A living legend, Chico Hamilton has played with the likes of Lena Horne, Ella Fitzgerald, Sarah Vaughan, Nat King Cole, and Sammy Davis Jr. and recently celebrated his 88th birthday with a show at Le Poisson Rouge in Greenwich Village. I had a chance to speak to the NEA Jazz Master for a very, very brief talk about his illustrious career and found that his craft for conversation was not as developed as his skills on the drums. He was a bit like “mean grandpa jazz” calling my questions stupid but I did coax a few replies out of him before his nap or Matlock or whatever 87 year old Jazz musicians do when they aren’t onstage.

I asked Chico what it was like being a jazz musician coming up in the heart of the depression in California and he thought it was a stupid question but did relent to say that “at that time in jazz, you were considered a sinner and there was only one kind of music being played at that time which was swing music.” After brushing aside a few more questions with Andy Warhol like short answers, I inquired about his experience in teaching and why he wanted to work as an educator to which he replied that it was his way of giving something back because music has always been very good to him.

Mr. Hamilton has had a few choice parts in the world of film, such as his role playing in Fred Astaire’s backing band onscreen in the 1941 hit You’ll Never Get Rich (which featured Rita Hayworth’s first big starring role) so I asked him about how he ended up in the world of movies. He told me that he had been in films ever since he was a kid in L.A.- “I was in all the Tarzan movies- you know those natives running around the jungle, I was one of those kids.” When asked about his feeling about contemporary music Chico stated that “it takes all kind of music to make music- that’s my philosophy” going on to say that music was “God’s will and God’s will, will be done.” Finally as for his advice to young people who want to make it as musicians Chico said to “save your money” and with that nugget of sunshine we bid adieu and I looked back on our five minutes together and thought about all the good times we shared as a montage of dead silence and aggravated short answers played in my head to the hit “Through the Years.”

Tim Needles

A Place to Bury Strangers have been blasting speakers with their breed of doomy noise rock for several years now, having recently gained greater attention on the strength of their self-titled 2007 debut album – a collection of mostly preliminary or demo recordings that few were supposed to hear. The band has toured extensively since, and have even joined MGMT and Nine Inch Nails on respective tours. I met the band – singer/guitarist Oliver Ackermann, bassist Jono MOFO and drummer Jay Space – at Death By Audio, the custom guitar effects pedal company founded by Ackermann, which is perhaps the only place that can be responsible for crafting most of the more hair-raising sounds this band can conjure…

Did the success of the first album and the new attention to the band come about quickly?

Oliver: Oh yeah, I had no expectations whatsoever. We had an offer [from label Killer Pimp] to put it out for nothing. Before that, we would go through the ridiculous labor of burning CDs and making all the artwork just to sell them for $3 at shows.

Jono: I said, ‘Let’s just go for it.’ I thought it’d be good so we at least had something out there that we could sell and that didn’t cost us anything.

Oliver: I always thought we would just re-record everything later, so we limited it to 500 copies. I would talk to people who had friends in the music industry and it seemed like we had to have the right producer or studio… I’ve been D.I.Y. for so long now, I almost felt like giving up; like, “If that’s what it takes to make a band…” But people really liked it, and it gave us great confidence in that what we were doing wasn’t worthless.

After the first album, you guys started touring a lot more. Had you been playing regularly before then?

Oliver: Yeah, I used to say ‘Yes’ to every show and these guys would get so pissed [points to Jono and Jay]. There was a lot of ‘Do we have to play at Lit Lounge again?’ We’d play out on Monday, Wednesday, Thursday, Friday...

Jono: Then you try to get friends and people to come to the shows and they’re always, “You’re playing again?”

Did you run into more issues with the sheer volume of your sound at venues the more you played and toured?

Oliver: It’s been a long road of getting kicked out of clubs, getting threatened by the sound guys, blowing out lots of other people’s amps…

Jay: A lot of teenage girls doing this [makes painful face while plugging ears]

How has audience reaction changed the more you’ve played out? And how did your sound go over on bigger tours with Nine Inch Nails and MGMT?

Oliver: I’ve noticed the crowd spans a range of ages. There are people that were maybe into bands like the Jesus and Mary Chain a while ago that hear that in us… I guess if the moms are into us, it can’t hurt. [laughs] But it runs the gamut. It’s cool that there are people still into this type of music. The NIN tour was crazy positive every night… But I remember this one guy who had his middle finger up at us for most of our set, so I stared him down until it got really awkward. He put it down, then eventually started moving his head to the music…

Jay: My favorite was getting an E-mail from someone where the subject said “You’re So Awesome,” then we open it up and it’s an attack. “You guys suck … who wants to listen to 45 minutes of feedback!?”

Has all the touring improved the band on a musical level?

Oliver: It made us a lot tighter and created more intensity in the band, so now we’re constantly challenging each other.

Jay: I’ve been pushed to a whole other level of my drumming … The first album, a lot of it is drum machines, but I end up playing the parts live anyway.

Jono: He’s a live machine.

The new album, Exploding Head, boasts a greater sense of melody and tighter structures amidst the noise. At their core, some songs sound like they could be pop. Was there intent to go that way with this album?

Oliver: We were trying to make what we think is a good album from start to finish. We were focused on getting a more hi-fi sound; it’s an experiment, I guess. If it doesn’t work, maybe we’ll go back to something more lo-fi. But I learn new recording and mixing techniques almost every day, so this album is sort of a culmination of that up to this point. And I like pop, too. I’m up for inspiration from anywhere if it sounds good … and those elements can be different in every song; maybe it’s the bass in one or the melody in another.

Your music is defined to a large degree by experimentation with sounds and guitar effects; is that a major and painstaking process when writing and recording?

Oliver: I like to experiment with technology not familiar to me to see what will happen… But it takes some hard work. You always think something could sound better, so it’s a never-ending search.

Jay: Oliver and I have spent hours just going through electronic drum sounds trying to get the right one. We’d find one, record the song and then realize listening back that it’s not right at all, and we’d have to start over again.

Jono: It’s always more fun to use fucked up sounds than normal ones, but sometimes you have to know when to reign it in if it’s more appropriate for the song. Sometimes a clean guitar could actually be best.

Oliver, you’re in the business of creating effect pedals. Are much of your set-ups custom built? Ever have problems with them while on the road and be stuck in a hard place?

Oliver: Well I make ‘em, so they never fail! [laughs] We’re open to using anything, really. We’ve had equipment break on tour, and then had to borrow gear from other bands. Sometimes you’ve got to think quickly to make things happen out there. We do have this electronic drum module that we built, and it does sort of look like a big bomb, so customs agents always carelessly unscrew it and look around inside to check it out. It’s pretty delicate and there’s not much room to breathe in there, so they’ve broken it a few times.

Has it ever been a concern to not let the noise and loudness appear gimmicky?

Jono: If it’s ever just experimental noise over and over again then yeah, it would get old, but there’s more to it than that…

Oliver: There’s definitely a purpose – there must constantly be one to keep things exciting. But I mean, if I get tired of it, or the band gets tired of it, then fuck it. As long as I’m creating music for myself, or we’re making music that we’re into, that’s what’s important.

A Place to Bury Strangers’ killer new album Exploding Head is released Oct. 6 on Mute, and the band will play at the Bowery Ballroom Oct. 29.

John Mordecai

I had the golden opportunity to speak with Henry Binns from Zero 7 the other day about their new album Yeah Ghost, parting with Sia, touring, farming, and things like that. Henry was an absolute pleasure to talk to and someone I'd love to have a chat with again someday. What I liked most about this interview was that I could find out what they thought of the new album and how they'd describe it before hearing it from anyone else. It is truly special when we can learn about an artistic creation from the artists themselves.

How are you, Henry?

I'm ok but it's pouring rain out and we're here on Baker Street.

Where is that?

Baker Street is the home of Sherlock Holmes, you know that?

Wow nice!

We absolutely just... the heavens opened and we just escaped into a pub, so here we are.

