For those who know me, it seems often I am always just in a sticky wicket, facing some kind of challenge that never dissipates.
For the most part, I face those challenges by taking on an echelon of information and knowledge in books and reading. To paraphrase Richard Wright, “…in books I found the power to save my life’.
Today, I highly recommend Neil Peart’s ‘Ghost Rider’, not only the eponymous song, but the book that prefaces the album ‘Vapour Trails’.
Among hundreds of volumes I have read, this one obviously stands out today. It recounts how Neil reclaimed his life, after the death if his daughter in a tragic car accident and then his wife’s death a year later in a failed fight against cancer.
He just got on his motorcycle and drove off, from Quebec, to Alaska, down to Mexico and back. I read it five years ago almost, and will forever be grateful to this man, who knew harrows I still cannot understand, not only for his formidable cadre of music, but the fact he felt it important to cast down a portion of his privacy, feeling it worth the telling, for imparting so much wisdom that kept me hanging on, though our experiences were greatly different.
In almost the past five years, I’ve known twenty people who have died, about five a year, formative heroes, friends, associates of friends, and family, and tonight it climbs to twenty-one.
There are so many thoughts and emotions swirling right now, how along with other artists, geniuses, philosophers in the Canadian Hagiography, there is now a trifecta of those who contract and perish from brain anomalies and ailments.
Neil Peart now enters into a trinity with Marshall McLuhan, for which much of his music, though sourced differently, tracked much of Marshall’s speculations and observations of technology, and Gord Downie.
Gord’s speed to another master lost, whose wealth unto this world and your home shall never perish, though the world is poorer this evening, fly by night, Neil, nothing can stop you now.
He has been called the hardest working musician in the world. With over 7 albums 4 complication records (With an abundance of originals and covers), 2 books and numerous other side projects including hardcore band Mongol horde, Frank Turner has established himself as one of the most relentless artists of our time.
The closest England has come to producing their own Bruce Springsteen, Frank has a knack for blending his ideas, interests, passions, anxieties and personal life into fantastic sincere rock/folk/country/punk records. The kind of record that can be hard to find on the mainstream market in recent years.
His accomplishments include selling out Wembley Arena and playing at the 2012 Olympic opening ceremony in London.
The man is a master of his craft and owns the stage. Having played over 2000 shows and counting, he has no plans of slowing down.
If I haven’t made it painfully obvious yet, I’m a fan (A word he doesn’t like). So even though it is early days in my career, I thought I would reach out to ask Frank for an interview and try to allow him to introduce himself.
Liam: Hey Frank, how are you?
Frank: Good thank you. Happy to be home at the end of the year.
Liam: First of all, thank you for doing this during the busy holiday season.
Frank: A pleasure. It’s good to be home from tour and winding down for the year, if not the decade.
Liam: Awesome, well let’s get started. So, you’ve just got off the Mongol Horde tour, this past summer you came out with an amazing new album No Man’s Land, your second book and a lot more touring, the album Be More Kind just a year earlier, as-well-as getting married! Where did you learn to have that kind of work ethic?
Frank: I come from two families. My father’s family is characterised by impatience, my mother’s by practicality. It seems to be a good mix.
Liam: What advice would you give to someone who wants to be more productive?
Frank: There are 24 hours in each and every day, you can use them all.
Liam: On top of all this, you still make time to meet and chat with fans, and leave your email open for them to write to you. I know we have met on a few of these opportunities you create.
However “ Fan” is a word I hear you don’t really enjoy using. Can you elaborate on that philosophy?
Frank: The word “fan” implies a permanent divide between the people who make music and the people who listen to it, and I’m uncomfortable with that. My early exposure to live music was through the London hardcore punk scene in the late 1990s, and it was a scene that was very much characterized by egalitarianism. When bands finished their set, they’d jump over the barrier and watch the next band. It’s ingrained in me from back then. I want my music to be part of a wider conversation between equals.
Liam: Speaking of fandom, you were recently name-dropped by the Boss (Bruce Springsteen) himself, on a list of more contemporary artists he enjoys. What was that like for you?
Frank: That was pretty surreal, but something I can be proud of for sure.
Liam: Eton College is a place that hung around your neck for years. Not the most punk rock place on earth. What is your relationship with your secondary school and are there positive things you have you have to say about it?
Frank: I don’t have a current relationship with my secondary school, I’m in my late 30s, that would be weird.
I didn’t enjoy it much at the time, and certainly didn’t choose to go there. I got out as soon as I could and started making my own choices. The education was, obviously, pretty incredible, and I’m grateful for that. But the social milieu was vile, and it’s something I’ve been trying to distance myself from since I first got there.
Liam: On your most recent tour, you did an unplugged set with the Sleeping Souls as well as a solo set for the No Man’s Land songs. In the unplugged set, you opened up about your past and created as sit down storytelling experience from songs across your discography. Why was this important for you to do?
Frank: I’m not sure I can say it was important as such – more that it struck me as interesting, as different, as a refreshing approach. I try not to repeat myself as an artist if I can avoid it. I’ve never tried that approach to a show before, so I got into it conceptually, and found it really inspiring actually. It’s given me a lot to think about going forward, both as a songwriter and as a performer.
Liam: Forgive me if I’m wrong, on No Man’s Land, it sounds like each song is sonically and lyrically tailored to stylistically fit the time period of each song’s story as-well-as tonally match the subject matter. Personally I find sounds incredible and incredibly, sonically diverse as a result (Jinny Bingham sounds like it could be ripped from Sweeney Todd, and Dora Hand sounds like it was being played by an actual cowboy). Was it difficult to write in various styles and learn so many new ways of crafting a song, all for one project?
Frank: That wasn’t the case on every single song – there’s precious little link between the music of “The Lioness” and the life and cultural world of Huda Sha’Arawi. But where I could make it make sense, I did. Trying to write a jazz piece for Nica Rothschild was a major challenge for me, and one I enjoyed. I always want to try my hand at pushing my own boundaries a little, every time I make a record. I guess it was just more at the forefront this time around, given some of the subject material.
Liam: Have you ever thought about writing a musical?
Frank: I can’t say I’m a huge fan of musicals alas. That said, I have friends in that world more recently who’ve given me a deeper appreciation of the artistry involved. Still, not really for me.
Liam: Sierra Leone charity group WayOut Arts, is something you’ve been working with for a few years now. What can you tell us about them and how it’s inspired you?
Frank: They’re a group who use music as a conduit to reach some of the poorest and most marginalized people in the world. It’s really quite mind-boggling, visiting the slums and the camps, but then also meeting a lot of the people involved and hearing their stories, and seeing how much of an impact a group like WayOut can have on individuals’ lives. It’s a small group, they’re not going to change the world, but then again their size makes everything they do more personal. I like to think I have some genuine friends out there now, which is a lovely thing, and the fundraising I do for them enables them to make a huge impact.
Liam: Known for being always on tour, you are finally making the rounds in South America. What took so long? and how does it feel to finally get over to that area of the world?
Frank: Touring in South America is, it turns out, not the easiest thing to organize, the scene there is still pretty wild west, there are a lot of sharks and you have to be careful about committing to travelling so far. Thankfully I finally found the right promoter, so I’m going at last. I’m excited, it’s a completely new part of the world for me. There are people excited about the shows, which is cool, and I hope to learn something new while I’m there too.
Liam: Author/Critic Clive James recently passed away. You often plugged him, and his writings as an inspiration for Be More Kind. Care to say a few words on his work and how it impacted you?
Frank: I was aware of his work as a television critic, but it was only comparatively recently (the last 10 years or so) that I became aware of his work as a cultural writer and poet. His erudition and wisdom blows me away, he might be my favourite prose writer ever, and he’s certainly hugely broadened my cultural horizons. The book “Cultural Amnesia” pretty much changed the way I think about everything.
