Interview with Kalel of Pillar       
                                                        By Jane E. Powell

October 14, 2005 - Pillar is one of today’s most popular Christian Hard Rock bands. They have been the recipients of three Dove awards since their formation. Kalel is the bass player for the band and one of the founding members. They have played with bands such as Evanescence, Korn, Mudvayne, Sevendust and Powerman 5000 to name only a few. Here Kalel shares some insight into this amazing band.
 

                              Interview with Blake Bailey and John Adkins of S.O.M.A
                                                          By Jane E. Powell
  
Jane Powell: Good morning once again, S.O.M.A. or Sounds of Mental Anguish is a band based out of Ashland City,TN.They are here live in the studio. We are going to be looking and listening to their new CD, Out of the Ashes. It has a great jacket or cover that is eye catching brilliant bright red with a white dove in the center and a blood-tinged moon in the background with the dark outline of skyscrapers in the foreground. We are going to be talking with them in a moment. We have with us two members of the band Blake Bailey who does lead vocals for the group and John Adkins, who does much of the writing for the group and absent today is Willie Buhler, who is a guitarist and Chris Forte, who plays drums for the group is not able to be with us today. How long has S.O.M.A been formed as a band?

Blake Bailey: Well, 1999 is the year we actually formed as a band. It was just a three piece and a drum machine. It was John and a guy J. Harding who plays bass. After a year or two years or something we got with Chris Forte and Willie Buhler and started going from there.

JP: Did you find that your music was coming from similar interests, some of you had played in older bands that had broken up?

John Adkins: Chris and Willie played in a different band when we first met them.

BB: Yeah, they played in a Southern Rock band when we first met them. So that was pretty interesting to have them come to a metal band like us. Willie uses some of his Blues influences. He uses that on some of the lead vocal stuff. The bass player likes to listen to Rap and Hip Hop. Myself and John listen to Metal and some older Alternative Rock.

JA: I come from Ashland City originally. But, Blake came from Hermitage. We met up and it came from there.

BB: We met J. the bass player at a party we played at. Like we said, we didn’t have the members to do what we really wanted to do. So we used a drum machine.

JP: I find that interesting, you see that used a lot in Rap. They use the drum machines all the time. But you have a drummer that goes with you now.


BB: Yes.

JP: What is the vision for S.O.M.A. ?

JA: Well, we want to be a breath of fresh air. The hardcore scene is going on out there. We are trying to put more vocals, than screams in the sound; which is real common in the heavy scene right now. We’re trying to use all of our influences.

BB: Our keyboard player is currently serving in Iraq and as soon as he gets back we’ll have him. But we are looking for a keyboard player now. I’ve been covering the keys since he has been gone.

JP: What is his name?

BB: His name is Justin Hillyard. He helped write some of the songs. We also used a guest artist, Candice Cheek.

JA: We really did that track with Candice as a bonus track. It gives a different effect than the rest of our music. I put the drum machine program on there as well.

JP: It sounds like you guys do your own recording?

BB: Yes, we recorded it ourselves on a little 16-track recorder.

JP: It has a really good sound to it. Let’s look at some of your music in depth. I’m curious about your music.

JA: Everybody gets to do their share and it’s a complete band and gets to have their say.

JP: Here’s my curious question. I just read the lyrics and don’t listen to the music at the same time. I’m curious if you border a death metal band. Do you consider yourself a death metal band?

JA: We have death metal influence, but it’s not. It is like the name, Sounds of Mental Anguish. It’s a lot of different ideas thrown together. Some of it’s more emotional and some is more abstract and creative.

JP: I find some songs, when I look at the lyrics, take on a look from the darker side of life. Yet, its part of the reality of life.

BB: I think the darker side; if you write about some of the realities of life, like war. It will let people appreciate the better things.

JP: That is true we all have some dark valleys we go through. I just thought this was an important point I have found in your music. We will find out more about that as we look at lyrics. Can you tell us about Clutching the first song we are going to look at today?

JA: Actually that is one that Blake wrote It was one that we put the guitar parts on and we all liked it a lot and we decided we would keep it for the album. He could tell you more about that one.

BB: I thought it has heavy to melodic parts as it shifts. Actually it was about a girlfriend of mine that I was with that was a self-destructive type of person and she brought along the chaos she was living with and I was tired of it.

JP: I certainly can get a bright mental image of that. Who wrote Fell Through?

BB: We all decided to write that one together. When I was 15 years old, my Mom passed away from cancer. It’s pretty personal. It’s a real release for me to do it.

JA: I’ve noticed that we get a lot of feedback from this song. There are a lot of people that have been hurt from cancer.

BB: Even if it’s not cancer, many people have had deaths in their family and it is hard to deal with.

JP: Yes, it’s a fact of life and let’s listen to this very special song.

JP: Apparently John, you do a lot of the screams commonly used in hard core metal or punk. Can you tell us how to develop this technique?

JA: Blake wanted to do more of the harmony and vocals. And we thought is we could do both we could have the best of both worlds and we could have a wider range. As far as techniques, it is a thing where you have to callous your voice and practice. I’m sure we’ve all had times we’re had an argument, just don’t hold back and use control.

JP: You definitely have to have control. I’ve never asked about that before. It is a specialty in itself.

JA: Yeah, I do a series of grunts and vocal techniques to warm up.

BB: I do the growls. That is very different from what John does.

JP: Blake, who wrote Entering the Storm.

BB: I wrote this one. We use a girl by the name of Candice Cheek. She wrote all of her own lyrics and I wrote the ones I’m doing. This was just for this song. We were going to use here for our keyboardist, but it didn’t work out. We are using this as a bonus track. It has a completely different sound and lots of piano in it.

