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Frank Bang | Crazy Uncle Mikes Photo: Chris Schmitt 4 | www.SFLMusic.com
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Turnstiles | The Funky Biscuit Photo: Jay Skolnick Oct/Nov 2020 4. FRANK BANG 8. MONDAY JAM Issue #97 10. KEVIN BURT
PUBLISHERS Jay Skolnick 12. DAYRIDE RITUAL [email protected] 18. VANESSA COLLIER Gary Skolnick [email protected] 22. SAMANTHA RUSSELL BAND
EDITOR IN CHIEF Sean McCloskey 24. RED VOODOO [email protected] 28. CATHY GRIER SENIOR EDITOR Todd McFliker 30. LISA MANN [email protected]
DISTRIBUTION MANAGER 32. LAURA GREEN Gary Skolnick [email protected] 34. MUSIC & COVID
OPERATIONS MAGAGER 48. MONTE MELNICK Jessica Delgadillo [email protected] 56. TYLER BRYANT & THE SHAKEDOWN ADVERTISING [email protected] 60. SOCIALLY RESPONSIBLE FUN
CONTRIBUTORS 62. THE REIS BROTHERS Brad Stevens Ray Anton • Debbie Brautman Message to our readers and advertisers Lori Smerilson Carson • Tom Craig Jessie Finkelstein As SFL Music Magazine adjusts to the events transpiring over the last several Peter “Blewzzman” Lauro weeks we have decided to put out the April issue, online only. We believe that Alex Liscio • Janine Mangini there is a need to continue to communicate what is happening in the music Audrey Michelle • Larry Marano community we love so dearly and want to be here for all of you, our readers Romy Santos • David Shaw and fellow concert goers and live music attendees, musicians, venues, clubs, Darla Skolnick and all the people who make the music industry what it is.
SFL is dependent on its advertisers to bring you our “in print” all music maga- COVER PHOTO zine here in South Florida every month. Our advertisers have been severely Jay Skolnick affected of course and we are doing our part to give them an outlet to commu- nicate with the public while there are no shows to promote. Our staff is made up of volunteers who contribute their time and effort, photographing, writing, designing, and distributing the magazine for the love of the music. We thank SFL Music Magazine is a community each and every one of them for all their efforts over the years. While there are newspaper that is published monthly in no shows to photograph or review, our staff has volunteered to contribute what- Boca Raton, Florida. All contents are ever they can for the online version of the magazine as well. copyright 2020 by the AWG Group, LLC, and may not be reproduced without writ- We will be back in print as soon as possible and look forward to working with ten permission of the publisher. all our advertisers to bring you all the happenings in South Florida Music as we return to normal. We honor you for your commitment in the past and will be with FOUNDED BY SEAN MCCLOSKEY you as the new normal presents itself when the disruption to our lives subsides.
Juke | The Funky Biscuit Photo: Jay Skolnick 8 | www.SFLMusic.com
Kevin Burt’s New Album ‘Stone Crazy’ To Be Released On Gulf Coast Records
Kevin Burt has been a force for years and is finally getting tar) whose smooth, warm vocal presentation sets a mood the International recognition he so deeply deserves. His of relaxed exhilaration, with a welcome mixture of serious voice is commanding and soulful and his songs are honest music and infectious humor that audiences of all ages and from the heart.” — Mike Zito seem to enjoy. His voice and presence are powerful. His unique delivery ranges from the sweetest, fullest, juiciest Kevin Burt releases his brand new album Stone Crazy come-on to the most playful growl. on October 16, 2020, via Gulf Coast Records. The album was produced by musician/producer Mike Zito and was recorded at Marz Studios in Nederland, TX. Kevin Burt has won many awards and played many fes- Stone Crazy, Burt’s first album on the Gulf Coast Records tivals, both solo and with his band. In 2018, Kevin “B.F.” label, is comprised of ten songs, all written by Burt, with Burt crushed it at the Blues Foundations 34th International the exception of the Bill Withers tune, “Better Off Dead.” Blues Challenge (IBC), taking home top honors in three Burt describes songwriting as, “a journey,” a journey in categories. Kevin won first place in Solo/Duo, (the Cigar which he tells stories of observations he’s made along the Box Guitar Award recognized him as the best guitar play- way. The songs on Stone Crazy are his observations and er in the Solo/Duo category), and the Lee Oskar Award experiences in life that have shaped how he views love for Best Harmonica Player. Burt was among over two- and relationships. Kevin’s wife, Nicole, his muse and big- hundred bands and solo/duo acts from around the world gest influencer, is the inspiration for many of the songs on entered into the five-day event on Beale Street. In 2019, Stone Crazy. Burt was nominated for a Blues Music Award for his debut album, Heartland And Soul (Best Emerging Artist Album) For more than 25 years, Kevin Burt has been electrify- and was also inducted in the Iowa Blues Hall of Fame. ing audiences throughout the Midwest, while simultane- ously dispelling the myth that true blues has no roots in For more on Kevin Burt, visit Iowa. His soul-inspired presentation is unique -- consis- tently getting him compared to a range of artists such as kevinburtmusic.com or Bill Withers and Aaron Neville -- with the ability to build an audience rapport that has been compared to B.B. King. facebook.com/kevinburtmusic Burt is a self-taught musician (vocals, harmonica, and gui- 10 | www.SFLMusic.com
Peter Noone | The Funky Biscuit Photo: Jay Skolnick
DAYRIDE RITUAL By: Lori Smerilson Carson Photos: Larry Marano
South Florida is known for many treasures like their beaches, restau- SFL Music: Corey, you just flew in from Philly last night, right? rants and music. In particular, a hard rock band called Dayride Ritu- al. Locals have been able to see this extraordinarily talented band in Corey Gillmer: Yes, I did. Caught the late flight in. So, it’s a tiring many venues over the past several years. Their first self-titled record morning to say the least. was released in 2012, followed by their second Waking Up Screaming released in 2016. They have presently returned to Power Station Re- SFL Music: I would say so. So how did this work in the studio with cording Studios in Pompano Beach, Fl to finish their third album which the current situation. Did you use both studios for the vocals? shows promise of topping their previous and highlights their amazing musicianship and abilities. Vaughn: No, just the live room.
Catching up with Lead Vocalist, Percussionist Michael Vaughn, Bass- SFL Music: So, you guys went in separately or how did was that ist Dave “D.T.” Thomas, Guitarist Jose Antonio Mena and Drummer done? Corey Gillmer, just after they spent the day recording backing vocals for most of the new tracks, they revealed details about the upcoming Vaughn: Well, we did maintain social distance, even though there were LP, recording at Power Station Studios, their inspirations, secret to their more that one of us in the live room singing on the mic. You know, success and what fans can look forward to. someone else is there standing by just coaching and what not, and giv- ing another ear to let us know what we’re doing right and wrong, but at SFL Music: How is the recording going? the proper social distance.
Michael Vaughn: So far so good. We got background vocals on seven SFL Music: Which microphone did you use? songs done out of ten. Tomorrow, to finish up and then little ear candy tricks and what not and we’re done. Vaughn: You know what? I don’t have the name of it. All I know is, I’m in love with it and I will never record with anything else ever again! SFL Music: Is there a theme or what inspired the songs on the al- bum? SFL Music: This is your third studio album. Did you use at Power Station Recording Studios for both previous records? Vaughn: Yeah, It’s a good question. Nothing like a common thread through it or anything like that. Vaughn: No, actually we recorded the last album here. The first album was done, Dave tell the story. Dave Thomas: Not really. Each song has its own individual theme. Thomas: The first album we had someone gracious enough to kind of Vaughn: There are dark moments. There are happy moments. There give us some console, some recording equipment, and we basically got are some quirky moments. It’s a typical Dayride record, (he chuckled). that for free, and we just hired the engineer to mix on it. So, the first 12 | www.SFLMusic.com
Celine Dion | AmericanAirlines Arena The Flyers | Crazy Uncle Mike’s Photo: Chris Gordon Photo: Jay Skolnick record was a little bit more home grown, but we wanted to be a pay- dorian guitarist had left and he heard about me from another friend of ing client because we tend to be a little demanding and picky, so we mine. felt more comfortable doing that with somebody we’re paying then the favor angle so to speak. Thomas: I think a drummer that we were jamming with back in the day. He was talking about how he had a friend that he can’t find any- Vaughn: Yeah, we wanted the client experience. body good enough that he wanted to play with and then when we were auditioning guitar players, miraculously, I remembered his name and Thomas: Exactly. tracked him down and called Jose up and as soon as Jose came out, he lit it up and it was a good fit. SFL Music: What makes Power Station Recording Studios stand out to you besides the expertise and the high standard equipment? SFL Music: Did you all have formal training? What would you say drew you to Power Station? Mena: Formal training, I mean a little bit when I was a kid. I went to Thomas: Before we did the last record, we were trying to drive around conservatory to learn how to read and all that, but once I started on the to different studios and meet different engineers, and we wanted to rock and roll path, that was all out the window. make sure they would come and hear us first play live as opposed to just showing up, and everybody that we met either wanted to change SFL Music: Did you play piano in the conservatory? us or change some songs. They wanted the drummer to not hit as hard, and we were kind of really apprehensive, and then when Rob (Roy, Mena: Piano yeah. Classical piano. Producer, Co-Qwner with Tony Bongiovi) came out to hear us, he said, you’ve got the best drum sound in Florida. He wants to catch lightening SFL Music: What about the drums Corey? What drew you to play in a bottle and don’t change a thing, and then once we saw the physi- the drums? cal space and his approach to us, it was a no brainer from there going forward. Gillmer: So, my dad is still a drummer. He had me playing before I could walk. There’s actually a funny story about my dad’s band would SFL Music: Tell me about some of the new songs. What inspired rehearse in my living room and as a two, three-year-old kid, I would sit them? on his lap and I would not let them rehearse until I got to play a little bit of the drums. I actually never had a formal lesson in my life. I’m Vaughn: Ok. Well, first one that comes into my head is we have a song completely self-taught. Just kind of Listening to him, listening to other called “Around Again” and basically you might have heard someone drummers I looked up to and just kind of honing it that way. Just kind say this before that, ever guy says he want an insatiable girlfriend until of figured out what I can do and how to get better. he finds himself an insatiable girlfriend. Ok, so, you be careful what you wish for because you just might get it, and that’s basically what this SFL Music: Who would you guys say are your influences? You said song is about. You can almost say from the female perspective. That’s Jose, once you heard rock and roll, but who was the rock and roll “Around Again.” On the darker side, we have a song called “Close Your band or person? Eyes” which to keep words short, is basically obsession, stalking and a murder suicide, (he laughed). Yeah, It’s the kind of stuff you play Mena: Guns N’ Roses. around the holidays. SFL Music: Cool! What about Dave and Corey, Michael? Who SFL Music: It’s a feel-good song, right?! would you say?
Vaughn: It’s a feel-good song, exactly! Thomas: What got me into it I think early on, I kind of traveled the path of The Beatles which led me into Kiss. I don’t know how it led me into SFL Music: So how does the writing come about Michael? Are you Kiss, but I was a huge Beatles fan as a kid, and then I started getting into writing all the lyrics or Dave’s putting down the structure with Co- Kiss and that led me down into the rock and roll, and eventually you rey and Jose writes the riffs? How does that work with Dayride know, probably like Jose and Corey, you get into more accomplished Ritual? players and more progressive players. You try to become a little bit bet- ter of a player and then you know, you always got to be conscious of Vaughn: Someone comes in with an idea, whether it’s, I have an idea a singer and a vocal. So, you try to find bands that can kind of match for a lyric or Dave has an idea for a riff or Jose has a riff, comes in and some playing and keep conscious of melody and a singer. we basically build it from the ground up. Gillmer: I’d say the two drummers for me that come to mind when I Jose Antonio Mena: We kind of jam for a bit and see what comes out think of influences are Nicko McBrain of Iron Maiden and Shannon and then sit down and rearrange the parts, and discuss it and jam a little Larkin of Godsmack. I’ve always tried to combine their preciseness more, and then the song is born from that. Some are a little harder to and If I can get something to go within a live spectacle, that is Shannon come together, but there are a few that just, we just jammed and some Larkin. If you’ve ever seen a Godsmack show, the guys arms flailing all of them fell into place. over the place. So, trying to combine the two is definitely where I got my start and my influence. Vaughn: Some of them just fell into place, yeah, absolutely! SFL Music: Great combination. Michael, who would you say? I Mena: Some of them fought us a little bit. know you you’ve previously mentioned Led Zeppelin.
Vaughn: (laughed) Yeah. Vaughn: I mean, all your standards. Robert Plant of course is God. Yeah, but I was raised on Kiss. My brother came home with KISS Alive! SFL Music: How did the band come together? one day and it changed my life forever. So, I mean Paul Stanley is my hero. Paul Stanley is the reason I’m a musician, but Robert Plant as I Mena: I just got a call one day from Dave because their other Ecua-
The Flyers | Crazy Uncle Mike’s Photo: Jay Skolnick said. David Lee Roth, Rob Halford. My favorite, favorite, favorite vo- Vaughn: Dave and I have been together for nine years now, through calist though, is the late great Ray Gillen from Badlands. Yeah, I could several guitar players and several drummers. We have a common work listen to that guy just endlessly. ethic when it comes to music. We’re into the same stuff. We think the same. Several times we’re thinking the same thing at the same time. SFL Music: What is it about his voice that appeals to you? It’s scary, and then sometimes there’s the creative tension that makes great stuff. Vaughn: I think Ray Gillen had it all. He had power, he had melody. He had soul. He had range. He had a little bit of grit when he needed it. Thomas: I think part of having the success of a long-term musical re- There was just basically nothing that the guy couldn’t do and he always lationship is the openness. The ability to say any opinion you want, but looked good doing it too. So, that also helps. more importantly, if your partners don’t like it, you have to be ready to let it go and move onto something that, you know, fight for your ideas. SFL Music: You previously mentioned that you were looking for- You know, it takes a certain type of relationship to push your ideas. If ward to putting down the vocals that you did today. How did that it doesn’t work, you move on to the next one, and just the communica- all come about, the way you all work together? tion and the ability to communicate about it without getting your feel- ings hurt or getting pissed off. Not a lot of people have that luxury to Vaughn: All the lead vocals were already done. Today was all about have a relationship to where you can talk through things and trust me, background vocals, and we all had ideas. We all did our homework and not every conversation, we’ve had a few that have gone to, what the we all brought our ideas in and we hashed ‘em out and decided what fuck are you talking about? What were you thinking? That’s happened works for the song ‘cause that’s what it’s all about. It’s not about a spot before too, but I welcome that. I told Michael and I told everybody, I light or anything like that. It’s all about the song and that’s what counts. don’t want anybody to always agree with me and feel free to speak your mind, and I think once you have that, with Jose and Corey too. Once SFL Music: So, what is your goal for the record? I know you guys you have that open dialogue, that’s where the good stuff comes from. are kind of wrapping up with the band and you wanted to get this record finished. Vaughn: Never take it personally. It’s all about the music. Noth- ing is ever a personal attack. If somebody doesn’t like something, Vaughn: I think, correct me if I’m wrong fellas. I mean, we’re finishing it has nothing to do with the person. It has to do with the idea be- this first and foremost for us because we have so much invested into cause at the end of the day, you got to do what’s right for the song. the music already. If somebody would hear something that they liked and something was to happen, that would be awesome! Right now, with Covid (19) and everything else, there are no shows going on, but in the Mena: Yeah, but we get along. future if somebody heard something and an opportunity came along, I think we’d all agree to step back into the groove and do it. Thomas: Yeah, we do well.