Liam: Your catalogue is huge and a lot has been released in a short amount of time especially compared to other artists. What in your career are you most proud of? and/or what would you like to be remembered for?
Frank: In a way, the thing I’m proudest of is still being here, still standing. It’s a rare thing to sustain a career at this level for more than a decade, to release 8 albums, and still be selling tickets and making some kind of an impact. It was unlikely enough that I’d ever succeed, but to continue to do so after this long feels like a real achievement to me. Spending your time considering how you’ll be remembered strikes me as a slightly foolish thing to do, it’s quite narcissistic, plus I won’t be here then anyway by definition, so I can’t see why I should care that much.
Liam: The roaring 20s are about to begin! As I understand it you’re a man of history and learning as much as you are a musician. You went to University for 20th-century history, any reflections/analysis on the past decade and anticipations for the next?
Frank: I feel like we’ve lived through a decade that has seen a lot of political fragmentation and division in the west and north. That’s pretty worrying. But from a statistical point of view, we’re still living in the wealthiest, healthiest, most peaceful moment in the history of our species, and that’s something to consider and cautiously celebrate, in my view. There are huge challenges ahead, not least the state of the climate, but then I think we’re discussing that more than ever before, which is some small kind of progress
Liam: What does the next decade look like for you? and any plans for next year, that you are at liberty to reveal of course?
Frank: I have no idea how the decade as a whole will go – in 2010, I’d have been surprised to see myself here, I’d imagine. Next year will be about touring, but also finishing off a new record for 2021. So there’s that.
Liam: Frank, thank you for joining us, it been a pleasure.
Frank: The pleasure was all mine.
So there you have it!
Frank will be on tour in 2020 and a new album 2021!
In this article, I chat with my friend Bryan Rogers, self identified ex-mod, about his time growing up in and around the music of London, England, in the late 1950’s and early 60’s, where he experienced the birth of rock ‘n roll in the UK first hand. This was before Beatlemania, so pre-1963…
Bryan Rogers was born on the 10th December, 1940, in Hitchin, Hertfordshire, England.
Here he is around age 2.
These were the pre-British Invasion days, and Bryan was there in person as bands like The Beatles, The Stones, and many more started playing small dance halls and theatres in and around London, before heading off to America to make it big.
Venues like the Locarno Ballroom in Swindon, the Lyceum in London, McIlroys in Swindon, The Locomotive Pub, Farr’s, Gaumont State Kilburn Ballroom, and so forth…these were places that Bryan would frequent to listen to these rock ‘n roll groups, whether they played live, or a DJ was there playing records so the teens could boogie-woogie, as it were.
All this was happening around the same time that American rock legends like Bill Haley and the Comets, Buddy Holly and the Crickets, and many others were coming over to the United Kingdom to find new fans in the youth of England, and influencing those British bands who would later “invade” America.
In speaking with Bryan over the years, I’d heard tell of his adventures in and around jolly old England (particularly London), seeing all of these bands and having some first hand encounters with a few of them.
Finally, I had a chance to sit down with Bryan Rogers, and chat with him on the topic of early rock ‘n roll in England in the early 1960’s, and what all went down back then – the way it was.
Bryan is, by nature, a curious cat, and usually cats live perilous lives, but this cat has fortunately survived to relate his tale to me, who was very interested to hear about his (mis)adventures and dirty deeds over across the pond.
Hope you all enjoy our chat, and if you have any comments or stories of your own, please leave them below!
On 50’s music and the 1960 British pop music charts
Bryan: So back in the ’50’s, it was mundane music compared to what it is today, like Doris Day and Frankie Laine …for Chrissakes!
And then there was The Shadows, who were the back-up group for Cliff Richards…they recorded a tune on their own called “Apache”, which was a knock off of an American group.
Anthony Newly was another English film star who became a singer, and then there’s Shirley Bassey…
Who else we got here? <scanning the pop music chart from 1960> Roy Orbison’s in there with “Only The Lonely”.
Presley started to pop up around then too. Lonnie Donegan, Emile Ford and the Checkmates.Cliff Richards and the Shadows again, yeah.The Everly Brothers…these people are slowly coming on…yeah, these are the British, not the American charts, mind you.
And then there was people like Tommy Steele, who wanted to be American, like Elvis Presley, but he never was.
YTMS: Tommy Steele, never heard of him.Was he really famous?
Bryan: In England, he was…he was on a merchant ship, and he learned how to the play the guitar, so he sung a few songs…became a big hit.Because people like Bob Dylan were on the go, right?
YTMS: So he was a troubadour kind of guy?
Bryan: He was a folk singer…
YTMS: Big changes in music between 1960 and 1970…
Bryan: Yeah, the whole British Invasion happened.The Animals, Freddy and the Dreamers, The Kinks, and all those groups.I think The Animals come from Newcastle…
Seeing Rock Bands in the Early 1960’s (Pre-Beatlemania)
YTMS: When you were growing up over there in England, you saw a lot of these groups when they first came up?
Bryan: Yes, at the local dance hall, on a Saturday, they’d come and play, and we’d dance to them.
YTMS: What was the place called?
Bryan: The Locarno Ballroom, in Swindon.
YTMS: How big was it?
Bryan: Probably …
YTMS: 1000 people or so?
Bryan: Yeah.I’d also go to the Lyceum Theatre, in London, just off the Strand, in the center of London.It was all mainly records there.
YTMS: Just records?
Bryan: DJ’s, yeah.
YTMS: Any bands there?
YTMS: Ah, it was just a dance club, not really a venue for live bands to play.
YTMS: So where did you start seeing actual bands play, and when?
Bryan: Most of the people from that time, most of the bands…like The Undertakers, that was one of ’em…because of the success of The Beatles and The Stones, bands started coming around to the dance halls to play.
Some of these groups found success, like Freddy and the Dreamers.. I didn’t really like them, but there you go. Uh, who else?There was the Dave Clarke Five.
YTMS: They were a rock group?
Bryan: Yeah. “Bits and Pieces” was one of their songs. <sings a snippit of the song> “Glad All Over” was another one of their hits.They come from Tottenham area of London.
YTMS: So they played at the Locarno?
Bryan: No, but I saw them play in Tottenham.
YTMS: You’d travel around to see bands play?
Bryan: Oh yeah.When I was livin’ in London, I had a scooter, and I’d tour around to the different city halls, dance halls…
YTMS: How far would you go to see a group?
Bryan: Half way across London.
Bryan: Yeah, and London’s a big place.
YTMS: Just scoot on over?
Bryan: Yeah, Seven Sisters Road… just down the road from the stadium, there was a pub on the corner… at the pub, they’d have these dances, play all these pop songs…
YTMS: You were big on the clubs at the time around there?You and your friends?
Bryan: Yeah…we’d hang out at Baker Street, which is in the book about Sherlock Holmes.22B Baker Street.
I used to go to a club called Farr’s.F A double R apostrophe S, Farr’s.We were about 14 or 15 then.So we’d go there, and we used to have tailor-made suits.
Bryan: Ok, here’s the scoop.My friend Dennis and me.. Dennis lived down the road from me.. and he says, “Bryan, do ya want a job?”Paperboy…I said “Sure.”We had to walk two miles up the road, to this place called Ellington’s.We go straight up Carlton Vale, and if you’d continue up Carlton Vale, at the end is a T junction, and that’s Abbey Road.THE Abbey Road.
So, prior to coming to Abbey Road, on Carlton Vale, we turn right on Maida Vale I believe it was, and we’d walk along there, and turn left, across from Maida Vale underground, and there was Ellington’s.So, we were paid to mark up the papers, like, everybody in England had the morning paper.We’d get the address for some apartment building, or “mansions” as we called ’em, take a Daily Mirror paper and a Women’s Own magazine, put them together, write the address down, fold them, put them aside, and a paper boy or girl would come and take them.