JP: John, did you have a lot of influence with Killing Machine?

JA: Yeah, I put most of this together over three months at my house with a drum machine. It’s a lot heavier than a lot of our other music. It has a lot of complexity to it. The band really liked it. And we were trying to go to the next higher level of writing. I think the music pretty much speaks for itself.

JP: So the lyrics to Killing Machine are straight forward?

BB: Yeah. Definitely. It describes Killing Machine.

JP: Blake, what exactly is a Killing Machine. It’s the effort to put the pieces of war together.

JP: Again, John you have a little bit more that you want to add to this song. You mention that this song had about 15 different layering techniques to this song.

JA: Yeah, I was just trying to make the most complicated song from the beginning, especially the drums.

BB: This really is an awesome track live. It displays Chris’ double kicks and he put a lot of time on it as well. There was another track on this album we were not able to play because it has some profanity on it. Burning Point is a really great song for live show. It’s really heavy.

JA: we have played the Boro before and we plan on coming back here in town again.

JP: Who was the primary writer for Delayed Reaction?

JA: I did most of it. Some things the band added. I used some drum riffs on the intro we kept. As far as the vocals, I’ll let him talk about that. I spent about two months getting this one together.

BB: Basically, this was about another relationship I was in. I added some creative curves to it. I guess you can take it anyway you want.

JP: I think you guys are really doing a good job of telling people about your writing. Like if you know a song very well and sung it all of your life. You can envision it in your mind or your memory. I guess it’s like that you can work toward this song that you first hear in your mind.

JP: Here’s one called Blood Stains. Blake, tell us about Blood Stains.

BB: Our drummer Chris and our guitarist Willie wrote the music to it. About the lyrics, a house that I was in, I think a young boy got killed and I had a lot of insomnia and some really eerie feelings in the house. I think it was haunted.

JP: I want to thank you both for coming to Eclectic Cuts today.

BB and JA: Thank you for having us.

BB: For information about our shows you can check us out at www.soundsofmentalanguish.com

JP: You have another song called The Scrying Mirror. Can you tell us about that one?

BB: Basically, I got that from the end time of Nostradomus. He used a scrying mirror to make his predictions. I had a lot of dreams about end time prophecy. A scrying mirror is just a black mirror.

JA: This is the first track that Blake and I put together, after we both had tried some other bands.

JP: Again, thank you both for being here.  Go here: S.O.M.A.

                                             Interview with Midwest Dilemma
                                                           By Jane E. Powell        

Midwest Dilemma is actually Justin Lamouroux, one man who travels the country spreading his music in small venues in more than 30 states so far. His style is singer/songwriter acoustic with tinges of Indie and Folk blendings.