SFL Music: What would you say is the bond with you guys? Gillmer: We like each other sometimes.
14 | www.SFLMusic.com Vaughn: Yeah, we do, kind of, yeah. Vaughn: There you go. Well said.
SFL Music: That was cute! You guys have also had some great ex- SFL Music: That is good advice. What comes to your mind when periences. You’ve opened for L.A. Guns, you’ve played with Wing- you’re writing a song? Do you feed off of everyday experiences or er, Fuel, something you see or hear?
Vaughn: Johnny Winter, who else? Vaughn: Well, coming from a lyrical standpoint, inspirations all around you. I mean I’ve written songs from everything from getting laid, to Thomas: Well, we’ve played a lot of good shows and I think those are losing your faith in God. You know, inspirations all around you. the opportunities in this market if you get the chance to open up for some nationals, it’s a cool opportunity to finally play in front of a lot of SFL Music: What about music wise? people. Michael and I had the luxury, not with Jose and Corey, but some friends asked us to play in New York for the CBGB Music Festival and Mena: For me it depends. Sometimes there’s an emotion and I just start you know, I always welcome if you can walk in a room with three or moving around the guitar to see what comes out, and sometimes I just four hundred people, have no clue who you are and have them standing go stupid and just try to write something too difficult to play. up cheering for you and you know, selling thirty CD’s in a night. It’s a good day, and those are good shows that we’ve had together. SFL Music: Dave have you always played the bass?
Vaughn: Yeah. When we opened up for Johnny Winter. You’re talking Thomas: Yeah, I’ve never been a guitar player or anything else. I’ve al- about a hard-core blues crowd. OK? In most circumstances, it wouldn’t ways gravitated to the bass and drums section and I think it’s an art in it- be an easy sell. We had people rockin’. They loved us by the time we self, you know what I mean? Your kind of the glue between the melody were done. of the vocal and the guitar and the drums, and for me, I really listen to every nuance of the drummer. The kit, the snare, where it’s at ‘cause it’s SFL Music: That’s awesome! What would you say makes your part of my connection with the drums and I take a lot of pride in that to shows stand out? be honest with you. A lot of bass players are just strumming along with the guitar player. I mean, I do that a little bit too, but my main focus is, Vaughn: You know what? When you’re playing live, you have to re- if I can play the songs with just bass and drums and Jose and Michael go member that you’re a musician yes, but you’re also a performer. You out and sound bad ass with just the two of us playing, then I’ve done my have to entertain the eyes as well the ears. No one ever says they’re job. That’s something that I really like to do as a bass player. going to hear a band. Everyone says they’re going to see a band. So, you have to put on a show as well, and we do. There’s a lot of energy SFL Music: Is Paul (Kronk, Chief Engineer) working with you when we play live and we feed off the people’s energy and they feed guys? off of ours. Vaughn: All day long. SFL Music: So, there’s that tight interaction that you strive for with your audiences, right? SFL Music: I know the Power Station engineers are really good about a strong bass/drum foundation and layering in guitars and Vaughn: oh yeah. Once I got a wireless mic (he laughed), I’m getting vocals. What do you feel has been super helpful to your band and people going. Whether they like it or not, they’re going to respond. what you’d pass on to another musician to record there? Usually during the shows, I mention it at one time or another. I say, if you like what you hear. Tell a friend. If you don’t like it, tell two. Mena: Paul, I realize that he knows music and that’s a big plus. He’s not just an engineer. He plays guitar, he can sing, he knows what a SFL Music: That’s awesome! What would you advise an up and chord is. That is one of the most valuable things, I think, and he’s just coming band? open to ideas and you know, we give him input and he’s just very easy to work with. Vaughn: Don’t! (he laughed). I’m only kidding. Vaughn: Real easy to work with. Mena: What I’d say is, if you’re in it to make money or something like that, don’t get in it then. If you like making music. Go for it! Mena: He won’t shut down an idea, even if he thinks it’s crap. He’ll run through it and see if it’s worth it. He knows what he’s doing. Thomas: right. Thomas: Yeah, super talented guy at the end of the day. Vaughn: That is the most important thing. Mena: He knows what he’s saying. Mena: The best stuff that you can create. Get together with likeminded people and just make the stuff. Do it just to feel good. I mean, the re- Vaughn: And he’s a cool guy besides that. So, you know, he knows his ward is the creation of it itself, right? stuff and he’s just comfortable to be around.
Vaughn: Absolutely! SFL Music: Do you think that’s really helpful in bringing out the best versions of yourselves as musicians? Mena: Some time when I went to New York, there was a bunch of kids, they wanted to become famous guitar players. I’m like, I don’t know if Vaughn: Absolutely, because you have to feel comfortable in the studio that’s the right approach. You want to play. You want to make all this to be creative. If there’s any kind of tension in the air, it’s going to take music. You want to be the best, but it seemed like they had it in their away from creativity. If you’re not feeling the guy behind the board and head, they were going to become the next Jimi Hendrix and that’s a cool he’s not feeling the band, it’s not going to work. thing to have, but I don’t know if you’re going from that angle, do you want the fame or you want to make the music? SFL Music: Are you guys going to possibly make any videos with these new songs? Any other upcoming things that fans can go to cello sections. We’ve added violin sections. You know, a lot of backup your Facebook page and see to look forward to? vocals. We’re just really making a record that we can be proud of for ourselves, and I’m glad that we did because it feels comfortable to say, Mena: I’d like to do some videos. hey, can we add a string section here or how about a trumpet section or how about this, and everybody’s game and Paul’s game for it and it Vaughn: Yeah, we’d like to get around to it. Whether it’s going to hap- feels good to have that. Just no rules. If you like it and it works, let’s pen or not, we have to play it by ear. do it.
SFL Music: How would you say south Florida influenced the band? Vaughn: If it feels good, it is good.
Vaughn: South Florida used to be a great place to be in an original Thomas: That’s it. band. Used to be a great network. Used to be a great scene. Now, unless you’re playing covers, no one wants to even know you. It’s very sad SFL Music: Who’s playing those instruments? because there’s a lot of talent out there. There’s a lot of talent and they spend their time learning other people’s music rather than creating their Vaughn: Monkey. own. I don’t get it. Thomas: The monkey magic. SFL Music: What about the music scene in Philadelphia Corey? SFL Music: That’s cool. I love when they do that stuff. Gillmer: Yeah, the Philadelphia rock scene and even the metal scene isn’t all that popular. What surprises me is the underground scene of thrash and like hard core punk in Philadelphia is way bigger than people would even imagine, and I know firsthand because my dad was a drummer, you know, hard core punk band and in Phila- delphia. Those bands actually do way better than some of your more mainstream classic rock bands be- cause there’s such a large under- ground market.
SFL Music: Do you have a title for the album yet?
Thomas and Vaughn: We’re get- ting close.
Vaughn: We have a couple of ideas that we’re still talking about. We’re going to fight about it and whoever wins the fight will come up with the name for the album.
SFL Music: When is the project- Thomas: Paul’s pretty creative. Like we were saying earlier. We throw ed release date? out ideas and if we say we want to try this, he figures out a way to ac- complish what we have in our head and there’s really no limits to what Thomas: We’re getting really close. I mean, it’s going to probably take we come up with, you know? If we suggest something to Paul, if it’s an maybe another few weeks because the studio has got to get the balance, instrument that we don’t play or have anybody that we can pay to do it, the time, the financial aspect of it. So, I’d like to say by the end of the he figures out a way to get it through, either virtual instrument or pull- year. I know that’s a few months, but I think that’s possible. ing up keyboard matches, and even though we don’t have a keyboard player, if the idea is there, we’re going to try it. Vaughn: Just in time for Christmas! SFL Music: Anything else you want to add? SFL Music: Was there anything else you wanted readers to know about the band? Vaughn: Support local original music. Thomas: The one thing I wanted to make sure that we got across is that Thomas: Yeah. when we started this record, I wanted to do everything. There’s no limit. There’s no rules. You know, we wanted to write what we wanted to Vaughn: Remember something. Every band that people like, at one write. What felt good, and we opened up a lot of the doors in our mind time was a local original band. Without their support, it’s never going and even in the studio. Like we kind of told ourselves that sometimes to happen. you’re focused on hey, how are we going to do this live, or what are we going to do, and this record, we’ve added more sections. We’ve added 16 | www.SFLMusic.com
Community is a word frequently used recently, but the blues community seems to truly define the meaning. More specifi- cally, Singer/Songwriter/Instrumentalist Vanessa Collier has added additional significance to the blues community with her extraordinary, creative talents that are strongly apparent on her VANESSA COLLIER fourth studio album Heart on the Line. This Berklee College of VANESSAVANESSA COLLIERCOLLIER Music grad of 2013 immediately displayed her amazing abilities VANESSA COLLIER in 2014, when she released her first studio album Heart, Soul & Saxophone.
She continued her professional growth with her second LP Meet- ing My Shadow released in 2017 and third, Honey Up released in 2018. She has worked and shared stages with many legendary blues artists which allowed her to rack up some amazing experi- ences that she revealed, catching up with her just after her latest LP release, as well as some insight of her new music and what fans can look forward to.
SFL Music: This is your fourth studio record Heart on the Line? Tell me about the record. Is there a theme? What in- spired it?
Vanessa Collier: I mainly wanted to write a record that was based around songwriting and just some really good stories and kind of show off that element of my writing, playing, singing, all of that kind of more of a softer approach, I think. I was following it up from Honey Up which is my third record. Honey up was very like, I was going for in your face and doesn’t let up kind of thing, and I think with this one, I wanted to oppose it and show the other side of the playing. Something that I love about the saxophone is that it can do both, you know.
It can be super powerful and, in your face, but it can also be re- ally sweet and reserved, and this record is more the later. So, it’s just a bunch of songs from how I had been feeling and people that I knew the last, I don’t know like year or two years, some- thing like that. Just a bunch of stories (she chuckled).
SFL Music: Personal experiences and stuff like that?
Collier: Yeah, exactly.
SFL Music: Who would you say were your influences?
Collier: I always listen to a ton of Bonnie Raitt. One of the songs in here “I Don’t Want Anything to Change,” she didn’t write it, it’s guy on the record, and then another guy who’s been out there for written by three Nashville songwriters (Maia Sharp, Liz Rose and a minute and I’ve seen him play with (The) Welch Ledbetter Con- Stephanie Chapman), but she covered it with Norah Jones, and nection and you know, host of other bands as well, now Albert I heard the recording. It’s like off of a live disc, and I just love that Cummings, and I just think he’s a fantastic bass player and that’s record, but everything else? Scot Sutherland, He’s just got this like honky thing, he’s just awe- some. Then for the title track on Heart on the Line, it’s a New Let’s see, I’m listening to a lot of The Wood Brothers, not sure Orleans kind of party song, and I think there are guys all over that if you’re familiar, but they’re like a really cool kind of acoustic, can play New Orleans that aren’t from New Orleans, but I wanted Americana, sort of a band, but scaled down, three-piece band to get Cornell Williams who plays with Jon Cleary to play on that and everybody sings with lots of harmonies. So, it’s one of where track and thankfully when I reached out, never having met him, it came from for me, and then there’s always like funk and delta he was like, yeah of course, yeah. So, he recorded for that one blues and all that. I grew up listening to country music so, a lot of and then the track just kind of like jumped off the page when he that, it’s just part of my heartbeat. put his part on.
SFL Music: You have some guests on the new album Heart SFL Music: What inspired you to become a musician. I read on the Line? on your webpage that you started playing the saxophone at age nine? Collier: Yeah, I had a couple of people switch out on the bass. So, C.C. Ellis is the main touring guy. He’s been awesome. He’s Collier: Yeah, I started kind of as soon as you could with the now in Nashville, but we’re recent Berklee College of Music fourth-grade band. Initially what caught me was I was watching grads, so he’s awesome on the road. Of course, he’s the main a T.V. show after school and it was like a sitcom, and on one of 18 | www.SFLMusic.com our music department and music arts program was flourishing, so you know, it was not abnormal to go rent a saxophone and go take private lessons and do all these extra band things where I know in a lot of parts of the country, that’s not a given. Not a given VANESSA COLLIER that you have jazz band during the day. So, that really imprinted VANESSAVANESSA COLLIERCOLLIER on me, and then of course, there’s like so many styles of music. VANESSA COLLIER Go-go, I was actually introduced to which is like a DC thing. It’s through a different tune, but I don’t know, there’s just so much connection and this richness through D.C, Philly, like sort of the east coast sound.
SFL Music: One thing Jay (Skolnick, SFL Music Publisher) told me is that audiences love it when you tell stories about your mom and your family onstage? How did that come about?