Well it's nice to talk to you and thanks a lot for your time. How was your recent tour? I read that you were in Portugal and also Belgium.

Yeah.

And now you guys are back in London.

We're back in London. We just finished a thing for Channel Four, which is quite a nice TV station here. And, yeah, the album, it's just kinda picking up.

It has an early September release here.

Yeah, and that is subject to discussions that are now going on, but yeah, I think that is loosely the arrangement. (laughs)

Ahh, ok. So what can we expect from the new album?

Well, I'm not worried at all, I really like it. It's more upbeat, a bit more driving, although it's got its moments, which you would call kind of protocol Zero 7 moments. It's definitely a real hodgepodge. It's got really a very folky tune, much more kinda dancy stuff. And, I don't know... I find describing my music impossible.

Yeah, it is very difficult to describe. Where did you get your inspiration for the Yeah Ghost title?

There really isn't much to talk about. They are just a couple of words that shouldn't be together. There is definitely a slightly eerie feeling in making this album. And by that I just mean that sometimes it was like pulling teeth, you know. There was many a big challenge. The parting with Sia was one of them. We were just trying to do things in a way that we weren't too comfortable with, cause we just felt if you do the same thing then you don't move on.

That's true.

So.. it was a lot of ups and downs. Moreso than previous albums.

You have some diverse singers on the upcoming album. Where do you get your ideas for who to feature on your songs?

Really just haphazardly. I mean, I live in Glastonbury now, which is not to be confused with the festival because the festival's about three miles away. That gives you an idea. I live in the west country of England. There's quite a big folk scene there, and I met a girl through some friends called Martha Tilston. And we started the album with her, and that was…forty incarnations later, and you get what you hear on the record. And we had some stuff that we didn't quite have what we thought would make a real album, and I think Eska was the one (again, who we met through some members of the band) who just came to my house and just turned it around really quickly, you know, like ripped into it with a pair of pliers... We got some great stuff with her.

Oh that's so fantastic. I'm really looking forward to hearing this album. What had you guys been doing between this album and the previous one?

You know, I've got a farm. We've got pigs, sheep, chickens... plenty to do around my house. A bit of carpentry. (laughs) But basically, in between the albums, it's been a lot of thinking about this record. And that means, we took some members of the band, hired a bus, and went for a tour around Europe with some other material that we had which we couldn't really put our name on. And we just did some instrumental gigs. Cause you've got to remember that we're not the kind of guys who did pub gigs for years before we suddenly broke. And I think that made this kind of empowering cause you own it and you do it yourself. You go out there and you sing and we all sing. You haven't got this big Sia voice or anything like that. It's all to do with what you guys create in the studio. So I think that helped shape this record.

Do you have any plans to work with Sia in the future?

Never again. Tell that bitch I.... No, I'm only joking. She's cool. She came to my house. And we had a brilliant time. I wrote a song with her for her album, which she just told me that she's using. And my slightly effeminate streamline has been replaced by the guitar player from the Strokes. (laughs) But she said, "Sounds really good," so she seemed to be pleased by that. Me and Sia are good mates. I just think we just all decided that we'd done a bunch of stuff and you owe it to yourself to try to do something different and you know what, there might be hell below but if that's the case... we're all gonna go.

Where do you guys see yourselves in five years?

Oh god, I'm not ambitious like that. I know a lot of artists that have a game plan. We're just literally, desperately, trying to do something that we like at any given moment. Game plan in five years: no idea. I mean, I'm sure the greatest kid hits is coming. (laughs)

Nice. What do you think of the music industry these days?

Well it's fucked. The music business... there is no business. There's nothing to sell! There have got to be ways to generate revenue somehow, and I think it's coming slowly, but I think it's a shame. Music's really important, and it always will be. I think people do need to paid for it, I'm sorry. There, I said it. It's important in that way. People need to spend money on music. It's important in that way. It's just figuring out how we can make it all work. And it's pretty scary times, but interesting ones as well, and I've made people think a lot outside of what they normally do.

Is there a particular place that you enjoy playing?

In America?

Anywhere.

Well Portugal is great. They love the music scene. We did ask our audience a lot there. We literally just played one old song. It was just like Neil Young. Sticking two fingers up our audience, playing all new material. I think we'll put a couple of oldies in for them next time. Loved playing in Portugal. Loved playing in New York; that was fun. I think New York people are very similar to Londoners; they've got a healthy amount of cynicism, which we all need.

Yeah!

Where else... I liked to play in Spain. We've got a lot of connections in Spain. But Spanish don't really get our music.

Do you have a future tour planned around the U.S.?

Yeah I think we're coming over in October or I suppose, the Autumn as we call it, or the Fall. We've got the usual hands for the day, which is great. I'm really looking forward to it. It always feels like the real deal when you're on tour in America: the wide open spaces, and the bathrooms are cleaner. I've got a new assortment: this girl called Olivia Cheney. I was just around at her house. And we were just practicing doing songs. She's a great singer and I think it should be a good show.

Ok, and just one more question. I read that the name Zero 7 came from a bar in Honduras. Is that true?

You can't seriously be asking me this. I suppose I still do have to answer it.

Sorry. (laughs) This is the last time.

Well there's been many a story, but this is the official one. Before we made Simple Things, we went on a small holiday (not small, it was quite a long time) in Mexico. And we worked our way through Mexico. And at every given stop, they were saying, "Man, you're gonna get raped," and none of it even happened anyway, and we ended up in Honduras, where we spent a little bit of time on a little island called Utila. And on that island was a little bar where we used to drink rum - a lot of rum. They used to mix with two cassette machines, can you believe that?

No!

They had a mixer with two tape decks. I'll always remember that. And it was on stilts. Anyway, it was called Cero Siete. When we got back, we were very fortunate to be asked by Radiohead to do a remix. And for that very mix, we decided to call it "the Zero 7 Mix." Shitty name, really. Probably if we'd have thought about it, we probably would have come up with something better. That's the way it goes with us.

You should go back there and play someday.

Yeah exactly. I'll definitely get a nice shot of it. I wonder if it's still there. They got badgered by a ton of hurricanes. But anyway, it would be nice to go back one day.

It's so nice what you did for that small place.

Yeah, that it gets put on the map by some fortuitous little event like that.

Well thank you so much for your time.

My pleasure!

Christine Thelen

Since America's first punk rock group debuted over 30 years ago, countless books have been written on the four non-brothers from Queens, whose unadulterated rock 'n' roll fueled with lyrics of beating on brats and sniffing glue would forever inspire bored teenagers to pick up a guitar. Despite their uniformed look of shaggy bowl haircuts, motorcycle jackets, and high-top Converse sneakers, The Ramones' three founding members were anything but. Joey was the band's towering front man who often hid behind oval shaped glasses, only to shed his shy demeanor on stage in front of thousands. Johnny was the no-nonsense guitarist whose stern, disciplined attitude made him the band's “big brother.” Then there was Dee Dee, a gifted songwriter and bassist who inhabited The Ramones' rock star spirit. While Joey and Johnny would later pass away from cancer, Dee Dee was found dead at age 50 from a heroin overdose. He would be remembered not solely for his music, but for his out-of-control behavior. Seven years later, his ex-wife would finally come clean and set the record straight.

Recently, Vera Ramone King released her controversial tell-all, Poisoned Heart: I Married Dee Dee Ramone (The Ramone Years) depicting what the legendary musician was really like. Although she does reveal how his addictions and struggles with bipolar disorder made him a crazed wife beater who constantly yearned for a fix, she also explores Dee Dee's generous side. Her story also discusses the rise and fall of one of music's greatest bands. I had the pleasure of speaking with Vera about the two sides of Dee Dee, the infamous Ramones “curse,” what could have happened between Sid and Nancy, and how this Queens-based band would forever make an impact throughout the world.

Why was it important to tell your story of what it was like being married to Dee Dee Ramone?

