RUST-Magazine-Issue-3v1

Retrospective Issue #3
We only cover the best.
SLIM
WRAY
HITS THE ROAD
+BEST OF 2013 AWARDS
Wes Hollywood: Fantasy Arcade Double LP
PLUS: Brian Cameron • John Pippus • Wondernaut and Less Love
The Lost Patrol • NINA • The Scenics • The Fugitives • Beyond-O-Matic • Chris Antonik • WWIX
• Kevin Breit • Joseph Eid • Edie Adams • Ernie Kovacs • BJ Wilbanks • Spicy Draculas • LTDMS
• Xander Smith • Chris Grant • The Pussywillows • Ralph Roddenberry • Erica Blinn
+more at rust-magazine.com
crafted in the USA
February 16, 2014: Brian Cameron
artist endorsee
Chris ”topher” Derry
A Portrait in Courage
In this third archival issue of RUST Magazine, we’re kicking off with a photo spread about our friend Brian
Cameron. We’ll have more about Reluctant Saints, who he plays guitar for, in the next issue, but the reason
we’re talking about him here is that he is a survivor. Truly.
artist endorsee
Kalani Das
The very first time we met Brian we filmed him in a wheelchair for an interview. The most recent time we met
him he was standing on stage and rocking with Travis Tritt. After a crippling motorcycle crash, Brian’s brother
brought him a guitar while he was in the hospital, and he used that time to develop his natural talent as part of
his recovery. Supported by family and friends Brian is now at the forefront of one of the very best rock bands
in the Southeast. Reluctant Saints brings talent, history and reverence to what they do, and understanding how
special each event is for Brian - and all the members - it adds a whole new perspective to the dedication and
courage it takes for them to do what they do.
But who covers the other Brians? If RUST had not taken the time to listen and re-tell his story, who would have?
Sadly the answer is almost nobody. But this is what motivates US to find those stories and to talk to the people
living them. We’re humbled and honored every time an artist takes time for our cameras and our questions and
we honor them back by covering their stories as best we can.
We aspire to be as good and dedicated journalists as the artists that we cover are in their craft. The people to
whom music means everything. The people who sacrifice and risk - sometimes everything - to express their
art. The people to whom music is integral to their very survival. The Brians.
Our world is full of talent and it’s the people like Brian Cameron that inspire us to document them now, and
for the future.
kopfpercussion.com
Eric Petersen
All material ©2014 RUST Magazine
www.rust-magazine.com
[email protected]
2 RUST Magazine
RUST Magazine
3
Inspired Dedication
February 16, 2014: RUST Magazine met
up with Brian Cameron who told us about
his journey from paralysis to playing
guitar for Reluctant Saints and sharing
the stage with people like Travis Tritt. His
true life story is on our YouTube channel
and he is one of the amazing artists we
have met. Brian inspires US to be better
journalists and better people.
reluctantsaints.com
RUST Magazine
5
The Lost Patrol - Rocket Surgery
October 1, 2011: The first thing that strikes you about “Rocket Surgery” is the sense of
another time, whether it be a time in your own youthful musical experience or perhaps
of the underground 80’s radio. There is a sense of newness, coolness and drama with
substance and complexity. Lost Patrol has a deep, rich, layered sound with Mollie
Israel’s vocals enticing you to follow them into their space and lingering in your mind
long after listening.
The band has been around for over ten years, but this is their third full length with
Mollie Israel on vocals, and her ethereal, visionary personality definitely provides the
signature identity of this album. But this is not to discount the talents of Stephen
Masucci and Michael Williams in any way. The band has a great synthesis and
confidence... they definitely have an idea of who they are and they achieve something
quite unique, defining their own new sound from a palette of familiar elements.
The sound quality of “Rocket Surgery” is the fourth member of the band. With great
recording and mastering, you really are transported to another space emotionally. It’s a combination of a band with a decided identity presented
with the right tools. Add to that some great album art and you have something that - again - takes you back in time while it also presents
something new. Beneath the overall sound, the arrangements and lyrics again strike a balance between familiarity and uniqueness with original
compositions that build on each other resulting in an album that is strong from start to finish.
The most significant thing about the Lost Patrol’s Rocket Surgery is it has a uniqueness that reminds you of those few experiences when you
first heard something that opened your ears, eyes and mind to a new way of thought and emotion. Familiar but never derivative, it suggests that
magical time of youth when your imagination could be set afire, transporting you to another space and time. Exploring vast, strange landscapes,
Rocket Surgery combines the best of memory and offers something distinctive and fresh, highly recommended.
The Lost Patrol - Driven
May 1, 2013: Here at RUST Magazine, we love us some Lost Patrol. Our friends at The
Blueflowers turned us on to them (we love us some Blueflowers, too) and their new
album - their fourth - gives us even more to love. This outlaw, sci-fi, dream-pop, psychrock band defies categorization except that they have defined their own unique sound,
and they have continued to make great, distinct music on “Driven”.
Part late night double feature soundtrack, part overdose hallucination, listening to The
Lost Patrol is like being in a dream you can’t wake from... sooner or later you just have to
give yourself up to the wicked rhythmic bass and supernatural vocals of Mollie Israel who
sings like a bar-end vamp who will pull a switchblade on you in an instant, then smile
and just put it away like nothing happened. You’re scared, but you have to find out more
about this woman in the worst way.
“Driven” sees the band exploring less of the sci-fi sounds of 2011’s Rocket Surgery and
more of the Outlaw space along with bands like The Blueflowers, The Great Tribulation,
and Empty Orchestra. We’ve previously commented on these bands all being part of the
new American Rustbelt sound, and it’s inspiring to have seen new albums from The Lost Patrol, The End Times and The Blueflowers this year. It
gives us hope that artistic excellence is falling like so many trees in the forest awaiting to be discovered and heard.
What’s extra notable about TLP is that they’re consistent, and consistently improving. This is not a hit and miss band, and the hits just keep
getting harder. “Driven” is just that. There’s a force of inescapable acceleration that pushes each song forward, giving them immense mass. This
is a serious piece of work, and this crew does not mess around. Even when the tone is light, you can’t help but feel that something ominous is
just ahead.
As usual, the audio presence of the band is simply superb thanks to the production of Stephen Masucci. Along with Michael Williams on guitar,
this three piece makes a sound that’s not just big... it is heavy, it is dense... it has mass and inertia. Simply said, The Lost Patrol is a great band
and “Driven” is a great album. I wish I had a term beyond “Essential” to give to it... but I don’t. Essential is the maximum recommendation RUST
can give.
Hmmmm... Obligatory? Yep. Obligatory. Alright, that’s it, we’ve broken the mold here and have re-set our review scale to accommodate this album.
It’s official, The Lost Patrol’s “Driven” is Obligatory.
TheLostPatrol.com
6 RUST Magazine
The Scenics - Dead Man Walks Down Bayview
October 30, 2012: The Scenic’s new album “Dead Man Walks Down Bayview” is a great album. It should almost be a crime for
an album to be this good. It’s dangerous! If the general public ever gets a hold of this album in large quantities there could be car
accidents from people staring at their radios, people will miss their bus and train stops because they’ll be transfixed by their earbuds,
and offices will be empty as workers will forget to leave home because they’re stunned by how freaking awesome these guys are.
There’s also a fascinating back story to the band. Listening to The Scenics is like peering through a time window at one moment and
like looking into the mirror of right now at others. It’s a gorgeous, passionate, slightly off tune collection of pure genius. Rooted in the
soil of vintage alternative, you can name half a dozen bands they sound like, but you can’t name a single band quite like them.
The Scenics are are a Toronto proto-punk band that played between 1976 and 1982, and again since 2008. Formed by prolific
songwriter/guitarist/vocalists Ken Badger and Andy Meyers, The Scenics played, wrote, and recorded throughout their 6 year life,
gaining a modest but rabid following. They appeared on the Last Pogo LP and film, recorded an LP for Bomb Records (Underneath the
Door), and released an indi 45 (Karen/See me Smile). They broke up, slightly disgruntled, and played one last gig in the spring of 1982.
Over a quarter-century later, Meyers started listening to some of the more than 300 hours of rehearsal, live and studio tapes The
Scenics had recorded and was pleasantly shocked “by the depth of the songwriting and the passion of the performances.” The group
re-introduced themselves to music lovers in 2008 with ‘How Does It Feel To Be Loved: The Scenics Play The Velvet Underground’ a
collection of live recordings from 1977 - 1981. How Does It Feel… hit the Top 30 on college radio charts and received considerable
critical acclaim from publications like the Village Voice, Toronto Star, Detroit Metro Times, Vancouver Province and Big Takeover among
others. That same year, the documentary The Last Pogo, featuring performances by The Scenics and other members of the ‘70s
Toronto scene, was released on DVD. Seven unreleased Scenics performances from 1978’s “Mystery Train” filming were included
as DVD extras.
‘Dead Man Walks Down Bayview’ is actually the first studio album that The Scenics have recorded since the 1970’s and was produced
by original band members, Ken Badger, Andy Meyers and Mark Perkell and mixed and mastered by celebrated producer Joby Baker
at Baker Studios in Victoria, BC. The result is an intricate yet powerful twin-guitar sound that suggests, without imitating, the power
drone of the Velvet Underground and the heavenly jangle of the Byrds, with the sage, aged vocal presence of Tom Waits. The material
here was written over a span of several decades, but it sounds like it all came together in one madly inspired session.
“Dead Man Walks Down Bayview” is an album of musical genius and wisdom. Like a fine wine aged to perfection, The Scenics defy
the notion that the time of punk has passed. The vibrance that once raged out of control still smolders as hot embers that only need
a fresh breath to reignite in light and beauty. Essential.
thescenics.com
See and download hi-res images at
flickr.com/photos/rust-magazine
RUST Magazine
7
RUST: How do you feel this album compares to your previous
projects? Do you see this as a unique stand-alone moment or part
of your overall artistic progression?
Photo courtesy of Wes Hollywood
Wes Hollywood talks about Fantasy Arcade
April 3, 2012: Before you even listen to Wes Hollywood’s “Fantasy
Arcade” you know you have something special in your hands. It’s a
double LP, but a single album pressed both as a stereo and mono
mix which alone makes it really unique. Add to that phenomenal
cover and interior double gate-fold art AND a 18” x 24” poster and
you’ve got a collectible release that stands out far from the crowd.
Got a turntable? This album is a must-have, period, before you even
listen to it.
Randy Moe really deserve recognition for their photography work on
the project. The art design on this album is fantastic, and that’s even
more noticeable in this 72dpi download world. This is an album that
takes you back to the time when people actually looked at album art
while they listened to the music, and when bands put in the work
to make that art something of equal integrity as the recording itself.
Both the cover art, which is simply classic, and the double-spread
inside shot reinvigorate the idea of the rock and roll band image.
When you do play the album, it becomes clear that the packaging
and the music merge into a complex artistic/musical statement
that’s one of the best, most unique combinations in modern music.
With well over ten years of active
music-making and about 20 projects
under his belt, Wes Hollywood has
taken the hard lessons learned on
stage and in the studio and has come
out with - perhaps - his signature
effort. It’s retro. It’s fresh. It defies
quantification by mixing up pop and
new wave with British invasion and
70’s-80’s FM megawatt rock into an
11-song juggernaut.
Available as a double LP, but not (at this moment) a CD makes
this release even more intriguing. The LP does come with an MP3
download code and it is available as a download from Amazon, etc.
but you are really doing yourself a
dis-service if you go for the download
and not the LP. But, either way Wes
Hollywood delivers some of the
most memorable pop-rock today.
The writing, performance, recording
and art come together like a rare
celestial alignment. We at RUST were
so intrigued we asked Wes to tell us
a little more about “Fantasy Arcade”
and here’s what he had to say:
Wes performs vocals, guitar and
synthesizers with Pete Javier on
guitar and vocals, Spencer Matern
on bass and vocals plus Tom Shover
on drums and vocals and together
they have a tight, focused group
unity. Though stripped down to essentials there is a fullness and
rich sound to the band - it’s a unique combination of elements.
Wes takes credit as the producer with Neil Strauch engineering and
Brian Leach as XP and mastering by Bob Weston and the overall
audio personality is just plain excellent. Both Maureen Vana and
RUST: When did you decide to make
this a double LP in both stereo and
mono? Was it always conceived that
way or did the idea emerge as were
you in production?
8 RUST Magazine
WH: ‘Fantasy Arcade’ is my best work yet.
I think it’s important to go into it with the
frame of mind that you are going to top
the last record you’ve made. there’s no
reason to make the same record over and
over again, you also don’t want to regress,
so, yes it’s about artistic progression. I can
listen to records I did 10 years ago and still
enjoy the songs but from a songwriting
standpoint I’m not in the same place I was
10 years ago or even a year ago, the longer
you have your eyes and ears open the more
influenced you are by your experiences.
RUST: The artwork is amazing. How
important was it for you to make the
packaging so distinctive?
WH: I think a great album cover speaks
volumes. I’ve always been fascinated with album art by artists like
Barney Bubbles, Storm Thorgerson, Aubrey Powell and Peter Saville.
The concept behind the packaging was to create a design that felt
classic but at the same time contemporary. I liked the idea of an
image that didn’t have a specific time period attached to it but still
evoked the feeling of a 60’s garage or 70’s punk record.
RUST: Is there another band or artist out
there that is really impressing you right
now?
WH: I’ve been holed up in the studio for
the past year. It’s high time I expose myself
to some new music, wouldn’t you say? Do
you have any recommendations?
RUST: Zoinks, Scooby, that’s turning the
tables! Makar out of New York is amazing
us right now with Funeral Genius and
Radiophonic’s Rocket Scientist album
continues to intrigue, and - of course - the
RUST 2011 album of the year, Remy LBO’s
Exceptionalism.
Wes Hollywood’s “Fantasy Arcade” is
an album destined for a permanent spot
on best-of lists. Musically it’s a fantastic
achievement of writing and execution.
Graphically it sets a renewed standard for excellence in concept. It’s
a rare treasure, Essential.
weshollywoodmusic.com
WH: I’d been flirting with the idea
of releasing a mono LP for quite some time. The impetus for the
double album was to put the mono and stereo versions into the
hands of the listener rather than assuming they’d buy both records
separately.
RUST Magazine
9
Daddy Long Legs
The Devil’s in the Details
The Fugitives
Everything Will Happen
September 17, 2013: Daddy Long Legs is a band with an almost cult-like status in
Southern Ontario, and there’s about to be a fresh wave of cult members joining them as
soon as they hear their 5th full-length album. The Devil’s in the Details is an in-your-face
hard-hitting garage blues assault that crackles with electric energy and punches your
eardrums with super tight jams. It’s an album with great performances, a superb overall
sound and enough musical intensity to power a small city.
September 24, 2013: Over the past few years, greatly due to the financial changes
in our world, there has been a resurgence of Outlaw rock. Rooted in country and
bluegrass styles with more modern stylistic and technical integrations, today’s Outlaw
rock mixes up the city and the country. While Americans have struggled, they have
turned inwards and backwards in time, and once again, their ears have thirsted for
traditional styles and a personal relationship with artists who spoke from the heart.
Formed in 2001, Daddy Long Legs focused on developing their own songs and sounds,
trying to emulate, but not imitate, their favorite blues artists. This hard work led to
recognition from within the Canadian Blues community, as Daddy Long Legs were
finalists in the 2004 Toronto Blues Society New Talent Search. This was followed by a
Maple Blues Award in 2008 for best New Artist, a Canadian Independent Music Award in
2009 for Favorite Blues Band, and a chance to represent the Grand River Blues Society
in the 2009 International Blues Challenge in Memphis.
Featuring Mike Elliott on guitar and vocals, Chris “Junior” Malleck on harmonica, Steve Toms on bass, and Jeff Wagner on drums, The Devil’s in the
Details is comprised of 11 original tracks complete with hard-drinking house rockers and heart-wrenching soul-searchers. The Devil’s in the Details
is raw & modern blues music that is ripe for road trips, parties, break-ups, hook-ups, loneliness, love and all things in between.
The real essence of Daddy Long Legs is the immediacy and vibrance of their energy. They are undeniable. Irrepressible. Unstoppable and inescapable.
Sure, it’s blues with standards passed down from generation to generation, so what makes these guys so special is the fresh, unique approach they
have. It like a slap in the face that wakes you up out of your expectations. The Devil’s in the Details presents an album from a dedicated band that
knows what they want to accomplish and how each member fits into the team. They literally hit all the right notes and do it with a sense of freshness
and fun. Very Highly Recommended.
daddylonglegs.ca
Dance Hall Pimps - The Dead Don’t Walk
November 11, 2013: Recently RUST Magazine reviewed Waves of Fury’s album Thirst
and it was a horn-accentuated rock and ska non-stop party. Well, the party just went
into overtime with The Dead Don’t Walk - the second album from LA’s Dance Hall Pimps.
Both of these bands bring super high energy with the Dance Hall Pimps owning more of
a southern vibe with a little horror thrown in for spice.
The Dance Hall Pimps emerged from the underground cabaret scene in 2010 and they
soon became a cult favorite along the Sunset Strip with a monthly residency at On the
Rox. Their energy and intensity attracted instant attention, and once the word got out,
and the band was signed to Lakeshore records and released its debut LP, Beast for Love,
in 2012.
With this second studio album (on Growling Moon Records) the Dance Hall Pimps adds
harmonica to round out the blues rock sound that has evolved from the band’s cabaret
roots and they enlisted the help of a few friends to really take things to the next level. Jimmie Wood lends his unmistakable pipes to “Voodoo Bar”
and plays harp on three other tracks. Terry Ilous of Great White and XYZ and James-Paul Luna of Holy Grail add metallic tenor to songs such as
“Can’t Play That Game” and “No Survivors,” creating a killer blend with RJ’s powerful baritone. And there’s a special dedication at the heart of the
album. The Dance Hall Pimps dedicate the album to Roxy assistant manager and talent booker, actor, and painter Jeff Cahill who tragically passed
in January 2013.
What the Dance Hall Pimps deliver on their second album is a superior line-up of talent focused on building and driving a monster musical machine
until the wheels fall off. Bordering on anarchy, but never missing a beat, The Dead Don’t Walk is an all-time great album from a contemporary group
of misfits who unite for the common cause of rock and roll devastation. In this world of auto-tune and studio tricks it’s easy to forget how great a
band of straight-up talented players can be when they team up like this. This is an album that deserves some attention, respect and submission Very Highly Recommended.
dancehallpimps.com
10 RUST Magazine
Of course this music never went away, but a noticeable new generation of artists
have taken up - not the instruments of their fathers - but of their grandfathers and
are making fresh, amazing new music that is genuine and deeply moving. Bands like
Cabinet, The Blueflowers, The Great Tribulation and Empty Orchestra have made some
of the best music of the last generation, and now The Fugitives join them with their
new release Everything Will Happen.
Perhaps this is a re-uniting of cultures that were never really apart, but were segmented by corporations slicing demographics and prepackaging content for targeted marketing. In many ways the concept of country music has been extremized as much as the absurd and
grotesque images of so-called high fashion by giant machines, but now this overbuilt facade is being demolished by real people with real
feelings and a dedication to their authenticity.
This interconnected world we live in is increasingly manipulated and channeled by larger and larger media groups who benefit from
simplicity in the sense that what they deliver has been geotargeted and data-driven to answer Google searches. So the idea of the
“country” music that is being pushed by the so-called major labels is as far away from what these bands are doing as night and day.
Now this might all sound like an exercise in ethereal discussion instead of an album review, but what makes this album so great is that
- beyond being fantastic music - is it enlightens the listener and provides perspective on these, and many other, issues. It’s so real, so
personal, so well done and so passionate it’s like a wake up call to someone who has been asleep and awakened lost in a strange place.
Rejoice those who are lost for The Fugitives will guide you home.
Defying genres and classifications, The Fugitives new album Everything Will Happen is poignant, beautiful, patient and inspiring. It exposes
shallowness with depth and reunites us across generations. It is a work of significance because it flows from personal inspiration, not
numerical monetization. It’s a little bit country, a little bit rock and roll, and a lot of heart and soul. Very Highly Recommended.
fugitives.ca
Electric Jellyfish
Trouble Coming Down
March 12, 2012: Vanguard label Twin Lakes Records again defies
convention with an extremely limited edition cassette EP release. This
three-piece from Melbourne, Australia consists of Michael Beach on
guitars and vocals - who RUST recently filmed live in Atlanta - Adam
Camilleri on bass and percussion and Peter Warden on drums, loops
and electronics. Electric Jellyfish tells stories of existential dread with
a bluesy swagger. Their songs can be sparse, driving, heavy, and wild,
with an emotional energy that hangs ponderously and precariously in
the balance between calm and terror. Imagine The Jesus Lizard with
Crazy Horse playing soundtracks for the darker works for Cormac
McCarthy through bleeding amps — a grunged-out blend of gothic
folk and blues.
Since 2008, they have released records on Ecstatic Yod, Spectacular Commodity, and Twin Lakes Records, touring both America and
Australia behind each release. “Trouble Coming Down,” the bands latest release, was recorded in a two-day session in Melbourne’s inner
north suburbs, in between shows on their 2011 Australian tour. Raw, elemental, and infused with post-punk fury, these tunes will shear off
your ears to make room for your smile. It will be released in the US on March 1, 2012 as a limited edition cassette on Twin Lakes Records.
twinlakesrecords.com
RUST Magazine
11
Beyond-O-Matic
Relations At The Borders Between
November 4, 2013: Beyond-O-Matic’s new album Relations At The Border Between
delivers a unique new vibe from these legendary SF-area psychedelicats. It’s trippy,
groovy, deep and rocking. Beyond-O-Matic’s label - Trail Records - specializes in
psychedelic and world music and does a fantastic job compiling collections and
revitalizing great works like In The Labyrinth’s One Trail To Heaven. This album is
newly recorded, which is interesting for the label, and it’s also the first album from
the band since 2004’s Time To Get Up which was remastered and re-released
through Trail Records a couple years ago.
Beyond-O-Matic takes your mind as far as it is capable of going, then they go
further. Mixing deep slow rhythms, they explore expansive aural landscapes with
powerful, piercing phrases and emotions. This is really a great album that is very unique and fascinating. You get a feeling of timelessness
and religous insight. It’s a mystical experience. With most of the songs lasting over ten minutes, the songs and the whole album move
through diverse spaces, taking the time to really find the essence of the idea through musical expression.
Here at RUST Magazine we were already fans of the band, and we were curious about how this new album came to be as the songs on
Relations at the Borders Between were compiled from improvised sessions in San Francisco in May of 2012, and subsequently shaped
and enhanced for over a year. So we reached out to frontman Peter Fuhry to tell us some more about the recording process.
RUST: So Peter, this was the band’s first project in almost ten years.
How active have you been in between the recording sessions?
Do you perform live or meet up for jams? Have there been other
recordings in between?
