80s (and sometimes 10s) Music Rules ~ Criminally Underrated Artists/Bands ~ Beverley Beirne

This is the epitome of stepping out of a comfort zone to do an interview about a genre of music of which I have nearly zero knowledge. But it is so worth it, I found, as I was sucked into a maze of woven sounds that seemed familiar, yet not quite….

(c) Stephanie De Leng

An interesting comment on my “About” page brought me to a website where I could listen to snippets of jazz-infused covers of 80s New Wave tunes. At once astounded by the prospect, as I thought about it further, I realized that there are very few “pure” music genres. Everything that we know to be a specific music style, e.g. Rock&Roll, New Wave, R&B, Hip Hop, Funk, Punk, Post-Punk, Industrial, Grunge, etc., has been built upon a foundation of musical DNA that has existed since the first cave man banged some rocks and sticks together.

There are many, many extraordinary artists out there who successfully infuse different sounds into their craft and the outcome is outstanding. Beverley Beirne is one who has taken quite a unique route by capturing a nearly pure jazz inflection and melding it flawlessly with styles inherent to the 80s, a very eclectic period to begin with.

Beverley has graciously indulged my wide-eyed interview questions about her style and her forthcoming collection titled “Jazz Just Wants To Have Fun” (or “JJWTHF” for short), scheduled for release on June 15. Please read on for an in-depth glimpse into a ground-shaking, axis-tilting artist’s craft.

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MissParker: What initially piqued your interest in Jazz?
Beverley Beirne: I was brought up with jazz in the house as my Dad was a huge jazz fan.  So it wasn’t unusual to hear Erroll Garner, Sarah Vaughn,or Ella Fitzgerald.  But my Mum was into Abba and 80s music, so I guess that explains this album a little!

MissParker: Who can you cite as your influences?
Beverley Beirne: All the beautiful singers I have ever heard I’m inspired by.  Coming from a classical background, I really appreciate the stamina of classical singers.  But, having said that, listening to Sarah Vaughn you hear that but with so much expression.  There are also so many amazing pop voices–Kate Bush, Kirsty McColl, Eddie Reader–these ladies have beautiful voices, but tell a real story too.

MissParker: Are you professionally trained, or does this beautiful gift come naturally?

(c) Stephanie De Leng


Beverley Beirne:  Yes, I trained classically when I was in my late teens and I did really love it.  It’s something I’ll always be grateful for this early time in my singing career, as I learned so much technically about the voice.  My only issue, for me personally, is that it’s really hard to be individual within the classical constraints, which is, in the end, what drew me into jazz and being able to really express my own individuality. Over the years, I’d say my voice has become more authentically me.

MissParker: You mentioned your mum was into 80s music. Is this why the 80s have a special meaning for you?
Beverley Beirne: This was the era when I was listening to Top of The Pops and heading into town to party at the clubs.  Definitely my party era! They were a lot of fun, these songs.  But you know when you really listen to them, there’s some great melodies and a lot of the lyrics are really fantastic. And, the singers back then–they were really great.

MissParker: What does your core audience look like?
Beverley Beirne: It’s mixed, depending on the venue.  Jazz does tend to attract an older audience, but saying that I get a lot of the younger generation turning up and this album especially is attracting a younger crowd.  It’s been a real education to me that kids in their teens and early 20s are really into this music–they actually know all these tracks really well!

MissParker: Who are your backing musicians?
Beverley Beirne: I’m incredibly fortunate to work with some fantastic musicians.  On this album, I have some of London’s leading dynamic young musicians; we have the hugely talented Sam Watts who is also my co-arranger on this project, Flo Moore on double bass, Ben Brown on drums and percussion, and Rob Hughes on sax, bari, and flute–all of whom I have the greatest respect for.

(c) Goat Noise Photography

MissParker: Are the interpretations collaborative with your musicians, or does someone take the lead and the rest follow?
Beverley Beirne: This album was in the making two years before I went to the studio.  I had a lot of fun choosing the tracks and trying to make them work. I then created lead sheets for them and figured out how I wanted to do them–I then went to London to work on the arrangements with pianist and co-arranger Sam Watts.  We both really felt we had something special after the first morning.  Sam then worked on the final parts/harmonies.  But saying that, even when we went into rehearsal prior to recording, we’re not a dictatorship, so we were both really open to what the band had to throw into the mix.

MissParker: Do you do original material, as well?
Beverley Beirne: This is something I do for my own pleasure, at the moment.  I’m working on developing my piano playing, which I’m really enjoying and this really helps with this.  I have a project I’m tinkering with and enjoying, but it won’t be out there for some time yet.

MissParker: How would you say that Jazz has influenced contemporary music (rock, new wave, post-punk, industrial, etc.)?
Beverley Beirne: Well, the blues influenced everything, especially jazz which started from the blues.  But it is really interesting to look at the flow of this into rock and pop and R&B. Contemporary jazz now is often a fusion of a variety of different styles, all informing each other, so it’s always great listening to the new vibes in London and in the North of England.  We’re really fortunate with so many creative jazz folks creating beautiful original music.

MissParker: Do you ever get any feedback from the original artists about your interpretation?
Beverley Beirne: I’ve been really lucky to have some feedback from Noddy Holder, Limahl, and Robin Scott from M, all of whom have been really supportive of the project. Noddy and Limahl have given me a couple of fantastic quotes to use, and Robin was really interested in how we managed to create his track, which is a real hip track on the album.  You have to remember that I’m a real fan of these guys–this is why I chose their songs, so to have their approval means the absolute world to me.

(c) Goat Noise Photography

MissParker: Do you have a favorite track on the forthcoming collection? What makes it so?
Beverley Beirne: This is like choosing your favourite child! I love Prince Charming ( I love the vibe with the hand claps); Bette Davis Eyes and the 5/4 vibe which is really great to sing against; Cruel Summer is a fantastic track and has always been a favourite; Waiting for a Man Like You, as I sing in a more gospel style voice I don’t always use; and I have to say Come On Feel The Noize, as this was the first interpretation that I did and had been singing at a Christmas Gig for four years. Because of the huge audience response to it, it was the seed that started me down creating a whole album of these pop interpretations.

There you have it—Beverley’s gift/my challenge to you: new musical territory to explore. Don’t miss this once-in-a-lifetime opportunity.

Visit: JJWTHF/Beverley Beirne website

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Jazz Just Wants To Have Fun – Teaser

Beverley Beirne – Cruel Summer

Beverley Beirne – Too Shy

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80s Music Rules ~ Criminally Underrated Artists/Bands ~ Timothy P. Green

The Interwebs is a wonderful place—well, most of the time. What makes it wonderful is the world that opens up so easily that includes new knowledge, new music, new friendships, and so on.

I stumbled upon Timothy P. Green on Twitter. Through his daily tweets, he comes across as a likeable, funny, upbeat man, who also happens to be a passionate musician. You can’t help but follow his urging to sample his work, if only to see what makes this interesting guy tick.

Rather than take his music in little bits and pieces, I decided to look him up on YouTube where I found a comprehensive playlist. It’s a delightful package of tracks that seem to sum up Green’s array of music-making talent, complete with engaging lyrics that weave short stories the listener can relate to.

The joy that Timothy has for his craft is so evident in his music. It’s infectious and draws the listener in, even though it may not be of a preferred genre. If you feel you’re stuck in a comfortable groove and are looking to expand your musical horizons, Timothy P. Green’s creative streak is a great place to start.

Timothy P. Green

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Missparker: On your website, it says that you have been writing most of your life. What finally prompted you to put your music all together, record it, and market it?

Timothy: Time is movin’, keeps us groovin’ (laughs)!   I wasn’t getting any younger and Bradford Rogers my friend, producer, arranger, believes in me, so when I said I wanted to do an EP, he said “Let’s do a whole CD, and market it.” The rest, as they say is, Birds in your Belfry.

Missparker: You’re primarily a drummer, right? What got you started with drums?

Timothy: That is correct. I really can’t say why, though? My mother did tell me that I was always tapping on things as a baby and I assembled kitchen pots and pans into small kits, using wooden spoons as drumsticks. Somehow a drumset landed in my hands on my fifth birthday and I have played ever since. No one in my immediate family is musical. I just fell in love with drums and asked for new sets until I received my first professional drumset around 12 years old. That’s when I started playing in bands at parties, get-togethers, teen halls, etc.

Missparker: Have you supported other bands, or have you always been a “lone wolf?”

Timothy: Yes, and I still do. I started performing on drums as my livelihood around 18 yrs. I started out in traveling lounge/dance bands, then moved on to larger show bands, some with top names. This whole time while I was playing in clubs across the nation, I was writing my own songs on cassette tapes and then just tossing them in a shoebox and forgetting about them! I had no intention of being a singer/songwriter; it was just something I did for fun. I was content making my money just playing drums.

Missparker: Your current music is published as an album Birds Had Flown under your name, but you have other musicians who work with you. Who are they and what are their roles?

Timothy: Well, basically, the band is comprised of some of the best studio and live players based here in Atlanta. Several I have done performances with, others not. They are all awesome musicians and are all usually available for live gigs, when needed. The biggest credit goes to my longtime friend, producer, arranger, musician—Mr. Bradford Rogers. He and I work intrinsically well together. He has never offered up a bad idea, as we think musically alike for the most part. It was Bradford’s job as producer to get the best possible performances out of the various members that still conveyed the mood, feel, and intention of my songs. He also mixed much of the album in conjunction with Mr. Thom Kidd of Silent Sound Studio here in Atlanta. Thom is a gold and platinum engineer and a kind, talented soul. Between these two gentlemen and the smoking players, I couldn’t have asked for a better team and I am very well pleased with the results. 