It's probably been 20 years since we broke up. After he passed, I felt that there was nobody doing anything to keep his legacy alive. Joey's brother is coming out with his book in December. People have been keeping Johnny's legacy alive with the help of his widow. Nobody was doing anything for Dee Dee. A lot of people just remember the negative things about him, such as being a drug-crazed person. Yeah, he was a lot of that, but there was also so much more to him and I wanted it to be told. He was extremely funny and loved to buy presents for everybody. It was Christmas all the time with Dee Dee. There were just certain things that I wanted to be known and for him to be remembered as more than a rock 'n' roll addict.

When did you begin writing?

It was July 2007 and it took me about two to three weeks. I would get up at about 7AM and sit in my pajamas until 10-11 PM and just write longhand. After I wrote the book, I had a friend come after work and she would put the chapters on the computer. We incorporated pictures into each chapter, which all of it got changed down the line. It's difficult sometimes to pick the right person for your project because everyone wants to change it and I was pretty adamant on how I wanted it to be written. It took a while to get the right people on board, especially when attorneys are involved. That's why the book took longer to come out. It wasn't so much writing it, but everything else that comes after that.

The book has a very personal feel to it.

It starts at the beginning when Dee Dee was very young. He was really cute and as you go through the book you can tell what the drugs did to him. It's really sad when you get to the last page. I remember one of my friend's 13-year-old son saw the book and she told him, 'This was Dee Dee when he was young and this was Dee Dee when he died. This is what drugs do to you, so don't do drugs.'

It must have been very difficult in thinking about a lot of specific memories with Dee Dee because not all of them were pleasant. Which memory was the hardest for you to write about?

There were several obviously. I stopped two to three times writing the book. I would look at my husband and say, 'I can't do this anymore.' It was just too difficult. I had buried so much in the back of my head that I didn't want to remember a lot of the bad stuff. Just at that very moment, (psychic) Linda Drake would call me. I haven't heard from her in months and she would say, “Vera, you still writing the book? Dee Dee is standing here and he made me call you and it's so important. He wants you to finish this book.” I would give it another shot and I would do the same thing again and she would then call. It just couldn't be a coincidence. I wrote about the good, bad, ugly, and everything in between. I don't hold back and I'm very honest. The hardest thing to write about was his passing. It was very difficult to remember hearing those words. It was what I had dreaded hearing my whole life.

Did you feel a sense of peace after you let out all of these emotions that have been built up for so long?

When I finished writing that last paragraph, I probably cried for an hour. It was just so final. It makes me tear up now.

Everything you went through with Dee Dee, from the abuse to the heavy drug use, could have easily made some women walk away or so we think. But you didn't, you stayed with him. Why?

I loved this man unconditionally. He made some decisions at the end and one of them was going off his medication, the other was leaving the band. I wasn't on the same page with him. We split, but we kept in touch everyday for years after that. We were best friends. It wasn't just losing a husband. It was losing my friend, my soul mate. We practically grew up together. I had to start all over again. What do you do when you don't work for 13 years and you're no longer a rock wife? I had to go through different challenges, but I did what I had to do. Sometimes life doesn't work out the way you hoped it would and life isn't a fairy tale.

I noticed that you mention Sid and Nancy several times in the book. You would mention them when Dee Dee became abusive with you. Was it a big fear for your relationship to end up like theirs?

Life is a parallel. Sid was just a big fan of Dee Dee's that I could see where something like that could happen. Yes, I did fear for my life. Dee Dee was bipolar and off his medication. People do things that they're sorry for later when they're not in the right frame of mind, but it's too late to take back.

Speaking of Sid, people continue to contemplate whether he really killed Nancy.

I don't believe that Sid killed Nancy. The guy didn't have a mean bone in his body. I think it was an accident and from what I understand, it was a drug deal gone bad. Sid was probably passed out when that happened and when he woke up she was dead and they thought he did it. But, if you knew Nancy then you would know that she was the aggressor in that relationship. Sid was meek compared to her, so I never believed that he killed her. The night that Nancy was killed he had bought a knife that was a duplicate of the one that Dee Dee had. We were supposed to go to the Chelsea Hotel and see them before we went out on tour, but something just told me that it wasn't a good idea. Less than 48 hours later, we were somewhere in Ohio and we heard it on the news. We just sat there and looked at each other. Sometimes you just have to go with your gut feeling and I'm glad that I did.

You could have easily focused on just the negative aspects of what it was like being married to Dee Dee, but you also revealed his loving, generous side. Was this a conscience choice?

Absolutely. It was part of the reason why I wrote this book. People mostly remember his crazy behavior and love of drugs. That wasn't the entire person, but nobody talked about it. He had a great sense of humor. He could easily make fun of himself and you could see that in his songwriting.

What inspired Dee Dee the rock star to pursue rap?

When we watched MTV he just fell in love with all of these different rappers, like Jazzy Jeff, Fresh Prince, Salt N Peppa, Run DMC, The Beastie Boys, Public Enemy, and LL Cool J. Dee Dee loved to reinvent himself all the time and he got bored easily. This was just another way for him to poke fun at himself instead of doing drugs. He wanted to call himself Dee Dee Ramone, but the guys wouldn't let him. Johnny was like, 'Ramones don't rap and you can't use the name.' Dee Dee had just written 'Pet Cemetery' for Stephen King and we were big fans of him. That's how Dee Dee King was born.

One of the things that stuck with me from Poisoned Heart is the infamous curse and how the number 50 seems to be involved.

I don't even know if I believe in curses, but it's ironic how they all passed within a year from each other and all around the same age. Dee Dee was two months shy of his 50th birthday, Joey was two weeks shy of his 50th birthday, and Johnny had just turned 50. Then Linda Stein was murdered savagely in her own home. When I turned 50, I was diagnosed with brain cancer. That's when it hit me. That's why I mentioned that crazy preacher guy in Tulsa after one of our shows. It was raining out and these people were behind this preacher chanting and repeating every word he was saying. None of us spoke after we got back in the van. Dee Dee finally said, 'That guy gave me the creeps!' We were all freaked out.

Were they just preaching?

It was just that one guy and you know how those Columbine kids had long black coats that reached down to the floor? The preacher was wearing one of those with a huge hat. He had a bible in one hand and a crucifix in the other. There were these people standing behind him, like followers. He went up to each Ramone and asked them to repent for their sins. We didn't respond to him and he got angry. He started chanting this thing. I didn't know what it was. It felt like we were getting cursed while getting into the van.

I do remember you describing your ordeal with brain cancer in Poisoned Heart. How are you doing now?

I take each day as it comes. They did remove the one tumor that I had. I still have several more and they're growing. However, I don't live each day thinking and worrying about what's going to happen tomorrow. Right now I'm OK, but not everyday is a good day. But, I'm happy, I'm living in Florida now, and I have a great husband. He was so supportive of me writing the book. I don't think a lot of men would feel that way. That's why I dedicated the book to him. I never would have done it had he not been on board. Actually, when I met Ken he didn't know who The Ramones were. I kinda liked that about him. It was refreshing. My husband has listened to Dee Dee's music, read his lyrics, and he admires him. It takes a certain kind of man to be able to do that.

It's amazing that even after all of this time, The Ramones have a huge following. Why, in your opinion, do they have such lasting power as a band?

I don't really know why. In the beginning they couldn't get any airplay. If anyone dared played The Ramones they would get fired. Today, when I go to the mall I see babies in onesies with The Ramones on it. I'll even see a 60-year-old wearing a Ramones t-shirt. They're more respected now than ever before. People are still listening to them and it's become a rite of passage to grow up and listen to The Ramones before you move on to other things.

The Ramones were the little band that could.

I know, right! They couldn't then, but they can now. I still have about 27 demos that Dee Dee made that no one has ever heard before. They've been sitting in a shoebox for the last 20 years. I'm still hoping that one day I'll be able to put them out for his fans. There are a lot of complicated legal issues with copywriting a dead person's work. That's one of the reasons I haven't done it. I'm looking for the right person to help me with this. I want it to be done right.