Jane Powell: Good morning Justin.
Justin Lamouroux: Good morning. It’s great to be here.
JP: Well, let’s get started. How would you describe your music?
JL: I would say with the guitar style, I do a lot of finger style I would say I pull from country roots. I would say to pull it all together Indie/Folk with Country roots.
JP: That’s a broad style of music.
JL: There is a little bit of something for everybody. I appeal to an older audience as well as a younger audience. I think it appeals to everybody.
JP: Not every artist can do that, appeal to so many. I personally find your music very restful and peaceful to listen to. Especially when I just sit and listen to the lyrics.
JL: Thank you.
JP: Your welcome, I sincerely mean that. Let’s tell everyone about your website. Its www.midwestdilemma.com Let’s talk about how instrumental your Dad has been in influencing your music.
JL: Well, like in my bio, my Dad has been a big influence in getting me started in the music, ever since I can remember. He’s always had bands coming to the house and playing his guitar. Thinking back to middle school days, I was in a band called “Broken Flower Pots on Acid.” It was pretty cool we had a lot of fun and we played at a talent show and it is very comical now. Laughing . . . The styles and clothes, we wore.
JP: In thinking back about the professional evolution in your music. That first performance in middle school must have triggered that desire to perform. What was the next step after that, Justin?
JL: Well after that at the time it was Punk Rock and two or three chord songs and it’s like I do now with acoustic and two or three chords. But with the Punk Rock I began to progressively get better at guitar. I found that there were more areas I could go. There was Blues, and there were some amazing blues players in the area I lived. I also started working in a record store. Someone gave me a Jazz CD and my goodness. You have your standards and so many rules you can break. I got into Reggae for a while. I eventually I got back into what my Dad played in, Southern Rock, and a bit of Alt country.
JP: Well we can certainly see trends in music and fads in music over the years. Justin, you lived in the Midwest, hence your name Midwest Dilemma.
JL: Yep.
JP: Tell us about where you were raised and how that has influenced what you have written.
JL: Sure. I grew up in Souix City, Iowa. I lived there through my teen age years. After school I worked some jobs there. Then my Dad got transferred to Omaha, Nebraska, where I’m currently residing. I guess the name came from . . . there are so many ways to take Midwest Dilemma and the one that I was thinking about on my way here today. Some people pick names from random with no meaning at all. At first I was looking at a dictionary and picking up and it was not working for me. I threw the dictionary down and I was thinking I’m in the Midwest and the second I was thinking about it. It hit me, dilemma and being in the Midwest and wanting to explore the country and other countries in fact. I want to seek different markets and stuff. It is always nice to come back and see family and friends.
JP: Justin, you are in your late twenties now, how long have you done this, travel the country.
JL: Well actually within the last, in mid-thousand and two. I had a female singer for a while and then a rock guitar player and bass player and at first a full-fledged rock band and slowly I started stripping the layers off. But as far as touring goes in the last three years I’ve been touring like this.
JP: Basically, solo the last three years.
JL: Oh, about the last two years. Ever since I started, it got into my blood the touring and things aren’t the same unless I am touring.
JP: Well Justin, you are doing what so many artists would like to do. People would love to do. There is nothing wrong not touring. But you, Justin, have taken the challenge to follow this dream. This dream to pursue playing around the country. How many states have you made as Midwest Dilemma acoustic?
JL: About 30, after this tour I will make all of the New England states. It’s actually funny to look at. Sometimes I make it sounds like I’m doing this huge U.S. tour, but actually it’s more than knocking out another state. I get to hear other kinds of music and it is an accomplishment. I don’t take any of that for granted. It’s really amazing some of the stuff I’ve seen.
JP: I’d like to ask about when we go to your website. It’s not unusual to find you have many consecutive dates in a row booked. What is the maximum you’ve done Justin?
JL: I would probably have to say, ten or 12 consecutively. It can get pretty rough.
JP: Well, you do all of this by yourself, traveling in your vehicle. You’ve got to be organized. Hitting the roads, how do you make the connection how does it evolve?
JL: Well, first thing, I’ve had a lot of other artists contact me and to book a tour and such. First, I have to figure out how long I want to be gone, then I figure out an itinerary and take out a big U.S.A. map and pinpointing where I want to go and direction and the allowed time frame. The other factor is drive time. Lately, I’ve been kind of slacking on that. I’ve been driving eight or nine hours between playing. If you play the night before it’s late when you are done then you have to immediately drive. Which is hard if you do that two or three nights in a row? Especially if you don’t have anybody to switch off with.
JP: This is basically a solo flight. I bet you get lots of recommendations when you play at a venue.
JL: Yes, I do.
JP: Do you get a lot of requests from the Internet?
JL: The Internet is funny. I get requests from all sorts of things. I get a lot of requests for Pod streams and inclusions in different compilations CDs. I get a lot of coming back to cities. I try to always go back to that place and play again.
JP: You’ve had some great interviews from the press.
JL: I really have.
JP: Do you have any set goals for the future?
JL: Well, I just lost my part time job. They told me I’m just gone too much. It was inevitable, we both thought it was best. I do need some extra income, but we don’t need to go into that.
JP: That’s O.K. Gas prices are so high.
JL: I think that other artists that are attempting to do what I’m doing there are a lot of things that can stand in your way and you are not an instant overnight success. There are a lot of things you have to endure to reach a level of success.
JP: Well there is a lot of truth that you have to pay your dues. We’ve all heard that.
JL: Laughing . . . Yeah, we have.
JP: It’s more evident in the music industry more than any other industry, before you might get any financial gain from it. Is there any thing you can do on the road?
JL: Well, that would be hard. I love booking and I’ve done some booking for other folks in Omaha. I kind of have a knack with it. I’m very good at following up with the clubs. Its business, it’s the music industry. I wish I could find something on the road. But the problem is, I want to relax and focus on that.
JP: Well, the driving distances can be so long. Actually, he shared with me he’s only gotten two hours of sleep to be here early this morning and he has to be on stage tonight.
I think the key to booking is gaining their trust and the fact you can provide them some quality music. Dependable, it will give you access to open the door for opening the venue up for other artists you know. This is a great way on the road as you are to develop those skills. Let’s now focus on your music. You have an EP called “Fireside Recordings.” When did you record this?
JL: We recorded this last December. I have a friend with his own house and we set up all the gear in Omaha. In front of a blazing fire. It was a great experience on a cold winter night in Nebraska and stay nice and warm and record all this music.
JP: That would be great. Did he use Pro-Tools?
JL: He purchased a program called Acid Pro. You can do as many tracks as you want. We kept it just guitar and vocals.
JP: I know you use lots of the elements in your writing and real life experiences in your writing. Share that with us and the first track is called Country Song.
JL: Country Song is about my parent’s house in the country. On a Cull de Sac. Basically a dead end. I was out walking their little Weiner dog and there are no lights. This moment has an element of fear in it, being out in the country late at night. And trying to capture that.
JP: Just like an artist that paints. That’s how I see your music. We are going to listen to 49'R. This is one of my favorites.
JL: It seems to be a favorite one with people. Just last night in Saint Louis. It has no reference to a sports team at all. When I said the name, 49'R several people recognized the song. It’s just a little bar in Omaha. The 49 R is a place I go quite frequently and artist types hang out there. It’s a blue collar worker hang out to. A lot of friends hang out there and I go there when I go home. When I came back from the last tour; I felt like no body liked me. I felt broken down and the concept of: Are my friends still going to be there if I fail? Are people going to be there if I completely fall apart. In this industry you don’t even know if you are going to be able to eat?
JP: I think that there could have been something associated with the Gold Rush and then a football team?
JL: Yeah there is a San Francisco team by that name. I’ve had people shout that out at a few places. They think the song is going to be about them.
JP: Well, until you talk to the writer of the song you never know. That is the beauty of the music as we listen. The wheels that keep on turning is a great phrase in that song, tell us about that.
JL: I’ve had experiences and my car has broken down and blow outs, overheating. Actually, I had a really bad car accident on my last tour down in Baton Rouge. My wheels are my artistic ability. Some people just dry up and its kind of frightening. It’s crazy and you want to improve. I think sometimes. I’ve got to top that last song. Each song has its own individuality. I’m trying to stop thinking like that.
JP: Each song has its own story. Each song is special. Every artist and each song has its own story. When you think about that it is overwhelming, when you think about for thousands of years each one is different and how we as individuals have that much creativity.
JL: We can be inspired by so many styles.
JP: You might have a dry spell as a songwriter it won’t last for long. Tell us about Fair Weather.
JL: You may have stumped me. It was song about somebody else, then somebody else and it came in pieces.
JP: So it came in pieces and not just one event.
JL: Yeah.
JP: Now Time Line and Tragedies was written about your Dad?
JL: Yeah its kind of difficult to talk about, but it was.
JP: That was simply wonderful and a great song. That song is so Alt Country. Have you been approached by other artists that want to record you music?
JL: I have a ton of producers, well, actually not a ton, but a handful of folks in Omaha I’d like to record with. I actually have a producer in Seattle and I want to spend a couple of weeks recording with him sometime. So there are plenty of ways I could go with my music. I actually spent a day with the producer in Seattle, when I should have been on the road. Laughs.
JP: I recently did a CD review on Winston Jarrett who released a four-decade CD. He was well-known to record for many different individual labels. One at a time.
JL: I really haven’t looked into the record label thing. I would like to do that. But I want to be ready for that and have something to offer to both sides.
JP: You have another live acoustic number for us?
JL: Yes, its kind of a brand-new one. I don’t have a title for it yet. It’s about my grandma.
JP: Thank you so much, Justin. That is a very beautiful song about your Grandmother. We are going to listen to another number off the EP called Stolen Car.
JL: That song was written about an old friend from high school. It had been a while since I’d run into her. And she hasn’t aged at all, which is very amazing. We talked about one particular instance we got into trouble for. It’s a real story. Trying to relive the craziness without actually doing it again. Its kind of quirky and I used some of the Pop elements that the others don’t have.
JP: Yes, it is very different and I think your EP shows the variation in styles very well. Justin, tell us about Congregation.
JL: It’s actually has a full title of Congregation of Broken Hearts. It was a tribute to a café that I started actually singing in front of people called the Latte Lounge in Omaha. We have such a great congregation of songwriters out there. About how many different idiosyncrasies of people and enter into life as you sing.
JP: I really do see your music as an artist that paints with colors or as a photographer that takes a snapshot of a particular moment in life and makes it into a song. Justin, thank you so much for sharing your music with us here on Eclectic Cuts.
JL: Thank you so much, Jane.  Go here: Midwest Dilemma
                                                                                                              