Missparker: I hear so many different inflections in your music, from funk, to rap, to rock, to jazz…for me, it’s like trying to determine where a person comes from by their accent. Who are some of the major artists that have influenced your music?

Timothy: I grew up on classic 70s rock and pop music. Later I delved into jazz, funk and Indian Classical music. My first major influence was The Doobie Brother’s music. As I grew as a drummer, I started listening to Genesis, Rush, Supertramp, Bowie, more prog rock stuff. Then as prog rock started to fade out, I went to jazz music for my inspiration. I love Thelonious Monk, Sun-Ra—all of the old masters and inventors. I should also mention that I grew up half an hour from Montreal, Canada in New York State, so I always heard the best from the Canadian air waves, too, which included groups from Canada, France, Germany, Britain—the world basically. It’s funny, but many of the artists only sang in French or French Canadian, but it was killer music.

Other major inspirations come from my readings, and Eastern religious teachings. I had a long hiatus in which I studied the differences between soul, mind, and body. In some of my lyrics you will hear those concepts—OSHO, Gita, Joseph Cambell, Ayn Rand, Aristotle, to name a few. I’m surprised how many musicians fail to mention literature, poetry, and art as part of their influences when asked.

Missparker: Some of the tracks I listened to have female back-up singers, which adds another dimension to your already multi-dimensional music. Who are they and how did your musical paths cross?

Timothy: To be honest, they were recommended by Mr. Thom Kidd and Bradford. Those songs just screamed for background vocals, so we did it; same with the horn sections. Bradford would say to me, “I think you were hearing horns there?” Having similar musical minds, it was just, “So it is written, so it shall be done (laughs).”  All of the musicians are listed in the credits on the CD.

Missparker: I think you can tell that as a non-musician, I am fascinated with the nuts-and-bolts of music creation. When I think of a drummer, I think of the rhythm of a song (obviously), but I’m curious how you create a melody. Do you play other instruments, use a digital application, or do you hum a few bars and have someone else translate it?

Timothy: All of the above! I play very basic keyboard.  Melodies come out of the ether to me, usually as background music in dreams while I’m asleep, or in quiet states. I record those melodies singing the melody, then later make adjustments and form them into structured songs with either a real drum or drum machine. Lyrical ideas come last, in most cases, and are based upon my own life experiences, concepts, or sometimes they are just total fabrications, like you have seen in my Tweets (laughs).

Missparker:  You mentioned that you’re based in Georgia. I lived outside of Atlanta for about 6 years spanning the turn of the century (ouch, that sounds so old), and I remember the city as a hotbed of creative talent. Do you play live?

Timothy: Yes, I do both as TPG (Timothy P. Green) and as a drummer with different bands. I also record with different artists—anything that pays the bills and makes the muffins.

Missparker:  Something I don’t hear very often in contemporary music is flute. You use it very well in “Dreaming, #1.” In fact, it reminds me of a long-lost favorite, Jethro Tull. It’s such a great fit, I wonder if you wrote that particular song with that instrumentation in mind?

Timothy: I was up for anything, really. Bradford is the flautist on that and the song had a slight eastern flavor to it so…? If I recall, that was probably Bradford’s idea and yes, I like Jethro Tull—so why not?

Missparker: “Mommy’s Little Darlings” has a rap riff that’s so reminiscent of Beastie Boys in a light-hearted, hilarious way. Where did that come from?

Timothy: “Mommy’s Little Darlings” is a true story! You know—single musician, divorced girl, and several rather lively little children!  The rap-type riff was an attempt to make the song sound a bit more recent, as that was written around 1990! 

Missparker: I really had a blast listening to the tracks from your album Birds Had Flown. There is so much variety in styles, lyrics, melodies, instruments, that I think it’s a fair statement to say that the collection has something for every taste. What can we expect from you in the future?

Timothy: It’s hard to say—more of the same variety, or perhaps a concept album on one particular style and go with that? I have entertained the idea of a world beat album and an instrumental jazzy pop album, but probably will go with “Monkey Brain Stew” world beat, jazzy, punk, pop with a twist of lime (laughs)!

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Much appreciation to Timothy for his time and participation in this interview. Here are some links to sample his music, and support an artist that has a lot of talent to share with the world. Don’t just give this music a cursory listen; I have found that the more I listen, the more I hear, making it a really enjoyable journey of discovery.

The Official Timothy P. Green Website
https://www.timothypgreen.com/

Contact Bradford Rogers
https://www.themultimedianinja.com/

Cross That Bridge (Video)

Top Tracks – Timothy P. Green Playlist (YouTube)
https://www.youtube.com/watch?v=rlmbwnKillg&list=PLwz2a2nBdPG3ntdXbCTt47VvOtVTGy5yw

 

 

 

Happy Birthday Starman – 2018

(c) Mick Rock

I tend to measure my life in milestones–when Dan passed away, the subsequent annual memorial, and his birthday–and since that awful day in January two years ago, I’ve added David Bowie’s birthday and the day of his passing. Today marks what would have been David Bowie’s 71st birthday. Wednesday will mark the second anniversary of his death.

Today is a celebration. Wednesday will be a day of deep mourning and reflection. David Bowie did, after all, save my life. To many people, that’s a source of irritation–how can you mourn someone that you never knew? But Bowie’s fans did indeed know him. He was whatever we needed him to be–a mentor, a trail-blazer, a validator–he fit many, many roles for many, many people. That was the appeal that made him seem to be our own personal friend, family member, and yes, even lifesaver. He easily infiltrated our lives and we gladly accepted him, because he gave our wretched existences value.

Bowie fans understand. They do not judge. They accept every other fan’s reasons for loving a man that formed an important and necessary part of our lives. We don’t ask–we just nod with sage wisdom when another fan shares a Bowie story. It is the special brotherhood that bonds us. And we are blessed to be a part of this massive network.

(c) Sukita

Because we do not celebrate, mourn, or reminisce alone. We are a community that supports one another. This is an enormously important part of David Bowie’s legacy. Something that would have probably made him scratch his head in wonder, but something he would absolutely embrace and endorse, because he loved and respected us all. It was that unconditional flow of love back and forth that kept him in his creative game and kept us putting one foot in front of the other, even when we thought we wouldn’t make it through another day. He felt the strength and love that we freely gave back to him and it allowed him to complete two massive projects–a musical and an award-winning album–just weeks/days before his death. The “Lazarus” musical and “Blackstar” album were his parting gifts to us–the strength and love we collectively channeled to him was our gift back to him.

Happy birthday, Starman. There are no words to describe the love and loss, but please know that the love will be all-enduring even if the loss is nearly suffocating. One very important lesson we’ve learned from your own journey is that we can survive whatever life throws at us–even if it means living in a world that you no longer inhabit. And, we are comforted by the images and music that you left behind–until we meet again beyond the stars.

80s (and sometimes 10s) Music Rules ~ Criminally Underrated Artists/Bands ~ Robert Swipe

I’ve had the pleasure of “meeting” Robert Swipe on Facebook. I’m not sure what I did to merit the honor of an invitation to be friends, but I’m very glad he took a chance on me. He has a cutting sense of humor and a way of drawing in his followers to discussion threads by asking some very cool and offbeat questions.

Robert is a very gifted musician who encompasses many different styles throughout his music. His latest offering, an album of songs titled “The Most Beautiful Man In The World,” crosses many genres and brings me to the obvious question, “Who are your influences?”

I managed to ask a few more questions beyond the typical (and obvious) “influential” ones. Robert has graciously provided us with some very candid and insightful answers. Take a few moments to get to know this artist and treat yourself to his latest compilation of deftly woven and music-driven tales.

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Missparker: Mania has a decidedly 80s vibe/feel to it, with a bit of Beatles change-up thrown in for good measure. Can you share your influences for this song?

Robert Swipe: It’s an absolute pleasure to be here Sandy, and thank you for that wonderful build up. This one just came to me while I was doing the washing up and thinking about what a contemporary version of Beatlemania might be like–as you do! The tune for the chorus and the words came to me pretty much as one–which is a very pleasant rarity–so any influence is probably buried very deep in the psyche. But yes, I wanted it to be quite “Beatley” and I’d started listening a lot to T-Rex and realized how much of a Beatles influence there had been on Marc. I used my incredibly cheap (and bad) Rickenbacker copy on this one, hoping it would sound like George on A Hard Day’s Night but, as usual, I got more of a Paul Weller/Jam sound from it. So there’s an odd mix of 60s, 70s and 8os in the guitars. The verses I wanted to sound like sort of 80s post-punk/Rockabilly, so I’m pleased you picked up on that! This was one of the first songs written for the album, so I hadn’t that clear an idea of how the whole album would sound. But initially I’d wanted a sort of grungey, glammy, garage band sound…anything beginning with G, basically, would be an influence.

Lyrically, I was thinking of poor Amy Winehouse, who I guess was a victim of a very modern form of mania. I think her haunted figure was captured quite well on this. I think the Beatles were under a massive amount of pressure during the height of their “mania,” and they coped with it in very similar ways to Amy. But, I guess, crucially they had one another, whereas she was on her own. So for me, it was an interesting idea to look at how someone similarly talented as the Beatles could undergo a similar experience that was the context for such joyful and upbeat music in the 60s, but that ended so sourly and sadly for Amy. Where they were able to channel all that weird energy that surrounded them, she was ultimately destroyed by it. So I guess I wanted to examine how things have changed and how people similarly driven to be creative and make beautiful things could be treated so differently by such similar forces. And to do so in an upbeat, “Beatley” tune, gave it quite an effective dark irony, hopefully.

Missparker: Love the jangly guitars and overall feel on Deborah. Is that someone special?

