Rock Metal Pop Country Blues

BRokEN REcoRDs
New Orleans Jazz Fest page 
51

Issue 2
mAGAziNE

Buddy Guy
Chuck Wicks
Chickenfoot
Disturbed
Jessie James
Fall Out Boy
All American Rejects t ime
o f o u r
Push Play r v i e w and inno v a t o r s
t e
e x c sive in artists
lu f the best
n
A one o
with
Les Paul
1915-2009
ring
 “
People are doing it for the love of money
Features and not for the love of music.
You won’t find a blues guy doing
that.”
-Buddy Guy
In Every Issue
Buzz Bands 62
A Day to Remember, Jessie James,
Parachute and more

Local Spotlight
Crazy Greg aka Pooh Bear
48
and Push Play
26
Show Reviews 51
Gavin Rossdale, In This Moment, Steve
Martin, David Cook, Chickenfoot and
more

CD Reviews
Green Day, Taking Back Sunday, CKY,
Kelly Clarkson, and many more

“I think it’s great therapy

to have a reason to get up and carry on
rather than to lay back, shrivel up, and dry out.”
-Les Paul

Also Inside
Issue Two 2009

Burn Halo........................8 Theory of a Deadman...21 Aiden............................46

Endless Hallway..............8 Safetysuit.......................6 Tiger City......................46
All American Rejects.......9 Disturbed......................32 Thriving Ivory.................11
Eyes Set to Kill................7 Clutch...........................28 RyanStar.......................10
Les Claypool.................12 Coheed and Cambria....47 Katie Armiger..................23
Dope.............................12 Sum 41..........................22 Carters Chord.................23
Static-X.........................20 Cradle of Filth...............40 Chuck Wicks......................24
 JOE TROHMAN F
A
L
L

O
mAGAziNE
U
 T Brian Dawson: Owner/Photographer/
Interviewer/Editor in Chief
B Scott Vollweiler: Owner/Photographer/
O Writer/Interviewer/Editor in Chief
 Y
Candice Rose Wanca: Staff Manager/
16 Photographer/Writer/Interviewer/
Graphic Designer

Ann Reilly: Graphic Designer/Marketing

T
Nicole Seblano:Editor
R
   I Jill M. Bendar: Phographer
V Kristin Tully: Photographer/Writer
   I
Contributers:
  U Michael Musacchio,  Danielle Portera,
Kyra Kverno, Victoria Barone, Adrienne
 M Nardone, Michael Wooldridge, Salvatore
Spurge, Thomas Ferraro, Allie Beth, Alicia
38 Gallagher, Sabina Mamedover, Michael
Marciuliano,Joe Penacchio

From The Owners: Check out our extended digital version at

www.BrokenRecordsOnline.com
America was born on innovation. We knew our limits and pushed the
boundaries; we raised the bar for the next generation. We built airplanes,
automobiles and created the greatest music. In almost every facet of music, This issue’s bonus content includes
we hear an electric guitar. It has become the instrument of choice for many
music fans. Yet we need to realize that it is less than a century old; violins,
interviews with Korn, Funeral for a Friend,
pianos and drums are much older. Many music fans have heard of the Les 3 Doors Down, Third Eye Blind, Coheed and
Paul guitar but most have no idea that it was created by the guitar’s name-
sake. When I was given the opportunity to sit down with the man who basi- Cambria, Sum 41 and more!
cally changed music, I literally jumped out of my chair in excitement. It’s so
rare that you get to speak to someone who is a humble, sweet and genuine
person. Besides being the father of the electric guitar, Les Paul also built the
effects and multi-track recording platforms for which the entire recording All photos and logos depicted in this magazine
industry is built upon.In this issue we try to focus on artists who have suc- are the sole porperty of the designated artist
ceeded in being innovators in their genres. These innovators include blues and/or their respective record label/promotion-
legend, Buddy Guy; metal band, Trivium; pop band, Fallout Boy; and a fes- al company, unless otherwise noted.
tival that is known around the world as the greatest jazz festival, Jazz Fest.
 A Day Off In Nashville By Anne Reilly

“It’s our first day off in about two months,” states Jeremy Hen- was moaning. I woke up screaming. I’ve never been more scared
shaw, bassist for SafetySuit. He’s in a really good mood, enjoying in my entire life.” I checked out the video, it’s hilarious, and ends
a day off in his hometown of Nashville, Tennessee, with the other with “So lesson be learned, check your bathtubs before you go
members of SafetySuit, Doug Brown (guitar and vocals), Dave to sleep, SafetySuit may be hiding there.” It’s the real moments,
Garofalo (lead guitar), and Tate Cunningham (drums). For the those raw moments, that always make things more interesting.
past two months, they’ve been on tour with Hinder, then Seether Besides all the touring, SafetySuit has also been on VH1’s Top 20
and Hoobastank. “It’s was a lot of fun, it’s the first set of arena Countdown for their video “Someone Like You”, they were show-
tours for SafetySuit. Every site is really cool in its own way. The cased as a Billboard Featured Artist in the Fall of 2008, they’ve
big arenas are incredible, the ten thousand seaters, you get a really had multiple songs featured as soundtracks for the hit MTV show
big stage with lots of room to go crazy and jump around and have “The Hills,” which has also lead to SafetySuit’s continuously col-
a good time. The smaller sites are really cool too, like the Hard lecting votes on MTV’s Soundtrack.MTV.com, where MTV fans
Rock Live and the House of Blues, because everyone is packed can vote for their favorite MTV show’s soundtracks, in this case,
in there real tight and close, the energy is just through the roof.” “The Hills” (you can cast your vote at http://soundtrack.mtv.com/
This past Fall (2008) SafetySuit also toured with Puddle of profile/safetysuit).
Mud, RED, Seether, and Theory of a DeadMan. “Yeah, we’ve Since the band’s inception in 2002, Myspace has been huge in
been hitting the road really hard this past year,” commented Jer- building their fan base, especially in the Nashville area. Myspace
emy. I laughed and told him “You’ve been hooking up with a lot also helped the major label Universal Motown Records to take
of my favorite bands lately, it’s one of the reasons I wanted to do notice and sign the band. “We stay in touch with all of our fans
this interview.” Jeremy agrees, “That’s so cool, it’s cool for us too. through Myspace, Facebook, and we’re all on Twitter now. We
We’ve gotten to play with a lot of bands that we’ve been fans of use every avenue possible so we’re able to stay in touch with our
for a long really time. We all rocked out to “Kryptonite” in high fans because that’s who we’re making the music for. They’re the
school with our friends, and now we find ourselves backstage in a reason that we have the ability to stay out there, doing what we’re
greenroom hanging out with 3 Doors Down, it’s just so surreal.” doing, writing more music, and we owe our success on the road to
Jeremy, Doug, Dave, and Tate have been friends for eight years them. Anything we can do to show that we appreciate our fans and
or more, they’re like brothers, and everybody’s a prankster, always give them access to our daily lives, we’ll gladly do it. We want
playing jokes on each other. Jeremy told me about a recent one, them to experience more than just a song, more than just an album.”
the video clip is on their Myspace page, called The Scare. “Doug The band’s a huge fan of Bono and U2, and Jeremy has a mes-
and our tour manager, Mark DiChico, hid out in the bathtub of my sage for Bono: “I just want to shake Bono’s hand and say ‘Thank
hotel room for four hours waiting for me to come to the room and you for what you’ve done for my life and for the rest of the world.
fall asleep. Then they army crawled out of the bathroom towards On behalf of the world, Bono, thank you.’”
my bed. Doug was making monkey grunting noises, and Chico
E yes S et t o K ill
BRM: How did you first get into music
Interview by Candice Wanca
band plays a new song the crowd goes cra- exactly what’s in my mind. Artists should
did anybody in particular influence zy but then they’ll stop a little bit because have a say in what their doing and what they
you? they don’t know how the song goes or when want people to see when they hear their song.
Alexia Rodriguez: When I was eleven, I it ends. It’s funny when they keep dancing
was into a lot of pop music I really wanted and the songs done. But I think they like BRM: Do you guys have any pre show
to be a singer. I just loved singing. As I went it a lot. The new songs are on Myspace. rituals or warm ups before you go on
through junior high and high school I start- stage?
ed listening to darker music because I was BRM: Speaking of which, I heard you AR: I keep trying to get everyone to do
going through a tough time and my parents guys booked your first tour through one, I always see bands do it, if you have a
were getting divorced and my friends...you Myspace. Since your popularity has sh*tty day or if you just broke up with your
know how it is in school sometimes people grown do you guys still take on that do boyfriend or girlfriend, sometimes you
decide to not be your friends anymore be- it yourself approach or did you sit back don’t even want to go on stage and I think
cause they’re just dumb and they have the a bit? Do you still try to interact person- that’s why we have a ritual. That way we
cliques and stuff. I got into darker music ally with your fans on the site? can focus our energy together and walk on
because it meant more than just dancing. AR: We try to but its really hard when your stage with that. It sucks when you’re play-
on tour. Even though we have laptops with ing and they’re there for you and you want
BRM: Do you guys write when you’re us now. Sometimes we’ll lose a cable, like to put on a good show but you’re just think-
on tour? Caleb just got a laptop and he already lost ing about how your grandma yelled at you.
AR: Everything I wrote for Reach was real- his power cable. We really try when were
ly easy cause we already had songs that we home to talk to everybody cause when we BRM: What has your biggest obstacle
took from the EP, that we put onto Reach were younger and we wanted to talk to been so far as a musician?
and then the rest of the tracks we wrote bands and we got a response sometimes AR: When we were writing our last album
when I was at home and having problems, you could tell its not even the band. I think I had writers block for the first time, really
it’s easier to write when you have problems we’re going to do more video tour updates bad, I felt like I needed to get out of the
to write about. For this album, we were on on Youtube so we can stay in contact with state or something because I couldn’t think
tour the whole time, so we’re on the road our fans because it’s getting hard to keep of anything I was totally frustrated then our
partying and having a good time and it was up with people on Myspace. I get those manager wanted me to write with a friend.
hard to write. I write songs about stories messages where it’s like ‘you guys don’t It was a totally poppy song and the whole
about our friends and problems that other talk to us anymore’ but it’s really hard. time I was thinking ‘oh my god, this is not
people are going through. We have mon- going to work’. He came up with this vo-
ster stories too, one is about a werewolf. BRM: The music videos you guys have cal melody and I was trying to change it
It sounds kind of funny but it’s about how made, did you have any part in the con- to make it more like my own stuff and he
everyone doesn’t accept the person that cept? didn’t want me to and I was like ‘I can’t do
he is, people can relate to that. You really AR: They asked me what I wanted to this’ and I felt so bad after and I apologized.
have to read into the lyrics to tell what the do, my own interpretation of the song. I We were recording at ?? and Brandon was
song is about. I wrote most of the stuff on couldn’t really think of anything except playing piano and it was really pretty like a
Reach but this time we collaborated. I’m what I want the colors to be. I couldn’t concert piece and then I just started writing,
kind of a control freak I would get upset if think of a story line cause when I think it was really weird I was writing about how
anyone started writing a song without me of story line, I think of a huge dramatic people are trying to make me be something
but this time I let that happen and it made thing where there’s no way for us to be I don’t want to be and all this stuff came
this second album a lot better than Reach. able to pay for it. When I listen to my out of me that I didn’t even know that I
ipod and I close my eyes, I think way too had in me. So even though it was the worst
BRM: Have the new songs been getting much into it and I forget we have a limit. experience it turned into the best because
a good crowd reaction? I can’t wait until we can just go all out. It it’s now what’s going to be our first single.
AR: Oh yeah, it’s pretty funny when any kind of makes me sad that we can’t portray
 tion, Neil who’s playing with build the guitar bass and drums around that. I
David Cook, Synyster Gates was able to do that this time around, build the
from Avenged Sevenfold. It songs from the ground up on acoustic guitars.
just felt like more of a band I wrote fifty percent of just about every song
effort. I met our bass player Aaron with Zack. It’s just a much better experience
when I was in Tulsa making the for me as a songwriter. I feel like this has a
record. I met our guitar players Joey much more natural and organic feel to it on
and Allen through a mutual friend. stage. In Eighteen Visions sometimes I felt we
Our drummer I met through another were trying to create this image that would
friend so that’s pretty much how our appeal to a certain fan base and that was one
band came together. We shot a video of the aspects of the band I wasn’t completely
back in October, our first tour started stoked on. I wanted something that had a more
in December. We have a couple raw, natural feel to it. I learned a lot from Eigh-
months under our belt. teen Visions and it was definitely a big part of
my life and it taught me a lot about being in a
BRM: How can you compare band and the music industry and I made a lot of
being the front man in Eighteen great friends and had a great time making those
Visions to Burn Halo? Do you have records and touring but I just feel like this is a
more creative freedom now? better representation of who I am and what I
JH: As a songwriter I have complete want to do musically.
Photo by Scott Vollweiler creative freedom, it’s great. Before,
Interview by Candice Wanca we wrote songs as a band somewhat. BRM: I see your former band mate Keith
It was more like I was handed bits of (Barney) is featured on the record but he is
Broken Records Magazine: How was burn music that were completely finished, not an official member.
halo formed? with very little wiggle room for vocals. So I JH: I maintained a friendship with all the guys
James Hart: Basically when Eighteen Visions was basically building all the vocals around in the band(Eighteen Visions). You’re referring
split up in 2007 I was given a record deal after guitars and drums, it didn’t make, what I feel, to the song “Falling Faster” which I wrote with
a meeting with Zack Maloy (formerly of the for the best vocal production on records. But him. I love the entire progression of the song.
band the Nixons). I wrote and recorded the al- when you’re in a band and you have three main Keith came to a crossroads in his life where he
bum from May of ‘07 until June ’08. Originally songwriters there’s going to be compromises. felt like he wanted to do music and he loved
I was going to do this thing as a solo artist but You’re going to have to give up some of your playing shows but he wasn’t totally satisfied
the more the songs grew, the more featured in- ideas, people are going to have to deal with the with being on tour. It got rough for all of us and
strumental parts were added, I felt it was more fact that you’re not going to completely get I think he’s much happier being home and be-
something band would release. The type of what you want out of every song. With that in ing able to write. He was definitely the creative
players I had record on the record, they’re all mind, when I started to sing(for burn halo) I flame in the band.
members of different bands; Daniel Adair from wanted to build everything around the vocals. I
Nickelback, Chris Chaney from Jane’s Addic- wanted them to be first and foremost and then

WALKING THE BRM: Tell me

about the name
and hopefully when you listen you get a
picture of how it all works as an album.
Endless Hallway
Ryan Jackson: BRM: Well if you could have a free day
It’s really more of to do what you wanted on this tour,
a visual. I wanted what would you do?
people to get a RJ: I’d definitely like to explore more of
picture in their mind our culture within the U.S. That’s one
when they heard it thing we really haven’t been able to do.
and it just sounded We’ve been through a bunch of cities but
cool. It’s this kind of infinite on go- I’d like to be able to really see the culture
ing space and I’m an artist so I wanted and history in different States.
something that conceptualized our goals
as a group. BRM: So what’s next for Endless Hall-
way?
BRM: The progression of the songs RJ: Hopefully we’ll just keep moving
on the album is really interesting, was forward and achieving a higher level as
that something organic or premedi- artists, keep pushing ourselves and hope-
tated? fully we’d love to be a part of those bands
RJ: That was definitely planned. As a that have made it past disposable rock,
visual artist I like everything to have bands like Metallica, U2, Motley Crue
a meaning and to physically fit in a have endured. All those bands are influ-
certain place. So, when we were writing ences to us and if we could be considered
I think with each song we tried to make in their company one day that would be
Photo and interview it almost like a story. I tried to take what amazing!
by Kristin Tully I heard in my head and materialize that
THE ALL AMERICAN REJECTS
It has been almost seven years since the All-American Rejects’ burst onto the music scene with their infectious hit single “Swing,
Swing.” That same year AAR celebrated the release of their self-titled debut album. According to guitarist Mike Kennerty,
the All-American Rejects’ demo almost did not make it to production. “Doghouse had seen the demo and thrown it away. The
fourteen-year old sister-in-law of the guy who owned the label would take home all the thrown away demos and she really liked
that one and brought it back to them.” Even after that fairytale scenario, the band’s album did not fare as well as the band had
hoped. “Swing, Swing” was moderately successful but the record garnered no other hit singles for them. The All-American Re-
jects found themselves back in the studio and ready to prove themselves to their label once more.

Interview by Danielle Portera

Photos by Scott Vollweiler

Broken Records Magazine: Your third and at the same time the way he works it’s out?
album just was released in Decem- almost like a solo effort so it takes a lot lon- MK: We were in Australia I believe. And
ber. Could you tell me a little bit about ger to record. And we recorded a bunch of we weren’t going back to the States for an-
that one, what was the creative process it on tape rather than digitally and so the other two weeks. So we found this out and
around that record? process was longer which gave us more we weren’t even home to enjoy our first
Mike Kennerty: This one it was for When time to think ‘is this any good’ and drive U.S. #1.
the World Comes Down. We didn’t have ourselves even more insane. So by the end
the pressure that we felt from the label last of the process, literally up until the last day Broken Records Magazine: What artist
time with “Move Along” cause they were of mixing, we were kind of unsure about alive or dead would you like to collabo-
all still so excited about how well “Move the record. So we’ve since had a little bit rate with?
Along” did and they kind of just like you of time to step away and now were like, MK: Well I know collectively as a band
‘guys are gonna do great whatever you do ‘Alright we’re stoked by the way it turned there’s very few bands that all of us ap-
it’s gonna be fine.’ So we were coming up out.’ It needed all this process and all this preciate. But, one of them is Queen so we
with these songs and like having to write stuff to get to where it was. But, definitely would love to do anything, I mean obvious-
way quicker cause we’d taken a longer this was the most maddening record for us. ly Freddy Mercury is gone but we respect
time touring and there was the pressure to everyone in that band so Queen definitely
get something out cause it was going to be BRM: Well, I think the madness kind of would be incredible.
like another year if we didn’t work really paid off because you guys got a number
fast. We were kind of just getting songs one hit with “Gives You Hell”. BRM: What are you currently listening
done and not really seeing them through MK: Yea, that’s sort of blowing our minds. to? What are you liking these days?
to the finish product but just kind of get- We can’t believe that. MK: There’s this band called The Para-
ting the skeletons together and going on to sites that I’ve listened to since I was like
the next thing. We weren’t sure what we BRM: How do you guys feel about that. thirteen, fourteen They’re this pop-punk
were coming up with was any good. We It’s your first number one am I correct? band that I used to love and then they’ve
were kind of freaking ourselves out cause MK: Yea, I don’t know if any of us even kind of gone away for like ten years and
we had this batch of songs and we even thought we’d be a band after seven years then suddenly just put out a new album and
started doing them in the studio and still of doing this let alone like still reaching a I happened to see it the other day in the
not feeling a hundred percent about them. new height with our band. It’s just amaz- store and was like “that’s weird.” And I got
We kind of drove ourselves insane a little ing. We’re loving it; just enjoying it. it and it’s fantastic, one of the best things
bit. And working with Eric Valentine who they’ve ever done. So, I was pleasantly sur-
is an amazing producer, he helped us a lot BRM: Where were you when you found prised by that, it’s called Solitaire.
 By Danielle Portera
Photos By Scott Vollweiler
If there is one artist who has taken 2009 by storm and claimed it as his own, it is definitely Ryan Star. R.Star,
as he’s also known by fans, kicked off the year by joining David Cook on the road for the Declaration Tour. Coming on the heels of
the tour, which has stops at major universities all over the United States, is Ryan’s highly anticipated album appropriately titled 11:59.
Time is a central theme for the album which includes tracks named “Right Now” and “This Could Be the Year.” Another single off the
album, “Brand New Day” is now the theme song to Fox’s new hit series “Lie To Me.” “This Could Be theYear” has also been featured
in spots promoting the NFL and the NBC series “Kings.” Also, new single “Last Train Home” has been garnering considerable radio
airplay.
Ryan Star, born and raised in Long Island, New York, had a passion for music at an early age. At just fourteen years old, a young
Ryan formed the band Stage with three of his childhood friends. While its members were still in high school, Stage performed at clubs
all over New York City including the legendary CBGB’s. After Stage dissipated amicably, Ryan decided to find his voice as a solo
artist. Ryan explains that he “sat at a piano and just started playing.” The end result was his 2005 self-release Songs from the Eye of an
Elephant. Staying true to himself, Ryan decided to keep all twenty tracks recorded for the album. He titled the work Songs from the
Eye of an Elephant due to his belief in the animal’s wisdom. Soon after the release, Star became a contestant on the CBS television
show “Rock Star: Supernova,” which was produced by Tommy Lee. Star quickly became a fan favorite and was dubbed “The Dark-
horse” by Dave Navarro. Ryan ultimately did not win the competition but looks back fondly on his time with the show and feels that
the outcome “was for the best.”
Ryan’s passion for music and love for his fans gives him the ability to connect with his audience at every live show. Star keeps
his fans updated on his career and day-to-day life by blogging on his official website www.rstar.net. He documents everything from
exciting tour stories to a routine dentist’s appointment further allowing his fans to enjoy the journey with him. Living in the present
moment and the ever-evolving journey are two things Ryan Star seems to relish almost as much as he does making music.
 uTHRIVING
uIVORY
v v
q
Broken Records Magazine: How did bum at my house. The producer Chris band that we’re really proud of being in
you get into music? manning brought his stuff over here and the Top 40. It’s kind of a big deal because
Drew Cribley: My brother actually got everything on the album is from that ex- you’re next to people you admired. It
me playing music when I was twelve. I cept “Hey Lady” and “Alien”. A few of seems like they’re from another world so
started playing bass and we started play- the tracks when we got signed were re- it’s kind of cool to be in that. There have
ing in a band together, so I have him to mixed. also been shows that felt like crowning
thank. I was really into hard rock, that’s achievements. We did the Jimmy Kimmel
what I got into when I first started playing. BRM: How can you describe the writ- show and to me doing a late show is like a
ing process? stepping stone that we’re on the way. We
BRM: Where does the band name orig- Drew: It was written over five years,. played in Salt Lake City, it was the first
inate from? Scott is the main writer. The rhythm typi- time we went there and it was a sold out
Drew: The band name originated from cally is that he will work on stuff on his show thanks to a DJ who’s really into our
brainstorming. Scott and Clayton were own, we work on the chord progressions music and it was twelve hundred people
trying to come up with a name, they were and lyrics and then we bring it to Clayton and you could tell a lot of people had the
writing down a bunch of words. and have him sing it and make a demo at album. To have an audience like that in
home. Then he sends it to the rest of us a place we never played before, singing
BRM: It’s a cool name, I figured it was to hear. I have a studio setup here, so I along and getting really into it was an
a reference to pianos. start recording my parts to it and then we amazing experience.
Drew: I think it did. It comes from de- play it live. When we first started wed get
scribing the sound. in a room together and jam and figure out BRM: Do you have a favorite song to
where our parts went but I guess we’ve play live or a song that seems to get the
BRM: I read that you guys got radio gotten a little more sophisticated about it. best audience response?
airplay before you were signed. How Drew: One of my favorites to play is
did that come about? BRM: Thriving Ivory was number “Long Hallway” because it’s got really
Drew: It was a DJ here in our hometown, one on Billboard Heatseekers, you high energy and it gets my blood rushing
San Francisco, who had been sent a demo were featured On Yahoo music “Who’s and audience response most is “Angels
of “Angels on the Moon” by our manag- Next”, VH1’s You Oughta Know. Hav- on the Moon”. “Hey Lady and “Twilight”
ers and he just flipped out over it which is ing all these acknowledgments, is there seem to be favorites too.
really awesome. The next week at a meet- a goal you want to reach next?
ing they decided to put it in full rotation Drew: I would love to attend the Gram- BRM: Is there a band you hope to tour
and we didn’t even have an album at the mys, much less be nominated, just to be with in the future?
time so we really started busting a** try- surrounded by people you’ve looked up Drew: There are a lot of them. The typical
ing to put together a CD. to for so long. I guess that’d be one. The answers would be U2 and Coldplay be-
long term goal is to be able to do this as cause they were huge influences, but even
BRM:You guys had an album you re- a career not necessarily to be rich but bc on a smaller scale, I’ve always wanted to
corded on your own before the one re- this is what I want to do with my life. tour with the band Aqualung. We all love
leased on Wind Up Records, were any their music and I think they’d be a cool
of the tracks re recorded for the newer BRM: What do you feel is your greatest band to play with; Maroon 5 would also
album? achievement so far? be amazing.
Drew: We ended up doing the whole al- Drew: The greatest achievements as a
Something about “The bass just so
happens to be the
One Dope Mother...
Frontman Edsel Dope
is a self proclaimed “
jack of many trades.”
creative outlet that I Originally playing the
chose to use to pick role of the drummer, he
out of the box. If I decided that he had to
played a guitar, it rely on too many people
would be similar to from that standpoint. He
the sounds I make on tells me a little bit about
bass, just with differ- himself, “I’m kind of a