                                                                                                               Midwest Dilemma in concert at Cafe Coco
                                                                                                                             
© 2005 Photos by Jane E. Powell         



 

                                          Interview with Eric Hurt and Jason Hardin of Pilot’s Lounge
                                                                 By Jane E. Powell                                                  

 

                Pilot's Lounge                                                                        Eric Hurt                                                        Jason Hardin                 

September 23, 2005 - Eric Hurt and Jason Hardin are two of the four members of Pilot’s Lounge, a Hard Rock band based in Nashville, TN. Hurt is the lead vocalist and Hardin is the bass guitarist for the band. Both gave an in depth look to their music and having only formed their band one year ago; we find they are already making a name for themselves!

Jane Powell: I want to welcome Pilot’s Lounge to Eclectic Cuts today.

Eric Hurt: Good morning.

Jason Hardin: Good morning.

JP: I want to start the program by going back into time a bit and ask you when you started your band?

EH: We have only been together about a year I guess. Several of us were in other Nashville bands before that. Jason was in Lucky Black, Ian and Solomon were in a band called Love Is Red and I was in a band called Costar. Those bands actually wound up disbanding about the same time. And we wound up forming this band.

JP: Well, it is amazing what you have done in just a year. They have a new CD that just came out this summer. It’s entitled simply, “Pilot’s Lounge.” And it has seven songs on it. Every one of this songs are excellent, in my humble opinion.

EH and JH: Thank you.

JP: They are the type of songs that you can really rock out to. I think they have a classic rock feel throughout. Eric, I would like to ask you how do you go about writing your songs?

EH: Well, it kind of depends, ... well, there is one song on our EP like The Score that I wrote all by myself and then there are some like Through The Fire that we all wrote together. Its something that came about at a band practice. Once we have the structure of the song at a band practice. I’ll take it home and write the melody and lyrics for it. Since I’m the lead singer. Maybe write some more music in. Then bring it back to the guys and show it to them. Usually they can tweak it or fine tune it.

JP: You seem to be the primary songwriter for the group. But, I really like the way you work together. Its like a democracy.

JH: That is exactly the way we work, it is like a democracy. Majority rules.

JP: I think that is a way a band has to work to be successful.

JH: Yeah.

JP: I well think you are on the road to success. After just being together one year, you’re starting to become a regional band. As far as traveling, who does your booking for you?

JH: It’s pretty much self booking. My Space has been a great thing for us. We have found other bands whose music we liked and we shoot some emails back and forth. And say hey this works. For example we are opening for the band in Little Rock and they are trading for us at the End.

JP: That is going to be great and working with your fellow musicians. That is a great concept on getting started regionally. My Space has been a web site base for you all as well, but you have a new website now just up in the last week.

JH: Yes, we do. It’s www.pilots-lounge.net It’s really cool. We’ve been working on it for a while. Lots of new pictures and links.

EH: It has a place for friends to talk about our music and let us know what they think.

JP: There are several mp3s people can check there to. Pilot’s Lounge is I understand one of the most frequently requested local bands on 102.9 The Buzz radio station. It is probably the major station in our area to play hard rock. That is quiet an honor as they have great quality on their program. I want to get into your music now. Let’s focus on the first track, “Spies.” Eric, tell us about “Spies.”