Now that you have a more stable life, do you have any regrets in being the wife of Dee Dee Ramone?

I have no regrets. Not one. I wouldn't change a thing. I had a great life and spent it with someone that I absolutely adored. I am who I am today because of everything I've lived.

You mentioned in your book that you felt there were many things left unsaid between you and Dee Dee. After sharing your story, do you feel more at peace?

Absolutely. I know he knows. That's all I'm going to say.

What is the one thing that you hope readers will get from Poisoned Heart?

I'd like them to remember Dee Dee for everything that he was. He loved his fans and was so appreciative of the life he got to live when he was here. I also hope my book will raise awareness on Bipolar Disorder. It's looked down upon and there are so many people facing this problem that it's about time we open our eyes. In the end, I want readers to remember Dee Dee's legacy. That's very important to me.

Poisoned Heart is currently in bookstores.

Stephanie Nolasco

Since their debut album in 2002, Taking Back Sunday has been taking the world of punk-rock by storm. Now, nearly seven years later, the band has a new studio album, a new band roster and a new tour, all of which have proven their potential this past summer. Here, bassist Matt Rubano and I discuss the band’s current experiences, the inner workings of their fourth studio album New Again and what it takes to keep loyal fans coming back for more.

What’s it been like touring with Anberlin and Envy on the Coast? What are you looking forward to most about the tour with Blink 182 and Weezer?

We're very into tour unity because being on the road as much as we are is taxing, and it’s best to love the people you are traveling with. Envy and Anberlin are great examples of this. We dubbed the tour "the best tour ever," because we all got along so well. No egos or attitudes in any of the bands or crews. By the end of the tour, it was like forty new friends had been made. We've taken EOTC on tour so many times, and that speaks to our love of their music and them as people…As far as Blink and Weezer, that will be fun, not only because both of those bands influenced us when we were younger, but because we aren't headlining and after we play we get to hang out and enjoy their shows. Watching other bands is a great way to become a better band yourself.

Before the recording of New Again began, what were your initial goals as a band? Were you trying to accomplish a different sound than that of previous albums? What are some differences that you think (or hope) fans will notice between New Again and other albums?

We are always trying to take steps forward in the growth and development of TBS. This record was no different in that respect. When Matt Fazzi joined, we had already done some writing, but he was the catalyst to propelling it all forward. He brought a fearless inventiveness and an open mind that really spread to everyone else and gave us the confidence to try a lot of new things. The mantra became "we will try anything on the quest for a great song.” No ideas were discouraged and that’s how you get a really great “band sound.” I'm sure fans will notice the growth and things like three-part vocal harmonies, (which we have never done,) and odd time signatures and unique song forms.

Definitely. Speaking of Fazzi, can you describe what the process was like, having to find a new guitarist after the loss of Mascherino? What were some of the deciding factors in choosing Fazzi over other candidates?

Interestingly, Matt was the first guy to try out, and after a few other candidates we brought him back for a final audition before deciding on him. Matt was not only the best musical candidate, but he was also the only one who didn't seem to be wrestling with the idea of "what would TBS do here.” He was really interested in contributing his own musical voice to the equation, which was something we were really set on finding. Beyond that, and probably the winning attribute, is that Matt is a really positive and beautiful human being. He helped replace sarcasm and animosity with love and respect amongst our band members, which was something that always held us back in the past. We are better at writing and playing together now because of that, and I believe that this line-up of the band will be the most prolific.

Since Tell All Your Friends, Taking Back Sunday has established an immensely devoted fan base. Although you guys have accomplished a lot, you still seem accessible to fans, which is rare for many bands on your success level. In the age of impersonal social networking (MySpace/Facebook,) what is some advice you’d give to up-and-coming bands in regards to staying connected with fans on a personal basis?

When we went out on tour this past December (Fazzi's first full tour with TBS,) we really embraced the people that came out to the shows. We spent the time before and after the set at the merch table and were always around to hang out. It was great to do that again after a tour like Projekt Revolution (Fred's last tour with TBS,) which keeps you backstage in huge amphitheatres…We are kind of the anti-rock stars. We like to meet our fans and listeners and probably do more meet and greets and personal interaction than most bands…I think new bands need to treat people as individuals and not “friend collections” like they are on social networking sites. That stuff is helpful, but it literally doesn't mean a thing if you never meet those people and give them something real. Your shows are the best opportunity to do that. For those new bands who fancy yourselves big-superstars that are above all of this, I wish you luck on your short, ego-driven careers.

Agreed. In regards to your career thus far, who has been your favorite band to play/collaborate with? Is there any band or musician you’d wish to work with in the future?

We have had the privilege of playing with so many people we admire and look up to, like Jimmy Eat World, Green Day, Rage Against The Machine and Queens of The Stone Age. As individuals, we all have different tastes, but I would love to write or work with Jack White or Josh Homme. I think they are two of the most powerful voices in rock today.

Interesting! In terms of TBS’s lyrics, you guys seem to describe all of those unspoken, idiosyncratic feelings that people may not always admit to, but can definitely relate to, without ever having to mention the word “love.” Can you describe the brainstorming process of how you typically come up with these song ideas?

I attribute that all to Adam, as he has always handled the lyrical part of TBS. He labors over the lyrics until he feels they are exactly as he wants them to be. On New Again, he went for a way less cryptic approach and was more honest and literal with what he was trying to convey.

For fans that haven’t seen you on tour yet, what can they expect from your live shows in comparison to past tours? Will there still be suits and swinging microphones?

We have always tried to make our shows like a party, with no separation between us and the audience. It’s not always easy to do in larger venues, but we try to make the show as exciting as we can. We've got so much music to choose from to make our set lists these days, and that makes the show diverse. We also are trying new arrangements of older songs and adding instrumental interludes.

Awesome! So currently, your band has four albums under its belt. You guys have played with and alongside many diverse musicians and have performed all over the globe in shows and festivals. You’ve overcome the loss of two guitarists. You have one of the strongest and most loyal fan bases around. You still manage to stay real, level-headed people, no matter where success takes you…What do you have to say to anyone who thought Taking Back Sunday wouldn’t make it this far?

We have always looked at ourselves as the underdogs. It takes a lot of effort and hard work to get where TBS is, and to be honest, I'm too focused on it to care what someone who doubts us thinks. This band has been counted out before, but we're kind of like the boxer you can’t knock out. Besides that, we love what we do, and that has always been the fuel to keep us going.

Lucy Tonic

After the success of The Wrestler, writer Robert Siegel is back with a new film called Big Fan, in theaters this month. Here, Siegel and I discuss his new movie, what influenced his casting decisions and what fans can expect from his sophomore effort in comparison to his debut.

Let’s talk about your upcoming film, Big Fan. This film was your directorial debut, correct?

Yes!

Can you describe the process of how you came up with the idea for this film? To what degree did your experience in New York radio influence the making of this movie?

The origins of the movie are rooted in NY radio. As a kid I used to listen to WFAN religiously every night, and I would hear these callers, just like you hear in the movie, and you couldn’t help but wonder who these guys are and what their lives were like…It’s kind of a community, you know, of people who never really met each other, but they have these relationships on air, and sometimes the relationships are affectionate and sometimes they’re antagonistic, like in the movie.

As far as casting, were you expecting to have a comedian in the lead role? What set Patton apart from other actors, if he wasn’t your first choice initially?

I didn’t set out to cast a comedian per-say, but I wanted somebody who really felt right for the role and Patton is just utterly believable. No disrespect to Patton, but I didn’t want to cast some super-hunky, handsome leading man, put him in drab clothes and have him gain four pounds …You know they do that in a lot of movies, and it makes it difficult to immerse myself in a film when believability is kind of a hurdle…

I wanted somebody who looked the part, but I certainly was not concerned he was a comedian. Comedians can be very dark people…they tend to be darker or more in touch with their dark sides than your average George Clooney and Brad Pitt’s of the world. But he [Patton] also has this likeability factor that was really important to me. With the wrong actor, this guy could come across as a total anti-social creep, but with Patton playing the role, movie goers will hopefully be rooting for him.