Les Claypool
ent timbres.” motivated guy and I like
In less than thirty to get stuff done and I re-
words, Les Claypool alized I’d have to put too
sums up the one of much faith in other peo-
the golden realiza- ple to make sh*t happen.
tions of creating Fortunately enough I was
By Sabina Mamedova music: you are what blessed with enough of
you are. The world the ability to get the job
renowned bass player and the various outfits he has gowned over done.”
the past two decades – including Primus (which, as has been Motivation is key
revealed “…has no current plans for activity.”), The Flying Frog if you’re going to leave
By Candice Wanca
Brigade, and his newer solo efforts – have always seemed to ap- home as a teenager to
peal to dead head leftovers, stoners, school rejects, and users of pursue a life in the music business. “I was never afraid of hard
hallucinogenic mushrooms. Not to corner one of the pioneering work. I was never afraid of long hours and saving my money
post-grunge rock groups, but there is more in connection with and using that to promote my band or using it for my rehearsal
their fan-base than some obvious prejudices. space. It was always a priority and making money was the num-
On Les Claypool’s new album Of Fungi and Foe, released ber one thing to do, but all the money I made went into the band
this past March, the often off-kilter and slap happy sounds are and I think it all kind of wrote itself.”
in full effect, this time bowing exclusively to the elusive cow- I asked how he felt about one of the bands more popular
shit crops of wonder. Selections from the record were origi- songs “Die Motherf***er, Die” being used by the U.S. mili-
nally intended for a mushroom related videogame and a hor- tary to interrogate Iraqi POW. “It’s pretty f***ing nutty, right?”
ror movie about marijuana field guarding pig; the title of the he asks me. “…It’s like, you get your boots, your dog tag, and
record is a subtle but obvious reference to the original works. you get a copy of “Die Motherf***er, Die”. I can’t even imag-
Similar to the way the drugs affect their users “I feel like I’m con- ine being in those guys shoes but then I later learned there was
stantly growing as a musician, and that doesn’t always apply to the a study done and how they were using music to interrogate
bass…I feel like I’m growing as a vocalist, engineer, producer,” said POWs and that was one of the songs and I was very surprised
Les Claypool in an exclusive interview for our decorated publication. to learn that my voice was being used to extract information
He’s obviously learned a lot about himself as a musician and from people. I never thought I’d have that kind of an effect.”
the musicians around him through his experiences on tour. When Edsel explains that the bands fifth and latest album No Regrets
asked about a jazz tribute gig recently, Les Claypool mentions the builds upon the sound that built their fan base. “I think the one
musicians’ appearance onstage. “As soon as he touched the keys, key thing we tried to do was focus on the musicianship a little bit
you just knew it was the right experience coming out of his fin- more…let the guitar player really rip on this record…while keep-
gers.” Being the monstrous touring musician that he is, it’s really ing the simplicity of the hooks and those kinds of things together. I
hard to not learn things at a quick pace, and only a true veteran think every album you set a goal and that was the goal on this one,
should be able to hear out when something is working or not. to keep the sound but smarten it up.” The band definitely reached
Les Claypool also has a sweet tooth for all kinds of jazz. Just in their goal as No Regrets is the best selling Dope album to date.
case it isn’t obvious, “I never had any lessons; pretty much self He shows off another one of his talents as a producer for the
taught. I got into a lot of jazz bands when I was a kid and learned record (which he has done for every album except for 2001’s
a lot of traditional methods, but by the time someone had told me Life.) “It would be exciting to find a producer that would have
‘You know, you’re holding your hand incorrectly,’ I was like ‘Dude, the same passion or would put the same pressure on it that I
it’s a little too late for that… I spent a long time trying to play it.” would. I just haven’t met that guy yet. I’m the one who’s nev-
The kids seem to be joining in on the fun as well. Claypool states er satisfied and I feel like that’s the job of the producer. Any
“My son plays slide on the new record. He’d come into the studio and producer I’ve ever worked with was happy far before I was.”
I ask him to do different things and his slide track made the record. To What is it that keeps Dope fans coming back for more? “I
them it’s like helping dad work on the tractor or something.” Some think our live show is extremely entertaining. People love to
would beg to differ, but when your someone like Les Claypool, the get away from their normal life and get away and party with us
relationships you tend to make with things are most often askew. and have a good time. I think that’s the number one thing that’s
Let’s just hope they don’t pick up on the drug references too early. kept us alive and I think the records are solid and people dig it.”
Green River Ordinan
Broken Records Magazine: I hear you guys became musicians teen. Denton, well he was just born to play the drums. So our
at a young age. Who or what exactly got you into music? Was families have played a huge part! They have all been very in-
there a particular person, event, or artists that influenced fluential and extremely supportive of our decision to play music.
you?
Green River Ordinance: Well you see, all of us got separated BRM: How did you end up opening for Bon Jovi in 2006?
from our parents when we were babies. After being in a foster You played in front of a huge crowd of about 20,000 people.
home for years, we escaped and starting living on the street. In Was that your first experience in front of such a group? Was it
order to make ends meet, we became street performers for our ac- nerve wracking?
cepting, yet militant boss, nicknamed “Wizard.” Fleeing from the GRO: It was all part of a contest that Mix 102.9, a local radio sta-
Wizard, we ran to find hiding in a local church. We were quick- tion, was putting on. We submitted into the competition and after
ly accepted as they noticed our love for music. They urged us to lots of people voting, we ended up winning. It was definitely our
start attending Julliard. Following their guidance, we went to the biggest show to date by far. When we got there, the sound team
prestigious music school as young children, therefore expand- was blaring Lyle Lovett to test the system. We just stood in the
ing our music influences before composing our first rhapsody to middle of the 20,000 capacity room and got a bit nervous. It was
be played in Central Park. Little did we know, this is where we a great show though; Bon Jovi fans rule!
would meet our biological mothers and fathers for the first time,
as we were all joined by following the music. No, haha. We did BRM: Do you have a favorite band that you toured with so
all play at early ages. I started out playing drums because my far?
dad does. Josh started playing country music because his dad GRO: Wideawake was the first band to take us on tour when we
does. Geoff and Jamey’s dad was a “Dead Head” and plays har- were younger and we love those guys! Also, we went on our tour
monica. They both started playing together at thirteen and fif- with Collective Soul, which was awesome! That’s another group
nce Interview by Candice Wanca
Photos by Lindsay Shapiro

of great dudes that we’re big fans of. the economy go, we’re really hoping that people just don’t buy gas
or medical insurance and buy our CD instead.
BRM:Any bands you haven’t toured with that you’d like to in
the future? BRM: Any crazy or funny tour stories you’d like to share?
GRO: Hm, let’s see U2, Tom Petty, Third Eye Blind. Can it be GRO: Yes, so we use priceline.com to book our hotels. (William
anyone? Sigur Ros, Matchbox 20. Shatner, we love you.) Anyway, when you book a hotel on pric-
eline you have no idea what to expect. I happened to book the ma-
BRM: Why the name Green River Ordinance? Where you guys jority of the hotels on this past tour. However, we found that pric-
bothered by unsolicited salesmen at your door that frequently? eline happens to like strange conventions of sorts. When we were
GRO: Haha, well the name was conceived at an early age. There in Vienna, VA we stayed at a hotel that was hosting a cheerleading
was a sign in a garage where the guys practiced at the band’s competition. There were probably three hundred girls from the
start. It said “Green River Ordinance Enforced.” No one knew ages of eight to eighteen and we were the only young guys staying
what it meant, but thought it sounded cool. at the hotel. So when we walked into the lobby it felt a bit like we
were prey walking into a lions den. Equally as frightening was our
BRM: Your new album was released in February, how do you hotel in Louisville, Kentucky. We rolled into the parking lot and
compare it to 2005’s The Beauty of Letting Go and what do saw little dog bumper stickers on all of the cars. We also saw lots
you anticipate as far as album sales what with the condition of of vanity license plates with dog references. When we got into the
today’s music industry and our economy? lobby, we realized that hotel was full of Westie show dogs. Noth-
GRO: Well, “The Beauty of Letting Go” was done whenever we ing against show dogs, or people who show them, but I couldn’t
were in high school. We had a lot more time devoted to writing for help thinking of the movie “Best In Show.” Did I reach my quota
this record and we’re really proud of the songs. As far as sales and of priceline mentions? When do I get my check?
 FA L L o u t B O Y Interview by Candice Wanca

Broken Records Magazine: When did the sh*t and talking about bands like The wanted to make something that sounds re-
you start playing guitar? Descendants that we really loved and how ally good straight off the shelf, has good
Joe Trohman: I started when I was ten. I’m fun it would be to play in a pop punk band. hardware and is kind of indestructible. I
twenty four now and I guess at the time, Patrick, I met by chance and I heard some used to break a lot of guitars. I think now
some of the first songs I learned were parts music he did and I was like ‘this guy can as I’m getting older and were experiment-
of Jimmy Hendrix songs. I thought the gui- sing’, but he didn’t want to sing, he wanted ing with different things I’m getting into
tar was cool and I learned from there. It’s to play anything else. Andy we knew for experimenting with other guitars but I re-
weird, my influences then, some are the a long time but he was doing three bands ally like my signature guitar. It’s got some
same like Metallica and Guns N’ Roses but at once and we went through thirty drum- good tones and I really like playing it.
I think I went through alot of different pe- mers until we begged him to at least play
riods where I respected different guitarists; on tour. We did one practice and it just BRM: Did you have complete creative
everyone from Billie Joe Armstrong to Greg felt right and he decided to join the band. freedom?
Ginn from Black Flag. There’s so many JT: They gave me a lot of freedom. I guess
different guitar players I try to pull licks BRM: You have a Washburn signature it’s because it was my first time design-
from. I love Tony Iommi and Brian May. guitar, what made you choose them and ing a guitar I didn’t really know what to
what makes that model yours compared do, so I went with something simple and
BRM: I heard you’re the founder of the to the others that they have? classic and I wanted to offer something that
band, is that correct? How did the band JT: I was playing a lot of guitars, Gibson wasn’t that expensive because I know our
form? and Fender and whatnot and Washburn was fans want to get into the things that we do.
JT: I was a fill in member in a hard core the first company that hit us up in a tran- I wanted to offer something under five hun-
band that Pete fronted and after that band sitional period where we were becoming dred. I wanted for them to make a solid nec-
was in the midst of disbanding I was trying a well known band but not so well known tar guitar but that usually costs more than a
to start my own heavy band and it wasn’t that guitar companies were just giving us breakaway, but I think it sounds better usu-
working out. I don’t think I knew what the gear. Washburn was like ‘hey we like you ally. I was able to make that and keep it rel-
f*ck I was doing as a musician or about and your band and we’d love to give you atively cheap. I’m playing the same thing
starting a band. I was like sixteen,seventeen a signature guitar’ and I jumped at the on stage that people are able to go and buy.
years old at the time and me and Pete were idea. I felt like I didn’t deserve a signa-
noticing the hard core scene in Chicago ture guitar but how could I pass this up? BRM: The latest release, Folie a Deux…
was crappy at the time. It went from being I wanted to design a barebones guitar that am I saying that right y the way?
a positive environment to being a negative, looked nice, kind of like my two favorite JT: Yea actually none of us in the band
thuggish environment and it wasn’t speak- guitars that I own. They’re these custom can pronounce it.
ing to us anymore and we were shooting Les Paul and a black beauty Les Paul. I
BRM: It means a psychotic delusion gether it really felt right, it was cool and fun Pete does. As far as his take on it, you’d
shared by two people? to do. We had Little Wayne do the bridge have to ask him. For me I guess, the thing
JT: It’s basically the term that was created on ”Tiffany Blews.” We really like what he that’s kind of weird, ever since I’ve been
to describe, for instance, what Romeo and does. It’s more of us as a fan of him, asking seventeen, I’ve been in bands that people
Juliet were. Crazy separately and together him to lend his ideas to that bridge, because somewhat paid attention to so I’ve always
creating an even greater madness that was we had the bridge written and all those been in a position of scrutiny and I’m kind
their own. We use that kind of in a meta- parts. Patrick would record the way they’re of an insecure guy (laughs). Sometimes
phoric way. This record has a lot of social supposed to be sung and then we’d give it can be rough to deal with but as I get
commentary on America’s unhealthy rela- them to the people that we would like to older I’ve learned what’s worth ignoring
tionship with material possessions. We’re sing them and they’d lend their own style. and what’s worth paying attention to. The
kind of trying to use a lot of the concepts Little Wayne took that a capella part and he older you get, hopefully, you lose your in-
within the record to hold up a mirror to did what little Wayne does which we were securities and be happy with who you are.
society so they can maybe use it to re- very happy with. The only true collabora-
evaluate the things that are more important tion on the record was the song “w.a.m.s.,” BRM: Why did you guys start the re-
than the biggest most bada** car out there. where we got to work with Pharrell. He’s cord label Decaydance?
a genius and he’s a veritable textbook of JT: Again that’s something Pete started
BRM: I read that Pete is the main lyri- music knowledge. It was a different ex- He wanted to put out somebody’s re-
cist but I’m sure everybody including perience, very laid back and we came up cord. It’s not something that we do as a
you has their own role in the bands song- with one of the more out of the box songs band, we support each others endeav-
writing. Could you describe what the that we’ve ever gotten a chance to make ors but Decaydance is something Pete
writing process was like for that album? and I don’t think we would’ve been able started that’s his thing. Patrick is very
JT: This was actually one of the most col- to make it without working with him on it. interested in producing and he’s pro-
laborative that we’ve done in a long time. duced some of the bands on Decaydance.
BRM: Was he also the producer of the
BRM: I see you worked with a lot of dif- album? BRM: Can you tell me about the Invis-
ferent musicians. JT: Just on that song otherwise it was ible Children foundation you guys sup-
JT: Well actually it was collaborative Neil. (Avron) port?
within the band. I’ll get to the guest stuff JT: Invisible Children raises money to build
in a second because that’s something that BRM: With all those artists you collabo- schools and put back into the future of chil-
created more tension than we meant it to rated with is there anyone you’d like to dren who are- this is going to sound cliché`-
Within the band, Pete will write his lyr- work with in the future? who are the future of the people of Uganda.
ics in a book and Patrick will take them to JT: There’s always a list and ideas to work They help the community and I think it’s
get inspiration to create music to surround with people come up as were in the studio. really wonderful. They do a lot of filming
those lyrics. He fits them into a melody, Personally there are people I’d like to work to bring attention to people who are not
he’ll give the music to me and I’ll write my with but I don’t think it would be appro- aware of what’s going on.(Check out http://
ideas over them and shape the song even priate to do within Fallout Boy, so I’d like www.invisiblechildren.com/home.php)
more. I give Patrick a lot of stuff I write to do it outside the band. I’ve been doing
to work into the music as well. Then we side stuff on my own just for fun but I think BRM: You guys had wanted to break
bring it to Andy after that and he’ll fill in there’s so much focus that gets put on us be- a Guinness world record and play on
rhythm percussion wise. Everyone puts ing collaborators. We’ve always had friends all seven continents but unfortunately
their own stamp on the song. As far as the and other artists on the records, since we the weather in Antarctica didn’t permit
guests go, the big ones that people focus made the album Take This to Your Grave. it. Ever think you’ll try a shot at that
on are Elvis Costello and Debbie Harry. We I think to an extent it takes away from the again?
have these lyrics that we felt needed more fact that we get together and make songs as JT: It’s one of those things where so much
authority. They needed somebody to sing a band. People focus so much on that they focus got put on it, especially after we
them with an authority we couldn’t give to keep asking who we’re going to collaborate kind of failed at it (laughs). We realized it
the lyrics. Who better than icons like Elvis with next because we do these remixes and was a cool thing to do at the time and if it
Costello or Debbie Harry? The song that everything. Every time we make a new re- worked it would’ve been fun and it kind of
Elvis was on “What a Catch Donnie,” at cord we look forward to collaborating with put some focus on the band but it’s not re-
the end we have this kind of we are the each other because each one of us is get- ally what being in a band is about. I think
world recalling of old songs, friends from ting better and as a band it makes us better. if a cool opportunity comes up we might
other bands that have been with us from jump on it but we don’t have our hearts
the beginning until now, sung those lyrics BRM: Obviously there’s a lot of great set on going for that again. It was the right
things about making it big in the music place and the right time. It was just like
BRM: I totally love how you guys did business but there’s a downside as well, guess what if you can go play in Antarc-
that by the way, that throwback to older how do you deal with your life being in tica you’ll be the first band ever to play all
songs, it’s one of my favorite songs on the public eye? seven continents in less than nine months
the album. JT: Well, personally I don’t get it as much. and we figured it would be a legacy but it
JT: Thank you very much, it’s one of our Patrick gets it more because he’s the sing- didn’t work out. Maybe we can get a re-
favorites too. When we started putting it to- er but he doesn’t even get it as much as cord for attempt at most hilarious failure.
 3
D oors  d own
 Brad Arnold, from 3 Doors Down, attributes his band’s massive
world success to the fact that they have not forgotten where they are
from. In our interview together Brad states that, “I thank God every
day that I can consider this as my real job and that I can consider
myself blessed to do music for a living. It is truly amazing how a
band can work together, especially after all the years that we have
been a band and have been together. We have somehow managed to
maintain the same lineup for fifteen years now and all of us in the
band have known each other for around twenty-five years.”
Looking back now on their success, 3 Doors Down attri-
butes their glorious music career to the fact they grew up in a small
town. Brad states, “We are all glad that we have our roots in one
spot. It doesn’t take long to realize that we can’t party forever, you
know? I mean we’ve been touring for six or seven years and now
we wanted to make a new record. We were very hungry and ready to
start writing a new record, so we took a year off from our touring. All
together it was a year process in putting the new record together and
it was a really enjoyable experience. After all we recorded it in my
house because the studio was too expensive and my house is much
more convenient than any studio. I mean I believe it’s a more gain-
ing experience and of course it is a lot cheaper.” However, not many
bands have had much crossover success like the boys from 3 Doors
Down. They have had two or three singles on the radio at the same
time. “Which single becomes a single gets decided by other people.
We just write the music and like what we write. I’m so thankful that
we’ve been able to do the whole crossover thing, because we really
try not to rule anyone out. Like why would I want to just be a main-
stream band, for example, a mother and daughter can go to a show
and both of them enjoy it. We don’t cuss on stage, so a mother or
father won’t have to worry about that kind of thing. I mean when do
you see that a parent and their kid can go to a show and both enjoy
the show?”
Their new album contains such songs as “Citizen Soldier”
which was written with the military in mind, the National Guard in
specific. “Well I wrote that song for a video,” says Arnold, “They ap-
proached us with an idea when we were writing the new record, and
they wanted an ad to put in the movie theatres. We just jumped at the
chance because we love to support our military in any way possible
and we just wanted to say thanks. We wanted to show the future of
the National Guard. I got on the phone with the colonel and he said
what he wanted to hit on in the song. In retrospect, it came so natu-
ral, and was much easier to write that way. Sometimes the hardest
thing about writing a song is finding something to write about. What
is also funny about the song is that it is used music from another
project from years ago and we just developed the idea. It turned out
to be a great project and went very well. I am truly proud of it.”
w ay n e ’ s
orld
Los Angeles metal quartet, Static X, has pulled out all the
stops and went back to the basics on their new album, Cult of
Static. The album gets its name from their loyal fan base and
how it is seemingly like a cult at times. It has been ten years
and counting since the band released their first album, Wis-
consin Death Trip, and nearly fifteen years since the band was
formed. The band likes to state, “It’s been a decade of evil disco!”
Static X has had to overcome many lineup changes, includ-
ing a former guitarist being arrested for kidnapping and sexu-
ally assaulting an underage girl. When asked how he has dealt
with line up changes over the history of his band, vocalist and
guitarist, Wayne Static, states, “Its really not as big of a deal as
people make it. I mean I do 99.9% of all the writing myself any-
way. It’s really like my project. It’s kind of like Al Jourgensen
is Ministry. He’s had numerous band members, and every tour
it changes, but its still Ministry, still sounds like Ministry. It’s
just the same thing with us but it just so happens that the band
members that we do have all have great stage presences and
personalities, so it definitely looks like a real band rather than
one guy and a bunch of back up players. Really though, chang-
ing out players is not a big deal for me. Tony (Campos, Bass)
is the only guy that if I lost him I think it would change our
sound because his voice is such a big part of the band as well.”
Cult of Static was released on March 17th and debut at num-
ber 16 on the Billboard 200. This marked the highest charting
by the band since 2001’s Machine. “I wanted longer songs on
this album,” says Static. “More keyboards, more build-ups and
breakdowns because we haven’t done a lot of that since our first
album. I got into my studio in January of 2008 and eventually
finished the recording the album around November of the same
year. As far as the writing process, I just sit here in my studio
and start out with the drum machine, then I lay down the gui-
tars and a few programs and build the song. I’ve always writ-
ten by myself, it just seems to work out better that way.”
Oh, and metal fans, Dave Mustaine makes a guest appearance on
the album. He recorded a solo on the track “Lunatic” after touring
together throughout Australia. Wayne figured that it would be cool,
“surreal” is how he describes the whole process. Wayne says that
“Twenty years ago I was listening to Megadeth in my basement
and now Dave is playing on my album. It’s pretty cool.” Along
with that, Wayne just got an endorsement deal with ESP on a cus-
tom electric guitar called the Static 600. It is his second signature
model and has a very distinct Flying V shape compared to the first
model’s Explorer appearance. Wayne then continues to say, “It’s
the same guitar I play on stage and its a f***ing awesome guitar.”
You can check out the lead single off the album, “Stingwray” on
their Myspace. The song was inspired by the classic Corvette Sting-
ray Wayne bought for his wife, former adult movie star, Tera Wray.