EH: Spies like a lot of the songs of the EP during the early stages of the band working with a job in the music industry. I decided to take a big chance and step our and do what I really wanted to do and make music. I’m still young and thought I might as well do it and not living with regret. Basically that is what this song is about, seeing the people around wanting what you’ve got and it’s a sad place to be in. But that is really what the song is about.

JP: Well, I’ve got a few words to say in regards to that, as most people know on Eclectics Cuts I’m never really at a lost for words. When you talk about taking the big step out as a musician. It is not easy. It takes a lot of self sacrifice from any of the band members to make any band work. You know, things are inexpensive. Gas prices are expensive as we see in the local news. But when you talk about going out regionally and traveling. It takes a lot of effort and there is always a fear that people won’t be receptive to your music. Many are afraid others won’t like it. But I’ve never seen any music that someone doesn’t like. Of course, we want the mass numbers of people to like it. That takes a lot of hard effort. Make the people connection, the Internet is crucial now. So I don’t see how any new band could make it without it now. That’s the first place that we go to, when we want to learn something. It just takes effort, drive and desire and most importantly the passion for the music. Jason, I don’t want to wander to far from Spies while I’m on my soapbox over here. (Laughs). Jason, did the band have something to add to Spies?

JH: Yeah, Spies was a little different from some of the other songs. Sometimes a song is presented perfectly. If you do, then you might mess it up. So Ian and Eric came up with the majority of that song. I can speak for myself and Solomon the drummer, we said it is great we don’t want to change any of it. That was just it.

JP: It was a given then. While we are mentioning band members, there are two band members who aren’t here today. That is Solomon Davis on drums and Ian Michaels on lead guitar. They had other jobs they couldn’t leave and they will be in town later tonight for your performance. We want to give credit, where credit is due.

EH: They hated they could not be here.

JP: Let’s listen to Spies. I guarantee if you, like Hard Rock, you’re going to like this song.

JP: We have another song entitled “Tonight” Eric what inspired this one?
 

EH: I think the guitar riffs, the music part comes first. But lyrically, its just kind of in the same vein of Spies. On the Ep we tried to keep everything somewhat uniform. Basically, someone being stuck in a bad spot and not having the desire or drive to get out of it.

JP: I was playing some L.A. Guns. They’ve been out since 1989 and always had a good following of fans. They have always been very consistent in their sounds. You can pull any of their CDs and you find a consistent sound. So your writing like this. Do you do a concept or a sound that you’re striving for.

EH: Mainly a sound. You wouldn’t have six hard rock sounds and one reggae song. So we want to stylistically stay the same and develop with time. As far as lyrical content, I wouldn’t want to be so boxed in that I couldn’t stray away from these themes. At the time I wrote these I was dealing with the struggle within myself to pursue dreams rather than staying at the work I was in.

JP: That brings something to mind, I’m going to back track for a second. You mentioned you were working in the music industry in some area. What were you doing in the business?

EH: I was working with different publishing companies and producers and I was a song plugger. Going to school here on this campus, everybody knows what a song plugger is.

JP: Oh, yes, we do. That’s what I wanted to do when I first graduated. With song plugging you know all the music and then find the best person to record it.

EH: I was out pimping songs, working in country and rock. I am really grateful, as you are really toughen up when you get rejections from the producers. But you got to go through all the nos before you get to the yeses.

JH: I want to tell you that we really believe that Eric’s experiences in the music industry aside from the band. Knowing how to handle people, that’s one big thing that really helps.

JP: Any practical experience is a helpful teacher. Like if you write a song from your own personal experiences and those through the eyes of others close to you.
That really helps me, I thought I recognized that you are quickly moving to regional in only a year. A lot of new bands would stay local for five to six years before moving to regional.

EH: Things are going to well for us. Really it was mid to late January before we all got together and decided to really make a band. We’ve gotten some interest in L.A. and New York. So our EP’s are already in the hands of some important people.

JP: While we are on a hot topic. We have really seen some major national acts signing from the Nashville region. The Features signed on Universal and The Pink Spiders on Geffen this past year. What is you impression of the Nashville Rock scene?

JH: One thing about it, I’ve been here about five years. I wasn’t looking for music. But I was in Nashville, so I thought I had to check out the music. What I found was just the usual bar bands. But in the past few months. I’m telling you the whole underground thing. It may not be that underground. But, if you look back in the 8o’s to Guns N Roses and L.A. Guns, Motley Crue it just exploded. I feel that Nashville is on the verge of that to.

JP: Eric can you say something in regards to that to?

EH: Yeah, I totally agree with Jason on that. The Features and The Pink Spiders, who are good friends of ours, Luna Halo, are in the studio with Rick Ruben in L.A. now, pop artist, a girl I used to work with Casey Brown just gone on Interscope. I think that people that see Nashville as Country, but soon they are going to think Rock.

JP: Yes, I do to. I see us on the edge of the wall, people breaking out and becoming very successful right here from our area. Through The Fire is the next song I want us to look at, tell us about that one Eric.

EH: Well, Through The Fire set the tone stylistically for us. It’s a song based off nothing more than a rock n roll riff. We try to incorporate great riffs. I really feel that is something that has been lost in some bands recently.

JP: Yes, even when we look back into the 80's , 70's and even the 60's. I have discovered European Heavy Metal and they still use a lot of good axe work today.
I also want us to look at your musical influences.

JH: I have been thinking a lot about that recently. We have when it comes to musical influences there are two separate categories. Bands that influence your sound that are evident when you hear your band’s songs. Then there are other bands that influence you in other ways. The Black Crows, Faces, Free, Led Zepplin some older bands you won’t necessarily hear their sounds but they are the ones that want to make me want to play. That almost means more to me than the bands you might sound similar to.