Collier: Well, my second record (Meeting My Shadow), I wrote this song “Two Parts Sugar, One Part Lime” and I wrote it for my mom. It’s sort of you know, you definitely stand up for what you believe in kind of thing. You’re so kind, and this is what inspired me. My mom’s always kind and warm hearted and just the most generous person to every single person that she meets, but she also has to stand up for something, for herself or for somebody else that’s just being treated unfairly, and so that’s sort of where the story came from is talking about that. You know, I’m two parts sugar, one part lime. Sorry, I got three dogs. They’re all feisty today.
SFL Music: no problem, I have a dog too. That’s cute!
Collier: Ok (she laughed), so you know.
SFL Music: Yes, I sure do. So, that story is tied into the song?
Collier: Yeah, and it also mentions her apple pie which I think is like the world’s best, (she chuckled). Got it all in there.
SFL Music: Is that something that you like to do as well? Bake?
Collier: Oh Yeah. Actually, through quarantine I joined the mass- es and I’ve been making sour dough bread like every week. I’ve By: Lori Smerilson Carson been cooking as well. The upside of being home so much is be- Live Photos: Jay Skolnick ing able to cook and bake.
the episodes the dad pulls out a tenor saxophone and from that SFL Music: That’s great! Where there any songs on the new moment, I was like, what is that instrument? I have to play it! I record that are similar to “Two Parts Sugar, One Part Lime” love the sound! So, I begged my mom for quite a few months about your mom or anyone in particular? and thankfully she caved and we rented one and you know, I’ve just had a whole host of other people. The main one being Chris Collier: Yeah, I think “So Who’s in Power” is a song that reminds Vadala who was my mentor and teacher for seven years. He me of her. “What Makes You Beautiful” is another one. “What played with Chuck Mangione for twenty plus years. It was just like Makes You Beautiful” is a song I wrote for my three younger sis- oh, you can do this as a career? That’s really cool! So, he started ters. They’re thirteen, eleven, and eight. You know, the oldest me on that path of teaching and playing like live as a career. is at that middle school age where nobody really is super kind to each other. You know what I mean? It’s kind of like, I know SFL Music: That is cool! So, you grew up in Maryland? people might be rude and whatever, but you’re beautiful, inside and out. I just think that’s an important message for anyone at Collier: Yeah. So, I was born in Texas, but we moved when I was that age to hear. I had my mom tell me that at that age. like seven or eight, and then I grew up in the Columbia, Maryland area for the next eleven years, and that’s where I started saxo- SFL Music: That’s a great inspiration. You have several phone and finished high school and first year of college. accolades. You have won two BMA awards (Blues Music Awards) for Horn Player of the Year 2019 and 2020 and a few SFL Music: Do you think that growing up in that area and others. There was an award that you won on the Legendary starting music had any influence on your playing? Rhythm & Blues Cruise.
Collier: Oh yeah, I mean, I think I was one; very, very lucky that Collier: Yeah. They give away this Jammingest Pro (Award). into about a year and a half of touring with Joe all up and down the east coast, and a month-long tour in Turkey which was re- ally awesome! Still, I think one of the best tours I’ve been on. I think he’s really special because he allows you to kind of like find your way. Find your voice, and he gives you all the choruses that you want to solo on for you to say what you need to say. It’s not two choruses and done, which I think is more of a rare thing for someone of Joe’s stature, and then when I was ready to put out my record, he was very supportive. He was just like, yeah, I know you need to be out here not just playing horn, but you need to be singing, writing your stuff, and thankfully, he’s just been a big support over the years. I really appreciate his mentorship.
SFL Music: That’s wonderful. You’ve also played with Buddy Guy? How was that experience?
Collier: Yeah. It was on one of the cruises. He had brought up Marcus King and Kingfish and Mr. Sipp and I was just kind of like, cool! This is fun! (she laughed). Not really sure of the moment, you know? I think It’s one of those things that flies by before you realize it’s happening. You know what I mean? So, it’s very cool to trade licks with him. I think I surprised him a little bit with, I can seem very, very quiet. I have a sort of unassuming way, but SFL Music: What was that like. Were you prepared or did I also don’t when I have the saxophone in my mouth. So, I think you have any idea? I caught him off guard.
Collier: As far as the BMA’s go, I had been nominated the last SFL Music: That was the Legendary Rhythm & Blues Cruise? three years and I’m just super thankful. The first one, I was really surprised to be honored as a horn player, and then to win it the Collier: Yeah. I think that was the second one I was on. second and the third time I was up for it. This past year I was fully not expecting to win it. I was up against Trombone Shorty. I SFL Music: What are those like? Being on the cruise and was just like oh, for sure. He’s amazing! He’s one of my favorite playing. live shows. Then Blues Contemporary Female, I was up against Shemekia (Copeland) I think both years, and just some really Collier: That was the second time I was on there and I was basi- powerhouse people, and it always takes me by surprise. It’s nice cally without my band, so I was just on there to kind of like sit in to be nominated and I take it at that, but to win the last two has with people, and actually the second time I think I was on with been like, I haven’t really gotten my head around it. Tommy, Tommy Castro’s Review. I find that the blues community is alive and well on those things. There’s so many people that SFL Music: Congratulations! That’s wonderful. just stay up until five, six in the morning, and that’s what I was doing at that time. I was trying to catch as many shows, and then Collier: Thank you. there was a late-night jam until five or six and I was out most of the time until four or five and just enjoying playing and connect- SFL Music: You’re welcome. You toured with Joe Louis ing with people. What I think is so unique about the blues cruise Walker. What was that like? He sort of influenced you to go is that, as an artist, you’re on your own tour. out on your own, correct? So, if you happen to get on a festival with a group, then great if Collier: Oh yeah. One hundred percent. I was very lucky. He you get to see those groups sometimes, but what’s cool about came through Philly and I had a friend playing drums with him at the Legendary Rhythm & Blues Cruise is that you play four the time and he was like, you should come. Joe loves to bring, shows and you have some off days, so pretty much catch ev- especially the younger generation, the under cap coming up. So, erybody that you never get to see while you’re on tour. That’s bring your horn and we’ll see what happens. I’ll introduce you. I what I love about it. It’s just connecting with the musicians and met Joe on a break and he was like, ok, you brought your horn, also just getting to see people that you normally can’t see ‘cause right? I was like of course, yeah. So, that was the beginning of your touring. the break, and half an hour passed and he’s passing me to go back up onstage and I’m kind of like smiling, just waiting to be SFL Music: Is there anyone you’d say is very inspirational called, and he’s like, you coming? I was like, well, yeah sure. to you? Grabbed my horn and got up there for the first tune. Figured one tune and I was like, oh thanks for letting me sit in, and I go to Collier: Oh, I mean, tons of people. I love The Nick Moss Band. head out and he’s like. where are you going? What’ch ya doing? What they do is super traditional Chicago straight up the middle Stay up here. So, I ended up playing the whole second set with kind of great stuff. I love Jon Cleary. Jon Cleary’s been on one him, and he’s throwing solos my way and what not, and after- solo piano wise. Kingfish was cool to see. Marcus King is really wards he’s was like, hey, do you want to go on the road? cool to see. Just some of the younger generation coming up. Jontavious (Willis). Of course, Buddy Guy and Tommy Castro, I was going into my senior year of college and I was like, ab- he’s been incredibly kind to me. Danielle Nicole, like she so killin’. solutely! There’s no question for me. I didn’t care where it was. she such a powerhouse on bass and vocals. There’s so many Didn’t ask about pay. It was just like, yeah sure. So, it turned people, (she chuckled).
20 | www.SFLMusic.com SFL Music: Are there any videos that are going to be re- SFL Music: There’s a lot of unique rewards too. I didn’t know leased with the new record? about Dan Aykroyd’s Blues Mobile and you won Best of 2014 Blues Breaker. Collier: So, I had planned to do that. I think we’re going to get back on track with that at some point. I had planned to do at Collier: It came out of nowhere. I was just like wait, what? I had least two, possibly three, and basically what I think I’m going no idea this thing existed and I didn’t know Dan Aykroyd would to do is, I’ve been doing these live stream shows from home of ever get a copy of my record, but that’s super cool. just me. So, I’ll lay down guitar, lay down piano and then overlay saxophone and often times the vocal is done with the guitar or SFL Music: How did that happen? the piano, but I did one for “Heart on the Line” where I kind of did some percussion and all that kind of stuff. So, I may release that Collier: I really don’t know. I have no idea, but I’m very happy one as a sort of an at home music video. that it did.
SFL Music: Oh, that’s a great idea! Something the fans can SFL Music: Is there any advice you’d have for up and com- look forward to. They can get that information from your ing blues musicians? website (vanessacollier.com)? Collier: Yeah, I mean, I think it’s really difficult at first. If you know Collier: Yeah exactly. I’m big into Instagram, so any of that. that you’re like made for this, it can be difficult at times because it just takes a while to break in. That’s true if you moved to a music SFL Music: There’s another story when you were on tour, an city. It’s true of anything. You have to kind of like earn your time, airline lost one of your prize guitars, but a music company right? But, I think if you have the passion for it and if you’re willing stepped in and gave you a similar one to play at your show? to put in some work yourself, you don’t need a label, you don’t need anybody else to work hard minus your team. I have a great Collier: Yeah absolutely. Yeah. I was traveling overseas and team built around me, but I mean, you can do it. I’ve done every- there was some confusion as to whether I should have grabbed thing pretty much DIY and I’ll continue it that way. So, I hope that the guitar from the gate and taken it to the connecting flight, but it more musicians are going to do it that way and see that there’s was not relayed to me. So, it would come back up, so they took it, so many other options besides the traditional one. and I was just like, oh, ok cool, and then I arrived in I think Swit- zerland was where we were going and I didn’t see a guitar, and I SFL Music: Is there anything else you want fans to know? I didn’t see a guitar, and I was like (whispered) Oh no. So anyway, know tours are on hold. it ended up that it never made the flight and it ended up staying in London, I think. So, I was like, oh no, and nobody could find Collier: I’m basically doing a couple duo shows in the Pennsyl- it either. I called for a couple of hours and I got no answers, like vania, Delaware area where its settled, but other than that you I have no idea where it is. Then my mom actually hopped on for know, the records out and I’m just hoping people will get out me and she was just like for three or four more hours. there and listen to it and love it because I love this record. I’m very proud of it. I just want as many people to hear it and hope- Somehow, she, as she usually does, she finagled it and she fully connect with the stories if possible. found somebody that knew how to help me find it. So, it just ended up being flown home, but we were flying back to play Tam- pa Bay Blues Fest and basically Seven C Music, I will always remember them. There was this guy that was like, hey, I have a replica, will this work for you? It has pick up on it. It will sound good. He took it to Seven C Music. They changed the strings on it, polished it up, made it look great, sound great. So, I had it for the Tampa Bay. That’s what the blues community is. They come together when you need ‘em.
SFL Music: Do you think that makes that genre stand out from others? I get the impression that it’s a close, working together community, similar to other genre’s, but it seems especially so in blues?
Collier: Yeah totally. I think that’s something that’s unique that you don’t find in any other genre that I’ve experienced really, is that everyone’s trying to build everybody else up, you know? I think the fans here just want the truth. That’s what I think blues really does for everybody. It’s not trying to gloss over everything. It’s just how I feel and it’s real and there’s no like faking it, you know? So, I think the community is very much built around that where they just want to see people do well. I know that people drive couple thousand miles across the country to go to some of these blues festivals every year. For twenty years running. I think there’s just such devotion to the music and to its continuing, and even if it’s an offshoot, they’re like into it. They just want to see the soul and the truth of the music survive. The Samantha Russell Band | Tiki 52 / Biergarten Photo: Jonathas Bezerra 22 | www.SFLMusic.com
By: Lori Smerilson Carson
The past six months have been a cluster of depression, isola- writing it down on pen and paper and pulled out my acoustic tion, fear and confusion on how exactly handle this COVID-19 guitar, and that was the beginning of “Rise Up!.” pandemic, but leave it to a group of young, intelligent, talent- ed musicians to come up with a perfect solution. Their debut SFL Music: So, you wrote the lyrics and the music? single “Rise Up!” produced by guitarist Frank Hannon of Tesla (at Frank Hannon Productions), is hitting the airwaves, sending McCord: I wrote the lyrics and the melody and kind of wrote positive vibes and making a definite mark on the music industry. just the basic chords. It’s a three-chord simple song, and then I messaged it to Frank Hannon and we kind of went from there Catching up with Lead Vocalist, Rhythm Guitarist Dino McCord with the band. just after the release of “Rise Up!,” he explained how he and bandmates Guitarist Davin Loiler, Bassist Andrew Edwards and SFL Music: That’s wonderful that he is working with you Drummer Nick Pesely, came up with the song, how their new guys. What would you say you have learned or that he’s album is developing, some of their influences, how they came helped you guys with? together and what fans can look forward to. McCord: Frank’s just a great guy all around. The one thing that SFL Music: Tell me how your new song “Rise Up!” came the band has taken away from his teaching, we’re still working about. I know the idea came from the pandemic, but explain with him and it’s going awesome. We have some really cool stuff that. coming up, but anyways so, the song writing. We’ve learned a lot with arrangement of songs and how certain parts fit together Dino McCord: Yeah, totally. Just to let you know, I’m 17 years and really just what makes a good song, and that’s what Frank old. I just graduated high school and that’s kind of right when I saw when he heard “Rise Up!” Just the basic parts of it. started to write the song. I live in downtown Sacramento, and people just dodging each other and it was really uneasy. I was SFL Music: There is a bit if that Tesla influence, along with bummed because my graduation was canceled. I took a drive on a few others that you’ve mentioned previously like Sammy a back road to get away from it all and I started to think to myself, Hagar, Def Leppard, Mötley Crüe. Would you say those just rise up man, be strong, and got home that night and started bands are your personal inspirations? 24 | www.SFLMusic.com McCord: Well, Sammy Hagar is by far my biggest influence and inspiration, and a lot of our new material that we’re writing now is based off of the techniques that you know, Van Halen used and Sammy Hagar used.
SFL Music: What is it about Sammy that is so inspiring to you?