By Mike Marciuliano Photos by Scott Vollweiler

T
    I
n    S BRM: How has it been touring with
H t  C
Motley and Hinder? Any crazy, some-
what legal stories that you can think of?
 
E
O
e  O TC: Well all of their groupies are all under
aged. So I can't. No but seriously, it’s all
r
R v  T been pretty cool. Nothing crazy happen-
ing. Tommy is next door he has his un-
  
Y  i  T dressing room. He brings chicks and they
e come in and take off a piece of clothing.
O
  w
V
It’s been terrific really. No crazy antics.

  
F BRM: How have your fans been react-
a O ing, and have you been gaining a lot of
n
A
   d
   L new fans from the tour?
TC: Oh yeah, I mean normally we play
  W in front of a really large audience. Which
 
D p  E
means it's a really large demographic,
and also people who wouldn't normally
 
E h
   I come out to see us. Maybe Motley Crue
  
A o because they have a lot of their hardcore
 
D t  L fans coming up to the shows like girls
and guys in their fourties and fifties. You
 
M o  L know they come to see them and they see
  
A b  E us first and they get a taste of our mu-
sic, and they're like ‘I like these guys!’
 
N y  R
BRM: The new album is much tighter BRM: Where did the title of the record BRM: Compared to something like
and much more polished then the previ- come from? (Scars and Souvenirs) last night, you guys played Starland
ous two albums. How did you approach TC: I don't really know, I came up with Ballroom. It's small, intimate, it holds
the recording and the actual writing of it at home. We were trying to figure out about 1,400 people compared to MSG.
the new album? the name of the record and I just came What do you prefer to play what are
Tyler Connolly: Much the same as the up with it and texted it to the guys. The your pros and cons for both?
other ones, we just spent more time on lyr- scars represent the bad, the break up TC: The cons to playing the big stuff is
ics and made them the best we could. Par- songs and souvenirs being the good there's a disconnection with the crowd,
ticularly we've learned from our mistakes. memories which was all an afterthought. because it's so big.You hear them but you
Our previous producers wouldn't let us go can’t see them with those spot lights on
into the studio until all the songs are ready BRM: So far in the U.S. the album your face the whole time, so you pretty
to go, whereas some producers would go reached number one in the hard rock much just force yourself to just get into
in there with their bands and one or two charts. “Bad Girlfriend” is number one the show. The pro's are of course play-
singles and they’re like “okay”, and the in the modern rock charts. How does it ing for the large audience, and the amaz-
rest of the album is just a "do over." We just feel to have number ones? ing sound. The smaller crowds are great
made sure that we had every song on the TC: Pretty awesome. This is the first re- because you can see the crowd, you can
record ready to go and that it sounded great cord we had that has American number hear them, hear them singing along, you
so there was really not much left once we ones. We love what we do, but we didn't can see them sweating. That can really
got into the studio. We recorded fourteen make the record and say ‘oh, this is go- get your adrenaline pumping and make
songs and there are thirteen on the record. ing to be a number one’. We don't really a great show sometimes. So there's a to-
have that outlook. The song “Bad Girl- tal connection with the smaller clubs.
BRM: Did you guys have to do any spe- friend”, we thought it might not even
cial tricks on the record? Any special wind up on the record. I sang it last, we BRM: How did you react the first time
instruments that you leaned towards recorded the music and at first we were you heard fans singing back your songs?
rather than others? kind of like, ‘ya know we really didn't TC: Pretty awesome. You have the whole
TC: It was all really straight forward. record this song, we’re pretty much just stereotypical reason that guys start bands
We screwed around a lot with the guitars, jamming out on a riff, but we wound to pick up chicks-but it was never about
different effects on the guitars, and stuff up putting it on the record because we that. It was about making music and hav-
like that. Howard was really the only one, were all in love with the song. Then we ing people love it and the best compli-
he plays the keyboard, he was the only started getting all this feedback on the ment to that is playing a song and having
one with the most experimental stuff. record and the next thing you know that it sung back to you. It’s the best feeling.
was our single, and it all kind of blew up.
S UM 41

July 19th marked the last tour date of 2009 for

Canada’s Sum41. It was nearly two years since
their last studio release, Underclass Hero, when
Broken Records Magazinne got the chance to have
a chat with front man and rhythm guitarist Deryck
Whibley. With intentions of writing an EP, the band
came up with a surplus of material that will now be
an LP instead. Deryck tells me, “I like these songs
too much, they’re too good to not put out there.”
With already over a dozen songs written, the band
will continue to work on the new album, but as far
as a release date, Deryck didn’t have an exact date
for me. They are still fine tuning the material they
have come up with. “I’d rather not do a record than
repeat a bunch of stuff we’ve done”, he explains.
I’m in my home studio. We’ve gone to this studio
a couple times in LA but were kind of doing demo
stuff, it’s not ready for the record yet In the mean-
time, they have released their first greatest hits
CD, All the Good Sh*t:The Best of Sum 41 which
encompasses the bands eight year career.

By Candice Wanca Photo by Kristin Tully

 Toby’s agency who then passed it to Toby’s
agent. Next thing I know, we’re getting a
phone call saying that Toby Keith wanted to
see us in a showcase. We were like ‘What!’
It was nothing that we expected. He came
to see us play in this little bar in downtown
Nashville one night and the rest is kind of
history. We basically got off stage and he
offered us a record deal right on the spot.”
All in the Family “We’ve all written our whole lives,”
Becky tells us about the writing process.
By Scott Vollweiler “Sometimes we will all get in the studio
and maybe Johanna is sitting at the Piano
On a “cold” Nashville day, Johanna, a good way, that we were going to make and comes up with a melody or Emily will
Emily and Becky Robertson, also known music our career,” Emily jokes. “We didn’t come up with a hook. It’s cool, being sisters,
as Carters Chord, called us. As the spawn know if we would make music individually we are all like minded. We can sit there and
of Barny and Carter Robertson, mem- or as a group but we’re very happy that it go line by line and say who would sound
bers of the legendary Waylon Jennings turned out this way.” Being sisters on the good here and who would sing which har-
band, they harmonious trio were al- road must be fun, but do they bicker on the mony.” Emily added, “The album that we
most destined to be Country music elite. bus? “Of course not,” they trio jokingly released last summer digitally, Toby and
After just one listen of Carters Chord’s exclaimed. “This past summer we opened our father both produced it but our father
self-titled debut album, you may hear in- for Toby Keith on his tour, so there was did the vocal side of things. While we will
fluences by Dixie Chicks, BB Kings style eleven of us on one bus. Although we’ve create our own harmonies, it was fun hav-
Blues, maybe even a little Carrie Under- grown up together our whole lives, it’s dif- ing our father in there working with us.”
wood; that’s how great and diverse the re- ferent when your living together in such While each song on the album has a
cord is. “We are inspired by so many styles close proximity. There are definitely times character of its own, “Summer, Early 60’s”
of music,” Emily Robertson, middle sis- where we need our space.” (All laughing). is the biggest standout track on the disc.
ter of the trio, tells us. When asked about While the group is super talented, and “The song was written by our mother. It
their main influences, of course their par- quite good looking, they can also thank is auto-biographical. We were looking to
ents were listed but so were Black Crowes Toby Keith for their success. Toby signed add one more song on the album and mom
and Eric Clapton by Emily, Fiona Apple the group to his Show Dog Nashville record pulled the song out. Originally, it was only
and other singer/songwriters by Johanna, label. Emily told us that “a few years back a piece of art…it didn’t even have a cho-
the youngest sister, and the oldest sis- we had recorded a twelve song demo, al- rus. When we were in the studio, Toby
ter, Becky is into more “traditional coun- most a few album, and we passed around to would call the song the ‘Witch Song’.”
try,” like Randy Travis and Dolly Parton. anyone that would be willing to listen to it.
“I always felt we were doomed, but in One day it fell into the hands of someone at
Up and coming teen country musician, tina growing up. Also, Linda Ronstadt, and
Katie Armiger, has been pretty busy Patsy Cline. I’m really an eclectic person.
as of late. She just announced a tour of The ultimate goal writing the record was to
shopping malls, just like eighties teen be diverse. We didn’t want to have one di-
pop star Tiffany. We caught up with rect theme.
Katie while she was out looking for a
tour bus. BRM: So tell me the story behind “Trail
Of Lies” and how you guys wrote the
BRM: How has it been being an inde- song.
pendent artist rather than being signed KA: I went into the session with the line
to a major? “Trail Of Lies” in my head. I don’t think
KA: Well there are definitely pluses and I’ve ever been cheated on, but I’ve been on
minuses being an indie. I have much more some really interesting and bad dates. I do
creative control over the music I release. I have some friends that have been cheated
can get music out much quicker too. On the on though. So we decided we wanted to
other hand, I may not get on the big tours or write a song about cheating but it had to be
get as much radio play. empowering where we go after the guy and
knock him down a few pegs.
BRM: Your album is very diverse sound-
ing. I can hear influences by Taylor Swift, BRM: Thanks a lot!
Martina McBride and Miranda Lam- KA: (Laughing) Sorry! Guys have been
bert, especially on your single “Trail Of scared after hearing that song. I don’t think
Lies.” Who were your influences? I’ve been on a date since I released it!
KA: I did definitely listen to a lot of Mar- By Scott Vollweiler
  Chuck

Photo by Joe Hardwick

Da n c i n g W i t h
  W icks
with my best friends as co-writers. It was play or people will really like this in a
fun because I got to see the songs that I had live atmosphere. Its very cool writing with
written years ago acoustically, turn into Brian McKnight or Richard Marx someone
such a produced song (GPS goes off: turn who has had hits on the radio.
left) and then to see it all come together
Before he was a household name on the was just amazing. But it took me forever BRM: I had read that you were writing
dance floor, Chuck Wicks was just a great because I have hundreds of songs that I had over a hundred songs per year. How does
Country music singer/songwriter. The written over the years. writing come so easy for you? How do
Delaware born musician had been watch- you approach each song? Music or lyr-
ing his singles, “Stealing Cinderella” and BRM: I noticed that you have an album ics first?
“All I Ever Wanted” rise up the Country full of all the songs that you yourself co- CW: The creative process is a funny thing.
music charts. His latest single, “Man of wrote except for one of the songs. How It comes and goes. I just try and be ready
the House,” had just been released. Chuck does it feel to know that you had your for when it appears. I might be right there
had watched his stardom rise by touring the hand in most of those songs? I mean on the street, and it'll just pop up and I just
entire country opening for one of Country most albums, ( left turn ahead) labels have to record it on the phone. I’ll just start
music’s biggest stars, Brad Paisley, on his want big name song writers to write it. with whatever comes naturally to me. It
Paisley Party Tour. Chuck was also an- CW: Let me turn this thing off. I finally get may be a guitar riff or an opening line or a
nounced to be apart of a new campaign it to work and now it wont shut up. Work- melody, or an idea. Someone might tell you
for Dr. Pepper. If that wasn’t enough, the ing with the best song writers in the world, a story that sparks an interest or you might
newly crowned ACM’s “Best New Art- (GPS: take the second left) Oh man this is go see a movie and you think that’s kind of
ist”, Julianne Hough (his dancing partner annoying! I don't even know how to turn it cool. I might write a song about it. I'm not
on ABC’s Dancing With the Stars), is his down! Okay, I got it. Working with the best the kind of guy that says the melody comes
girlfriend. Prior to the announcement that song writers in the world and getting them first. It just pops into my head and I just
he was “Dancing With the Stars,” Broken to be apart of it isn’t where I came from. I have to be prepared for whatever comes
Records had a candid conversation with wrote everything from country, pop, rock out.
singer. While it was a very personal and fun and R&B. I was just all over the map as a
conversation, an annoying GPS wouldn’t song writer because I wrote what I was feel- BRM: You've had a highly publicized
shut up and Chuck “lies” to us about his ing at the time. I mean really just listening relationship. How do you make it work
time with “Jules.” is where I found out who I was as a writer. when your on the road?
It’s eleven A.M. on a Tuesday morn- After singing with these people I found out CW: Being in the same industry we under-
ing, and my phone rings. On the other side who I really was as an artist. Some of these stand if we have to go some place at the
of the phone is Country music star Chuck guys helped me out a lot. I mean I would drop of the hat or if we have a meeting in
Wicks. be thinking ‘yeah, I would say that’ or ‘I the middle of dinner. We both understand
wouldn’t say that.’ All of these trial and er- the work ethic that it takes to make it in this
BRM: Hey Chuck. What’s going on? ror periods is where I found out who I was business. She's gone for very long periods
Chuck Wicks: I just got out of a video as an artist. Now its all these songs that I of time and so am I. But if either of us have
shoot for Best Buy. It was great. It was thought were great are now on the album time off, we definitely make the effort to be
all about being fifteen years old. It was and that’s what helped me get this record. with each other. Actually, Jules is with me
for a campaign that they’re doing called right now.
“ACT15.” But listen to this. I couldn't fig- BRM: Have you started writing for the
ure out how to get my GPS to work. For second album? BRM: What should we expect from you
Christmas Julianne (Hough) got me a GPS CW: I have. Lately I've been really heavy in 2009?
for my truck, and I couldn't get it to work. in the song writing and I've been with the CW: In 2008 we did over two hundred
I was putting in the addresses while I was same guys that I've been with for years. I shows. In 2009 we’re going to try to come
driving…see the problem is, it lets you put started writing some pretty cool with Rich- close or even do the same thing. “Man of
it in, but it wont go through. Now I have to ard Marx. Writing with other artists is a the house” is hopefully going to be knock-
park to let it go through. pretty cool thing because a singer/song ing at the charts. There's going to be a lot of
writer, artist song writer is cool because we places were going to get to as far as touring
BRM: Okay well first off, I absolutely think in a different way. We think about a wise that we didn't get to go to as far as last
love the album. And out of all of the al- good song, good lyrics and we also think year. We’ll get more fans and all that. We’ll
bums that I have heard recently, yours what's going to make people jump up and get to play for an hour and a half rather than
is definitely in the top five! How was the down. That’s what an artists/song writer the twenty minutes we had last year. We’re
experience recoding the album? really thinks about. They're thinking more going to improve our live act by start add-
CW: Fun. Stressful. It was a learning ex- along the lines of this is what people are ing some staging. Behind the scenes, we’re
perience you know? It was great working going to like, this is what the radio will going to be gearing up for the next record.

a c o u n t ry S ta r
By Scot t V o l lw e i l e r
L es P aul

I NTERVIEW  B Y  S COTT  V OLLWEILER

 It’s not everyday you get to sit down and talk to a legend. But earlier this year, I got to sit down and talk to Les Paul one on
one before his weekly Monday night sets at the Iridium night club in New York City. In my years going to concerts and meet-
ing my favorite musicians, rarely do I get star-struck. Les Paul is not only an icon but the man who single-handedly changed
music; his invention of the solid body electric guitar has been a staple of rock bands since. Not only is the Gibson Les Paul one
of the most popular guitars sold, it is also a prized possession on the vintage guitar market.
On June 8th, Les Paul turned ninety four years young. His live show still sells out, every week, every set. In this exclusive
interview, Les Paul tells us about his take on the current music industry, how the world almost had a Fender Les Paul and his
long line of famous friends.

Broken Records Magazine: What do you and lo and behold it made sound. And I said BRM: How does it feel to have musicians
think of the music industry today? I wonder what happened if you do this with young and old, beginner to advanced
Les Paul: I think they’re making progress, a piece of soft wood. And the soft wood playing the guitar with your name on it?
well the musicians are making progress, was pretty bad, so I said to my mother, the LP: “It was quite a nice feeling, I person-
but I don’t think the music itself is making railroad track is the answer. She said to me ally was completely in favor of the guitar
the same kind of progress. The business is ‘can you picture a cowboy riding a horse but I was anxious to see what the other gui-
kind of messed up because of the changes with a traintrack in his hands?’ And so she tar player liked and he's an important part
with the advancement of technology. So shot that down, so I had fooled around with of building a guitar. It's not what I liked,
things change. Radio went out, television wood because I knew that most everybody it's what he likes. So it happened….beyond
came in, and now television is going out liked wood over plastic or metal. So I made any dream. Its very rewarding to have your
and ipod in. We used to work like hell to the guitar out of wood, and I knew it had to dream come true. It’s all about the musi-
make a great sound. The kind that we could be hardwood and it had to be dense, and it cians. And I thank all those players who
make with an amplifier and speakers. Now was a matter of going down that road, and I play my guitar becuase if they hadn’t liked
we hand it to an ipod, and here it is with finally found that the best one was a four by the sound, it wouldn’t have happened, and
a worse sound, just great distortion. When four log and started that one up without the if the design wasn't right, it would't have
everything is wrong, it’s perfect for them sides on it. It didn’t look like a guitar, it was happened.
to run down the street, and it’s a bummer.” just a four by four, and I played the four by
four in a night club, it didn’t go over. And BRM: So what was your initial reac-
BRM: How was the celebration that was I said to them, ‘I’m going to put wings on tion to Gibson redesigning the Les Paul
held in your honor at the Rock and Roll this thing.’ Go back to sand club and see Model? (Gibson decided to create the
Hall of Fame? I heard that Slash said what happens, and it stopped the show. I Les Paul 2, which was later renamed the
that he had a hard time keeping up with was playing the same song, on the same SG model.)
you during your jam session. guitar with the wings on it, and it looks LP: Well I was like you can use it as a bow
LP: (Laughs) Well...that’s a nice compli- like a four by four, so the people could hear and arrow. You can change the pitch by
ment but I don’t think that’s true. I think with there with their eyes. How can you bending the neck. I told them you should
he was just saying that to be nice. It was a make this very personal. I had to design my strengthen the neck a lot. They were like
pleasure. He’s a good friend. The celebra- guitar to be something to cherish. Some- “we want to leave it that way.” So I told
tion went great. thing you couldn't wait to get home, throw them they can have it. Just don’t put my
on some old clothes and just relate. name on something I don’t believe it. I nev-
BRM: Going back to the "Log Guitar," er felt those sharp points were good if you
the original guitar, is there a story? What BRM: How did you develop a relation- were flying up and down the neck.
gave you the initiative to put a guitar to- ship with Gibson?
gether? LP: Well I went to them, and presented the BRM: You’ve also been credited with the
LP: It goes back to the very beginning log to them, and they laughed at it. They recording technology and effects. What
when I was just a young kid. I’d take my asked me where the pickups are. They made you get involved with that?
mother’s radio and turn it into a PA system, thought it was a joke. Ten years went by, LP: Well, way back at the beginning, if you
with a battery charger and I'd sing into a finally they called me and said, ‘would play something your mother or friends say
telephone, build my own PA system and I you mind bringing that thing in again?’ So to you, how nice or ugly it sounds. You’re
was playing my harmonica singing country I went in, and they said ‘what do you think playing it, and you’re not hearing it back
songs. And finally I was riding in the rum- should happen?’ I told them what I think like they’re hearing it back. And so I says,
ble seat of a car, and someone gave some- should happen and we made an agreement I’m going to have to build a recording de-
thing to the car hop to give to me. A note, to split it fifty fifty and make this into a vice so that I can hear it like you can hear it.
that said: "Red (what they used to call me) solid body electric guitar. First thing they And I want to hear it like a layman would
your harmonica is fine, your voice is okay, asked me was 'what’s the color', so I said, hear it. Because it is vibrating in your hands
and your guitar is not loud enough. And I ‘metallic gold’. They then asked me, before and you are busy holding it, and so you’re
went home and I said to my mother, I’ve you run off, what’s another color you want, not as good a judge as you are if you listen
got to do something about the guitar, I’ve and I immediately said black, because you back to it. And so I got into recording heav-
gotta make the guitar louder. So I took a can see your hands flying over the guitar. ily, and then the sound effects kept com-
piece of railroad track and put a string on it, They were unusual colors and very differ- ing on. My mother made a comment, she
took the receiver part of the telephone, and I ent too. was visiting me at the theater in Chicago,
took the string, and put it through the radio, she said I heard you last night on the radio,
 Interview by Michael Musacchio
Broken Records Magazine: How did you We literally packed the packages ourselves, when you’re out on tour?
guys hook up with Per Weiberg from took the orders, took the stuff to the post JPG: Beer. I think we all have an apprecia-
Opeth on El Rojo? office. We quickly realized although it’s tion for a good beer, myself especially I’m
Jean Paul Gaster: We’ve known him for a pretty kick ass to have your own label. a beer enthusiast. I recently started getting
few years. Clutch did a tour with Spiritual into Belgium beers.
Beggars in 2001 and that’s another band BRM: Will you guys be playing double
that Pert was playing with at the time. We sets as Bakerton Group and Clutch in BRM: Who or what inspired you to get
struck up a friendship, he likes good mu- one show? into music?
sic and good beer and we do too. He and I JPG: That’s the idea for the next tour com- JPG: I think we all started listening to
actually did a project together called King ing up. That’s nothing new for us, we’ve rock and roll early on, bands like Black
Hobo. done that before. It’s a great way to get Sabbath, Iron Maiden, AC/DC. Myself, I
warmed up for a Clutch set. Bakerton’s really learned to play drums listening to
BRM: Cool , how did Bakerton Group stuff is less aggressive. those records. Eventually I got into more
get started? Why did you start a side into hardcore and metal. Bad Brains made
band as opposed to playing those songs BRM: You guys haven’t used digital a huge impression on all of us.
as Clutch? recording since the Elephant Riders.
JPG: We started the Bakerton Group when Why’d you switch to tape? BRM: All your songs are very random
we were still living in West Virginia. We JPG: Well that’s not entirely true. We have but tell a story, what’s your writing pro-
had some down time between records at the done records on both tape and digital. On cess like?
time we were just trying to experiment. A From Beale Street to Oblivion we went JPG: Well Neil thankfully writes all the
lot of stuff we would do back then would back to tape machine. Tape is a great me- lyrics. We are blessed to have somebody
actually be covers. We would do maybe dium. It’s inexpensive and it’s something like him in the band. He’s great at putting
Allman Brothers, Coltrane, Miles Davis we’d def like to do more of. words together. He conjures up crazy im-
stuff. More than anything it was an experi- ages. He says ‘you can sing anything you
ment to try different types of feels, stuff we BRM: Do you guys get a better sound form want just as long as you do it with convic-
normally wouldn’t do as Clutch . It really it you think or is it just easier to work with? tion.’ No one does it like him. He makes a
took hold when we made our own record JPG: I think it’s a different sound. I’m not lot of the riffs in Clutch too. It’s a pretty
label, Weathermaker. sure I would call it better. It’s more of a communal thing. We get together and start
color, more of a dynamic thing than it is jamming things out. A lot of Clutch stuff
BRM: That’s interesting because that a fidelity thing. it’s a natural kind of pro- is just little sketches of things we put to-
actually ties into another question I gression. There’s going to be natural dis- gether in the last couple years that we put
wanted to ask you. Does the new label tortion. Digital recording is a completely together in between tours. We’ll get togeth-
Weathermaker mark the end of the old different thing. You’re taking tiny slices er couple times a week get a couple ideas
label River Road and will you be signing of sound and documenting those. There’s together. Get one riff and if that’s good we
other bands to Weathermaker or will it some great digital recording out that there get another one and we kind of put them
strictly be you guys? too. Certainly if we had the opportunity in a little arrangement and we’ll just call it
JPG: I think Weathermaker is a more pro- to make all of our records on tape and something and put it away and not listen to
fessional version of River Road. We started then put it into Protools, like we did on it for a year, so then you have a bunch of
that back in the ninties and we would re- Beale Street, we would probably do that. snippets of things and you go through all
cord things exclusively for internet release, the pieces and find the real best stuff and
only it was something we did on our own. BRM: What’s the Clutch drink of choice put those together.
 of scurried off into bunkers where we hung
out for a little under an hour and waited for
the whole thing to pass. It was pretty un-
believable. It’s definitely one of those tour
stories to me that’s just a lot more meaning-
ful than, “Oh man we had this really drunk
girl on our bus and she wouldn’t leave, it
was hilarious.”