So we used to mark up the paper rounds, and we also had a round of our own.Now, let’s put it in dollars, it’ll be easier to understand.They were pre-paid, say, 50 cents a week to deliver papers…
Bryan: Dennis and I would get, say, 3 dollars a week to mark up the papers every morning to deliver a round, and our own round as well.A suit back then, it used to be guineas, would be, say, around about 17 dollars for a tailor made suit.So we were makin’ 3 bucks… what do you think we’d spend our money on?Sharp linen.So when we’re 14, we’d save our money.And another thing, we’d have a con game going.We’d go around to all these different apartment buildings, or mansions, that we knew were the other paper boys’ routes… knock on the door every Christmas, tell ’em we were the paper boy…
Bryan: …and they would give us a tip.Maybe 50 cents or a dollar.
YTMS:That’s pretty good…
Bryan: So that used to go towards our suit fund.Twice a year we’d have tailor-made suits!
YTMS: You bought more than one I guess…had a whole wardrobe full of ’em?
Bryan: Yeah.Dennis had some overcoats made, but I never got those.
On Becoming A Mod
YTMS: What were you guys like you called?
Bryan: Mods.We had the short hair.
YTMS: You were trying to be a mod on purpose?
Bryan: We never thought about it at the time, but yeah.We’d pick up some shoes, they were tapered.Pointy, tapered shoes.Fake crocodile skin…We had flared trousers…
Bryan: …with a little slit on the side at the bottom.And maybe 2 or 3 covered buttons going up the seam on our jackets.Single or double breasted, covered buttons, as well.
YTMS: Hm…This is what it was like to be a mod.Any other defining characteristics?
Bryan: We had short jackets.
YTMS: Does that mean you were cool?
Bryan: Yeah, we were with it.
Bryan: No, no, no.We had our own little clan, and we’d gyrate together, at these dance halls.
YTMS: Yeah, yeah.
Bryan: Now, if there’s any “teddy boys” around, or “rockers”…
YTMS: Is that what the other guys were called?
Bryan:Yes. Now, they wore jackets down to their knees…black velvet collars…and had really tight jeans on.And they had these boots called “chukka boots”.They used to have crimped soles about that thick <gestures>, black or dark blue.
Bryan: So imagine – big pairs of boots and long jacket <laughs> with hair down back, like Presley, you know.. a D.A. .. Tony Curtis, you know.. film star.. he had that down there, and that was called a duck’s ass.Parted down the middle, it all come down.. <gestures> and then a quiff over here <gestures>…So they were teddy boys, yeah.And if we ever met… it was a punch up.Sometimes, we’d get on our scooters, and we’d drive down to Bornemouth or Brighton..south end, that’s on the coast…and we see any rockers, it them or us.. we’d go for it.. like Quadrophelia.
YTMS: Did you go looking for ’em?
YTMS: Were you worried about seeing them?
Bryan: No, there was usually more of us than them.
YTMS: Were there a lot of fights?
Bryan: Just now and again, not that often.
YTMS: People get stabbed?
Bryan: No, no. But, prior to that, the teddy boys…they used to have razor blades, put them in their collar, or in their hat.That was their weapon of choice – a razor.
YTMS: Sounds dangerous…
Bryan. So I come in at the end of the teddy boy era, basically, and at the beginning of the mod era.Which was good…I prefer to dress smart than scruffy with messy hair.
YTMS: Did that work better with the birds?
Bryan: The birds, yeah…
YTMS: Did the girls like rockers or mods better?
Bryan: The mod girls liked the mod boys and same with the rockers.You could tell by looking at somebody who was who.
YTMS: Did mods and rockers ever get together.
Bryan: Probably…well… I doubt it.
YTMS: So for bands at that time, who did you see?
Bryan: Prior to going down to the town Swindon where the Locarno was, I told you before I went to the Gaumont State Kilburn.It could hold 4000 people.
Guy Mitchell was in that early list here <from the 1960 hit parade>.Singin’ the blues, we went and saw him.When I was a young kid, every time I’d go by this theatre, I’d see Louie Armstrong would be advertised, Ella Fitzgerald, all the jazz people, yeah.
YTMS: Did you check them out?
Bryan: No, we were too young.Maybe 10 or 11.
YTMS: Not interested?
Bryan: No.And then we went up and we saw Guy Mitchell.We went and saw Bill Haley.I’ve told you this in the past.
Barging In On The Platters
And then, we saw The Platters.You’ve heard of them?
Bryan: So we said, let’s see if we can get in backstage and see them. Well, lo and behold, the first door we tried – it opened.You don’t usually… We pushed on the door and it opened.As we walked in, The Platters were there, as close as you are…there they were!I thought the girl was pretty.
They stood and looked at us, we stood and looked at them.Nobody said a word.Then somebody goes, “Hey, what the f*** you doin’ here, get the f*** out of here!And we were gone!
But…not only did they have this little stage at the state theatre, but they had this little dance area…and Gene Vincent came in…and he sung there.Be Bop A Lula.And that was another person who I told you before that you are aware of…The Beatles liked him.They all followed these guys.
YTMS: This is pre-Beatlemania?’62?
Bryan: Maybe a little before that.
YTMS: Did you ever end up seeing those big British bands.The Beatles, The Who?
Seeing The Beatles
Bryan: No, never followed The Who.I saw The Beatles and The Stones in Swindon. It was like an Eaton’s store, and they had a restaurant on the second floor…and on a Monday night, they used to have groups there.Or lone singers…and this was prior to The Beatles becoming famous, they were there…The Rolling Stones another week.Long John Baldry was there. He was there, he was talking to this guy, he had a woman with him, and I was there with my friend Dave…and we could hear everything they were saying, we were standing by the bar…
YTMS: Didn’t you tell me some weird story about this guy?
Bryan: Yes, I did.So after a long conversation, this guy says to Long John Baldry, “Who’s the girl?” and Long John Baldry turns to the girl and says, “What’s your name again?”<laughter> So, all these singers at the time, they all knew one another… they used to meet up.Elton John got his name…it’s allegedly said… they were lovers, Elton John and Long John Baldry.I heard this many years later, on the radio.. and…they split up, Long John Baldry dumped Elton John.. his real name was something like “Jimmy”…
Bryan: Reggie something-or-other, yeah yeah…so, he changed his name, and because he liked Long John Baldry, he called himself John…this is the rumour, anyway…where he got Elton from, I don’t know…but it’s been successful for him.
Long John Baldry Reuinion (Many Years Later)
Bryan: So, fast forward to a few years ago in Cambridge. There was a bar over by Soper Park and Highway 8.There was a little blues bar in there.
YTMS: The Cave?
Bryan: No, that little plaza with the pizza place.Around the corner, they had a blues bar.And Martin says to me, cause he was workin’ there…he says, “Dad, come, Long John Baldry’s here! Why don’t you come and see him?” So I went and saw him…he had this hat on, he always had this thing for a hat… and long hair now…When he was at Swindon, he wasn’t wearing a hat when he was talking to that guy and that gal, and he had short hair…blonde hair…he was a tall guy, about 6’4″, maybe taller. That’s why they called him Long John, I guess.He was in this blues bar here and Cambridge and I went to see him…And, as he walked towards the dressing room I went to speak to him…
YTMS: He didn’t remember you, did he?
Bryan: No, no…I just wanted to say “Hey, I saw you in Swindon!”, but he just poo-poo’d me away and went into the dressing room. So Martin spoke to him after the band were done for the night. He said “Yeah, I remember Swindon, yeah” But I didn’t know he was gay ’til Martin mentioned it.
Bryan: I had no f***** idea.
YTMS: He came to Cambridge (Ontario)?
Bryan: Yeah, he came and sung in that bar.
Bryan: To me it’s the end of the road if you’re singin’ there.But, he was known by a lot of people.
YTMS: Yeah, he was famous.
Bryan: Yeah…I’ve got all these books here about all these different musical groups, and now and again they’ll cross paths.