McCord: Well I mean, like Sammy Hagar’s melodies and Eddie Van Halen, just the certain techniques he uses, and one thing that you’ll hear in “Rise Up!” that’s very prominent in the song, is that big chorus. You know, that ‘rise up’ that Dave and Drew, they sing. That’s one thing that we’re really are proud of in the band is our backup vocals that Van Halen uses as well in their stuff.
SFL Music: You guys are really tight. Sounds amazing! Did everybody have professional training?
McCord: No, no. I’ve only been singing for about two years. I didn’t really know I could sing. About two years ago after I saw Sammy Hagar live in concert. It was like one of my first shows, and I just started singing 5150 (released in 1986) and OU812 (released in 1988), those great albums in the shower and just building up my chops, and then I was like whoa, I think I could actually do this! The rest of the guys, Nick, Drew and Dave, they McCord: I don’t know right now, but you could for sure you know, have had no professional training. So, a lot of its YouTube and go to our official page (redvoodooband.com) and watch It if you just kind of, you know, from our parents. Our parents are all mu- haven’t seen it yet. It’s very cool! sicians, so they’ve helped us. SFL Music: I’ll have to do that. What do you think differenti- SFL Music: Your dad worked with Frank with his own band? ates your live shows from others? McCord: Yeah. So, my dad was in a band in the Sacramento, McCord: Well, I would say that we’re all important as the band, California area scene where I’m from now, and Frank worked so like all of us move. We have Dave and Drew that’s running with him producing his band. Unfortunately, they didn’t go any- around. I’m running around. I mean, we’re pretty much really fun where because it was the late 90’s and Nirvana came in and just to watch is the main thing and you know, we play with passion swooped in, (he chuckled). So, Frank worked with my dad, but and we play with soul and we really feel it, and we smile. That’s it’s kind of cool. It kind of went all full circle. the one thing. You think of rock bands and you’re like err, but we want to smile and make people have a good time. SFL Music: Is that what inspired you to go into music as a career? SFL Music: Is there anything else that you guys are getting McCord: Yeah, my dad. I’ve always seen like photos up on the ready to release besides the video that’s out for “Rise Up!”? wall of him and his band back in the day, and just him telling me Are there any more coming down the line? stories, and I was always surrounded by that kind of old rock McCord: Right now, not yet. We’re really just working on this EP and roll, classic rock, Aerosmith, Led Zeppelin. So, I was always we got going on, but we would love to do another music video surrounded by it. Yeah, so my dad was probably the reason that when the album releases. you know, where I am today. SFL Music: Is there a date for that? SFL Music: Tell me about the album. McCord: Not just yet. Probably like the videos, maybe 2021 or McCord: We’ve been really working hard and soon we’ll be re- later this year. cording our EP, four or five songs that we’ll be releasing before the album is made. Just to give people more of a taste of what SFL Music: Well people are going to love it. “Rise Up!” the we’re really like. Pretty much what I could say about the album hook, it sticks in your head. It’s still in my head. would be, we’re just a California party rock band you know, just wanted people to have a good time. McCord: Hey, that was the plan, (he laughed). SFL Music: Your shows are very high energy? SFL Music: I won’t sing it to you, ha ha! What would you recommend to an up and coming band with what you have McCord: Yes. You know we just played. It was super awesome learned from your experiences? Lori. We played a Monsters Of Rock Cruise live stream over the past weekend. We just got back from L.A. two days ago, and McCord: One thing that Frank has taught us is that, don’t rush that was off the hook! to put something out there because you’re all excited and you’re all ready to make your mark in the music business and stuff, SFL Music: Are there going to be any more of those? but if you want to do it right, you know, it took months. Like I said, I wrote “Rise Up!” in February and we released it in June. SFL Music: How did you guys get together to form RED So, it took a little bit to release just one song. So, if you’re lucky VOODOO? enough how like we have been to work with someone great and get that experience and I could pass that on, is to just make McCord: So, I met Nick Pesely, great drummer. I mean, that guy sure the songs are really good, and rework the songs as many is super influenced by Neil Peart from Rush and just an overall times until they’re just right. Get people’s opinions on them, and great attitude type of guy, and Nick and I met at a Y&T show. You it takes hard work at the end of the day you know, but if it’s your know the band Y&T? We met at a Y&T show, and then he knew passion and you love it, then you won’t mind doing the hard a guy Davin the guitar play. He walked in and shredded like Ed- work. die Van Halen, and we found Drew the bass player on Craigslist out of all places. Nick’s 21, Drew’s 18, Davin’s 18 and I’m 17. SFL Music: That’s great advise. My daughter didn’t have her graduation ceremony either. Any inspirational message you SFL Music: Wow, that’s amazing. The band name came want to send out to people who are in those shoes? from the Sammy Hagar song “Red Voodoo?”
McCord: Listen to the song “Rise Up!” (he chuckled). McCord: Yeah, that just shows how influenced we are. One of our music that’s coming up, this EP shows that a lot. Yeah, it just SFL Music: Oh, that’s perfect! Great answer! fit us, and it was kind of a cool little, we paid homage to Hagar, but also, it’s an original name. No other band has it. McCord: You know, I’m feeling for your daughter ‘cause we didn’t get graduations, and I don’t know what she did, but we SFL Music: It’s perfect for you guys. Was there anything just kind of had like a drive, by get your diploma in the car. Kind else that you wanted the readers to know? of like a fast food restaurant, but it was graduation. McCord: I will say this. So, we are releasing a song soon called SFL Music: We had a family Zoom, walk across the living “Bring It Back” and that will be on the EP I believe. This is usu- room, mock graduation. Congratulations to you. Good ally for like listeners to pass on to their kids that are my age. things will come your way. I have to say, your generation You know, I’ve talked to a lot of kids my age, and they haven’t has been very uplifting and very in tune with what’s going really been exposed to rock and roll music and the whole kind on in our society. What do you think plays into that? Do you of philosophy. The first song we ever wrote as a band, “Bring It think it’s all the social media that your parents and myself Back” and it’s about bringing rock and roll back, not only to your weren’t exposed to? Do you think that forced your genera- generation of new rock and roll artists, but also to my generation tion to be very wise and worldly? who’s never really listened to rock and roll, especially from peers our age. Yeah, the main thing we want to do is, we want to bring McCord: Yeah, I think we’re more worldly because I think we rock and roll back to our generation. just have seen more things thanks to social media that maybe kids back in the day who didn’t have social media wouldn’t have Well, SFL Music readers, when you hear (and see the video) seen, and that’s like for information too. “Rise Up!” you will definitely realize RED VOODOO is a rock band to add to your classic collections!
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fifteen are all Cathy Grier originals and/or compilations. Along with Cathy - on lead vocals, cigar box guitar and sitar guitar - the Troublemakers are: Tony Menzer on bass; Jamey Clark on drums; Jim Ohlschmidt on guitar and vocals; Larry Byrne on organ and keyboards; and Johnny Orlock on harmonica. Addi- tionally, honorary Troublemakers include: Deirdre Fellner and Liv Mueller on backing vocals; Greg Koch on guitar and slide guitar; Howard Levy and Steve Cohen on harmonica; Jimmy Voegeli on keyboards; Billy Flynn on guitar and harmonica; Matt Liban on drums; pat mAacdonald (sic) on harmonica and backing vocals; Pauli Ryan on percussion; Andrew Spadafora on saxophones; Joe Neimann on trumpet; and Mike Lizzo on trombone.
Just like with race, it’s sickening - that after all these years - protests need to take place and songs still need to be written about gender inequality. The title track, “I’m All Burn” is one such song. Having been thrown through the fire for so long, Cathy - like with many other women - is all burn. Musically, being one of just a handful of tracks that feature the full horn section, the track has quite a soulful feel. There’s also a fabulous solo that sounded so much like a steel drum that I had to ask Cathy what the instrument was. Turns out it was the sitar and the tone that came from it was so cool.
“Down On My Knees” is a heartwarming tale of the wonders of fate. In this particular case, it was fate that Cathy attributes to bringing love into her life and her joy can be clearly heard in her voice. It’s a great rhythm track highlighted by impressive Cathy Grier & The Troublemakers baritone sax and organ leads from Andrew Spadafora and Larry I’m All Burn Byrne; and slick guitar leads from the lady herself.
CG Music Works So if it were I that Cathy was sultrily telling “You can do anything you want to do, as long as you drop what you’re doing at half past Commentary two, and meet me on the back road” I’d make sure I’d be there by two-fifteen at the very latest. With Tony Menzer and Jamey Before I get into this review I’d like to compliment Cathy Grier Clark in a smooth rhythm groove behind them, the killer slide for the precise attention to detail she displayed in the listing of guitar from the hands of Greg Koch and very bluesy harmonica the musician credits. As a reviewer - and equally relevant, as leads being blown by Steve Cohen, make this one of the more a listener as well - it is important for me to know which of the traditional blues tracks. three guitarists listed on the CD it is who is shredding it on a par- ticular track or which of the two listed saxophonists are blowing The soft and sullen guitar lead by Jim Ohlschmidt and the light the sultry notes on another track. That said, with “I’m All Burn” touch Larry Byrne’s using on the organ during the intro into “Easy using five harmonica players; four guitarists; two bassists, drum- Come Easy Go” clearly indicate this one’s going to be a beautiful mers and keyboardists; a three piece horn section; several back- ballad. Then Cathy comes in and and absolutely sings her heart ground vocalists and a percussionist; not once did I not know out. As readers of my reviews know, I’m a sucker for a ballad and who was doing what and when. Thank you Cathy. even a bigger sucker when it’s sung by a woman. Using impres- sive range and note holding skills, on what I believe is her best vo- Review cal performance on the disc, Cathy knocks this one out of the box.
I’m not a big fan of including a lot of what can be read at an art- So when those precisely written credits I mentioned earlier ist’s website in my reviews, but occasionally I read something showed me that Billy Flynn and Jimmy Vogelli were both per- I’ve just got to say a few words about. Spanning forty years, forming on “Good Thing”, before even listening it was predeter- Cathy Grier has had quite an interesting and many-sided musi- mined this track would make it into this review. That said, with cal career of which just a small sampling includes: winning an Jimmy leading the way for the horns with a smokin’ organ runs MTV “Basement Tapes” Award; opening for diverse acts such as and Billy nailing his guitar solos, the guys certainly live up to their Laura Nyro and The Band; making a living as a solo artist in Key reputations. Additionaly, with Tony Menzer and Matt Liban - on West, FL; singing with a fourteen piece band in the Paris Opera; bass and drums - adding some of the disc’s best rhythm, they and so much more. That all said, it’s interesting to know that as really get this funky track off and running. Lyrically, with Cathy far as Cathy is concerned, things really kicked in after relocating comparing this so called good thing to the eye of a hurricane, to Sturgeon Bay, WI just four short years ago.....but I’m just go- you’ll quickly figure out the sarcasm. ing to let you read more on this and the rest of her very exciting music life when you click on the link to her website at the bottom With the rest of the band in a relaxed rhythm groove behind of this review. them, Cathy and Steve Cohen take “Happiness Blues” and run with it. Being slow blues, it’s almost automatic that I’ll like it, but Offering well over an hour of entertaining and well written music with Cathy nailing it on the soulfully emotional vocals and killing and songs, Cathy’s thirteenth release - “I’m All Burn” - features it on the blues guitar leads; and Steve blowing what just might be sixteen tracks. Along with a cover of “Ode To Billy Joe”, the other some of the softest and silkiest blue harp leads I’ve ever heard, 28 | www.SFLMusic.com I absolutely love it.
When I saw this song listed, never in a million years did I ever think I’d be saying something about it.....and yet, here I am. Even with Cathy doing an excellent job on the vocals, on his only appearance, it’s Howard Levy doing an absolutely fantastic job on harmonica that’s getting the credit for this little bit on “Ode To Billy Joe” (Bobbie Gentry).
On the albums one sheet, Cathy refers to “Protecting My Heart” as “grooves and crossover blues” but with this genre being my second favorite, I’m going to take the liberty of calling it jazz... and very good jazz at that. With some groovy assistance on the background vocals by Deirdre and Liv, and the use of a bit of scat by Cat, it’s another vocal masterpiece; and with it’s groovy upbeat rhythm, led by a fabulous tenor sax session by Andrew, it’s a musical one as well.
Ever since the first time I ever saw a cigar box guitar, Icould never get over how much music could come out of the instru- ment and how good that music could sound. That said, on the solo closing track titled “Cathy’s Bike Song”, Cathy’s smokin’ that cigar box.
Other tracks on this well done release, Cathy’s first full produc- tion in eighteen years, include: “Get Me Away”; “Cool Trick”; “Key To My Survival”; “Roots Run Deep”; “Keep You Out”; “What Fools Do”; “Question Of Desire”.
To find out more about Cathy Grier & The Troublemakers just go to - www.cathygrier.com - and if you›ve not yet received a copy of «I›m All Burn” for airplay, contact Cathy at info@cathygrier. com. - Peter “Blewzzman” Lauro dened by serious issues or a drug/alcohol drug addiction who was said to have a monkey on their back, but how many of us know of a relationship that was at risk of being ruined by actual monkeys? Lisa does! Based on a true story, “It’s The Monkeys Or Me” is not just the song’s title but they are words that one of her friends actually had to tell someone she was on the verge of a serious relation- ship with. Before she was moving in, the monkeys were moving out - end of story.
It’s an uptempo number with Lisa and Dave pounding out a smokin’ rhythm, aggressive rhythm and lead guitar by Jason, and Lisa joyfully belting out the songs hilarious lyr- ics. BTW, if you want to know if the monkeys stayed or went, ya gotta listen for yourself.
The studio, the photographer, the graphic designer, the promoter, the ticket takers, the deal makers, the advertis- ers, the cab drivers, the airlines, the stage pros, the CD manufacturers, the hotels and motels, the internet and phone companies, ASCAP, sky caps, phone apps and even musical societies are only a part of the ‘everybody’ Lisa Mann Lisa is referring to while stating “’Everybody’s Making Money” but me’. That may be true Lisa, but you’re having “Old Girl” all the fun, right?