Robert Swipe: Thank you! Yes, it’s very specifically about Deborah Harry. It’s probably the most autobiographical song I’ve written, actually. Many moons ago, when I was a teenager, Ms. Harry was not only the current but arguably *the* ultimate pop pin up. So this song is a fairly subtle account of that most intimate of relationships between idol and worshipper! I had propped my mattress up on a wardrobe or something, aping a friend of mine who had a mezzanine bed–hence the “elevated bed.” So, about 4 or 5 inches above my head was a massive poster of Deborah with which I had a brief but torrid teenage affair! There’s also a gentle foreshadowing of the theme of the ephemeral nature, not just of pop stardom but of existence itself that’s elaborated upon a bit more seriously in the next song–I like the idea of the poster aging in the same way we do, so she’s “all torn and creased” in poster and human form.

A strange footnote: the song ends with some “Frere Jacques” style singing in the round and the phrase “see her falling down” popped into my head as I was, I thought, just roughing out the end section. “I’ll do that properly with the real words later…” I thought. But it slowly dawned on me that I’d seen Deborah performing in London in the 90s. She was wearing the most colossal high-heeled shoes and at one point she evidently lost her balance and toppled over! So obviously my subconscious mind is a far better songwriter than I am! I had to keep it in after that, but what a great illustration of the way the creative part of us is often buried very deep inside us, and who on earth knows how and why it bubbles to the surface as it does?

Missparker: The track from the album title, The Most Beautiful Man in the World is a stunning, heartfelt tune. It begins as an ambient song and morphs slowly and deliberately into a beautifully orchestrated song.  Can you give us some insight on the origins of this tune?

Robert Swipe: Thank you, Sandy. My producer Doug Chay and I are very proud of this one. I think it’s the key song, really, which is why we decided to make it the title track. This is another one that I was very lucky with, really. I’d been thinking a lot about Marc Bolan and he’d been featuring very prominently in a lot of the Facebook posts I was seeing at the time; and, one or more of these might even have described him as “the most beautiful man in the world.” So I’d had that title in mind as something I could use, and the idea of Marc having survived the crash and living into old age just popped into my head one day when I was walking across the village green. It was, happily for me, accompanied by the tune once more.

So, it wasn’t so much written, as it fell out of the sky and into my grateful lap. Those are the nicest songs. Keith Richards describes that moment when they arrive as “incoming…” I think that describes it perfectly. This one really owes a huge debt to Douglas who somehow managed to carve a beautifully elegant likeness of Marc from the tangled mess of tracks I sent him. We were both also thinking a lot about Tony Visconti and his early work with both Marc and David Bowie, and I think this song is the fullest example of that. With masters like that, the apprentices can’t really go wrong.

Missparker: Speaking of Marc Bolan, Revolution brings me back in time (in a great way) to T.Rex…so, they have been a major influence in your music?

Robert Swipe: It’s really strange but before this project I would have called myself a T-Rex fan, and yet I realize now that I thought of them as being pretty much a singles band. It’s only really as part of this project that I’ve more fully explored Marc Bolan and his work. Even now, I think I only really managed to get up to about 1974, so incredibly prolific were they back in the 1960s–they were weighing in with a couple of albums a year, each with 13 or so tracks, barely any filler…astonishing to us now, in an era when people can spend several years producing…not much! So, to answer your question, no, probably not until now! This song is, as most fans of Marc will tell you, heavily indebted to a song called Beltane Walk. In fact, it’s a direct steal! But I figured, Marc was cool enough about his own songs to steal the lick from The Walk by Jimmy McCracklin for his song, so I can keep that fine tradition going a little longer and give it another spin on the karmic wheel.

With the very early T-Rex music, much as I love it, I must say that culturally it feels very far removed from my own musical roots. I got seriously into music at the tail end of the punk era and that was a very different scene! I have an aunt who used to go to watch the early Tyrannosaurus Rex and I have visions of a lot of people like her sitting cross-legged on the floor nodding into their Afghan coats. So, the key for my understanding the early, underground T-Rex music was really how much it owed to the music Marc grew up listening to which was, by the sounds of it, very early American rock ‘n’ roll, with which I myself was also more comfortable and familiar with. So, my fascination, I guess, is how Marc made something so ethereal, strangely beautiful and, I would say, very English out of such earthy US sounds. So Hot Rod Mama, the first track on the first LP, sounds in places like it was recorded at Sun Studios,but it’s a cosmos away from all that, too.

Missparker: Having lived in Georgia for a time around the turn of the 21st century, I have to say I’m amused/intrigued by the title of Georgia Peach. Have you ever been there and what prompted the title to the song?

Robert Swipe: (Laughs) Sadly not. I have some wonderful Facebook friends from Georgia, though and they’re always telling me how lovely it is. One day, hopefully, I’ll get to find out for myself. No, I was actually thinking about Little Richard, who I believe was referred to as the Georgia Peach. This song started out as an outright Bay City Rollers number that was going to be called ‘ILUVULUVMELUV’ (or similarly archaic spellings!), but Doug initially felt it was a little *too* Rollersesque, even though he’s a massive fan. So, I tried slowing it down and doing it more like Brian Wilson did California Girls, but it still wasn’t really right, so we left it on the shelf for a bit. At some point, bizarrely, I think I was doing the washing up again (you can see where the ley lines are in our house….near the kitchen sink), and I started thinking about the Ronettes and, at about the same time, Little Richard. I may even have been wondering if he was still alive! And for whatever unfathomable reason, I started singing ‘ILUVULUVMELUV’ the way Ronnie Spector would have, only I had to change the tune a bit to make it sound right for her. Then, I thought, “I have to get a tribute to Little Richard in here too, he’s brilliant,” and so, the Georgia Peach image came to me and that was the song complete.

I suppose what I was grasping for was to convey in musical style just how central an artist Little Richard was to a whole strand of theatrical and transgressive pop. He wore makeup, looked like he could be a drag artist, but could bawl like the furies and was, along with another favorite of mine, Jerry Lee Lewis, just the real deal as an artist and a person. I suppose if you think about it, you can’t imagine artists like Bowie and Prince doing what they did without Little Richard Penniman having broken the hard ground up a bit for them first. And I guess it’s my celebration of him still being here and guiding our way when so many others who’ve lit the path for us have now gone.

Missparker: Again, we have a song with a woman’s name as a title. Nancy is a heartfelt track about promises made and (presumably) love lost. Is this from personal experience? Where do you find the inspiration to write such deeply meaningful and personal songs?

Robert Swipe: Again, this is another vignette of the downside of fame and I had in mind Sid Vicious and Nancy Spungen. It sort of rounds off a suite of songs that look somewhat askance at the whole business of fame and celebrity. We’ve had songs about Amy, Deborah, Marc, and Little Richard, so it felt right to string them together when we were sequencing them. The only way I felt I could write about two ultimately quite tragic figures was through the kind of style that Bryan Ferry perfected around the time of Avalon. I felt that sort of clash between the quite stylized performance and the quite gritty subject matter might be interesting and I’m really pleased that you felt some real emotion came through it all. I think I’m quite detached as a writer, but I sing and play with quite a lot of emotion, so I’m never sure which aspect comes through most fully. I’m pleased it’s the emotion in this case. They were a sad pair, I think. Both in their own ways lived to be famous–at least, that’s the impression I got. And having got it, it killed them. Very sad.

Missparker: I love the 90s shoegaze feel of Twenty5. The bass is pronounced and a wonderful foundation for this song. Do you feel that the shoegaze era was a particularly influential era to some of your music?

Robert Swipe: I kind of missed out on the shoegaze thing, really. I can hear stuff from that period now and it sounds a lot better than I remember it being at the time. Are you thinking of bands like Ride and Lush?

Missparker: Yes, and Catherine Wheel, and so on…

Robert Swipe: I feel more akin as a writer to bands like Blur, who began probably on the fringes of shoegaze and I felt gave themselves a bit more room to spread out artistically, rather than being part of a short-lived movement. I’m not trying to do down the bands in that era, but I personally was zoning out a bit on contemporary music at that time, just a time of life thing where you start exploring earlier music a bit more as you have a bit of a “seen that, done that” feeling about contemporary music. What you start realizing is that it’s always cyclical and that everything always comes around again. So I might start telling people “there’s always been a shoegaze element to my music…” very soon!

I think I had Led Zep more in mind on this one. I had a drum loop that sounded like the kind of thing John Bonham might have played and just started riffing around that. The lyric concerns an imaginary South American girl who sits in her room getting drunk and stoned imagining she’ll set the world on fire then die before she’s twenty-five. There are worse ways to live, I guess. I’m sure she wouldn’t be the first person to take the lyrics to All the Young Dudes a tad too literally. But that’s been a real discovery–South America. Some very cool and lovely people down there who really know their rock and pop and what’s more they know how to treat a female impersonator (that last bit’s from Monty Python, if anyone else is old enough to remember them).

Missparker:  I do (laughs)! I love the orchestration of The World Will End. That brings me to the question…do you work with other musicians, or are the tracks solely laid down by you alone? If it’s a sole venture, I’m very curious to find out how you would take your music out on the road, if given the opportunity?

Robert Swipe: Sadly, I’m completely solo in terms of the playing, at the moment. Working with Doug, though was a big change and a completely beneficial one, so hopefully I can keep expanding and maybe one day end up with a real band…who knows? This one really was radically reshaped by Doug and showed me why it is so great to have a producer. It started out very much aping the song Five Years musically, as well as lyrically. But, Doug stripped it down completely to just the weird vibe part and a drum loop, and after scratching my head for a bit, I suddenly saw a new way of doing it.