McIlroy’s in Swindon
YTMS: So what was that place that was in Swindon, the restaurant?
Bryan: Yeah, on Monday nights it was a dance club, and during the day, a restaurant. One night, we saw Jerry and the Pacemakers.The place was called McIlroy’s.
YTMS: Was this a cool place to play?
Bryan: Yeah, and it probably held about 500 people.And a lot of the performers came there just when they were getting famous, or prior to.
YTMS: The Stones played there?
Bryan: Yep. This was before they were locked in a room and told not to come out before you write a f***** hit song.
Bryan: If you look up McIlroy’s in Swindon, you’ll see some of the flyers of the Beatles and the Stones.
YTMS: You were allowed in to this place, at 14, 15?
Bryan: Yeah, there was no booze.Actually, maybe there was.You used to be able to drink at the Locarno.I was 19 or 20 then.But you could drink when you were 16…there were no drugs back then.No one talked about them, and they didn’t even really exist to us.The only people doing drugs were the groups – the Beatles and the Stones.In the circle of people I moved with within London, and within Swindon, we didn’t do drugs.We didn’t have a clue.
YTMS: Probably for the best…
Bryan: I remember…I used to hang out with a guy named Eric Heaton.We eventually had an apartment between us, and had all the birds over.We had a friend, Willie, who used to hang out at Locomotive pub in Swindon.
Eric used to go there more than I did.One time, we finished drinking in there, they closed the bar.Willie says “Come on boys, let’s go back to my place and have some carrot wine.” “No,” i said…I’d had some of my mother’s homemade wine, knocks the s*** right outta ya. “No, no,” he says, laughing like a crazy Irishman. So we go back to his place and have some carrot wine, on top of all the beer we drank.Then we staggered up the hill, until we got to the flat we were livin’ in.I laid on the bed, and the f***** room was goin’ round and round.Then I had to throw up, so I fell off the bed, got on my hands and knees, and crawled round to the bathroom.Oh, that carrot wine!
YTMS: I never heard of carrot wine.
Bryan: Brutal.So those groups back then, we’d watch them, and after a while we’d dance to them.They were pretty cool.
YTMS: Were you a fan of the American bands when they came to England?
Bryan: We might have seen a few of them.
Jerry Lee Lewis – No Encore?
YTMS: Didn’t you say you saw Buddy Holly?
Bryan: Buddy Holly was when I lived in London, and went to the Gaumont State Kilburn.
Like I said, the first guy we saw was Guy Mitchell. “Singing The Blues” – that was his big hit song.After that, it was Bill Haley and the Comets, and then Buddy Holly and the Crickets, and then there was Jerry Lee Lewis. I checked on this – he only sung in three concerts, and that was it.
YTMS: In the UK?
Bryan: Yeah, the press gave him a hard time, cause he had married his 13-year-old cousin. But I read many years ago in about 1980, in the Penthouse or Playboy, I was reading that, and here’s an article on Jerry Lee Lewis, and then there was a paragraph about Jerry Lee singing at the State Kilburn, and it said we boo’ed him off the stage, because he married his 13-year-old cousin.It wasn’t because of that.We listened to him…he did his bit, and here’s the reason why we boo’ed him…
Bryan: Why do you think?
YTMS: He sucked?
Bryan: No, he was fabulous.It was because he left the stage, and wouldn’t come back and do an encore.NO ENCORE.And another guy that would not play an encore was Roy Orbison. When I used to ride my scooter around London with my pals, we’d see tour posters with Roy Orbison and the Everly Brothers…
But you know, they were the best of times, the 60’s, and all those groups.There wasn’t 1 group, or 2 groups…we used to have parties at my house, with my parents.
After the British Legion closed on a Saturday night, people come over and we’d play records like Little Eva “Locomotion”, The Beatles, The Stones, and whoever else was popular at the time.
They were good parties, they really were, and then we’d sit around and play cards afterwards, drinkin’ my mothers’ home made wine.Then I’d get up and say “Holy f***!It’s broad daylight!” and everybody’d be gone…
And so concluded my chat with ex-mod Bryan Rogers. Stay tuned, we may yet chat again!
Before I get to my talk with Some Dude’s Pesopicks creator, Stuart Brady, I want to say a few words about the humble guitar pick.
If you play guitar, you probably know there are picks of all shapes, sizes, colors, thicknesses, designs, etc.
You might even keep several guitar picks handy, and stop by the local guitar shop regularly to re-stock. Picks are usually kept at the front of store and sold for under a dollar, near the other relatively inexpensive musical accessories like guitar strings, capos, etc.
For such a small object, guitar picks are certainly an important part of guitar player’s setup. They help define the sound, even though they don’t generally get a lot of credit.
Guitar players can get rather particular about their picks, the more they develop a certain sound. It is at this point that guitar players start to notice the different characteristics in the picks they like or dislike, and their preferences get more particular.
Some players want picks that have a grip, others like ’em smooth. Some want them thicker, others want them paper thin. Some like gimmicky picks that are covered in logos and designs, others like them with no symbols on them in just one color only.
The type of pick you use depends on your own playing style more than anything, and that can take time to develop.
It’s worth mentioning, for the sake of beginner guitar players out there, that the type of pick does contribute something significant to the sound that’s being produced by the guitar.
That said, guitar picks, for the most part, are made of plastic and many players don’t think about them much. You just buy 10 for a dollar as you’re making other purchases, and if you drop them on the ground and lose them, many would say “Who cares?”
But some picks you might not want to lose.
The thing is, not all picks cost $0.25 and look cheap and shoddy. Some guitar picks are worth showing off.
Enter: the Pesopick.
These unique picks are made from actual Mexican pesos by a dude by the name of Stuart Brady, AKA Some Dude. In fact, his business name is Some Dude’s Pesopicks.
Here is the Pesopickdude himself standing with the late great Bill Paxton.
Stuart makes a living producing these Pesopicks by hand in his home state of Texas, home of some of the greatest guitar players of all time.
He started making Pesopicks decades ago, in an effort to create a more durable, unique type of guitar pick that creates a deeper, richer sound. They have other benefits as well, such as outlasting the person using them.
We were lucky enough to talk with Stuart about his prized creations. We just had to get the lowdown on them straight from the source.
Enjoy our Q&A with the the Pesopickdude!
What are Pesopicks?
Pesopicks are authentic Mexican pesos handcrafted into guitar picks.
How durable are these things?
They will last forever…the first one I made is owned by my best friend and is over 40 yrs old. He still uses it everyday…they are heirlooms.
What do you like about the metal on metal sound?
They make your stringed instrument a little brighter and louder, creating awesome pinch harmonics…they are super fast due to less friction than other picks.
How much does a Pesopick cost?
They start at $50.00 and go up in price depending on type of peso and the work done to it.
What’s the difference between a Pesopick and your typical $.050 plastic guitar pick?
They don’t wear out and they wont harm strings…kinda of a nickel on nickel thing.
Is it true that Billy Gibbons has a soft spot for these picks?Also, why does he like them so much?
Yes, Billy Gibbons loves them and I am currently making him a large order of them now. I believe he likes them because of the tones they create plus the mystique of the peso as a pick.
Who’s the intended audience of these types of picks?
The intended audience is anyone that wants to improve their technique and tone.
How long does it take to make one of these babies?
It normally takes me about an hour to complete one single pesopick…but I do about 30 to 50 in stages.
Do you ever run out of stock?
Sometimes I do run out of stock…but not for long…I have a lot of contacts.
How unique is each pick, would you say?
Each pesopick is unique, but they are consistent with the shape and size of a regular fender 357 style pick…they are never the same because of dings, dents and scratches on the face of the coin.
Do you use any other coins these days besides the peso?
Sometimes I’ll make a pesopick with a lire or shilling, or any cool high quality metal coin large enough.
Are they only good for rock music?
