what I went second album on June 24th. It’s been a long through. But also to be playing with a renewed coming. In the two years since the release of energy and commitment. With songs pulled their debut, The Forz had certainly changed. from his five-decade career, the ALIVE in They’d been through professional and personal Amsterdam set is potent stuff indeed, from turmoil. They had branched out into the the stinging cover “I’m Back,” surrounding territories and had begun making to the plaintive B.B. King tribute “Say Goodbye a name for themselves. As they walked into To The Blues,” which builds from neck-tingling Mystic Valley Studios to work once again with guitar swells to a stunning climax. Battle Scars producer Alex Garcia-Rivera, The Forz knew is well-represented by the harmony-bolstered they were making something special. Like a rocker “Almost Gone” and the raucous pot on the verge of boiling over, the band had “Tomorrow Seems So Far Away,” while Trout found their sound, perfected it, and were more is joined by his son Jon for “Rock Me Baby,” and even finds time for a fistful of fan favorites, including “The Love That We Once Knew” and “Marie’s Mood.” “You can hear a guy yell out for Marie’s Mood,” he laughs. “I hadn’t planned Celebrates 25th Anniversary on doing that one.” Urgent, impassioned and electrifying, it’s a live album to treasure, and Historical/Vault/Reissue with At of his music, his songs, his live charisma, and the perfect appetite-whetter as Trout heads out Newport 1955-1975: The Bootleg Series Vol. most impressively, his passion for the music. on tour this year, stopping off at some of the 4. It marks the fourth time that a box set in He’s battled his way to the top of the ultra- most prestigious venues and festivals in the Miles’ critically-acclaimed, best-selling Bootleg competitive Windy City blues scene, has U.S. and Europe. Walter shows you magic in Series has won the Jazz Times Readers Poll in already played multiple tours of Europe and the studio, of course, but it’s on the stage this category. Additionally, he was also honored continues to deliver roof-raising performances The FORZ where he truly comes alive. “I get into the for the same project by the NAACP Image around the U.S.A. The Chicago Way was energy and the moment and the excitement of Awards in recognition for “Outstanding Jazz produced by Toronzo and Alligator president it all,” he says. “I think I’m a very different Album” and by Jazzwise Albums of the Year than ready to show the world exactly what they guitarist live.” On June 17th, Morrison Hotel Critics Poll for Reissues/Archive Album of the are capable of. The new album, Running From Gallery honored Dave Matthews Band’s 25th Year. In previous years, the Miles Davis The Past features 14 songs, once again all Anniversary with the opening of an Bootleg Series Vol. 2 and Vol. 3 have won this written by Cole Tyler or Anthony Graziano. comprehensive photo exhibit spanning the category. Singer-songwriter-guitarist Duke With help from friend and musician Ian Motha band’s history. The show features the collected Robillard and his bassist, Brad Hallen will be on one track and vocals from Amy Slattery on work of the band’s favorite photographs and joining guitarist Paul Speidel at the Blues another, the album is a well rounded power pop photographers. The exhibit is open to the Brunch at the Fairmount Grille, 81 Fairmount experience. From the spooky-surf infused title public from June 17th thru July 10th. The Avenue in Hyde Park, MA. on Sunday, July track, the danceable “Beyond The Laughing photographers showing in this exhibit will be 10th, from 11am-2pm. There’s no cover and Sky,” and the soul-influenced rocker “Alone C. Taylor Crothers, Danny Clinch, Rene the Fairmount is known for serving up some With Someone New” (featuring Tyler’s larynx Huemer, Sam Erickson, and band member incredible food. See you there. Rounder shredding vocals), The Forz’s second release Stefan Lessard. All images in the exhibit are Records has announced the signing of provides listeners a fascinating insight into the available for purchase at www. American music icon Bobby Rush, the minds of four, young, like minded, individuals morrisonhotelgallery.com. During that time, the Mississippi-based blues and R&B star who has trying to escape their past and who are sure to band will be playing in the region as part of been entertaining audiences around the world keep you coming back for more again and their summer tour, but will be taking a break for over 50 years. Over the course of his storied again. Walter Trout is unleashed his new CD, from