My inspiration for the remake was very much Strawberry Fields Forever, with maybe a bit of Blue Jay Way in there, too. Again, there’s a clash between the subject matter and the style that hopefully opens things up in an interesting way. Again, I threw tons of parts at Doug, but he did a really great job as surrogate George Martin on this one, just letting each idea have its moment in the sun and making it a much richer and structured piece than it would have been if I’d been left to my own devices. But yes, I’d really love to put together a band and a show. I think between this album and Glam! there’s the makings of a really good rock show. Anyone out there play the bass….?

Missparker:  Hot Gossip and Beautiful Lie seem to give us intimate glimpses into your soul. Does songwriting provide a sort of catharsis for any major events that may be occurring in your life?

Robert Swipe: It’s odd, I do see myself as a very detached writer–a novelist, rather than a diarist, to use literary equivalents. There are a few autobiographical things in there, but they tend to just be used as accurate detail, the way a novelist might consult a notebook if they wanted to convey something vividly. But ultimately, I see my songs as imaginative explorations, rather than soul-baring autobiography. So, with Hot Gossip, the bit about the glockenspiel is something we did in a music lesson at school, performing a very ramshackle version of Revolution #9–quite! The black walls belonged to a friend of mine. I don’t, sadly, own a swastika garter myself, but there’s always time I suppose! There are oblique parallels with Pandora in the song, and the way I’ve chosen to present the music in a very glam and gender-bending style, I guess.

It probably is tough for people who know me to see all that as the charade I know it is, so I suppose they might be represented by the outraged parents in the song. I’m an orphan now, so a lot of my musings about my relationships with my parents probably comes out in these narratives, but it’s not something I consciously try to write about. I guess it’s the same in terms of the lyrics. You aim to paint a convincing portrait of the person or ideas that you’re trying to give voice to in the song–so I guess one should take it as a high compliment when people mistake what you’re doing for autobiography. But, to say all that makes it sound rather cold and calculating and I certainly don’t feel that way about my work; I am completely transported when I play and sing–well, when it is going well–and I put so much passion and emotion into the music and the writing. But, I think I express my inner being through the whole piece rather than just lyrically, if that makes sense?

Missparker: It does. I have to admit that I thought Glitterball (by its name) would be a disco-based track. Thankfully, it’s not. What does the glitter ball stand for metaphorically in this song?

Robert Swipe: (Laughs) What’s wrong with disco? But seriously, this is very much a composite song that started out in different form quite a few years ago, so it’s quite hard to pin down exact meanings. I guess with the glitter ball I was just thinking of that very late 70s, Debbie Harry singing Heart of Glass at Studio 54 sort of pop glamour. It’s something that has always been very alluring to me, I suppose, in part because it’s gone and is out of my reach now. Nothing is more alluring than what you can’t have. So, it’s the idea of someone being absolutely themselves in one brief glorious transcendent moment.

That’s contrasted with the quite desperate figure that’s painted in the verses; someone who’s very lost spiritually in a very dark and unforgiving world. That seemed to make a lot of emotional sense to me, and I hoped it would speak to other people’s feelings about the way the world is right now. I had in mind a very beautiful North African woman cast into a very dark and gothic Europe. But strangely, when I listen now, I have somewhere like Los Angeles in mind when I picture it all. Go figure. I also liked the way Marc Bolan would take very materialistic or rock ‘n’ roll imagery, and couple them with spiritual or esoteric concepts like Metal Guru, Cosmic Dancer. I figured it might be fun to explore that a bit more bluntly. So, the character in this song is looking for God in back street sex, etc. As you can see, I’m no Marc Bolan!

Missparker: The Spirit of Rock and Roll is a moody song. It also clocks in as the longest on this album. And, I love that you end the song with several declarations of love. What was the inspiration for this song? What do you mean by having the spirit of rock and roll?

Robert Swipe: Well, I think the spirit of rock ‘n’ roll is something I’ve noticed a lot across our Facebook groups and friends. People–some of my age group, some older, some younger–who were pretty much knocked for six when David Bowie died. I guess a lot of us have found out quite graphically, through the loss, how much someone like him and what he did when he was alive meant to us. So, I started wondering if that would be a good platform to try and build up a small community of people who’d all been inspired by that brave, questing, experimental music and visual style and to try and force myself to live up as much as I could to what I thought people who liked such music might expect from new music nowadays. As I was recording, I kept wondering whether it was still possible to use that style of music to do “big things” like bring people together and change the world. So, I suppose this album is my attempt to test the promises that 60s and 70s music made to me–and so many of us–and to see if new songs could ever achieve some of the cultural power pop songs once had.

One of the most exciting things for me from the Facebook groups was that there were a lot of young people who had sought that very music out and were experiencing it with the same force it once had for us. So, I guess this song is the most explicit example of that experiment–to see if you could write something as anthemic and generation-defining as, say, All the Young Dudes and whether it could have anything like the same meaning such a song might once have had for its audience. I can imagine precisely how ridiculous and over-reaching that sounds to everyone reading this, but I was genuinely curious! And, following on from that, I did definitely want to send out a message of love directly to the people I describe above–to say thank you for being there as an audience for me. It’s the first time I’ve been even remotely aware that I had one–and to suggest that, even if it’s only for the duration of this song, we can live out some of those old glories. And, of course, it had to be slightly tongue-in-cheek, otherwise everyone out there would think I really meant it!

Thank you, Sandy, for asking such interesting and thought-provoking questions. I hope I haven’t bored you too horribly with my rambling responses!

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It was absolutely my pleasure, and not boring, at all.

To experience Robert Swipe’s music for yourself, check out his music on the following sites:

Robert Swipe’s YouTube channel:
https://www.youtube.com/user/bobswipe/

To purchase his music:
https://www.robertswipe.com/

 

80s Music Rules ~ Criminally Underrated Artists/Bands ~ SLAVE to the SQUAREwave (interview with Colin Troy McPhail)

About 10 years ago, I was a novice listener of David Marsden’s live broadcast over the internet from a station out of Oshawa, ON Canada. His style and selection of music (mostly alternative 80s and current off-the-beaten-track tunes) had grabbed me from the first show I tuned into (thanks to a recommendation from fellow music blogger RalphD). One night, I distinctly remember being stopped dead in my tracks when a song came up that I had never heard before. I quickly shot off an email to Ralph asking, “WHO is that?” Ralph’s answer came back with an oddly-named group—SLAVE to the SQUAREwave—and a brief history of who, what, when…

The song at the time was “Sinners of Saint Avenue,” and from that moment on, I became a die-hard “Squarehead.” The melody, the lyrics, the singing…up until that point I had firmly believed that there wasn’t a singer out there that even came close to my longtime idol David Bowie. Well, holy cow, was I wrong! Here was Colin Troy McPhail, backed by the incredible musical talent of Rob Stuart, delivering the range, the pitch, the drop-dead gorgeous passion of Bowie, but with his own distinctive and personal flair. Thank goodness for me that RalphD was himself a huge “Squarehead” and happily pointed me in the direction of finding out more about S2TSW.

Since then, I’ve had the pleasure and good fortune to feature SLAVE to the SQUAREwave (Colin and Rob Stuart) several times here on Rave and Roll blog. Rob even interviewed me last March for his “The Mixtape Show” DJ slot on NYTheSpirit.com. This, however, is my first opportunity to interview Colin, the angelic and passionate vocal genius of S2TSW. If you’ve never had the privilege of listening to SLAVE, please give yourself that treat. They release their new album Jigsaw on November 10, 2017. It will be available worldwide on all streaming and music websites with an album release party in the works.

Maybe, just maybe, you’ll fall under their indomitable spell and become a Squarehead, too.

(NOTE: At the end of this interview, Colin and Rob have provided a free download of the ambient remix of “Starrs,” a beautiful and moving track. This particular mix is not available on the album Jigsaw that releases on November 10, 2017).

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Missparker: SLAVE to the SQUAREwave’s core musicians are you and Rob Stuart. How did you guys meet up and how long have you been making music together?

Colin: Rob and I met nearly 20 years ago at a rave in Oakville Ontario. He was playing his EDF (Electronic Dream Factory) music, and I was performing a project called Smokin Jehovah. We got talking and discovered that we lived close by to one another. We met up and jammed out some of our own music ideas and began a lifelong friendship through music.

Missparker: As someone who can’t hold a tune in a bucket (me), but is blessed with good ears, I am in awe of your tremendous gift of singing. I’ve mentioned to anyone who’ll listen that you remind me so much of David Bowie in style, range, and expression. Do you consider him an influence? Is there anyone else who has inspired you vocally?

Colin: Of course, Bowie is God (laughs). He is by far the greatest artist that has lived. But musically I’ve been influenced by what I call the Davids—Bowie, Byrne, Gahan, Sylvian, and Lee Roth—all my Davids have been musical influences lyrically, musically, and of course, showmanship.

Missparker: I have to say, after viewing a number of SLAVE videos on YouTube, I feel like I’ve missed out big time on your live performances. You seem to morph into all kinds of different and interesting personas. Are they inner characters that you allow to escape onstage? Do they have names?

Colin: (laughs) HAHA, good question…hmmm…The Characters are mostly influenced by the songs themselves. So performing live, the characters just add to the ability to make the songs visual, as well as lyrical. Live, it’s so much fun—hmmm…I’ve never thought of names—maybe I should (laughs)!

Missparker: I have to say I’ve thoroughly enjoyed my preview of Jigsaw. I’m full of questions, but I’ll try to contain myself and keep it to a bearable number! First, where did the name Jigsaw come from? And the delightfully fun intro “Debauchery”—does it have a particular significance?