PF: We’ve been dormant as a band, largely a function of me
not living in San Francisco. Kurt has stayed very busy with his
SpacEkraft project (with Ed Dahl) and doing soundtrack work for
Frank Pavich’s Jodorworsky’s Dune documentary, and Anthony has
worked with his Red House Painters bandmate Mark Kozlek in the
band Sun Kil Moon, as well as working with San Francisco singer
songwriter Cameron Ember. As for me, I’ve mostly been working on
raising kids, but I have been playing music regularly with Michael
‘Seven’ Harris here in Austin. The only thing we’ve done live is that
we created a musical about the origin of Christianity, with zombies
and bunnies, called ‘Feaster’.
RUST: Explain a little about the first sessions - how much planning
had gone into the idea of making the album at that point? Where
did you record?
PF: Actually after Trail Records put out ‘Time To Get Up’, they
wanted to release another one, and egged us on to record again.
As in - they bought me a plane ticket to San Francisco! As with
all beyond-o-recordings, there was very little planning - we just
cleared out Kurt’s garage and set up our equipment there. We
had no subject matter in mind and the only thing that was decided
beforehand was the instruments that we would bring to the space,
and strangely enough, the titles of the jams (infinito, killspot, sonofa,
daughtor, flightdelay, neptuna, elastor), which I came up with on the
plane ride over. We set up the mics, ed helped with that, and we
plugged everything in and hit record, and we took it where it went.
Sometimes there’s a little bit of instruction, like ‘3/4 time’, or ‘Let
12 RUST Magazine
me and Kurt go off a while’, but mostly just musical telepathy.
RUST: After the first session, how much time did the band put into
the rest of the process? Was it challenging or enjoyable?
PF: After the improv sessions, I took the recordings to Austin and
worked there. Kurt and Anthony didn’t do any overdubs, though I
did ping them for advice and feedback from time to time. It was
enjoyable in the sense that I enjoy overdubbing, especially vocals.
But it was difficult in that I was working in my kitchen without a
dedicated studio space. I had to try to do things during those rare
times when the family wasn’t in the kitchen and I could make a
bit of noise. And I was working alone or with mastering engineer
George Dugan long-distance. Working with George was great, but
it was slow going and could be frustrating.
RUST: Where did you do the secondary recording and tech work?
PF: Literally in my kitchen, on the same computer I’ve had since
2007! With $20 computer speakers as my monitors, if you can
believe it. I also used ancient Technics speakers with 15 inch
woofers. But I was also bouncing things off George, who has a
professional mastering studio in New York.
RUST: Were the songs pretty much established in the improv session
or were there a lot of grey areas to be figured out later?
PF: The jams ran anywhere from about 25 minutes to over an
hour. I had to listen through and make notes, and find the spots
which could be turned into coherent rock songs. Mostly, the chordal
and song structure was all there. I did some editing for brevity
purposes, but mostly just threw vocals and bass and flute tracks on
what was there.
“Jodorowsky’s Dune” and B.O.M. has some music included as well.
Can you tell us about the film?
PF: Yeah, Alejandro Jodorworsky is a sort of renaissance man,
philosopher, psychologist, just an all-around interesting guy. He’s in
his 80’s now, still going strong. Back in the late 60’s and early 70’s,
he was making films which were really conceptual and interesting
- The Holy Mountain’ among others. This all culminated into his
deciding to bring Frank Hebert’s ‘Dune’ to the screen. Anyway, the
guy had an incredibly ambitious plan, and brought together some
great talent, H.R. Giger was designing the costumes, Pink Floyd
was going to do the soundtrack, I think Orson Welles was going to
be in the movie. But the studio got cold
feet and axed the project just before it
was going to start filming. I don’t think
Jodorworsky ever made another movie
until recently. Anyway, Frank Pavich
tracked down Jodorworsky and a lot of the
other players and created a documentary
telling the story of this fascinating movie
that never got made but has achieved a
legendary status.
PF: Stenzo is amazing, he has a talent with synths. His instrument
is really the synth itself, not so much the keyboard. So he really
does his work getting cool, evocative sounds going. We both
play simple things, and the interaction creates a richness and
complexity. The great thing about Kurt is that he never gets too
wrapped up in his own technique and he’s always listening. I’ve
got more instrumental and theory chops but that shit can get in the
way of the vibe. Working with Kurt, I don’t go down that road, that’s
why I think it works.
RUST: And Anthony Koutsos?
PF: The most important thing about a drummer, especially in an
improv setting, is that they can play without
making jarring rhythmical mistakes.
Anthony can do that, but he also manages
to be groovy and musical and flexible.
He listens, but he also has rhythmical
authority. He’s great at keeping a slow
groove slow, without sounding laggy,
though he can get quite spirited as well,
which I love doing with him because he
may not do that as much with Red House
Painters. And he loves his cymbals. I love
playing with Anthony probably more than
any other drummer I’ve played with, and
I’ve been trying to figure out why for a
while.
When Frank was just putting together the
film he made a trailer to help raise funds
and interest, and asked Kurt for a piece
of music to put behind it. Kurt chose an
isolated keyboard track off of BeyondAlso Highly Recommended:
O-Matic’s third album, ‘Your Body’. The
RUST: So now that the album is out, how
Beyond-O-Matic
piece added a drama to the trailer man, I’ll
do you feel about it?
Time To Get Up
tell you, it made me want to see the film!
PF: Well, my good friend Joe Martinez, who
Anyway, that piece didn’t make it into the
played
with
Beyond-O-Matic
in the past, coined a phrase which I
final cut, and Kurt composed most of the stuff new, but Frank did
end up using a different piece of beyond-o music from a jam we did find myself saying over and over again: “It is what it is.” I think what
between “Your Body” and “Time To Get Up” that just kind of got lost we’ve managed to do in this band is to create long form journeys
of music similar to album-side prog rock of the 1970’s, but since
when the band broke up in 1999. So that was cool.
we build them through on the spot improvisation, it tends to sound
I also have to mention, the film came to the Fantastic Fest film a little more spontaneous and less contrived. As a band, what
festival here in Austin, and though I had never met Frank, he very can I say, we have balls. But with that always comes some unruly
graciously invited me to the screening, it turns out, he’s a really nice side effects. Ringing cymbals, a concrete floor, and crazy mic’ing
guy as well as being a really good filmmaker. The film is really, techniques make for a difficult mix, and led Kurt and I into certain
really well done - it ended up winning the audience choice award sound textures. But this is what we had to work with, this is our
and it’s been winning awards all over. And personally it’s great to lives right now. So I’m satisfied that it represents what we are going
hear Stenzo’s keyboards backing a film in a darkened, quiet theater. through. I think a lot of it sounds pretty cool, and has some emotion
We’ve always felt the music we made was special and particularly to it. I hope someone else likes it!
great for film, though it’s never translated into much commercial
success. Buthaving the support of a filmmaker like Frank Pavich, RUST: Thank you so much Peter. This really is a fantastic, original
as well as that of a label like Trail Records, that is really gratifying. and well done album. We’re glad to see the band active and we
appreciate all the hard work!
RUST: Can you tell me a little about what it was like working with
Kurt Stenzel during this process?
RUST: I understand that Kurt Stenzel scored the documentary
RUST Magazine
13
Thorcraft Cobra - Count It In
In 1946 Bobby Troup wrote the iconic song “Get Your Kicks on Route 66” and - for those
too young to remember - Route 66 went from Chicago to Los Angeles, winding through the
midwest and west before the interstate system was built. In it’s time it was the one major
road though mid-America, and because of this, it was more than just a highway, it was
symbolic of a nation. It was the road thousand of aspiring actors took to Hollywood. When
televisions were the new thing, Route 66 was America’s main street. After the interstates
were built, Route 66 faded away, now preserved only in photos and memories. But that has
made it a symbol of the time when modern America was defined.
Jazz Mills - Self Titled Debut EP
October 28, 2013: It’s time to recognize Jazz Mills as one of the most significant
new talents of the year. Though she is releasing a self-titled debut on 11/12/13, it’s
hardly her first effort. She has actually recorded with over 30 bands, has performed
with even more and has collaborated with artists such as The Black Angels, The Kills,
Cowboy and Indian, Leopold and His Fiction, Gemini Dreams, and The Indie Annas.
Through her work with those varied projects, Mills has had the honor of opening
up for the likes of Stevie Wonder, Arcade Fire, Fleet Foxes, Fitz and the Tantrums,
Coldplay and more. Her music has been heard in NBC’s hit show, “Parenthood,” and
in independent films such as “Flutter” and “Champion,” which will be shown at the
upcoming Austin Film Festival.
Her experience and credits aside, what Jazz Mills delivers on this debut release is
timeless music that is so good it just might start a new trend in contemporary standards. She brings to mind the likes of Nancy Sinatra
and Dusty Springfield with a cool casual approach that camouflages a razor sharp musical wit and an extremely deep skill set. The song
composition isn’t just good, it’s good in her particular style, combining the concept, specifics of instrumentation, and the performances
resulting in a panoramic vista of an artist just beginning to come forth with her own voice.
There is a confidence in simplicity here, obviously well earned through her numerous projects before. This is an artist that is totally
comfortable with herself and she has the real-world knowledge to avoid in-authentic technologies and corner cutting in the recording
process. If patience is a virtue, Jazz Mills embodies it like a wise mystic. Somewhat old-fashioned, she plays with feelings and sounds
that might seem out-dated, but everything old is new again and this is an artist worthy of the respect and admiration here and now that is
normally reserved for musicians who have withstood the tests of time.
Make no mistake, Jazz Mills has earned A-List status with just this first release. It’s the tip of an iceberg and there’s a lot more to come.
She has the confidence and experience to make her music her way, not following any trend or fad, and this is what makes her an artist of
significance right now, and into the future. RUST Magazine commends Jazz on her hard work and standards of excellence and her new
self-titled debut EP is Very Highly Recommended.
We were curious to find out more about this artist and we were lucky
enough to start a discussion with her.
RUST: First Jazz, congratulations on the new music, it’s really great. We
have something of an odd question for you: what were some of the
things you *didn’t* do with this album? By that we mean what ideas,
techniques and tools did you reject along the way. Obviously auto-tune
is one of them, and there are always people in the recording process
pushing their own ideas, so what was important for you to NOT have on
this album?
JM: I guess I would say that I normally wouldn’t reject anything or the
idea of at least trying anything, but on this EP all of the songs are very
retro so the tones were the most important to me. Luckily my producer,
Dave Way, and all the musicians involved agreed on the tones and vibe
of the songs being most important. Rejection of anything was never an
issue because we all seem to be on the same page.
Thanks Jazz, we’re sure to be talking again soon!
twitter.com/jazzmillsmusic
See all the RUST Magazine videos at
youtube.com/rustzine
14 RUST Magazine
Like that great highway, Thorcraft Cobra’s debut album “Count It In” cuts through the heart
of modern American rock music, defining itself as a classic album with permanence and
timeless relevance. Though there’s a distinct classic feel to the band’s overall sound, this
isn’t a retro album or a genre-reinvention, and the retro vibes don’t pigeon-hole the band
into any one defined space. Thorcraft Cobra will not be pigeon-holed!
Thorcraft Cobra is made up of Billy Zimmer and Tammy Glover who first met in previous projects while they were on Permanent Press Recordings.
The two musicians always hatched plans to record together and, after a prolonged gestation (with Billy biding his time while Tammy toured the
world and recorded with brothers Ron and Russell Mael, aka Sparks), Thorcraft Cobra finally came into being. Supported by a host of special guests,
including Tammy’s Sparks bandmate Russell Mael and Sabrosa Purr’s Will Love, with Billy on guitars, bass and lead vocals, and Tammy on drums
and BG’s, Thorcraft Cobra delivers analog hot and digital cool on their first full-length release.
Thorcraft Cobra’s “Count It In” showcases a classic rock and roll writing style and a distinctive sound. There’s patience and pressure behind the
notes, with a feeling that there is a massive reservoir of power fueling the band. Like the classic cars on that long lost Route 66, Thorcraft Cobra is
a mean machine with refined style and an unstoppable V-8 motor under the hood. With styles for miles, this is a timeless album with permanence
and power, Very Highly Recommended.
thorcraftcobra.com
Wise Girl
You’ll Just Have To Wait
January 8, 2014: RUST Magazine wants to thank our mail delivery driver for braving
the coldest temperatures in decades to deliver Wise Girl’s new album You’ll Just Have
To Wait to us. While it’s below freezing outside we’ve been blasting this fresh set of ten
rock and roll winners at maximum volume at the offices and it’s turned our frowns upside
down. That’s because You’ll Just Have To Wait is like an electric sunshine cocktail that
will turn any day into springtime. It’s lightning in a bottle... and it’s a really, really big
bottle!
Based in New York, Wise Girl is a sharp, power pop trio fronted by powerhouse vocalist
Abby Weitz (vocals/guitar) who started the band in 2010. Along with co-horts in crime
Chris Fasulo (guitar/producer) and Harry Keithline (drums) the band took a unique
direction via Weitz’s individual view on the music making process. The result is a
collection of songs that each have an identity, a purpose and a message.
Wise Girl has pwned the stage of numerous legendary New York venues such as The Knitting Factory, Mercury Lounge, Piano’s and The Greene
Space and they have also appeared on Beta TV, Playboy Radio, Kate Spade and many more. You’ll Just Have To Wait is the band’s first full length
album after releasing their self-titled debut 3-song EP to great reviews. The time on stage and getting exposure has definitely impacted the band in
that they “get it” when it comes to the new media space. Their tracks are great as stand-alone jams but they also have the right personality to be
placed in tv shows and movies. You could pick any song here and use it as a tv show theme song. We mean this as a real compliment and expect
to hear their music in all sorts of places once it hits the streets.
The thing that really makes Wise Girl so awesome is the vibe and tempo they radiate. Their music is fun, poignant and just plain rocking. The
songwriting is superb, more importantly the players are all unified in the idea of how they want to sound. It’s a great team here that keeps their
identity across different emotions and moods. And Wise Girl is right on time. They have that “right now” sound that you gotta hear. You’ll Just Have
To Wait is pop perfection with great songwriting and electrified performances. Very Highly Recommended.
wisegirlmusic.com
RUST Magazine
15
Chris Antonik: Better For You
March 26, 2013: Only two years passed between the time Chris Antonik debuted on the
blues scene, and when he recorded his new album “Better For You” but this second album is
so good, so rich, so complex, and so... amazing, it sounds more like an album representing
decades of experience. A stellar ensemble of musicians and producers, including recording
by Grammy award-winning engineer Jeremy Darby have delivered one of the best damn
albums ever, and it all centers around Chris Antonik’s signature gentle style.
Song by Song
Featuring Chris Antonik
Eric Clapton (1970)
June 18, 2013: Chris Antonik is a thoroughly modern blues
master who is topping the charts in his homeland of Canada,
and his latest album “Better for You” is garnering extreme
critical praise worldwide. This album is a masterpiece and an
instant classic. RUST Magazine rates this album as Essential
and we have asked Chris to be the very first Song by Song
contributing writer. When an artist talks about another artist,
it illuminates the hearts and minds of both and helps us see
into their methods and artistic sensibilities. Big thanks to
Chris for telling us what he thinks about Eric Clapton’s 1970
self-titled debut album, both from a technical perspective as
well as an artistic one.
chrisantonik.com
RUST: First, Chris, what can you say about the album as a whole
from your own point of view?
CA: This album is very important to me since it signified EC’s
transition into a band leader and vocalist, as opposed to just an
instrumentalist. As someone who has only started singing and
leading a band in the last couple years, I have always admired this
record. It is a handbook for how to “come out of your shell” and
become a broader guitar-based artist. While I could have chosen
the Layla album, which came out in the same year, and is just as
important to me, EC’s self-titled debut was more about creating
tunes that are short, to-the-point, heartfelt and supported by stellar
guitar work. Interestingly, this was my approach on “Better For You.”
As a guitarist, what I like about this record is that it has some of the
most stunning Fender Stratocaster tones I have ever heard. The
whole Delaney Bramlett production sensibilities are great, although
I believe (and I could be wrong) EC was not totally sold on the sound,
but I think it works. Solid, funky record. Not too hot, not too cold,
but to the point, serving the more important role of putting an artist
into front man territory.
RUST: OK great, let’s look at each song, your thoughts?
1. Slunky – a nice, sweet, upbeat instrumental to start off with. Likely
mostly filler material, but probably served as a security blanket,
aiding EC’s confidence by starting with guitar before exposing his
soul with vocals and lyrics later on, which I can completely relate
to. I probably would have done without the delay effects on the
stratocaster, but that’s not a deal-breaker.
2. Bad Boy – contains an unconventional rhythm for a blues-rock
tune, which is cool. Something I aspire to from time-to-time when
writing.
16 RUST Magazine
3. Lonesome and a Long Way From Home – written by Delaney and
Bonnie Bramlett and Leon Russell, can’t go wrong with that. Great
horn arrangements and back-up vocals.
4. After Midnight – JJ Cale. That’s enough for me! The first twelve
notes of Eric’s solo, that’s how it’s done - then, now, and forever.
In a world where volume is used in place of talent, Chris Antonik brings a unique mastery
to his compositions and a subtle peacefulness to his performances. Just as Eric Clapton
earned the nickname slowhand, Chris Antonik has defined himself as the gentle giant of
modern blues rock. The eleven tracks on “Better For You” not only showcase an extremely
diverse range of emotions and intensities, they expose the soul of an artist that has the
confidence and integrity to do things in his own way and in his own time.
“Better For You” is an album which seems to have decades of backstory. With guests
including Mike Mattison, Shakura S’Aida, Steve Marriner, Julian Fauth, Suzie Vinnick, and Richard Underhill joining keyboardist Josh Williams,
drummer Chris Chiarelli and Andrew Taylor on bass, this is an ensemble of amazing talent with each person filling “just the right” spot. Ben
Fisher, Paul Olsen and Heather Hill co-wrote on with Antonik on the ten original songs and like the phrase “discretion is the better part of valor”
this is a case where a person who could be a singular star has had the wisdom to bring in people to create something truly extraordinary.
You probably have not heard about Chris Antonik yet, but once you hear him, you will never forget his searingly intense sound. As a guitarist he
never overpowers you with loudness or shallow showmanship. He has the confidence to perform in his own style and he invites you to come into
his music, never pushing it on the listener. With an amazing range of emotions, “Better For You” is a multi-faceted jewel of an album that shows
you many different things, sparkling in countless colors and perpetually new. Talent like his is extremely rare. Even more unique is his wisdom to
bring in other people to create something more diverse, worthy and timeless than that of a solo performer making an ego statement. Essential.
chrisantonik.com
5. Easy Now – a nice acoustic break, beautiful playing and chord
progressions. Arguably, one of the moments EC started his journey
down the blues-pop road. Love this song.
6. Blues Power – an obvious classic-rock staple. Pure fun.
7. Bottle Of Red Wine – some filler material from a lyrical perspective.
A song about waking up in the morning and asking your woman to
get you another bottle of red wine before getting out of bed. Um, ok.
Kinda inappropriate. It was 1970 though. Musically, I love jamming
along to this tune though. It’s a fun groove.
8. Lovin’ You Lovin’ Me – Honestly, I have not listened to this one
much over the years.
9. I’ve Told You For The Last Time – Love this song. The writers were
Delaney and Bonnie, and interestingly, the great Steve Cropper.
10. I Don’t Know Why – My favourite song on the album. Gorgeous.
So soulful. Great lyrics. The stratocaster nicely supports this tune.
11. Let it Rain – the strongest song on the album as evidenced by
its longevity and popularity. A guitar hero doing what he does best.
Eric playing beautifully in the major scale; very Allman-esque.
CASCADE MICROPHONES Call 360.867.1799
Or visit-www.cascademicr0phones.com
RUST Magazine
17
Erica Blinn and the Handsome Machine
Lovers In The Dust
December 10, 2013: Midwestern-Southern fusion blues rocker Erica Blinn, along
with her band The Handsome Machine definitely have - in a phrase - what it takes
to go all the way. That’s what this new artist is all a bout. She’s got the heart, the
soul and the band that could take her to the top. Her album Lovers In The Dust immediately puts her on par with the ‘big’ women rockers of the last 20 years and will
resonate with listeners from all sorts of lifestyles. Big city bus or back roads pickup
truck, people everywhere will be able relate to Erica Blinn. It’s her ability to unite
people with music that makes this album really special.
Over the last couple of years Erica Blinn And The Handsome Machine have been on
the road and touring, with headline dates as well as sharing the stage with folks like
Lynyrd Skynyrd, Royal Southern Brotherhood & Devon Allman - who plays lead guitar
on Need Somebody Tonight, a song which also features Aaron Lee Tasjan on backing
vocals. Rounding out the band is PJ Schreiner on percussion, Mark Nye on bass, with
Greg Wise and Andy Harrison on guitar. This team really does work as one big, bad
rock and roll machine plus there are another dozen really, really talented people contributing to this album - making it a real group effort.
This team effort philosophy
shows that there is a smartness to this artist, similar to
Little Lonely who brought in
a collective of amazing performers for her recent debut
album. You know, the one that
got our 2013 Critic’s Choice
Best Album of the Year award.
Likewise here, you get the
feeling that there is a broad
spectrum of personalities
contributing to Lovers In The
Dust. It doesn’t sound like the
cliche’d solo artist at work, it’s
more like being invited to a crazy rock and roll party where you meet a whole community of new friends.
The album kicks off with the song Whiskey Kisses which is as catchy as they get.
Whiskey Kisses maxes out the RUST Magazine anthem-o-meter and it’s definitely the
hottest track we’ve heard recently when it comes to breakout potential. And that’s
just the first song on the album! After that the party never stops. The whole album
is great. Need Somebody Tonight (with Devon Allman) is another one of our favorite
tracks, showcasing a slower, more soulful side.
Mike Landolt of Mike’s Curry House deserves a lot of credit for the recording and post
production on the album. Technically, it’s superb. The vibe stays just right through all
the songs and the balance between the artists is perfect. And this is a real challenge
when you’ve got a super talent like Erica Blinn out in front. Together these artists have
accomplished something really special and hopefully they all will be able to share in
the success that Lovers In The Dust deserves to be. Very Highly Recommended.
December 11, 2013
at The Masquerade in Atlanta
18 RUST Magazine
ericablinn.com
RUST Magazine
19
It was only after the album was written and recorded that Jesse’s
cancer returned, it all happened very quickly, really, we finished
tracking the record during the end of September, and two months
later, he was gone. We felt like someone had come along and just
tore everything out of us and at the same time we were sitting
on months worth of material, some songs were finding form—
others were just sketches really. That’s where our good friend and
producer/engineer Marek Stycos came in, sorted through all of it,
and helped us turn it into something cohesive. If you listen to the
end of the title track “Better Days” you’ll hear all of our instruments
fade out except Jesse’s bass line over the static of a 45, I think the
whole album kind of revolves around that song, and there was no
more fitting way to end it.
of the album. We didn’t set out and say “we’re going to write
this record differently because of Jesse’s cancer and because of
what we all went through as a band during that time.” But on an
indirect level I think you could say, “sure it impacted the concept
of the album.” The last 11 months had changed all of us; we had
become closer as musicians, as band mates but also as friends.
Jesse’s cancer was never something that was going to hold him
or the band back, it was simply something that had to be worked
through together. The unspoken mentality between all of us was
that “we were brothers and we would get through this together.”