BRM: How was it playing for the troops?

It was awesome. It just really gave me the
most incredible sort of perspective and it
made me really appreciate guys who are
over there doing that. It definitely gave me
a whole new outlook on the military and
what’s going on over there and stuff. We’ve
never had a more amped up, crazy crowd.
They were insane.

BRM: You’re fairly new to the band, so I

just wanted to ask you how your experi-
ences have been so far?
It’s been incredible. I was certainly a fan of
the band before I joined which that always
makes things a lot more fun and easy when
you’re playing music that you’ve listened
to before and playing with the guys who
you looked up to. So that’s always a trip for
sure. Rich is a really great guy and we all
sort of just meshed right away.

BRM: So you guys are working on the

new one right now. How’s the creative
process going?
By Danielle Portera Photo by Scott Vollweiler I think a lot of people are going to be sur-
prised by this new record we’re working on
right now. We’re kind of taking it back to
Short Bus kind of early Filter records that
With super hits such as “Hey Man, Nice it was incredible. We are always excited to were a lot harder with more of an edge. I
Shot” and “Take a Picture,” the band get back to Europe. They love the music think that’s kind of where this is coming
Filter has solidified its place as an iconic over there. from.
rock band of the ‘90s. New bassist, John
Spiker, recently took some time to chat BRM: Do you have any crazy tour sto- BRM: That’s great. When should Filter
with us about Filter’s upcoming Euro- ries you can share? fans be looking out for that new release?
pean tour, playing for the troops, the re- Filter: Actually, about a month and a half Hard to say right now but we’re hoping
lease of their greatest hits album, and the ago we were in Kuwait and Iraq doing maybe in the Fall sometime. Right now Fil-
making of a brand new Filter record set shows for the troops. We went into Iraq ter fans can be looking out for the greatest
to release this fall. and played at a few different bases there hits records coming out in March.
specifically one called Kirkuk. We had
Broken Records Magazine: How do you finished playing a show and were signing BRM: Will there be any new songs on it
guys feel about going out and hitting Eu- autographs, meeting the guys who were or any revamping of the old hits?
rope? I know you guys were supposed to incredible and all of a sudden we hear There isn’t any brand new material on
go last year with POD but it didn’t wind somebody yell “Incoming! Incoming!” and there, but there are some remixes that were
up happening. like all 500 guys and girls who are stand- put on that record. And there’s some really
Yea, P.O.D. was having a couple of issues ing around this big open circle area go face cool packaging. I totally urge people to go
and it just kind of disintegrated. We’re down on the ground with their hands over out and actually buy the CD as opposed to
stoked to go back to Europe, especially their necks. And we’re right there with grabbing it on iTunes, just because it’s a
Germany. Everyone’s always really great them. We’re lying on the ground just wait- pretty incredible package they put together.
to us there. Last year we went through Ger- ing for a mortar to hit. Then the sirens came There’s some great history of the band and
many doing a couple of festivals there and on. They went into code red and we kind some great photos and stuff.
B a c kAn intervitew wioth KornB’s Fiealdy s i c s
Broken Records Magazine: You guys
by Candice Wanca
BRM: How did you decide to write a
’

BRM: Of all the songs you guys have,

are working on a new album and you’re memoir? Was it something you wanted do you have a favorite?
not using any Protools. Why go back to to do for a long time? Fieldy: My favorite Korn song which I
analog? Fieldy: After changing my life and real- love playing live is “Here to Stay.”
Fieldy: We’ve been working on the new izing how much time I spent sitting around
album for a few months. We’re taking it in hotel rooms and planes and busses, I BRM: Your side project, why did it
down to stripped down and raw. We’re ac- just really started thinking a lot and getting change from “Fieldy’s Dreams” to
tually doing it in my garage at my house; an idea of putting this out. The book is “Fieldy’s Nightmare”?
me, Munky, Jonathan and Ray Luzier, our called “Got The Life: My Journey of Ad- Fieldy: I haven’t done much with that but
drummer for a couple years now. Russ diction, Faith, Recovery and Korn.” I talk my side band that I have going on is called
Robinson (producer) is bringing it back about my life its real, honest and personal. Stillwell. We’ve been working on it for
to old school so we went back to tapes It’s behind the scenes with things I went almost two years and the album is almost
instead of Protools. We’re going back to through. finished now. It’s called Surrounded by
the sixteen track board. It’s coming out Liars.
amazing. It’s been so long, it just feels like BRM: Would you say it’s more about
were a bunch of kids, jamming in a garage your experience with the band or more BRM: That was actually my next ques-
trying to give it our best without anything personal than that? tion, so you’re not working on the Sobri-
else. Fieldy: There’s some about the band too, ety album?
it’s a major part of my life. I spent a lot of Fieldy: No, I really put that on the side.
BRM: Are any songs completed? Have time with those guys. It’s all the way down
you played any new tracks on the tour? to where I put letters to the band mem- BRM: What’s going on with the Imman-
Fieldy: We would love to but they’re not bers in there, personal letters of apology. uel One Twenty Three clothing line?
ready. I wish man. They’re not that long but they took me a Fieldy: I started to get into that and I put
long time to write. about 10,000 into it and really started get-
BRM: Any theme? I heard it was mostly ting into it and came up with some de-
about organized religion. BRM: Did writing the book come as signs. I was talking to other people in the
Fieldy: Jonathan always picks what he’s easily to you as writing a song? merchandise world and they were like
going to write about. I’m not really sure Fieldy: It was a lot of work writing a ‘You have to drop anywhere from a mil-
exactly what he’s doing. book. There’s a lot of detail little things lion to three million to get it rolling.’ I’m
like making sure the stories are right and not there, I’m not ready. I don’t know if I
BRM: Any idea when the album will be digging up all the pictures I put in the have enough passion for that. If something
released? book. The hardest part, once the book was comes up maybe an investor...
Fieldy: I’d say give it a year. released, was doing the interviews because
most of them were at six AM. The morn- BRM: Can you share any crazy tour sto-
BRM: Are you guys still in contact with ing shows...you know the book world is ries?
Head or Dave? different (than the music world). The most Fieldy: When we played Woodstock in
Fieldy: We haven’t talked to Head at all. difficult thing was having to get up at five, 1999 we were looking out into the crowd
I’d like to and say what’s up but I don’t six in the morning. and we started with “Blind” and you see all
know where he’s at. those people hopping all the way back. It
BRM: You guys have been conquering was just like a sea, like a wave. You could
BRM: Your back up band used to wear the music scene for over a decade. Do see the music wasn’t reaching people (in
masks or face paint but no longer do. you see yourself slowing down any time the back) ‘til later so the wave was off. It
Any particular reason why? soon? looked like the ocean out there. We came
Fieldy: When we went out with the Fieldy: As of today were still full force, off stage and we were all crying and hug-
backup band we wanted to do something heavier than we’ve ever been, tighter than ging each other. It was a highlight in my
different and big. It was fun for a minute we’ve ever been. I’d say we’re on top of career.
and now we’re just getting back to taking our game. This is what Korn is supposed
it raw. No stage props just rocking out. to sound like and it’s amazing
 Interview by Tom Ferarro | Show review by Sal Spurge

Broken Records Magazine: You guys made you choose them? live?
have done a lot of tours, like Ozzfest, DD: Well, they’re fantastic. We’ve toured DD: Very much, and they are getting huge
where you aren’t the headliner, but Mu- with them before on Ozzfest. We definitely crowd reactions.
sic as a Weapon is Disturbed’s signature value what they bring to the table. They are
tour, so it has to be more exciting than definitely worthy of being a main support BRM: How do you guys decide which
other tours. Is that true? band. We are definitely excited to have them songs to play live?
DD: Oh yea, it’s our baby. We have a special on board. All three of the opening bands on DD: Well we do have to respect the clas-
fondness and appreciation for our own blood. the main stage (Killswitch Engage, Lacuna sics. We’ve been blessed with eight num-
Coil, Chimaira) are worthy of recognition ber one singles so far. We have to play the
BRM: Are we going to see anything new and make us wanna step up our game as well. fan favorites and then we try to introduce
on this tour? as much as the new stuff as possible. It’s a
DD: Definitely. It is the largest scale BRM: You guys have toured with so delicate balance. But we’re definitely going
production we ever attempted. We’re many bands, are there any bands that into the vault on this tour.
definitely going to have a whole bunch you’ve enjoyed touring with the most?
of surprises for people. We are go- DD: Well we get along really well with BRM: I know you guys are always keep-
ing back to that theatricality that’s been everyone. I don’t know that we can pick a ing busy, are you gonna be writing any
missing from the show for awhile. favorite. We’re cool to hang with anyone as music while on this tour? I know you do
long as people are cool to hang with (laughs). that sometimes.
BRM: Do you guys have any pre-show DD: Probably not. Danny is always stor-
rituals or anything that you do before BRM: Sort of in the same direction, is ing riff ideas, but nothing gets put into song
you go out on stage? there anyone you haven’t toured with form yet, that takes place once we are off
DD: Well the guys usually just stretch out, that you would really like to tour with? the road.
and warm up in the dressing room, listen- DD: Well there’s several. I’d love to do a
ing to the old school metal stuff. We always tour with Iron Maiden. Never done an actual BRM: Is there any crazy or memorable
got the all metal iPod over there. I try to tour with Metallica, even though we’ve done tour experience you would like to share?
loosen up as much as I can. I warm up for some single shows. Love to tour with Rage DD: Well this was pretty crazy- not too
an hour prior to the set, I do a little bit of Tai Against the Machine, if they get back to- long ago, we had a fan throw human ash
Chi, that helps me center my energy, then I gether. I’d love to do something with (Judas) up on stage. It was one of their buddy’s last
head into the dressing room and join them. Priest. There’s definitely more on the list. wishes to have them be with us, so they
threw up a bag of his human remains. It had
BRM: I see that you had Killswitch En- BRM: The new CD Indestructible is great. a little ribbon and a note attached to it. It
gage opening on this tour with you, what Do you guys enjoy playing the new songs was really eerie and freaky.

“My Brothers, my sisters, my blood...are you with me?!”, said frontman David Draiman of Disturbed Sunday night, as a sold out crowd
cheered with admiration at the House of Blues in Atlantic City. Draiman went back to his roots and rocked his Hannibal Lecter-esque
entrance to the stage and then went right into their hit song “Insanity.” You couldn’t keep the crowd silent the entire night. After each
song, the crowd screamed louder and louder for the band they so much love. Draiman seemed very poised and was very much on point
vocally. You would literally think that you were listening to one of their four albums. They continued to please the fans throughout the
hour and twenty minute performance by playing many of their hits like “Stupify”, “Prayer”, “The Game and their rendition of “Land of
Confusion”. As he slowly raised his extended arms, all 2,300 of Draiman’s closest friends in New Jersey raised their voices for him. Fans
were given what they asked for when Disturbed came out for a three song encore beginning with the hit single “Inside the Fire” off their
certified gold album “Indestructible”, the Guitar Hero Three friendly “Stricken”, followed by drummer Mike Wengren’s two minute ear
pleasing solo, and closed with the pit happy “Down With The Sickness.” I have been fortunate enough to see them live numerous times
and just like the other times, they did not disappoint their fans. “Are you with me?” Yes David, we certainly are.
From left to right :Ryan Richards,
Gavin Burrough, Kris Coombs-Roberts,
Matthew Davies-Kreye and Darran
Smith
 Interview by Candice Wanca and Danielle Portera
We got the pleasure of having a long chat with two very nice chaps from Whales’ Funeral for a Friend, guitarist Kris and
vocalist Matthew at New Yorks’ Irving Plaza. The boys were more than happy to hang out and answer our barrage of ques-
tions despite partying a bit too much the night before. FFAF will soon be releasing a greatest hits album entitled Your History
is Mine.
Broken Records Magazine: Memory because it’s nice. It’s always warm, that’s a that allow you to get to fans like Myspace,
and Humanity was supposed to be an EP plus. One of our favorites places is in Vir- Facebook, and Youtube. It’s a lot of fun for
what made you turn it into an LP? ginia called The Nova which has an amaz- us as well, because a lot of people only see
Matthew Davies-Kreye: Just because we ing backstage area, it has a hot tub. There’s a certain side to the band where there’s so
wrote way too many songs (laughs). We very few of them. much more to us. I think they want to see
said you know what, let’s just keep on writ- KCR: I wouldn’t dare use it. and we want our fans to know that we’re
ing. It was one of those situations where MDK: They have a basketball court as just human, we’re approachable. We don’t
we were thinking we were going to write well upstairs. mind hanging out and chatting. I think it’s
an EP but we had about six or seven songs KCR: And Double Dragon. more difficult for us to do in the U.K., giv-
within a month and we liked how the work MDK: And a pool table and table tennis, en the level of the band there.
ethic was going and we felt too limited on it’s pretty sweet. KCR: It’s changed the music industry
an EP where if we put an LP out we could KCR: I really like playing in New York to massively. You used to have to play places
do a more extensive touring cycle. If we be honest because we have friends here and get people interested in you, to get a record
had put the EP out last year and then the we usually have a day off before or after we label interested in you. Now it’s like soon
album this year it’d be too long of a wait play a show. as you record your music you can put it up
for fans to see us. I think were in a situation on your Myspace and show it to everybody
where if we want to write an EP with some BRM: Any places in the city you like go- in the world. It’s so much easier for bands
extra songs we could. ing to? now so it’s an amazing thing definitely.
MDK: We wandered around a bit yester- MDK: We like to transcend that (sharing
BRM: What made you guys start the re- day. There was an awesome Asian veg- things with fans) to our releases, bring
cord label Join Us? etarian place on Eighth Avenue which was in extra content. We did a book version
Kris Coombs-Roberts: Basically we were amazing, and Union square, shopping for of ?/humanity in the U.K, with tour pho-
weighing our options and looking at what stuff I can’t get in the U.K. tos and things like that that came with the
would be the best move forward for us and KCR: I really don’t know where I was. CD. When you see stuff like that you kind
we had an option of doing a fourth album MDK: We found him in a karaoke bar of wish that more of your favorite bands
with ?/ but the way industry is, there’s a where they had one of our songs but the would do something like that. I think alot
lot of three-sixty deals and they take from words weren’t right. of people who are obsessed with music and
merch sales…we sailed away on the ocean invest themselves emotionally in bands ca-
of independence. BRM: How can you guys compare U.K. reers, want to discover every facet. I like
MDK: That’s the beauty of having owning fans to American fans? to do linear notes in the lyrics in the songs.
your own material…we own everything MDK: Not that we’re not taken seriously Hopefully now that we have more control
nobody’s holding us down. back home, but there’s more of a serious- over our work we can work on that element,
KCR: The best part owns your own re- ness (in the states) to the audience. especially with the labels were hooked up
cordings. When you’re on a major label KCR: I think the difference is when we with in different territories. I hope we get
they own the recordings. play in the U.K., people like to show their to do a tour edition with more expanded
fan optimism by shouting for your b-sides. material, I know a lot of people think when
BRM: Any other bands on the label or But there’s a reason why there b-sides, bands do that they want to cash in but we
just you guys? you’re not going to play a song you didn’t want to add more to the package to make it
MDK: Just us for the time being. really like in the first place but they want worthwhile for people to invest in the ma-
KCR: It’s one thing to screw your own ca- to show their loyalty to you and constantly terial. That’s why we add to it like DVDs,
reer up… shout for them through the entire set. In different packaging and vinyl.
MDK: You don’t want to take anyone else America they’re just happy to watch you KCR: I think it’s sort of a strange thing that
down with you! (laughs) play. you can download music in an instant. You
go online and either you buy it or you steal
BRM: Are there any bands you’d like to BRM: Did that ever work? Did you ever it you get it instantly, but there’s no con-
tour with that you haven’t? play a song you didn’t have on the set list nection I feel with music anymore. Some
MDK: There’s tons, mostly with bands because someone requested it? people really love having the CD and hav-
that have members who aren’t alive any- MDK: Once where the dude started sing- ing the album artwork. Most people are just
more like The Beatles. ing in between songs. It wasn’t a very big happy to go to your website and download
KCR: Queen. show maybe a hundred and fifty people in it and have nothing that goes with it, I think
there in Luxemburg, and just for the sake the romantism people had with bands is
BRM: That’d definitely be a concert I’d of it we played the song and had him come completely lost. When I was younger I had
like to see up and sing the intro and we realized he to work unbelievably hard to find the bands
MDK: There’s probably loads of bands couldn’t sing at all. He kind of jumped back that I loved. I’d get magazines, I’d read
we’d like to take on tour, we’ve been quite off stage cause I think somebody threw a about bands, I’d go out to record stores and
privileged to tour with a few of them in the beer at him. get them to order the album and I’d try and
past. get everything I could find by the band.
BRM: You guys utilize Myspace a lot. MDK: The thing that I’ve noticed when I
BRM: Any albums you can’t live with- How do you feel that it benefits artists to used to get a hold of those records I’d lis-
out? have sites like that? ten to them non-stop for weeks and really
MDK: Anything by a band called Quick- MDK: There’s very few, if any, barriers be- know them inside and out. Now it’s like
sand. tween us and our audience. We know what kids get a couple of songs and that’s why
KCR: As long as I can play music I’m fine. it’s like to be a fan of a band we love, so we careers of bands are so difficult to main-
think of it from that perspective. We update tain, because no one is willing to invest that
BRM: Any places you always try to in- and keep people involved in what we do, kind of time and feeling, I want to bring
corporate in your tour? kind of make them feel like family. I think that back.
MDK: We always try to go to Australia just it’s very important to use those methods
T 
 
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Broken Records Magazine: A lot of critics said that The Crusade shake things up. He(Nick Raskulinecz) definitely brought in a differ-
was substantially different than the previous album Ascen- ent perspective of how to record things and accomplish what we were
dancy. How do you feel Shogun stacks up against those previous looking to do with the sound and the tones and his personality, he fit
releases? right in with everybody and with writing the songs he pushed us. It
Corey Beaulieu: After Ascendancy we wanted to try something dif- was like heavy metal boot camp. “The Calamity” was the first song
ferent and expand upon what we can do and keep it fun. That was the we started working on, the original arrangement was a lot different,
right thing to do at the right time for us. We wanted to write a record he was an outside ear, he kind of rearranged the puzzle. He made
that took everything we’ve done on the previous albums and I guess us play the song like fifty times in a row. After working with him
define our sound and mold it to one thing; the Ascendancy stuff and the that first week we were kind of like ‘alright now we can do it on our
crusade stuff and blend it together. Everyone was super pumped about own’. We dissected the songs. He opened up a way for us to analyze
writing a new album and we wanted to write best record we could, we our own music. We became a better band and everyone individually
put really positive energy into it and we had a new guy who worked on as players(became better) because he really pushed us. He was fun
it so that kind of changed the way we worked a little bit. Shogun has a to work with hopefully he’ll be available to work with for the next
lot more musicality to it, more technical stuff, vocally f*cking around album.
really. Matt tried different ways of doing songs. The clean normal sing-
ing that we did on The Crusade didn’t sound right so we tried scream- BRM: Where’d you guys find influence for the album?
ing and decided we’re not going to limit ourselves. We were going to Corey: Our worldly travels, a lot of stuff was written on tour. Matt
use everything at our disposal to create the best songs we could. Look- and I were writing “Into The Mouth Of Hell We March”, in a sh*tty
ing back on it, we were able to take everything we’ve done and kind dressing room in Germany. He had a couple riffs and I was writing
of define our sound. I think it stacks up as a good reference point for the melody parts. I was in this little dressing room, crammed in the
everything we’ve done, it’s got the different styles from both records. doorway with my guitar writing a melody. “Of Prometheus And The
Crucifix” was written in a dressing room in Switzerland. I was hum-
BRM: Other than classical metal influences, who are some con- ming riffs and he would take what I hummed and try to write riffs.
temporary or up and coming bands you guys are fans of? A lot of things were written like that where we were just bored in a
Corey: Let’s see, Machinehead, God Forbid; we’re good friends with dressing room. It’s written over time instead of trying to write fifteen
them. I got their new record, it’s killer. We like Lamb of God, Kills- songs in a month, we get inspiration as we go along so by time you get
witch Engage is really cool, Bodom, As I Lay Dying. There’s a lot of in there (the studio) it’s like alright well we got some riffs to start with.
really good bands, quality bands, too many to name but there’s tons of
killer bands out there. BRM: “Like Callisto To A Star In Heaven”, one of my favorites,
it’s a long song but it seems like two minutes when you listen to
BRM: How was it working with the new producer? it, it seems to hit every emotion. How did you guys come up with
Corey: Yea were still friends with Jason(Suecof). He did everything it and do you feel that having a long song was taking a chance
previously. I think it was good for us at this point in our career to that people might get bored?
V 
 