It’s weird…even if you only have five or six specific characteristics you want your actor to bring, the casting list can narrow down very, very quickly. I wanted him to be short, I wanted him to be likeable, and I also needed somebody who would be willing to make do without a trailer or pay, things like that…And you just can’t do that with Philip Seymour Hoffman…those types of actors you can’t abuse the way I was able to abuse Patton (laughs.) So for very practical reasons, I needed an actor who was not on the A+ list. I didn’t want to cast one of those guys who we’ve seen do this already.

I definitely agree; Patton fit the role perfectly. I also wanted to give you props on the tremendous attention to detail you gave to this movie, including the location shots.

Yeah, we used the real Philadelphia skyline, and the Pats Steaks and Geno’s shops. You know in some movies they shoot Toronto and call it New York, and obviously anyone who’s ever been there knows it doesn’t look real, but with some strategic EBay shopping we were able to get away with some stuff (laughs.)

My favorite detail of the movie, which I’m waiting for someone to bring up, is that sign in the bar at the end that says “Danger Ahead: You’re Entering Eagles Country.” But yeah, I love details.

For people who saw The Wrestler, how would you describe Big Fan in comparison?

I like to think that these two movies could kind of be taking place at the same time in different parts of town. They almost could exist in the same world; they’re both realistic and gritty and hopefully funny, although I think Big Fan is probably a little funnier than The Wrestler…Some people find The Wrestler incredibly sad, which is a whole other conversation I guess, but I think you can kind of tell they came from the same person.

A lot of the scenes are the same and both characters are these guys that just want to be left alone to do their thing, and their thing is something the rest of the world doesn’t necessarily respect, but it makes them happy and fulfilled. Randy the Ram and Paul Aufiero are both resisting change, which is not what you typically find in movies. One of the golden rules of screenwriting is you have to give your character a growth arc, and both of these guys don’t have much of a growth arc…The world might want them to change, but they just want to do what makes them happy, and these are guys that possibly could be perceived as losers, but I don’t see either of them as losers. I kind of have an admiration and respect for them…they know themselves and they know what makes them happy, and it might be a little f*cked up, but they know what makes them happy and that’s what they want to do.

I agree and I’m sure fans of the film will too. When was Big Fan officially released in theaters?

It came out August 28, first in New York and Philadelphia for obvious reasons. Then it rolls out to about 25 cities, which you can view at bigfanmovie.com.

Lucy Tonic

Jupiter One is a band from New York, whose unique sound is derived from mixing vintage musical elements with modern techniques, bringing back to the forefront that old, forgotten element of song-writing…Melody. Members Zac Colwell (lead guitar), Pat Dougherty (bass). Dave Heilman (drums). and K Ishibashi (vocals) demonstrate this sound perfectly within their second album Sunshower, due out mid-September. Working with greats like Jac Holzman and Chris Ribando, and having their songs already featured in commercials and video games, you may have already heard these folk-funk-pop sensations, but I guarantee you’ll be seeing more of them after this sophomore effort. Here, I speak with lead guitarist Zac Colwell about Jupiter One’s new album, a possible new tour and what happens when foxes get married.

For your fans, how would you say Sunshower is different from your debut album? Did you do anything different with the recording process itself?

We were able to book a studio, plan it out, test all the songs on the road and write it more as a group almost. I think it’s a big difference from the first one. Still the same guys playing, but it’s a little bit more of a concentrated effort.

Sunshower definitely hints at some classic influences like The Beatles, Pink Floyd and The Police, yet you guys managed to create a sound all your own (which is difficult to do in a business where everything has been done, or rather heard, before.) When Jupiter One decided to become a band full-time, did you set out to sound like a specific genre, or did you guys simply merge your musical influences together?

Melody has kind of become an antiquated element in young people’s music. People can do it, but they just don’t seem to like it… but we love melody. K and I each write the lyrics and the melodies for the most part, so we have each other to bounce off of. I guess what the band set out to do was just make cool songs.

Can you describe what instruments and formats were used to create Sunshower?

Dave, our drummer, is a 5’10” hurricane, and our bass player Pat is made of steel, so there’s that element (laughs.) Mocha plays organ…We have a bunch of awesome 70s synthesizers, which everyone seems to associate with the 80s, but we always considered synthesizers to be a 70s element. I play woodwind, as well as synthesizers and guitar…

I did hear the flute on a couple tracks…you don’t hear that instrument every day.

Well the flute and clarinet, as well as Mocha’s violin, we keep layering to create our own little orchestra. So even though it was nice to have the resources to make a better album this time, we still wouldn’t be able to afford a real orchestra, so we just decided to do it ourselves (laughs.) I guess the main thing is, some people record an album the way they would do it live; we just thought it would be a little more fun to treat each song with equal amount of effort and give each piece its own personality.

For those unfamiliar with the fable, can you explain the influence of the Japanese short film Dreams on the album’s title and concept?

Well the album title wasn’t taken directly from that. Most of the songs on Sunshower are either bittersweet, or they seem sweet and they’re bitter, and vice versa. So as far as the imagery, like the foxes we have on the cover, that’s really where the short film comes in. It has to do with a little boy who wants to play outside, and he wanders to a forest where he’s not supposed to go, and he sees these foxes getting married in a wedding procession, in Kabuki theater style….more or less, it has to do with foxes being mythical creatures and playing the role of troublemaker in almost every culture. So anyway, sunshower is when foxes get married (laughs,) but also about nostalgia. When a sunshower happens, I really think of my childhood, which I’m sure everyone does as it’s something really poignant, you know.

Definitely. Now were there any favorite tracks off of the new album for you guys, whether it was your favorite to record or perform live?

Well we just figured out how to play “Flaming Arrow” live, because we hadn’t been playing it on the road, and that’s the first single. But we like to rearrange stuff sometimes so we can emphasize certain elements. “Simple Stones” is the funky one; I really like playing that one live, and “High Plains Drifter” is another really fun one.

Before you became a band, (and still to this day) it seems all four of you had day-jobs that were anything but ordinary. Do you think this collective creativity played a role in allowing each of your individual styles to mesh so well together?

Yeah, sure. I think New York is a big even-outer, as far as making people compatible with each other. Every time I meet a genius musician in NY, (or take my friends in the band for example,) it’s easy to get along with them because everyone’s doing the same thing…scrapping, starving and pretending like you’re not.

So what do you anticipate for the future of Jupiter One?

Well, we just made four videos which are going to be really exciting. One is by our friends Trevor Bittinger and Brandon LaGanke, and they are psychedelic geniuses. They worked on the first track, “Volcano,” which is a really fun, psychedelic visual experience that features a street performance artist who is known for wearing a giant plushy dolphin suit. Robertas Nevecka is a Lithuanian-based visual artist and animator, who is directing the video for our first single, "Flaming Arrow.” It's an animated version of the story told in the song with cartoon versions of Jupiter One… And we just did videos for “Made in a Day” and “Simple Stones.” So I’m looking forward to those videos coming out and touring.

Awesome, I’ll have to check them out. I heard you guys are known for playing over 100 dates in one year alone. Do you plan on doing an extensive US tour for the new album?

Oh yeah, we’d do 365 if we could. We’re going on the road again soon in September.

Be sure to check out Sunshower when it’s released September 15th.

Lucy Tonic

“Three weird aunts + basement party + drawing and sewing till our hands hurt but we keep on keeping on + lost mix tapes + lots and lots of dramedy.” This is the description written on the MySpace page of female trio, Explode into Colors. The Portland-based ladies, who have already made a huge splash in their local music scene, indeed know how to keep it real in terms of their prospective music careers, while remaining humorous and creating refreshingly unique “crunk” music along the way. Here is my interview with baritone guitarist Claudia Meza, one of the three badass elements of the trance/dance/punk/funk/soul project, that is Explode into Colors.