They work excellent on any electric guitar, acoustic guitar, or bass guitar without harming the strings.
Where can people get them?
They can be had by contacting me on Facebook at this time…however, a website is in the works and should be up and running soon.
When it comes to boutique guitar effects pedals, and guitar effects pedals in general, the rabbit hole goes deep.And the deeper you go, the more shiny new pedals you’ll encounter, but, the thing is, they’re not all gonna be good (obviously).
On one hand, a boutique effects pedal might – and really should – indicate that its creator knows more than a little bit about the mechanics of guitar pedals, down to some really uber specific level of detail.And quite often, they do know their stuff – certainly more than the average consumer and even more than some manufacturers.
That said, not all boutique pedals are worth spending your hard-earned money on.For instance, despite performing some cool function, some lack aesthetic value (AKA they’re ugly).And then, there are those pedals that look cool but don’t function properly.
The ideal situation is a boutique line of effects pedals that have both the look and the functionality to satisfy even the pickiest players.
Zack has some skin in the game by now, having designed a wide array of music gear, and more than a few really kick ass effects pedals.
These pedals have found themselves being used by some of the biggest names in the music world, from Beck to Bootsy, to Nine Inch Nails, Steve Albini, My Bloody Valentine, Tame Impala, Radiohead, Jack White and the list goes on and on.
These artists see, or rather hear, something in Zack’s pedals that they can’t get elsewhere, and so they are become part of these artists’ rigs.
And so, we have the good fortune of being able to grill Zack about his pedals and other aspects of his business.Lucky us!Here’s our Q & A with Zack Vex, enjoy!
Q: How did you get into making your own guitar pedals?
I built my first one in 10th grade. My brothers had used my cousin’s Jordan Bosstone with their Gibsons and I loved the sound of that, and when I discovered that an older student at my high school had re-housed one I realized I could build a guitar effect for fun, so I made one from a circuit project in Popular Electronics magazine and sold it to that student for $10.
Q: When did you turn your love of making pedals into a business?
I was a recording engineer/producer in Minneapolis from 1984-1995 and when I developed tinnitus, I took a break and started making pedals for myself. I took one (the Octane) to a local store, Willie’s American Guitarsin St Paul, and Nate the owner ordered three on the spot. It was completely unexpected. So I built him three pedals and suddenly I was in business. I made 16 Octanes between June and November of 1995 and then Nate asked me to design something new, so I created the Fuzz Factory that night, and it’s my best selling product to this day, out of more than 40 active products.
Q: I’m assuming you grew up in some sort of artistic environment, based on your output.Is this a fair assumption?
My brothers both played guitar and one played upright bass, so I started playing cello in 5th grade and was eventually first chair in high school. I loved music and electronics more than anything else, so they made a great combination for me. My mom was a housewife with four kids, a former secretary, and my dad was a math teacher in middle school.
Q: How long does it typically take to design a single pedal from the drawing board to being able to use it?
Sometimes it takes overnight (Fuzz Factory), other times it takes several years (Lo-fi Loop Junky). I never know. The brass sculpture device called the Candela Vibrophase took a few months from conception to operation. The Super Hard-On was a one-afternoon design.
Q: How do you come up with your ideas for the function of a pedal?
Sometimes it’s need (the Super Hard-On was definitely based on my experiences as a recording engineer) and other times it’s just sheer creativity (Candela). Often it’s expansion of previous ideas (the Double Rock) or adaptation of the sound of another pedal (Instant Lo-Fi Junky based on the sound of the Lo-Fi Loop Junky).
Q: The visual element of your pedals is very strong.Do you come up with that as you’re making the pedal itself, or is that taken care of afterwards?
Q: You have a number of different types of pedals.Is there a “type” of pedal that you enjoy making more than any other type?
Over time I’ve shifted toward devices that are particularly unusual. There’s a lot of things that never made it to market, like my candle-powered portable tube amplifier (for camping, perhaps). Right now I like working on weird things more than anything, but out of sheer practicality I have had to introduce vertical versions of my most popular pedals just so people can fit them on pedalboards better.
Q: You seem to have a lot of famous admirers who use your gear, and each of them seems to have their favourite that they use as part of their rig.Are you ever surprised as to how certain people implement your pedals into their sound?
Not really. Except for Matt Bellamy (turning FF knobs during performance and incorporating retuned squealing into the melody) and Alan Sparhawk (who uses the Octane to get this texture I’ve never achieved myself) most performers use sounds that are similar to the demos we make at the shop.
(Here’s a video from back in the day of Alan Sparhawk of Low playing with sound and using some Zvex pedals. – Ed.)
Q: Your pedals themselves seem to be the result of some experimentation on your part.Do you feel the same way about the people who use your pedals – that they should experiment?
Q: How durable do you feel your pedals are?
We try to make them pretty sturdy. When they come back for repair we study what their weaknesses are and redesign them to solve any problems we identify. Now that most musicians use pedalboards, physically pedals are pretty well protected during travel.
Q: Do you have a favourite of your own pedals, or are they all like your children and you can’t choose a favourite? 🙂
Candela Vibrophase and the the newer Vibrophase pedal, by far, right now.
Q: You seem to have fairly far reaching distribution.How long did it take to set up that network?
We’re not done yet! 23 years so far, in June of 2018.
Q: Is this all you doing this??No, it can’t be…
At the shop, working our way from west to east, the offices are Erik, Charles, Lisa, Fran, Tommy, Ali, me and Tracy. Outside the shop there’s Dan, Shoua, Mike, and Kris, and someone whose name escapes me at the moment. Beyond that there are tons of people who are outside vendors… I couldn’t begin to identify all of them.
Q: At what point did you integrate “design your own custom pedal” into your business?
Are you talking about the Inventobox? That did not sell. We’ve only sold a handful. It was not a good idea… maybe for a school or something.
Q: How strong is your affection for things that contain tubes?
I think that they’re wonderful for driving speakers. I only use tube amps for audio of all types, except in my car or in PA systems.
Q: What would you want people to know about your pedals that they might not already know? (ie. they are built for zero G environments)
We use a lot of pure gold leaf for decoration on some of the hand-painted units. We buy lots of strange things off Etsy and Ebay to decorate with as well. Some of our paint processes include floating the pedal enclosures in water. Lately I’ve been experimenting with explosive processes.
Q: How does someone get their hands on a catalog of yours?
I’m sure you can get the 2018 NAMM catalog from Erik or Charles by writing to sales at zvex.com.
Q: I see you have some warranties in place, as well as a FAQ for common problems, but I see you also do repairs.That’s pretty cool of you to offer that.I take it that part of offering that is to make sure, on your part, that repairs are rarely necessary (hence always aiming for the highest quality product possible). True?
We have lifetime warranties on our hand-painted products (my lifetime) and two year warranties for other products if you register them with us (on the website). All sorts of things go wrong with pedals. Bad power supplies can blow them up, water or beer can short them out, they can be crushed by the band van, get their knobs kicked off by steel-toed boots… who knows! We’re here to help. We’ve even done a warranty repair on a woolly mammoth that was destroyed by a basement flood and lost under a washing machine for more than a year. It was completely destroyed inside by corrosion, but we replaced everything after cleaning up the box. The paint job was interesting at that point but the customer wanted to keep its patina as proof of it’s destruction.
(Here’s a cool demo video of the Wooly Mammoth pedal from Thiago Consorti over on Youtube. – Ed.)
Q: Does your rig have any pedals that aren’t made by you?