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U M by Brian Dawson
Corey: Pretty much that song the way it is on the album is the way ple that own that, in Richmond. I can’t remember the name of the club
we had written it. The first time we wrote it that’s how it went. W e but their dressing room has a million showers and a hot tub and the other
didn’t change any of the structure, maybe one little part where we rooms got a pool table and arcade games and foosball n they have real-
moved the chorus closer so you didn’t have to wait so much. Only ly awesome catering, TVs everywhere there’s a lot of things to do. As
part of that song that we had trouble deciding on what to do with far as cool factor, we got to play legendary places like Madison Square
it, was the middle section. (We were) like ‘is it too long’ but once Garden and Apollo in London. It’s cool to play places that have history
we got to the studio and started adding different layers, you knew to them and a lot bands you looked up to went through there. It’s fun to
something was building up to something, it built up as an emotional stand on stage and be like yea f*ckin James Hettfield was here in ‘88.
song. That song was pretty easy to put together, its just a long song.
If you can make a long song seem not long you did a pretty good job. BRM: Do you have any advice for up and coming bands?
Corey: First and foremost is write the best songs you can and stand
BRM: “Torn Between Scylla And Charybdis”, there’s two bass out from the crowd and work on that. It’s all about getting your
solos. When I heard it I was shocked at how it fit in. Bass solos are name out there and spend the time to promote yourself and play
basically non existent anymore, how did you guys add them in? some shows. The last couple years it’s blown up, using Myspace
Corey: “Becoming the Dragon”(The Crusade) had a bass solo, we ,you can get your name out to a sh*tload of people for nothing. In-
always thought that was cool because Paolo Gregoletto is a slam- stead of putting a flyer around town, you can use the internet to your
ming bass player and most bands don’t have bass players that can advantage. It’s an easy way for a lot of people to hear your music.
do that they just follow the chords and play simple backing stuff . Write some cool tunes and record a good quality demo and push your
He definitely adds a lot to the sound with his bass playing. That song stuff and good things will happen if you have something to offer.
just kind of fit, we were just messing around. Some people didn’t
even realize it(the bass solo) was distorted. Some people thought BRM: What kind of stuff is on your rider?
it was a key horn. Hopefully next album well fit a few more in. Corey: Well random things mysteriously show up(laughs). We got
our beer, water, vodka, wine, the normal liquid intake; soda, stuff
BRM: Where did the band name originate? like that. For some reason everyday we keep getting f*cking jars
Corey: It’s Latin. It means a three way intersection and it’s also the of honey. You can put it in your tea and it helps your throat but it’s
three schools of learning, back in old English times, it was the three like one bottle(is enough). We got like a years supply of honey. Ev-
things everyone was taught(grammar, logic, and rhetoric). The name eryone likes to eat healthy so there’s nuts and berries and stuff like
came from the original singer of the band. He came up with the name, that; triscuits, those go quick. We try to get what we need and eat
he was in the band for a week or two and left to play with another band. healthy cause you don’t want to get sick or feel gross on tour so
we keep it relatively healthy just sandwich meat, fruit trays, veg-
BRM: What’s the coolest venue you’ve played? etable trays, stuff like that so no one gets all fat and bloated eat-
Corey: For comfort and fun factor, we were headlining shows at the ing McDonalds everyday. It’s definitely an essential to survive
Norva in Norfolk Virginia and they have another venue, the same peo- on tour to booze all night and drink water and eat healthy all day.
BRM: What are some bands that have ing your t-shirts? because they threw money at us. We spent
influenced you? DF: Well I’ve always maintained that our about a hundred grand on our album be-
Dani Filth: In the past, all kinds re- fans are intelligent people and if some- cause we wanted to have a one hundred
ally. Originally death metal was a big body is to wear a “Jesus is a ****” shirt in piece orchestra, and it worked. They just
thing like the first The Gathering album, a shopping mall parading in front of law don’t take risks anymore and then when
Paradise Lost, Edge of Sanity, the first enforcement without sounding nasty, they one band is successful everybody’s sign-
Dismember albums, music like Sisters deserve what they get. You wouldn’t be ing up bands that sound just like them so
of Mercy, Misfits, even eighties smash in court and been sentenced and called a immediately it destroys the scene.
metal, new age British heavy metal judge a ****, would you? It’s just logic
soundtracks, I could go on forever really. really. We’ll defend the shirt. That shirt BRM: Do you have a hand in the concept
When we grew up, we were into all dif- is ironically literally older than the band of album art or the band’s music videos?
ferent things. A lot of people would be but it has had a **** resurgence recently DF: Yes we do. We worked very closely
surprised to learn that some of us were because of people like this, but I can’t with Alex Chandon, who did “From the
into New York hardcore, Gorilla Biscuits, condone it and I can’t justify it really. It’s Cradle to Enslave”, Cradle of Fear the film,
Youth of Today, as well as the darker stuff. up to the individual so if they want to do “Her Ghost in the Fog”, and “Scorched
something like that then on their head be it. Earth Erotica.” For this album for ex-
BRM: You have great background ample we worked for about three months
vocals on tracks like “Her Ghost in the BRM: Why did you base your latest al- solidly with the artist, David Ho, closely
Fog” and “Nymphetamine.” Where do bum around Gilles de Rais and is the to try and replicate the style of medieval.
you find your background singers? CD from his point of view? We wanted to do something completely
DF: Well for “Nymphetamine” it was a DF: It’s a story about him. It suited our different but also make it a walk through
woman from Leaves Eyes, for “Tempta- mood. We’ve turned it into a dark fairy so that it compliments the lyrics. Also
tion” it was Dirty Harry, and usually we tale. We hadn’t concentrated just on the Samuel Araya who worked on Thornog-
have a singer Sarah Jezebel Deva who is sadistic side of it. We had the whole part, raphy is illustrating a poetry book which
no longer working with us. Our key- Joan of Arc as kind of a catalyst while he we’re bringing out after Gospel of Filth.
boardist Rosie does the female parts now turned into this metaphorical Bluebeard
and she does them really well. It enables character. Having come back from the BRM: Whose idea was it to collaborate
us to hone what we’re doing because Viva La Bands tour, we were very fired up with Ville Vallo for the song “Byronic
she’s also the keyboards so it makes it and had loads of ideas. When we sepa- Man?”
more finely tuned, and that’s hard to rated for Christmas, we had the skeleton DF: Strangely enough it was like a two
describe, but six people on stage is a lot of about half the album written. I know a sided prong attack on that. I just care-
easier than seven for a start. bit about Gilles de Rais but at the moment lessly mentioned it before we broke up
we had just finished a book with Gavin for Christmas maybe the end of 2005.
BRM: When you signed with Roadrun- Baddeley who is an occult historian. I We were in the studio, and they did this
ner, did they put any pressure on you rang him up and he was able to steer me in roadrunner 25th anniversary thing. Ville
to censor your lyrics or the change the the right direction between shit books and was there and so was our producer who
content of your music? good books. was Rob Caggiano from Anthrax. He had
DF: No, the only censorship that has mentioned it to him because I had said I
ever happened is with something on the BRM: Considering your experience be- wanted to bring someone else in but I
cover of Thornography, which was really ing on several labels, what would you wanted someone who was reminiscent of
pathetic. It was the length of the wom- most like to change about the music in- a modern day Lord Byron. I jokingly said
an’s dress, and you wouldn’t be able to dustry? Ville would be great because I knew him
tell the difference between the two. It’s DF: Well it annoys me somewhat that you anyway and he just agreed to it.
probably someone at Wal-Mart wanting buy a DVD and you have to sit through
to have their say in something and they all that shit in the beginning about piracy, BRM: What are some of your plans for
feel better for it. They see the band and and they never spend money on defending this year?
although they can’t actually say that this the music industry like that at all. That’s DF: Well we’ve got this tour. Then we’ve
is a satanic band, some of the references the one thing that gets in my tits. Admit- got the second leg of the European tour,
go over the lines sometimes so they need tedly, if I like a band I’ll go and visit the six dates in Australia, summer festivals,
to do something about it however silly Myspace page and check out a few songs and as far as I know a South American
just to say ‘hey, look we’ve done our bit’ and then buy the record. Then people tour later in the year. Gospel of Filth the
so that was the only censorship we’ve might argue that’s because I’ve got a lot book is coming out on Easter, but it will
ever had. of money, but I did that when I didn’t have be preceded by a special version limited to
any money. That and the fact that the re- twenty thousand copies on our website. In
BRM: What do you have to say about cord companies also follow each other. between all that, we are going to start writ-
New Zealand fans being fined and fac- Nowadays it seems no one wants to take ing some more material. We will be busy.
ing count appearances because of wear- any risks. We enjoyed our time on Sony

Photo by Brian Dawson         I nterview by Adrienne Nardone

When Jeremy Dawson and Chad Petree formed Shiny Toy Guns in 2002, they knew they were taking a chance with a whole new
sound. The band fused elements of rock and electronica and even added a female vocalist to the mix. Jeremy adequately sums
up the band in four simple words, “male, female, rock, and dance.” This groundbreaking band has reached incredible heights
while enduring some heavy blows. The Grammy-nominated first album We Are Pilots is a delicious balance of rock, synth pop,
electronica, and dance. After a terrible split with their female singer Carah Faye, STG added Sisely Treasure to their line-up. In
2008, the band’s sophomore album Season of Poison was released featuring Sisely on vocals and a darker sound that leaned more
towards their rock element. Broken Records was privileged to speak with Jeremy, keyboardist and bassist, about the band’s
journey, their US tour, and what’s in store next for the Guns. by Danielle Portera
Broken Records Magazine: You guys are on tour right now. STG: We do. Yea, we’re talking.
How’s that going?
Shiny Toy Guns: It’s good. We’re out on tour with the All Ameri- BRM: How did the fans respond to the change in singers?
can Rejects playing huge four to five thousand seat venues. It’s STG: They don’t like it at all. They really just don’t understand
pretty crazy. why. You try to explain to people, one by one by one, but this
a personal thing that happened between Carah and us that we’re
BRM: How about a favorite moment on this tour? dealing with and working on.
STG: On this tour probably last night at the Rejects after-party in
Chicago where their entire band and crew began getting naked in BRM: It’s a hard thing for the fans to understand. But, could
the middle of a bar for no reason. you tell me about the making of your first album We Are Pilots
and where you guys were, creatively at the time?
BRM: Do you guys have any pre-show ritual type things you STG: We were excited, scared, worried. We Are Pilots had a very
like to do? Anything that just gets you pumped before you get unique feel to it because the music we were doing at the time no-
on stage? body else was doing. There was no MGMT. There was no Lady
STG: Yea, we slap, kick, and spit on each other for ten minutes. Gaga. There was no Veronicas. There was no Metro Station. None
It’s an Oklahoma thing I guess. of this existed. We started a sound. We created sort of a sound and
now five years later all these great bands have a similar color to it.
BRM: What made you decide to have a female vocalist? So that was really exciting and we were of course nervous because
STG: Because there are certain songs that we were writing that when you do something that’s totally different and new you’re tak-
needed to be approached from a female perspective and not only ing a risk. We wanted to push the envelope and take that risk.
from a male perspective, because it’s going to feel different. If you
have everything at your fingertips to be creative with, then you can BRM: How does it feel looking back now that you guys were
reach a more diverse audience. kind of the pioneers of this kind of music, this sound?
STG: We’re really proud of it and really excited that it took hold
BRM: Yea, I agree. Could you talk a little bit about your split and people are loving this music. It’s really awesome.
with Carah and why that happened and how it’s been since
then? BRM: That’s really cool. Could you tell me a little bit about
STG: What happened basically was once we got everything to- your new record Season of Poison and how you think it’s dif-
gether we decided to take a stance. We’re going to pretend that ferent from We Are Pilots?
there’s no record companies, there’s no attorneys, there’s no man- STG: Poison is different because we got off the road stressed, con-
agers and all there is, are people and us and our music. We’re going fused, tired. We had a lot of situations happen. One of us had a
to reach people with our music. So, we rented out a van and went parent die, one of us had a baby. All these dynamic huge life things
on tour in like 2003 and then again in 2004 and 2005. Then we that are going to happen to you and happen to everyone else, hap-
signed to Universal records and we record the album in 2006, 2007. pened on top of everything else. So, we sort of channeled all of
That’s four years. We were stuck together for that many years on this into an album and this album is a little darker, a little edgier, a
the road, seventeen countries, all over the world. It gets to a point little harder. That’s kind of why it sounds different. That’s what an
where you just start not being able to stand each other because artist does when they make a record. It’s a reflection of how they
you’re around each other twenty four hours a day. It happens in feel and what’s going on in their head. And that’s what Season of
families, it happens with best friends. And a lot of things were said Poison was. That was what was going through Chad and my head
on our side and a lot of things were said on her side that we didn’t in the summer of 2008.
really mean. We were just all exhausted. We needed to go home.
So we never were able to reconcile why we were not communicat- BRM: Could you maybe just tell me a funny or embarrassing
ing properly. What we should have done really is gone to therapy. thing about one of your bandmates?
So many bands do it. It’s not like go to a psychiatrist and get pills, STG: Well, our guitar player likes to poop on a plate and stick it
but go sit down with someone, it can even be a really close friend, in your bunk in the bus. When you wake up there’s a plate of poop
and talk things out, find out what’s wrong, the source and the root near your head. You have to watch yourself at night.
of what’s wrong. We didn’t do that. Instead we left the road four
years later. She moved to Sweden and we went back to the studio. BRM: How do you see Shiny Toy Guns evolving as a band and
And we didn’t speak for months. Chad and I got to the point where what’s next for you guys?
we were like ya know what, she’s probably not coming back and STG: Something really crazy and really bad a**. We’re building
if she does we’re just gonna fight all day and the whole band can a whole new thing right now. It’s going to come out this year; a
fall apart. We were terrified that was going to happen, so in order whole new palette of music.
to protect the band we said this girl doesn’t want to be in our band
and we went and found someone who did want to be in our band. BRM: I don’t want you to give too much away but could you
However, later on down the road after we did finally talk, we all just tease the fans a little bit?
realized that we didn’t really mean half as much that we had said. STG: If you like the song “You Are the One” then you are going
We just needed time off. That’s kind of where we are today. to sh** your pants when you hear this new music. Yea, it’s “You
Are the One” with a fuel injection into it. It’s a screaming, dreamy,
BRM: So you guys have a better relationship now then you Manchestery.
did then?
 Third Eye Blinds’

Major Return

to the Music Scene

After nearly six years of musical silence from the 90’s alt-rock pow-
erhouse Third Eye Blind, the bandhas recently released their fourth
major studio album Ursa Major on August 18, 2009. The long wait
between releases has been attributed to front man Stephen Jenkins’
writer’s block. Third Eye Blind’s career started with a bang when
they released their self-titled first album best known for its mega-hits
“Semi-Charmed Life”, “How’s it Going to Be”, and “Jumper.” The
band went on to release two more records Blue (1999) and Out of the
Vein (2003).
Last year, the band released an EP titled Red Star, which served to
get fans excited about the release of Major. The band’s guitarist Tony
Fredianelli explained the thought process behind Red Star in a recent
interview with us. “Our fans were starting to come to the very edge of
their breaking point. We needed to give them something to tide them
over. What we came up with was to release this thing online, go that
route and not promote it fully. Just kind of stick it out there and let it
be for the fans.” Their single “Non-Dairy Creamer” wound up shoot-
ing up the charts and into the Top 20 Alternative.
Fredianelli calls the five-year process of creating Ursa Major, “kind
of like going to the dentist a little bit.” But, when asked if all the hard
work and stress paid off the guitarist answered confidently, “Defi-
nitely. This record is a gem. And there’s a follow up called Ursa Mi-
nor. So we really got two records coming out which is a blessing.”
The band’s decision to tour in advance of their record kicked off this
spring and will continue through the summer.
Tony also spoke about his upcoming solo endeavors. “I’m pro-
ducing two records. One’s called Mindfield, which is a psychedelic
Beatles record. And the other is called Diablo Joe which, is kind of a
70’s influence psychedelic Steve Miller band type of record.” He will
also be creating a solo record after the release of Ursa Minor. How-
ever, at the current moment he continues to be focused on Third Eye
Blind, the two new records, and the tour. by Adrienne Nardone
Telling on Trixie by Danielle Portera
On April 18, 2009 Broken Records Magazine was fortunate enough to witness NYU’s Relay for Life. The charity event in
held at universities across the US benefiting the American Cancer Society. According to the event’s website, “Relay for Life is a
fun-filled, overnight event that empowers everyone to help fight cancer by raising money and awareness to support the Ameri-
can Cancer Society’s lifesaving mission.” Teams of people camp out at schools, parks, and universities across the country and
take turns walking around a track or path. The Relay has three main goals: to celebrate the lives of those who battled cancer, to
remember those lost in their battle with cancer, and to fight back against this disease. This year NYU’s Relay for Life has over
1,300 participants and raised $164,267.
When surveying the scene at the Jerome S. Coles Sports & Recreation Center, I noticed tables set up with signs identifying
what team they belonged to. A lot of teams consisted of clubs, service organizations, fraternities, and sororities at NYU. There
were also many booths set up selling food and other refreshments to support the cause. Surrounding the tables were bags placed
on the ground with the names of the loved ones lost to cancer. The culmination of the event is the Luminaria service where the
bags are illuminated to celebrate the life of someone who survived or honor the memory of a loved one that has passed. During
the Luminaria ceremony many cancer survivors tell their stories of determination, and of hope.
Another highlight of the event was the performance by the band Telling on Trixie. This was their second time performing at
Relay for Life. Lead singer Derek Nicoletto explained that the cause is a personal one for the band. Every member has had a
family member or close friend affected by cancer. The band decided to take action against this disease and called the American
Cancer Society to see how they could make a difference. The band formed a team of their own and raised $1,000. This is the
second year they are performing at the event. Their single “The Deepest Dive” from their album Ugly, Broke & Sober was written
for the event. Telling on Trixie is donating $1.00 for every download of the inspirational song. When speaking with Nicoletto at
the event, it was obvious to how passionate he was about this cause. But, it is no surprise since Telling on Trixie carries that same
attitude with their music.
Telling on Trixie’ inventive and unorthodox approach to making their record has taken Internet marketing to a whole new level.
The band’s fans helped fund the record and provide input through their website “A Band With A Plan.” The album’s edgy power-
pop, catchy lyrics, and powerful vocals from Nicoletto have garnered significant radio play and a positive response from critics
and fans alike. When asked about the song writing process Nicoletto explains, “All the lyrics came from me except for the song
Your Silence which came from me and Brian. Tommy will record something or Brad will record something and I will wake up
and he sent me something. I’ll think about it for a couple days. Either it will immediately remind me of something I wrote in my
journal and I’ll expand upon it and just get back to him on it. Or I’ll make something up. I’ll create a fiction, which I love to do.
Or I’ll discard it. Sometimes he pushes it. We pitch to each other a little bit. A lot of times I come up with melodies and basically
sing it into Brad’s answering machine.”

Photo by Jeff Fasano

 Aiden: Maybe NOFX. I'm a huge fan and
getting to watch them every night would be
awesome.

BRM: How has playing for the last year

been since Jake's departure? Do you still
talk to him?
Aiden: No we don't talk to him. Actually,
we're in a bitter law suit because he's trying
to sue us. It's been a lot better, I think. The
whole attitude of the band has shifted to
a more positive outlook and everything is
brightened. We've become more focused to
what we want to do as a band. We kicked
him out for a multitude of reasons. One of
the reasons was the fact that he wasn't into
interview by Adrienne Nardone the band for art's sake: he was more into
Broken Records Magazine: You guys over in England was pretty good. Taste making money. We're Aiden, we're on Vic-
have been together since 2003. How do of Chaos in Australia was awesome. We tory Records and we play in a punk band,
you feel your music has changed since played in Mexico last year. It was f***ing we're not going to make money. We're not
the beginning? out of control. There's been so many going to be rich millionaire rock stars. We
Aiden: Well we don't suck as much. It's shows that were so memorable. play in this band because we love to play
kind of just been an evolving process. music and he just wanted a pay check and
When we started as a band, I was really BRM: What was the largest crowd that is just painfully obvious now that we
inexperienced as a song writer and it was you've played to at one of those festivals? kicked him out of the band and now he's
more about putting pieces of songs together Aiden: Probably Download, eighty thou- trying to sue us for all this money we don't
have. He's just bitter.

Photo by Lisa Johnson

and trying to make a record and now I've sand. That's a f**king lot of mother***kers.
learned how to craft a song and write down
meanings so I think it's just a lot better. BRM: If you could play a show with any BRM: What are your plans for the rest
band that you wanted, who would you of 2009?
BRM: What was the best show you've choose? Aiden: We're doing the west coast Ticket
played so far? Aiden: Nirvana. to Hell tour in May and then we go over
Aiden: I can't really say that there's been to England we're doing a few shows over
a best show. I think there's probably been BRM: Any bands that are still around there, a few shows in Ireland and Scotland
a slew of best shows. Download festival today? and all over the country and then the Vans

T iger C ity
warped tour in June.