Can you describe how Explode Into Colors was created?

Lisa and I got together to play in my basement. We asked Heather to join a bit later. We made a pact not to be a rock band and to have fun all the time. This would be our collective art project. Also, we made a pact not to be an art band. There you go!

Most bands usually have to put out a record before generating buzz in the music scene. You guys did the opposite. (Congrats on winning the Best New Band Poll on wweek.com!) Did you expect to gain as much exposure as you did from your live shows?

Thanks, and no we had no clue. I think the internet helped a lot, as well as our local magazines by being so supportive and actually interested in covering the local music scene.

What influenced you as a band to try something different, in regards to taking a minimalist approach to music rather than making it complicated?

Lisa and I had been playing very complicated music for a long time, but when I started playing drums I became transfixed by the simple dance beat and overtones that can be heard on the drums. So that became a really specific sound that I didn’t want trampled by complicated arrangements or distracting melodic motifs. I wanted it to sound spooky and driving. All of our musical influences of course come in to play. Heather studied West African drums, Lisa was going through a Krautrock phase when we first started messing around in my basement and has been playing drums forever. I was knee deep into dub, Yoko Ono, Laurie Anderson and revisiting a lot of composers I love, like Steve Reich, John Cage and Edgar Varese.

Can you describe what instruments and formats of music are used to create your unique sound?

Drums, percussion, keyboards, baritone guitar, tapes, effect pedals, and samples.

Are you glad that EIC took off first in the Portland music scene?

Portland is definitely a very special place: It’s supportive and people here are genuinely excited about music. I think with the internet, a band can reach a wider audience without needing local support or even a homegrown scene. Sometimes, kids don’t have the luxury of having a weekly magazine that wants to know what you are doing.

You guys turned down a national tour with The Thermals, yet continue to play tons of local shows. Do you enjoy playing smaller gigs? Do you find that your current schedule allows you more freedom as opposed to a national tour? If offers like this are presented in the near future, what factors will affect your decision? (i.e., having an album officially released, personal priorities, etc.)

We all have full time jobs. In order for us to go on tour, we need to make sure it would fit in all of our schedules and it was economically feasible. When we were asked to go on The Thermals tour, we had too much to deal with at home and we had nothing to sell. It seemed silly to go on tour without any official releases and no prospect of employment when we returned. If we were all 16 and living with our parents, we would have taken that tour as we love The Thermals very much as a band and as people. We also needed to focus on making sure the releases came out on time and focused on writing more songs. As for big shows versus little shows, nothing beats a house show for us but big shows are fun too when it’s at the right venue with the right people.

I heard EIC will be releasing a 7” in September, as well as a future full-length release under the Kill Rock Stars record label. Will these projects consist of many songs already performed live?

Yes. Ironically, the KRS single, “Eyes Hands Mouth,” never gets played live though. We might have to relearn that one.

Are there certain elements of your music that you think will be better represented in a live atmosphere vs. a recording studio (and visa versa)?

Oh, definitely. Drums are so visceral and I think hard to record. There is something exciting about being close to the impact. Recordings are where we focus on the arrangements and effects of things to get everything right but playing our songs live and in front of an audience is the most fun for us, for sure. I think that both formats, live and recorded, bring out different aspects of a song.

For those who’ve never yet been introduced to Explode Into Colors, how would you best describe your music?

I don’t know, go to our site. There are songs there for your listening pleasure. Explode into Colors

Lucy Tonic

They’ve toured with The Thermals, the Meat Puppets, The Shins and more, yet they remain one of today’s most modest music machines. The Shaky Hands have indeed made an impact, and it appears it’s just the beginning for these Portland boys. Here, I speak with bassist Mayhaw Hoons about Lunglight, confetti, Shakira and the new album.

You guys recently finished touring. How was the experience overall?

The tour was great. Not only did we get to see and hang with The Thermals every day, but we got to know and love Point Juncture, WA, which was amazing.

Awesome! Were there any favorites of the 13 tracks on Lunglight to perform live?

For me, it's the song “Air Better Come.” It's the hardest for me to play out of all of our songs, because it gives me major hand cramps. The best part of playing that song is watching Jake play the beat. He looks like a maniac.

You guys seem to stay out of the spotlight, yet continue to press for bigger and better things musically. Were you expecting Lunglight to receive the great press that it did? Do you ever take these reviews into consideration when recording future albums? ... Or does the press have no real influence over what the band creates?

We knew that the album was great but were not sure how people would take it. Some people were excited by the change in sounds, and some were expecting "Summer’s Life Pt 2.” The reviews really have no effect on the songwriting process. The only thing that affects Nick's songs is Nick himself and what the rest of us put into them.

Your debut album was slightly more upbeat than Lunglight. What influenced this change in tone?

We had recorded the first album a few years before Lunglight, and a lot had gone on in that time. We had added Nick's brother Nathan to the group and did a lot of touring. I don't really think of Lunglight as being darker, other than a few songs. It sounds like a natural progression to me. You could switch out songs from both albums and they would fit.

I heard you guys play a killer live show. How do you keep things interesting on stage? (Is the set pre-planned every gig? … Do you perform any acoustic songs/covers? … How does the audience influence you?)

The set is always planned; we rarely ever stray from it. We haven't played any acoustic songs live since the time Nick stepped into his guitar on stage and crushed it to death. That was a magic guitar, and it felt right to retire some songs with it. The main thing that helps us play is the audience. If we get good vibes we can feed them back. Also, (I found this out last weekend,) confetti is a big plus. You can't have a bad show when you're being showered with confetti.

Confetti and music always go well together. So I’m interested to know, what was it like having your music evolve in the Portland scene?

All of us have played in bands from the time we were in middle school. If you play music in small towns, you learn how to do it in a different way than others who have real venues at their disposal. Once we met and began playing in Portland, we had a good work ethic and were willing to play wherever, whenever… Lots and lots of basements. You have to really get people going at those shows, cause if they don't like it they will go out on the porch and smoke. You got to keep the energy high.

How was it playing alongside bands like The Meat Puppets and The Thermals? What artists or bands, if any, would you like to play/collaborate with in the future?

To me, The Meat Puppets tour was the best of all time. We had done five shows with The Shins a few years back, and that was amazing, but I feel like we never had a good connection with the fans. They were playing places like the Greek Theatre; an awesome experience, but kind of strange for us. With The Meat Puppets, we were having great shows every night to the best music fans ever. Plus, getting to know the band was a dream come true. Thermals fans were a bit harder to crack. They are rabid kids. Some nights were amazing; some nights it was crickets. They wanted to get to their beloved Thermals and crowd surf. Every audience is different, but The Thermals themselves were always great to be around, and as I said earlier, we had an awesome time on the road with them. We would love to tour with the Puppets again. Other great bands would be Big Business, Tom Petty or, I don’t know, Shakira?

Petty would be awesome. And whatever happened to Shakira? Anyway, I heard you guys were working on a new record, as well as releasing an EP. Any word on when these will be made available to the public?

The new record will be out late September on KRS. The EP will be released a little before that as a split between the labels.

How would you describe this new album in comparison to previous albums? Are there any differences you hope fans will notice?

The new one is nothing like the other two. The differences will be noticed in the first ten seconds of the first song. We have a different drummer on this one; Jake Morris of The Joggers. He changed our sound completely. We also recorded it with Jay Pellicci who has worked with Dearhoof, so it sounds HUGE. I know that every band says this about their new album, but I think it's the best thing we have ever done.