JP: Jason, I don’t think I’ve ever heard any artist every put in such a nice way. Eric, do you want to comment.

EH: I don’t know if I can follow up on that after Jason. (Laughing).
I grew up on the classic rock stuff Led Zepplin, The Doors, some modern stuff Velvet Revolver, Alice in Chains, Stone Temple Pilots, Sound Garden. We are trying to get back to some of that stuff without feeling dated. And bring back the real Rock N Roll.

JP: I think you are doing it. It has a classic hard rock sound but with my musical ears, it doesn’t have an 80's sound, just some of the elements.

JP: We just heard Through The Fire. Jason, do you want to add something about it.

JH: Through The Fire is a very special song for me, but mainly to make a long story short. I’ve know Eric for most of my time here in Nashville. He worked with my mother and we both were in separate bands. And our bands broke up at basically the same time, so Eric calls me up and says he’s met these two guys Ian and Solomon and we’ve been doing this thing and we are looking for a bass player. Before I wasn’t into his band’s music before and the stuff I was doing before it really hadn’t turned me on. I hadn’t touched a bass in about six months but I thought I would talk to him. And Eric said, “Come here I want you to hear this and it was Through The Fire.” and when he played that for me, I thought these are the guys I want to be with. And every time I hear it brings back that feeling of the first time I started with them.

JP: I know that song rocks, I love your album and I’m going to wear it out.

JH and EH: Laugh.

JP: I want to know what is your vision for this band?

EH: We want to make a career out of it. We want this to be our career and what we do. We are doing as much as we can to make it happen and getting out more. Doing more radio interviews, playing more, selling CDs and trying to get the industries attention.

JH: It is so much more than a hobby. It is a life style. Pilot’s Lounge is my life. When I retire I want to retire from Pilot’s Lounge and when we are 60 we can say it’s time guys to hang it up.

JP: That makes me think of the Paul McCarthy interview I saw recently. He is 63 years old now and he said, “I keep performing because I do it for the music and what it does to the people. I look down and see someone crying who has gray hair, just like mine now.” We the fans just want him to keep on going as long as he can. Tell us about Faces.

EH: Another riff oriented song , people living behind masks. Its about going along with the flow rather than taking a stand for what they believe in.

JH: Faces is like one other song like Through the Fire, two out of seven were already written before I came along.

JP: Eric, tell us about Big Game Appetite

EH: Its really a lot like some of the other ones, about people that sit back and watch others take missed opportunities.

JH: Well, this one was one of the first ones where I feel we solidified our formula. It took several weeks, we started with the music and lets add another part or what are we going to do with the bridge. I feel this is where we started coming together as a band of songwriters. I feel we came up with something special.

EH: Jason is really good to say “Man its pretty good up to the chorus and its good, but something doesn’t really feel right.” He is really good at spotting something that needs to be fixed or changed and getting everyone to work together.

JP: This is probably my pick song coming up, Tease. How was Tease created. The lyrics are straight up and coming right at you. What about it Eric.

EH: Basically a blues driving song and a play on the lyrics it is self explanatory. I won’t go into much detail.

JH: It’s an extremely fun song to do. Its not head banging music. Its hip shaking music. Laughing. That’s what I like about it. Its dancing music.

EH: That song comes off better live than on the album. It’s a fun live song.

JP: It’s a great song on the album. I can’t wait until tonight to see what it does to the crowd. That song rocks!

JP: We have one more song to listen to. One more question, are you all open to a major label due.

EH: Yes, most definitely we are. We have some interest, but not any hard pursuing yet.

JP: Tell us about The Score Eric.

EH: The Score really explains about what the song is about. About this dude seeing a girl and trying to talk to her and getting blown off. Something most college students can relate to.

JH: this is Eric’s song and a very personal one. Its really good.

JP: Eric and Jason, thank you so much for being here with us today and sharing your music on Eclectic Cuts.

EH and JH: Thank you for having us.  Go here: Pilot's Lounge


© Photos by Jane E. Powell 2005

                                          Interview With Cortney Tidwell                       

                                                                                    By Jane E. Powell

August 26, 2005 - Cortney Tidwell is an Electro Folk artist and songwriter. She recently released her debut album on Sissy Bragg Records and has now signed a major record label deal with a key European label. She is a talented musician and vocalist and co-produced this first album with her husband, Todd.


Jane Powell: I would like for you to describe your music Cortney, is it Electro Folk?

Cortney Tidwell: I feel that is a accurate description. I think it is a good description, I like electronic music and folk music.

JP: When we are saying the Folk aspect of your music, Folk is what portion of your music, Cortney?

CT: Folk being roots music and I was brought up in roots music and I guess that is the way it is brought in.

JP: Are you basically thinking of your lyrics being Folk centered or instrumentally?

CT: Instruments, instrumentation.

JP: You use some lap steel in some of your songs.

CT: Actually, it’s a pedal steel, I play a nylon string, acoustic guitar, which I love.

JP: When you were growing up, you grew up in a very special place in life. Your mother was a highly recognized woman in country music. Would you tell us who she was and what it was like growing up behind the scenes at the Grand Ole Opry?

CT: Sure, it was nuts for one thing. My mother’s name was Connie Eaton and her father was a recording artist on Decca and he recorded for a little while and he was on the Opry quite a lot and the money wasn’t that good per week back then. It was about five dollars a week, so with three kids to raise he left and went to sales. My mother being around him (influenced) went on to be on the Lawrence Welk show and won many talent contests in her teens and landed a record deal on Chart Records, which actually my grandfather on my mothers’ side started Chart records.