With a lead singer who hits a perfect fal-

setto and a bassist harkening hipster Jesus,
Tigercity is not a band easily forgotten. “We
met in a dreamscape…Some dream involv-
ing Bill, with blood written in the sand”,
bass player Joel Ford explains. It’s these
kinds of witty comments that make Tiger-
city’s lineup-Bill Gilliam (vocals), Joel Ford
(bass), Andrew Brady (guitar), and Ayns-
ley Powell (drums)-work so effortlessly.
Culminating their tour April 2nd at High-
line Ballroom in NYC the goofsters muse,
“We’re growing up, drinking less, and start-
ing to focus more on the music,” before
breaking into clouds of laughter admitting
“We had a case of Bushmills in our van”.
But all jokes aside, Tigercity is not
just another Brookyln band, “We’re start-
ing a record label; tentatively titled “Fake
Life.” It’s become part of our theme…driv-
ing around the country pretending we‘re
rich rockstars”. Powell admits “We’re
Photo and story by Kristin Tully just trying to live up to our dream life!”
Native New Yorker’s Coheed and Cambria are currently working on their fifth studio album,which will be released this year. The
bands albums are based on singer Claudios comic book series, with this album being a prequel to previous albums events.
Broken Records Magazine: The video and watch what we do. All eyes are on us. MT: All my favorite tour experiences were
for “Feathers” won Kerang’s 2008 best We’re so far away from the audience… when we were touring the first three or four
music video, were any of the band mem- I like them both for different reasons years. There were tiems we were in hotels-
bers responsible for the concept of the . we were drinking a lot at the time.We’d
video? BRM: Will any Shabutie material take all the plants and wed bring them all
Michael Todd: Yeah we wrote it. We resurface? to our room, so when you opened the door
shopped the idea to a couple directors. They MT: Nah, those songs are dead. Shabu- it was like a god damn jungle. You couldn’t
gave us some ideas we gave some back and tie was a three piece, Claudio, my- see the other end of the room. So one time,
that’s where it came from. self and a different drummer. Those I don’t know where I was, Travis was do-
songs were in a special place and time ing this jungalization of the room, he had
BRM: What’s it like getting to play at and we’re going to leave them there. no idea he was being watched by security
places like Madison Square Garden, monitors all night long and they let him
do you prefer the small shows or big BRM: I heard you have a solo project do it and then at five AM, they came to
arenas? you’re working on. his room with a photograph of him drag-
MT: I prefer more intimate gigs but I like MT: I’ve been so busy with the Coheed ging a tree into the elevator and they were
them for different reasons. It’s like the stuff. I’ve done tons of writing, a little bit like ‘that’s really funny, now put them all
difference between being a studio band of recording. I’d like to have at least a five back.’ So at six in the morning he’s walk-
and being a live band…the intimate ones song EP done by the end of the year. ing around in his pajamas putting all these
obviously are more personal. I can look plants back. That was one of our favor-
people in the eye and I feel like I’m part BRM:Do you guys have any particu- ites, we don’t do anything dangerous or
of the crowd. The arena shows are more larly memorable or crazy tour experi- terribly illegal but that was a good one.
like a performance, people stand back ences?
Interview by Michael Musacchio
 Frie
“Hea
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isteni
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BUDDY
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By Al
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Photo ia Gallaghe
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Broken Records Magazine: From what I
understand you are a Stratocaster man.
What separates the Stratocaster from
any other guitar for you?
Buddy Guy: I’ll be seventy three now,
and you know in the beginning, when
John Lee Hooker and them were playing,
if you dropped a guitar it could crack open
like a baseball bat. People then were play-
ing for the love of making music and not
to make a living. They couldn’t afford
to break the guitar and then buy another
one. The Stratocaster can handle the wear
and tear. You can drop it and won’t shat-
ter like glass. I knew I couldn’t play the
guitar real well, so I had to focus on show-
manship, and so I was really rough on my
guitar. The Fender can suffer the wear and
tear. Now I play the Gibson and Fender.

BRM: How often do you play guitar

outside of performances?
BG: Me and B.B. King were just talking
about that. I don’t rehearse as much as I
should. I know it’s a bad habit and what I
tell young musicians is that it’s never too
late to learn. Don’t feel like you know
everything, there’s always something to
learn. So I like to listen to new music and
find out what’s out there. I play by ear, I
don’t read music. I got a guitar sitting here
in my room right now but I haven’t played
it yet. When I go on stage and I hear my and boil all of the odds and ends and you’ve those two people really liked. I won an
band playing, that’s when I really play. got gumbo. Music for me is like gumbo. I award for Damn Right I’ve Got the Blues.
like everything, even country western. I
BRM: How and when did you first start like to hear what’s out there and try to learn BRM: What do you go home and listen
creating a distorted sound? something new. to?
BG: You know that’s a good question. I BG: I’ve been listening to a lot of spiri-
don’t really know. I came to Chicago and BRM: What do you think about the mu- tual music. I was talking to B.B. and he’s
there were so many good guitarists, that sic industry and the future of music? been listening to a lot of spiritual music
they were all just dancing around me. I BG: It’s kind of scary because technol- too. During the doo-wop times you’d
had to find a way to join the crowd and I ogy is playing a big part. People don’t have people like The Temptations, five
wasn’t a very good guitar player., so I had even sing directly on the track. People or six guys making music with no band.
to find a way to create my own sound. are doing it for the love of money and not Their voices were the instruments; they
for the love of music. You won’t find a were the piano, the guitar, etcetra.
BRM: Do you ever play acoustic guitar blues guy doing that. I remember in the
anymore? 50’s and 60’s deejays would play a track BRM: What is your favorite thing to
BG: Oh yeah, every once in awhile. I’ve and have you come up to the mic and lip eat at Jazz Fest?
got a couple of CDs, I think there’s one with sync. Back in the Chess days I would cut BG: You know I’m from Louisiana and
me and Junior Wells and another called a track, go to the bathroom, come back, well, that’s all people in Louisiana do is
Sweet Tea that are both almost all acoustic. and they’d be playing my track, and I’d eat, to work, sleep, and then, eat again.
be like ‘that don’t even sound like me’. I I love the food. I like things my mama
BRM: Do you have any favorite contem- tried that in the early days, but I just don’t would make; you know red beans and rice,
porary blues guitarists? like to record that way. gumbo or even dark gravy over white rice.
BG: Oh…you know I love them all. We I was telling my sister who still lives in
could end the interview with this question. BRM: Which of your records would Louisiana that when I’m there, I’m like
I listen to all of them. You know I’m from you say is your best or favorite? I’ve got to get out of here, because I’ve
Louisiana and you know about gumbo? BG: I let the public decide that. But I eaten so much. There’s food everywhere.
Well, gumbo is a food where you just throw guess my biggest are Damn Right I’ve Got I’m gonna get so big I won’t be able to
in the scraps, whatever you can fine, and the Blues and It Feels Like Rain, pick up a guitar.
N ew OBrleans J azz a nd H eritage F estival
y Alicia Gallagher photos by kyra kverno
The New Orleans Jazz and Heritage Festival, widely known as Jazz Fest, is an annual celebration of the music and culture that comes
out of New Orleans, Louisiana. It officially began in 1970 and marked its 40th anniversary this year. It is the oldest music festival in the
United States.It started out at Louis Armstrong Park,which is in the historical Congo Square,and was held there for the first two years
between 1970 and 1972. Because of its rapid growth, itwas soon moved to the New Orleans Fairgrounds and Racetrack. It includes mu-
sicranging from Cajun, blues, zydeco, Afro-Caribbean, bluegrass, R&B, folk music,rock, rap music, Latin, gospel, and both traditional
and contemporary jazz. It is the most unique music festival in the nation, if not in the entire world. Not only is it dedicated to music, but
also to cultural and historical practices that have come out of New Orleans. It’s a seven day festival with twelve stages and is split into
two weekends. This is the first year since Katrina where Thursdays have been added back into the second weekend. Ilike to compare Jazz
Fest to the traditional New Orleans dish Gumbo, It’s a mixture of different types of music, people, history, language, food, and culture.
Headliners this year included, Etta James and the Roots Band, Neil Young, Bonnie Raitt, Bon Jovi, Tony Bennett, The Kings of Leon,
and the Dave Matthews Band. Jazz Fest is an entire experience within and outside of the actual festival, it is a spiritthat encompasses
the days before, during,in between, and a few days after. From thetime of arrival you’ll hear or read “HappyJazz Fest” at shows, while
dining, and onsigns at the liquor store and outside of bars advertising Jazz Fest specials. Everywhereyou go people are talking about
it, askingyou about your festival experience, plans,and expectations. There is also a smaller version called Chazfest which happens on
the Wednesday in between the two weekends which is named after washboard virtuoso, “Washboard Chaz,” Chaz Leary. My Jazz Fest
always begins at Vaughn’s with Kermit Ruffins and the Barbecue Swingers on Thuraday in the bywater. Even thoughit’s the day before
the festival, it feels like it’s the first day, and Kermit and his bandmake sure of that. I was especially pleasedto discover that Kermit had
opened his own place, Kermit’s Saloon. I now could count on getting a double fix of Kermit! Another must see and must do for me is to
paya visit to The New Orleans Bingo! Show, which is a vaudevillian interactive theatricalcabaret and musical band with drunkenclowns
and live bingo. They are trulyone of the many gems of New Orleans.I made a point to check them out at the Tipitina’s in uptown on the
Thursday beforethe second weekend, where they werejoined by the Fleur de Tease burlesque group and members of the PreservationHall
Jazz Band (Clint Maedgen, Bingo’sfront man and Ron Rona are also a partof the Preservation Hall Jazz Band) and left with bingo and
Jameson on the brain.

Prepare to be a Glutton
New Orleans Bingo Show

Usually I find it a drag to eat at festivals. Everything is usually overpriced and extraordinarily bland. This is not the case at Jazz Fest.
Be prepared to spoil your palette.New Orleanians take pride in their food and have seemed to have taken a vow to not serve “festival
food.” I think this is because food is an accompaniment to the music and culture of New Orleans. Some of the tasty treats offered, but
are not limited to, include: Sweet Potato Chips, Cracklins, Crawfish Strudel, Chicken Tasso over Creole Rice, Pork and Smoked Sau-
sage Jambalaya, Crawfish Monica, Soft-shell Crab Po’Boy, Cochon Au Lait Po’Boy, CreoleHot Tamales, Catfish Almandine, Alligator
Pie, Crawfish Remoulade,Cajun Boudin, Lemon Poundcake, Crawfish Bread, Sausage and Jalapeno Bread, Seafood Au Gratin, Creole
StuffedCrab, Blackberry Cobbler, Andouille Quail Pheasant Gumbo, Crawfish Puff, Fried Popcorn Shrimp, and all kinds of pie (both
sweet and savory).
First Weekend Second Weekend
The first weekend was the calm before thestorm, it was the shorter Thursday was very low key in terms of the turn-out, being mostly
weekend. In knowing that thesecond weekend was going to be locals, the lines were shorter and the population remained at a tame
busy, Idecided to camp at the Gentilly Stage bothSaturday and size. In the Blues Tent, Little Freddie King went on stage in a loud
Sunday and could be assuredthat wherever I was there was bound Italian suit with orange slacks, a pale yellow Oxford shirt, dark
to begood music. Saturday was afunk filled day, beginning with sunglasses, and a panama hat. He has been playing at Jazz Fest
Joe Krown,Walter “Wolfman” Washington, and Russel Bautiste. consecutively since it’s birth. He danced along stage, swinging his
Washington laughed, howled, and crooned before noon, turning legs, moving his knees in and out, and hopping with his guitar
thecrowd into one animal, bobbing its head,dancing, smoking as though they were one. I later popped in on an interview with
reefer, hooting, and hollering.It was a good way to start the day. Emmylou Harris with interviewer Ben Sandmel, only to expect
Big Sam’s Funky Nation went on next andhad everyone on the to be swooned by the angelic Emmylou soon after to close the
ground with “Shake Yo Thang.” Ivan Neville’s Dumpstafunk kept festival for that day. Due to musical greed, I didn’t stay for the
it funky, New Orleans style with “Putit in the Dumpster.” Slowly- entire set because I had to get a little bit of Solomon Burke, who
but surely hipsters began to invade the stage in bright sunglasses rolled on stage decked in a bright, shiny purple suit, and a white
and skinny jeans readyingthemselves for Galactic and then Wilco. fur trimmed red cape, and began with “Cry to Me”. The rest of the
A high spirited and quirky Jeff Tweedy joked about someone’s weekend became a blur of one long musical journey with diversity
marking pole, “Is that apork chop? It looks like a pork chop. Ohit’s worth mentioning. It went from the Crocodile Gumboot Dancers
a mustache. Go and get a pork chop and then you can come back.” of South Africa, to Geno Delafose and French Rockin Boogie, to
Later onin the set, a shirtless John Holmes dancedon stage 1970’s an unforgettable Patty Griffin who at one point reminisced about
style with a cow bell andmullet during Woody Guthrie’s “Hoodoo- meeting Mavis Staples. She said, “Some people meet the Dalai
Voodoo.” On Sunday, it was another day at the Gentilly Stage with Lama and they’re good. I met Mavis and I’m like I’m good for
a brand new EttaJames to close the day. Etta came on with a sequin the next twenty years.” Through pure luck, I caught the end of
top, a fresh wig, and a whole lot of nasty. She avoided most of Big Chief Bo Dollis with Marva Wright on stage, and the weight
her ballads,and rather than belting out lyrics, she tookon a growl, of emotion that streamed from the stage to the audience was inde-
while she sat in her throne with her hands searching her body both scribable. Tears were shed. The end to my festival was the ever
above and below the waist. At one point she said, “I’m gonna do impressive showman Buddy Guy in the Blues Tent. It began to
a song for you called ‘if thiswig would stop blowin’ off my head.” pour, surprisingly, for the first time on the last day of the festival,
At seventy one years old, Etta has managed to retain her attitude, right before Buddy Guy was to go on. People happily invaded the
sassiness, and sense of humor. tent drenched and prepared to be devoured by Buddy Guy and the
wonderful distorted sounds that would come from his guitar. All in
all, the festival was an orgy of music that I dare not denounce, time
to start planning for next year.

Eddie Bo and Snooks Eaglin Jazz Funeral

Clockwise from top left: Neil Young, Wilco’s John
Stirratt, Big Chief Bo Dollis and Marva Wright, Allen
Toussaint
 Picture this: Thursday
night, May 28th 2009,
a flood of very eager con-
cert-goers start filing into
the legendary Fillmore at
Irving Plaza in New York
City. The hallway walls
are adorned with pictures
of performers who had
graced the stage over the
past thirty years. Every-
one from Bob Dylan to
Megadeth have played
there, and now, for the
first time, Chickenfoot!
The band takes the
stage around 9:45pm
amidst a cheering,
anxious audience. As
Sammy and the boys
launch in to their first
song, “Avenida Revolu-
tion”, it’s very clear to see that they have great chemistry on stage together. As the show proceeded, they played more songs off of
their self-titled debut album, such as “Soap on a Rope” and “Sexy Little Thing”. Hagar’s voice is flawless and the band’s collective
energy is amazing. Chickenfoot, then, kicks in with their first single “Oh Yeah”. The big chorus of the song has every singing along
and raising their fists in the air.
Throughout the night, drummer Chad Smith and Sammy spoke to the audience, joking about some road stories. At one point, they
mention that Joe Satriani is from New York and they point out his mother, who is sitting in the VIP section. They tell Joe that his mom
is hot and they thanked her for “birthing Joe”.
The band played more selections, including: “Runnin’ Out”, “Get It Up”, “Down the Drain”, and “Bitten by the Wolf”.
For the last two songs of the encore, Chickenfoot played the first song Sammy Hagar had ever written called “Bad Motor Scooter”.
Hagar had come out playing a lap steel guitar slide intro before kicking in to the main riff. Towards the end of the song, Satriani and
Sammy play blistering guitar solos which show that he isn’t just a talented singer. The final song of the night was an incredible ver-
sion of the Deep Purple
classic “Highway Star”.
Overall, the audi-
ence response was great
and the band looked as
though they had a great
time. There were no laser
shows, pyrotechnics, or
crazy antics; there was just
the band, the audience, and
music. Isn’t that all a rock
show needs to be great?
All I have to say to that is,
“Oh Yeah”!

By Joe Penacchio
Photos by
Scott Vollweiler
 David Cook
“If you’re here to see David Archuleta…you’re at the wrong concert,” exclaimed David Cook,
winner of TV’s American Idol’s season seven at his second of two dates at the Borgata Hotel
and Casio in Atlantic City, NJ. Cook’s star has been rising since winning the show and signing
a lucrative recording contract with 19/RCA. His debut album, Declaration has
gone platinum and his shows have been selling out and his Borgata show was
no different.
The packed venue was filled with fans of just about all ages. In the front row

Review and photo by Scott Vollweiler

was a child no older than ten years of age, singing back every lyric. Just down
the row you had a retiree standing and flailing her arms around like a child.
Funny enough, the older woman was wearing a homemade David Cook t-shirt
that listed all the tour dates she had attended around the country. Needless to say,
there were more dates on the shirt than the child’s years
she’d lived.
This was David Cook’s first ever headlining tour
and he definitely knows how to rock. His band consis-
ted of three guitarists (himself included), a bassist, keyboardist
and a drummer. The band ran through tracks “Mr. Sensitive”, “Lie”,
heavy hitting “Bar-Ba-Sol”, and his two singles “Light On” and
“Come Back To Me.” Cook even included a few tracks from his pre-idol album,
which was a number one download on Amazon.com during his “Idol” stint. Since Cook
had become so famous because he could sing covers, he added two crowd pleasers: Alice
In Chains’ “Man In The Box” and Van Halens’ “Hot For Teacher” which they totally nailed.
While the band left the stage, clamoring for the encore, the buzz was which songs
they’d close with that night. The result was, for me unexpected, “A Daily Anthem.”
I left the show wondering, “Where was Time Of Your Life?” I guess you can’t play every song.

Metal’s leading lady, Maria Brink, singer of In This Moment, and the rest of the
band recently played a rare acoustic set at a NYC metal bar for Metal Couture’s latest
fashion show. Although the once rare feat of a hard rock band playing their heavi-
est songs acoustic has become standard practice, In This Moment still kept the tiny
Review and photo by Scott Vollweiler

crowd at the private event captivated. “We had done four songs before but this
was the first we played five songs, as a full band,” Maria tells us.
In This Moment’s sound has a special ingredient in the overall mix. It’s not
only their dual guitar attack playing crushing riffs and ripping solos or their
bass and drums’ in-sync rhythm section, Brink’s vocal styling makes the band
stand out from most other groups of the same genre. Her almost angelic vocals
keep In This Moment a mainstay on rock radio. “We’ve been pretty blessed
with the opportunities that have been handed to us, between radio and the tours
we’ve been offered, things just keep happening.”
With their latest album, The Dream (Century Media), debuting at number
70 on the Billboard 200, In This Moment has gotten closer to seeing the fruits
of their success. “We don’t feel we’ve reached that success yet. We still do the
same things every day.” The band decided this time around to “grow as musi-
cians” and make a “stronger and more grown up record.”
In This Moment is no stranger to summer long rock festivals. After being a
part of the biggest metal festival of all time (Ozzfest), they have been invited
to play the whole Warped Tour. “Warped is a very diverse crowd so it should
open up doors for us. Warped Tour has had everyone from Bad Religion, My Chemical Romance, even Avenged Sevenfold. We are in
a big world and can only hope more fans find us from a tour like this. It seems like most of the bands that play the festival come out on
a different level.”
If you haven’t heard about Maria’s article in the music issue of Playboy, then you have been under a rock and you need to google
it. The non-nude photo of her is causing such a stir on the internet. “Maybe they assume I’m nude, but then they find out I’m not, but
I don’t know. Maybe when they hear the name is attached to Playboy. It was a fun photo-shoot. I like photo-shoots and I don’t mind
being sexy in them. It’s fun. I’m very comfortable with that side of myself. I guess it’s a good thing when people are talking about it.”
 Willie It was a beautiful spring evening in East Brunswick, NJ. People
were out walking around the college town where you will find

Nelson
Rutgers University. Restaurants had tables setup outside for patrons
to eat. Yet there was a very sweet smell in the air. That could only
mean the college students were partying on a Saturday night OR that
Willie Nelson was in town. Luckily for the legion of fans, it was the
latter. The Country music legend was in town, playing the State The-
ater during his latest tour. When arriving to the show, it was easy to
notice the wide age range that has been touched by Willie’s music.
We saw young children singing along and we saw an elderly man
tapping his cane to the music. Never say country music is for the
south; there are plenty of rednecks up in North Jersey.
Willie’s world class bluesy-country kept the sold out crowd on
their feet for the entire hour and a half performance. While many of
his tunes were based on the same blues chord progressions, it was
his constant barrage of hits that kept the crowd singing. Besides his
“rare gems” as Willie called them, he also played some of his most
famous songs, “On The Road Again,” “You Were Always On My
Mind,” and my personal favorite “Georgia On My Mind.”
The seventy-five year old musician still played faster and sweeter
than musicians half his age. With his trusty old classical style guitar,
Willie traded solos with his harmonica player and his sister, the pia-
nist. The entire crowd exploded every time he completed a solo.
Besides one drunken fight between two fans, the show was unforget-
table. It’s not often you get this kind of outlaw country up north.
Willie’s age may be getting higher and higher (well I guess so is he),
but his music is timeless.