touring in 2017. Dave Matthews Band career, Rush, who is affectionately known as ALIVE in Amsterdam, recorded live in has sold more than 20 million tickets since its the “King of the Chitlin’ Circuit” has been Amsterdam on his comeback tour, released inception and a collective 38 million CDs and nominated for three Grammys, and has also June 17th on Mascot/Provogue. ALIVE in DVDs combined. It is the first group in history been nominated for 41 Blues Music Awards, Amsterdam is the sound of a man announcing to have six consecutive studio albums debut 10 of which he won. Rush’s Rounder debut, his resurrection after a period on the ropes. As at #1 on the Billboard 200. Music icon Miles Porcupine Meat, will be released in September Trout’s army of international fans are painfully Davis would have turned 90-years-old on May of 2016. The album features all new blues, funk aware, recent times have taken the bandleader 26, a date that was commemorated globally and R&B songs written or co-written by Rush. to the brink, following a bleak diagnosis of among the trumpeters’ wide-ranging fan base Produced in New Orleans by Rounder’s life-threatening liver failure and hepatitis C in and admirers. In celebration, Columbia/ Grammy-winning VP of A&R, Scott Billington, 2013. Trout’s rebirth began with a successful Legacy celebrates the release of Everything’s the album features an all-star band that transplant in May 2014, and gathered pace with Beautiful, a reimagined interpretation of his includes drummer Jeffery “Jellybean” 2015’s ‘Battle Scars’: the acclaimed studio music produced by GRAMMY Award-winning Alexander, bassist Cornell Williams, album that channeled his near-death artist Robert Glasper, and featuring Stevie sousaphone player Kirk Joseph (Dirty Dozen experience into raw autobiographical songs. Wonder, Erykah Badu, Bilal, Illa J, Laura Brass Band), keyboardist David Torkanowsky, Trout has never sounded so alive. The date is Mvula, Ledisi, KING, Hiatus Kaiyote, Phonte, guitarist Shane Theriot, and Rush’s longtime November 28th, 2015. The location is and others. The visionary collaborator, guitarist Vasti Jackson. Horn Amsterdam’s opulent Royal Theatre Carré. exploration, which incorporates Davis’ original arrangements are by Jeffrey Albert. Blues The occasion is a live performance of the blues- recordings into new collaborative soundscapes guitarist, vocalist and songwriter Toronzo rock legend at full-throttle. “We were rocking,” is now available featuring cover art by Francine Cannon celebrates the release of his Alligator remembers Trout of the comeback concert Turk. To date, Miles Davis has won eight Records debut, The Chicago Way, with a live captured on ALIVE in Amsterdam. “If people Grammy Awards; a Grammy Lifetime local performance on Friday, July 15, 2016 at are expecting a laid-back show, that’s not what Achievement Award, and three Grammy Hall the Regattabar in Cambridge. Cannon has they’ll get. This is potent stuff.” Yet for this of Fame Awards. This year (2016) Davis won become one of Chicago’s most recognized and lifelong road-warrior, a return to the stage was the Jazz Times Readers Poll for 2015 Best most popular bluesmen through the sheer force whether doors open or close because of it. In of “Feels Like Freedom” here: https://www. my day-to-day, the Van Zant carries weight no youtube.com/watch?v=XdAPZace-R0. John different than DuPont paint or Chevrolet or Berry passed away at the young age of 51. Ford. There’s a brand name, but there is to be Berry, a founding member of the Beastie Boys, expected quality, and we try to deliver that. It’s suffered from frontal lobe dementia in his final no different than if your dad had a restaurant days. Although Berry left the Beastie Boys or a car dealership. Before he passes on, he after the release of their first EP, Polly Wog tells you to carry it on. Do you want to sell out? Stew, in 1982, he is credited with coming up No, it’s priceless. That’s something you can’t with the group’s name. What’s more, when the Guitar, Bass & Amp buy.” Watch Jimmie Van Zant’s YouTube video Beastie Boys were inducted into the Hall of Fame in 2012, Adam Yaunch (who was himself dying of cancer) wrote a Repair speech honoring Berry for his important role in Over 30 years professional experience forming the group. Beside the Beastie Boys, Unsurpassed quality and reputation. Berry was a member of other groups Even Worse, Big Fat Love, Highway Stars and Beverly, MA. Toronzo Cannon Bourbon Deluxe. RIP John Berry. VIDEO PICKS OF THE MONTH: The Revenant- Bruce Iglauer. The album is comprised of all Leonardo DiCaprio and Tom Hardy