Colin: This past year and a half has been a personal nightmare—from losing a job and getting transferred to a different job, which has been frustrating—to having my car stolen—to losing a great relationship (at least I thought was)—to losing my dear sister to cancer this past summer. Jigsaw is about the pieces I’ve lost and trying to put some kind of puzzle back in order.

Debauchery is an ode to musical theatre like Cabaret or Chicago. Just a fun sexy, sassy little number to introduce your ears with.

Missparker: No pun intended, but “The Coldest Night of the Year,” along with “Starrs,” absolutely give me chills. They are gorgeous: instrumentally, lyrically, and stylistically thanks in large part to your poignant delivery. What can you share about the source of the emotion behind the lyrics?

Colin: “The Coldest Night” was written around New Year’s Eve of this past year.  I was in a long distance relationship and because of the lack of physical intimacy, I just was overwhelmed with feelings of loneliness. Eventually we ended it a few months later.

“Starrs” is about my dear sister who died of cancer in August. Her middle name was Starr. We knew she was beginning to fade and her time was coming soon. Rob came up with this beautiful track—I was floored by its musicality—probably the toughest song lyrics to write. We finished the song before she passed away. It’s about seeing her again beyond death’s door. I never played it to her. She never got to hear that song. It was too painful for me to have her hear what I wrote—because it was about the inevitable.

Missparker: I’m so sorry for your loss. The pain that you went through is so evident in the music and lyrics. David Marsden has been playing “Starrs” as a teaser of sorts over the past few weeks. I remember thinking, “If the rest of the album is half as good as this, it’s going to be brilliant.” Well…it’s MUCH more than half as good, so “brilliant” is an understatement. Do you have a favorite track, and what makes it that?

Colin:  “Here Comes My Man.” It’s a hilarious true story of a grindr hookup gone bad.

Missparker: “Honest” has an earnest rhythm driving it from behind, almost reminiscent of island music. It’s not the first time I’ve heard this influence in S2TSW’s music. Is there a specific source that it comes from?

Colin: I love drop beats. Both Rob and I love ska music. Rob had a much more musical influence on that track. I had the acoustic melodies and rhythm, but he brought in the drop beats. It’s his genius not mine (laughs).

Missparker:  My ears perked up at the opening seconds of “Something That I Said.” Did I catch a sample of the sample (twice removed) from Eno and Byrne’s “Mea Culpa?” What’s the story behind this song?

Colin: I think you did. My God, good set of ears, my dear! The song is about offending and being offended by people’s stupidity (laughs). It’s such a simple Talking Heads-like rhythm. Gonna be so much fun to perform live!

Missparker:  And speaking of funk, “Something I Said” is one of several funk-laden songs on this (“Fink Fank Fonk,” “White Kids on Funkk,” etc.) that sound like you and Rob had a blast composing. Are there any musicians/bands that you can point to as funk-influential?

Colin: To me FUNK is the best music. It always lifts me up, and great to dance to. I think Nile Rogers is an absolute genius.  It’s about James Brown, George Clinton, Prince…I don’t know where to start. Funk is the biggest musical influence of my life.

Missparker: “Ascension” is a powerful song. It hints at a deep hurt and a request for a prayer that is both haunting and scary…almost as if you’re asking for help to avoid doing something you’ll regret. It’s well-known that music is a creative way to tame the demons plaguing one’s inner self. Personally, writing and photography are my avenues of sorting out what I can’t adequately express. David Bowie once said that his music was his way of avoiding madness. Do you find a similar comfort writing and singing lyrics—a catharsis of sorts?

Colin: Oh wow. You hit the nail on the head. It’s about knowing you’re about to do something wrong, but do it anyway—kind of masochistic.  If you listen specifically to one lyric it’s very, very masochistic. Music has been and always will be my therapist. I think every writer has demons and the best way to deal with is through writing about it.

Missparker: “Get Out Of My House” is a fun, beat-driven, chair-dancing tune. It’s another teaser that David Marsden has been sticking in our ears over the past few months. I love the whimsical video Rob put together for it. The story goes that you guys created this song from opposite ends of Canada, which is phenomenal. How important a part does technology play in music-making these days, and how has it changed the landscape of creating and producing music over the years?

Colin: Actually, 3 or 4 songs were written while I was in Vancouver with a now ex-partner. Rob and I bounced a whack of musical ideas from Toronto to Vancouver at the time. We share the same software, so I would record and send him the track. He would make his adjustments and inputs and return them to me. Back and forth.

Technology is amazing these days. It allows a lot of freedom, if you use it properly (laughs). It has totally changed music production, both in a good way and a bad way. Good in the sense that it doesn’t have to cost a mortgage to record anymore. Bad in the sense that today’s music sounds thin to me, at times. There is a lack of warmth in today’s sound because of over compression. But, that may be because my ears are getting old!

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As a special gift to all listeners, Rob and Colin have provided a free download of the full ambient mix version of “Starrs.” This version is not available on the album that will release on November 10. Press the graphic below to download your copy. 

Many thanks to Colin for his candid and heartfelt answers. To learn more about SLAVE to the SQUAREwave and listen to the fabulous music described here, be sure to check out the following sites:

Get Out Of My House (Video edit)–SLAVE to the SQUAREwave

David Marsden/NYTheSpirit.com Interview with Colin and Rob

Big Change (extended mix 2017)–SLAVE to the SQUAREwave

Sinners of Saint Avenue–SLAVE to the SQUAREwave

Hopeless Believers–SLAVE to the SQUAREwave

London Baby–SLAVE to the SQUAREwave

80s Music Rules ~ Criminally Underrated Artists/Bands ~ Glamatron (Rude van Steenes and Kurt LaPorte)

Timeless music doesn’t fade away. Fueled by the passion of its creators, sometimes it rises from the ashes to feed ears that are tired of listless, formulaic tunes and hungry for solid, genuine, and soul-thumping Music-with-a-capital-M.

Glamatron! was originally formed in 1981 by Canadian musicians Rude van Steenes and Kurt LaPorte.  Together they produced one Glamatron! album called Only the Heart Beats … Inside the Silence. There was one other album to follow that never, unfortunately, saw the light of day: Chrome Horizons. After Glamatron! was dissolved, van Steenes and LaPorte then formed Vis-A-Vis in 1984, which was nominated for two awards and won the 1987 CASBY Award for Best Independent Artist.

Prior to Glamatron!, Rude van Steenes was the front man for Canadian punk band ARSON, formed with guitarist Marcel La Fleur and highly visible in the Canadian and American punk scenes during the late 70s and into the 80s. Fast forward to 2013 when Van Steenes and guitarist Marcel La Fleur resurrected ARSON and released a blistering, well-received album called not always about you.

Now, it’s time for van Steenes and LaPorte to reintroduce Glamatron!. And what makes the reemergence of this album doubly exciting is, well, that it’s a double album. Not only is Only the Heart Beats … Inside the Silence back, the previously unreleased Chrome Horizons is now available as part of the package.  Add to this the influences that its creators point to: Bowie, Roxy Music, Lou Reed, Marc Bolan & T-Rex, as well as early Ultravox, Wire, and Magazine, and you’ve got a collection of music that will absolutely wow fans of early New Wave. DJ David Marsden has been giving solid airplay to various tracks from Glamatron! on his Internet streaming radio station NYTheSpirit.com, and they have been met with keen interest.

Rude has graciously agreed to be interviewed, and I am proud and pleased to re-introduce you to this wildly gifted musician and his music. I have enjoyed…and will continue to enjoy…Glamatron!’s recently reissued Only the Heart Beats and Chrome Horizons. I know New Wave/post punk fans will, too.

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Missparker: Thanks so much for taking the time to talk with us about Glamatron!. I think an obvious first question is, what inspired you to reissue Only the Heart Beats … Inside the Silence and Chrome Horizons? And, who were your partners in crime (other band members)?

Rude van Steenes: Thank you for the opportunity and for all the great work you’ve done in supporting and bringing new life to one of the most creative eras in music! It truly is a pleasure to see this music thriving so many years later while continuing to garner new interest through the great articles you’ve written on the bands and artists and your ongoing support.

So, the question was, ‘What inspired me to reissue these albums and who else was involved?’ Well, the reissue was something I had been dabbling with in my mind for some time. I always thought the initial recording, Inside The Silence, was a diamond in the rough in that it was recorded on an 8 track reel-to-reel deck in a basement studio with little-to -none of the studio enhancements available today. The songs were roughly fleshed out by Kurt (Laporte) on guitar and myself on synthesizers and drums; then, Rick (Krausminc) came in on additional keyboards.

We worked with several players including Max Hutchison on drums and Marky Haughton on bass. Although Max and Marky played together on the same tracks, both left together before the recording was complete. This led to Kurt playing both guitars and bass, Rick on keyboards, and myself on vocals, synthesizers, and percussion while Max played drums on 3 tracks, Ben Elfassey on one, and I played on 2 tracks for the finished product. I think we recorded it over two weekends, mixed it, and borrowed the money for a pressing of 950 copies and that was it!

The cover was designed by Anne Marie Carlson and the striking woman featured is a portrait of her mother. The layout was bold for the time; most akin to the European releases of that era which had appealed to us.

Although critically acclaimed, North American labels in general were not interested as it lacked, in their opinion, “commercial appeal” and was considered “ahead of its time” for their audiences. Remember, the Canadian industry was tethered to their American parent companies and, at the time of release, the popular markets played Eye of The Tiger by Survivor, Physical by Olivia Newton John and Ebony and Ivory by McCartney and Jackson, as well as artists John Cougar, Chicago, Foreigner, and Toto topping the charts in North America, so no one here could or would do anything for us. Although the European scene was much more in tune with our sound, we lacked the management and resources to market ourselves over there.