Review and photo by Scott Vollweiler

Jeffrey
At first glance Jeffrey Steele may evoke the image of a silky haired
Billy Ray Cyrus but once Steele opens his mouth it¹s clear he is not

      Steele
just another head of pretty hair. Hitting the stage promptly Wednes-
day night at Joe’s Pub with little more than his acoustic guitar, paino,
and a mic, Jeffrey Steele proved all real talent needs is a stage for it
to shine.
Steele, best known for his songwriting skills rather than his Review and photo by Kristin Tully
career as a solo artist, played an acoustic set of recognizable num-
bers made famous by the likes of Rascal Flatts and Tim McGraw.
“You may know this one from Rascal Flatts”, said Steele, smiling
coyly out at the small audience prefaced. “Me and My Gang”. A
solo Steele on guitar, played other notables such as "My Wish" and
"Once a Cowboy" ³They told me country music has progressed no
one writes songs about cowboys anymore, so I wrote this song.²
Steeled joked.
Intermittently pausing between numbers throughout the night,
Steele kept things light hearted while commanding the crowds atten-
tion, proving his presence as a performer. However, it was his solo
rendition of “What Hurts The Most” on piano that swept an awe of
silence through the room. The sound of each note as Steele¹s hands
slid effortlessly over the keys soaking the air with its sadness, his
voice tinged with heartache and his eyes closed remembering some-
thing the crowd could not see; it was nothing short of captivating.
With each breath of each note Steele made the audience feel the
pain of loneliness, the joy of love, the hurt of missing someone he
makes you believe each word of his sadness. It¹s both powerful and
haunting all at once. It¹s a rarity, a moment most entertainers strive
to achieve; a moment in which Jeffrey Steele proves he¹s not just
another performer. He has true talent.
 Gavin Rossdale
Review and photo by Kristin Tully
Pretty can only take you so far; luckily for Gavin Rossdale
he’s got both looks and talent. On May 5th, the genetically blessed
rocker hit the stage to promote his latest sole release WANDERlust
at The Gramercy Theater in New York City. Backed by a four-piece
band, Rossdale played like a hungry new artist trying to make a
favorable impression on the women-based crowd.
When Rossdale wasn’t anchored behind his guitar, his frenzied
attempt at (one can only assume) dancing- i.e. jumping, twirling,
flailing arms, and kneeling on par with the crowds squealed- was
a bit awkward to say the least. However, the cringe worthy dance
moves seemed to go unnoticed by the female crowd whose saucer-
sized eyes stared eagerly up at the rocker.
Proving their loyalty as fans, the crowd sang along to favorites
from the new album such as “Can’t Stop The World” and “Love
Remains the Same”. While there’s no denying Rossdale’s raspy-
voice is a major part of his appeal, during his cover of Fleetwood
Mac’s “Landslide”, it worked against him. The rocker’s attempt
at creating a sincere, inspiring moment didn’t come off quite as
smoothly as the rest of the ninety minute set. Struggling to hit a few
of the notes the crowd sang along dutifully, erasing any doubt that even a poor choice of song, such as this one, could dethrone the
rockstar.
But it was Rossdale’s revival of the Bush classic “Everything Zen” that really proved Rossdale’s magnetic appeal. Whether he is
playing Bush or his solo stuff, Rossdale has still got it.

Mandy Moore

Review and photo by Scott Vollweiler

“Hey everyone! Thank you all for coming and checking out my new
album!” exclaimed Mandy Moore, the crossover music to movie star.
Miss Moore recently performed at an exclusive and private concert at
New York City’s Highline Ballroom. The hundreds in attendance were
friends, family, record company reps and fans that purchased her newest
album, “Amanda Leigh,” from a local Best Buy store. The album is a
big departure from her previous teenie pop oriented albums. She aban-
doned the pop world for the more indie, singer/songwriter style a la her
husband, Ryan Adams.
Mandy Moore’s just short of an hour performance only performed
songs from the new album. While a good portion of the crowd was able
to sing along, or at least hum along with the songs, a few fans seemed
upset at the fact she didn’t play any older tunes. She explained to the
crowd that the experience making the album was very much like “sum-
mer camp…except in the winter. It was very intense. At the end of the
recording process, I started to cry. It was such a great moment.”
To accompany Mandy onstage was a keyboardist/organist and her
guitarist/co writer of the album, Mike Viola. While the three toyed
around on stage, messing with each other on the intros of tunes, the trio
was quite in sync, with each also singing. The stand out song of the
night was the upbeat, tongue in cheek track, “I Could Break Your Heart
Any Day of the Week”. “I know you all know I’m not a heartbreaker,
can you all pretend I am for this song?” asked Mandy. The singer
seemed a little confused during a repeated section in the refrain. After
the song finished, she asked the Viola if they could do the section again
explaining that she also loved the “crowd participation and sing along”
at the end of a song. So the trio went through the chorus one last time
with the crowd involved.
Steve  Martin
Review and photo by Scott Vollweiler
When you are the world's funniest actor and comedian, life is grand. When you are
also considered to be one of the world's best banjo player, you must be Steve Martin.
The comic legend has recently put out his newest album of Bluegrass music. He has
been making the rounds on almost every morning talk show and even made a musi-
cal appearance on the American Idol finale. With his band in tow, Steve Martin re-
cently performed two sold out shows at the Rubin Museum of Art in New York City.
Alongside his friends in the Nitty Gritty Band (Fiddle, mandolin, banjo,
acoustic guitar and upright bass), Martin performed for just over an hour. With
his 1927 Gibson banjo in hand, Martin joked, "I used to think, Wow this instru-
ment is old, but it's only a few years older than me!" The group traded solos
with precision; in some tunes, they traded "4's" and in one tune they traded "2's."
The candid Steve Martin performance was just that. In between songs, he
would tune his banjo and tell stories and jokes and the same time. Right before
starting the tune "Turnaround Song," he told the crowd he had written it up in
his house in Aspen. "The idea behind the song was to play really fast and use
a turnaround, which is common practice at the end of a section in Bluegrass.
Well I was stoned, so it seemed like a great idea!" He also joked about the song
"Saga of the Old West." "This would be the spot in the TV show where they
would cut to a commerical," Martin joked. In addition to those tunes, other no-
tables were "Words Unspoken" which took fourty five years for him to complete,
and a rousing rendition of the Bluegrass standard "Orange Blossom Special."
While Bluegrass isn't extremely common in NYC, Steve Martin didn't care, and
neither did the audience. The sold out crowd loved every minute of the show. This
was a rare opportunity to capture a legend in such a intimate venue.

“Who says there’s no rednecks in New York City,” exclaimed country music su-
perstar, Jason Aldean, at his gig at BB King Blues Club in Manhattan on May 6th.
The sold out crowd, which was a mix of New Yorkers and fans around the country
bonded over conversation about previous Jason Aldean performances. One fan
from Louisiana mentioned, “I have seen him eight times and gets better every time.”
Aldean opened the show with the song “Wide Open.” a track from his latest
album with the same name. While he dug deep into his three albums, it was fan
favorites “Johnny Cash,” “Relentless,” “Crazy Town,” and his #1 smash single,
“She’s Country” that had the crowd singing and dancing. Aldean also announced
his next single would be “Big Green Tractor.” He noted, “this song was my funny
attempt at a love song.”
“Before the night’s over, you’ll figure out we’re not a normal country band,”
Aldean then adds, “We’re so influenced by rock, but not this new rock but real
rock and roll from the 70’s.” From there the band kicked into the Tom Petty clas-
sic, “Won’t Back Down.” While this wasn’t the over cover, it was the only one
played normally. The band also included Guns-N-Roses’ “Sweet Child O’ Mine,”
but was played in a really odd key.
While country music shows are rare in New York City, it’s seemingly getting
more popular. The shows are truly becoming a little bit country and little bit rock
and roll!

Review and photos by Scott Vollweiler

Rhythm Brews and By Alicia Gallagher
Photos by Kyra Kverno

while the rest of the crowd had their eyes fixed on the band.
I was drawn to bass player, Scott Sutherland. He was dressed
in all black (as was the rest of the band), and wore a funky hat
with a dark bandanna tied beneath. He did a little jig as he and
the bass moved about the stage. He'd move side to side, while
moving his knees in and out, and every so often he'd crouch down
and pop back back up. I was sure when he turned around there
would be a wind-up key coming out of his back. I then was dis-
tracted by Deanna Bogart, not just sitting at her bench behind the
keyboard, but on her knees, as she violently tossed her head back
and forth while her fingers fiercely danced along the keys. The
crowd was loving every bit of it! Somewhere in the middle of the
first set, Castro apologized to the audience for the whole ticket
mishap. Later Magic Dick stepped out on stage with dark, small,
oval-shaped sunglasses and started to blow away at the harmonica.
He eventually switched his harmonica to what looked like an shiny
blue electric shaver (although I'm pretty sure it wasn't that), and
geared the band into Jimmy Cliff's "Give It To Me". The songs
seemed fluid and seamlessly went from genre to genre, everything
Renowned blues guitarist and vocalist Tommy Castro has
from funk, blues, to ballads. They played "Tell Me Mama", "Hip-
brought together a group of truly talented musicians. Castro
shaker Baby", and "See You Hurt No More".
was just named B.B. King Blues Entertainer of the Year in the
I was reminded of Buddy Guy when Ronnie Baker Brooks
2008 Blues Music Awards, not to mention his album Painkiller
took his guitar into the crowd and played, while stopping to shake
won Contemporary Blues Album of the Year. Magic Dick is best
hands. He worked himself to behind the bar, grabbed a Hennessy
known for his years playing the harmonica in the legendary J.Geils
bottle and used it to play his guitar. He then managed to pour him-
Band. Blues and boogie-woogie pianist and vocalist Deanna Bo-
self a drink, sticking two red cocktail straws into the glass sucked
gart not only has been leading her own band, but has shared the
it down in a matter of seconds.
stage with a variety of musicians, including Ray Charles, Spyro
The band concluded with Albert King's infamous "Everyone
Gyra, Buddy Guy, Leon Russell, Robert Cray, James Brown, They
Wants to Go to Heaven But Nobody Wants to Die", while Brooks
Might Be Giants, Little Feat, Brian Setzer, and many more. Ron-
played Tommy's guitar from behind. The crowd was happy, the
nie Baker Brooks, son of the blues legend Lonnie Brooks, has ob-
band was happy, and everyone seemed to of had a great time. Af-
viously been influenced by guys like Buddy Guy, Muddy Waters,
ter the show, I ended up talking to several fans who had been vic-
and B.B. King and has put his own twist on it. The Legendary
tims of The Blender Theater's price gouging, yet gladly paid the
Rhythm & Blues Revue is a brainchild that is a result of The Blues
price. They were happy to have been there and had no regrets.
Cruise, something Tommy Castro and the gang have been apart of
for several years. They wanted to create that same interactive and
improvisational atmosphere and bring it to land and they did.
I arrived fifteen minutes late and walked into the middle of the
third or fourth song. Everyone seemed to be over fifty. I looked
around the room, it was not full. I wondered if that had anything
to do with The Blender Theater website debacle, something I had
heard Tommy was pretty upset about. I had done a little research
of my own and found out that The Blender Theater website was
being ran by a broker and was not only charging twice as much
for tickets, but was also misrepresenting the show by only listing
Tommy Castro as the featured musician. The Live Nation web-
site was the only place where the tickets were being sold for face
value, as well as properly representing the tour. I was sure that that
had to of had an impact on the turn out.
The room was intimate, with room for standing, as well as a few
rows of fold-out chairs up front. It had red velvet theater seats
ascending fifteen rows or so in the back of the space. I swiftly
moved in and parked myself stage left, conveniently next to the
bar. I noticed that there were already a few free spirits letting loose
 By Nicole Seblano Photos by Scott Vollweiler

Kelly Clarkson

Warm weather has finally arrived, bring on the tank tops, the flip
flops and Zootopia. Wait, Zootopia? Z100, New York's #1 pop music radio
station, had their annual Spring/Summer concert May 16 at New Jersey’s
Izod Center. The shows lineup proved to be as diverse as the people of New York.
Artists included Kelly Clarkson, All American Rejects, Flo Rida, Soulja Boy, Ciara, Jesse
McCartney and headliners The Black Eyed Peas.
Girls of all ages went wild for dreamy pop-star Jesse McCartney, who started off the show,
with hit “Leavin.” And if you think the girls went crazy when they first saw him, the screams
only got louder with “Beautiful Soul”, “How do you Sleep”, and “It’s Over” (which he
declared his favorite song of the album). The former boyband member is out promoting his
latest album, Departure.
Next up was Soulja Boy who got the crowd on their feet with “Turn my Swag On” and
the ultra catchy “Soulja Boy (Crank That)”. The young rapper ran around the stage dancing while his platinum and diamond crested
“Soulja Boy” necklace whipped around his neck. Unfortunately, he only played an abbreviated set. In addition, he seemed too in-
volved with his dancing and crowd participation rather than actually rapping into the microphone; he left most of the vocals to his
hype man and DJ.
Taylor Momsen, star of hit-series, Gossip Girl, was accompanied by the cast of the Elvis Duran and the Z Morning Zoo morning
talk show. The ensemble introduced All American Rejects. Backstage, Momsen had been speaking briefly about her band, The Pretty
Reckless. Prior to the show, Momsen told us that “Music is my life. I’d rather be playing music than acting.” She also added that her
band, who has been the opening support for the Veronicas, is “all about rock and roll.”
The All American Rejects performed “Swing, Swing” from their first album and “Move Along”. They had the crowd on their feet
from beginning to end while ending their set with their number one smash hit “Gives you Hell” and their new single, “The Wind
Blows.” The latter song is a haunting acoustic song, a far cry from any other AAR song released to date. The power trio never ceases
to be a top live band. Their songs are so high energy and catchy that the crowd never gets bored. The girls in the front row almost
made us all go deaf with their high pitch screams.
All decked out in a tight, black jumpsuit, Ciara came out with her dancers and did the booty shake that made her so famous. The
audience cheered and sang along to “Love Sex Magic” while watching Ciara move around the whole stage incorporating splits into
her dance routines. While her set was short, she did play her other singles.
Next up was the original American Idol, Kelly Clarkson. The “Miss Independent” singer jumped around on stage and belted out her
hit songs. By far, Kelly Clarkson had the best vocals of the entire show. She had all the girls and guys in the crowd pumping their fists
to hits like “Walk Away” and “Since you Been Gone.” Kelly’s set was a bit longer than the previous performers but you could tell
the crowd still wanted more of this Texas star and more is what she gave them, performing off the new record “My Life Would Suck
Without You” and “I Do Not Hook Up”. This was Kelly's first NY/NJ appearance since releasing the record. From the screaming and
hollering from the crowd, it seemed the Kelly was the one they were all waiting for and she delivered!
Following Kelly Clarkson should have been a tough task but Flo Rida was ready. The hip hop superstar dropped his hits "Low" and
"Right Round." While his set up was actually really fun to watch, it seemed as if he only performed those two songs, almost as if he
played long, extended versions just to keep the crowd pumped. During the song "Low," Flo Rida pulled on stage four young girls. He
asked them, "How low can you go?" The crowd went crazy and the girls danced and got low. Flo Rida teased the people in the front
rows, asking them if they wanted his heavy diamond jewelry. As he would take the pieces off, he would make a fake attempt to throw
into the crowd. "Yeah right, psych!" he said. To end the set, he played his latest chart topper "Right Round" and he had his whole crew
grab a towel and swing them around in the air.
To close the show, Z100 had the hottest group in the country headline: The Black Eyed Peas. The "Peas" are riding high on their
latest hit single "Boom Boom Pow." The group which consists of members Will.I.Am Api.De.Ap, Taboo, and Fergie, had an elaborate
stage show with LED lights saying "Black Eyed Peas," a two-level stage with the band scattered around, and big inflatable robots
on each side of the stage. The band’s hour long set consisted of hit songs “Let’s Get Retarded” (the radio version is “Let’s Get It
Started”), “Don’t Phunk With My Heart,” “My Humps” and many others. The Black Eyed Peas consistently blend hip hop and pop
with such ease. Lead singer Fergie, who is the most recognizable member of the group, sounded just as great live as she does on her
albums. Each member of the group usually takes a verse during a song, puts their own “flavor” on it and then gets the crowd pumped.
Never have I seen a group’s members be able to be the lead and on the next step just be a hype man/woman and be so good at it.
All in all, Zooptopia proved to be a successful mixture of what NY/NJ music fans want: rock, pop and hip hop.
Stacy “Fergie” Ferguson

will.i.am

Soulja Boy

Flo Rida

The All American Rejects’ Nick Wheeler and Tyson Ritter

 All the Real World’s a Stage
For the boys of Parachute, stepping into the “real world” after college graduation meant stepping onto stages across the nation. The band
that began in high school as Sparky’s Flaw was signed to Mercury records last spring. Lead guitarist and back up vocalist Nate McFar-
land tells Broken Records Magazine that they chose that name because it was “positive and hopeful” and that’s the feeling their music
delivers. He and his band mates, Kit French (saxophone), Alex Hargrave (bass), Johnny Stubblefiled (drums) and Will Anderson (Lead
vocals, guitars and piano) will be touring for their debut LP Losing Sleep with the likes of 3 Doors Down and The Script.
BUZz baNds
Broken Records Magazine: What are BRM: How long did it take to record BRM: Any good tour stories?
your major influences? your debut album Losing Sleep? Johnny: What genre do you want? (All
John: Everybody in the band has different Will: The problem, well not problem laugh).We just arrived in New York City
influences. Will does the majority of our so to speak, the total time, which was a today and were in a rental cargo van
songwriting. Billy Joel, Elton John, Paul month to a month and a half which is a ‘cause our noble tour van, is now in the
Simon, those guys are really the influences pretty normal time for a first album but shop. We’ve tried getting it repaired for
that got us into music in the first place. we were still in school (last May). We the last three weeks. Every time we take
Will: And Ben Folds. just kind of had to deal with school and it to the shop, I don’t think anyone actu-
John: We like Coldplay too and The Kill- recording as well so it was spread out ally complained that it was broken but
ers. over a year and a half, but I think to- it’s pretty easy to tell (all laughing). The
tal recording was about two months. locks are completely gone from the door
BRM: How did everyone in the band because someone broke into it in Seacau-
meet? BRM: Did you find it difficult being in cus, New Jersey. (Everybody begins
Kit: The majority of us went to high school at the same time as having the speaking almost at once, laughter fills the
school together. We weren’t really band? Were people supportive of you? room again).
good (laughs) but we decided to make Nate: Yeah definitely. On the label side And our windows shattered.
a band. We met Nate and Will in col- they were the ones encouraging us to fin- The tired blew out.
lege and once we got him on board, ish school, which is great. On the school The trailer fell off the back of the van.
that’s when we were finally able to take side, our parents were excited that we The van stalls out every ten minutes.
ourselves seriously (everyone laughs). were getting started early with a lucra- And the fuel pump…

BUZz baNds
tive career (everyone laughs). Our friends That was a lot of damage right there.
BRM: How do you guys work together were understanding that we were gone just I think we’re ready to start a reality TV
when writing material? about every weekend. show about our van.
Will: Usually I write the songs. Usually The van actually fell off the lift too, when
I write in my room, alone. I have a pretty BRM: How did you guys end up hav- we were jacking it up.
set writing time. On days where I’m just ing your song “She is Love” on a Nivea
lounging around my house so my mind commercial? BRM: Now that’s the van you named
is clear enough to start writing. Usually I Will: Nivea came to us. They really like Steve Perry correct?
write the idea on my own and bring the the song. They thought it fit well with an (All laughed and cheer) Yeah!
idea to the band. When Alex and I lived to- ad campaign they were doing. For us it was Will: We named the current cargo van
gether I’d play it for Alex. Eventually we definitely a no brainer, it made sense, the Prairie Prince, who was the short lived
all get together and practice and figure out company was great. They were really sup- auxiliary percussionist of the band Jour-
what works for us. Sometimes Nate and I portive of the music and they just thought ney. He was the touring guy and they
write together in the studio or my parents’ it was a great fit and we agreed that it was kicked him out after one summer of tour-
house. It depends on the situation.Then we classy and did the song justice. In the new ing because he sucked so bad. We figured
play it for the other guys later to work the paradigm of the music industry I think it this van is only going to be with us for a
kinks out. was an incredible opportunity that were all little bit of time so we decided to name it
very thankful that we got because it really after him.
BRM: Who did you work with as far as did get that song out there to an incredible
a producer? amount of people. It was a lot bigger than BRM: You have plans to write while on
Will: We worked with a lot of different we would’ve ever imagined. tour or save it for afterwards?
producers. John Shanks was one of the Will: I’m always writing it’s something I
first producers I met with but I didn’t know BRM: That’s pretty sweet, it’s got to be do to pass the time. It’s something I enjoy
if he was going to work for us. He’s done kind of weird flipping through the chan- doing. I’m always writing and I think it’s
everything from Bon Jovi to Ashley Simp- nels and hearing one of your songs on a good thing to stay in that habit.
son and everything in between. He’s a TV like that. Nate: I think Will has a lot of material on
great pop producer. We worked with John Will: Yea it was a trip for all of us when the road (inspired) from Alex, our bass
Fields who worked with Switchfoot and the we first heard it, definitely mind blowing. player. He’s been a muse, if you will.
Jonas Brothers; Eric Rosse, who worked
with Sara Bareilles and Tori Amos-great BRM: How has the tour been going so BRM: Do you guys have any pre show
piano/bass records which I really like. We far? rituals or warm ups?
also worked with a guy Chris Keup who is Alex: Touring been going great. This is Hit it! One, two three…
a good friend of ours. We’ve been work- the actual first year that we got a chance to (All break into harmonious singing)
ing with him for awhile, he’s the one who really tour, we’re having an amazing time. “…before I get too far, you’ll be wishing I
before we got signed, helped us out with We’ve gotten chance to tour with tons of had stayed…”
demos. He worked with Jason Mraz and great people, great musicians. It’s really
Lifehouse. He was definitely in our genre surreal to grow up listening to these musi-
but we worked with a plethora of produc- cians and then getting the chance to play Interview and photos
ers but we learned a lot from each of them. with and meet them. by Candice Wanca
 J
E
S
S
I
E
J
A
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M
E
S WANTED
When you’re twenty years old, drop dead gorgeous and have vocal chops a la Christina Aguilera, life is good. Jes-
sie James, Georgia’s best export since the peach, is riding high with her newest recordings. Her first single, “Wanted”
is riding high on radio and on the net. She has been the video and song of the week on Myspace Music and iTunes
and has been touring the country interviewing on local news outlets.
Jessie’s first single, “Wanted,” was co-written by American Idol judge Kara DioGuardi, David Hodges and former
SR-71 singer, Mitch Allan. “The song was written during my first writing session out in L.A.,” the singer told us.
“The first day we just got together just to get to know each other. The next day we came in and just nailed it.” When
asked about the idea behind the song, Jessie told us that “since my name is really Jessie James, I figured it be cool to
write a song with a play on the name. There was a guy at the time who I just wanted and I was definitely into him.
The next day I called the president of the label and was like I just wrote my first single.”
The bombshell, who considers herself musically bipolar, is very happy about the outcome of the sound on the
album. “I have this really pop edgy side, then the deep organic side. There’s some fun banjo country music with
hip hop beats, which I like to call Hick Hop music. Then there’s the stripped down and beautiful stuff too like me
and guitar in a hotel room.” Being from the south and recording up north with all these pop writers could have been
difficult for the singer but luckily she is a seasoned professional. “I’ve been writing since I was nine,” Jessie says,
“but I’ve been writing with other people since I was fifteen in Nashville. I have written with John Rich from Big and
Rich, who’s ridiculous. I’ve also written with Jamey Johnson who was just up for a Grammy. But when I got my
record deal, they set me up with all these pop writers up in New York. The label tried to make me sing some other
styles of music but everything I sang just had that twang in it. Just finally I was like, let me just sing a pop song with
a country sound.”
Most recently, Jessie shot a spread for Maxim magazine, a magazine notorious for getting celebrities naked. Luck-
ily for her mother, she didn’t bare it all for the world to see. “It was really classy. It wasn’t really sleazy at all. Most
importantly, it was really fun. Of course Maxim is really revealing but I didn’t have to take off my top or anything.
My mother would’ve killed me.”
“I think the thing about me that makes me stand out is that I can actually sing. I have no problem singing on the
spot. Someone can ask me to sing on top of a table in a restaurant and I’ll be fine with it. I was born with this voice.
I’m also a songwriter so I help create the sound; plus I play an instrument. Hopefully a lot of people will know that.
I want people to know that I am a real artist.” By Scott Vollweiler
GLORIANA
Gloriana,
country music’s
overnight sensa-
tion, has hit the big
time. The quartet,
brothers Tom and Mike
Gossin, Rachel Reinhart
One Time at Band Camp and Cheyenne Kimball
  By Scott Vollweiler (yes, the same Cheyenne
that had her own MTV
series) haven’t released a
full length album, yet they
have won a CMT award
and are currently on a national
tour with Taylor Swift. Their first single,
“Wild At Heart,” was released to country