JP: Now, what was your grandfather’s name?

CT: It was Bob Eaton.

JP: What made you decide, Cortney to pursue a professional career. What age were you when you had your first gig?

CT: Well, I was on the Ralph Emery Show at age four. My mother was singing on the show and my debut was “I’m Not Lisa.”

JP: I know that song.

CT: I will never forget that song.

JP: It is a blessed life to live in a family situation surrounded by so many stars in the music business and have that exposure to music. I just want readers to know this because I think it is an interesting point in your life.

JP: Now, Cortney, you were also in a punk band in the Nashville area for a year or two at least. What was the name of that band?

CT: That band was Nova, it started about 2001 and it started as a three piece, with a guy Wyatt Mims and another guy named, Mike Ryan who has since passed away and then things happened and I don’t know and I picked up with Laurel Parton and she has a band called Trauma Team, it’s a rock band. We started playing together, she was on the drums and I was on the guitar and starting to learn to use a distortion pedal. It was fun.

JP: How do you feel when you are up on stage in front of your audience performing now?

CT: Well, back in the old days, I used to play at SpringWater, but people come and drink and scream and don’t pay much attention and I started working up my chops there. But in the last year or so the audience has gotten much quieter and really quiet when I perform and it really freaks me out a bit.

JP: Well, a response to the change in musical style and the venue settings can be different just because of the type of music it is and you obtain a different crowd type. Now with your new music you are creating now on Sissy Bragg Records
You have just recently signed with a new European record label called K7.

CT: Actually, its with Ever Records. It’s a new branch of K7.

JP: You will soon be going to Berlin?

CT: Yes, in about a month there. I don’t know if Ever has its website up yet even. I’ll be the first artist on the label.

JP: I know that Electronica has extremely strong followings of fans in Europe and is very popular.

CT: I feel very lucky.

JP: Your debut album on Sissy Bragg Records called “Cortney Tidwell” involves your spouse, Todd Tidwell, please tell us about his involvement with your music.

CT: Laughs ... Well, besides being a wonderful , wonderful man, he is a very talented engineer. This is the first thing that we have had total creative control over, this album. Basically, we produced it together. It took a long time to make the record.

JP: I know you alluded to this at the Southern Girls Rock N Roll Camp. I know you have the ability to record in your home.

CT: Yes, we just got Pro-Tools and Todd got a big, bad computer and it’s running.

JP: I know it’s nice to record in your home and have the luxury of doing it at anytime at your leisure.

CT: He also plays on some of my songs. I play on the more up tempo track ‘Mama From The Mountain” and “ Hard 2 Tell” it started on the chord organs and drums. Now I have a synthesizer.

JP: He plays drums on the slower tracks on” The Light” and “Drink Up” and guitar to.

CT: We use a lot of reverb.

JP: That is one of the first things I noticed when I heard the new album.

CT: I have no idea how reverb works, Todd tell us how it works.

Todd: It simulates the ambiance of a live room.

CT: Laughs .. Now you know.

JP: I feel the reverb makes your album unique.

JP: Let’s talk about the music on your album. Tell us about Mama From The Mountain.

CT: My grandmother was born in a cemetery, and my mother is deceased, she passed away in 2000. My mother is buried in Mount Olivet, one of the oldest cemeteries in Nashville. My mother is buried up there on the mountain in the cemetery. ( Deep pause). That is what that one is all about.

JP: Tell, us about the next song, Drink Up.

CT: That song is about me being at the SpringWater, with my cousin Mary, and wanting to get out and looking at the suburban boys and dress up and look at them. I like to do that my self. Its about just drink up baby, drink up.

JP: Cortney, we are talking about your immediate plans for going to Germany, and then when and what will happen?

CT: I’ll be here, but I’m going to Berlin in about a one month, meet the label people do one small show and get my feet wet I suppose. I don’t know when I'll be going back for certain.

JP: I’d like to ask, Do you have the material ready for the new album for Ever Records?

CT: Yes, I do.

JP: Is it going to be a concept album that has one theme?

CT: Hmm..., that is very interesting that you would ask me that, because I’m trying to go for one theme. But you know my music is really about feelings and human feelings. Every record I make will be heart felt. Maybe the concept will be dreams. Dreams maybe. I’m just not sure yet.

JP: I can see you having a concept from this current album.

CT: Well, actually it was. I was severely depressed when I wrote the majority of the songs on this album. The original drummer from Nova passed away by a sudden death and my mother had passed away and I had just experienced two deaths in a two to three year period.

JP: I am so sorry that this has happened.

CT: It gives a morbid tone to the music.

JP: Your music gives you a release to your feelings and can help others with similar circumstances in their lives.
 

JP: You play the drums for Hard 2 Tell?

CT: Yes, I play the drums on Hard 2 Tell. Its my little hip hop song. Its about not being able to read people. I think a lot of ladies or girls, it’s hard to tell what some guy is thinking.

JP: Laughs .... I guess it would be frightening if we really could do that read someone’s thoughts.

JP: Cortney, tell us about A New Commitment.

CT: This song is about flowers and still remaining reflective and bleak maybe. It’s probably going to be on my next album to be released in Germany.

JP: The next song were going to listen to is The Light.

CT: This song is about my mother again and her passing.

JP: It is so special that you can share with us through your music.

JP: Cortney, tell us about the next to last song on the album So I’ll Go Out And Meet My Love.