And that brings us to Chrome Horizons, the previously unreleased, three-quarters completed, follow-up to Inside The Silence. At this time, Kurt, Rick, and I were working on some ideas and were joined by Scott Matthews on bass and Rob Greenway (a.k.a. Brilliant Fish) on drums. At some point, Kurt dropped out, leaving the project guitar-less. This was, of course, a challenge I wasn’t anticipating, and it took a while to adjust ,too as Kurt, for the most part, was my song-writing partner; however, as I had the bulk of the lyrics and part of the music written, it was then up to all of us to complete the pieces in the studio.

We took on the song Call written by Rob and, after a few runs, it started taking shape. Scott’s fluid bass lines combined with the keyboard melodies and stylized vocals, gave the finished song its character. The rest (Intrigue, Photographs, Death In September, Art of Seduction, And We Who Dare) followed suit; however, this was another self-produced indie project and we were again in a financial crunch unable to continue. In fact, one track didn’t make it on the studio version (And We Who Dare), as it wasn’t ready. It is, however, included on the live version of the CD and Bandcamp download. What was salvaged from those sessions remained on master cassette tapes for better than 30 years before being re-mastered by Scott in his studio this year.

Finally, what brought this all to light this year was a message I received from my friend Jacek who has a label called Artoffact/Storming The Base. He was interested in Glamatron! and asked if he could do a re-issue of the original first record. I then told him about the unreleased 2nd album and live tracks and a deal was struck to put the whole package together. They did a wonderful job, packaged the vinyl in optional pink along with a great poster, and the CD has a beautiful little booklet and bonus live tracks, as does the download. Really impressive—their label also has an incredible roster of artists that I’m proud to be amongst—such great influences and talents. (Please see the links at the bottom of this article for more information).

Missparker: To me, it’s quite a shift from ARSON’s pure punk to Glamatron!’s New Wave. What was the reason for switching genres, and did you find it to be a natural progression?

Rude van Steenes: Well, for starters, I think musician, author, publisher Jaimie Vernon probably nailed it best in his description of ARSON:

“Though ARSON was shuffled into the First Generation Toronto Punk deck of cards, one listen to tunes like “Love On A Leash,” “Art School Fool,” “Social Eyes,” “Not Always About You,” and “Motor City Suicide” and 20/20 hindsight reveals that ARSON were/are actually a true-blue American Rock ‘n Roll band owing nothing to The Ramones and everything to Iggy & The Stooges, The MC5, and The New York Dolls” –  Jaimie Vernon, Musician, author, publisher (Canadian Pop Music Encyclopedia Vol 1 & 2, etc.).

So, ARSON was always kind of on the outskirts of the scene. For example, our third show was opening for The Dead Boys at the height of their initial popularity and that pissed off a lot of local bands who had wanted to do that show; however, it was the promoters’ decision, and although it worked out well for us, the resentment from other bands was never completely resolved.

Our shows were also more rock ’n’ roll than punk; being fairly agile performers, we would utilize stage lights, fog machines and experiment with different outfits and even characters. I took on every show as an adventure; however, towards the end of 1979, while playing some dates in New York City including Max’s Kansas City, I began to feel restless—restless to do something more creative, a different trip that would incorporate more diverse influences and, I think, we all saw that coming. Things were becoming strained between all of us, the road had taken its toll, the original scene was dying, and we were still broke and in debt. I needed to move on; ‘transition, transmission’ was my state of mind.

We came back home, recorded The Animals’ We Gotta Get Out Of This Place for the No Pedestrians compilation album, and all went our separate ways. Marcel and I were obligated to play a couple of gigs in 1980, so we picked up a few former players for those shows, and after two years of working closely together, we took a break for some 30 years!

At first, I began experimenting with different ideas under the ARSON banner. I found a guitarist I had known, recruited a bassist from another band, advertised for a keyboard/synth player and a drummer and put it all together. We did some of the old material, but focused on new songs and ideas; and at first, things went well. We played a few shows and started recording some demos. I brought guitarist Kurt Laporte into the band, but tensions began regarding direction and I began to sense potential problems that I didn’t want to deal with. So, I walked away from my creation, Kurt followed, and the remains went on to become Boys Brigade.

Immediately after, I started writing new material with Kurt and I came up with the name GLAMATRON!, which was the complete antithesis of ARSON. We wrote all new material and never once referenced the recent past. We were going to be new and different using our musical influences inspired by the UK and European music scenes. Transformation came quite easily, as I had already introduced characters into the previous band; however, this time everything changed dramatically from the music to the staging to the overall presentation. It was going to be more ‘theatrical,’ if you will, more along the lines of a hybrid Roxy/Bowie/Reed/’77 Ultravox-come-Stranglers affair. I wanted to change back from the stripped-down punky stage setting to creating a more engaging environment that rocked; and, the transition was so complete, that only close friends knew what was happening.

Having always written lyrics and vocals driven by a rhythmic feel from my drumming days and being influenced by a wide variety of jazz, blues, rock, and soul pioneers like Muddy Waters and John Lee Hooker, Elvis Presley, Frank Sinatra, Johnny Cash, Wilson Pickett, Otis Redding, the Walker Brothers, not forgetting  Bob Dylan, Van Morrison,  Joe Cocker, Jim Morrison & The Doors, Todd Rundgren, Peter Murphy, David Bowie, Iggy Pop, etc., etc., at the time, I felt the limitations of the genre that ARSON had become was somehow preventing me from exploring other areas. As much as I loved doing what I did, I wanted to do more.

Writing was always important to me; it was an outlet to express myself whilst defining the moments of my interactions with life and all of its trappings. I grew up with books; I’m still an avid reader with a couple of books-in-progress left throughout the house. Great writers and poets have always fascinated me, particularly when their stories have the power to hold you as if a spell had been cast and you can’t leave until that spell is broken or the story ends.

Writers such as Thomas Pynchon, Edgar Allen Poe, Philip K. Dick, Kurt Vonnegut, Harlan Ellison, Anthony Burgess, Christopher Isherwood, Rod Serling, and Martin Amis, amongst others, could transport you right into their scenes with such vivid descriptors that if you closed your eyes, you could almost feel your senses open to the experience you just read about. So many other wonderful writers—each one has its influences while the best ones leave their mark.

When I came into the music scene, the last of the Beat poets were rolling up their influences in the old coffee houses of Montreal. Allen Ginsberg, Tuli Kupferberg and The Fugs, Jack Kerouac, Lou Reed and The Velvets, etc., had all drifted through and left their mark. It was all good and hung over with hints of old-world/Beat romanticism lingering in the air, giving it a sense of creative freedom. Switching genres was not really difficult, but more of a natural progression.

Missparker: You mention some fabulous influences in the release notes. Can you expand a bit on the elements of some of these artists that gave helped life to Glamatron!? Was it appearance, musical style, a bit of both?

Rude van Steenes: Well, I’ve been musically inclined for as long as I’ve known; my first instrument was drums and I was self-taught. Within two years of practicing, I was playing high schools, parties, and special events. Life at home wasn’t great, and in 1967, I left home and went to the west coast, finding myself in San Francisco for part of the summer of love. That experience opened up so many different avenues in music, poetry, art, and film that it easily became the creative extension of the Beat generation.

While many of my then contemporary influences included The Beach Boys, Jan & Dean, Dylan, and Frank Zappa to Paul Butterfield to John Coltrane, the Velvet Underground to Motown to Miles Davis and on the British side, John Mayall, the Stones, Animals, Who, Troggs, Them, etc., they were now joined by The Doors, Hendrix, Janis Joplin, Pink Floyd, Traffic, Small Faces, Moody Blues, Cream, etc., and styles from American garage to psychedelia to glam incorporating Bowie, Bolan, Roxy, Todd Rundgren, et al. All of these influences impacted throughout the seventies and into the eighties, constantly regenerating and further exploiting the boundaries of creativity, which at that point, showed no limits. Rock and Punk had bred New Wave, Goth, Hair Metal, Nu-Metal, Industrial, and Grunge—all variations on a theme!

My personal tastes have always leaned more to the other side of the pond with exceptions, of course; but in general, there appears to be a greater appreciation for music and the varieties and styles seem to co-habit in more of a non-competitive environment in comparison to the North American artists. I’d love to go over there and play some dates—we’ll have to look into that!

So as a direct answer to “was it appearance, musical style, or a bit of both?” The answer would have to be a lot of both!

Missparker: I have to say, when I put the CD in my player, you had me at Passport. I love the marriage of guitar and synths. What made you include an instrumental, and particularly as the opening track? Were you making a statement?

Rude van Steenes: Passport represented a number of things to us as it starts the adventure. First, the sound—a joyous, up-tempo instrumental that signals a new direction. It starts with the synth drone and church bell that opens into a bass sequence before the guitar and drums kick in. The song evolves around Kurt’s guitar lead and builds with momentum as it progresses; timbales kick in, the tempo remains strong, focused as the guitar counter plays against itself until the final stanza when the drums double up to punch out the last notes followed by the synth drone from the opening coming back and leading into Facial Saviour. Second, as the title implies, this is your ‘passport’ to the rest of the record. And, you’ll notice that just as in the beginning of Passport, the pealing bell is repeated at the end of the closing track Porcelain Doll, after the shattering sound of the doll breaking, to signify the end of your adventure.

The record was planned that way in my mind, albeit subconsciously. It emulates the cycle of birth, life, death, and reincarnation while incorporating all the trials and tribulations, joys and sorrows that we encounter on our journey. In the end, we’re reborn; hopefully wiser, stronger, and better individuals as a result of our experiences and encounters. A passport is always a beginning to something, it never ends.