“Old Girl”, Lisa’s fifth release, is a five song project that The disc closes with an amazingly beautiful song that features four original tracks and a Rosetta Tharpe cover. anonymously acknowledges the ladies and gentlemen Joining Lisa - on the bass and vocals - are: Jason Thomas who, throughout the decades, gave us so much wonderful on guitar; Michael Ballash and Dave Melyan on drums; music. They may have never achieved fame, they may not Louis Pain on organ; and Sonny Hess, Brian Foxworth, have ever been featured in Rolling Stone or appeared in Larhonda Steele, and Arietta Ward on backup vocals. Billboard magazines, but they will always be remembered “Around Here”. As I mentioned earlier, being someone The title track has Lisa lamenting over being a mature who is very familiar with Lisa’s music and has seen her woman in a world that caters to Millennials. Just a few of perform live countless numbers of times, this track may the many things that frustrate her are having someone say very well be the best I’ve ever heard her sound. Backed “Madam, may I help you with your things?” or someone by the four fabulous background vocalists, this is indeed a else getting the door for her. Apparently, this type of stuff song that should be played in church. Regardless of faith, has her feeling like an “Old Girl”. As sure as I am that you anyone hearing it will not only feel uplifted but will be able know this Lisa, it will get worse.... especially when you hit to relate as well. my age :>). Ironically, it’s just one of two tracks that Louis Pain appears on, and the somber mood his organ adds to Side note to Lisa - I hope this old man lives long enough the rhythm seems to accentuate Lisa’s pain. On the other to hear this “Old Girl” sing many, many more songs. You hand, Lisa’s sounding everything but old on the vocals. rock, my friend!
So, most of us know many relationships that were ruined To find out more about Lisa Mann just go to her website by monkeys in a metaphorical way, such as a person bur- - www.lisamannmusic.com - Peter “Blewzzman” Lauro
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doing up and down that guitar were all sharp; and that gal with the fabulous green eyes, and equally fabulous voice, was well on her way to crushing that first impression thing. Very well done!
“It Ain’t Easy” starts out with a beautiful piano lead from Bob while Laura softly, slowly, and soulfully belts out some blues filled, feeling lonely type, lyrics. Then before you know it, just as I was starting to think ballad - BAM! The vibrant rhythm kicks in, the tempo rapidly picks up and Laura - with lots of help from Ellen, Renee, Rich and Chris - takes the vocals to an outdoor, tent revival level. Good stuff!
Lyin’, cheatin’, who he’s meetin’ and other forms of mistreatin’ are just a partial list of reasons this loser is being sassily chas- tised by Laura. He’s obviously nothing but “A Reason To Sing The Blues” - a pseudo anthem for women scorned. Inasmuch as the lyrics and subject matter are melancholic, sullen is not the mood of the band. This one’s full fledged funk at its finest.
Laura’s folk roots come front and center on “Mama Don’t Cry”. With Rich and Charlie doing some classic so called front porch pickin’ on a resonator and a mandolin alongside her, Laura sounds absolutely angelic on the inspirational and up- lifting lyrics. .
Laura Green “All The Kings Men” may very well be the track that completely showcases Laura’s vocal skills. With control being the only constant, she displays a well diversified range, tone, style, strength and attitude throughout the song. With Rob, Art and Green Eyed Blues Bill all over the rhythm on the drums, bass and piano; and Rich lighting it up on an extended mid-song guitar solo, it’s a Singer, songwriter Laura Green’s debut release is titled “Green musical monster as well. Eyed Blues” - and if I may take the liberty of being complimen- tary - it could also have been called “Fabulous Green Eyed So, remember what I said about the opening track? Well just Blues”. Now, to those of you who may be wondering if by replace Bob with Bill Murray on piano and Rich with Aaron using the word fabulous I’m referring to Laura’s music or her Griffin on guitar and call this the “B side”. Surely equally ex- green eyes, the answer is simply YES! cellent musically and where as Laura had a ‘bone to pick” with her guy, her now telling him ‘I don’t want to be your “Baby No Counting the one track co-written by the disc’s co-producer, More’’ is a perfect segue. David Torretta, all eleven tracks are Laura Green originals. Joining Laura, on lead vocals, the band consists of: Art Dwyer As with most of the tracks, the disc closes with a simi- on bass and background vocals; Aaron Griffin and Ron Ros- lar storyline. That said, this time Laura is on the receiving kowske on guitar; Rich McDonough on guitar and background end of the hurt. “Don’t Know Why”, finds her having a very vocals; Rob Lee and Joe Meyer on drums; Bob Lohr and Carl hard time accepting the fact that she’s the one being left. Pandolfi on piano; Bill Murphy on piano and organ; Charlie As she emotionally pleads for him to stay, her pain can be Pfeffer on mandolin; and Ellen Hinkle, Michele Isam, Chris clearly heard. On what is the disc’s most traditional blues, Shepherd and Renee Smith on background vocals. Rich is apparently feeling that pain, as well. The two min- ute, scorching blues guitar licks he closes out the song with With many more great tracks ahead, some of which I may are as good as it can possibly get. Great slow blues song. even like better, “Bone To Pick” was by far the perfect song to open with. With first impressions carrying so much weight Other tracks on this fantastic release include: “Still In Love”; - especially when hearing an artist for the very first time - this “That’s Right”; “Pretty Little Thing”; and “Cry”. track was symbolic of a pack mule. Between the chair danc- ing and air drumming it had me doing right out of the gate, I happen to know for a fact that Laura is using time spent not I had no choice but to get lost in the music - I sure as heck gigging on doing some serious self promoting. That said, with couldn’t type, that’s for sure. the talent already in place, should she be lucky enough to get this disc into the right hands, I not only see her having a hit with Equally as impressive as everything I was hearing was the it but maybe a “New Artist” or “Debut CD” nomination, as well. way I was hearing it - the mix was masterful: I heard - and felt - every beat of the killer rhythm Art and Joe were banging out: To find out more about Laura Green just go to - from the opening intro - and throughout - Bob’s piano leads www.lauragreenmusic.com - Peter “Blewzzman” Lauro were profound; the pickin’, strummin’ and slidin’ Rich was was 32 | www.SFLMusic.com
joy in this is twofold, while we are uplifting the artists we Thriving & Surviving in the are also still continuing on our original mission which is to bring uplifting music to those who need it the most, & light Times of the Coronavirus up the dark corners in places where there are people in war torn countries, in places with oppressive governmental Before the COVID-19 pandemic took a hold on the the regimes, the lonely, the depressed, the anxious & the music industry & put a screeching halt to live music as stressed. We created the, “Viral Anti Viral World Tour” we know it, my colleagues & I were full steam ahead, which has allowed us to light up the lives of everyone we documenting & reporting on the most current happenings have touched. of the blues music world & the South Florida music scene. Now, in the past several months we have been forced to Several of our beloved South Florida, national & worldwide think creatively & outside the box to bring music to those venues have temporarily shuttered up, hoping that they who need it most & help the artists we love share their music can weather the storm of uncertainty the pandemic has during these uncertain times. We have seen entire tours caused.. Only a handful venues have offered live music cancelled, venues & clubs shut their doors permanently, in the past few months & attendance has been very low album recordings scrubbed, album releases postponed indefinitely, careers completely cease & dreams & hopes of a successful music career completely dissolve.
That is until we decided that we could not sit back & watch this happen. Since March my colleague with Blues Radio International, Jesse Finkelstein & I have conducted over 190 remote, musical interviews over the internet with musicians from not just South Florida but, all over the world. We have provided a platform for musicians to dust off their instruments, get inspired & bring their music out of the dark. The
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Hot Tuna | Parker Playhouse Photo: Jay Skolnick for a variety of reasons, the virus being a major factor. South Florida has been a hot-spot for the Coronavirus & restrictions on numbers of allowed patrons cut to 25% has put a major strain on the businesses that once thrived in providing live music experiences.
The world famous venue, The Funky Biscuit in Boca Raton which is our live music home is one of the clubs that decided to close up shop until the virus passes, hoping to prevent a permanent closure. My partner, Michael Wolf & I with Datflys Concert Videos have filmed a handful of shows there during the pandemic & I am happy to report that we saw not just respectful patrons who wore their masks & maintained their distance but, also a club that did everything they could to protect the patrons & staff from this monster illness. However, the fear of infection kept many regulars at home & away from the essential music therapy they consumed religiously.
One exciting & outside of the box ideas is to bring live music in the form of a “drive-in” concert scenario. I was honored to attend the first one of it’s kind here in Southeastern Florida at Deezerland Park in Miami. Kat Riggins who is a lovely, soulful woman braved this new format & was able to bring a vibrant, uplifting music experience to her fans. This event was very special, allowing people who would be apprehensive to venture into an indoor venue an opportunity to enjoy a live music experience in the safety of their vehicles & spread out enough to take in the show socially distanced from other concert goers. The whole experience was fantastic & I hope to enjoy another as soon as possible.
In these harrowing times there is a extremely urgent need for monetary support & we have also extended our usual not for profit efforts to assist in fundraisers for The Pinetop Perkins Foundation, Intrepid Artists International, The Blues Foundation & MusiCares all of which bring financial support to music industry professionals & musicians.
It is my observation that during hard times birds of a feather will flock together, music creators & supporters have demonstrated over & over how we are all in this together & when one of us falls, the others swoop in & pick them back up. Live music will survive & thrive though this global tragedy & we will come out the other side with our heads held high looking forward to an exiting new future. - Audrey Michelle former Miami News Music Critic Jon Marlowe adds, “Rich Ulloa has always had impecca- ble taste in music. He championed the best Miami had to offer, like The Mavericks and lesser known acts like Vesper Sparrow.”
Vesper Sparrow is the all-female South Flor- ida band that broke the mold in the 80’s with four beautiful women who had a focus on sol- id original songwriting and beautiful vocals. They were even showcased at New York’s famed CBGB’s in 1989. Karlzen was one of these four talented women and Ulloa did take notice of her voice and talent and was driven to get her music out there. He was also driven to release punky singer-songwrit- er Amanda Green, For Squirrels (Gainesville band whose tragic car accident cut short their promising career) and others. There’s just no way to fit in all that Ulloa has done for our South Florida music scene. Another Y & T Music fan, Margaret, calls it “the little label with big ideas.” Y & T Music… A big idea that was really well-done by Y & T Music in 2018 was Everybody’s Talkin’: A Tribute To Fred Neil, which is filled with so many stellar musicians that managed to capture Neil’s eclec- Hey, What’s that Sound? tic catalogue of songs. Sometimes called the greatest singer- songwriter that you’ve probably never heard of, he is best known There’s something happening here… but what it is IS exactly for writing “Everybody’s Talkin’” which was a massive hit for clear. Y & T Music is all fired up and not going to let 2020 stop Harry Nilsson and used as the theme song on the movie Mid- them from releasing some of the best music South Florida has night Cowboy. When producers had asked him to speed up his produced. Not that it’s anything new for Y & T Music founder, own version for the movie soundtrack, he had told them to go to Rich Ulloa, to take his passion for finding musical artists and hell. While part of the New York’s Greenwich Village folk scene, making their dreams a reality. The Beatles changed Ulloa’s life he took an interest in a young Bob Dylan who backed him on when he watched them on The Ed Sullivan Show in 1964. Hence, harmonica at the famed Café Wha? and helped musician Da- when he opened his first record store in 1981 on Bird Road in vid Crosby as well. He hung out with musician Stephen Stills in South Miami, he named it Yesterday and Today Records after the nd Florida and it became an interesting local story when Neil left Beatles’ 1966 album. In 1988, he opened his 2 larger alterna- New York’s Greenwich Village scene for a quiet life in Coconut tive/indie record store in Miami – way cooler than the one in the Grove. He loved being in South Florida and found that he was movie High Fidelity. I know… because I practically lived there in happier spending time with dolphins (the mammals, not the foot- the 80’s. He hosted live shows and special events including the ball team) than dealing with the music industry; and in 1970, Ramones, Soundgarden, Green Day, 10,000 Maniacs and many founded the Dolphin Project with Ric O’Barry (a dolphin trainer more. at the Miami Seaquarium.) He managed to release albums from 1965-1971, impressed and influenced the folk/rock world before In 1991, he started Y & T Music, a Miami-based record label, and released the debut album of The Mavericks, who were at the time a new country band based in Miami and fronted by Cuban lead singer Raul Malo with a heavenly voice reminiscent of Roy Orbison. The Mavericks eventually left Miami for Nashville, landed a major record deal with MCA and won a Grammy in 1995, not a bad start for Y & T Mu- sic. Ulloa went on to launch singer-songwriter Mary Karlzen’s career as well. Ever so humble, Ulloa will say The Mavericks and Mary Karlzen launched Y & T Music. Karlzen’s self-titled debut LP and her Hide Ep was released on Y & T Music and she became the most played independent artist ever on VHI. Af- ter touring with Bob Dylan and John Hiatt, she was picked up by Atlantic Records. There’s certainly something about Mary! Just ask Jackson Browne, who helped out on her Atlantic Records debut. Speaking about the Miami music scene in the 80’s, 36 | www.SFLMusic.com
die record stores, Open Books and Records, that was owned by Leslie Wimmer and Ted Gottfried from 1979-1994. In 1981, they started the record label, Open Records, and their first release was a single by Charlie Pickett and the Eggs in 1981- “Feelin’” b/w “White Light White Heat.” They released his next single “If This is Love, Can I get My Money Back?” in 1981 before releas- ing Charlie Pickett and the Eggs’ debut LP in 1982, a live re- cording Live at the Button which was recorded on Ft Lauderdale Beach at the Button. Pickett went on to the majors, releasing Route 33 in 1986 on the Twin/Tone Records Label (home to The Replacements and Soul Asylum) and The Wilderness in 1988, produced by Peter Buck, on the Safety Net Label which includ- ed that scorching single “If This Is Love, Can I Get My Money Back?” Peter Buck later covered it on his own solo LP but there is no better version than Pickett’s. It doesn’t get any better than this and can be also found also Bloodshot Records’ Bar Band Americanus -The Best of Charlie Pickett And.