CT: Jane, the way I write songs, literally I just sit down and don’t’ give much thought to it, it just flows out, its about being sad but knowing you’ve always got love or can go out and get it. . I have no idea sometimes what its about.

JP: I do feel with your music that “there is someone there, that I can depend on” comes through the music itself.

JP: Cortney, the last song is Fever Queen. Someone else wrote the music for this song?

CT: Basically, Todd and Wyatt went into the studio one night and did some backward guitar and then I went in the next day and did three or four vocal passes and it was there. I do better when I just sing it. I don’t do as well by sitting down and writing out the lyrics.

JP: It’s good to know how people create. It's good to help other writers create.

CT: This song is about falling in and out of love, it’s a fine line of falling in and out of love.

JP: In my experience, love changes daily.

JP: Cortney and Todd, I want to thank you both for traveling to Murfreesboro and sharing your insight into your music.

CT: We are glad to be here and thank you for having us.

JP: Is it going to be late fall or first of the new year before your new album is ready?

CT: I would suspect the first of the year. It depends on how fast things go over there in Germany. I would like to thank Wnydom Wallace, K7 Records, (I’ll be seeing everyone over there soon) and I’d like to give a shout out to my D town homies, my friends in Donelson and Matt Zarth.

JP: I have to ask for your two little boys names?

CT: Their names are Elijah and Hunter, they are in school right now, they’re my babies.

JP: I know they are certainly proud of two creative parents. Again, thank you both for sharing your music with us on Eclectic Cuts.


 

                                Interview With Al Gruskoff                  

                                                   By Jane E. Powell

August 19, 2005 - A Little Space is a very original Rhythm and Jazz music group based in Passadena, California. Al Gruskoff is a songwriter, bassist, and producer of their work. Regi Perry is the lead vocalist. Al was the winner of the 200l John Lennon Songwriting contest in the category of Jazz and they have had four number one songs on MP3.com in four different genres at the same time in 2002. We are going to take a closer look at their music with a special interview with Big Al.


Jane Powell: Welcome to Eclectic Cuts Big Al.

Al Gruskoff: Good morning to you from Passadena,California.

JP: Yes, it’s a long way from here and we’re so glad you can be with us today.

JP: How long have you been involved in music Al?

AG: You know, I meet and play with a number of folks that are amazed to know that I have been playing Jazz shows in Detroit well before they were born.

JP: I’d like to hear Meant To Be and what is it about from your second, A Little Space album.

AG: It is quintessential Motown, I grew up in Detroit and all that music rubbed off on me in a positive way. And it’s a philosophical look at what is supposed to happen in your best regard. I play all the rhythm section and Regi just takes off and just goes off on this song.

JP: What a smooth and wonderful song and a contemporary song with A little Space.
Al, you have a new album that just came out this year, that you and Regi have done together, tell us more about it.

AG: It’s a Box of Love, its 12 songs in 12 different genres. It’s Jazz, Soul and Classical that has little bit of flavor just like adding pepper to a gumbo. Did you get your Box of Love T-shirt?

JP: Not yet, the post office said it may take ten days before it arrives from California.

AG: Well, the Box of Love is about an imaginary box detector, about the size of a laser printer, it scans you and you put your hand on it and just put your $100 dollar bill in it and it spits you out someone to love, laughing . . . of course its imaginary.

JP:  You can see this on the band website. A Little Space

AG: That’s exactly what it’s about.

JP: Well, you are very prolific in writing, with a total of three CDs you have 40 songs to your credit. On this new CD You have a song entitled, Place I Like To Be, this is Regi’s favorite.

AG: Yes, in fact when Regi does shows on his own, he does kareoke or showcases . He’s done 17 songs and this is his personal favorite. It’s a samba. Regi just added his gospel flavor to it. I struggle sometimes to describe the genre it’s in. It’s a sort of a gospel samba.

JP: We have another selection, the title track A Box Of Love. Tell us about it.

AG: Sure, Box of Love is the imaginary dating machine that scans your hand and finds you someone to hook up with.

JP: Big Al, I’d like to know a little bit more about this next song, Reason To Call You.

AG: Well, that song has been in my book or head for a while, it’s a classic soul horn band, I’ve always enjoyed music like the Tower of Power or Earth, Wind or Fire kind of thing. I play real jazz with a group of folks on Friday nights and when I brought the horns in I told them they are a soul band now. They did a great job on the horns on this song and Regi just kicks butt. It’s basically a soul song with a little Memphis or Detroit soul in it.

JP: What I would like to do is a recap and tell us what you will be doing in the immediate future.

AG: At present, we have recorded three albums with 40 songs and a DVD. Which is a lot of work we have 40 done. The next thing we are going to do is start playing a six-piece band in Los Angles which is challenging.

JP: I do want to bring up a point about the DVD, it does feature visualizations for each song on the album.

AG: I think it is a unique aspect of it, I took 12 songs from the very first album and played in synch with visualizations that fit. Visualizations are abstract art that react to the music. It is a fascinating thing to watch.

JP: I think it is fascinating that you have come up with the concept to do this. I’m sure that someone out there has done it before, but I’ve never seen it anywhere else.
I do want to thank you Big Al for sharing your time and music with us here on Eclectic Cuts.

AG: Thank you for having us.

JP: Big Al before we call it a day here on Eclectic Cuts I would like to play a song on your second album, A Space Of My Own. It shows a humorous side of your writing. It’s only with this one song.

AG: Chuckles . . . , Everybody has this situation whether you are a young man or woman at some point you are flat broke. We put Regi on it and it got funky.

JP: It’s an optimistic look at the situation and let's check out Waiting for Payday.
 

                                                                                        © Eclectic Cuts 2005