Missparker: Even though “a little birdie” had given me a heads up that Glamatron! was coming to David Marsden’s live stream, I sat straight up in my chair when I first heard Porcelain Doll on his show. My initial reaction was, “Wow—who’s this?” Is this the reaction that you were hoping for from other New Wave fans?

Rude van Steenes: Of course, but it always comes as a surprise that the song still has that kind of impact. Porcelain Doll was a song that was very carefully arranged from the opening strains of the toy piano to the ‘Gregorian-style’ chorus and the off-kilter guitar that drunkenly wanders throughout the song right down to the child’s voice in the song’s midst. The fact that we were able to incorporate all these tracks with multiple bounces and not lose too much clarity on an 8-track reel-to-reel deck was a bit of a miracle onto itself! As it was also the last track we recorded, there were glitches to overcome. For example, we were going to have a drummer for the session, but he cancelled at the last minute. So, I ended up playing drums. Time was also tight, so we had to scramble to lay down all the tracks and, of course, things never go as planned when you’re jammed. We had to level the toy piano samples as they recorded too “hot,” the guitar parts had tracking issues, finding the right “shattering” sound for the ending, etc., etc.; but, in the final hour, it came together. The first time I heard it 35 years ago, it took my breath away and I hoped it would do that for everyone who heard it.

Missparker: Death in September has such wonderful overtones of Bowie’s Berlin Trilogy days. Is that era of his music something that you found valuable to your own work? The reason I ask is because he took a trouncing in the press for his music during that period, but Glamatron! seems to embrace it fearlessly, without regard for critical backlash.

Rude van Steenes: Well, in all honesty, I’ve never written to appease critics and I’ve always admired and respected artistic individuality and integrity as part of the creative process. Lyrics, poetry, prose etc., are an extension of your soul, a diary, if you will, of experiences, encounters, and interpretations that you have witnessed and composed creatively into words. Every artist has their own ‘vision’ and license to explore and interpret in their own way, as to how they perceive the intricacies of life.

David, as we know, was a master of that process not only during the Berlin trilogy but before and long after as well. His poetry and lyrics from early on and throughout his career are, for the most part, shining examples of life experiences woven into a variety of musical fabrics representing every era, so many of which he himself helped create.

The song Death In September was originally titled The Word from the first record and yes, the dark influence was definitely intoned throughout that first album; however, I felt the original version could be improved upon, so we re-recorded it focusing on contrasting the lyrics with a pronounced dance rhythm and a heavier synthesizer track and it pumps so much better now!

Missparker: Personally, I’m drawn to the 80s for the very style that Glamatron! emotes. I think it’s safe to say this collection is very appealing to that generation of listeners. Do you think you have a market with the current generation of music consumers?

Rude van Steenes: I’ve always believed that markets are created and not necessarily by the talent alone, but by a number of factors that include radio airplay, video play, label support, a strong promotional team, and motivated management. With those initiatives in place, I firmly believe that audiences can be created for any genre of music.

Unfortunately, the North American industry has always been “trend” focused in that they would hold back and follow trends rather than set them. Once a trend was established, everything else was put on hold and that’s where the indie labels had some clout. With savvy marketing campaigns, smaller labels could pick up acts, record and distribute them accordingly, and achieve success.

Of course, the majors didn’t like that and started buying out a lot of the smaller labels and either taking them over or gutting them depending on the individual success of each. This totally backfired as the smaller labels had a better understanding of their unique artists and often had chosen talent over profit, something the majors couldn’t understand.

In the early nineties, the industry began suffering major setbacks affecting artists, labels, and consumers and their markets continued to shrink throughout the next two decades. Once upon a time, there was a thriving industry that was able to invest and nurture and grow talent and although it wasn’t perfect, it certainly helped a lot of artists throughout the sixties, seventies, and eighties. Money for investing and promoting, recording and support for musicians was available, and it was, for some, a great community to be a part of.

By the mid-2000s, we saw the decline of the rock star and the rise of the reality TV star, which implies it is basically only about the image. Music took a back seat. When people don’t buy music anymore, the record industry responds by promoting stars with a marketable image. That created image has to then fulfill an objective with commercial potential, thereby stripping out any artistic quality for the sake of sales revenue. In essence, many of today’s songs are not reflective of the artist, but rather carefully written lyrics and hooks assembled by multiple writers with the subject matter designed to appeal to the reality show culture. In other words, today’s pop hits are usually manufactured.

The industry today is almost non-existent, and why bother? With shows like American Idol, hundreds of people can “sing” and they all want to be stars. Why would an industry develop an artist when they have access to clones of today’s stars for nothing?

Do I think that there’s a market for the 80s sound with the current generation of music consumers?  Yes, because good music withstands the test of time and because audiences still seek out good dance music and the 80s had that in droves! We just have to have a solid fan base that can help sustain us in order to continue producing and recording our music.

Missparker: I love, love, love (did I say, “love?”) Call and Art of Seduction from the Chrome Horizons collection. The fretless Mick Karn-ish bass riffs and the Sylvian-esque off-kilter singing absolutely slay me. Was that a nod to the group Japan, or just a coincidental and fabulous collision of incredible sounds?

Rude van Steenes: Well, I would have to say both in this case! We’re all fans of Japan and I would be remiss in denying that there was some influence; however, Call was written by Rob (Greenway) and when we were laying out the track before recording it. Scott (Matthews) was experimenting with his fretless bass while Rob and I experimented with vocal stylings as a progression of the overall “GLAMATRON! sound.” The rest fell into place and we recorded it.

When it came to Art of Seduction, this was a little trickier as the song flowed around the vocal, which had actually started out as a poem I was writing influenced by a series of books I had been reading by Christopher Isherwood called “The Berlin Diaries.” Once we started playing around with some ideas, the lyric developed a flow. Scott again incorporated the fretless bass and the nucleus started taking form. I wanted to keep the background somewhat dark to contrast the bass and vocals and that’s where the notorious Prophet 5 synthesizer came in. I was able to layer several ghostly ‘creeper’ tracks that wove in, out, and between the vocal, bass, and percussion layers. There were other pads that I wanted to add to flesh it out a bit more, but time was a factor.

Missparker: There seems to be a distinct difference in sound between Heart and Chrome. The tracks on Heart are a bit more upbeat, where those on Chrome are a bit darker (and actually appeal to the Goth tendencies in me). What type of evolution had the band gone through to bring about that difference in style? Did that have something to do with not releasing Chrome when it was first made?

Rude van Steenes: Yes, there definitely is a distinct difference in sound between the two which was brought about by a number of mitigating factors. Following the recording and release of Heart, Scott came on board and we did our first live show at a place called The Domino Klub. It was a well promoted showcase; however, nobody, save a few close friends, knew who we were. There were no clues to the past (i.e. ARSON, etc.), and we decided that the less we say, the more intrigue got to play and it worked! The ‘intrigue’ portion played out on national television as a segment of The New Music show where reporters were filmed chasing the band to the dressing room without getting an interview—all in good fun!

It was shortly after that show, when drummer/percussionist Rob came into the picture joining Kurt, Rick, Scott, and I and we started thinking about recording a follow-up record. In addition, we were offered a television taping for a future broadcast. Once the taping was done, it was time to get back to writing.

I think that one of the primary differences in our evolution was that with the first album, Kurt and I wrote the songs and parts and the guitar was always there. Now, with two new fulltime members also contributing, somewhere in the process, Kurt seemed to sense a directional change that he may not have been comfortable with and took a break from the project. As some of the tracks had been written with Kurt’s parts, we had to change those with alternate parts and that was tricky at times. Everything was revamped and all told, Rick, Scott, and Rob did an incredible job breathing new life into the songs.

Other factors include the variety of influences we were affected by in the process of developing the GLAMATRON! sound. As an avid reader and observer, I’m always armed with pens and paper and usually end up with all sorts of scraps of paper with partial lyrics, ideas, etc., in my pockets. At home, I have at least 5 scratch books in different rooms for the same purpose. Scott, Rob and Rick would also gather ideas and throw them on the table; some worked and some didn’t, all parts of the puzzle.

As for not releasing Chrome sooner, there were still tracks to be recorded and mixed, final touches that we weren’t able to finish and like most indie bands, the money is always an issue. Although we were in a slightly better studio with a bit more money, it really wasn’t nearly enough to finish the album. As such, the project was shelved for almost 35 years. What you’re hearing was culled from cassette masters and carefully re-mastered by Scott in his studio.

Of note, one of the incomplete tracks, And We Who Dare was never fully finished although there is a live version on the CD and Bandcamp versions.

Missparker: Only the Heart Beats … Inside the Silence and Chrome Horizons is such a nostalgic trip for me. I just want to put on my dancing shoes, spray my hair up high, and go clubbing. Will there be more—in other words, would you be open to creating more music in the traditional New Wave style?

Rude van Steenes: Well, with the support I’ve been getting from fans, old and new, and of course from David Marsden and his nythespirit.com radio programs, as well as opportunities such as this wonderful interview with you, I’m encouraged and delighted that after all these years, the music and the sounds of that era are still very much alive.

Personally, I’ve never really stopped writing and I do have at least two albums worth of lyrics that easily would fit into that, shall we say, timeless style. Also, let’s not forget, GLAMATRON!’s “successor,” thrice nominated CASBY Award nominees and 1986 winners for Best Independent Artist, Vis-A-Vis!

Vis-A-Vis was actually the continuation of where GLAMATRON!’s founding members, Kurt LaPorte and I, were reunited. Bolstered by our mutual friend and current nythespirit.com host Rob Stuart on synths, along with Gene Burda on keyboards, Gord Baker on drums and Gene D’Onofrio on bass, you had the first version of that band! More on that for another occasion as there may be a CD release in the future.