So I think that impacted the concept of the album, the idea that
music is about taking an experience, a feeling and sharing it with
someone so that they can better their situation. Deep down that’s
what music is about, its not about screaming crowds or making lots
of money or contrived images, that’s all rock star bullshit. Music
is about the humanity that we all share. It’s about the experiences
that connect us as human beings, and yes those experiences aren’t
always happy ones but they’re not only painful ones either. They’re
a mixture of both and that’s what makes them beautiful. That’s what
Better Days is about; it’s a little snapshot of that humanity.
Ben McCarthy: I don’t know if Jesse’s cancer impacted the concept
regretthehourmusic.com
2011 through the following summer did not shape the music we
were making; they did, undoubtedly. But is no direct relation lyrics/
themes of the album and Jesse’s fight with cancer.
The songs on “Better Days” are about all of us: about not knowing
what to do with the responsibility we have, about how achingly
momentary our lives are.
Photo courtesy of Regret The Hour
Regret The Hour - Better Days
November 3, 2013: Regret The Hour’s new full-length album Better
Days showcases a band with classic rock and roll sensibilities, a
progressive edge and a deep reservoir of talent. This band is all
original in many ways. The song writing has that magical “familiar
but new” sound and the band projects a sound that is expansive to
where each performer gets the space they need to be distinctive.
Regret The Hour is comfortable in the world they have created and
this ease of presence provides them with a sense of balance and
identity.
rainy day kitchen or a packed arena equally well.
The backstory is that the band was formed by brothers Nate and
Ben McCarthy, who have been writing songs together since grade
school. With drummer Anders Fleming and bassist Jesse Yanko, the
band has been building its reputation with shows at venues like
Arlene’s Grocery, the Bowery Electric, and Sullivan Hall, plus sharing
the stage with acts such as The Vanguard, and Rock and Roll Hall
of famer Dave Mason.
This is a musician’s album. It all
exists to let each member play and be
heard. Because of that it has a very
old school feel to it. There’s a sound
of vintage FM singer-songwriter and
many of the songs are reminiscent of the quieter numbers big rock
bands used to include on their albums... before the world got so
fast. It’s these quiet moments when artists let down their guard
and forego the formulas that their individual talents really become
exposed, and this is an album where just about every song is like
that.
But don’t think this is just a winsome quiet album. Regret The
Hour blasts out the ballads and rocks the house with the best of
them... they just have a diversity of ability that allows them to still be
themselves in a lot of different spaces. Because if this there seems
to be no limit to where the band could go. Their music could fill a
20 RUST Magazine
Slim Wray - Sack Lunch
The band’s first, full-length album,
entitled Disappearances, was released
in May of 2011 and there have been
two EP’s since then. Better Days is
their first real studio album, recorded
over the summer and fall of 2012 at
The Factory in Nyack, with producer/
engineer Marek Stycos. Unfortunately
just two months after the final stages
of the mixing process, bass player
Jesse Yanko died after a long, and
hard-fought battle with cancer.
There is a confidence in Better Days
that empowers the band members
to reach for that next level of artistic
expression and to achieve it through
mutual support. They create their own
world - refusing to be subjected to
fads or transient techniques. Clearly,
Regret The Hour entered the studio
with specific goals and did the labors
of love needed to achieve them.
Regret The Hour’s Better Days is a
truly special album. Great performers
bring great song writing to life with
wisdom, balance and authenticity.
Very Highly Recommended.
RUST Magazine wanted to let some of the band members talk
about Jesse in their own words. We were curious about whether his
medical struggles impacted the concept of the album or if there was
just a funny story or poignant moment they wanted to talk about. In
their own words:
Nate McCarthy: A lot of what we were thinking and feeling at the
time definitely found its way into the songs, but did Jesse’s health
struggles directly impact the concept of the album? No, at least
not intentionally. It would be wrong to say that the experiences
we shared over the previous year, from his diagnosis in the Fall of
September 2, 2013: The first thing that’s cool about Slim Wray’s new album “Lunch
Sack” - if you get a cd - is that it comes in an actual lunch sack. It’s a fun, kinda kooky
touch, and it makes a memorable impression. It’s like the band just wanted to have a
little fun with their physical media, splitting the difference between the purely digital
and the over-the-top complex production processes that some bands are using to
make their releases special and collectable. So before you even get to the music, Slim
Wray comes across like they’re creative, fun and memorable.
The music takes this vibe and runs with it. Slim Wray gets the good times started,
and keeps them going with a stripped down take on core rock and roll. Dou Chris
Moran and Ryan “Howzr” Houser have been playing together off and on in several
iterations around the northeast including having released several ep’s produced by
Joe Blaney who previously worked with The Ramones, The Beastie Boys, The Clash
and many others. For this album they recorded live at The Vault with The Push Stars’
Dan McLoughlin twisting the knobs.
Sack Lunch reminds us what makes rock and roll great. It’s stripped down and re-dressed with fresh style. Slim Wray is about taking care
of business, and their business is dirty, dirty rock and roll. What separates them from the garage-band wannabe pack is pretty simple, they
have talent honed through years of work. They’re like 300 pound construction workers taking on the heavy lifting, beating out brutal jams.
“Sack Lunch” features a mix of originals and covers including Gloria and Strychnine and it’s all put together with a sense of urgency and
intensity. There’s a foundation of seriousness that supports the irreverence, and it’s all made possible by the complex interplay of the
artists and their shared goal of kicking out the jams. Everything old is new again with Slim Wray. They’re like a pair of kids who just got
their driver’s licenses on a rock and roll road trip. Packed in a vintage ride, they’re cruising for action and creating it if they can’t find it.
Unified in their vibe, they compliment each others style and they attack with a really well balanced complete sound. Slim Wray’s “Sack
Lunch” is a gotta-have-it album jam-packed with killer rock and roll. They strip it down so good, you’ll be tempted to put a dollar bill in
their g-string. Very Highly Recommended.
slimwray.com
RUST Magazine
21
22 RUST Magazine
RUST Magazine
23
Chris and Howzr
from Slim Wray
February 25, 2014
24 RUST Magazine
RUST Magazine
25
Led Zeppelin - Celebration Day
There’s not a lot that hasn’t been said about Led Zeppelin but ‘Celebration Day’
succeeds in bringing them to a new generation of audiences with the benefit all
of the latest technologies. Every detail - from the effects to the lighting to the
camerawork, not to mention the music - is just plain excellent. It’s a two-way love
letter between fans and a band that makes a lasting statement, and makes it right
As concert films go, it sets a new high mark. For the band it’s perhaps a new high
as well - both artistically and in practical terms of engaging the audience. After a
six-week practice period, the audience’s pent up demand for them to perform, and
the band’s evident joy in playing combine into a truly emotional event. In the theater,
it’s an overwhelming experience, gorgeously filmed and completely immersive. And
this experience is carried over to the many different formats available including a
double cd, digital album, blu-ray/cd combo pack, cd/dvd combo pack, blu-ray/cd/dvd combo and even a DTS-HD blu-ray audio download.
On December 10, 2007, Led Zeppelin took the stage at London’s O2 Arena to headline a tribute concert for dear friend and Atlantic
Records founder Ahmet Ertegun. What followed was a two-hour-plus tour de force of the band’s signature blues-infused rock ’n’ roll that
instantly became part of the legend of Led Zeppelin. Founding members John Paul Jones, Jimmy Page and Robert Plant were joined by
Jason Bonham, the son of their late drummer John Bonham, to perform 16 songs from their celebrated catalog including landmark tracks
“Whole Lotta Love,” “Rock And Roll,” “Kashmir,” and “Stairway To Heaven.”
Led Zeppelin’s Celebration Day is a rare alignment of the best in both art and technology. Whether you rediscover what you loved about Led
Zeppelin or whether this movie introduces you to the band, you’ll come away with a new appreciation of why they are considered legends,
and legends are forever. Led Zeppelin never looked so good. Led Zeppelin never sounded so good. Essential
ledzeppelin.com/celebrationday
The Big Takeover
Children Of The Rhythm
December 29, 2013: Maybe we’re wrong here at RUST Magazine but it
appears to us that Reggae is out of style... well at least for the American
mainstream media. You just don’t hear much on the radio and you don’t
see much on the tv shows and movie soundtracks these days. Of course
things like this come and go in the public eye and maybe the cycle is just
at a point where a comeback would refresh the idea of what ska-reggaeisland music is in the public arena. And this is really too bad! We’ve had
several really, really good recent releases like Waves Of Fury’s Thirst, Sly
and Robbie’s Stepper Takes The Taxi - and now The Big Takeover’s new
album, Children of The Rhythm.
Children of the Rhythm: This song is a tribute to people that get up and
seek out live, lively music. They are the children of the Rhythm. They are
moved by the Rhythm, controlled by the Rhythm and essentially inspire
the Rhythm. They are an army, and when they start marching, you can
hear them a mile away.
New Love: Sometimes we get so used to not being treated well in a
relationship, that when someone comes around who treats us the right
way, we don’t know how to react to that New Love.
Coming out on January 21, Children of Rhythm is actually this band’s
third album. Following Too Close was released in 2008 and Tale of My
Life in 2011, and the band has
been together since 2007 so
they’ve had time to find their
groove and come together
as a band unit. They’ve been
performing around the NYC
area and their show schedule
has gotten especially busy after
opening for The Wailers.
Down with the Ship: This one has 2 stories. Picture a band heading down,
but being the captain I am ready to take the plunge. As we are all aging
and my peers are all getting to
the age of marriage, children and
a stable lifestyle, I find it harder to
keep a ship afloat. On the other
hand, imagine a relationship on
thin ice...
One of the reasons that Reggae
might off the public radar is that
people aren’t familiar with the
great new artists like The Big
Takeover who are taking their
music into new and interesting
directions. Maybe it is easy for
people to just assume that they
“get it” with a couple classic
albums in their collection. Hopefully this band will break that cycle
because they’re so creative, so fresh and so lovable.
No Way: This one tells us why it’s
OK and actually healthy to fight
with your significant other. If you
don’t, then there’s no way that
which needs to be said will be
heard...
With NeeNee Rushie on lead vocals, Rob Kissner on bass, Chas Montrose
on saxophone, Andrew Vogt on trombone, Jose Lopez on guitar, Lora
Cohan on keys, and Hector Becerra on drums The Big Takeover formed
in the hopping college town of New Paltz, NY, where NeeNee was a
college freshman. Both Jose and Laura were SUNY music majors but
the rest of the band’s talent is completely raw and natural. After playing
some small local venues, the band was asked to open for The Wailers
and soon after they took off playing all around NYC.
The Big Takeover could be that band that redefines the ska-reggae
genre for a new generation of listeners. Children Of The Rhythm is a
great album with heart, soul and a LOT of fun. Their sound has roots
deep into the earth of reggae but a diverse line-up and an experimental
approach put them is a class by themselves. This is music that the whole
world should hear because it is music the whole world can love. It’s
world music... for today’s world. Very Highly Recommended.
RUST Magazine has been asking bands to write Song by Song articles
for us, and these are usually new artists talking about a classic album
that inspired them. We’ve had some great submissions from people like
26 RUST Magazine
Chris Antonik and Patrick Brazel but we thought it would be better to let
The Big Takeover comment on their own music because it’s so fresh. So
here they are - in their own words - talkling about each song on their
new album:
Party: “Stop your crying and
your worrying, we’re going to a
partayy!”
Rain: Big Takeover message:
NEVER let anyone rain on your
parade, NEVER let anyone water
down your flavor and NEVER let anyone cover down your flame.
Photo courtesy of The Big Takeover
Stay with me: Just a story about a girl that wants a second chance to
love someone the right way.
Dolphins: This one we wrote in the studio. Doesn’t really have anything
to do with dolphins, we just called it that.
Grain of Sugar: This is our soul song. It’s a tale of losing someone that
you need.
Unjust Judge: A reggae/R&Bish tune with a message for the unjust
judge; the judge who is so busy judging others, it makes it hard to see
that we are all human.
Tired of Being So Lonely: A slick reggae tune about being lonely and tired
of being lonely.
Where Do We Dub?: This one is our usual dub track at the end of the
album. A little treat for everyone that enjoyed our last 2 dub tracks on our
last 2 albums. Just a fun way to end the record!
facebook.com/bigtakeoverband
RUST Magazine
27
28 RUST Magazine
RUST Magazine
29
Sky & Billy
When RUST Magazine announced that Wondernaut and Less Love’s album
Paradigms in the Design was our album of the year, and after we had talked
to Sky about the album when we ran the original review, the guys drove all the
way from their Oklahoma City home to Atlanta for a two-day shoot session.
The first day was rainy when we arrived at DooGallery and shot acoustic videos,
but that rain turned out to be an incredible benefit when we took pictures at
night in the warehouse district of Gainesville, Georgia.
The next day we got the keys to an old warehouse for another shoot and we
interviewed them in Dahlonega. It was an amazing experience documenting
these very talented artists. Check out the videos and photos on our pages!
lesslovemusic.com
30 RUST Magazine
RUST Magazine
31
Wondernaut & Less Love
Paradigms In The Design
October 10, 2013: Paradigms In The Design is an amazingly rich, complex,
powerful and beautiful album. It’s a rare alignment of personalities and
circumstances that have brought this project to fruition and it is THE
album you need to know about right now.
The range and diversity of thoughts and imagination is a result of the
mix of ten different performers from bands Wondernaut and Less Love,
and together they merge into a contemporary supergroup. This is a
once in a generation album. Moving from thoughtful, patient spaces into
crashing anthems with hypnotic ease you’re still lost in the mood of
one passage before you awake in the next.
That’s the ethereal essence of this album.
You get so taken in by the music that you
get past the medium and are transported
to another place that’s purely the creation
of the artists.
The performances are more than just
“good” they are “right” for the project and
each song presents layers of complexity
that flow effortlessly. There is meaning
and intention and emotion oozing from
every small detail. The instrumentation,
lyrics and performances come together
like streams to form a mighty, unstoppable
river that sweeps you up and carries you
away to a fantastic land.
Here at RUST Magazine we focus on
documenting great artists and this album was so special and so
important that we felt the story would not be told simply by our praise
and we got in touch with Less Love’s Sky McCullough to tell us more
about the people behind the music.
RUST: So Sky, tell us a little about who you are and how you fit into this
project:
Sky: I primarily play guitar for Less Love. I say primarily because
sometimes roles change and I play bass or keys. I occasionally sing
lead, like on the song Lollygagging. For this album, excluding the Misfits
cover, I wrote the core essence of the Less Love tracks, but it was the
band as a whole that took that essence and made the songs what they
are.
RUST: You had something of a breakout hit with your first single, then
nothing. Was it hard to deal with the mixed signals? How did it affect the
approach you took with this recording?
Sky: Ha ha, thank you, but I don’t know if I would call it a hit. That was
the demo version of Magical Purple Hair released by Quickstar Records
in 2008 or 2009. It sold really well on a select few download sites. The
only statistics we saw were from ILIKE.NET, and MYSPACE.COM (which
still had life back then). Yeah the mixed signals situation was strange, but
we had so many other mixed signals going on at the same time. We had
a really awesome singer (Bria Nicole) that kept coming and going, and
eventually stayed gone. That was throwing me off more than the failed
32 RUST Magazine
sales of our next two releases.
The affect it had on our approach to this recording? It made us realize
we have no idea what is going on in the music buying world, so there is
no need in us putting too much thought into it.
RUST: We’ve been covering the Rustbelt sound for a few years, with
bands like The Blueflowers, Empty Orchestra, The End Times and The
Great Tribulation making a signature sound, do you think Oklahoma has
a sound? What are some other bands there you really like?
Sky: Yes Oklahoma has a sound. It’s country. Just kidding, there are a
lot of great rock bands doing their thing from here right now. I hesitate
to say there is a sound, because I know that will only piss off the people
doing the music. Since the 1980’s bands
like The Flaming Lips and The Chainsaw
Kittens have been setting the foundation,
and even though it is really cool for bands
from here to say “I don’t like the Flaming
Lips” most bands are taking something
from what they did, and making it their
own. Sonic Youth made noisy yet ethereal
songs. The Flaming Lips took that and
made noisy yet ethereal pop songs. Most
of the rock bands here today are making
noisy pop songs, or ethereal pop songs,
or a combination of the two. Admittedly,
I look at the bands doing it and I am kind
of envious. Ethereal isn’t something I do
well, and I want to get better.
My absolute favorite local band is Starlight
Mints. They aren’t doing much right now,
but they are still together. The local band that I am listening to the
most right now is Brother Gruesome. Their new EP Mutually Assured
Destruction is solid from beginning to end, and the local band I am really
fascinated the most with right now is Colourmusic. When it comes to
ethereal, they are strong where I am weak.
RUST: So ten people from two bands. Can you tell us a little about what
each person brought to the project?
Sky: The origin of the album was based on us trying to resolve scheduling
problems, so we played on each other’s tracks. I will try to do each
participant justice, but honestly it got so meshed together, on some
of the songs we aren’t 100% sure who did what. Regarding writing,
everybody involved wrote their part.
For clarity, I want to explain that Wondernaut (which is Billy Gro’s project)
is two different bands. That band’s music does well in the Northeast.
They get a lot of college radio airplay in New York, Pennsylvania, West
Virginia, Massachusetts. etc. Sense the local version of Wondernaut
can’t stop working 9 to 5 and go to the Northeast to tour, Billy has
another band based out of Washing D.C. that does his tours with him.
Jason Arctica is the bass player in the East Coast version of the band.
Billy sent him Wondernaut tracks from Oklahoma via the Internet, and
Jason recorded bass parts in D.C. and sent them back to be mixed into
the songs.
Doug Reehill played drums on all the Wondernaut tracks. He and Billy
used to be in a band called Photon Bomb. One of the
first videos from this album is for the song No One
But Me. If you watch that video you can catch some
glimpses of an old Photon Bomb poster. The song
Good Fences was recorded but never released as a
Photon Bomb song and includes the other members
of that band Dustin Drew on guitar, and Shaun Angley
on bass.
Dustin Drew was a really big part of this album. He
produced two tracks “If You (U.K. Surf) and Mountains
In The Sky. In addition, he mixed the vast majority of
the album, but over all he was just a great guy to have
involved. He always had some great insight to offer. On
the song Lollygagging, there are about four different synth parts going
on. He didn’t play the instrument, but he completely wrote each part.
Billy Gro is the center of the Wondernaut universe. He wrote all of
their tracks, and for the most part organized their arrangements (with
occasional help from Dustin). On each Wondernaut song he sang lead
and back up, and played guitar. While Doug did all the main drum
tracks, Billy added some percussion here and there. On the song Voice
Like Music, the initial percussion, before the drums come in, is Billy
slapping the top of a desk. He played the main drum tracks on a lot of
Less Love songs. I might miss some, but I know he is on the drums on
Like Shaking Hands, Lollygagging, and Léon. He also did duets with us
(Less Love) on two songs, and sang lead on our song Léon. We pretty
much consider him a member of Less Love because he does so much to
help us, but due to occasional Wondernaut obligations, he is not always
available to us.
Brooke Reynolds is also not always available to us. She is a college
drama major and unfortunately for us, she is very good at what she
does. This means she is often out of state performing. When we did
this album we had a very small window to get her vocal tracks right and
if we missed that opportunity, we were screwed. She sang on several
tracks, but some of them have to be adjusted, and didn’t make it on the
album. They will likely be released on our next project. The ones that
made it on the album are, Like Shaking Hands, Magical Purple Hair, and
If You (mpgiiiBEATS Remix). She sang lead on those tracks, and she
sings back up on Bullet.
Morris Amos III is playing mandolin on the song Bullet. He is a pretty
amazing musician. If you get bored you should look up “lesslovemusic
dead giveaway” on youtube. It’s a song we did for fun while recording
this album. It features Morris doing lead guitar work. That’s really where
he shines, but he does a great job at any task we give him, and I really
like what he did on Bullet.
Chris Snyder plays violin, mandolin, banjo and bass. His is probably
the most blurred involvement, on the album, over all. I know he played
banjo on a track that ended up being the remix with no banjo, and I know
he plays violin on Magical Purple Hair and bass guitar on Lollygagging.
Outside of that, I know he is in the mix, but I can’t say for sure where.
We have terrible studio ethic. Multiple times we have sat down to mix
and been like “what is this track? Who is playing that? I don’t remember
that.”
Rebecca Hawk is (to me) the most important player on this album. She
sang lead on If You (U.K. Surf), Bullet, and I Awake Screaming. She sang
back up on Lollygagging, Magical Purple Hair, and If You (Remix). She
played piano on If You (U.K. Surf) and Bullet, and synth on Lollygagging.
Like Dustin, Rebecca was an active part of the whole album, and
always had great insight to offer. Sometimes musicians need to be told
specifically what to do. Rebecca is not that way. I can say something
as vague as “this needs something” and she will come up with a great
piano part, or a great vocal part, or add oregano, and it always works.
The song Magical Purple Hair is actually a fast paced guitar driven song.
Rebecca played it on the piano, we all played along, and that is the
version that ended up on the album. If You (U.K. Surf) was a song we
had before Rebecca joined the band, but she changed it and made it her
own. We have gone through a lot of female singers, probably because I
run them off. She is not allowed to ever leave the band.
In addition to the players I do want to mention Trent Bell recorded and
mixed the song Good Fences, he is an awesome engineer that has
received Grammy Recognition. If Oklahoma does have a sound, I think
part of that would be his influence. And I want to mention the DJ mpgiii
that re-mixed If You. He contacted us via Soundcloud and wanted to do
a remix of the before mentioned Dead Giveaway cover. I suggested he
do one of our original songs and he liked the idea. We worked together
via email and have never met. I am extremely happy with the work he
did, and want to be sure to give him mention.
RUST: Thanks so much Sky!
Wondernaut and Less Love’s Paradigms In The Design is a must-have
album that simply astounds. It’s so good, so unique and so powerful that
it immediately earns a place on permanent best-of lists. Really. It’s that
good and it is the one album you cannot miss in 2013. Essential.
lesslovemusic.com
RUST Magazine
33
Hillary Barleaux
Swamp Dogg Re-Releases
December 16, 2013: What we really like about Hillary Barleaux is that she mixes
sounds from the 60’s, the 90’s and today while staying individual and relevant.
That’s because she writes and performs straight from the heart. Her self-titled debut
album showcases a multi-talented artist with powerful skills and the wisdom to use
them appropriately.
In 1970 Jerry Williams Jr. changed his name to Swamp Dogg, released his album “Total Destruction
To Your Mind” and a legend was born. The next year he secured his place in soul music history when
he released “Rat On” and now the kind folks at Alive/Natural Sound Records have remastered and rereleased both albums, giving contemporary audiences a fresh window into that magical moment of super
soul legend. Though most people probably don’t have an immediate recognition of the man or the music,
hopefully these re-releases will introduce new - and future - generations of listeners to his funky deep
soul sound.