Another absolutely superb release from Y & T Music is Jim Wurster’s 2018 LP Life, which begins with the lyrics “What a life it’s been” and it’s an upbeat rockin’ reflection of a life well lived that without question he’d do all over again. He’s a rock n’ roll poet in the vein of Lou Reed, Patti Smith, Warren Zevon or even Bob Dylan, singing these wonderful gems of wisdom in his world- losing interest in music. His songs were recorded by major artists weary voice. On “Pie in the Sky,” the lyrics come to life- “Ain’t like Jefferson Airplane, Linda Ronstadt, Bob Dylan, Tim Buckley no future, Ain’t no past…enjoy the day, while it lasts. Pessimis- and Stephen Stills to name just a few. tic…you bet I am- Lost my faith in Uncle Sam. Wallstreet bank- ers run the show, where the hell can I go?” His vocal delivery “He is remembered as a mesmerizing but reluctant performer is what sells it. On “Saline” when he sings “she’s the kind of who reacted to the possibility of success with horror” according woman… you want to please,” you really believe him and it’s to Ben Edmonds in his 2000 Mojo Magazine article on Neil. He touching. “Sweet Melody in the Wind” is a gorgeous duet with Di- eventually moved to Summerland Key and died of skin cancer in ane Ward’s beautiful voice complimenting Wurster’s deep voice, 2001, a virtual recluse in Florida. There are so many great songs sounding a little like Johnny Cash with June Carter Cash. It’s and collaborations on this tribute album including Omine Eager really a great song. “Master of Deception” is Wurster sounding and Jim Wurster doing “Dade County Jail,” singer-songwriter Di- the alarm on the state of America with the warning “Don’t let him ane Ward with the ever-talented Jack Shawde doing “Everything make you his fool” which is reminiscent of Ian Hunter’s brilliant Happens,” Charlie Pickett rockin’ “The Other Side of Life,” “The (and overlooked) song “Soul of America,” where Hunter (another Dolphins” done first by Eric Andersen and then a reprise of “The rock n’ roll poet) sings “it’s a god-awful job but it’s gotta be done, Dolphins” with Diane Ward and Matthew Sabatella. All proceeds protecting the soul of America. from this album go to The Dolphin Project, which was so impor- tant to Fred Neil. Aside from the poetry, Producer Jack Shawde lends his extraor- dinary musical skills to producing and playing just about every In 2018, Y & T Music released Meet Me In Miami, a supercharged instrument on the album. “The lyrics and the vocal are the most ode to Miami from our longtime local cow-punk rock n’ roll hero, important thing” says Shawde who wanted to make the music Charlie Pickett, which includes the very catchy “What I Like about interesting, ethereal, moody and vibe-y to create an atmosphere Miami.” This release also includes a few other local themed that complemented his songs. And that he did! Grammy winning songs like “Miami Interlude” and “Hialeah Backstretch.” There is producer Daniel Lanois would be proud. Wurster formed the a tribute to legendary local guitar ace Johnny Salton (now sadly deceased) called “So Long Johnny,” written by R.E.M.’s guitarist Peter Buck, who also plays lead guitar on it, as well as lead guitar on “What I like about Miami” and “Bullshit is Goin On.” On “Four Chambered Heart/Marquee Moon,” Pickett pays tribute to the 70’s art punk NY band Television playing blazing guitar serpen- tine snippets of their avant-garde song “Marquee Moon.” Stick the album on and I guarantee you will be dancing around the room and then straight to Amazon to buy everything he has ever put out. Pickett picks up just where he left off, original as ever and losing none of his raunchy Stonesy/Johnny Thunders raw- punk bar band appeal that was so evident when he ruled our local mu- sic scene in the 70’s and 80’s. Music critic Jon Marlowe crowned Charlie Pickett and the Eggs as “the best bar band in America.”
Enough cannot be said about another one of our super cool in- 38 | www.SFLMusic.com
David Julia | Funky Biscuit Photo: Jay Skolnick gothic rock band Black Janet in 1989, while teaching high school history and made a large mark on Miami’s rock scene. Everyone knew who they were and flocked to see them. Later, he changed musical direction, forming the Americana band, Jim Wurster and the Atomic Cowboys, and then released solo albums that are a fusion of rock, blues, folk, country and gospel. 3 Chords and a Chorus of Lust- The Songs of Jim Wurster was released in 2017 to celebrate Jim’s retiring from teaching AP U.S. History for 33 years. His extremely talented musical friends surprised him at North Miami’s Luna Star Café and sang his songs from early Black Janet to 2016’s No Joke. Luckily, Y & T Music captured this for us to enjoy. All proceeds of this CD go to 100+ Abandoned Dogs of Everglades Florida Rescue.
Speaking to Ulloa, you hear the excitement and his unwavering love and respect for his artists. They are like his children and he has always encouraged his artists to get major label record deals and they retain 100% ownership of all masters and publishing while on his label. In fact, Y & T Music is like a family of musicians as they have joined together on many projects (Everybody’s Talkin’: The Fred Neil Tribute and Put Down That Weapon) and work well to help each other on their own solo work. Fast forward to the year 2020 which brings Ulloa teamed up with new busi- ness partners Don Sarley and Jim Wurster to release a slew of pretty spectacular music:
Mandy Marylane- Self titled debut EP of all originals by a young traditional folk/classical singer-songwriter with a gorgeous voice and a way with a nylon string flamenco-cutaway classical guitar. Influenced by Leonard Cohen, she seems to be from another time/another place. Karen Feldner and Matthew Sabatella- “Oh John Prine” single written by Karen Feldner and performed with the brilliant Sabatella. For fun, on the flip side they cover Young’s “Comin’ Apart at Every Nail”. Eric Andersen contributes John Prine’s “In Spite of Ourselves,” and do a great job on a “I ain’t marching anymore. Omine Eager covers “Simple Song great song. Yes…we sure do miss John Prine. Eric Anders- of Freedom” and she is another artist that is so talented- her en- A true gem from famed N.Y. folkster/singer-songwriter Eric 2011 album Whiskey & Chocolate is excellent. Arlan Feiles cap- Andersen. Woodstock Under the Stars is a special 3 CD set of tures “Masters of War.” So much talent on one album makes it his performances from 1991-2011. This set is a necessity for so musically worth it - all tracks are great, and such a worthy Eric Andersen fans and a great introduction for new fans of this cause. It is found on Amazon, at local record stores, bandcamp. special folk artist who became known in Greenwich Village in com and various other online places. Mary Karlzen- Shine is the 60’s and after over 30 albums has been covered by Dylan, the long-awaited new album from this genuine singer-songwriter Linda Ronstadt and John Denver, to name a few. His velvet who defies categories. Mary came back to Florida March 1, 2020 smooth as silk voice is super soothing in these troubled times. (pre-Covid 19) and performed live at a small pre-record release Just released in June, the first pressing has already sold out. It party with the superb cast of Y & T Music artists backing her received a four-star review in England’s Mojo music magazine and it was a magical evening I will never forget. Shine features and it sure deserves it! guest appearances from Garry W. Talent (E. Street Band), Mark Goldenberg (guitarist for Linda Ronstadt & Jackson Browne), Put Down That Weapon (Make Music Not War)- This labor of Ben Peeler (ex-Mavericks), Ken Coomer (Wilco) and more. It is love compilation was four years in the making and consists of being released in November. Lastly, another November release new recordings of legendary anti-violence songs covered by art- is Drew Weaver Sings Country Mood Songs- Country artist ists with South Florida ties to benefit (100% of the proceeds) Weaver dusts off a 1998 set of songs that he didwith Rosie Guitars over Guns.org, which is an arts-based youth develop- Flores, the Tex-Mex queen of American rockabilly and country. ment program that provides instruments and instructions to lo- Add killer producer Jansen Press in the mix and it’s a winner. The cal youths in vulnerable communities. It helps both the youths, duet “Stranger in My Arms” should be on a movie soundtrack. giving them a creative outlet, and the struggling musicians that Merle Haggard would be proud. are paid to do the instruction. There are fifteen songs brilliantly performed, featuring many Y & T Music artists with highlights Seems like Y & T Music is bringing back the glory days of South being Matthew Sabatella’s cover of Steve Goodman’s “The Bal- Florida Music, one release at a time. Also, a shout out to our lad of Penny Evans” (worth the price of the entire album for this local indie records stores including Sweat Records, Technique song alone), Mary Karlzen’s heartfelt cover of James Taylor’s Records, Radioactive Records, We Got the Beats, Record Rack “Soldiers, Jim Wurster’s interpretation of Buffalo Springfield’s as well as Yesterday & Today Records for all the support to our “For What it’s Worth”, Sweet Lizzy Project doing justice to Buffy local musicians and keeping all of us music fans happy. – Debbie Saint Marie’s “Universal Soldier”, and Jolynn Daniel nailing Neil Brautman 23 A Look Back YEARS AGO
AEROSMITH | CORAL SKY AMPHITHEATER | OCTOBER 1997
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Brandon “Taz” Niederauer | Funky Biscuit Photo: Jay Skolnick 21 YEARS AGO
KORN | BAYFRONT PARK AMPHITHEATRE | NOVEMBER 1999
20 YEARS AGO
JERRY LEE LEWIS | SUNRISE MUSICAL THEATER | NOVEMBER 2000
Brandon “Taz” Niederauer | Funky Biscuit Photo: Jay Skolnick 19 YEARS AGO
JUDY COLLINS & RICHIE HAVENS | SUNRISE MUSICAL THEATER | NOVEMBER 2001
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U2 | BB&T CENTER | NOVEMBER 2005 10 YEARS AGO
STONE TEMPLE PILOTS | ESTERO ARENA | OCTOBER 2010 44 | www.SFLMusic.com 5 YEARS AGO
TAB BENOIT | CULTURE ROOM | OCTOBER 2015
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ALLMAN BETTS BAND | BROWARD CENTER | OCTOBER 2019 On the Memory Road with By: Gary Skolnick Monte A. Melnick Live Photos: Sean McCloskey Okay, this is SFL and we’re interviewing Monte A. Melnick, ing the book. , tour manager, I guess I should say, for the Ramones. How Melnick: Yeah. Most of the book we did interviews with people are you Monte? and then some of the people like Joey, we used other information Monte Melnick: I’m doing good, considering what’s going on on him, quotes from other sources. Most of them we did, Frank around the world. and I, by the way, Frank Meyer, my co-writer, is a great person, I’ve given him a lot of credit. We sat down or on the phone and in SFL Music: Yes. Yes. Yes, I much would have rather had live interviews with most of the people in the book. Most of them, done this in person, but things are not working like that right of course, few of them, we had to use other sources. now. Okay. So first, let’s talk about your book. So I see the updated version came out in May of 2019. I believe you’ve SFL Music: Okay. Okay. All right. Okay. So now let’s go to done a few updates. the early days, that ‘74, ‘75, ‘76. So I was very surprised to Melnick: The last one’s called the bonus edition, I did an updat- read that you were a successful musician prior to this, and ed edition before that and of course, the original book came out you had two albums out and had played quite a bit in bands, late 2004, so it’s been in publication for a bit. So 2010, I did an other than with Tommy and various Ramones. updated version and this one just came out, is the bonus edition, Melnick: Yeah. ‘71 ‘72, I was in a recording act called Thirty which I added 40 more pages to my book actually, so it’s more Days Out. We had two albums, and we toured a little bit with the extensive than the older versions. Beach Boys, Quicksilver Messenger Service, Tom Rush and stuff like that. SFL Music: Okay. Well, glad I got the new version. Okay. So let me ask you this, and I already told you, I thought the SFL Music: Right. And it just came to an end, the band didn’t book is really well written, I liked the style in which it was work out? written with the quotes. Melnick: Yeah. Two years there, management didn’t work out Melnick: Thank you. An oral history really. very well and we broke up.
SFL Music: Yes, an oral history. Okay. And how do you ob- SFL Music: Okay. And so at that point, you’re back in New tain those quotes? Were you already doing the book and York, if you ever left, but you’re back in New York and Tom- you started to get quotes or were you jotting things down? my’s looking to open a studio, I guess. Especially specifically there’s quotes from Joey in the book, Melnick: What happened was my cousin was a locksmith and I don’t know how long he was still alive when you were writ- he was installing some locks in a loft on 20th Street. And the 48 | www.SFLMusic.com lady there had some money, she said, “Do you know anybody? I would like to do a rehearsal studio here, maybe a little recording.” And my cousin recommended me and I brought Tommy into the venture with myself and we designed the place and then we ac- tually hadn’t built a lot of it and then we got a chance to manage it and do our own projects. I had my own band at the time and Tommy was engineering and doing other things and he brought the Ramones as a three piece group, into the studio at the time. So he was working with them, that’s how he got involved in the Ramones, through the studio there. The Performance Studios it was called, on 23rd Street, 20th Street, 23 East 20th Street.
SFL Music: Okay. But now Tommy, well actually all of you guys had somewhat grown up together? Melnick: Well, yeah. I grew up with Tommy, I went to junior high school with Tommy, I went to high school with Tommy. I was actually in a band in 1968 with Tommy called Triad, a three piece group, along the lines like Cream, heavy, hard rock, the Cream type of band, three piece. So I was play- ing with him well before the Ramones.
SFL Music: Right. And so when they start forming the Ramones, why aren’t you in the Ramones? Melnick: Well, as I said, I had my own bands at the time, I was managing the studio there, I got my own band involved in there and I had a different music taste. I mean, Thirty Days Out, was a country rock band and we could play our instruments and sing in three point harmony. So seeing the Ramones raw in the beginning of their three piece group, wasn’t my cup of tea, really. But I was working, they had show- cases there, so I was working the sound for them. That’s how I got involved with them.