star in (978) 927-3498 self-penned songs, inspired by his deep, this outstanding film. Gorgeous cinematography PR22:29 FIXT homegrown Chicago roots and powered by his laced with a story that incorporates basic blistering guitar playing and soul-baring vocals. elements of the human equation like greed and Cannon’s songs - from searing blues anthems self preservation unravel in to a two and a half The Lannisters and Daenerys Targaryen all vie to swinging shuffles to soulful ballads to roof- hour film du jour. Don’t miss this flick; Sound to rule the Seven Kingdoms of Westeros from raising rockers - tell timeless stories of City- Foo Fighter Dave Grohl wrote and atop the Iron Throne. Hang on to your swords; common experiences in uncommon ways. directed this extraordinary documentary about Veep, Season 5- Julie Louis Dreyfus has PASSING NOTES: Jimmie Van Zant, a famed recording studio Sound City. From 1970 eclipsed her role as Elaine in the groundbreaking Southern rocker whose cousins are Ronnie to 2011 everyone from Tom Petty, Nirvana, Seinfeld with her depiction as the VP and and Johnny Van Zant of Lynyrd Skynyrd and , , Dr. John, Nils President (or POTUS as they would call her) of Donnie Van Zant of .38 Special, died April 7th Lofgren, Grateful Dead, REO Speedwagon, the . This cutting edge comedy after a long battle with liver cancer. He was 59 Cheap Trick, Rick Springfield, Foreigner, Pat is pushing all the envelopes of modern years old. Van Zant released three albums in Benatar, War, Santana, Barry Manilow, Dio, television as we know it. The supporting cast his career, The Jimmie Van Zant Band (1996), Black Crowes, Rage Against The Machine, of Veep is equally as engaging and hilarious. Southern Comfort (2000) and Feels Like Johnny Cash, and countless You won’t want to miss a single episode. Well Freedom (2012). Upon the release of Feels others seeked out the aural magic of the that wraps it up for this issue. Until we meet Like Freedom, he was the subject of a studio’s Neve console and the recording room again, keep making, playing and supporting Billboard profile where he discussed the pros (that was never painted or touched for fear of beautiful music. HAPPY BIRTHDAY CANCER, and cons of having the Van Zant name. “First disrupting the mojo). This is a must see YOU CRAB YOU. Catch you all next issue. of all, it’s my family, so I am very glad to be a RIP Jimmie Van Zant documentary; Game of Thrones, Season 6- Thanks for reading. part of it,” he said. “I’ve been asked many times The stakes are higher than ever as The Starks, --Compiled by Brian O. Contact by Brian M. Owens

Over the last few years, Boston based toward making a career of that ever since, Nikki: I started singing as soon as I about yourself? band Contact has gone through some alongside all my other endeavors. could talk. My mother has cassette tapes Austin: I pretty much eat, breathe, and personnel changes, but one thing has I’ve never stopped acting though, of me when I was two years old. dream about music and drums. The last remained constant- the intensity and I think all of my artistic and physical METRONOME: Matt, can you tell us few years I have been writing, touring, power of their music. These days Matt experiences come together to form about your musical experiences? and recording with a few groups. Things Rhoades, Nicole Emmarie and Austin something that’s totally unique to me so Matt: I’ve been playing music since were slowing down with some of those Bryant are the nucleus behind the group I’m always up for an adventure. middle school. I became a professional projects and Matt and I rekindled an that’s turning heads everytime they take I starred in my first full length film last musician at 18 with my first band “And old music romance. I have been playing the stage... year, The Mayor of Rock and Roll, and Then There Were None.” We signed to a nonstop in projects the last few years and wrote music for the film. It’s something metal label, then I resigned to EMI toured was so amped when I started playing and METRONOME: How working with Matt and long has Contact Nikki. This is the first been together? project where I have Matt: Contact has been working with a been in the process lot more electronics for a couple of years and I love mixing in now. sampling pads to METRONOME: spice things up. Where is your home METRONOME: How base? long have you been Matt: The home playing? base is Boston! Austin: I have been METRONOME: playing going on 15 Who’s in the years now. I was self band and what taught for a long time instruments do they and then got really play? into drumming in high Matt: I produce, school. I ended up Nikki sings and going to college for Austin plays drums. music and got my We all collaborate. Bachelor’s Degree in METRONOME: How music performance did you all meet? with an emphasis Matt: I met Nikki in music business. through one of Pretty much a piece her prior bands in of paper that says I Boston. I met Austin get along well with when both of our others and can play old bands played music. together in New I have been playing Hampshire. We’ve all in bands off and on been in similar circles since high school for a while. and actually opened METRONOME: for Matt’s old band, Nikki, I understand Young . That you’re an actress is how we first met. as well as an On the side, I teach entrepreneur. percussion and Can you tell us drums out of a studio more about your in Newburyport and background? do a lot of recording/ Nikki: I did musical studio work. theatre in high METRONOME: Did school, alongside you three have a three sports a year. specific plan when I was also a dancer forming the band? and gymnast. I was one of those kids I hope to continue doing forever as well. forever, and here I am now with Contact. Recording band? Live, touring act? that had to do everything: sports, music, I started in comedic acting a few years METRONOME: How long have you Something else? theatre, horseback riding, camping, etc. ago, and that was my first foray into acting been playing? Matt: My main goal when I started I dreamt of becoming Mariah Carey for outside of theatre. I was also able to do Matt: I started off playing the drums in Contact was to make music that I really most of my childhood, and when I got to a couple short films recently. middle school. I took lessons for a couple enjoyed. I have this sound in my head the end of high school, I realized I actually METRONOME: How long have you of years then started to learn guitar. that I’ve referred to as “Post-Apocalyptic wanted to be in a band. I’ve been working been singing? METRONOME: Austin, can you tell us Pop.” I’m not quite sure other people hear it the way I do, but that’s essentially what Matt: I am the slowest producer on METRONOME: Who is the principal did you develop that and who in the I’m always going for. earth. I have friends who can make full songwriter in the band or is it a band band handles keeping friends and fans Nikki: I had always wanted to work songs in a day. It amazes me. I used to run collaborative? engaged? with Matt on a producer level since I met a clock on my projects, but it’s not even Matt: I am the principal songwriter. Matt: I’ve been working the Contact him. We always bonded sharing shows worth it. I will have 50+ reference mixes I like when people have ideas because social media, and while I don’t really enjoy together in our respective bands, so it and demos of a track before I even know it definitely adds depth to the songs. social media work, there are fans and was perfect fate that he needed a new what I’m doing. Sometimes that feeling Sometimes just listening back with people friends that have stuck with me for 7+ member in Contact. I hope that we can of completion never comes, but when it around makes amazing changes. years in all my music endeavors. I can’t be all of those things. Live shows, touring, does, its amazing. METRONOME: How does the thank them enough. They are the reason as well as a strong studio presence with METRONOME: Do you ever have guest songwriting process work for the we have any presence online at all. They an eclectic catalogue. This is just the musicians join you when you play live band? repost things and promote songs… it’s beginning. or is it always just the trio? Matt: I have yet to find an actual insane. METRONOME: How many CDs does Matt: I have members come and go process. Sometimes it starts with a METRONOME: Do you have any videos the band have? depending on the tour and show. Some vocal idea. Sometimes it’s a drum loop. for your songs? Matt: Right now, we have 3 singles out. of my best friends have played and toured Sometimes it’s me on an acoustic guitar. Nikki: We have a video for “Never Stop” However, I am finishing a full-length that with me over the years. It’s always different. in the works. We’re very excited about will come out this year. METRONOME: Do you make use of METRONOME: What are some of the it. It was shot and directed by Justyn METRONOME: Where did you record MIDI or prerecorded sound bytes to topics you write your music about? Moro from L.A. There are videos out for the tracks? fill out the trio’s sound? If so, who Matt: A lot of the newer songs I’ve the first two singles, “Somewhere” and Matt: I recorded things everywhere. handles that? written are introspective, but with a big “Fascination Shadow” as well. Some vocals were tracked in my New Matt: It really depends on the tour and picture in mind. I relate everything in my METRONOME: Who is behind Hampshire studio, some in my living the song. Some songs are all organic, songwriting with thoughts of the universe, Doghouse Records? room. We tracked some drums at Austin’s where others rely a bit too much on darkness and inspirations. Matt: Doghouse is a tiny indie label from drum studio. I personally love piecing computers. For some tours, when you’re Nikki: I tend toward similar topics the New Jersey/New York area. things together. It can give the song layers in the middle of the bill, you may only and moods, and I think it makes us an METRONOME: Where can people go and make it sound unique. have ten minutes to get set up and play, incredible writing team. We have really to find out more about Contact on the Nikki: One of my favorite and first so you need less equipment on stage. connected on our lyrical and melodic internet? Contact memories is of recording the That’s where pre-recorded tracks can be directions. I also tend to try to dig into Matt: www.contactband.net is our vocals for “Never Stop” with Matt and necessary. the different aspects of human nature website. his traveling rig in my living room closet METRONOME: How often does the in relationships. We’ve all had love and METRONOME: Is there something (laughs). The beauty is in the different band play live? friendships that challenge and change you’d like to add before we close out? ways you can do things. Then we went Matt: Right now, we have a super us, so it’s a never ending pool of common Matt: Thank you so much for working across the street and got some dope minimal live schedule, but as we finish the experiences to explore. with us. This is an interesting time for Japanese tapas. new full-length record, we will be touring METRONOME: You have a highly Contact and really looking forward to what METRONOME: How long did it take? like monsters again. visible presence on social media. How the future holds. Classifieds

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PRS S2 Standard 22- $1319 New Strats, Teles & Basses In Stock PRS S2 Singlecut Standard- $1319 Fender Bassbreaker 7W guitar amp $399 ~World’s Largest Selection~ PRS S2 Starla- $1369 Fender Supersonic 22 $899 PRS S2 Custom 22- $1399 1965 , mint $2900 PRS S2 Vela, Antique White- $1399 Fender Strat ‘70s reissue natural $749 Thousands of different singles, sets and bulk strings are PRS S2 Vela, Vintage Cherry- $1399 LTD 7-string $189 in stock and ready to ship. You’ve got a great instrument, PRS S2 Custom 22- $1399 Eden bass amps On Sale! Nash S-63 Strat- $1499.99 Marshall DSL 15 head $449 let us help you make it better. Call (800) 822-3953. PRS 2 Ch. Custom 50 Pre-owned- $1500 Takamine acoustic/electric bass $449 Archon 50 amp- $1598 Yamaha digital pianos in stock 50 Amp SALE!- $1600 Ludwig Accent 5 pc kit complete $399 www.juststrings.com Tone King Falcon combo amp- $1795 Fender Mexican Strats, big selection $499 Continued on next page > Heritage H-150CM LW- $1800 $11,499 Taylor SBX $550. Ibanez SR305 Epiphone Acoustic 230 chorus amp- $199 PRS 2 Channel Custom 50- $1949 PRS “Peach Blossom Special” Private 5-st bass $299. Rick 4001 MapleGlo $1699. (2) LP Pro Series congas- $249 each Dallas 50 Amp SALE!- $1999 Stock- $11,499 Epiphone SG cherry $299. Rick 4003 JetGlo Gibson Custom Shop LP w/Floyd- $1995 PRS CE 24- $1999 PRS Super Eagle- $11,500 $1799. Martin D-12-20 $1000. Gibson Les Ibanez TR70 bass $139 Carol Ann OD2 Amp- $1999 PRS 408 Trem Semi-Hollow- $11,999 Paul Custom $2599. Gibson Les Paul Kramer USA bass $349 Kelton Swade 53 AVR-T- $2299 PRS Santana - Pre-Production 1979- CALL Classix $1699. Gibson SG Les Paul ‘61 B.C. Rich “Body Art” Mockingbird- $229 Rozawood RD-11- $2499 Sales, service, consignment. Open reissue $1199. Fender Strat (Mexico) Dillion Doubleneck Strat- $999 Tone King Royalist 45 amp- $2695 Monday through Saturday in TAX FREE $325. Fender Am Std Tele $799. Fender 1983 Ibanez Axstar bass- $349 PRS McCarty- $2749 New Hampshire. Call or stop by John’s Nocaster $1750. Fender Strat ‘57 reissue Ibanez Artist, Flametop- $599 Tone King Sky King combo amp- $2995 Mann’s Guitar Vault, 112 Wallace Road, $1200. Epiphone Les Paul $99. Gretsch Indian $289 Fano Alt de Facto PX6- $3099 Bedford, N.H. 03110 (603) 488-1912. DuoJet $250. Gibson SG Faded white 1980 Guild F45CE, mint $899 PRS Mark Tremonti- $3129 www.GuitarVaultUSA.com/metro $500.Rickenbacker 4003 $1500. Gibson BC Rich Mockingbird w/Floyd $359 PRS DGT- $3129 ______J-15 $1095. Epiphone Jack Cassidy bass Hofner Beatle bass $439 w/case PRS SC 58- $3249 Mouradian Guitar Company-- Premium $450. Fender Strat (Mexico) $299. 