Lucy Tonic

Photo Credit: Chris Jensen



Daniel Ash is one of the founding members and guitarist in the legendary art-punk band Bauhaus, a group whose first single, “Bela Lugosi’s Dead,” effectively set the stage for the emergence of goth rock in the early 1980s. After that group’s demise, he formed Love and Rockets with Bauhaus band mates David J and Kevin Haskins. The group’s sound ranged from swirly psychedelic rock and pop to folk to electronica, eventually resulting in a top three hit single at the peak of their success. He’s also maintained a solo identity, periodically releasing albums and most recently, a cover of David Essex’s “Rock On” as an iTunes single. I spoke to Ash hours before he embarked on a motorcycle trip from southern California to Austin, Texas, in time to DJ a listening party for the forthcoming Love and Rockets tribute album.

It’s well known that you’re quite the motorcycle enthusiast [Love and Rockets’ self-titled 1989 album features two back-to-back songs referring to his love of riding]…

Yeah, I’m going off on my trip this afternoon, that’s why I’m in a good mood! I was supposed to be flying, but I decided to go on the bike. It’s my yoga … the lazy man’s zen. For me, after an hour I go to this place that is pretty euphoric. Freedom is the bottom line. It’s incredible. It keeps me sane. I get loads of ideas out there. I take a mini recorder with me and I’ll just go off to the side of the road and record them on mini-cassette.

Your first two solo albums had more of a guitar-based sound, while the last one [self-titled, 2002] was electronica. Are you looking to return to more guitar-based music?

I have no idea, actually. I get bored very easily, so I love doing different styles of music at once. [New song] “Flame On” is full-on … it sounds like it could be from [Iggy & the Stooges album] Raw Power, and then there’s “Candy Eye,” which sounds like Euro Pop. It could be a hit – whatever a hit is these days. Maybe in France or something. What I’m hoping to do now is more film work – I’d love to score a great film or do some TV. In 2003 I did the music for a show called “Keen Eddie;” and it was a new and different thing for me to do. That’s of much more appeal to me now, not playing live. I’m done with that.

No more live outings then? You’re not as cut out for being on the road as you used to?

I love the idea of being on the road. If it’s on a motorcycle, I’m fit all the time! But touring with a band, I’ve been doing that since 1979, and that’s a long time. I mean, if I had some success with my solo stuff, I’d be into doing some one-off gigs, but the non-stop traveling and all that doesn’t appeal to me anymore. It feels like a nightmare now.

So I guess no plans to tour with Love And Rockets after last year’s one-off shows at Coachella and Lollapalooza then? Were you at all upset that Bauhaus broke up before the final album Go Away White was released? Would you have liked to tour any of that material?

No regrets in that area. I’d been working with the same guys and it was getting old, big time. I mean, Love and Rockets was together for 17 years. And with Bauhaus, those songs are 30 years old now, so it’s not exactly fresh anymore. We played two songs from that album when we toured with Nine Inch Nails a few years ago, but most of that album is really not conducive to a live gig anyway.

It was said there was some internal conflict and an “incident” that resulted in Bauhaus breaking up for the last time in 2007. That aside, could you have seen the band carrying on for much longer anyway?

Well, you have to put up with personality conflicts no matter who you’re with, and usually that’s what makes a band great. But the thing was that Bauhaus never really got paid. We absolutely never got into it for money, but when you’re out on the road touring for three months and in the end all you get is “survival money,” it gets disheartening. It was always a struggle, and the paycheck just wasn’t there year in and year out. I think if we were compensated more than we were, it would have helped us get on better.

Of course the music business is very different now than it was years ago. Has that made things more difficult as an independent artist? I remember a few years ago you were selling a three-song EP online to help finance your 2002 solo album.

It is really tough for bands now, unless you go out on the road and tour, which I don’t want to do. In the old days, you would make an album, go on the road and hopefully that led to people walking into a record store to buy it. Now you make the album, people get it for free, and it promotes you going on the road and hopefully people come to the shows. You have to think outside the box here, and yeah, it’s tough.

On the other hand, Love and Rockets were able to have some mainstream success and a chart-topping single in “So Alive.” That must have helped.

Oh that was fantastic, I wish I could write more tracks like that! Commercial success is very appealing to me. Sometimes there’s nothing like a three and a half minute pop single.

And now there’s the Love and Rockets tribute album coming out. The band covered a lot of musical ground, and that comes out in the many different acts that perform on the disc. What are your thoughts on these interpretations?

I guess we were all over the place, just looking at this list. I love a lot of these. Most of the tracks, I’m really thumbs-up with [the artists’] approach. I particularly like when they haven’t copied the original song and take it off into something else. Frank Black’s “All In My Mind” is great; love the attitude. And I love the guitar on the Flaming Lips track (“Kundalini Express”), because it sounds like how you play guitar when you’re first learning; sounds very interesting. As a side note, there was talk at one point of getting Tom Jones to do “So Alive.” Apparently he used to play that song at his shows in Vegas. Imagine it! It would be a complete laugh. That might be something we can still do… maybe add it to the online tracks [www.myspace.com/loveandrocketstribute]. There is still hope that Tom may come on board. Exclamation point. My mom would be pleased, anyway.

This might be a bit like trying to choose a favorite child, but is there any project of yours that you are most fond of today?

My favorite band of the three I’ve been in is Tones on Tail [formed after Bauhaus and pre-Love and Rockets with Ash, Haskins and bassist Glen Campling]. It was completely free; we never had any commercial considerations, but creatively it was the most fulfilling. That music really stands out to me and doesn’t sound dated, so it transcends time in that sense.

I gather you’ve had a reluctance to embrace the internet. How do you think it factors into things today?

It’s a double-edged sword. The downside is that since everyone’s got a website, it gets overwhelming and becomes sort of “So what?” I mean, when was the last time anyone listened to an album, right? I find myself barely listening to one song before slinking off to something else. Young kids are bad like that – they’ll sit there drinking Red Bull with the attention span of a mosquito, just bouncing around. And I don’t use e-mail. People think I’m crazy, but I just don’t want to sit in front of the computer for four hours writing e-mails. It’s perverse to me; I just can’t do it. The phone is so much better. If I’m not in, just leave a message.

That’s surprising in this day and age. Most people might say there’s no way they can live or conduct business without it. Has your not using e-mail ever caused any personal/professional difficulties or complications?

[Ash pauses for a second before responding in a succinct tone] No.

The Love and Rockets tribute album New Tales To Tell – A Tribute to Love And Rockets is out now on iTunes, and will be available on CD Aug. 18. Consider checking out any of Ash’s former bands a service to yourself.

John Mordecai

What can you say about The Trews? They are a solid four-piece rock band. They write good tunes. They are from Canada. They are again 'down here' playing shows in modest-sized venues. They warmed-up for Kiss (among others). They are lead by brothers Colin and John Angus McDoanld. They employ no gimmicks (see my review of their new CD No Time For Later). I happened to speak to one of those brothers, Colin and got to ask him all about things in Trews land.

You're in town to play the Mercury Lounge, have you guys played NYC before?

Yes, we played the Bowery Ballroom, Nokia when we warmed up for Ace Frehley.

Thanks for the segue; tell me about warming-up for Kiss. What was that like?

It was amazing, we had a great night. We just got added to the bill, but we got to meet the guys, they seemed to like what we were doing. They are doing the Kiss Alive 35th anniversary show; I just sat there and watched it all with a big grin on my face. It's really great that we get these opportunities to play with these legendary bands.

There's been a few rock bands with brothers in them, Black Crowes, The Kinks, come to mind. Do you and John have the cliché’ volatile rock and roll relationship or do you guys get along better than that?

We're pretty good. I think since we haven’t really broken out internationally, we're not really famous; there's not that extra pressure on us. We all really have spent a lot of time together over the years, the entire band, so we're all close, like four bothers. Usually all that fighting is an ego thing, but when you're working uphill, trying to make it work, that brings you together. We keep our own council basically.

This is my 'state of the music business' question but…what do you feel about the music business nowadays?

It's difficult, it's changing all the time. It hasn't been easy to keep up honestly, with the internet and the business shrinking, all those bands out there trying to make it. But we're just moving straight ahead, being honest with what we do, and communicating with people. It's a tough business, but we've chosen to do it, no one is holding a gun to our heads. We want to keep going, tour America, we've already seen some towns starting to turn around. We just go out and deliver 120 percent, hope for the best, no gimmicks, best served honestly.