Sure! I have a few pedals that have been part of my collection since the early 80s. The Pearl PH-44 phaser and EH Attack-Decay come to mind. I’ve always loved the Big Muff Pi and I have a couple of chrome ones with black and red silkscreen, and I occasionally use the POG and HOG and have modified both for external voltage control. I’ve got an MXR green analog delay (with AC cord) and an old grey ROSS compressor, an MXR rack mount analog flanger-doubler, and I used to have one of those MXR touch-knob pitch shifters but I replaced it with a BOSS half-rack thing that sounded amazing in reverse mode but after I blew up a bunch of them with too-tall signals I gave up on that unit. It actually couldn’t take a Big Muff Pi signal without frying after a few hours, sadly. I have a Pearl Octaver that was modded extensively by Chuck Zwicky so that the high octave is mind-blowingly bright, and in the opposite direction, a Maestro Octave Box which I modified with a twist-tie (that’s right, a wire twist tie like you find at the grocery store) that has the most glorious unpredictable sub-octave shakiness. I used to use that with a Fuzz Factory when I jammed with John Kuker, who died a few years ago, sadly. Strange story about John… he was the drummer for the Breeders for a few months many years ago, and they practiced in Minneapolis, and John asked me to audition to be the guitarist and I passed because I was too busy with my company to tour. He was adamant that I’d be perfect for the band because of my weird chords and strange sounds. The choices we have to make, right?
When they first appeared, electric guitars were thought to be just a gimmick. However, it didn’t take long for them to completely take over the mainstream. With that said, not every guitar is the same. Knowing the difference between various electric guitars can be pretty important especially if you are looking to start playing this instrument. Since there is so much information out there which can be quite confusing, we have decided to create a short guide for your convenience. By the time you are done reading this article, you should have a firm grasp on the most important types of electric guitars and how they affect one’s tone.
Solid Body VS Semi Hollow/Hollow Body
Even though semi hollow and hollow body guitars are extremely rare these days, that wasn’t the case back in the early age of electric guitars. A hollow or semi hollow guitar is one whose body isn’t made of solid wood. Instead, you have chambers similar to that of an acoustic guitar, but much smaller. The difference between the semi hollow and hollow guitars is in the size of those chambers.
Aside from being much harder to manufacture or build by hand, these type of guitars also require a higher maintenance. In most cases they come with complicated bridges and tailpieces, all of which need to be fine tuned to perfection.
Semi hollow and hollow guitars are used mostly in Jazz these days. The reason for this is their quite unique sound which incorporates the added gain of an electric instrument with the rather delicate sound profile of an acoustic instrument. With that said, these traits are both a benefit and a flaw depending on which genre of music you are interested in playing.
Here’s a sample of the sound of a hollow body guitar, with a version of Autumn Leaves by Ryan Stewart. Nice!
Up next – solid body guitars. Solid body guitars represent the next level of guitar’s evolution and are the most popular choice today. The very first commercially successful solid body design is said to be Fender’s Telecaster. However that is if we disregard Rickenbacker’s Frying Pan lap steel model from 1930s.
Single Coil Or Humbucker Electronics
Now that we have that classification out of the way, lets talk about something that will actually be of consequence to you specifically. When first entering the world of electric guitars, most newcomers are blissfully unaware that there is a difference between single coil pickups and humbuckers. As a matter of fact, chances are that they don’t even know what these terms mean. Don’t worry, we are going to get that sorted out in a moment.
Single Coil Pickups
Single coils are the oldest type of magnetic pickup used on guitars. The name ‘single coil’ is pretty self explanatory. If you were to take one of these pickups apart, you would find a single coil of wire wrapped around several (depending on the number of strings) permanent magnets. When you strum a cord, or pick a string, that vibration is passes through the magnetic field of the pickup and is ‘picked up’.
There is more to this but since this is not a physics class, lets move on. The main benefit of single coil pickups is their clarity and precision. This is why you mostly see them being used for Blues, Jazz and Rock.
However, keep in mind that single coils aren’t without flaws. For starters, they aren’t too great if you are a fan of heavy distortion. That is not the worst of it either. Single coil pickups suffer from what is called ‘single coil hum’. In essence, a single coil pickup is an antenna that is prone to picking up signals it should but also shouldn’t pick up. This is especially present in affordable single coil pickups and can be extremely annoying.
A humbucker was partially designed to kill the noise and be much less prone to interference than a single coil. What a humbucker does great is meaty tone, especially if you are a fan of heavy distortion.
The fact that even the cheapest humbucker will be quit compared to a mid level single coil tells a lot about why these are so popular. If you are just starting out, we definitely suggest that you look into guitars that have humbuckers on. You will have a much easier time dialing in a good sound and you won’t have to deal with too much noise.
Here’s a great video by Darrell Braun that talks about the difference between single coil vs. humbucker. Check it out.
Active VS Passive
Last but not least, we need to mention active and passive electronics. The difference between these two comes down to whether or not a pickup is using an auxiliary source of power. Most guitars these days are still passive for a variety of reasons. Something like a Fender Stratocaster or a Gibson Les Paul still come out of the factory with passive pickups installed.
So why do active pickups exist?
Somewhere down the road we have figured out that if you infuse the signal with gain on the guitar’s end, before it reaches the amp, that you can get pretty interesting results.
In most cases, the benefits include a clearer, sharper and much more powerful tone that is simply more consistent. This is why guitarists who play metal really like to their active humbuckers. The amount of distortion and gain these can take is impressive.
On the other hand, that doesn’t mean that passive pickups are bad or inferior in any way. Passive pickups are much more expressive and delicate, thus allowing you to be more creative. On top of that, passive pickups are much cheaper, which is definitely a factor when you are just starting out. In the end, these are just different tools for different jobs.
Here’s a great video by Charlie Parra talking about the difference between active and passive pickups. Check it out.
The categories we have listed above are the most important ones you you will run into when choosing an electric guitar. Arguably, there are many more categories and sub categories out there, but those require a much deeper discussion. Either way, with this info you should be able to figure out what to get and what not to get depending on your taste in music and your abilities.
Hey guys, Coconut here. Today I had a chance to interview one of my guitar heroes of recent times, the genuinely talented one man thrash-a-thon, Stefano Nomakills, or N-O-M-A, who hails from Orléans, France. He is most often seen rocking out in his room with hair flailing madly.
Nomakills, or N-O-M-A, has been posting videos on Youtube for over a decade now, and he’s someone that I came across randomly while journeying down the Youtube rabbit-hole watching guitar covers of different stuff. Once I saw a few of his guitar covers, I was blown away. Not only can he play, but he gets right into it. It is something that I as a guitar player enjoy watching – authenticity. To my knowledge, N-O-M-A is known by his fans of being kind of a no bullshit guitar rocking guy who can really tear through just about any guitar-based music he wants, from Nirvana, to Dream Theatre, to Periphery, to Meshuggah, and the list goes on and on.
Here’s a sample of some of his playing, straight from the NOMAKILLS Youtube Channel. This is a recent video he has posted covering Nomad by Sepultura. Sick as usual.
Of course it is also worth noting that N-O-M-A is a musical group (with Cici Addams of Sassy) with 16 albums to its name by this point. They are all available over on his NOMAKILLS Bandcamp page here. Each album is fully conceived and self-produced, so that’s also something that I respect and find very inspiring. He has appeared playing his band’s stuff on television, and for many live gigs. I hear traces of stuff like KMFDM and Meat Beat Manifesto in his original music, but maybe that’s just my delusional mind. Here’s a clip of his band N-O-M-A playing live in 2016.
So yeah, it is with great pleasure that I present you with my little interview with N-O-M-A. I should mention that this interview is unedited and completely in it’s raw form. No spelling or grammar fixes. I just ask what I ask and he gives his answer. Fuck editing! 🙂
Coconut: You got a lot of albums. And the styles change sometimes, but there’s a consistency to them…the industrial edge, the electro elements, the fun nihilism.
N-O-M-A: Yes I love industrial/black and thrash things and the alternative grunge and punk things …. So depends on the mood of the day , every songs are a part of the mood I have the day I do it .
Coconut: Played any crazy live shows lately?
N-O-M-A: Sadly not , i hope to redo some gigs soon .