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radio early in 2009 and had peaked at #19
on Billboard’s Country chart. The tune is
super catchy and filled with tight harmonies.
“That’s exactly what we were aiming for,”
Tom Gossin told us.
We can expect “some traditional and mod-
ern country and bluegrass kind of stuff,” said
Gossin before adding “and our biggest goal was to
make it good all the way through; we didn’t want to skip
any tracks.” While it seems almost standard play for country
artists to work with outside songwriters, Gloriana went to the
extreme. “We had a writing camp. We took a weekend and got
together with twenty to thirty of the best writers in Nashville. After
a weekend we came up with like sixty songs. We picked the best
thirteen for the album.” Rachel Reinhart then added “it was so
cool to have had the chance to write with these writers and
that these songs were just written for our album.”
Each member of the group is a strong singer
on their own. So I asked them if it was their
intension to have tight four-part harmonies
throughout. Reinhart answers, “We were
very influenced by groups like Fleetwood
Mac and the Eagles; they are groups they
each member can stand on their own as
singers and then come together in the
chorus.” “So four was the lucky num-
ber?” I asked. Gossin responded, “We did
have a specific number in mind. Mike and I
were a group and then we met Rachel. One
day Cheyenne saw us play a show and she
was like ‘I play mandolin and I sing’. So we
gave her an audition and was like, “this fits.”
So how does a group with no album, a brand
new single and just a buzz get on the biggest tour
of the summer? “We were doing the fourteen week
long radio tour and Taylor must have heard the buzz
about us. So she checked out the single and she called
us up. She was like ‘Hey. It’s Taylor Swift.’ We were like
‘What!’ She asked us if we wanted to go on tour with her.
We were kind of blown away. We are just going to go up, just
us four acoustic. We are going to be unique because Kellie
(Pickler) and Taylor are going to be full band after us. It’s go-
ing to show off our musicianship.”
 Leah Renee  Imaginary Pop Princess?
By Scott Vollweiler
Remember being a child and having an imaginary friend?
Canadian born beauty, Leah Renee, will be having tweens
around the country wishing to have someone imaginary. Her
first single off her debut album is “Imaginary Boyfriend” or
“iBF.”
Leah Renee tells us, “I think a lot of girls will really
relate to it. At one point, there’s someone they have a crush
on, and he may be unattainable, but you still daydream
about him.” When asked how true to life the song really is,
Leah Renee responded, “I have had and still do have them! Imaginary Boyfriend was the only track that was submitted to us for
the record and was written by our little group of people.”
Leah Renee is already being compared to Mariah and Rihanna. “I don’t know if really should be compared to them. They are
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in a league of their own! But I do think I can sing like Mariah in my breathier tones.” With comparisons in hand, Leah Renee is
undoubtedly poised for stardom. Her debut album, which took almost two years to complete, was produced by the well known
duo called The Conglomerate. The duo, which includes Curtis Richardson and Charli Vox, has produced and written songs for
Kelly Clarkson, LL Cool J, Joss Stone and many others. “I met the Conglomerate out in Toronto, which is where I’m from and
I was in the studio singing demos. They were probably like, ‘Who’s this blonde girl’ (laughs). But they asked me to sing on a
demo and we decided to keep working together. I was very nervous. Look at all the artists they have worked with.”
Besides having incredible vocal abilities, Leah Renee also co-wrote every track on the album. “I feel so lucky to have my
hand in the creative part of making the album. Most artists on big labels don’t necessarily get that chance. It feels awesome.”
With no official release date, Leah hopes that it will be out “this summer” but definitely look for it sometime in 2009. “iBF”
has already been released to radio and has been getting massive amount talk on the gossip blogs. “iBF” has also been streamed

Savannah Outen
over seven thousand times on her myspace page as well. There is nothing imaginary about this pop princess.

Broken Records Magazine: Of all routes to promote

yourself, why did you go the Youtube route? Did you
ever think your videos would get as much attention as
they have?
Savanah Outen: It was actually my parents idea to post a
video on youtube. At the time it was just starting to get big,
so my dad video taped me singing “Listen”. I just wanted
to create a little fan base and hear some feedback. I wasn’t
even planning on posting another video. I had no idea that
my videos would get this much attention. I love that people
call me ‘the Youtube girl’.

BRM: "Goodbyes" peaked top five on the Radio Disney charts. How did it feel to have a hit single?
SO: I was excited for “Goodbyes” to even be on the countdown. Then, seeing it climb up every week was so much fun. I was
so excited to see it reach number five. I was surrounded by all of my favorite singers, like Miley and Taylor. My fans did a great
job voting every week and requesting it, so I thank them for that.

BRM: What is the story and inspiration for your latest single "If You Only Knew"?
SO: “If You Only Knew” is about liking this guy who doesn’t know who you are, or doesn’t pay attention to you. For some
girls, it can be about how much they love this certain celebrity. It would be a dream come true for the girl to meet her crush.
That’s the idea we took for the music video. Tony Oller from “As The Bell Rings” on the Disney Channel portrays this huge
celebrity, named “Cas” and I have a big crush on him. I also have posters of Cas all around my room. It’s a fun video and I think
it will appeal to a lot of different people.
Right Time,
Right Place
By John Centorrino
Cockpit consistently delivers authentic
old school upbeat rock and roll. Their de-
but album Mission to Rock (self-released
via indy Pedal to the Metal on July 25,
2008) is currently available for purchase
from their website www.ilovecockpit.
com, and also via iTunes and Rhapsody
Online. The individual tracks from Mis-
sion to Rock can be heard on the band’s
Myspace page www.myspace.com/cock-
pit, and they also maintain a Facebook
page. Cockpit took the next steps in the
‘social networking and self-promotion’
game by setting up an automatic Twitter
feed to Myspace and Facebook. As this

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all-girl rock sensation automatically posts
multiple daily Twitters on their pages, it’s
obvious that all this cyber-churn has defi-
nitely contributed to Cockpit’s fast-grow-
ing fan base and quickly growing success.

COCKPIT
The members of Cockpit came to-
gether during the winter of 2003/2004.
Linda Lou, originally from Philadelphia,
Pennsylvania, met the drummer Rachael
Rine at a party. Rachael, originally from
Las Vegas, Nevada, had a cover band
that she’d started, named Cockpit.  “Ra-
chael had started a band of her own, they
were doing covers, but she wanted to do is Judas Priest. Rachael loves Motely Crüe back. Yeah, it’s unheard of, but it worked
originals, and so did I,” says Linda, “We and Aerosmith, Alicia’s really into White out because all of the local sheriffs helped
were both looking to move to LA, we both Snake, and Terrii’s a huge country fan.” to find my guitar and get it back to me.”
wanted the same things, and I really liked Another right place, right time inci- Cockpit is in the process of writing right
the name Cockpit, so it just stuck from the dent occurred when Cockpit’s Mission to now, and Linda says they will definitely
very beginning.” (the first of many ‘right Rock sold more CDs than any other band release this year. “We have a lot of new
place, right time’ scenarios for Cockpit.) that had played at Houston’s 2008 Rock material. I’m unsure if we’re releasing a
A short time later Linda and Rachael the Bayou festival. Additionally, Cock- full length or another EP, but we will be re-
found Cockpit’s bass player, Terrii Kiing pit was one of the few unsigned bands leasing something.” Currently, Cockpit is
from Orange County, California. Linda at last summer’s Rocklahoma 2008 fes- booked to play at the LA Calendar Motor-
then recalled the odd and unintended tival. Linda explained, “We ran into cycle Show at the Queen Mary Event Park
shift in her musical career, “I started out the Rocklahoma booking agents at The in Long Beach, California on July 18 and
as the lead guitarist, but in the beginning, Whiskey about six months before the 19. “It would be great to be out on the road
we really needed a singer. I had always festival. The booking agents were in with some good friends of ours like Skid
played guitar, but as we got the band to- LA for a Rocklahoma press conference Row in the future.” Cockpit is booking
gether, we were looking for a singer, but the next day. We all hang out that night, for fall/winter 2009, and into spring 2010,
we weren’t happy, so I started singing and by the next morning they had asked mostly in the south and southwest Cali-
while I was playing guitar, and it seemed us to join Rocklahoma 2008, it was like fornia areas. Cockpit is endorsed by GHS
to work out. I became the singer (again, twelve hours before the press conference RockTron, Danmar Percussion for drums,
right place, right time). Finally, about two started.” (right place and time, yet again.) Muscian’s Choice Rehersal Studios (found
years ago, Cockpit found their lead guitar- When I asked Linda to tell me about throughout USA, mainly California and Ar-
ist, Alicia Blü from Sheffield, England. one of their craziest or wildest tour mo- izona), and Gasloline Glamour, “Gasoline
Cockpit’s major influences come from ments, she told me, “It was definitely at Glamour is one of our really good friends
very original rock and roll roots, “We like a Rocklahoma. We were thigh deep in mud, out of LA that does all of our clothes, jew-
lot of the same music, my personal favorite and then my guitar got stolen, but I got it elry, and stuff that we wear all the time.”
 R achel G oodrich
BRM: What is behind the title Tinker Toys?
Rachel Goodrich: Tinker Toys is one of
the tracks off the record, and I thought it
was appropriate because it was my first
record. The next record will be more ar-
ranged, not slow it down but there will
be more ballads that I’ve been writing
over time, but generally more upbeat.

BRM: What do you derive your lyrical

inspiration from?
Rachel: I listen to a lot of German hip
hop. You know they’re very tough and
strong but at the same time they’re like…I
don’t know how to explain it man, I’m
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so bad at this. I can be walking down the

street or talking to a friend and like even
a stop sign looks interesting. Something
always comes from something else; I don’t
think I’ve ever just sat down to write a
song. I try to live in the moment and let
inspiration find me.

BRM: Walk me through a day in the life

of Rachel Goodrich.
Rachel: Sometimes I get up before my
alarm clock, it’s set for eleven thirty. I
usually get up around nine but I’m a zom-
bie for a couple of hours. I’m always half
awake during the day time, there’s always
a lot of music and a lot of hanging out. The
night time at around two in the morning
is when I start to feel things coming to-
gether. I feel like I write when I first wake
up though, when I’m really still dreaming
and right before bed when I’m delirious.

RM: You said you had spent two years Interview by Victoria Barone
in your room, “your own little uni-
verse”, before you emerged and began
Photo by Kyra Kverno
to make music in full force. What were Rachel: Yes, I’d love to pick it up in a billy, and I said ‘nah man it’s shake a
those two years like and how did they little bit and make it extremely active. billy’ and it just kind of came about. It
prepare you for today? There are a couple of acts down here in was more like shaky than like rocking,
Rachel: Man, those two years were kind Miami that are great but I don’t know if shake a billy has a straight organic feel.
of strange but I became very acquainted they’d want to be on my label you know?
with my instrument and my record. I went I just love music and I’d love to support it. BRM: If you could pick a favorite song
through a lot of emotions and feelings and of yours, what would it be and why?
confidence and that kind of stuff. I learned BRM: The term shake-a-billy. I know it Rachel: I just wrote this song recently and
a lot in those two years. It gave me the must come up a bit but humor me, why I feel like it’s my favorite song because I
opportunity to write a lot and come up shake-a-billy? feel like everyone can relate to it. It’s called
with my style. I don’t know how it pre- Rachel: I was hanging with a friend and “Hold on/Horn Horn.”  It has a lot of hope.
pared me but it just added to life, I guess I recently just moved and he offered to I just feel like maybe more people can re-
play up-right base and we were like jam- late to it but that’s not why it’s my favorite.
BRM: You have your own record label ming and stuff on this new song called It’s different, the song is mostly in major
Yellow Bear Records. Do you plan on “Hit or Miss” and it’s kind of like shaky and I just like the feel of it. I also like this
signing any other bands onto it? and he said this is kind of like rock a song called “Popsicle”, it’s very dreamy.
 THE A.K.A.S

Interview by Victoria Barone

Broken Records Magazine: You’re like this one thing. But we’re a band that she play so her first show ever was in
sound is unique to say the least and that’s really eclectic and unique and ap- front of twelve hundred people and she
has been described by yourselves as peals to people with different musical had never played with a band before. But
“dance hall fight music.” Why? interests and those are the people who since then she has just been an incredible
AKAs: We whole heartedly think that wind up gravitating towards us. And force in the band. She’s just a really awe-
the description is true but it almost came we’ve worked hard to maintain that. some role model for people in general but
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up as some form of irony because at the especially girls just mainly because she
time we dubbed that was because there BRM: Josie wasn’t originally part of does so many cool things with the band
was so many goofy sub genres of mu- the AKA lineup, how did the addition and outside of the band, there’s so much
sic happening at the time and I felt like of her and her keyboard effect the girl power going on that it’s inspiring
a lot of bands really counted on that for band? you know? In a time where the two main
people to identify with them where as AKAs: She wasn’t the original keyboard ways for girls to get attention and respect
we really didn’t want to be a part of any player but we did have a girl keyboard was to be a suicide girl or to show their
of that stuff because we thought it was player before her so that was part of the f**king tits on Myspace, I think it’s real-
f**king stupid, you know? We’re a band dynamic that we thought was important to ly important for people to see hard work-
that’s like as much about ideas as we are the band. We had a period of time where ing girls get respect and can do awesome
about the music that we’re making, so it’s we didn’t have just the keyboard player, positive stuff. I don’t know where we’d
important for us to not limit who hears we had a second guitarist and it just wasn’t be without her she’s completely radical.
that so if someone only listens to elec- the same. The thing with Josie was she And she lifts more shit than any dude
tro pop punk emo, screamo or whatever had actually only been playing the key- that was ever in the band including my-
and then they hear this is this thing I’m board for two months when we needed self. Gear-wise she carries heavy things
not going to listen to it because I only a keyboard player and sort of demanded every night to the surprise of everyone.

Interview and photo by Kristin Tully

Broken Records Magazine: You’re “Oh I could never get my girlfriend to do

on the road with Shinedown and 10 that”. I didn’t correct him or anything. I let
Years. How’s that been, touring with him think what he wanted and later when
all guys? I was doing sound check, he saw I was
Lzzy: You know, I’ve lived with these actually fronting the band- and he was
guys [Halestorm] for so long- they’re like “Oh my gosh, I’m so sorry, I totally
my family! It doesn’t phase me…but the didn’t realize you were the band!” And
one thing you do learn on the road with you know I was like ‘It’s cool!’It catches
guys is everything can be a sexual innu- peoples attention! I know sex does sell
endo, and fart jokes are always welcome! and potentially any girl could get up their
But really, most of the guys we tour in a mini skit…but really I don’t want
with they are such gentlemen- opening to be remember like that; I want people
doors for me and stuff...it’s pretty nice! to remember me because I am good!

BRM: Being a girl do you feel you BRM: Where can we find you on your
have to prove yourself? free time?
Lzzy: You know it’s funny, because in my Lzzy: Free time? What’s that? I’m just
case I think it’s really an advantage. I ac- kidding…we actually like to camp. We
tually have a funny story. I was at a show head over to the camping grounds and
Interview by Candice Wanca tuning my guitar- and I think a lot times relax, crack open a few beers. It’s funny
Photo by Jayme Muzio you get the people who automatically as- though because we always somehow end
sume ‘oh she’s the merch girl or oh she’s up talking about our music anyway. We’re
some groupie’- and so the guy says to me nerds, we have no life…music is our life!
 Interview by Victoria Barone
Broken Records Magazine: Your they were in and it just kind of worked why?
album just dropped on the twenty out. Ever since then we’ve always been Fireworks: I guess continue to meet new
fourth, what is behind the title and the writing you know we’re best friends so people, make new friends, go new plac-

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album art? we always just play music just for fun. es. We would really like to see our band
Fireworks: Well the record is called All travel overseas and take it to the next
I have to Offer is My Own Confusion. BRM: If you had your choice to tour level, keep on releasing records and stuff.
Chris and Kyle thought of the idea. We with any band including bands that are
thought it matched the theme of the re- no longer, who would it be and why? BRM: In the song “Holiday” you say
cord, confusion, trying to figure things Fireworks: That’s a really, really tough “The big difference between you and
out, being a kid and doing stupid sh*t. one. Me personally, I would like to tour me is understanding the word "alive.”
And I we thought it was kind of a cool with Quiet Riot. Spending five months What is your understanding exactly?
thing. And the theme of the art work is a with Quiet Riot would be the best thing Fireworks: That’s a really, really good
mysterious figure, it’s kind of a concep- ever. Also, I’d like to tour with some of our question actually. “Holiday” is about
tual kind of thing because all the pictures friend’s bands, that’s always fun. There’s somebody who lives a very sheltered
go along with the songs and what not. really so many I can’t really decide. life yet is very judgmental at the same
time. I’ve had people do that to me, it’s
BRM: How did Fireworks come to be, BRM: What is an absolute tour neces- not cool. It’s not fair to justify your hate
how did you all find each other? sity? for something or if you not like what
Fireworks:Well we all worked on the Fireworks: Probably Wawa, they’re like someone does if you don’t really know
corner. No, they all grew up together. Seven Eleven but you can order food. It’s what they do or you’ve never even seen
I kinda grew up in a different city, so I quite amazing. I don’t know…a bunch the person. So I think being alive is go-
moved out the area and we just started of music, a bunch of clothes…water. ing through life, going through the ex-
out as friends and I’ve always played perience, you know going through it all

TV/TV
guitar and stuff and I wanted to be in BRM: If you could associate a goal before you set judgment on someone.
the band, so they let me join the band with your band, what would it be and

What started as a homemade demo on wasn’t a name like “The Coffeetables.”

a laptop in the lower east side became
the debut EP “Something to Get Excit- BRM: Any crazy tour stories you’d
ed About”. An EP which found it’s way like to share?
into EA’s NHL 09, MTV’s the Hills and JO: One crazy thing was we were
The Real World. TV/TV’s first LP will booked in Iowa and we pulled up to this
be dropping June 30th. You can catch house and we were like ‘what is this’?
Josh Ocean, Matt Walczak, Doc Hol- We were touring with another band that
liday and Killah Cam at this summer’s set the show up. The house had no sid-
Warped Tour. ing and a broken down car in the front
and we went downstairs and it was just
Broken Records Magazine: Where like this kid’s basement and we decided
does the band name come from? ‘whatever ,let’s just do it’. We ended
Josh Ocean: TV/TV was a group of Berke- up playing for fifteen kids in this guys
ley film students who in the 1970’s got in basement. We had a great time and
the faces of politicians and asked ques- the people that were there loved it. We
tions that the mainstream media wouldn’t won’t be playing there again though.
ask, so I thought it had a cool meaning Interview by Candice Wanca
behind it. Plus it was different because it Photo by Jayme Muzio
 early material before we were a serious
band and they played it on the PA. None
of the kids knew what it was but we did.
It was kind of embarrassing so to get them
back, we changed the sounds on this bass
drum pad they have, we changed it so
you’d hear a cat when it was hit, so that
was pretty funny.

BRM: How was Homesick written? Was

that while you guys were on tour?
JM: We were on the road on Warped
tour. It was definitely a learning experi-
ence we never done anything like that.

BRM: I’m sure it’s harder to write

while on tour as opposed to hanging out
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in the studio.
JM: It’s definitely a challenge. You get
pissed off and you can’t relax and get
away. It can get kind of stressful at times,
especially when you’re fighting for your
ideas. But in the end you’re all friends and
it works itself out.

BRM: Is anybody a main songwriter of

the band of does everybody contribute
their input?
JM: With this record. it was fifty fifty. Me
and Tom writing music and then every-

Photo by Brian Dawson Interview by Candice Wanca

BRM: You guys have played big shows its harder for American bands to make it body else in the band would make chang-
like Bamboozle festival and the Warped out there so it’s like a special thing and es. Me and Tom do the structure for the pop
tour, do you prefer to play big shows like you can really tell the people really care portion of our music and Neil and Josh are
that or smaller venues? that you’re there, unlike in the U.S. where the big part of the heavy influence in the
Jeremy McKinnon: There’s things that I there’s bands coming through the cities all band. Everybody is equally important in
like about both. The big shows have better the time. It kind of spoils them. the process.
stages, they have a lot of room for you to
run around, that’s a big part of our show but BRM: I guess were jaded out here. Is BRM: Do you feel this album differs
then again you don’t have that interaction there anywhere you haven’t been yet from your previous albums?
with the kids. that you look forward to touring? JM: I definitely think it’s different. I bet a
JM: Yea I really want to go to Japan this lot of people will say we haven’t changed
BRM: You toured the UK last year, year were trying to figure that out. but that’s not true. If you listen to the
you’ve played in Australia and Europe. last record and this one back to back it’s
Now that your back in the states can you BRM: Are there any particularly mem- completely different. The last record was
compare playing shows in other coun- orable tour experiences you’d like to more of a metal influence. This one is
tries to the U.S.? share? poppier but its heavy at the same time. We
JM: The response is pretty much the same JM: At the end of the Silverstein tour, were kind of nervous at first that people
but people seem more excited everywhere Devil Wears Prada was trying to do some woudln’t give it a chance but it’s been go-
else. I guess it makes sense though cause pranks on us and they got a hold of some ing over really well.