The take-away here is that these albums are the real deal. Swamp Dogg lays down authentic
R&B soul that sounds even better today than when it was released, thanks to mastering by
Dave Cooley at Elysian Masters. This is the kind of music that you always knew was out there,
but maybe you never knew where to find it. Maybe you heard one of his songs on the radio,
maybe on a dusty old jukebox at a bar on the wrong side of the tracks or at a family gathering
when grandma or grandpa put on one of their “old” albums. Filled with smooth grooves,
heartfelt emotion and... well... lots and lots of soul, it’s a special moment when exceptional
works like this are refreshed and re-introduced.
These albums are jewels from another place and another time, and they remind us that there
is a lot of great talent from this era that has almost been forgotten. Beyond the function of
preservation, what these re-releases ultimately accomplish is to communicate to people today the value of the art - from this person at
this time - on both a specific level of the artist as well as the movement as a whole. Swamp Dogg has a whole lot of soul, and through his
music he created an amazing moment. Now we get to share it again. After 40 years, Swamp Dogg’s music is as relevant, heart-felt and
authentic as ever, and through the re-issues of “Rat On” and “Total Destruction To Your Mind” fresh and future generations will be able to
reach back through time and get schooled on what the term “old school soul” meant to one of its core artists. Essential.
alive-records.com
Indie post pop from Belgium
VOLVER
- Beautiful Sad StoriesNew album out now
«Ce mini-album
marque une profonde évolution.
La mélancolie ultra-présente
sur ce Beautiful Sad Stories
ainsi que les arrangements
mélodiques ont gagné en maturité.
Cette musique intimiste produit une
bulle dans laquelle s'isole l'auditeur.»
«Shoot Me Again»
volvertheband
&
34 RUST Magazine
Whether on the piano or guitar, each song creates a signature statement. She’s
memorable, admirable and talented. Having graduated from Berklee College of
Music she has the technical skills that empower the lofty emotions of her songs, and
she has the emotional knowledge you can’t get in schools. She has confidence...
not the brash, loud confidence of a young performer, but the quiet confidence of a
seasoned artist.
Her abilities are patiently and thoroughly exposed in this collection of 9 tracks. With
rousing anthems and quiet, introspective passages, she makes the effort to develop
each feeling thoroughly, and this may be her most memorable quality. Listening to
her album is like a journey to a beautiful and new world. There’s always something new showing itself around each corner.
Born in Upstate New York in 1989, she enjoyed singing, screaming and anything that involved making noise from a young age. When she
was 4 years old she found her great-grandfathers upright piano and started writing about nature and her cat, and at 12 she accompanied
her father to an open mic. He strummed on his guitar as she sang out her new songs with pride. The crowd went wild and she was hooked.
Hillary went on to attend an all girl’s boarding school in CT, where
she spent most of her time often locked up in the practice rooms,
composing dramatic pop songs on the piano and at age 16 she
even played CBGB’s Downstairs Lounge - when it was still open.
Going onto attend Berklee College of Music, Hillary began to take
on writing more seriously, often cranking songs out once a day. She
gigged around Boston and began crafting her sound into a dramatic,
dreamy, pop piano enchanted land.
The year after she graduated, a weird sketchy dude came up to
her at a bar, exclaiming that he had seen her kickstarter campaign
online in which she had raised over 3k, and said that he wanted to
make a record. Conveniently enough, the studio was only a block
from the bar, and thus began the recording process of Hillary’s SelfTitled Debut Album. Now living in Brooklyn, Hillary has played over
50 shows including The Bitter End, The Living Room, Piano’s, Cake
Shop, Spike Hill, Rockwood Music Hall, Cafe Vivaldi, Shrine Bar,
Brooklyn Stable, and more.
So now it’s that critical moment when all her hopes and dreams
have been distilled down to this album. RUST Magazine compliments
Hillary Barleaux on this phenomenal accomplishment. It’s a great
album well-earned through hard work and passion. There is true
integrity beneath the notes and real substance to her as a performer.
We can see people everywhere sharing our love for this music and
this artist. Hillary Barleaux is one of those super-talented performers
that could surprise the whole world, not just with commercial success
but with true admiration from fans. She’s better than good, she’s
great. And she has a greatness that people can relate to, and that is
why she is so inspiring. Very Highly Recommended.
hillarybarleaux.com
Photo by Mikaela Frizzell
RUST Magazine
35
We Are The Woods - Whales and Roses
March 4, 2013: We Are The Woods new album ‘Whales and Roses’ is an
intimate musical dialogue between the band and the listener. With unique
multi-instrumental and vocal abilities, this trio of Jessie Murphy, Marcia Webb
and Tyler Beckwith have a deep sense of mystery, naturalism and organic
peacefulness in their music. Coming from an acoustic place into more of
an electric one with this, their second album, the result is a contemporary
collection of timeless songs.
Their name alone - We Are The Woods - brings to mind the mystery of nature
and suggests the full cycle of life. It’s that place outside of the city or town, where
the old spirits still thrive and where belief is not challenged by technology. The
songs have an amazing range of feelings and fall into the pop, rock, acoustic,
country and folk categories but are never subjective to them. Recently RUST reviewed several projects from the band Cabinet, and We Are
The Woods is similar in that it defies any one categorization. WATW starts with great original songwriting, then brings them to life with truly
beautiful instrumentation and vocals.
And the personality of the band is allowed all the range it needs via a very special sounding audio personality. The production is here is just
amazing. Recorded at Threshold Recording Studios in NYC and produced by Jeremy Sklarsky, there is a clarity and richness of tone here
that is really delicate. Also integral to team woods are co-collaborators/conspirators, Rex Gibson and Chris Atanasiu. Together WATW has
achieved something truly memorable. Taking cues from 70’s FM songwriters like Joni Mitchell and Simon & Garfunkel, and adding their
own life lessons learned since, the result is a collection of songs that each have their own validity and significance.
We Are The Woods ‘Whales and Roses’ is a special and unique album that defies categorization. It’s a modern masterpiece that evokes
memories of the best classic singer/songwriters while being original and heartfelt. Perfectly in the now moment, yet detached from any
one classification or generation, this is an album that will slowly reveal it’s complexities like the life of a living thing. This is an album that
you will listen to years, even decades from now, and which will keep showing you new things about both the artists and yourself. Essential.
Huge big thanks to Jessie Murphy for taking time to answer a few questions!
RUST: So, you’ve ‘gone electric’ on the new
album. Was this something that you decided
as an overall conceptual change for the band,
then wrote songs to fulfill this new idea or
was it the songwriting that took you into the
electric space?
back into her electric guitar roots and we
knew that a more traditional set-up with
drums and bass could make that happen.
Tyler is a great fit and a true part of the woods
family now and we wouldn’t trade him for all
the free milk and cookies in the world!
JM: We decided we wanted to change it up
for the new record and bring a more electric
feel to our music, at the same time keeping
the warmth the winds and vocals provided.
Most of the new material we wrote with this
in mind. I’ve always been an electric player
at heart. I started learning guitar on a Fender
Stratocaster and in a way, electric guitar has
always felt like a more authentic expression
of my voice - and the strings are way easier
to bend, always a plus.
RUST: And Rex and Chris, had you worked
with them before?
JM: Rex, who produced the track, How We
Loved Her on the new record worked with
us on our previous album, Eight Belles. He
produced several songs from that album and
we recorded in his apartment in Brooklyn. We
actually wrote the song How we Loved her
while leaf peeping in Amherst Massachusetts
Photo © Don Razniewski
with Rex. We visited the graveyard where
Emily Dickinson was buried and found an old
RUST: Tyler is new? What made him the right person to join you headstone with the name Jessie on it. Below the name it said;
“How we Loved her.” We felt it deserved a song. Chris, a supernow?
Marcia: After our first album, Eight Belles, we knew we wanted to talented friend was somehow roped into this project and the track
explore some new territory musically. Jessie was dying to delve really came to life with the viola line he added.
36 RUST Magazine
RUST: The production really is amazing on this album. How happy
were you to hear the final tracks after all the work?
your influences, but people that you appreciate?
Marcia: Thrilled! Jeremy really helped us define how we wanted
the album to sound as a whole, especially with the vocals. We
envisioned the album having a choral feel with lots of rich
harmonies, especially on tracks likeLaser Light Show and In the
Library. We really love the balance of organic sounds with the winds
and layering of guitars combined with the electronic elements. It
was a blast recording at Threshold too!
RUST: Any big plans for 2013? Touring?
JM: Fleet Foxes, Iron and Wine, Neon Indian, Joan as Police Woman
JM: Like any true New Yorkers, we would love to visit the west coast
again! It would be great to do a bit of touring around the tri-state
area as well, but no definitive plans yet. We will just have to see
what the crystal ball (read magic 8 ball) has in store for us!
wearethewoods.us
RUST: Who are some other current artists that you really like, not
Stand Up! Records 10th Anniversary and 100th Release
April 23, 2013: There’s two pieces of news from comedy label Stand Up! Records that caught our attention at RUST. Not only is this label
celebrating it’s 10th anniversary, but they are also debuting a cluster of new albums that mark their 100th release. Dedicated to both
established and up & coming performers, Stand Up! Records is succeeding in their mission to bring the best,
funniest and most thought-provoking comedy to fans.
The latest group of artists coming out from them include Melinda Hill, Ray Harrington, JT Habersaat & The
Altercation Punk Comedy Tour, Danny Lobell, Dylan Brody, Brendon Burns, Geoff Tate and David Hunstberger.
Based in Minneapolis, label founder and creative madman Dan Schlissel deserves a TON of credit for his years
of hard work traveling the country to search out promising talent and give them a chance at taking the world
stage. Stand Up! Records presents a fully developed roster of talent as well as excellent graphic design for
the cd packaging and logo design from noted artist Shepard Fairey. This is a label that works to bring out the
very best in talent - in the best environment possible.
In particular the Geoff Tate record got us laughing,
thinking, and really appreciating the style of this master
story teller. As a comedian, his genius is that he really puts you into an imagined
mental environment, then tells tales that circle back around themselves, exposing
more and more weirdness as he fills in the gray areas, usually with very bizarre
true life details. Great classic comics like Bob Hope has a simple set-up and zinger
style, it was just 1-2, 1-2 for the whole show. Geoff’s style starts with a subject or
scenario, and he works it and works it until the general idea he suggested turns
into a vibrant far away place in you imagination filled with absurd details. He can
sit on a subject for a very long time, working it and working it until you not only feel
that you’re “there” but that you get an appreciation for the man himself as well as
the place he takes you to. He’s like a crazed kamikaze pilot that keeps buzzing by,
shooting your brain with ideas, then circling back around for more damage. But
what can you expect from a guy who makes up a big part of his act recalling the
night he was hit by a car, in a Wal-Mart parking lot, tripping on mushrooms, at 2 in
the morning... dressed as a pirate.
So if you haven’t laughed yet today, take a minute to check out the label and the people that have worked and worked for years and
years to give you a comic escape from your day-to-day life. There’s real insight here from people gifted in exposing the weirdness within
themselves, the world... and you. And don’t forget to bookmark the label page. Even though they’ve just come out with a big pack of
albums, there will be more releases coming soon... and we can’t wait to hear some more.
standuprecords.com
RUST Magazine
37
Ralph Roddenbery in the hills of NE
Georgia on September 4, 2014. Watch
the videos on our YouTube channel.
ralphroddenbery.com
38 RUST Magazine
RUST Magazine
39
Kevin Breit and
The Upper York Mandolin Orchestra
Field Recording
January 20, 2013: Kevin Breit, one of America’s premier guitarists, has linked
up with The Upper York Mandolin Orchestra to deliver a touching, fun, deep and
rich collection of songs on “Field Recording.” Joined by no less than six Mandolin
players, four Mandolas, three Mandocellos and a Double Bass, “Field Recording” is
a rare and beautiful treasure.
But that shouldn’t be a surprise as Kevin Breit has performed with people such as
KD Lang, Nora Jones, Roseanne Cash, Jane Burnnett and many others, and on
recordings that have earned ten Grammy Awards. He has recorded five albums with
his trio Folkalarm (with Russ Boswell and Jorn Juul Andersen) and won two Juno
Awards for best instrumental recording with quartet Sisters Euclid as well as with
Stretch Orchestra. Add to that several more awards and a career that goes back to 1980 and you see a performer with talent, experience,
dedication and supreme humanity.
If this seasoned multi-instrumentalist was looking for a new musical adventure, and he found it with “Field Recording.” It’s just wonderful.
Beautiful performances, deep writing and a sense of fun make this album truly special. Produced and arranged by UYMO Director Thomas
Dooley III, and recorded at Everland Studios in Toronto with Jeff Wolpert and Scott Merritt mixing and Gavin Lurssen mastering, all the
songs sound great, and the whole album has an audio personality is a perfect match for the acoustic subtleties of these musicians.
“Field Recording” is a delightful collection of songs that are truly timeless. It has the spicy aromas of the changing seasons, the wisdom
of age and the wonder of youth. And we have to give Kevin a lot of credit for having his music posted to his website for both listening and
purchasing, so if you’re interested you can check his work out in depth there. “Field Recording” is the collective expression of some of the
most talented and dedicated artists of our modern time, and future generations will surely look back at this as a definitive moment for all
involved.
Behind the bright lights and hi-def screens on the surface of our modern world there are rare individuals making great art in their own
time, in their own way. This is one of those special moments when people of dedication and passion unite with intensity and effortlessness.
Very Highly Recommended.
uymo.org
Kevin Breit Interview
November 30, 2013: Recently RUST Magazine picked “King Kong Strut” from Kevin Breit and the Upper York Mandolin
Orchestra as our 2013 Song of the Year - from the album Field Recording - and it stimulated our curiousity about the
people involved and the details of the recording session. There aren’t a lot of Mandolin Orchestras out there and the Upper
York region describes pretty much anything between New York, Maine, the Great Lakes and the Arctic Circle so we got in
touch with Kevin to talk to us. It turns out that there’s a lot more to this story than we thought.
RUST: Kevin, congratulations again on Song of the Year. The whole
album is really great. Can you give us some background on how this
project came to be?
KB: Well as a child I used to go to summer camp way up in New York
state and that’s where I first heard about the UYMO, but all I heard
at the time was that there was a community of ex-hippies that had
relocated from California and were living off the grid. It wasn’t until
years later that my manager mentioned to me that there was this
secluded group of musicians who played mandolins - among other
things - out in the northern woods. When I figured out that these
were the same people that I had heard about before, it got the idea
40 RUST Magazine
started to try to find them and do the recording.
RUST: So did you have all-mandolin songs ready?
KB: Not really! This opportunity wasn’t planned so it wasn’t like I
had a bunch of Mandolin songs sitting around and collecting dust. I
really had to work hard to re-think some diverse ideas and come up
with some new ones to use a group of mandolin players. And most
of the songs were left vague so there would be some fuzzy areas
that people could fill in later - because I didn’t really know who
would be there and what their styles would be like.
RUST: And then it was over the river and through the woods?
KB: That’s about right. I actually had to meet Tom Dooley, the
director, at a public library by the Canadian border and then we
drove for half a day in a 1970 Toyota 4x4 that looked like something
from a Mad Max movie. They use the library for email and only
check in once every week or two. After that we crossed the border three times - and then drove for hours through woods, by lakes and
over at least 5 rivers. And by over
rivers I mean through rivers. There
are no bridges in that whole area
and it’s basically just wetlands. Also
it was pretty creepy, the sun barely
sets in the summer so you have no
idea which way you are heading.
This place is about as far away from
wires, roads and cell towers as you
can get.
Supposedly John Lennon left one of his guitars there on a retreat
back in the day and I’m pretty sure Bob Dylan is a frequent visitor.
So there were a variety of instruments available and Ron Linton who plays Double Bass on the album - curates the collection and
keeps everything tuned and repaired.
The people that are on the album are just a few of the performers
there and one any given night you
can walk in on a string quartet
or duelling cello’s or an electric
feedback experiment. I mean,
when you have people there
Candice Sandino - who is also an
internationally recognized violinist
who has solo’d in London, Prague,
Moscow and all over Europe - things
are going to get interesting real fast.
RUST: What do they do there besides
play mandolins?
KB: It’s amazing. They have a selfsufficient community there with
four generations of people. They get
power from a hydro dam and solar
panels and they farm the wetlands
for an annual crop of wild rice,
plus several artists sell their work
internationally. One of those painting
sold for over a hundred thousand
dollars at a Tokyo auction and that
alone funded the farm for almost a
year. A couple of the residents were
college professors so they have a
very up to date school for the kids,
and it’s just this complex, beautiful
community.
And it’s just so far from anybody else, but having seen their way of
living I can see why they don’t want anybody intruding.
RUST: And they play Mandolins?
KB: Mandolins are definitely their thing but they have quite a
collection of all sorts of acoustic and electric instruments that they
have collected over the years. Just about everybody there plays
something and they have an amazing music room built by hand
from local wood where all the instruments are kept. People don’t
keep much private property in their own living space there. The
instruments and tools and art supplies are all in community areas.
You can just walk in, pick up a guitar, or paint brush or woodworking
tool and do whatever you want.
Yeah, and it’s not little house on the
prarie, you’ve got people like Susan
Hartwick, who was a cutting-edge
trance DJ in London in the 90’s
and Vincent Tallon who was on the
scene in Chicago when the whole
industrial thing was being defined.
RUST: So how long were you there?
What was the recording room like?
KB: I actually stayed almost 2
weeks. It was pretty much a song
a day. We’d get up in the morning,
look at the idea, play around with it
for the afternoon and then we would
record it in one take.
Photo courtesy of Kevin Breit
RUST: Were most of the songs first
takes?
KB: I think there’s only one or two first takes on the album, but
usually we’d be happy with the second or third take. Tom made
the decision on which songs were keepers as he knew the people
and the room best. I was pretty much happy with everything we
recorded so it was nice to have someone else make the cuts.
RUST: So two weeks and then back to civilization?
KB: Oh, I wouldn’t say that I felt away from civilization, but I was
definitely sad to leave, and I really noticed the noise and crowding
when I got back home. But who knows, they say home is where
your heart is and at least some part of my heart will be there forever.
RUST Magazine
41
that helped me produce an album we
are both very proud of. I have a lot
of ideas and he helped me manifest
all of them while contributing some of
his own.
RUST: You have some fantastic people
performing with you on Human,
could you tell us a little about your
experience playing with them:
Photo courtesy of Joseph Eid
Joseph Eid - Human
November 5, 2013: There is a lot to be said about Joseph Eid, and his new album Human. But, as with the songs on this
album, sometimes more can be said with less. Joseh Eid exposes the beauty of simplicity, stripping down his ideas to the
bare minimum, then growing them into complexity. His compositions are intricate and strong as they develop from individual
performances, adding elements and weaving them into rich tapestries of emotions and thoughts.
He has a patient, gentle touch as a performer and his lyrics are poignant, witty and insightful. In the realm of the traditional
singer-songwriter, Human is as good as it gets. It shows an artist with authentic skill and dedication. It’s a wonderful collection
of touching, beautiful songs that are truly timeless. Joseph Eid is for real and Human is a must-have album. Essential.
We were so taken with Human that we were curious to find out more about the project and the artist and we reached out to
Joseph to see what he had to say about the people that joined him on the journey to complete Human.
RUST: First, Joseph, congratulations on this amazing album. It’s just
superb and gorgeous on so many levels. Now that everything is
finished, how happy are you with it?
JE: Thank you so much. I feel overjoyed. This is a moment in my
career where I listen to the songs and I think there is nothing I would
do to change anything. I took no shortcuts on this album. Everything
took a lot of time and a lot of effort and, in the end, I am very happy
with the end result.
RUST: What was the recording process like for Human? What was
your attitude coming into the studio?
JE: Honestly in the beginning, I was overwhelmed. I had 10 songs.
I then added 2 more during the recording process to make it a total
of 12 tracks so it was a long road ahead. But the overriding emotion
was excitement. The songs I chose and wrote for the album were
very close to me and I was excited about sharing them so once we
started recording my guitars and vocal tracks, I knew something
magical was starting to take place. I couldn’t wait to get back
in the studio and then go home, listen to what we did and start
daydreaming about what instruments to add and harmonies and
different parts. I think I could live in a recording studio. I just love
the process.
42 RUST Magazine
RUST: Brian Soucy is credited as a co-producer, can you tell us
about what he brough to the album?
JE: Brian was an objective partner in this I really needed that. As
artists we tend to be so attached to an idea or a way things should
go and what Brian did for me was give me a more objective musical
point of view. He just knows what sounds good and what can sound
better and really stands his ground. So a few times we would
disagree on things but he just wouldn’t back down if he really felt
strongly about something. That was good for me because it opened
me up and I was able to listen more objectively. Always better to
have two minds challenging each other to bring the best outcome
to a song. He and his partner, Karen Tobin (a country recording
artist who signed with Atlantic Records) own Sunnyland Productions
where I recorded. What they both did was connect me with most
of the amazing musicians I will discuss in more detail below. In the
beginning I gave Brian some of my favorite recordings and explained
what I wanted and the sound I was going for. From there, he and
Karen began suggesting players they thought may be a great fit.
They were right on. Everyone they recommended really got it and
added so much to the record. Brian is a perfectionist. I think if I
look in my gmail there must be hundreds of email correspondences
between us. He engineered the record masterfully and on top of
Debra Dubkin: She is one of a kind.
The way she plays and even her set
up is unlike other drummers. I have
also heard her sing too. She has great passion and she brought that
to the record. She plays on “Ready Now”, “Human”, “Something
Real”, “Don’t Leave” and “It’s Only Love”. listen especially to the
unique sound of her bass drum, it’s very cool. Grateful to have her.
She and Jennifer Condos (bass) Played on half the songs. Lynn
Coulter and Steve Nelson played on the other half. The specific
credits for each song are available on my website on the “Human”
page.
Vern Monnet: Such a gifted and seasoned player. I couldn’t believe
how quickly he got the tunes and played the most tasty parts.
Usually on the first take I would be really impressed and know that
he just knew what the songs called for. He plays Pedal Steel, Electric
guitar, lead acoustic guitar, and dobro. I love the riff he plays on “Hit
Me Up”...really adds so much fun to the tune. That’s just one of so
many cool parts he plays on the songs.
Jennifer Condos: I was very excited she could play on the record.
She and Debra Dobkin are in a great band together called “Queen
Cake”. Brian and Karen thought I should go check them out and
see if they would be interested in playing on my record b/c their
style was in the ballpark of what I liked. Jen has played with some
of my favorite artists so it was just such an treat to have her play on
this. She is truly exceptional.
Leah Zeger: I was at a party at one of my best friend’s apartment
when I mentioned to my friend’s roommate that I was looking for
a violin/string player for my album. He said if you want the best
out there, “Leah Zeger” no question. He himself is an excellent
musician so I knew I could trust him. I called her the next day and
needless to say, when she came into the studio and played I almost
started crying. She has a great understanding of popular music and
really got the emotion in the songs. Her parts for “Ready Now” and
“Human” are simply gorgeous. Actually I think I did cry when I heard
the final version with her in it for “Greatest Lesson.” It was so easy
for me to communicate with her what I was hearing and then she
would exceed my expectations every time. She will be playing with
me for the CD release show and I’m thrilled to have her. She actually
releases her own solo record this month as well.