Coconut: Do you have a lot of gear to get this sonic assault or is it more minimal for the making of these albums? Like how do you go about making an album? Do you just grab a couple guitars and a few other things or do you whip out absolutely everything and use it all?
N-O-M-A: I use everything most of the time , I like changing guitars on each track , just for fun . I change my recording method in every record .
Coconut: Where do you do your vocals? In a booth? At the edge of an active volcano with a really long extension cord?
N-O-M-A: No no , i’m my room , at home:)
Coconut: Have your rig / recording gear changed a lot over the years? Has it grown, shrunk, been stolen, etc.? I see there’s quite a few guitars, which I can understand. Fate has chosen thee.
N-O-M-A: Yes I ve sell some guitars but still having a lot , a fender army , and some other brand these last years , story to change (musicman , ibanez, schecter, prs …) My favorite guitar are fenders
Coconut: What was the age where you realized you must shred in the name of Jesus?
Coconut: You produce this crazy stuff yourself? Who’s your Mutt Lange (producer / hit maker)?
N-O-M-A: YES ! I do everything : audio , visual … I dont’ have a mentor concerning production , I do the best I can learning by myself
Coconut: Do you have a favourite NOMA album?
N-O-M-A: I have hm … 16 records ? My favorite are probably the first one , as drunk as fuck, blank generation … I like my « punk » albums more than my metal ones . But in every records there are song I dig a lot . Every song is a small chapter of my life
Today I spoke with Sarah Jane Curran, an alternative rocker and lead singer for the band The Violet Stones out of Sydney, Australia. I came across her music recently on Youtube (where she goes by Sarah Jane Music) and was impressed at all of the material on there, from original songs she’s written herself and with her band, as well as vlogs, live cuts, and a ton of cool covers of everyone’s favourite grunge rock classics (including weird B-sides and deep cuts).
Not only is Sarah a talented songwriter, but she can sing and pull off a number of different styles. Her channel is gaining momentum as I guess people like me stumble across her looking up old and new grunge style rock and metal, and her following grows as her band The Violet Stones do more gigs across Australia. A new album is also in the works. Here is our conversation which touches on a number of topics from this to that (and even *that*). Hope you dig it!
YC:Hey Sarah, how’s it going tonight?
SJM: It’s going pretty good thanks!
YC: Cool cool.So how’s the Australian music scene these days?
SJM: I don’t really have anything to compare it to honestly but I’ve just started playing around the scene last year and I think it is struggling a bit (mostly around the Sydney area). Although with bigger artists, I think it’s pretty good but it’s harder for smaller acts to get a following around here.
YC: Who’s big there now that everyone loves from the rock world…ermm.. Jet?
SJM: haha I don’t really hear about them tbh. But there’s this one band in particular called Tired Lion and they’re probably one of my favourite bands at the moment but they’re from Perth & I watched them gain more and more people at their shows every time they come back and they have a pretty decent following in every state I think.
SJM: Other bands that are big are bands like Violent Soho & Dune Rats. I guess that’s the sort of genre that is dominating the ‘alternative’ music scene at the moment. (Heavily influenced by grunge).
YC: Silverchair are done right? They’re like classic rock now i guess.. but they’re like a year younger than me so I remember when they came out I was like who are these little geeks? That was the second wave of grunge… post Cobain
SJM: haha the early Silverchair albums are probably a huge influence of Australian ‘grunge’. I’ve seen soooo many bands trying to be them
YC: And meanwhile they just wanted to be Helmet
SJM: If they were still around I’m sure they’d be one of the biggest bands here
YC: I think they were always slightly misunderstood in that they were more like Helmet than Nirvana but people just saw them as a mini Nirvana in the 90s
SJM:Yeah I never thought they sounded too similar to Nirvana but that’s what they’re sort of known for (for being the Australian Nirvana). My dad calls them ‘Nirvana in Pajamas’ hahahha
YC: awww.. cute. they’re a solid band.. I heard Daniel’s solo album and i thought it was half decent, even though it was like not rock at all as i recall. First few albums were pretty ass kicking. So your band.. is playing shows and such?
SJM: I actually saw Daniel Johns live! Yeah we are playing shows, and actually in the middle of recording our first album
YC: Daniel has a killer voice and rocks some mean riffs…anyway…How’s that going? I’m listening to Sheets of Denial.. pretty good for a demo…
SJM: It’s going pretty good, we’re getting our name out slowly amongst the Sydney scene. Thanks!
YC: I mean it sounds like not really a demo…how did you record that one?
SJM: We practice with an electric drum kit and plug our guitars straight into a console and it comes out into headphones that we all wear (so basically we can practice without making a lot of noise). And that demo was actually made I think the night we made the song, cause we record the songs so that we remember what we did ?
YC: Yeah. i can relate.. it’s easy to forget stuff…so wait that song has electronic drums?nahh
SJM: yeah it was recorded on an electric kit haha
YC: so what made you want to learn like 8 million covers?
SJM: hahah I guess in my early teens when I was just getting into Nirvana I decided to learn a lot of the songs cause you know, being able to play your favourite songs is pretty cool. So I did that and my friends and family were encouraging me to post them on youtube and I eventually did and people actually wanted more! I still post them because I guess it forces me to still learn songs even if I don’t feel like it and I guess it’s good for me to listen and try out new things with the covers
YC: lol yeah that makes sense…i mean having people pay attention helps motivation
SJM: yeah definitely hahah
YC: i’ve learned a lot of covers, but i can’t seem to get up the motivation to post them on my channel…i just post originals that no one listens to ? but you probably are aware that youtube’s algorithm kind of craves the stuff you’re doing.. ie. covers of famous songs…that’s how i came across you i think.. i was randomly looking up people covering Alice in Chains songs…
SJM: hahah yeah it really sucks how no one really cares that much about originals unless you’re already known for something else. Yeah, I guess thats part of the reason I do them still. Cause of course I don’t wanna always wanna do covers, I much rather play my own songs
YC: i’m in a band with a guy that actually despises doing covers. like, i’d be game to be in a covers band if it was cool covers. but he’s got a real hate for covers bands. cause it pushes original bands out of venues. he has a point i think
SJM: Yeah and theres a real market for cover bands over here.
YC: but people want covers…it pays the bar’s bills and shit
SJM: Yeah guess so, but it sucks. It’s really a hard market to break through in with your original music
YC: but your channel seems to be doing really well from what i can tell
SJM: Doing better than I ever expected like I had no idea what I did right
YC: well i do internet marketing for a living, so i know what i think you’re doing right
SJM: what did I do right then? hahah
YC: well…for one, youtube likes consistency. so you keep doing the same thing in the same format and that’s something youtube likes .. or like, the robots that control youtube. most people are unbelievably retarded and inconsistent
SJM: hahah yeah i knew that consistency was important, thats why I try upload once a week
YC: google / youtube likes to see a really consistent thing happening.. same look, same room, person, blah blah
SJM: ah cool thats good to know
YC: like if you’re too scatterbrained, and everything looks crazily different, youtube will be like “sorry bro”…it’s just like a theme, and also you’re not pissing off the family friendly part of the algorithm…and you’re a girl
YC: so the millions of freaks out there like girls as a rule…i’m not trying to say anything sexist lol but i mean.. it’s not my fault the world is sexist ? there’s probably some marketing thing where people trust girls more or something
SJM: No I know what you mean and I totally agree like I think people can’t get over the fact that a girl is singing and playing guitar on a System of a Down song. I think like 80% of my audience are dudes as well. think thats what my youtube stats say
YC: yeah.. it makes sense. well the other thing is musicians are notorious for not understanding marketing. it’s just not part of their mentality. so for instance the fact you can even interpret youtube stats .. or even know they exist. people in bands could give a fuck about that shit and when they do look at it, they don’t know what the fuck to make of it, and musicians from older generations are double screwed cause they just don’t get technology as it is today
SJM: hahah I think I’m very on top of things and very organized. Like I keep my band in order and I used to be the only one posted anything to our facebook page (they’ve started contributing more recently). my dads one of those people who doesn’t understand how to advertise or anything.