SFL Music: Yeah. And in your book, you have a list of all of But Tommy being great musician, the shows, including all of those shows at the Performance he was a guitar player basically, sat down Center, six months before even playing CBGBs if I’m not and developed that whole Ramones style. And they said, mistaken. “Oh, join the group.” He said, “Okay, I’ll join the group.” So he Melnick: Well, yeah, they started out there and got their chops joined the group. Initially, he didn’t want to be in the group, he just together in Performance Studios. I mean, they was a three-piece wanted to produce them and manage them. group initially, Joey was on drums, Johnny guitar, Dee Dee bass and singing, and Dee Dee wasn’t hacking it with his singing and SFL Music: Right. Okay. Okay. And so you mentioned be- playing bass, so Tommy was just ... Tommy just wanted to pro- fore, what were you listening to at that time, that you didn’t duce them and manage them, he didn’t want to be in the group, hear the Ramones? but he heard that Joey had a great voice, pull him off drums and Melnick: Well, I was into Quicksilver Messenger Service, Poco, they started looking for drummers. But at that time, the Ramones Flying Burrito Brothers. I was a country rock fan. But then, after were so raw and nobody could understand what they were doing. they split up, I was in a band with Tommy called Butch, which was between glam rock and punk rock. It was right around the time of the Dolls, but we had a band called Butch, I was playing bass and Tommy guitar and the guitar player was Jeff Salen, from the Tuff Darts. I don’t know if you’re familiar with that group.
SFL Music: Right. Okay. So that brings me to all of those other bands from that time, of which basically my record collection is stuck in that time. So the Ramones, so their re- lationships with those other New York bands, Blondie, Talk- ing Heads, Heartbreakers, Tuff Darts, Mink DeVille, what was their relationship with those bands? Melnick: Well they all hung out at CBGBs. And basically in the early years, the only people at shows at CBGBs, were other bands hanging out. And Blondie and a couple of other groups, I think the Dolls and other people, did rehearse at the studio we had, Performance Studios. Basically hanging out at CBGBs, meeting in them all there and Max’s Kansas City.
SFL Music: Yeah. I mean, I was, I think you called it the bridge SFL Music: So at that point, you basically taught yourself how to be a tour manager. Melnick: Well, no. Yeah. I mean, in the beginning it was just doing the sound and I worked, Tommy being great, he knew a lot about sound and engineering, kind of how I worked with him initially. Then when they started working out other cities, I was in the crew doing everything. So I worked my way up. I learned from setting up the equipment, driv- ing, setting up the ... tearing down the equipment, running sound, blah, blah, blah. The bigger they got, the more people they decided to hire, so they decided to hire a real pro- fessional sound man and a moni- tor man, and of course, Arturo was doing the lights and they needed a drum roadie and a guitar roadie. So I learned from the bottom up on all those things. and tunnel crowd, and I would go in for specific shows, but yes, I would see all the other bands there when I would go SFL Music: So every time you moved up, somebody else and it was quite thrilling to me at that time. Where were you got a job. living? Melnick: Yeah. Exactly. Because they got more, they can afford Upstate Newburgh, New York, where Roger and Nancy Melnick: to bring more people. live. And I was, 15, 16, I saw the Dolls and that was it. From then on, it was underground or whatever you want to call that and then SFL Music: Right. Right. So at what point, again, I’m a guy it morphed into the Ramones and all those other bands and all that was there when the first album came out, I knew about coming from that underground thing, I guess. them, but at what point did the Ramones feel success, if ever? Meaning, were they driving down the road and they Well, yeah, the CBGBs whole thing, Hilly was great because hear their song on the radio and pull over. most clubs at that time, they just wanted you to play top 40, so Melnick: That didn’t happen for a while. it was hard to get jobs if you had original material. So all these groups with original material, Hilly said, “Come on, play, no prob- SFL Music: That’s what I’m curious about. Yeah. So when lem.” And they all hung around there at the same time and then their album came out, was that a measure of success? they became friends. Melnick: Yeah, of course. Every- body that’s in a band, wants to get signed to a label and record an al- bum, put it out, sure, they felt great about that.
SFL Music: Right. But there was never a point where ... I know that they didn’t have radio success, pretty much. Melnick: Yeah, in the States, that was a problem here in the States.
SFL Music: Yeah. At some point, was End of the Century, their most successful album? Melnick: I think the first successful one was the Ramones Mania and then the first album just went gold a couple of years ago. They never really sold a lot of albums, that was the pity about it. Now they’re selling, now they’re selling, it’s a shame, because the four originals are not here to see all this fame they have, they’re bigger now than they were 50 | www.SFLMusic.com when they were together. of that did they know? And if so, was it at the end? Melnick: Basically, towards the ... I mean, in the beginning, when SFL Music: Well, that’s what made me curious about had they went to England, all these groups were hanging out with they ever felt a measure of success? them, they knew a little bit about The Clash and the Sex Pistols Melnick: I mean, of course. I mean, we did headline a lot of and stuff. But these people wanted to hang out with them, so they shows in Europe. They were basically a touring band. So Ar- knew they were doing something that was influencing people. gentina, they were huge down there, they felt the success down there, Europe and we’ve played a lot of festivals, headlining and SFL Music: So now, in around 1980 or so, you guys do the stuff. It took a while, we worked our way up through the clubs. I End of the Century album with Phil Spector, I’m also a fan of mean, my line now is, if the Ramones were this big when I was Ronnie Spector working for them, I would have gotten a big raise. Melnick: Yeah. I worked with Ronnie Spector after the Ramones.
SFL Music: Well, yeah. That’s- SFL Music: Yes. Come to find out you had managed her at Melnick: They’re huge now, it’s unbelievable. one point. Melnick: Yeah. I did a little bit of tour managing, a couple of SFL Music: Exactly. Exactly. And you mentioned in your dates with her because she became very good friends with Joey. book about being at Lollapalooza, which I saw one of those She’s spectacular. She’s unbelievable. Great singer. shows in West Palm Beach here. And I left after the Ramones, I heard a little of the other bands, Metallica or Soundgarden SFL Music: I’ve seen her a couple of times recently, but the and just wasn’t my thing and I left. But in your book, you first time I saw her was on the tour for Siren, which I’m as- mentioned about how all of those guys were on the side of the stage, watching the Ramones and revering them. Melnick: Well, I think that’s the legacy of the Ra- mones. They were like the Johnny Appleseed of rock music, when they first started, they just went every- where, played all these small clubs and little dingy places. And these kids said, “Hey, look, they’re not virtuoso people on the guitars and their instruments. They’re playing good music, simple music, easy stuff.” They said, “Hey, we can do that too.” And all these groups formed, and all these huge bands gave the Ramones credit for seeing them first and saying they inspired all these groups. That’s what I was surprised when I was with the Ramones on stage. And then suddenly Metallica is there, Sound- garden is on the side of the stage, they’re all big fans and they become good friends with them.
And they came about and said, “Look, we saw you guys when we were kids and you influenced us.” And same with Bono, he writes that song, “The Mir- acle of Joey Ramone”, for God’s sakes. Pearl Jam, Eddie Vedder, everybody. The Ramones are, like I said, Johnny Appleseed, they spreaded out, it was easy, not easy, but anybody could do it if you have good songs and your competent, fairly competent.
SFL Music: It seemed that way. It’s kind of like the Beatles simplicity, in that part of their appeal is their simplicity, but not everybody can do it. And the Ramones- Melnick: I wouldn’t call the Beatles simplistic, man.
SFL Music: Well, early Beatles. Melnick: I guess so, yeah.
SFL Music: And I felt the same way about the Ramones and as well, the whole punk move- ment in England, basically was based on their first appearance there, from what I understand. Melnick: They were an influence to a lot of people. As I said, they went around the world influencing everybody.
SFL Music: Right, right. Okay. Again, how much
Matt Schofield, Jeff Prine, Vince Flora | Double Roads Photo: Jay Skolnick suming was around ‘80, ‘81, which when I first heard that SFL Music: did they have any financial success? you had manage her during that period, now, as I’m re- Melnick: Yeah, they did. They were a touring band, so they searching this, I see that well, you’re doing the Ramones at made a lot off of merchandising. the same time. Melnick: No, no. I only worked with her after the Ramones re- SFL Music: Okay. Now what’s the deal with, I think Arturo did tired, I worked in the studio with Phil Spector and the Ramones. their merchandising originally. Melnick: Yeah. He started from the beginning. If he was still SFL Music: Yeah. No, I know that, but so in other words, alive, Arturo and myself would be the only people alive today that Ronnie Spector, you didn’t manage until the ‘90s? were with the band from the beginning to end. He also actually Melnick: A little tour managing after ‘97, ‘98, after the Ramones passed away a couple of years ago and I’m the only one that’s retired. alive, that was there from the beginning to end with the band. He started off right away. I mean, he was at the studio when they
52 | www.SFLMusic.com were rehearsing and loved the band and started saying, “I love ing every night.” You know what I mean? But you can’t explain you guys.” this to women that, I’m not partying, drinking, having fun every night, I’m working. But, “Oh you got to take me on the road.” So And then initially he printed up tee shirts himself, went on the it was difficult having a steady relationship. But of course, I did it road with us, we didn’t pay him, just the money off the tee shirts, because I love working, traveling and seeing the world and I liked supported them on tour for the first couple of months or so, before what I was doing. they decided ... he was also doing the lights, but they couldn’t af- ford to pay him in the beginning. So the tee shirt money was right SFL Music: Right. I got the impression from your book, that there from the beginning and he knew, he was right on top of you were a lot more involved, you seem to be understating that. He had a loft downtown and he printed tee shirts up there that to me, that you were more involved in their personal and then take them on the road and sell them and pay the band lives as well. Getting them to the shows, getting them to and pay himself. photography stuff and whatever. Melnick: Well, that’s part of a tour manager. That’s all part of SFL Music: Okay. So the band did get some of that money a tour manager, getting people to shows, getting people doing at that time? interviews, photography sessions, dealing with the record com- Melnick: Oh yeah. Oh yeah. Johnny was numero uno financial panies, dealing with promoters, that’s a huge job, people don’t guy, he watched over the finances. realize. That’s why I wrote the book, give an insight on what it’s really like behind the scenes. SFL Music: But in those days, band shirts weren’t as avail- able as they are now. So reading that, I understand where SFL Music: Right. Right. And like you say, 20 straight years, that went and how I’m sure that became a major infusion 2200 shows, 2300 shows, that’s a lot of time. Also, I read in of money at some point, when everybody started wearing the book about how you compartmentalized the tours after Ramones shirts and their merchandise. Melnick: It was always a infusion of money for them. They were right on top of the ball with their merchandis- ing, they knew what they had there. And Arturo really realize that, that’s why he got a piece of that. I wish I should’ve gotten a piece of that in the beginning, put my finger on that. Boy, they made a fortune on the mer- chandising.
SFL Music: Now, bands no longer make their mon- ey from albums, they make their money from the tours and merchandising. So the Ramones were doing that, what is it, 35 years ago. Melnick: Yeah. That’s where they were making the money. They wouldn’t sell all the albums, let me tell you, that’s what they made the money, touring, mer- chandise.
SFL Music: You weren’t just a tour manager and from reading the book, I also know that you were very instrumental in how they got around in their day to day. Melnick: It was a lot of different things I had to do, not just tour managing, and also having to be a diplomat, and helping Joey out and other things, it’s a big job role managing, tour managing and other things along those lines. I worked with them on videos off the road, on the road, I was in the movie, Rock ‘n’ Roll High School, I helped them with that and all that stuff. So I mean, it was a full time job for 20 years.
SFL Music: Yes. And that part of it too, the full time, how did you do anything else and have a personal life.? Everything was always about them. Melnick: Yeah. And that’s the only thing, I mean, I love traveling and touring a lot, which they certainly did tour a lot, the only downside is having a steady relationship was very difficult because you go on the road and you meet girls on the road and then you have a girlfriend at home and they say, “Oh, you’re going on the road. Take me.” I couldn’t take a girlfriend on the road with me. You know what I mean? I mean, bigger bands prob- ably could do that. And then they get, “You’re out there having a party.” I said, “No, I’m not partying, I’m work- a while, and you would go out and do two weeks where you SFL Music: Yeah, yeah. Not the normal way. Okay. All right. might do the East Coast and then go out West and do three So you made a mention of something in there that struck weeks out there and then go home, rest for a month or what- me because I personally have one, there’s a letter opener, ever, and then go do it again. I went to a record show one time, and this guy was selling Melnick: Yeah. Actually, they developed that after a number of Ramones letter openers. He had two of them and he had all years because initially, we tried all sorts of different transporta- kinds of Warner Brothers paraphernalia, obviously he had tion. We had buses, but buses are very, very expensive and you worked there. So I picked up the two letter openers, I gave got to sleep on the bus and stuff. We didn’t like to sleep on buses, one to Roger, my friend and then I see it in your book. You I didn’t and I don’t think they did and it’s very expensive taking said it in a sense of, yeah instead of getting a bonus, they bus on the road. I mean, they weren’t a major huge band, which got letter openers. you can afford taking the bus out and you have hotels on top of Melnick: It actually was a promotional thing, the record company that, so they’d rather have hotels. And so we developed a little put them out and gave them to a bunch of people that they de- system, in the United States, of course, when we went overseas, cided to promote the album. So record station guy, they give a we took buses, so they had to sleep on the buses in Europe, we letter open to, how they do that promotional stuff that they make had buses there, I didn’t do any driving overseas, but here in the little tchotchkes and hand them out, that was one of them. I forget States, they decided after a number of years, a lot of different which album that was for, Leave Home, I think. vehicles, well, let’s do sections. SFL Music: Leave Home, yes, Leave Home. And then there SFL Music: So there’s the West Coast, couple of weeks up was the bat, which I just recently found out evidently there’s and down, take the van out there, have the van driven out two baseball bats, I only knew about one, but just found out there, we’d fly out there and then go up and down. It’s easy there’s a second one that came with either the first album. for them to get around in a van and have hotels every night. Melnick: The mini bat you’re talking about? And then come back and take a week or two off and then do maybe the Midwest and then maybe it’s south after that. And SFL Music: Yes, the mini baseball. so it was compartmentalized. Melnick: Yeah, yeah. There’s was a black one, I think there was Melnick: Yeah, they decided to do it that way and you can take a a regular colored one. couple of weeks off and then do sections. The funny thing about it is at the end, the crew had buses, a buss, because they had to SFL Music: Yeah. Yeah. I’m a little crazy for stuff like that. So get there early, they had to stay there, they had to break down af- yeah, I know about that. ter the show, they had to drive hundreds of miles and then sleep Melnick: They gave me one, but I auctioned it off, I got a nice on the bus. So we pull up to these festivals, this huge bus would price for that. pull in, the crew would walk out and then I drive up in the van and the band would walk out and people were laughing.