Lynn Coulter: This guy is probably the
most fun and passionate drummer
and musician I have ever met. He’s got
the coolest drumkit. . .he called it his
voodoo kit. And the sounds he creates
are some of the coolest I heard. Brian
suggested I go see Lynn play and I
just couldn’t take my eyes off him. He
plays with such enthusiasm and heart,
really tears it up. He was so generous
and contributed so many original
ideas. And then he gets on the drums
and he kills it. In “Rain” I just looked
at Brian and we knew something amazing was happening in the
studio. What an honor it was to work with him. He will also be joining
me at the CD release. He, like Debra, also has such a great soulful
voice and I’ve had the pleasure of hearing him sing.
Steve Nelson: Another gem of a player. He played both electric and
stand-up bass on the record. And one of the most tasteful bass
players I have ever heard. I was so moved by his playing....if you
listen to “The Rock” where Steve comes in at the middle of the songs
and stays in, it’s really such a haunting and gorgeous part. Just a
real pro. Steve plays with Lynn around town so together, they were
just spectacular. I had such a blast with them in the studio -- they
both really cared so much about the music. I was truly humbled.
Bobby Crew: Bobby took the 3 songs he played on to a different
level. The first song we worked on was “What Will You Do?”...that
song basically went from being a song I “liked” to one of my favorite
songs on the album after Bobby added his keyboard to it. For me,
he was the perfect blend of roots/blues and popular music. In
“something real”, the piano is brilliant but notice in the chorus he
added the accordian which was just an awesome idea. He really got
that song and didn’t stop until he was completely satisfied with all
the parts. He adds so much to “Something Real” and makes it so
much fun to listen to. It’s like a great carnival. So grateful to have
connected with him.
Rob Larkin: Rob is one of my good friends and we have been playing
together for years. We had a band together and recently have been
touring together as solo artists. I just needed to have him on this
record because I have always been a fan of his lead guitar playing.
He is very tasteful and knows exactly how much to play and how
much is just right. He added such a great part to “Don’t Leave” on
the bridges. He’s got this very cool country/blues vibe. Also a great
songwriter. I love his record “Dogwood Roots” and enjoy jamming
with him on his tunes as well.
RUST: Thank you so much Joseph, this really is one of our favorite
albums and we hope people see and share in its beauty.
josepheidmusic.com
RUST Magazine
43
Here’s Edie
The Edie Adams Television Collection
October 9, 2012: The holiday season is almost upon us, and just in time for stocking
stuffing and gifting (to others or yourself) there is November 23, 2013
Just in time for the holidays and on it’s 50th anniversary, the four DVD set of Here’s
Edie - all 21 episodes of Edie Adams’ 1962-1964 ABC variety show - is being
released and it’s very unique and very significant for a lot of reasons. Like a time
capsule filled with gems, the actual contents of this collection are astounding. Just
a few of the guests are Count Basie, Bob Hope, Zsa Zsa Gabor, Sid Caesar, Spike
Jones, Eddie Fisher, Buddy Hacket, Bobby Darin and Duke Ellington. There are
comedy skits, musical performances, song and dance numbers, vaudeville gags
and monologues all restored and presented here with extensive notes. This set is
the final result of an amazing amount of labor, and love, helmed by her son, Josh
Mills.
This collection is fascinating on many, many levels in addition to being fun to watch.
The advent of television, particularly in America - is one of the key changes in
human history ever. It’s impossible to underestimate the impact these glowing, noisy wood boxes made on our world. In one
decade television went from a science project to the one central media of the age, and has remained so ever since. So when you
talk about something like this, you’re really looking at society, technology and commerce in addition to the arts.
So many things have changed technologically and culturally it’s difficult to draw a parallel between Edie Adams and any
contemporary performer. The celebrity community was miniscule by today’s standards, making the people appearing more like
big fish in a small pond versus today where “celebrities” are numerous small fish in an enormous ocean. In most areas there were
only 3 or 4 tv stations and their prime programming was limited to just a few evening hours during the day. The result was that
there was a significance to shows like this that is almost non-existent any more. They were seen by a greater portion of viewers
than just about any comparable contemporary show.
Artistically you see the changes, and the constants of variety shows. The format was carried over from the days of Vaudeville
and continues today. You see the early development of the now-institutionalized promotional circuit and the awkward inclusion
of commercialism via the Consolidated Cigar Company. Perhaps the one social change that can be seen here is that the guests
had talent. They were famous and chosen as guests because they were talented and this show was a format for them to perform
and entertain. Today, talent seems to have very little to do with celebrity, and most of the similar shows seen today lack only the
actual original excellence of the performers that appear here.
From an entertainment point of view, this collection is a treasure trove of rare recordings by some of the biggest and best
entertainers of the last 100 years. Edie Adams herself performs beautifully as a singer, then shifts to being a comedian, then a
dancer, then a support personality as needed by the story. It’s rare a person on today’s similar shows has even one talent, and
she has many. She has the charisma to lead and the classic sense of a secure performer to take a supporting role to someone
else. Both anchoring the show and serving it in it’s different capacities, she never pushes for the spotlight without rewarding
viewers for their focus.
Here’s Edie is a must-have collection from the golden age of television. On it’s own, it’s wonderful, whimsical fun and entertainment.
Through it, there are limitless lessons to be learned about our world. There is a huge collection of vintage material like this sitting
in warehouses, vaults, basements and garages waiting to be revitalized for modern audiences, but the amount of labor needed
to make this happen means that only a very small portion of these materials will ever be seen again. Because of this, this release
is extra special.
It’s unfortunate but true, most people today will have to discover who Edie Adams is. Time moves on and there’s always a new
pretty face. Fame and celebrity become more de-valued every day. But this collection will go a long way to insuring that people
do not forget her, her era or the amazing people that were part of it. Whether you remember her, or will discover her through this
collection, what you will find is a true, classic beauty with wit, talent, confidence and charisma. Essential.
44 RUST Magazine
Interview with Dan Einstein
The Here’s Edie DVD collection illustrates changes in some of the most complex and intertwined developments of our culture. In the time
that has passed, technology has served to connect us more and more and artists have morphed to fill the new space just as society has
changed what we expect from them. To help give us some focus on these fuzzy subjects, RUST Magazine reached out to Dan Einstein from
the UCLA film and tv archive to share his thoughts:
RUST: Dan you were involved in the restoration of these shows, can
you tell us a little about your work?
DE: Well long before this project was even an idea, I knew Edie in the
80’s and have a great respect for her as a performer and a person.
She was really just a wonderful, fabulous woman. Most people
knew of her in relation to Ernie Kovacs but she was an amazing
multi talented professional on her own so
when Josh Mills and I started talking about
this in earnest a few years ago, I was very
happy to help and and my part was to get
the project going and to start the process of
converting the old tapes. This was a lot more
complicated than you might think. We share
an old 2 inch tape machine with CBS here in
Los Angeles so there are limits to what can
be accomplished on a time frame, and it’s
not just a technical limitation. There aren’t
many people that can baby one of those old machines and get the
most out of them so the process to get these digitized required a
lot of patience.
RUST: How much more material like this do you think is out there
waiting to see the light of day again?
thousand dollars for the equivalent of today’s Justin Timberlake...
even with inflation you just can’t get talent like there was on a show
like Edie Adams in today’s world and make it practical.
RUST: If you counted the “A” list people and the pool of other
celebrities at the time of this show and right now, how much larger
do you think today’s pool is? Of course it’s a much larger media
world now but has the proportion of talent to
outlet changed.
DE: Celebrity today is nothing like celebrity
was back then. When you look at the people
that were on these shows like Academy-Award
Winner Art Carney who did film, television stage
and radio, today there are very, very few people
with the same variety and level of talent. And
he would be just one of several people on one
of these classic era shows. Celebrity means
nothing today. You just can’t compare a show
like Edie Adams’ who had guests with decades of fame with a talk
show today that has a reality tv guest.
RUST: OK last question. If you could be transported in time to any
one year in tv history, which would it be?
DE: Well, the issue here is that the tapes these shows were recorded
on were expensive and required a great deal of space to store so
the networks used the same tape over and over again. The same
tape might have had a contents card with a presidential speech
noted, then a rocket launch, then a dozen other shows on it, with a
game show being the last thing still recorded on it. If you look at the
major networks’ prime time programming I’d say that about 30%
of it is still in existence, but almost all of the regional stations and
non-prime time shows have been lost.
DE: Well there isn’t any one year I could pick but I can tell you
that my favorite era was the 50’s with all the live productions,
especially dramas like Requiem For A Heavyweight. When you look
at the technical challenges they had to overcome just to make those
shows, coordinating cameras and sets and actors and having them
all in the right place at the right time - it’s amazing. For instance if
you watch Requiem today with the sound off you’ll be amazed by
the production complexity - and these were live shows. The logistics
were incredibly challenging, and to think that these cameras
weighed hundreds of pounds and had 5 inch cables.
RUST: What are some of the things that have changed, and some
things that have stayed the same in the variety show format since
these shows aired.
That and the 1939 World’s Fair when RCA unveiled television for
the public for the first time. I’d really like to have been there for that
moment and to have heard William Sarnoff speech.
DE: There are no variety shows like this any more. Tastes have
changed and most of the things that made up these shows have
been developed into their own formats. The reality is that it’s a matter
of costs. Back when these shows were aired there was a pool of
true entertainment icons from the 20’s, 30’s and 40’s that you could
have on your show and the costs were next to nothing. Maybe five
RUST: Thanks Dan. And not just for this interview, thanks for having
worked to restore and preserve television and film for as long as you
have (since 1977!) and best of luck on your future projects.
RUST Magazine
45
July 6, 2014: RUST Magazine shoots the very first photos and video
performance of Carly Gibson and Hannah Zale becomming The Pussywillows.
Watch the video on our YouTube channel.
46 RUST Magazine
thepussywillowsmusic.com
RUST Magazine
47
Lee Bains III & The Glory Fires
What makes this album so significant is that it’s so good that it immediately earns a
place next to the best of the best. It’s a timeless statement. Taking elements from British blues, glam and southern rock, this amazing machine delivers a non-stop collection of tracks that brings to mind the glory days (pun intended) of the Rolling Stones,
Allman Brothers and the Byrds. If you haven’t heard of Lee Bains III & The Glory Fires
yet, get used to hearing about them, because they are here to stay.
Released earlier this year, There Is A Bomb In Gilead has gotten great reviews. So
much so that we at RUST worry that there’s not much we can say that hasn’t already
been said. Since then they’ve been touring and just released the brand new single
Total Destruction To Your Mind - a spirited and scrappy cover of ‘70s psych-soul
legend Swamp Dogg’s number.
The Birmingham, Alabama foursome features Matt Wurtele on guitar, Justin Colburn
on bass, Blake Williamson on drums and vocals and guitar from Bains and we just
can’t say enough good things about their work. It’s truly rare when a group comes out with such a solid collection of tracks, and the real
take-away from There Is A Bomb In Gilead is that every track is a winner. When you think of the legends of electric blues rock, there’s an
overall appreciation of their great work, but when you go back and listen to many of their albums you find that there are a few great songs,
and a bunch of so-so stuff. With this in mind, There Is A Bomb In Gilead easily surpasses many of the albums from these “legendary” bands
in overall excellence.
There Is A Bomb In Gilead has just been released and you can get the full length There Is A Bomb In Gilead on either Black Vinyl with with
lyric sheet and download card or a very limited pressing of 500 Purple Vinyl albums exclusively through Bomp! and RUST simply cannot
recommend this album any more enthusiastically. However you do it, just get your hands on Lee Bains III & The Glory Fires’ There Is A Bomb
In Gilead, you’ll never let it go.
thegloryfires.com
Lefty Williams
February 17, 2014: RUST Magazine met up with Lefty Williams at the end of a dusty street by the Atlanta rail yards for an
acoustic session. Lefty played Let It Roll and Coming Apart which can be seen on our YouTube channel.
lefty-music.com
48 RUST Magazine
RUST Magazine
49
Dan McKinnon
As Sharp As Possible
November 1, 2013: Dan McKinnon’s As Sharp As Possible is a superb album that
brings a very modern and fresh approach to raucous blues. It’s a team effort with
Aaron Carter on bass, Jon Foster on drums and production by JUNO Award winning
guitarist Jack de Keyzer resulting in a thoroughly solid, hard-rocking street-tough
studio set. Aptly titled, the whole album is tight, crisp and focused, showcasing a
guitarist with impressive writing and performance skills.
Following up his self-titled debut EP, A.S.A.P. is clearly a project with a mission to
make a lasting statement. It’s aggressive, fast and exciting and RUST Magazine
was curious to hear how this artist developed his sound so we asked him a few
questions.
RUST: Dan, this album has a really crisp and intense sound. Can you
tell us a little about the technical aspects of recording it?
DM: My intention was to keep everything in the ‘rough and tumble’
spirit that is found in a lot of the great blues recordings of old but
not have the album sound as if they were recorded fifty years ago. It
will sound cliche, but I wanted the performances to sound “as sharp
as possible” when it came to the musicianship and intensity. As a
listener, I am a fan of hearing players play at their absolute peak and
it was my intention to record us in a similar vein.
When it comes to gear, I only used Paul Reed Smith guitars on the
session through a Marshall hand wired 1974X combo amp that is
the best amp I’ve ever had the chance to play. I typically don’t like
to use tons of effects, but there are some pieces of gear that I can’t
do without. One is an overdrive pedal made by a company called
Lovepedal called the COT (Church of Tone), with two other boost
pedals made by Xotic (The RC and EP Booster) being integral parts
in my sound.
Studio wise, we recorded at Canterbury Studios here in Toronto. It
was especially neat as the studio has a 1974 Neve Console, similar
to the one featured in the documentary Sound City. All the credit in
the world for the audio presentation of the album goes to both Jack
deKeyzer and Jeremy Darby, though.
RUST: Going into the studio, how much thought had you given to
the project? Was it pre-planned or did it develop while you were
recording?
DM: The project itself was planned months prior to us hitting the
studio this past July. It took me about three months to decide on
the material that I wanted to include with about a month and a half
of solid rehearsing with the band. By the time we started recording,
it was as if the material was second nature for us. It saved a ton of
time since we were able to nail most of the tracks in no more than
a few takes once the sessions started.
RUST: What made you pick Aaron and Jon? Are they your regular
partners? What’s your background with them?
50 RUST Magazine
DM: Aaron and Jon are both outstanding musicians that are leagues
ahead of most players twice their age. I’ve known both of them
for the last few years as we both attended music school at York
University here in Toronto, but we really haven’t played that much
until the last year or so. One thing that I appreciate about both of
them is their ambition to constantly improve and grow as musicians
day after day. We always have a blast playing together and I’m
looking forward to playing more shows with them in the future to
show people what we bring to the table as a band.
RUST: You have an award winning guitarist for the producer, how did
this fit into your overall production approach?
DM: This album never could have turned out the way it did if not
for Jack de Keyzer. Along with being an award winning blues artist
and world class producer, his knowledge of other genres of music
is second to none. In addition, we both have a shared appreciation
for many artists that aren’t typical within the blues genre that made
things easy when I was explaining some of the different influences
I wanted to bring to the table. If the opportunity comes again where
we could work together again, I’d jump at the chance to do so.
A Conversation with Larry Wimmer
about Short & Sweet
Though it’s clichéd to say so, it’s true... within the first few notes of Larry Wimmer’s second solo release “Short & Sweet” you know you’re
going to love this album. It comes on smooth and strong and keeps the vibe going all the way. It’s a careful, layered blues album with almost
infinite depth and by the time you’ve listened to it all, your first impression was right - you love this album.
The hallmark of this artist is his meticulous, confident style. Never interfering with the groove, each note is perfectly placed. The
arrangement, the performances and the whole identity of what he does is centered on a tight, exacting pre-determination. RUST recently
reviewed “Wrapped Up In The Blues” from John Pippus which is similar, and though “Short & Sweet” is a bit more down in tempo both of
these albums are really great contemporary blues releases with signature styles, both
recorded with love and care. The ambience is just great, the result of both talented
people and technical support. “Short & Sweet” has a deep, rich sound that definitely
stands apart from the crowd.
RUST: Other than this album, what are some of the things going on in your world right
now?
LW: I have recently had songs submitted to Rascall Flatts and Bekka Bramlett for
CD considerations and I’v also worked with Ilya Toshinskiy who is one of the most
sought after session players in Nashville. He did a lot of work on Darius Rucker’s
platinum album. And I’m currently working on a song that might be covered by Steve
Cropper plus there are some plans in the near future to do soundtrack work with
Bobby Scumaci, one of my ‘partners in crime’ from this album
RUST: So, we think the results are fantastic, were you happy with
the finished album?
DM: I couldn’t be more proud with how the album turned out. On
the evening of the last recording session, I did some reflecting back
to the time when I started playing the guitar around the age of
fourteen. If I told myself then that when I was going to record my
first full length record that I would have an award winning producer
work with me, a next level rhythm section and it would have been
captured at one of the best studios in the country, I never would
have believed it. More than anything, I simply feel grateful for the
experience.
Thanks Dan. We really love this album, we thank you for taking the
time to talk to us and we hope people will appreciate your style and
all the hard work that went into it!
RUST: You’ve got a lot of crime partners, what do you want people to know about some
of the people on this project.
LW: Oh, there’s not enough time to talk about everybody! John Lee Sanders is an
internationally known multi-instrumentalist and a prolific singer/songwriter who has
shared the stage with Stevie Wonder, Doctor John, The Meters, Willie Nelson, Tower of Power and many of the blues, country and jazz
legends. Working with him was a real treat. Bobby Scumaci has toured with Dave Mason, Spencer Davis, Edgar Winter, Al DiMeola and
many others and Bill LeClair has gigged with people like Lonnie Brooks, Elvin Bishop and many, many others. Bill actually contributed
several tracks to “Short & Sweet” in addition to playing.
Larry Wimmer’s “Short & Sweet” is a great contemporary blues album. It’s an effortless combination of tradition and individuality, very well
recorded and thoroughly pleasurable to experience. Very Highly Recommended.
larrywimmer.com
danmckinnonmusic.com
RUST Magazine
51
Ula Ruth - Restless Nights
December 3, 2013: Ula Ruth is a “fresh from the oven” band making their own tasty style
of delicious power-alt-pop and they are about to break out of their Connecticut home
base with their debut EP Restless Nights. Made up of brothers Nic and Luc James, Kevin
Clymer and Andrew LeCoche, Ula Ruth hits all the right notes. The music is tight and
tense, pushing an overall sense of being excited and amazed by this big crazy world.
What really stands out about them is that their songwriting takes ideas through different
moods and speeds, starting with sparse arrangements that are suddenly expanded in
waves of complexity. There is a natural rhythm to what they do, like the waves by the sea
crashing in, and receeding as another comes in the cycle of life. This capacity to develop
ideas in a series of exclamations is really admirable. Their music is really a lot of different
interpretations of a core concept, and this is both fascinating to listen to as well as fun.
This confidence to develop their music makes Ula Ruth stand way out from crowd.
There is real talent here at every stage of the process. The songwriting is granite-solid,
the musicianship is first rate and the teamwork and trust between the band members
empowers them to take chances and to try new things. The result is music with incredible complexity and depth. All we’ve heard from them so far is
this 7-song EP but after listening to it, RUST Magazine is betting our bottom dollar that these guys will destroy any stage, anywhere, before or after
ANY other band. We’ve got two words to say about Ula Ruth: Big Time.
Ula Ruth will tease you with their catchy fun but they’ll seduce you with depth and complexity. Though Restless Nights might be just a first date,
you’ll be head over heels in love with them after one listen. Very Highly Recommended.
RUST Magazine was curious about Ula Ruth’s technical approach to recording as Restless Nights is so technically ambitious on a personal level.
We wondered what tools of the trade helped them craft their distinctive sound so we asked them: What is the ONE essential piece of music gear
you have?
Kevin: American Fender Jazz bass
Andrew: Original 1965 Fender Blackface Deluxe Reverb
Nic: My 1963 Gibson 330, with its evidence tag in the guitar case
Luc: It’s just the weird thing I use on my hi-hat stand
Thanks guys and congratulations on a GREAT album!
ularuth.com
Jake Chisholm - Diamond In A Coal Mine
April 11 2013: Jake Chisholm’s Diamond In A Coal Mine is a muscular, powerful blues beast.
Deep, strong and tough, with hammering bass from Chris Banks and relentless drums from
Sly Juhas this is an album bending under the extreme gravity of heavy rock blues. There is a
seriousness and an overwhelming presence of intensity to his music that leaves you no choice
but to stop whatever you are doing and pay attention.
Kevin Elliott - It’s A Circus Here, Dolores
Kevin Elliott’s unpretentious, affable personality is what makes his second album
“It’s a Circus Here, Dolores” so enjoyable. The peaceful beauty of this artist seems
even more poignant in this time of electric noise and short attention spans.
Accompanying his acoustic guitar are fellow Soona Songs artists Bruce Balmer and
Graham Duncan, plus Champaign-Urbana, Illinois area friends Armand Beaudoin,
Lynn Canfield, Anna Hochalter, Dorothy Martirano, Kate Maurer and Chris Reyman,
most of whom just appear on a song or two.
Setting the stage with “The Prettiest Girl in AA” Elliott shows a willingness to be selfcritical, honest and observant of the absurdities of modern life. His songs come from
a place of knowledge earned through personal discovery and also through helping
others as a therapist. He balances intimate themes with a light-hearted, patient
approach that never pushes the emotions beyond the listener’s willingness to hear
them. You could say that he never takes himself too seriously, while he sings about serious things. His music invites you into its space and
exposes itself in its own time, never sounding clichéd or derivative.
As an acoustic guitarist, there’s a signature gentleness to his touch, as with his voice, and the sparse accompaniments perfectly enhance
the themes. Recorded at various locations with engineering by Graham Duncan and mastering by John Scrip, the fidelity is very good and
the album’s audio personality is really warm and rich. The CD jacket features an eco-friendly tri-fold with great art by Kayce Lynn Patton
and FLAC and MP3 downloads are available through SoonaSongs.com as well as iTunes, etc.
One of the highlights of Kevin’s career was at last year’s Ellnora Guitar Festival - an internationally acclaimed gathering of guitarists that
occurs every two years at Krannert Center for the Performing Arts. Including the likes of Vieux Farka Toure, Daniel Lanois, Luther Dickinson,
Alvin Youngblood Hart, Chris Thile & Michael Daves, Marc Ribot, Taj Mahal, Adrian Belew and many others, Kevin got to perform as part of
the guitar health workshop with Dr. Allison Jones and had this to say about the event:
“I have loved the guitar since I was a young boy. I have listened to hundreds of guitarists, memorizing guitar parts, learning to play guitar
myself, and recognizing the fine and broad distinctions between numerous virtuosos. Before, I could only dream about a festival that would
bring together all of my favorites. In my dreams, I would travel across the country to attend … but instead, I ride my bike 11 blocks. In
September of 2011, as always, I camped out for the duration of the Ellnora festival, soaking up all of the music, but also meeting the
musicians, and making new like-minded friends. Along with the music, I love the permeable boundaries, and rubbing elbows with all of the
great guitarists. And, at this past festival, I got to be one of the performers for the first time, playing at the guitar health workshop with Dr.