About No Time For Later you guys are quoted as saying you feel this is a record of 'Two minds.’ Tell me what you mean.

We started out in the fall of ‘06 after a long tour, wanting to put out something with a heavy impact. We had opened for Guns and Roses and I guess that influenced us wanting to make a hard rock album. Then the album took longer, we started to change gears a bit, we hired a new production team, and they came in and heard some of the CCR-type stuff we were writing and they said they liked that side of us too. So we got into both worlds, well rounded, kind of eclectic…but still us with our guitar sounds, vocal harmonies. You can't predict when you make a record where the songs are going, and if you try to control it, people will hear the manipulation. It's all got to be organic.

Canadian band in the U.S., discuss…

It seems to me that if you are a Canadian band and you come down here and get success first in America, then you can go back up to Canada and it is easier then to enjoy success in both places. Nickleback ended up like that and now they are a huge band. For a band to have success first in Canada, like we do, then come down here and try to break America is harder. Traditionally, Canadian acts can get a ton of success at home, radio, T.V. outlets but then you come to the states and you don’t exist. But Canadian bands usually do very well in border towns, places like Buffalo, Detroit, they get Canadian radio, so for us that's where we hope to break down that barrier for American fans. And when people latch-on here they do go out of their way to see it. American fans are very loyal.

And the state of economy, has it touched you guys 'up there'?

Yeah, we all feel it. But you know, when times get tough people turn to entertainment, they go to movies more often, shows, looking for an escape.

In your press you mention Rockpile, among other bands who influenced you, and I really heard this in "Dark Highway" especially, but then I heard shades of Nazareth in a tune like "Hold Me in Your Arms."

Well Rockpile was one of my most favorite bands. But I think the differences you hear in the songs come from the fact that we have always liked bands that had diversity, like Queen, they did a lot of different stuff but it always was Queen. No matter where the songs go I think we always stay in the rock and roll genre and you know it's us.

And did you write the songs or you and your brother?

The best ones were written in jams, four of us jamming on ideas, working it over, and then coming up with good lyrics.

So what's in the future for The Trews?

We're releasing an acoustic album from a live acoustic club date we did (title and street date not set yet) In the fall we're plan to begin writing, but we are out playing here in the U.S til' 8/16. We're getting some play on 'Alternate Nation' (on Sirus/XM) so we'll probably do more acoustic and electric shows both, keep it going, revisit the cities where we seem to be doing alright

Any plans on attacking Europe?

Europe is expensive to get over to tour in. Here we can just drive down, 7-8 hours we're here in the north east, we're cool with that. We all live in South Ontario so eight hours we're in New York, ten we're in Chicago.

So you just basically keep planning and recording.

Very few people get into this to be international stars. You just got to go and do it, and it might be Madison Square Garden, it might the Mercury Lounge, either way you do your best every night to entertain whoever is there. You can't base your entire life on making it huge, you just got to make ends meet and consider yourself fortunate that you get to do something you love and make a living at it. It’s hard to keep perspective in such a fickle business, one percent of groups are as big as Kiss. I just hope that when people see The Trews live they have a good time.

Ralph Greco Jr.

Frankie Faison stars as Harlan in Fox Searchlight Pictures' Adam (2009)
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Here's the thing, when a guy has been in as many movies as Frankie Faison (about a hundred) has, been nominated for Tony's, has been featured on H.B.O's "The Wire," created the beloved character of "Barney" for more then one Hannibal Lecter movie, works in and supports not only independent film and local theater (his wife runs a theater in NJ, near my home), you assume a guy like that has a lot to say. What you might not realize (and what I didn't until I met Mr. Faison, who plays Harlan in the soon-to-be released movie Adam) is that they guy is as passionate about speaking about the biz as he is working in it. Frankie Faison and I had a sit down (because that's just how I roll, kids) and here's what we spoke about.

I liked Adam, but to tell you the truth the scenes that touched me the most are the one's your in, especially, the one where you and Adam are packing the van (go see it, I won't spoil it for you).

Thank you, I appreciate that.

I was thinking that, with the obvious credits you have, do you still have to audition?

All the time. That's a really interesting question…it's tough ya know. I've been doing this business for 38 years, done at least a hundred films, and T.V. series, three of them have been unique and successful. Broadway, off-Broadway, everything. But still, people want me to come in, audition for one half-day scene and though I'm not so full of myself to say I'm beyond that kind of thing, in a way there is a body of work that speaks for itself. You know what I can do, after all this time I'm not different; I still have my fingers and toes (laughs)

So at your level, with your background, you're still the typical 'struggling' actor?

(Laughs) People make assumptions. I'm an unemployed actor looking for my next job.

How about what's happening with you and theater? (Mr. Faison was nominated for a Tony) Anything in the future for you on the stage?

Anything that comes up, we were going to do a production of Fences out in NJ, but it depends or not if we get the space. I really want to focus on doing more theater again. Theater is my first love. If I could do that I'm a happy man. I do film and television cause I have three kids. But they're all grown now, now I have a little more freedom. I can sorta do what I want, not what I have to do.

And that theater you mentioned is the one that your wife runs, right? (This theater, in north NJ was in the same town that Mr. Faison lives in, but recently closed in that location). You did the highly-acclaimed Death of A Salesman there. I heard that that theater was closing, what's the status of it?

We're moving to… (I won't name the town if this doesn't go through, but it is one town over from where the theater 'used' to be), if we can find the funds. It's like digging for gold trying to find money for the arts out there. What's happening yesterday, today it's like oh boy. Cause there's no funds for the arts.

And that theater was there a long time?

I know, fifteen years, it is such a gem.

You have the distinction of being the only actor to appear in all the 'Hannibal Lecter' films; Manhunter (the first one, made years ago without Anthony Hopkins in the title role) then as the character "Barney" in the later, more popular films. How did that happen?

I did the first film, the one that Michael Mann directed and then Silence Of The Lambs came along and I didn't even make the connection myself! I got to meet Jonathan Demme (J.D directed "Silence") and he took to me and that character in the book, because the character didn’t exist in the first one. So I did "Silence," the writer (Thomas Harris) loves that character. But the script came out for the next film and I had to go and audition for the same part I played in "Silence" (laughing) I thought, this is nuts, here I am, I have created this role, same character, so I had to go in and re-audition. I thought this is so bizarre and I wasn't going to do it at first, but then again I thought, I love the story, I had to go in and win the role.

And you were in the remake of Manhunter too, right? Red Dragon?

Well I didn't think there was too much for me to do there, just sort of flashback stuff. I wasn't going to do it. I said no many times and Brett (Brett Ratner, director) said we have to have you in this film and because of that it made me feel good. When people respect me like that….I'm not really about doing the big roles. I am about the work, the ensemble, so it really warmed my heart that he really wanted me. I said ok and I'm glad I did it because I became a trivia question. (laughs)

Tell me what's coming up for you.

There's a film called Cirque Du Freak, vampires and circus freaks, with the Weitz brothers, they've been very supportive to me in my career. I play Rhamus Twobellies, a man with two stomachs. Then there is a another circus film called Splinterheads, circulating out there which is a little independent film that's very charming, if it gets a good distributor it will be well received I think. And there was another film at Sundance, Brief Interviews with Hideous Men.

You also were in one of my all-time favorites, Mother Night.

Amazing film, I love it. It's a pretty good adaptation to (of the equally amazing Kurt Vonnegut novel, go out and get it after you finish reading this interview!). It's one of those quiet little films. I love independent films, some of my great experiences have been films like Mother Night, like Adam. I love that you get to do these movies that have an impact.

Frankie Faison definitely has had and continues to have an impact; in the new movie Adam and spending the time he did with me. Thank you Mr. Faison and the good people at Fox Searchlight for allowing us the time to interview this hard-working actor.

Ralph Greco Jr.