54 | www.SFLMusic.com
Tyler Bryant & The Shakedown By: Lori Smerilson Carson
Music City, also known as Nashville, TN is and has been home to many the studio and make something. Some of the songs actually were writ- exceptionally talented musicians. Tyler Bryant & The Shakedown are ten before lockdown, like the second single “Holdin’ My Breath,” (with definitely one of those bands as their exceptional, extraordinary talent guest vocals from Charlie Starr of Blackberry Smoke). Grammatically, has been apparent since their first album Wild Child released in 2013, it sounds like it was written for the times but, I think people had been through their EP The Wayside released in 2015, a self-titled LP released anticipating better days long before the shit hit the fan, (he laughed). in 2017 and their third album Truth And Lies released in 2019. Now, their fourth album Pressure will be released October 16 and shows evi- SFL Music: It’s basically a feel-good type of album? Giving hope? dence of their amazing skills and raw ability with songs that sprang out of the oppressed situation that we all have been in. Bryant: Yeah, I think the whole point was to try and take something and make something beautiful out of it. This was sort of like, ok cool. Catching up with Lead Singer/Guitarist Tyler Bryant, he revealed de- We’re feeling pressure. Everyone we know is feeling pressure. What do tails about the album, his inspirations, what fans can look forward to we do? You know? Do we just cave or do we push back? I think this and how he along with Drummer Caleb Crosby and Guitarist Graham album was a product of us feeling like we were pushed into a corner and Whitford came together to create Tyler Bryant & The Shakedown. I love that! I think that’s what music’s always been for me, is a way of dealing with stuff and making the most out of something. SFL Music: What inspired the album? The first single “Crazy Days” is about coping with Covid (19) and everything. Is that how SFL Music: Did you have formal musical training? the album came about? It looks like there is a little bit of a theme? Bryant: No, I met a man named Roosevelt Twitty when I was eleven Tyler Bryant: Yeah, you know “Crazy Days” was a song that was writ- years old who was just a, like a real deal Texas Blues man and he said, ten at the start of lockdown. It was kind of like the tip of the iceberg. We do you like the blues? And I was like, I don’t know what the blues is. didn’t really know what was happening. I honestly at the time I wrote He was in a music shop at the time and he was playing some old Light- that song, kind of suspected that everything would be back to normal nin Hopkins style blues and he’s like well, this is it. So, I decided that pretty soon. So, I really had no idea. Then obviously, all of the shows I loved it, and he and I gradually became best friends. Started playing everywhere got canceled and since I moved to Nashville at seventeen, in a band together called The Blues Buddies. When I was seventeen, I I’ve been a touring musician. Like I live to play concerts. So, I think moved to Nashville to start a rock and roll band and I’m still playing feeling like a fish out of water, I was kind of going, what do I put my with that band, So, I was very lucky to have met him. He sort of set me energy into? What are we going to do? We were feeling a tremendous on a path because music has brought me a ton of joy in my life. I’ve amount of pressure, I think creatively more than anything. More than been very fortunate to tour the world with a lot of my heroes and make like any of the other elements. You know, like the financial elements. a lot of friends and kindred spirits all over the world. All of that kind of stuff. It was just like, what are we going to make? We can’t play music, and so we just decided that we were going to get in SFL Music: So, you basically taught yourself? 56 | www.SFLMusic.com Bryant: Yeah. Well, I mean, he set me on a path for sure. He would show me a few licks here and there, but he didn’t have any formal train- ing either. You know, I never went to college. I barely graduated high school. Not because I had bad grades. Just because once I found music, I was like, I’m out of here. So, I moved out on my own at seventeen to Nashville and took my last year of high school online while I was on the road with the band I put together.
SFL Music: How did you meet your bandmates Caleb and Graham and a new bass player, right?
Bryant: We have a new bass player. He just hasn’t been revealed to anyone yet. I played all the bass on the new album. I played all the songs except for “Backbone.” Graham did that one.
SFL Music: You played bass?
Bryant: Yeah. That was another kind of element of feeling like we were backed into a corner. I think ultimately the limitations and the boundar- ies that you start to feel end up becoming very inspiring like not having a bass player, being down a man. You kind of have to find a way around the pot hole.
SFL Music: Can you reveal the new bass player or is that a secret for now?
Bryant: On October 16th the day the album comes out, we’ll be host- would you say are your influences since most of the bands you like ing an album release show on our website and it will be the first time have two guitarists? anyone hears these songs live. It’ll be a ticketed show. I’ve been kind of working feverishly on it, putting the behind the scenes footage from Bryant: Yeah, my biggest influence of all time is probably Tom Petty. the studio. From the album process. I think it will be a pretty cool thing I love Tom Petty and the Heartbreakers. I love Muddy Waters. I love for our fans. Johnny Winter. The (Rolling) Stones, Lightnin’ Hopkins. There’s a tre- mendous amount of them. Pretty much all the great blues artists. All SFL Music: How did you meet Caleb and Graham? How did you the great rock and roll bands. I’m a huge, being from Texas, I love Guy guys first get together to form Tyler Bryant & the Shakedown when Clark. I love Townes Van Zandt. I love all kinds of music. Country and you first moved to Nashville at age seventeen? western, rock and roll, blues, hard rock, Soundgarden, Stone Temple Pilots. All over the place. Bryant: I met Caleb through a mutual friend at a booking agency. This booking agency CAA (Creative Artists Agency) I’d been working with SFL Music: You toured with Guns N’ Roses, Jeff Beck, B.B. King, and they said, Oh, there’s this kid going to Belmont (University) and Chris Cornell, AC/DC, Aerosmith. What was that like? he’s just a hot shot drummer, and I was looking for someone to jam with. So, I convinced Caleb to come have coffee with me, and then later Bryant: It’s very rewarding to get to play with your heroes. It’s kind I convinced him to come jam with me and the rest is history. We’ve of like the college I never had. You know what I mean? (he chuckled). been playing together since, that was eleven years ago. Just trying to soak it all up.
SFL Music: That’s awesome! What about Graham? SFL Music: So, do you feel like that benefitted the band? They had a positive influence on your band? Bryant: Graham we met in New York City because Caleb and I had been playing around, and we were doing a radio interview at some Sir- Bryant: Oh absolutely! All the time I spent on the road with Jeff Beck ius XM station up in New York City and Graham was at the interview. I watched every soundcheck he did. It was really important to me to try This was in the days of MySpace. God I sound old, but Graham, he had and learn as much as I could you know, because it wasn’t lost on me that become a bit of a fan of like the music that Caleb and I were doing, and I was kind of in the presence of absolute greatness. The same thing with came to a radio interview with a guitar and he was introduced to me as the AC/DC tour. It’s like, you’re right here man. You get the opportu- the guy who was going to put me out of a job. Graham, he’s a monster nity to watch it every night. You don’t even have to buy a ticket. So, I guitar player. So immediately Caleb and I were like, we don’t like this was just trying to watch and learn as much as I could. It just deepened guy. You know, he’s our enemy. He’s trying to put us out of a job. Just the well of inspiration. I’m still like trying to just get buckets in there young and cocky and kind of stupid. Then I ended up hearing Graham and pull some of it out. play. I was asked to be a judge at this Guitar Center King of the Blues thing by Joe Bonamassa, and Graham was one of the finalists, and I SFL Music: You mentioned Tom Petty as one of your greatest influ- heard him play and was like, I have to ask this guy if he’ll join the band ences. I do hear a little bit of that in the song “Crazy Days” (with because I wanted to have another guitar player. Someone to like play vocals from Bryant’s wife Rebecca Lovell of duo Larkin Poe). Do off of. Fill out the sound. Most of my favorite bands had two guitarists. you feel that your influences lend something to the sound of this So, I convinced Graham to drop out of Berklee (College of Music) and record Pressure? move to Nashville, and his mom still talks to me, (he chuckled). Bryant: Yeah, absolutely. I think they’re all in there. You are what you SFL Music: That’s too funny. Well, he made a smart choice. Who eat and I’ve just been kind of processing those records since I was very young. They’re a huge part of my life, so I think those influences defi- that you guys have throughout each song, and I noticed that “Coas- nitely come out. I’m actually really excited because Steve Ferrone, the tin’” was a little more mellow? drummer from the Heartbreakers started playing “Crazy Days” on the Tom Petty (Sirius)XM station, which is so cool that you know, an actual Bryant: Yeah, “Coastin’” was another song that was inspired by every- Heartbreaker put the song on the show. thing that’s going on and it was just, I think me trying to stay positive and write a song that kind of evoked a positive feeling because I think SFL Music: That is very cool. Now a couple of the songs may be that’s really needed right now, and that one wasn’t even in the discus- almost relationship oriented “Like The Old Me,” “Loner,” “Fuel,” sion for songs to go on the album, and one night we were working on “Fever.” Is that the case or what is behind those songs? the song “Loner” and It had been a long day in the studio. We had been burning the candle at both ends and everyone decided we were going to Bryant: There’s something different behind each one. For example, call it a day and just start fresh the next day. As Caleb was getting ready “Loner”, that’s a song, like I go through phases where I just love to be to leave, I just said, hey would you play this blues song with me real alone and I think a lot of times when you’re working through something quick and just try it? And we played through “Coastin’” once and that’s on your own, people often want to help. People who love you want to the recoding that’s on the record (he laughed). He never heard it. Was in help and you know, you kind of gotta find your own footing before a different room and couldn’t see anything. We got a moment and just you can sort of march to anyone else’s drum. That was sort of my in- decided not to tamper with it. spiration for that song. “Like The Old Me” just happened. That wasn’t necessarily something that I was consciously pulling from an experi- SFL Music: “Backbone” you’ve got that megaphone on? Really cool! ence I was thinking of. The music sort of inspired the words and they kind of fell out. Sometimes, you don’t even know what’s happening. Bryant: Yeah, Isn’t that a cool sound? You know, you’re there and there’s a song. That one kind of happened like that. Which you know, who knows. Maybe I was pulling something SFL Music: It is a very cool sound. What’s that song about? from something unconsciously, and “Fever” that was, I was hanging out with Graham and Caleb and our friend Roger, he actually co-produced Bryant: “Backbone,” that’s a song that Graham and I wrote and Gra- this album. A long time ago actually, when we locked ourselves out of ham played bass on that one because he wrote the bass line which is a a studio. We were waiting on a locksmith to come and we wrote a song sweet bass line, but you know, that’s just about wanting someone to be called “Medicine Wheel” and kind of just accidently revisited it for this real with you. Shooting straight. album and it became “Fever.” The inspiration for “Fuel” was, I signed a publishing deal a long time ago and as soon as I signed the deal, the com- SFL Music: What would you recommend for up and coming bands? pany got sold and they let me go, and it hurt my pride. It made me feel You moved to Nashville because you thought that was the best place insecure, and so I just decided I was gonna let it give me fuel. So, it’s just to start your career? kind of that conscious decision of going, that hurts, so I’m going to use it. Bryant: Yeah, I moved to Nashville because I’m a southern boy you SFL Music: Roger Alan Nichols (co-producer/engineer). He’s like know? So, I had gone to L.A. I had gone to New York. I always got a the fifth member of the band? How is he involved with the band? little Closter phobic in New York and I just didn’t feel like L.A. was my The songwriting? spot. When I came to Nashville, it felt like a big, small town. I think my biggest advice for someone who’s looking to start a band or chase Bryant: Well, I met Roger when I was seventeen, when I moved to down music as a career is, you just have to be relentless, you know. Nashville, and you know a lot of people, they would just blow smoke You have to be willing to stay at the table when there’s no food because my way because I could play the guitar. I’ve always kind of been a that’s just kind of how it goes, and you can’t get discouraged whenever bit of an entertainer you could say, and Roger was like, hey man. You you, you know, bang your head against the wall. There was a year not gotta have a good song man. Who cares if you can play the guitar, you too long ago where Shakedown had 12 shows in one year. We were need a good song. He was always pushing me to dig a little deeper in kind of going, what is, this is actually around the Wayside EP. We were myself and never blowing smoke, and I always really appreciated that. going, what are we doing wrong? Why is this not working? Then the We started writing songs together and just kind of became really, really next year we did like over 200 shows and the better part of ‘em were close friends, and over the years I’ve sent him probably a thousand in stadiums. So, it’s sort of just like you got to be willing to stay at the songs and he’d always shoot me straight with why don’t you write a table until you get fed. bridge? Dude, every song isn’t an excuse for a guitar solo. That kind of thing. We knew that, especially since we were going to make this record SFL Music: That’s a cool quote. Great advice. Was there anything in my home studio, kind of in isolation. We knew that if we were go- else coming out besides the album and live stream show for fans to ing to be locked up with anybody, it had to be somebody that we really look forward to? Any new videos? loved and someone that was going to be willing to work as hard as we were, and we’ve kind of just been building a really strong relationship Bryant: This album release show is going to be pretty intense. It’s got with Roger over the years as a writing partner. As an engineer. As a a lot of information in it. Everything. Music, interviews, behind the producer, and we wanted him to just be involved with it. scenes studio footage, and then we’ve put together lyric videos for ev- ery song on the album. Sort of like a digital liner notes if you will. So, SFL Music: Tell me about “Hitchhiker.” there’s going to be quite a bit of Shakedown content to digest. It’ll all be on our website (tylerbryantandthe shakedown.com). Bryant: That was a song that we wrote in the studio. We started this project with 37 songs you know, that everyone thought kind of had po- SFL Music: Was there anything else you want to add for fans to tential, and we wrote them all down and we were kind of going through know? making lists of which ones we wanted to do, and then before you know it, we were like writing songs in the studio and “Hitchhiker” was one of Bryant: We just can’t wait to get on the road as soon as we can. the ones that we actually wrote in the middle of the process. In the meantime, fans will have some wonderful music from Pressure SFL Music: There’s that blues and rock. It’s a really cool sound to enjoy until then. 58 | www.SFLMusic.com
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Mac McAnally | Broward Center Photo: Tom Craig ad - kelsey
IN MEMORIAM
EDDIE VAN HALEN (1955-2020)