Allison Jones, with a mix of local friends and even a few guitar heroes in the audience … ah, livin’ the dream!”
A great example of inspired and authentic contemporary folk/acoustic, Kevin Elliott’s “It’s a Circus Here, Dolores” is peaceful, enjoyable
and beautiful. It’s definitely an album that will have lasting relevance over time and will certainly grow in the listener’s appreciation as the
seasons of life come and go. Very Highly Recommended.
kevinelliottmusic.com
From his Toronto base, Jake Chisholm has played clubs and festivals from coast to coast and,
though this is a debut album, it shows a mature artist with a fully developed sense of self and
style. Really, it sounds like the guy popped out of the womb and landed on the stage, guitar in
hand halfway through a song.
This guy is the real deal, he’s the whole package. That’s the real take-away here. This album
stands tall next to the best of the best, and if you’ve been longing for a musical six-course
musical meal after a maintenance diet of fast food small bites, Diamond In A Coal Mine with leave
you stuffed and satisfied. It’s beefy, brawny and dense.
Diamond In A Coal Mine debuts an artist that takes his work seriously, but not at the cost of enjoying the music. United with two spot-on co-horts,
together they have made one of the most notable blues rock albums in recent memory. Fresh and familiar at the same time, with an inimitable heavy
sound, Jake Chisholm is now officially no longer the student, he is the master. Very Highly Recommended.
jakechisholm.ca
52 RUST Magazine
RUST Magazine
53
Chris Grant
It’s Not About War!
November 28, 2013: Chris Grant has - with his debut album It’s Not About War distinguished himself as one of the best singer-songwriters in the world today. But
it’s no surprise when you understand that he and 359 Records’ Alan McGee have
been trying to bring this music to listeners for six years. Like finely aged wine, or
the patient turning of the seasons, this music expresses the poignancy of emotion
with a truly unique perspective. This is gorgeous music. It springs forth and flows
like a crystal spring dazzling in the sunlight and quenches the listener’s thirst for
substance, relevance and musical integrity.
Chris Grant’s musical style is smooth and easy, with layer upon layer of ideas
exposing themselves with an admirable effortlessness. He never pushes his
concepts on you, instead he invites you to walk with him along the path of life and
to view the wonder of things as they come up along the way. Something like the
proverbial whisper being heard in a room full of shouting, It’s Not About War! stands alone as a magnificent piece of musical art without
serving any genre or movement. It’s timeless in that he does not use any of the tricks or trendy techniques other artists use to try to be
relevant to the immediate market. The way it sounds, this album could have been recorded at any time in the last 50 years. Head to head
with the best works of the classic rock and roll singer-songwriters, Chris Grant stands equally.
RUST: Is there any one thing Alan McGee taught you during this long
process that stands out now that the album is finished?
CG: Probably never give up, but I had that mentality anyway so I was
ok from the start.
RUST: After all the years, and all the work, and the inevitable
struggles of the recording process, are you satisfied with what you
accomplished?
CG: It’s Not About War! will go on to be a classic. I am extremely
proud of it and it has already opened up even bigger doors for me
and taken me to the next level of this game, I am satisfied that I
achieved what I set out to do. There are albums that will come and
go, I made one with lasting power. In time this will be proven, I tend
to think ahead. What is happening now I predicted six years ago so
in my head I am way down the line. People should not underestimate
November 12, 2013: Before you can even talk about this one album, you have to be
aware of the backstory of D.O.A. - a band that has been fanning the punk rock flames
for 35 years. They’ve been almost continually touring and putting out records over that
entire period. Sudden Death Records currently lists 29 of their albums. Led by Canada’s
Godfather of punk, Joe “Shithead” Keithley with Dirty Dan Sedan on bass and JJ Heath
on drums, D.O.A. has been keeping it real since well before keeping it real was a thing.
Their album “Hardcore 81” created a whole new definition in music space. Yeah, they
named Hardcore after them.
Perhaps because of this shallowness of the moment It’s Not About War! stands alone as an album with - in one word - integrity. It’s true to
the artist. It was made to be just what it is, not to fit into a media assault concocted by people who often never even listen to the music they
are promoting. So the big question now is whether the world will take notice. Will Chris Grant be able to break out against a maelstrom of
noise? Will his music be heard by the people as it was intended? Chris Grant’s debut album It’s Not About War is not just one of the best
albums of the week, or the month or the year - it’s one of the best albums ever. This album will certainly be seen in time as a masterpiece,
all we can hope for is that people will see it now. Essential.
Their new definitive double live album - Welcome to Chinatown – presents the band
at their vicious best. It’s a legendary statement on every level. It’s significant in a lot
of different ways in addition to being just plain awesome. This is an album where the
music is great, but there’s a social significance to what they have to say. The music
gives you a perspective and it is thought-provoking about the skill of the band, their
place in “music history” and the phenomenon of punk rock as a whole.
RUST Magazine is dedicated to giving artists their own voice when it comes to what the media has to say about them so we reached out
to Chris to get his views on the long road to finishing It’s Not About War.
CG: Liverpool has a huge musical background as I am sure your
readers will be aware and there are always new bands and artists
coming through just like any other city which is healthy for music in
general. There are small scenes and some people work alone and
create their own, I am probably in the latter, I feel you just need to
concentrate on what you do yourself and not be influenced to much
on what goes on around you, but that’s just me.
RUST: You and Alan have been working on this album for six years.
Was that long time of development frustrating? How much of
that time was filled with logistics vs how much was spent directly
working on the music?
CG: I didn’t work on this album for six years, I have just known Alan
for that long, I have had many chances to release my music over the
54 RUST Magazine
years I just backed off from it until I felt it was right. It never is for me
but I went with Alan because he asked me basically and I trust him.
The problem is always the music business is out to make money
like any other business where as I am in the business of making
music, this is not a new problem it has always been this way.
Thank you Chris, we wish you the best and we’ll be watching!
D.O.A. - Welcome To Chinatown
It’s difficult to talk about an artist like Chris in today’s environment without looking at the “pushing” that seems to be required for success.
In our digital age the common currency is the click/view and these are bought and sold in thousand quantities over and over every minute.
Often labels and management groups spend more time, money and collective effort on web banners, Facebook posts and Google adwords
than they do on the music. By the time they expend all their energy selling you on something, the thing they actually sell you on has been
consumed by the process and is empty and hollow.
RUST: You grew up in Liverpool in the long shadows of the great
bands from that city. What is your appreciation of the musical
community there today? Is it a tightly-knit community or do artist
work more independently?
me, I know exactly what I am doing and where I am going. So many
do not, this is my strength, know who you are and what you want to
be, or you are doomed. This album got me to an unbelievable level
in music, I took it to the top from a dark room with no money. What
I am doing next I can not talk about yet but it is a dream come true
even more than the release of this record. It is the kind of story I
will tell my children, a fairy tale and journey filled with hopes and
dreams that can inspire others to do the same. In this business you
hear a lot of things on how to play the game, fundamentally you
make your own rules by writing great songs, if you can, if you can’t,
you don’t even get to throw the dice. Me, I made my own rules
because I wrote great songs, I am happy, proud and satisfied more
than words do justice.
Welcome to Chinatown can be seen as a high-water mark, or a north star around which other things are measured. And not just for this band.
Listening to this album is – perish the thought – an education. But school has never been this cool! D.O.A. has a particular statement they
want to make and an individual style about making it that they succeed at, and do it naturally and with authentic love. They take their music
to the next level, and uplift their peers and community with them.
RUST: What are some of the other things that have filled your days
during this long period?
Recorded over three nights between June 4, 2011 and January 19, 2013 at The Rickshaw Theatre in the heart of Vancouver’s historic
Chinatown, D.O.A. gives you an unbelievable cultural and musical thrill ride with this epic release. Fans around the world have proclaimed for
the last 35 years that D.O.A. is one of the greatest and most exciting live bands ever and Welcome to Chinatown is available on both digital
and vinyl (yes, vinyl!) with the CD version including three bonus tracks.
CG: I have a great life, I do as I wish and make music most of the
time, to relax I just ride a motorbike or spend time with friends and
family.
The band has been on a 40-date international tour to both promote the live album as well as their latest studio album We Come in Peace and
they are currently launching a fan drive through PledgeMusic.com to release a live DVD. So D.O.A. is showing absolutely zero signs of slowing
down or resting on their laurels, and when a band makes great music like this, there’s no reason they should.
RUST: Who are some of the other people that worked with you on
the album?
D.O.A.’s Welcome to Chinatown is a definitive statement for the band, for punk rock and really for music history. Hopefully this will introduce
new fans to the band and rewards long-term fans with an album that could be seen as a celebratory victory lap around a beer, sweat and
blood stained stage. In a greater sense it’s about artistic excellence and being true to one’s self. This music has intensity, individuality and it
is delivered with real skill. The true measure of artistic accomplishment – whatever the media – is a combination of technical skill and natural
authenticity. When these two things come together, you get greatness, and Welcome to Chinatown is – in a single word – great. Essential.
CG: I play everything on the album from bass to drums to the strings,
the only other person that plays is my brother who does some guitar
parts here and there on a few songs, he is by far the best guitarist I
have ever known so that was a given.
suddendeath.com
RUST Magazine
55
had played live before and particularly appreciates its environment and its
woody acoustics. During one weekend, Mathieu and Jean-Guy followed
one another to record there. Mathieu thereafter added the tracks of the
wind instruments in the Sumo Studio where he polished the mixing.
4) La Onze
3) La Six
L.T.D.M.S. came across Medhi on several occasions as he did live sound
engineering for the band. Medhi Ayara is a big fan of buttons and the
field of possibilities that they open. Among other things, he played in
Norchestra, Rotoflux Grand Unit or Piéton, and solo under the name
Saturbation and Kankindi. He lately also recorded Zoft, Catharsis &
Chromastie and Les Pertes Noires.
Sound engineer: Jean-Guillaume Teheux
Place: The Cidrerie of Marchin
In their quest for a 4th sound engineer, L.T.D.M.S. met Jean-Gui through
Mathieu.
LTDMS - Insérer Titre
May 1, 2012: Dropping May 18th from Belgian band L.T.D.M.S. is the 47 minute long 4-song album Insérer Titre. Recently RUST
Magazine talked at length with the founder of label Oxide Tones Adam Homfray who was instrumental in bringing this project to
the public and who describes the sound of Insérer titre as addictive... and for good reason.
The members, enigmatically know by first name only are Pierre on guitar, vocals, Marcon on guitar, vocals, Fred on flute, xylo,
melodica, and vocals, Joanne on cello and vocals, Paul on bass, trumpet and vocals, Gilles on drums, saxhorn baryton and vocals
and Bernard responsible for videos and “sounds.” What makes this band and album stand out from the post-rock crowd has a
lot to do with the unexpected classical instrumentation, but the band also took a less-traveled route to completion by recording
each of the four songs in a unique and peculiar location and using four different sound engineers. This technique of adjusting the
environment is also used on stage when the group likes to recreate their own residential place by installing TV sets, projectors
and filtered lights.
Having always been a musician, Jean-Guillaume Teheux studied
to become a sound engineer at the IAD while already carrying out
recordings and other live sound projects for local groups. He joined the
Jet Studio in Brussels where he met famous sound engineers and bands
such as Ghinzu, Aka Moon or Goose. Recently, he launched himself
into the profession and shares his time between live, studio and other
eclectic musical projects.
His fresh glance convinced L.T.D.M.S. to collaborate with him on this older
song. At the Cidrerie of Marchin, he found benefit in the atmosphere of
the old barn to record the piece in a very natural manner. This recording
was made in only one take, in order to recapture the live feeling for the
listener. For the mixing, he applied a minimum treatment to preserve the
dynamics of the “Six”.
Sound engineer: Medhi Ayara
Place: Grande Salle of the RTT
His approach towards live music led L.T.D.M.S. to appoint him for
“Onze”. In search of a place with rough resonances for his recording,
he chose the big room of the RTT and also its large stair-wells to profit
from the effect of natural reverb. He added the last sound tracks in his
home-studio where he finished the mixing.
Insérer Titre is a deep, rich journey through the vague and the specific.
The unexpected instrumentation flows easily and is not an act of trying
to be unique at the expense of quality. Every element is balanced and
has a purpose. This album is a fantastic example of the greatness that
originates from collaboration and diversity in personality. Where so
many artists fight to define their ego, L.T.D.M.S. has the confidence
to share in their success. This is an album that makes you stop your
busy day and listen to it, and rewards you for your patience. Very Highly
Recommended.
ltdms.be
The story of L.T.D.M.S. goes back several years as they released their first album in April 2007 with the micro-label Nationale 4
Records after they heard the band’s original 6-song EP. After that they toured Europe twice, once in Slovenia in 2008 and once
in 2009 through France and Italy and in 2011, Joanne joined the band, filling out the band’s sound via the addition of her cello.
With her on board they embarked on the recording of Insérer titre and here is some information about each of the four tracks:
1) La Douze
Sound engineer: Thomas Turine
Place: Outdoor in Serinchamps
L.T.D.M.S. met Thomas at occasional events organized by the
artists’ group L’Ecurie. Thereafter, opportunities came along for
several members of the group to take part in some of Thomas’
projects. He has also done some live sound engineering for the
band.
Thomas Turine, composer, musician and electro-acoustician,
displays a singular cursus. At a young age, he gave life to electro
projects: Sitoïd and Acid Mélodies. He then joined the psychedelic
folk group Major Deluxe as a drummer. He dedicates himself to the
electronic, electro-acoustic, and concrete music or percussions for
the sake of plays, or dance shows. His work today is developing
series of instrumental musical works based on plastic and musical
parts.
Quite naturally, L.T.D.M.S. turned towards Thomas to obtain
his signature on the album. His choice went to “Douze”, and he
56 RUST Magazine
brought many arrangements into it. After a first test, the recording
of the piece of music was done outdoor at Serinchamps. Lastly, he
remixed the whole set in a studio in Brussels.
2) La Dix
Sound engineer: Mathieu Charray
Place: The Cidrerie of Marchin
L.T.D.M.S. has know Mathieu since a concert for Casse-Brique
where they shared the scene at the Maison Mai. Mathieu Charray
began his career as a sound engineer in the south of France with
Denis Mill. Later, he went to Brussels where he met Rudy Coclet
with whom he worked in the Rising Sun Studio. Today, he manages
Sumo Studio with Julien Paschale where he records groups such
as Casse-Brique. He also regularly does live sound engineering for
Konono #1, A Hawk & A Haksaw or Hoquets.
At the genesis of the album, L.T.D.M.S. asked him to take part
in the project 4 songs/4 sound engineers, and he accepted with
enthusiasm.
The recording took place at the Cidrerie of Marchin where L.T.D.M.S.
RUST Magazine
57
RUST Magazine: Best of 2013 Awards
November 11, 2013: It’s been a fantastic year in music and RUST Magazine is grateful to all the artists that have given us
a chance to interact with them! Choosing the best of the best is difficult and we had to make some tough choices, but each
winner here truly earned their award through their own merits and we applaud all them for their passion and dedication.
Critic’s Choice Album of the Year Award: Little Lonely
Little Lonely stole our heart with her debut release and she hasn’t given it back yet. This American
heartland wanderer is the musical sweetheart we all dream of. Her music is beautiful and powerful and
so personal it talks to your soul and touches your heart like no other album this year. Congratulations
Little Lonely!
Best Song of the Year Award:
Kevin Breit and the Upper York Mandolin Orchestra - King Kong Strut
This is a new award category for 2013 and it’s awarded to a song that we play at live venue and gallery
events. The response we get to this song is crazy! Every time we play it people come up and ask who
it is and where can they get it (which is actually a little tricky - GET IT HERE) and it seems to have a
unanimous effect on babies and small children who start dancing whenever they hear it. And dancing
babies can’t be wrong! Congratulations Kevin and all the folks at UYMO.org!
Best Individual Artist Album of the Year Award: Chris Antonik - Better For You
The global critical response to this album has been almost unprecedented. It’s one of the most potent
albums ever when it comes to defining an artists’ sound and we’re certain Chris will take home many
more awards this season. Of course no man is an island and this is a team effort that is just plain
excellent all around. We don’t have to wait for history to tell us if Chris will be regarded in the same
class as the truly great blues talents, it’s already self-evident. Congratulations Chris!
Album of the Year Award for 2013: Wondernaut & Less Love - Paradigms In The Design
Two bands came together to make this album and it’s a once-in-a-generation triumph of the true
spirit of indie rock. The range of emotions put forth here is staggering, and each aspect is presented
“just right.” Whether it’s a quiet, introspective moment or a crashing anthem, the ten members of
Wondernaut and Less Love share the credit for making an album of permanent significance and
immediate relevance. Congratulations!
58 RUST Magazine
RUST Magazine
59
NINA Photo and Video Shoot
September 19, 2014: NINA performed and posed for RUST
Magazine at John Howell park in Atlanta on a one-of-a-kind
instrument from the Deadwood Guitar Company.
ninamusic.co.uk
60 RUST Magazine
RUST Magazine
61
Xander Smith - Hey San Pedro
May 15, 2012: There’s really no other way to describe it, Xander
Smith amazes with his new album “Hey San Pedro.” It’s a golden
journey into the inner space of a true singer songwriter. It elicits
memories of people like Brian Wilson, George Harrison and Simon
and Garfunkel, bypassing the collective technological influences of
the modern music production process by focusing on the simple
and complex beauties of voice and instrument.
This classic sound has a great deal to do with how the album was
produced, on one of the famous analog API consoles originally
housed at A&M studios. The analog production is almost a band
member by itself, giving “Hey San Pedro” an
early-70’s feel that reminds us how really unique
pre-digital music used to feel. Even if you didn’t
live during that time, you cannot help but feel
winsome for those days of old while listening to
this album. It makes you want to climb into a
time machine, throw your cell phone away and
stay there forever.
being. My life was full of chaos and heartbreak and felt like a cross
between a Motley Crue video, Boogie Nights and an episode of
Knots Landing. However, these days I feel I’m nearing a much more
peaceful life on the whole. That was the head space I had for sure
when we walked into studio for HSP.
RUST: You’ve been performing for about ten years but this is your
first solo effort... how long have some of these songs been waiting
to be realized like this?
XS: These songs have been floating around for years. ‘Our Latest
Tragedy’, for example, is nearly 15 years old. Those lyrics came
to me instantly one day when I was just a kid.
They were so morbid that I tucked it away til I
understood what kind of music belonged with
them. Over the years many of these melodies
and guitar riffs floated around. On my last few
tours, sorting them out became a great way to
relax.
RUST: Was the analog production something you
intended for a long time or was it an idea that
came up recently?
Though active for about ten years already in
bands like Run Run Run, “Hey San Pedro” is
Xander Smith’s first solo album. With a little help
from members of the Foo Fighters and Brazil ‘66,
mentoring from Herb Alpert, and co-production
and engineering by Mike Harrison, there is
a definite feel of community that is evident in
every large and small part of this project. Perhaps the most notable
contemporary technical aspect of this album’s production is the fact
that it was funded by Kickstarter. Asking for $2,000 and eventually
getting almost $10,000 it’s the best possible example of the arts
community being able to support one of their own to achieve
greatness.
XS: The team around this record came about
in a totally natural way. So too, did the use of
the API console. Mike Harrison, and long-time
friend and supporter of my music was a natural
pick to co-produce the record. His home studio has the relaxed
feel these songs needed. Along with him came the console, which
he suggested could be perfect for this material. We instantly heard
the sound that resulted by running all instruments through it and a
pair of original Neve compressors. The sound was big and round,
sparkley and warm. We were hooked!
Being that the story behind this album is so unique, and that Xander
Smith has really made an amazing statement with it, RUST sought
him out to talk to us about it:
RUST: There’s definitely a retro feel to the album, what are some of
the artists you listen to yourself and appreciate as the best classic
singer/songwriters?
RUST: Your album is really beautiful peaceful and patient... is this a
reflection of your daily life or is your music an escape from hectic
day-to-day experiences?
XS: My earliest influences, other than the tale spinners kids records,
were Neil Young and late Beatles records. My mom constantly
played the cassettes in the car and I would sing along and wonder
about the world they were depicting in those songs. Where was
‘Sugar Mountain’ what’s a ‘Sexy Sadie’ and who is ‘Prudence?’
XS: Thank you, and the answer is really both. Escapism was surely
the original state of mind when these songs started to come into
62 RUST Magazine
RUST: You allow your music to flow at it’s own pace with an
authenticity and integrity. What do you think about the overproduced music that so many “stars” are producing?
comes close to Harry Nilsson or Paul Simon though.
XS: Thank you for your support of this ‘flow.’ I was well aware when
we sequenced the record that there was no high impact dance
single kicking off the CD. I just wanted the songs to ease their way
into folks’ cars, ipods, etc. While I once was mesmerized by modern
pop and the production tricks, I’m now mostly unimpressed by the
inhumaness and constant train jumping in much current music.
XS: Vinyl!! Let me rob my local bank cuz we are out of $ but maybe
some kind soul will have an idea on how to press some up!
RUST: Who are some performers active right now that you think
deserve some recognition?
XS: Lady Gaga, while derivative is a leader, like Bowie, and always
searching. Plus her songs are strong and versatile. I also think that
Ceelo is very very talented. Still haven’t seen one current artist that
RUST: OK, our last question is actually more of a demand than an
inquiry... when do we get Hey San Pedro on vinyl?!
Xander Smith’s “Hey San Pedro” is truly a unique achievement. It’s
a collection of inspired modern indie folk songs, brought to life in
an analog art form that has become almost lost in a fraction of the
time it took to develop. It’s a project that has been supported by
countless people both before recording via Kickstarter fundraising
and during production. It sounds amazing. It’s truly unique and Very
Highly Recommended.
xandersmithmusic.com
Eepocampe - When Things Get Abstract
March 5, 2012: Based in France, singing in English and projecting a signature, full,
rich post-rock sound, Eepocampe’s new full length “When Things Get Abstract”
delivers creativity, maturity and innovation. It’s a well-crafted contemporary album
that has a “right now” feeling featuring complex songwriting and excellent execution.
Eepocampe comes straight-on with a unified front of writing, musicianship and
production with particularly good recording and mastering. The album has a great,
personal sound that allows each member to be heard individually and as part of
the whole.
Formed about 6 years ago, Eepocampe is Antony Lourdel, Alexis Medina and
Anthony Wailly and they released their first LP “Day After Day All Takes Another
Way” in 2008. Now, with “Abstract” they are becoming more well known and are
currently planning a Japanese tour in addition to their frequent Euro dates. What
this band really loves, and where they truly feel the audience’s warmth and the uniqueness of space is in live performances. This
exploration of space, and the powerful and delicate build-up of ambience is a distinct element of the band that comes through on every
song of this album.
Painting diverse landscapes of sound, Eepocampe deftly moves from patient, somber spaces to crashing waves of electric intensity. What
is really remarkable about this band is their ability to move from one tempo, feeling and space to another smoothly and as a continuation
of the same concept. Equally commendable is the mixing work of Olivier T’Servrancx at Elektrik Box Studio and the mastering by Rémy
Boy of Ahdden Team whose efforts definitely help make this album sounds great amidst the technical challenges of working with songs
moving across such diverse volumes.