YC: yeah my band has a FB page but even i hate using it
SJM: it gets tiring but Facebooks been pretty good for my band. but I don’t think it does much for my youtube channel besides advertising and such
YC: i think it’s cool you have a really well rounded social media thing going on.. even on your youtube, you have the vlogs too, originals, covers, live shit
YC: it’s basically a sign that you and your band have your shit together
SJM: hahah I guess so
YC: so who are your biggest influences? i guess you’re big into Nirvana
SJM: yeah well I don’t really listen to them much now, but they’re basically my roots
YC: you’re covering b-sides and whatnot.. so not like.. average fan of Nevermind type thing. i notice with Nirvana you kind of sing the stuff he screams
SJM: um yeah. It’s because I can’t scream at the moment. I really want to though
YC: well you have the kind of voice that might get wrecked if you scream your lungs out
SJM: yeah I have tried and every time I do it, my throat hurts and thats not suppose to happen. But I got really into Korn recently..And other bands System of a down, Incubus, Hole, Foo Fighters, Tired Lion.
YC: how do you go about learning a korn song?
SJM: well its way more difficult since the guitarist use a 7 string so I basically find the tabs and have to transpose it into a way I can play it in standard
YC: yeah i was thinkin.. this isn’t standard. Who are some of your favourite players? like.. did you learn Korn because you’re obsessed with Fieldy? Fieldy crush?
SJM: haha nope I have a young Jonathon Davis crush. nah but I really love their songs and melodies and how its still heavy
YC: ah i see.. yeah chicks dig Jonathon
YC: I see your Cranberries cover got some traction eh
SJM: It did only after Dolores death though
YC: right.. yeah. who’s your fav guitar player at the moment?
SJM:I don’t really have favourite guitar players to be honest. I focus more on people’s ability to write songs and melodies
YC: yeah i feel ya on that.. it’s more about songs. so to tie it back to your album for a sec, when’s it gonna be done?
SJM: the bands album?
SJM: Should be done by the end of the year. We’re doing it diy so it doesnt really have a deadline or anything
YC: is there kind of a goal you have with this album? ie make it the heaviest fucking album of all time
SJM:We just want to get our stuff out there and have something to give to people when they ask us if we have an album or EP. Like we get asked after gigs often if we have anything released and we have to say no
YC: man.. you have nothing? for someone who records so much shit and does so much youtube, you should at least have something…….
SJM: That’s what we’re doing now hahah I guess because we didn’t know how we were gonna go about it like we’re broke and so we needed to find a cheaper option to record and we found it eventually. and we have demos and stuff out, enough to keep people somewhat interested
YC: so what do you give people? a USB? with demos? or nothing
SJM: Nah we don’t give them anything, they can just check out stuff online if they really wanted to
YC: hm well then! one more question – what are you recording stuff with ie. software?
SJM: We’re using Sonar X1. Basically my dads helping us out a lot with this and we’re just using what he has. We recorded the drums in a church and we had to set up everything from scratch and that was very interesting haha
YC: So you’re tracking things one by one, not doing live off the floor. that’s cool though, sounds like fun
SJM: nah we don’t have the set up for that and yeah it’s kinda good not having a deadline but also we just want it done. we kinda just want this album out of the way so we can start our next one because we like the new songs a lot more. just gotta do guitars, vocals and the mixing/mastering.
YC: Awesome.well it was cool to talk to ya.thanks for taking the time
Jane’s Addiction is an American rock band created in the mid-1980s in Los Angeles, consisting of Perry Farrell (vocals), Dave Navarro (guitar), Stephen Perkins (drums), and Eric Avery (bass). They significantly influenced alternative music in many ways great and small, and the band is widely regarded in alternative circles as a pioneer of grunge and alternative metal. Their most popular songs include radio staples “Jane Says”, “Been Caught Stealing”, “Mountain Song” and “Just Because”, but they are generally not considered a pop band.
L.A.’s Favourite Sons
Jane’s Addiction took influence from the hard rock of the 1970s and 1980s, as well as funk, which really set them apart from the pack. In particular, their music calls upon the spirit of bands like Led Zeppelin (to name one big influence) in terms of monster riffage. At one point in time, the band came across more like a California hippy drug damaged surrealist version of some of the 60’s and 70’s biggest rock bands, who, to be fair, were pretty drugged out to begin with. Additionally, they often used world music stylings in their music (a la Zeppelin) and for this are often considered a precursor to the crossover genre that birthed alt rock, along with Boston’s Pixies and a number of other rock weirdos.
Jane’s Addiction combined all these different styles of music with semi-religious sacral symbolism, giving them a pagan vibe that made them seem uniquely “culty” for lack of a better term. They were decidedly freakier than many of the L.A. bands of the 80’s when they arrived on the scene, and this oddness made them different from normal shredding rock bands of the time.
Album covers, song lyrics and concert performances often displayed sexual representations based on home made artwork, and for this reason some covers were censored. The albums are still available in censored and uncensored versions.
The band emerged in 1985 from the cast change of Perry Farrell’s first band, Psi Com. He initially sought a new bassist, whereupon he met Eric Avery. However, Psi Com broke up before the band made an appearance with Avery. Soon after, Avery’s sister introduced the two to drummer Stephen Perkins, who in turn brought in a guitarist, Dave Navarro. The band quickly fell into place.
Navarro was a former band colleague of Perkins’, and it was Navarro who made the name suggestion “Jane’s Addiction” in reference to a roommate of Farrell’s. Two years later, the band released the Triple X debut album Jane’s Addiction, which was followed in 1988 by Nothing’s Shocking.
After the release of their second studio album in 1990, Ritual de lo Habitual, the band decided to break up and started a farewell tour in 1991, featuring some of the band’s friends, goth greats Siouxsie and the Banshees and metal-funk hybrid Living Colour.
One of the reasons it became such a big deal is because it was the first major outdoor rock festival to invite all manner of rock acts into its midst, from metal, to rap, rock, and on and on. Bands who would never be seen together were here all on the same bill.
Porno for Pyros / Red Hot Chili Peppers
Singer Perry Farrell and drummer Stephen Perkins soon started the project Porno for Pyros, whose success, however, could not rival that of Jane’s Addiction. The other band members went on to some smaller projects.
Guitarist Dave Navarro joined the Red Hot Chili Peppers in 1993 for five years. The resulting album One Hot Minute sold moderately, but there were murmurings that it was a failure, due to it not out-selling their previous mega-hit album, Blood Sugar Sex Magik. Of course, we all know that One Hot Minute is an amazing album and a special entry into the RHCP catalog with great tracks like “Warped” and “Aeroplane”, carrying that distinct Navarro vibe. Be that as it may, Dave Navarro eventually left the band and returned to his “home base” of Jane’s Addiction in time for their ’97 reuinion.
In 1997, the band gathered together for a few live performances with Michael “Flea” Balzary of the Red Hot Chili Peppers on bass, as Eric Avery had long since left. They also released an album of unpublished studio and live recordings.
In 2003, the band reunited with Chris Chaney on bass, releasing the album Strays for a successful reunion before disbanding once again. “Just Because” was their first single, and they played the shit out of it for a while to promote the album. The song “Superhero” from this album snuck in to popular culture and became the title song for the American television series Entourage.
2008 saw the original lineup embark on a world tour. They then released their fourth studio album, The Great Escape Artist, in 2011. In 2016, Jane’s Addiction was finally and deservedly nominated for the Rock & Roll Hall of Fame…although they’re still not in it!!!
Recorder of many songs, haver of many albums. Dave has been making music for the past twenty years or so, of varying degrees of quality. He has a keen interest in studying all aspects of music history, especially experimental genres like krautrock and no wave.