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Peavey 3-way keyboard cab- $99 Kala & Amahi ukuleles start at $69 CLASSIFIED AD FORM TERMS 1 2 $2.00 per line 3 4 Please use proper spacing & punctuation 5 6 Make checks or money orders payable to Metronome Magazine 7 8 Include all information in your ad 9 10 DEADLINE: 5TH of The Month 11 12 Name______13 Address______14 City______State______15 Zip Code______Circle appropriate heading: Gigs For Sale Services Lessons Phone #______Mail To: METRONOME MAGAZINE • P.O. Box 921 • Billerica, MA. 01821 Dillion Crystal Series (see-thru) Strat $699 amplifiers, guitars, basses, effects, stereos, John Mann’s Guitar Vault has the largest Dillion SRV Signature Strat $549 DVD players, keyboards, DJ equipment, inventory of PRS Guitar factory fresh, Tama Imperialstar 4 pc. kit, spkl red $399 recorders and more! Vintage guitar and genuine parts anywhere on the planet… Hofner Verythin 335 $689 amplifier repair is our specialty. MISC, well except for the PRS Guitar factory. 1941 Martin O-15, all mahogany $1299 4 Haviland Street, Boston, MA. (617) Our prices, delivery and customer service Kurzweil 1000HX Horn Expander $149 247-0525. are second to none. Call us at (603) Soundcraft Gigrac 600 watt mixer $299 www.miscfix.com. 488-1912 or visit our web site at www. www.facebook.com/ Sonor S Classix drums Germany $2499 ______GuitarVaultUSA.com/metro. MetronomeMagazineBoston Zildjian cymbals and accessories World Class guitar setup & repair for ______Peavey XR700 powered mixer $199 your electric & acoustics guitars or other Guitar and amplifier repairs. Vintage Yamaha tenor sax, mint condition $599 stringed instruments. We service amps specialists. Call or stop in and visit Guitar lesson rooms for guitar, bass, piano, New Hofner HI-J5-CN Jazz guitar $489 too! Open Monday thru Saturday in TAX Gallery, Route 101A, Amherst, N.H. 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Sharpen your playing skills, meet hour. Gorgeous, fully equipped rehearsal amp to us for service. In-house band other musicians from around the area rooms in Wakefield and Somerville. Large, instrument repairs. Quick turnaround on and have some fun. We provide all the comfortable studios equipped with gear adjustments, pads, corks and spring work gear, a great sounding room, music and from Fender, Marshall, Ampeg, Hartke, on woodwinds; stuck tuning slides and a workshop leader. We even record each Zildjian, Yamaha and Fishman. FREE chemical cleaning on brass instruments. session so you can track your progress in-room CD recording systems. Clean, Get your horn in shape for school! week to week. The song list runs from Led safe, comfortable. No more monthly fees, Authorized representative for Whitsett Zeppelin to the Eagles, from Motown to stinky rooms or sharing your space (and Guitar Works - Highest quality repair Skynyrd, Nirvana, Pearl Jam and U2. New gear!) with other bands. 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Repairs for all major brands of ______Private lessons available in our new New, Used & Vintage Drum Kits, • Classic 30 1x12- $699 Snare Drums, Parts & Accessories • Classic 50 2x12- $889 • Classic 50 4x10- $799 • Valve King Royal 8- $199 • Valve King 112 50w, A/AB- $399 • Tour 15 400w bass combo- $459 • Tour 700 head- $489 • 4x10 bass cab- $289 • PV6 mixer- $109 Tama Tama • Acoustic amps from $149 Rockstar Rhythm Mate • RQ2314 14-ch mixer USA- $389 2 in stock 5 pc kit Over 25 Ukuleles • PV8 mixer, USB- $189 complete • PVI 6500 mixer- $349 Sonor S Classix starting at $49 $299 • PVI 8500 mixer- $399 5 pc. Rosewood $499 • Supreme head- $149 (made in Germany) 5 U-Bass Models • KB400 keyboard head- $99 $2499 IN STOCK! Deluxe Hardshell Case Included w/guitar! July Specials

360/12 330/12 360/12 Fireglo 1990 Mapleglo 330/6 360/6 360/6 620/6 ‘09 N.O.S. ‘09 N.O.S. 660/6 4003 4003 4004 Fireglo Jetglo Ruby Red Midnight $1499 Ruby Red Fireglo Mapleglo Cheyenne Jetglo Blue $1950 $1950 Jetglo Blue New, Vintage, Used and N.O.S. Guitar Sale!

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Peavey - Rickenbacker - DBZ - Dillion - Crafter - Breedlove Sonor - Ibanez - Tama - Sabian - Zildjian - Hofner - Kala - Amahi 1269 Main Street (Rte. 38), Tewksbury, MA. Store Hours Monday- 2:00 to 7:30 pm (978) 851-6700 Tues, Weds, Thurs- 11 to 7:30 pm www.Tewksburymusic.com Friday- 11 to 7 pm e-mail: [email protected] Saturday- 10 to 5 pm