Eepocampe: “With When Things Get Abstract, we wanted to write more vigorous and intense songs than in our first album. We kept this
initial postulate in one corner of our mind without rejecting the softer ideas we would develop along the way. When Things Get Abstract
was born and developed out of a creative process that centered on our shared emotions. The guiding thread of this album is about mind,
dreams, consciousness, perception, the way ideas or senses are changing and how we - as humans - reflect on these things. Nobody does
really have the same opinion about this subject and that’s why it is abstract. That’s why we love this quote from David Lynch: “The more
abstract a thing, the more different interpretations the varying understandings are.”
Also worth noting is the great album art by Monica Murgu and Jérôme Pouille and that each download comes in a high quality digipack
with original artwork and the physical album includes a 12 page booklet with lyrics and a sticker of the band. Hopefully American audiences
will get the chance to experience this great band in person sometime soon, but until then “When Things Get Abstract” will have to do, Very
Highly Recommended.
eepocampe.com
RUST Magazine
63
Vermouth: Retrofuture Pop Exotica
Under The Hood
March 29, 2011: With “Retrofuture Pop Exotica” Vermouth takes lounge music full
circle back to it’s polynesian roots, and the result is a must-have album that’s as
delicious and enticing as a giant Mai Tai covered with tacky decorations. There’s
been a resurgence of lounge music lately, partly fueled by the unnerving increase
in the number of hipsters almost everywhere, but what sets Vermouth apart is their
firsthand knowledge of the source cultures of their music and their mastery of the
authentic and vintage instruments they play. This is not a wannabe band, this is a
pair of elder statesmen schooling the next generation of lounge acts in how to do
it right.
Rick Rithmire and friends Bryan Breed and Scott Still make up the power rock trio
Under The Hood and record at his home-turned-professional studio The Lighthouse
Recording Studio in the hills of North Georgia. Their 2010 self-titled debut brings a
classic supercharged rock sound with a unique modern edge. The ten songs bring
flavors of bands like Led Zeppelin, The Black Crowes, AC/DC, and The Black Keys
with guitar-centric spaces inhabited by legends like Pat Travers and Robin Trower.
Justine Kragen and Steve McDonald are joined by friends like Matthew Embry, Curtis
Cunningham, Giulio Carmassi, Dawn Fintor, Geoff Dent, Joshua Aguiar, Casey Butler,
Matt Cooker and Rebecca Stout for this debut release as Vermouth. Both Justine
and Steve have extensive music backgrounds. There’s so much to say about these
people, it’s hard to even know where to start, but there is one particular story that
sheds a little more light on the personalities involved. On a trip to Bali, Steve and Justine performed a song that had been recorded there
in 1941 (having learned it from an aluminum disc recording now housed at the Library of Congress) and they performed it so authentically
that the village orchestra recognized it and joined in, finishing the song together.
Showcasing both tactile knowledge of the unique instruments and the cultural sources of the arrangements, Vermouth has - with this one
album - defined themselves as the best lounge band ever. It’s a project from people that grasp the entirety of the music’s lifespan, and
by doing this, are able to produce an album that is great for a lot of reasons... not just one gimmick or motif. Lounge may be a hot trend
‘right now’ and this album will probably make it even hotter, but long after the trend fades away “Retrofuture Pop Exotica” will be seen as
a great, timeless achievement. Very Highly Recommended.
vermouthlounge.com
Six Shot Revival - Greatest Hits Vol. 1
February 25, 2011: It’s really unfortunate that reviews for bands like Six Shot Revival
always sound the same. First, they get compared to Lynyrd Skynyrd and then their
musical style is described as “southern fried.” It pigeonholes bands in people’s
minds and does both the reader and the band a disservice by lumping them into a
vague group. SSR defies this categorization with innovative songwriting and a big,
strong sound that might be southern-born but knows no borders or boundaries.
This hard-rocking foursome’s debut release “Greatest Hits Volume 1” is so good it
really does sound like a best-of collection, with non-stop action from start to finish.
Every song is strong, more importantly every song has an original sound. This is
not a derivative band. These road house rockers have been touring and recording
for over two years and the stage time really shows with a unified assault and great
team synthesis.
There’s a confidence and sense of fun and love of music that SSR just plain owns.
It’s a case of the right material in the right hands, and it just all comes together again
and again - for twelve songs. They strike a balance between being the bad boys and
the heart-breakers and this is an album that would fit in perfectly next to albums from Aerosmith or Guns-N-Roses. Really, this is a band
that is doing everything right, from the original writing to the whole feel and vibe they broadcast. They have the machismo and patience to
take their time and lick you good. They’re sexy, dirty and hot... and isn’t that what rock and roll has always been about?
Get out the extinguishers just in case this album sets something on fire! Very Highly Recommended.
sixshotrevival.com
64 RUST Magazine
Under The Hood has been very busy over the last two years recording and performing
locally and at the Warrior Dash Festival the last two years along with the the Cherry
Blossom Feastival, the Gateway International Music Festival, Local Soul and the
Rockfest in Rome, Georgia.
The story of Under The Hood is as much about the band and the music as the studio.
“We were really happy with how the first album turned out, we think it sounds great”
says Rick. We basically record live until we get it right and then build from there.
We use vintage tube amps from Sun, Fender, Kustom and Marshall with classic mics by Unidyne Shure Brothers, EV, AKG, Sennheiser and
Neumann. We also track with Audio Technica ATH-M50 headphones which “I think are some of the best tracking headphones ever made”.
Rick also mentions since then we’ve acquired a lot of new equipment like a Neve 1073 with EQ and API 500 Series modules. “The stuff
we’re laying down now sounds even better.”
Rick and Bryan work together at a professional audio supply company by day and spend their weekends recording and working on taking
their music to the next level.
“Bryan and I are definitely lucky in that our day jobs directly help what we do with our music. Not only do we handle gear all day long and
get to see and test it, but the people that come through the door let us know what they’re using and how they like it. I mean, we’ve always
been musicians but every time we get a new piece of equipment it opens up a new space for us to get into and it seems like every time
we record something new we listen to it and just look at each other and say Wow.”
Under The Hood offers a refreshing, no-frills return to the basics at a time when mainstream rock is suffering to find it’s own identity. “For
us it’s all about a boogie beat that returns Rock-N-Roll to it’s native soil. We don’t feel the need to be trendy or have that ever-changing
overproduced sound. We make the kind of music that we’ve always loved and now we’re more able every day to make that music sound
even better. It really motivates us. We put in the work, and it comes out sounding so great we can’t wait to get back into the studio to do
the next one.”
UTH’s debut album is available now and you can get more information by Googling Under The Hood Rock. RUST will definitely have a review
of their new album as soon as it comes out and you can watch and listen to one of their new tracks right now.
Misled Children Meet Odean Pope
November 18, 2008: The Misled Children meet Odean Pope has been called the
perfect union of hip hop and jazz, but there is much more to this album that that.
With funk, jazz and instrumental improvisation the Misled Children provide the base
for the amazing horn work of Philadelphia’s “Tenor Terror” Odean Pope. The hallmark
of this combination can be summed up in one word: maturity. Original ideas are
expressed with delicate timing, complex arrangements and powerful performances.
The different smooth and energetic personalities merge into a cooperative effort
where each compliments the other and brings out the best. Lots of projects like this
wind up being nothing more than curiousities or well-meaning, awkward-sounding
experiments but Pope and the kids deliver a worthy, memorable set. Available as a
limited edition 12” pressed on red vinyl, this is definitely a collector’s piece that will
stand the test of time.
porterrecords.com
RUST Magazine
65
Rediscovering Pink Floyd
September 27, 2011: Pink Floyd’s Discovery, Experience and
Immersion remasters have just become available, and the artistic
and historical significance of this moment in music history cannot
be underestimated. It’s so completely superior in scope and quality
that it’s not possible to compare it to anything else.
unstoppable flood of change. The music and the art together made
up the mystery and concept of the band, and being that the artwork
has been such an important part of their identity, Discovery does not
just replicate the original visions, it expands on them and delivers
even more complete and compelling accompaniments.
These new releases are the result of a year-long international
project that has remastered the entire Pink Floyd catalog and has
made it available in a variety of formats and packages. It is, without
a doubt, the one remastering project to rule them all.
In addition to the 16-CD box set, a series of different listening
experiences have been specially created for this release.
Remastered CD’s called ‘Discovery’ comprise one set of remasters,
and there will be two more expanded sets, ‘Immersion’ a CD/DVD/
Blu-ray/memorabilia box set and ‘Experience’ Editions – coupling
one classic album with a further disc of related content from that
album to offer a deeper listening experience. There will even be a
brand-new single-album ‘Best Of’ collection.
Perhaps the most significant aspect of these releases is that this is
not just one box set. Being released as a series of collector’s edition
box sets, remastered albums, downloads and new media materials
you can select what you want and how you want it. This is the most
consumer-friendly project in the history of music.
Both the music and the art have been painstakingly compiled and
lovingly prepared for both long-time lovers of the band and new
generations who can now discover them in the very best possible
way.
‘Discovery’ has been a long time coming. It’s a retrospective that
reaches all the way back to 1967 when the band was comprised of
Syd Barrett, Roger Waters, Nick Mason and Richard Wright. Barrett
left in 1968, to be replaced by David Gilmour. The Waters-GilmourWright-Mason lineup went on to achieve unparalleled commercial
and artistic success, selling over 200 million albums and staging
some of the largest, and most ambitious live tours in music history.
Founding member Syd Barrett died in 2006 followed by Richard
Wright in 2008.
With ‘Discovery’ the legacy of Pink Floyd has now been preserved,
restored and expanded in the most superb project of it’s kind, ever.
What has been commented on most about Discovery is that Pink
Floyd wanted to release a definitive collection before physical
media “disappeared.” There is a business aspect to music that
has changed from the days of purchasing an actual product at a
retail store to downloading intangible data. Though there has been
a resurgence of vinyl, this is just a small counter-current in an
66 RUST Magazine
This massive effort will excite first time listeners and introduce them
to the music of Pink Floyd, something that is often taken for granted
by people who originally bought their LP’s. For those dedicated
fans super-deluxe multi-disc box sets featuring alternate takes,
unreleased tracks, restored live concert screen films, books and
collectibles will provide the ultimate Pink Floyd experience.
For instance, the Dark Side Of The Moon is available as a remastered
single disc ‘Discovery’ edition. You get the same audio quality
with the single disc by itself or as part of the ‘Discovery’ Box Set.
The ‘Experience’ edition features a complete live performance at
Wembley in 1974 which is absolutely astounding. For fans who have
scrounged for bootlegs and other underground “Moon” recordings,
this concert is THE experience they have been waiting for.
The Dark Side Of The Moon 6-disc ‘Immersion’ box set includes the
remastered album, the live 1974 Wembley performance, the album
in both 5.1 Surround Sound standard and high resolution, the Alan
Parsons Quad Mix in standard and high resolution, a visual dvd with
a 1972 Brixton concert, a documentary and an hour of concert films
plus a Blu-Ray AV disc AND a CD with previously unreleased demos
and an early album mix. Plus it will be available as a collectors’
vinyl LP and in various digital formats. “Wish You Were Here” gets a
similar multi-package treatment as does “The Wall.”
Also available are Wish You Were Here ‘Immersion’ 5-disc and
‘Experience’ 2-disc editions, both of which will include bonus material
from the band’s 1974 Wembley dates, including a 20-minute tour
de force live rendition of ‘Shine On You Crazy Diamond’, as well as
a unique recording of ‘Wish You Were Here’ featuring the legendary
jazz violinist, Stephane Grappelli. A collectors’ vinyl LP will also be
available, as will various digital formats and the long-awaited 5.1
version of ‘Wish You Were Here,’ mixed by James Guthrie, will also
be released in parallel via independent label Acoustic Sounds.
artwork for the box sets and menus for the DVD content. Respected
photographer Jill Furmanovsky, has edited books of original unseen
photographs. Pink Floyd collaborators James Guthrie (in the US) and
Andy Jackson (in the UK) have been in charge of digital remastering
to the highest audio and audiovisual standards. Pink Floyd film
archivist Lana Topham has supervised the painstaking restoration
of many historic films included in the ‘Immersion’ box sets for ‘The
Dark Side Of The Moon’ and ‘Wish You Were Here.’
The Wall, which has sold 25-million double sets and has become a
cultural and political touchstone over the last three decades, will be
available in deluxe packages including a 7-disc ‘Immersion’ set and
a 3-disc ‘Experience’ edition as well as a collectors’ vinyl LP and in
various digital formats.
At RUST we cannot say enough good things about this project. It
goes so far beyond the concept of any previous collector’s edition
that it is simply without peer. For the past several days we have
been listening to the albums and examining the packaging, and this
will continue for... well, forever.
Discovery is a unique team collaboration that took more than a year.
Storm Thorgerson, the band’s longtime Art Director, has overseen
the visual design, including new booklets for all the CD’s, new
Never, ever has so much been done for any artist and their fans.
It’s not just a “must-have” it’s an essential where you can have it in
‘any colour you like.’
Little Lonely
June 3, 2013: Mark June 25th on your calendar. That’s the day that Little Lonely, the
eponymous debut release from female singer/songwriter Julie Cain will be released.
And it’s a big deal.
Coming straight from the heartland, into your heart, Missouri-born Julie Cain
smolders from beginning to end, fulfilling the universal dream of the smoky bar
superstar-to-be. One part cabaret vamp, one part girl next door, her songs speak
of deep reflection and insight, fantastically performed and seductively complex.
America, and the world, are about to be introduced to their new favorite daughter
and take deep pride in who she has become.
Produced by multi-instrumentalist, Sean Hoffman (American Music Club, Loch&Key,
Linda Perhacs) Little Lonely is as much a technical accomplishment as an ensemble
of intricate genius. Featuring accomplished musicians from the world of Indie-Rock, Folk and Americana such as Darice Bailey (The Broken
West, The Coals), Nic Chaffee (Eels, George Clinton), Greg Eklund (Everclear, The Oohlas), Joey Galvan (Pete Anderson), Eric Heywood
(The Pretenders, Son Volt), Baskerville Jones (The Rebirth), Robby Marshall (John Daversa Band), Heather McIntosh (Norah Jones, Gnarls
Barkley), George Sluppick (The Chris Robinson Brotherhood, Mofro) you get a true feeling of family love and support.
She’s been compared to the best classic American country performers, and for good reason. Absurdly, her musical career began playing
organ at a funeral home in a suburb of Kansas City. Later, she explored country music through a persona in college known as Bitsy Lee,
who roamed the Midwest playing in honky-tonks. This is the archetypal blue collar heroine, and though she may not be a coal miner’s
daughter, this album will surely be seen in years to come as one of the most crucial of musical moments in a historical sense. It’s that
good. And better.
People are familiar with the phrase “They don’t make them like that any more” but in this case it’s “They never made them like this before”
as Little Lonely is an album that perhaps exceeds the quality of the legends she is being compared to. We remember the greatest hits, but
forget the filler. Little Lonely is pure and powerful from the first note to the last.
It’s very rare when a group of talented people like this come together for someone *unknown* but one listen to Little Lonely and you’ll know
that they did it because it was meant to be. The stars were meant to align for this beautiful moment and this beautiful person. It’s a truly
unique occasion that has been preserved for the rest of us, forever.
As of right now, the competition is ON for album of the year, and any future contenders will have to beat Little Lonely. Essential.
littlelonely.com
RUST Magazine
67
World War IX - Bender Royale
July 9, 2014: Brooklyn based trash punks World War IX debut 5-song EP
Bender Royale delivers it fast, hard and good. It’s a rock solid smash-a-thon
that deserves an immediate place on your extreme playlist. Forget Vin Diesel this is the real fast five!
World War IX is Filthy Phill on vocals, Justin on Guitar, Brian ‘Chinatown’ Jackson
on Bass and Jon on Drums. Together they deliver a fresh, mega-energy take on
classic-core. Their songs are hook riddled cautionary tales that get your fists
pounding and your heart pumping. “Why did I drink so many beers?” “What
possessed me to pop that pill?” Quality questions for sure, but really the only
thing you’re going to want to know is what’s their next tune going to be, and
when are they going on?
And it seems that for this band, instigating ‘break everything is sight’ riots just
isn’t punk enough, so World War IX gives you comic/graphic books for your
reading-while-smashing pleasure. Guitarist Justin Melkmann has chronicled the band’s euphoric highs as well as their nauseating lows
in his critically acclaimed comic book series Earaches & Eyesores, as well as his own personal unhealthy impulses in the best selling ‘My
Obsession with GG Allin.” Not to be out-done Filthy Phill Lentz’s “Self Poor Trait” delivers a truly twisted and humorous take on the classic
tale of a fool in love, and these books serve as the perfect visual component to the music of WWIX.
But it seems that even the combination of their comics, insane stage shows and Bender Royale wasn’t doing enough to make the world
weirder, so they’ve taken the visual and musical and merged it into the new animated series ‘Slap In The Face’ which is something like a
PCP addict’s version of MAD Magazine. The variety of output makes World War IX both a band you MUST know about and something more
than ‘a band.’
World War IX’s debut EP Bender Royale is just plain awesome. And it’s a great introduction to the larger collection of output from this group
of truly disturbed and inspired artists. These guys pack more energy into 8 minutes than just about anyone else and at the end of the
tracks all you want is more - Essential.
worldwarix.com
UPDATE! We just got our hands on three editions of “Earaches and Eyesores” plus a copy of “Slap In The Face” and we have to give it up
to the WWIX guys for putting a huge amount of effort into making these comics. The writing, graphics and overall awesome quality (with
a little help from ComixPress) are first rate. The illustration style is classic and it’s so cool to see people just plain doing it. Do It Yourself
has always been the official unofficial motto of punk and these guys have shown that they have skill, depth and a real work ethic... about
making comics... about punk rockers....
WWIX
August 12, 2014
Krog Street Tunnel
Atlanta, Georgia
68 RUST Magazine
RUST Magazine
69
Fierce Bad Rabbit
The Maestro and the Elephant
October 31, 2013: About the best way you can describe Fierce Bad Rabbit in a
nutshell is to call them an indie folk-rock quartet, but this is a band with much more
depth and excellence than any catch phrase can describe. It all starts with complex
songwriting and grows into a complete musical journey enabled by fantastic
performances and authentic passion.
Coming from Colorado, their light is shining so brightly that it’s being seen world
wide. Their new album The Maestro and the Elephant is a road map to a complete
alternate world awaiting exploration. Smart lyrics layered on thoughts that build
and transform give their songs many facets and many ways of looking at them.
This complexity of elements could well be this band’s hallmark with each musician
thoroughly focused with their narrative while complimenting the song as a whole.
Oh, yeah, and there are a bunch of straight-up lovable pop tunes with signature,
memorable phrases.
Fierce Bad Rabbit is comprised of core members Chris Anderson (lead vocals,
guitar), Alana Rolfe (viola, vocals), Max Barcelow (drums/percussion/vocals), and Dayton Hicks (bass guitar) and the backstory goes to
2009. Having just returned from West Africa for a trip with his wife in the Peace Corps, Anderson had stockpiled a series of songs he
wanted to record and met Rolfe and Hicks from previous bands in Fort Collins. The band formally united just days before their first show
together at Surfside 7 on March 15, 2009 and shortly thereafter they released the Black and White EP.
Since then they have toured extensively in the midwest and have had several releases leading up to the new album. They are regarded as
having revolutionized the Colorado music scene and with The Maestro and the Elephant they have created an album that is ready to show
the world why they have been credited as such. Their new album is really a complete experience that is both easy and chill but deep and
complex. With a very wide variety of tempos and vibes, this band finds new paths in both familiar and new territories.
With The Maestro and the Elephant, Bad Rabbit is ready to take on the world. They’re seasoned but still fresh. They are talented but not
arrogant. They mix authenticity with showmanship. This is an album, and a band that could go all the way because - in many ways - they
already have. Very Highly Recommended.
fiercebad.com
Empty Chairs - Caveat Emptor
October 28, 2013: Here at RUST Magazine we really like the whole dream pop/chillwave
bandwidth. Often overlooked for not being an immediately popular commercial sound,
bands in this space can have a hard time breaking out and being seen as the talented
people they are. They don’t fall into the easy Band A x Band B comparison and they are
not easily categorized into a recognizable, easy-to-remember catch phrase.
But if you just stop for a minute and take a listen to an album like Caveat Emptor,
the beauty and genius of this music will cut through the shallowness of the showy
bands that fight for the spotlight. Here, just a little outside of the realm of blasts
and celebrity posturing is an authentic contemporary team of gifted people who are
making complex and touching music.
It really started when Colorado native Peter Spear moved to Brooklyn in 2011. While
playing live shows at venues around New York City and recording a self-titled EP,
Spear picked up band mates Whitney Broadstreet (keys/vocals) and Matthew O’Koren
(drums/vocals) and the result is a fantastic, unified group of musicians who compliment each other perfectly. There is a mutual synergy
of energy between these guys and it’s one of those natural-feeling bands that suggest balance of personality and togetherness of spirit.
Featuring colorful rhythmic samples, glistening keyboard sounds, and enveloping harmonies, the band strikes a unique balance between
solid beats and layered sonic textures. Hopefully the authentic beauty of Empty Chairs will get noticed and this group of artists will have a
future as bright and beautiful as their music. Very Highly Recommended.
facebook.com/emptychairsmusic
70 RUST Magazine
The Spicy Draculas’ List of Demands
Here at RUST, we love us some Spicy Draculas. But how can anybody write about a
band like them? It’s impossible. So, we asked them to write something for us, and
we got more than we asked for... to say the least. So here it is straight from the
Draculas themselves:
Dear The Whole World:
We are pleased to admit that the Age of the Draculas has began. This is true
with the launch of our most spicy debut album CAPITAL INTENSITY on the
vinyl LP. In order to aid your human minds to comprehend we have laid out a
comprehensive breakdown of our spice outlook.
Firstly CAPITAL INTENSITY is broken down into 2 sides: side 1 is The Spicy
Brightness and side 2 is The Spicy Darkness. Each side has a different flavor
that is suited toward a different aspect of the spice. This is organized for your
pleasant listening.
Secondarily we have stuffed CAPITAL INTENSITY with numbers of different musical genres so that we MAXIMIZE your musical
experience. Including in these genres are the punk rock, the rap rock, the metal rock, the surf rock, the hair rock, the drug rock, the
blues rock, the pop rock, and even the holiday rock for all of the holiday lovers. You can find that we Draculas handle these musical
twists with the spice expertise.
Thirdarily CAPITAL INTENSITY is a teamwork effort. I myself the Dr. Montgomery Snippywatchkins have put on the bass guitar and
vocal flavor and did spend many nights collaborating with Justin Tyme on the lyricspice. Justin Tyme also produced much effort on
the vocals and guitar, and slipped great numbers of face-melting guitar solos into the contents. Harry Cola threw down the drums,
and also did procure the synthesizers and programming for the album with great classics such as “PSR at the Beach” and “Duck
Sauce With Spaghetti and Street Balls”. Moneke Monna provided a most wonderful harp solo and turntable skills. And we also
received help from our very own DraculasNation National Youth Orchestra! This youth orchestra laid down their orchestral stature on
the very last song to make up the grand finale. Our worker Mike Cotts aided us in putting in the recording hours. We are pleased to
host this grand variety of musical boom on our release.
You are aware that we have titled the work CAPITAL INTENSITY because we reflect the world principles of SUPPLY AND DEMAND.
We have SUPPLIED a large output of musical style so that your skulls will rattle with the enjoyment of our rock and roll. Now it is our
turn to DEMAND these things from you:
1. We demand the universal partaking of our spice. Please let the
supreme sounds of CAPITAL INTENSITY saturate your eardrums,
eyepianos, and handguitars.
2. We demand the immediate distribution. Please consider to download
this LP from our online websites, tell your acquaintances about the
wonders of our spice achievement, and seek to purchase CAPITAL
INTENSITY on the vinyl medium as it is most tasty in person.
3. We demand the growth of the DraculasNation. Please follow us in
our endeavors so that you can understand our upcoming spicy releases
and attend our explosive live concerts!!
By filling these demands you will share in the pleasure that we are providing. We hope that you receive our message and celebrate
the Age of the Draculas. We give CAPITAL INTENSITY a most highly ESSENTIAL rating.
On behalf of the Spicy Draculas,
Dr. M
drinkmorerecords.bandcamp.com
RUST Magazine
71
John Pippus - Wrapped Up In The Blues
January 1, 2011: John Pippus and friends Tim Proznick, Darren Parris and Ronii
Wata (aka project producer Adam Baille) deliver fresh, contemporary, original
blues with a great sense of fun and enjoyment with Wrapped Up In The Blues.
Though traditional and familiar in origination, John Pippus wrote the words
and music for every track on the album except one, delivering diverse tempos
and approaches that get your foot thumping and your imagination humming. It
really is an enjoyable album from start to finish and is a great example of nowgeneration blues.
Wrapped is Pippus’ third full length album and he has found success touring
Europe and plays frequently around his home town of Vancouver. Having two
releases done, there’s definitely a sense throughout the album of experience and an authentic dedication to his craft, and a confidence
that shows in a willingness to experiment. Like so many great performers he’s found a balance between the familiar and the unexpected,
and there’s some excellent thematic development in songs that take you from comfortable spaces to stimulating new environments.
The real take-away here is the sense of fun and energy that comes through on every song. Pippus has the attitude and personality to
put out an upbeat dead-on-tempo blues party. Slower tracks still have a brightness and freshness, and the sound recording is very
well done with with most of the recording having been done at The Warehouse Studio (owned by Bryan Adams) and a commendable
engineering job done by Josh Bowman.
Never taking himself too seriously, but being serious in his fun, John Pippus’ Wrapped Up In The Blues is a great fresh blues journey.
It’s the blues, so there’s a traditional sound and feel to the arrangements but experimentation and diversity of approaches break
this album out into a unique space. Originality and authentic energy make this a release well worth searching out, very highly
recommended.
John Pippus - Howl At The Moon
February 1, 2013: Last year we reviewed John Pippus’s third album “Wrapped
Up In The Blues” which came on strong with a ‘now generation blues’ feel, and
we were super excited when his newest album “Howl At The Moon” showed up
in our mailbox. Mixing standard blues vibes with rock, Pippus is credited with
writing most of the songs, but like any blues player, you’ll be in familiar territory
for a lot of the album - in a good way. Broadcasting from his Vancouver home
base, Pippus has been regularly topping regional lists (along with another of our
fave BC artists, Ben Everyman) and for good reason. This is an artist that has
authentic inspiration and the drive to realize his artistic aspirations.
John Pippus delivers an energetic, fresh take on classic blues and bridges the
traditions of the best with his own sense of personality and style with “Howl At
The Moon.” It’s a great collection of songs that explore different tempos and
colors, and it defies the pigeon-hole that so many ‘bluesmen’ find themselves
trapped in. Really, more than being a blues player, John Pippus is a great
contemporary musician in the blues tradition and the jam-session method he
and his co-horts Tony Kerr and son Jacob Pippus used to record the album allow for a very vibrant and varied experience. Pippus
remembers that music is meant to be fun and inspiring, not stuffy and predictable.
Recorded at Bryan Adams’ Warehouse studio in Vancouver with production from Adam Bailie “Howl At The Moon” is a great snapshot
of a band caught in the act. It’s a little rough around the edges, but that also means that the authenticity of the personalities has not
been refined out by the recording process. Both familiar and unique at the same time, it’s a trans-generational effort from dedicated
and talented people, Very Highly Recommended.
johnpippusband.com
RUST Magazine
73
JOHN
What’s different about this album (from the other three)?
there and knowing what works and what doesn’t, musically.
play first.
This time, I wanted to capture that ‘off-the-floor’ sound.
Although my previous albums were made relatively
quickly - a few takes of voice and guitar playing to a click
track, then adding the other instruments afterwards they were missing the interplay that happens when all
the musicians are playing together at the same time. I’ve
been playing with the same guys for a while now, and
so the time was right to go into a studio and lay down
what we do live. Sure, there’s some post-production
that comes into play, like adding harmonies, or taking an
alternate vocal line or guitar solo, but mostly what you
hear is what we were doing at that moment in time. So
the spontaneity is there, the dangerous components of
just ‘going for it’.
So we went into this recording in late September as a trio. But a couple
of weeks before the session, I started working with Aynsley Leonard.
She’s an actor and a singer. She had just moved to Vancouver to pursue
her career. So I brought her in that weekend to sing back up vocals on
a few tracks. She was a fast learner - it was her first time in a recording
studio actually - and she ended up on more of the tunes than originally
intended. Aynsley is now a full fledged member of the band. The trio has
become a quartet.
Then we go into “I’m Mad”. Again, this is rock not blues. But rock owes
so much to blues, that it’s really pretty much a gray area. The harp solo
gives it some blues cred. There are lots of blues purists who will shake
their heads, but I’m not trying to please them. I don’t want to stick to
12 bar blues. Next up is “Those Five Days”. Simple groove, snarly guitar
solo, some one-take harp that I overdubbed later, and there we are. It
ain’t rocket science. It’s down in the swamp.
Talk about the recording process.
We booked a weekend at Bryan Adams’ studio here in
Vancouver. It’s called The Warehouse Studio and all the
big names have recorded here over the past ten years or
so that it’s been in operation. Great studio, but I couldn’t
afford more than a couple of days in there, so that was
another reason to nail this thing fast. We tracked sixteen
songs in two days, with a dozen ending up on the album.
The drums and bass were set up in the main studio and
I was in an iso booth. My amps were mic’d in another
iso booth. We could see each other and could hear each
other in the headphones. But being iso’d meant Adam
Bailie, the producer, could do some ‘mix and matching’
of my voice and guitar after the fact. I sang into an old
RCA 1930s mic that was designed to be used in motion
pictures. Officially, it’s called a KU2A Ribbon Mic. I loved
this mic. It looks like a small bomb, but man it was so
forgiving. No worries about popped ‘p’s’ or breathiness,
or singing too close or too far away.
Photo by Petra Dueck
74 RUST Magazine
PIPPUS INTERVIEW
Are you working with that same producer and engineer?
Adam Bailie is my ‘go to’ guy when it comes to producing my albums.
Adam produced my previous two albums, “Born A Genius” and “Wrapped
Up In the Blues” as well as a whole lot of singles. We just seem to work
well together. He’s a young guy, only 28. Same age as my son Jake. But
age doesn’t matter when you’re making music. It’s all about the ideas,
vibe, energy and spark. He likes working fast, same as me. We don’t
like to over think it. Get it, and move on. That’s our motto. Capture that
‘lightning in a bottle’.
Josh Bowman engineered the session. He’s the one who came up with
the skunk mic for my vocals. He also had a hand in the final mixing on a
few tracks (Adam mixed the bulk of it) and he mastered the album too. A
steady guy, typical engineer, understated but doesn’t miss a beat.
Are you doing more ‘now generation’ blues?
This is a hard question. On the last album the answer is definitely ‘yes’.
On that album we used autotuning and drum loops and stuff not usually
associated with the blues. But this album is live, so there are no studio
tricks, no modern recording techniques to set it apart from what the
blues guys and early rock and rollers were doing. Just mic the guitar,
bass, and drums and away you go. But no one is going to play this album
and mistake it for something from the ‘50s either. It’s got a sound, I’d
say, that is contemporary. The subject matter is timeless: mostly I’m
singing about women good, women bad, with a few topical songs in
there as well.
Who is in the band?
Walk me through the tracks.
My son Jake is my drummer. It’s so rewarding having a
family project (wearing my proud papa hat). He joined me
about a year and a half ago after hearing me with a pick
up band and he said, “I can drum better than that guy”.
So I said, “OK, you’re in the band”. He didn’t own a drum
set at that time, but we got him a used kit from a friend
of mine.
Hit ‘em with the title track. Come out of the gate strong. And it’s not a
blues track. It’s a rock tune. The last album was all blues, genre pushing,
but still definitely situated in the blues. This time, while over half of the
tunes are blues, there’s a couple that rock and a couple that are folk/pop
(for lack of a better word). Track 2 is “Bozos On The Bus”. This a blues
boogie, a la John Lee Hooker. Then we do “Follow The River”, more of
a folk blues tune but electrified. You can hear Aynsley harmonizing on
the chorus.
I had a couple of hired gun bass players that I used for
awhile before settling on one of them. Tony Kerr is a
real pro. He’s played with a lot of good bands around
Vancouver and toured across the country and in Europe.
He owns ten bass guitars! An he gets my obscure musical
references and bad jokes. I rely on him for just being
Next up is the only cover on the album. Willie Dixon’s “The Same Thing”
made famous by Muddy Waters. This is a straight ahead version,
acknowledging the masters. It was the first track we recorded at the
weekend session. We wanted to establish the mood for the session,
ease into it, and this song just seemed to be the one that we wanted to
“Mean Hearted Woman” is a classic minor blues structure. Fun to play
live, we can channel our inner Led Zep on this one. Jake likes drumming
on “Mean Hearted Woman” for some reason. I was switching between
my Taylor T-5 and Adam’s Fender strat for the weekend. I have trouble
playing the strat because when I’m strumming I’m always hitting the
toggle switch. So we had to tape it down. Nice sounding guitar though.
Now we head off in a radically different direction. “I Would Buy You
Anything” again features Aynsley on backing vocals. And Tony’s bass
playing on this one is outstanding. This is the only track where I play
my L’Arrivee acoustic. It’s a folk ballad. I co-wrote this one with Lucy
LeBlanc. She also helps me with publicity and bookings. And after that
interlude we come roaring back with “Whole Lot Of Love”. Back to the
swamp my friends. We got some shit we wanna say! Some woman
better quit her low down ways. Quite a few songs were done in one take,
or we recorded a few takes but ended up using the first take. This might
be one of them. It sounds like it. The bg vocals were overdubbed later.
“Two Hearts On The Run”. I guess you would call it country blues. With
an amped-up, distorted guitar solo. A little bit of Creedence Clearwater
in there. Some Steve Earle too. You can hear Adam Bailie wailing on
back up vocals on this one. Along with Aynsley. This is the only track
that has Adam singing on it. The song is about a guy that’s in love with
a prostitute. I can hear Lucinda Williams covering it, if you could sort out
the gender issues in the re-write.
The second-to-last song almost didn’t make it on the album. We were
thinking “This Is Our Time” was too far away from the sound on the rest
of the album. But in the end we just decided it would work in here. It ain’t
blues, and it ain’t rock. What is it? I dunno, but I like it.
And the last track is a blues ballad, I was thinking of Sam Cooke or Otis
Redding when I wrote “Weapons Of Emotion (Open)”. I could hear some
Muscle Shoals horns on this one. A songwriter friend, Nadia Von Hahn,
helped me finish it up. I was stuck on some of the parts, and she helped
me structure it better. This was a one-take song. We recorded it and
when it was over we collectively said, “yep, that’s it”. And moved on. I
love it when you nail it the first time.
johnpippusband.com
RUST Magazine
75
Highbeams new album One Word
+ interview with Ian Pendlington
July 22, 2014: Recently, one of RUST Magazine’s top secret investigative listenening
secret agents messaged us about a band with a cool sound, original and stylish material,
and who put on a great live show. Highbeams truly is a band of brothers, comprised of
Adam Pendlington, Ian Pendlington, and Stephen Quinn, and their new album One Word
is a collection of indie folk-rock with a distinctive, likeable sound.
June 19, 2012: The name of Ernie Kovacs might not be a household name today but
in his day he was part MTV, part Saturday Night Live and part game show host. Take
a little Ryan Seacrest, Chuck Barris and Will Ferrell, mix them all up and you get the
idea. Right now there is a series of CD’s and DVD’s being released that will hopefully
introduce a modern audience to this comic genius and one of the first available titles
is the CD “Percy Dovetonsils... thpeaks”
One Word follows up their 2013 release Keeping Tomorrow in Mind, and the band has
been getting a lot of love playing regionally around their Georgia home base. In fact they
self-recorded the album at home and it sounds great. The guys put a lot of effort into their
music and the cd is a really nice overall package. Highbeams has crisp timing, gentle
instrumentation and a wide range of thematic ability – they’ve got a good thing going and
they’re sharing it through their music.
The flamboyant character of Percy Dovetonsils was improvised with the help
of bargain store props around 1951 and this collection of recordings has been
unreleased for over 40 years. Joining Kovacs in the studio for this album is pianist
Ben Model and on the cd there are the 16 original tracks plus 6 more bonus tracks
from the upcoming “Kovacs Unlimited.”
Highbeams is really a good example of where the music world is at right now. You’ve got talented, dedicated people like them out there just doing it.
There’s an enthusiasm to what they do that carries over into their music, and we commend them on their moxy. Check out Highbeam’s new album
One Word, it’s full of fun, folky rock with a fresh sound and an authentic positivity.
highbeamsmusic.com
RUST Magazine was curious about Highbeams and we reached out to Ian Pendlington to talk to us a little about it:
RUST: We heard about you because of your live show, what do you think
you bring to the stage that’s unique and that people are responding to?
able to start over is so awesome. The whole rap god part on “If I Give Up”
wasn’t on it until the very last version.
IP: People always comment on our energy when we play live, especially
when there aren’t many people at a show. People really like watching
you loving what you’re doing and loving the people you’re doing it with.
Whenever we first started doing shows we always wanted that to come
through live.
RUST: The three of you compliment each other and you share writing
credit, what’s the vibe like when you’re crafting new music? Is it
competitive or cooperative?
RUST: Can you tell us a little about your early times together, did you
ever imagine the three of you would be putting out albums and playing
on the road?
IP: When we put our first EP out I thought that was the biggest thing
we would ever do. All we wanted was to have one person that was a
complete stranger to us say that they were a fan. I never thought we’d
be on our third independent album though, I absolutely love doing it all
ourselves.
RUST: The album sounds really good, can you tell us a little about the
recording process?
IP: We recorded the whole thing in our basement. We used to only do
our demos down there before paying for the big pro studio version, but
we eventually got good enough that we were really liking our home
recordings. There was no rush to lay everything down and if a song
didn’t sound good we could just start over completely. The first track on
the album had at least five different versions, and then there was one or
two songs that we got right on the first try somehow haha.
RUST: Do you write whole ideas and then record them, or do you discover
songs more in the recording process?
IP: We always get really excited and try to record when it’s just an idea
but that almost never works for us. There are certain parts of a song that
you don’t think of until you record and hear it though, which is why being
76 RUST Magazine
Ernie Kovacs: Percy Dovetonsils... thpeaks
IP: It’s very cooperative. A lot of the time Adam brings something to me
or to both of us that he can’t quite finish and then with a couple play
throughs we can tell if something feels good. Some songs can seem
barely there and then we all play it together and it pretty much writes
itself. We all know each other really well and anticipate each other when
we’re improvising in the early stages. It’s always a really good feeling.
RUST: Who are some of the people that have helped you get to where
you are right now?
IP: Mum and Dad to start that off. They’ve always been behind us 100%
After that it’s hard because so many people have helped us get to where
we are. For one example: our friend Michelle from 45 South Café just
put on a big album release party for us and did such an awesome job
promoting it and named a cheeseburger after us and everything. And on
top of that she’s pretty much convinced her son that we’re super heroes
or something. So there’s been tons of people like that having us play for
house parties or letting us open for them at a show or inviting us into
their homes for a night and there are so many to thank.
RUST: Thanks Ian, last question, what’s next for Highbeams?
IP: Pretty much just playing to as many new people as we possibly can.
The more we play, the better things get. We feel like we really got our
sound right for this album so this is the time for us to work our hardest
getting it out there. We couldn’t be happier with the response so far.
We’re very excited for whatever happens next.
“Percy Dovetonsils... thpeaks” is both a trip down memory lane (for those with fond
memories of both the man and his personas) and a fascinating entertainment time
capsule. It’s a blueprint for a classic style of character that many, many comedians since have imitated. But, as usual, the original is vastly
superior to the imitations and exposure to the Percy Dovetonsils character is essential for any aspiring comedian.
With “Percy Dovetonsils... thpeaks” comedian Ernie Kovacs created one of the defining characters of his career and it is as funny and
relevant today as it ever was. This rare comedic jewel has been lovingly remastered and prepared for modern audiences who will
immediately see how Kovacs defined a style that has been imitated ever since. This groundbreaking performer was almost lost to history
but instead his genre-defining work is now available thanks to the people at Omnivore Recordings. Available digitally as well as on limited
edition vinyl this collection will delight listeners today as much as ever. Highly Recommended.
The Ernie Kovacs DVD Collection: Volume 2
April 19, 2011: Over the last few months, there have been a series of remastered releases from the
archives of Ernie Kovacs and Edie Adams from the folks at Shout Factory. The latest dvd collection
“Ernie Kovacs Collection Volume 2” has highlights from the NBC Morning Show and The Ernie Kovacs
Show plus rarities from the 1956-1960 period. Last year’s release of Volume 1 was a surprise success
and Volume 2 has over 9 hours of content from the classic era of television.
For people of a certain age, this will be a trip down memory lane, and for new audiences this will
provide a window into a critical developmental period in modern media. There is a real Ernie Kovacs
resurgence happening that is being fueled by some other releases such as his cd “Percy Dovetonsils...
Thpeaks” his dvd set “The ABC Specials” and his appearance on “The Edie Adam’s Christmas Album.”
Of particular note in this collection is the rarities disc that features episodes of his oddball game show
“Take A Good Look” unseen since broadcast and featuring Edie Adams, Carl Reiner, Cesar Romero and
Tony Randall among others.
Ernie Kovacs was a master showman. His poise, facial and vocal control and capacity to think on his
feet is almost unmatched. The combination of his range of comedic execution and natural personality
are what make him worthy of multiple “best of” collections fifty years later. Authentically funny and
individually unique, this dvd showcases a showman pushing the boundaries of comedy and setting the standards for performers to come.
If you look at any of today’s television hosts like Ryan Seacrest or any sketch comedy shows like SNL you can trace a direct lineage back
to Ernie Kovacs. For people of any age, this collection is Very Highly Recommended.
erniekovacs.com
See and download hi-res images at
flickr.com/photos/rust-magazine
RUST Magazine
77
Electric Daisy Carnival Experience DVD
August 4, 2011: The Electric Daisy Carnival Experience is one of the very best concert
films ever made, giving viewers a front-row and behind-the-scenes look at one of the
world’s largest music festivals. This film looks at the 2-day festival in 2010 held at
the Olympic Stadium in Los Angeles featuring Electronic/Dance/House/DJ music with
supplemental material about DJ AM from the previous year’s event and is one of the
most complete event films ever produced.
More than the story of a single event, EDCE is more about the growth of the movement
and showing that the 2010 festival was really a coming out party for a music genre
that has been “underground” two decades. Interviews with the performers, producers
at Insomniac and participants (there were almost 500 paid non-musical performers at
the event) show both the satisfaction and surprise people felt at the scope of the EDC.
What this movie does so well is to represent that the concert is part of a lifestyle and a
culture that has grown to mammoth proportions. The performances and interviews are
combined with event footage and discussions into a faithful, extensive look at the state
of the art. Insomniac, the people behind the EDC, produce innovative events enhanced by amazing lighting, art installations and teams of
support performers and they have grown this event over the years into what it is today. More than that, they have helped shape the identity
of the movement and deserve more than a small amount of credit for both it’s growth and personality.
Like the actual event, the movie is really an immersive experience. The work of teams of camera and sound crews are combined into
a dense, intricate presentation that gives the viewer an appreciation of the one event as well as the overall development of the culture.
Intellectually interesting but never at the cost of entertainment, EDCE is the movie that says what needs to be heard about electronic music
and could mark the most significant moment in it’s development. The viewer gains an appreciation of the art, the fans and the people who
go above and beyond to create an environment unlike any other in entertainment.
From a film production standpoint, this is amazingly well done. The challenges faced in recording and compiling all the footage must have
been daunting and the final movie is a perfect balance of information, passion and fun. When it premiered in July of 2011 at the Chinese
Theater the response was so overwhelming the police had to shut down Hollywood Boulevard - though it’s important to note that nobody
was harmed and there was no damage. These fans are just looking to have a good time and celebrate life.
The BJ Wilbanks Band
April 18, 2014: The BJ Wilbanks Band performed Hold Down Your Happiness, Whoa, and Right Back Home for
our cameras at the Red Clay Theatre in Duluth, Georgia. See the videos on our YouTube channel.
bjwilbanks.com
78 RUST Magazine
For fans of the scene, The Electric Daisy Carnival Experience will be a celebratory victory lap of group accomplishment. For those not
familiar with electronic music, this is a fantastic introduction. And Insomniac’s events have continued and grown with over 270,000 people
attending the 2011 Las Vegas festival. The The Electric Daisy Carnival Experience really is a must-have whether you’re a fan or yet to
become one. It’s one of the best music movies ever made, having been done with passion, responsibility and lots and lots of hard work.
Very Highly Recommended.
insomniac.com
RUST Magazine
79
I don’t take pictures. I capture and share precious moments of my life. My PENTAX K-S1 seizes
the sharpness of it all, impromptu or planned. This advanced DSLR is intuitive and ergonomic.
My memories are sharp, creative, enduring. Step up from smart to brilliant.
To see, touch and experience this amazing camera for yourself, visit your local camera retailer and/or
go online at us.ricoh-imaging.com & ricoh-imaging.ca
capturing endless imagination is always with me
Mikel K
March 20, 2014: RUST Magazine met up with poet Mikel K for a series of readings on the Atlanta Beltline.
Watch the videos on our YouTube channel.
mikelk.com
Ricoh Imaging Americas Corporation 2014 © | us.ricoh-imaging.com | ricoh-imaging.ca | photography: Kate Turning
80 RUST Magazine
In the next issue: Sam French
The other guys just cover Rock and Roll history.
RUST Magazine MAKES Rock and Roll History!