So, back to your original question, I would have to say yes, there is material there and I’m working on it as well as scripting a video for Porcelain Doll. The hard part is finding like-minded people to collaborate with as many people involved with these projects have moved on and had families, careers, and other projects and pursuits. For example, on my end, I got together with Marcel and some old friends and reignited the band that preceded GLAMATRON!, ARSON. I’ve known these guys since the late 70s and we decided to have some fun and get together, do some shows, and release a CD.

Former GLAMATRON! bassist Scott Matthews works in theatre now in Stratford while former drummer Rob Greenway records under the name Brilliant Fish and plays in various bands. As for Kurt LaPorte, I understand that he gave up playing professionally years ago to focus on career and family. Rob Stuart went on to create EDF following Vis-A-Vis and I was quite honored to be part of his band as a vocalist and percussionist and a contributing writer to tracks on their first CD. Rick Krausminc survived both versions of GLAMATRON! and was a significant contributor to the GLAMATRON! sound. A very talented piano and keyboard player with a great sense of humour, Rick could easily defuse any tense moments. When GLAMATRON! left the room with Elvis, Rick went back to his DJing at clubs and built a successful career.

I should also like to thank Greg Baker, who in the beginning stages of the band, was there and really believed in the project and helped out with all the managing chores and contributed his energy and experience. Also a special thanks to Brian Masters for his contributions to the second album, Chrome Horizons. Playing with all these amazing musicians has been a privilege and something I would love to do again, as so much good has come out of those collaborations, so many creative ideas spilling over and birthing other ideas that flow like paint on blank canvases breathing life into a cascade of colorful notes and leaving something that spurs memories and good times, tears and laughter, love and loss, but always a time that sparks would fly and live dangerously in love with the creative muse.

Be sure to check out Glamatron!’s music and legacy music on the following sites:
https://www.facebook.com/Glamatron/
https://www.facebook.com/VisAVismusic/
http://www.facebook.com/arson.music
https://twitter.com/ARSONBAND
http://www.reverbnation.com/arsonmusic

80s (and Sometimes 10s) Music Rules ~ Criminally Underrated Artists/Bands ~ WARD

(All photographs copyright (c) Elk Road)

Once again, it has been my good fortune to be contacted by a musician who is promoting his band’s music. I say “good fortune,” because when I pulled up Christopher Ward’s music to preview, the band had me at the opening bars of “Liars.” These hungry ears were fed a heaping helping of lyrical, melodic nourishment that makes them want to go back for seconds, thirds…heck, how about just plain binge-listening.

Christopher Ward

Everything that I’ve heard so far from the Los Angeles-based band WARD embodies the absolute best of pre-grunge, pre-shoegaze, post-punk power pop 80s. What a combination! It’s a more-than-welcome trip down memory lane, and a testament to the fact that great music genres never die—they just get re-purposed. Some artists are gifted to do that more successfully than others, and WARD is one of the best.

Christopher Ward was gracious enough to be interviewed for this article. Take a few minutes to get to know him and his supremely talented band, and put your support behind them to give them a much-deserved push into the spotlight.

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MissParker:  How long have you been making music in the L.A. area?

Christopher Ward: It’s been a whirlwind. I think it’s been six months, max…yeah, we’ve been a band only since Dec 1 (2016). A short time; we’ve played 14 shows for almost 1000 people.

MissParker:  Who exactly is the band and what brought you together?

Christopher Ward: Up until about a year ago (Summer 2016) I was a corporate vice-president for a global technology company working in the Empire State Building in New York City. I had played in many bands in the long-ago past, but had hung up on my dreams perhaps 10 years ago. For many reasons, I did what many people do, what they think they should, what will be safe, what will be secure. My life was increasingly successful, but also increasingly unsatisfying. One day I plopped down at my desk and flipped on my music player. The Joshua Tree came on Pandora and I just started crying. Bawling. Nostalgia is a greek word meaning, ‘the pain of a homesickness.’ In that moment, I knew surely that I wasn’t home, where I needed to be. I had forgotten for many years, until that moment, how much I wanted to play rock music, was meant to play music, and how much my heart yearned to be back home: writing music, singing, and performing on stage.

I left New York last summer and got a place in Culver City, CA. I wrote most of our songs in a couple of weeks over the summer…they all poured out quite fast. In late fall, I started putting ads out on Craigslist and a few other places. It was tough sifting through the respondents, but I ended up with a great band that has come to be WARD: Darren Edwards on drums, Karim Elghobashi on bass, and Mauricio Munguia playing guitar, along with me signing and playing guitar. WARD played our first show Nov. 30, 2016 and haven’t stopped since.

WARD @ Lexington Bar (Feb 2017)

MissParker:  You mention in your promo that Echo & The Bunnymen, The Smiths, and The Stone Roses are all influences. I think that’s just the tip of the iceberg, so to speak. I actually hear a bit of early U2 and the British band Ride, among others. Who else do you feel has influenced your music?

Christopher Ward: It’s so funny, everyone seems to have a different take on who we sound like; everyone from The Ramones to Ryan Adams. The early 80s (80-85) has been a target for me, simply because that’s where I’m starting and it’s where I have been harkening back to for a more raw, earnest and live rock sound that I feel is missing from L.A. stages. Tom Petty was the first artist I adored, and always will: His defiance of the establishment and the music industry itself. His songwriting, melodies, and chords are very apparent to me in my music, even if the ‘sound’ is quite different. I love the swagger of The Doors and Echo and the Bunnymen. But more than any other band, I will always adore the ambitious hopefulness U2 continues to dare to bring to music. No band is cooler at being uncool; and yes, their sound is certainly a thread through everything I do.

MissParker: I’m really curious as to what makes a contemporary band go “retro.” Not that it’s a bad thing—on the contrary, I love the trip back to what I feel is the world’s best era/genres of music. But you have veteran musicians like the late, great David Bowie who made it a point to keep pushing forward, pointedly avoiding the past. And another favorite of mine, Gary Numan, has been very vocal about his dislike of being funneled into “nostalgia acts,” preferring to evolve instead of looking back. Yet, as a contemporary band, you do it very well. Why?

Christopher Ward: I adore David Bowie. And in fact, he described himself as a “tasteful thief,” and admitted he would steal happily from other genres, artists and histories. Bowie would be the first to tell us we should readily take ideas from other places, as long we create something unique with that material. The live and raw ‘sound’ from early 80s music, the idealism and arena ambition is incredibly inspiring to me right now, amidst a quite polished and subdued indie rock climate, especially in L.A. I aim to create something new from the known. While WARD is starting with these sounds, I know we will end up someplace else. Our best music is yet to come, and I have no idea what that will sound like. I admit that I started this band on a note of nostalgia, and am happy giving overt nods to the bands that started me down this road. That said, I’ll definitely keep borrowing to make it my own.

WARD @ TRIP (DEC 2016)

MissParker: Who writes the lyrics? Do they deal with a central theme, or are they born of a current state of mind?

Christopher Ward: I write all the lyrics. Love, drugs, and sex cover the themes of many of my favorite songs. Right now, I’m more inspired by introspection about our life choices. Many of the songs have a ‘carpe diem’ sentiment: why we so readily choose safety over the love of our souls, why we are lulled into thinking we have time to waste. I suppose in that way my lyrics obtain more to the introspection of 90s grunge: apathy, confinement, and freedom.

MissParker: I always have to ask this, as trite as it sounds; but as a writer, I’m naturally curious: which typically comes first, the lyrics or the music?

Christopher Ward: Music comes first. Always. I work better as a sketcher than a planner. I think the tone of the songs write the lyrics. I have a book of words I am always looking to insert into great melodies. I’m always trying new things, so that may change some day.

WARD @ Silverlake Lounge (Jan 2017)

MissParker: I know traveling is a huge expense, especially when you have to drag equipment along with you. I am of the (possibly mistaken) impression that cross-country bus trips are turning into a thing of the past.  Do you play anywhere outside of the L.A. area, or do you solely rely on the Internet to get your music out worldwide?

Christopher Ward: We have over 30k fans online, who watch videos, purchase music and give us great feedback. But while the Internet is a powerful thing, nothing will replace live show experience. Live videos can work well to reach more people, but still, the reality is that videos are a sad replacement for the real live show. I think that’s because there’s a very real aspect of theater that goes along with live music: what is special is the moment and space shared between artist and audience. This can’t really be replaced with video. We are still quite new, but very hungry for festivals and live tours outside the L.A. area. And I’m very thankful for your interview with me today. Hopefully, press and interviews like this will help us to connect with the right professionals and start playing outside of L.A. very soon.

MissParker: Your site mentions that you’ve recorded an EP and that the full album is coming soon. When do you expect that to happen?

Christopher Ward: Oh, well good news! Since we first chatted, the EP is now live and available! You can download for free or pay any price you want for it here: http://ward.band/ep. Enjoy!

MissParker: I have come to know a lot of musicians who spend every waking moment trying to get their music played and heard by others. It takes a certain amount of bravery to throw all that you have behind your craft, to the exclusion of everything else. What motivates you to do that?

Christopher Ward: After too many years of my life spent trying to do anything else, giving it my all doesn’t really seem like a gamble anymore.

MissParker: I’m sure we haven’t covered nearly enough territory in this brief interview to give a full picture of the creative force behind WARD, and its ongoing journey. What else would you like to add?

Christopher Ward: Simply to say, that the world needs more people to live the life meant for them and to be who they are, instead of the lives others want them to be. I can certainly thank Bowie for that sentiment, and finally, I feel I am doing my best to live that life. Right now, I think all of us in this band are that, more than anything. It was truly a pleasure to connect with you. Thank you.

~Resources~

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Velvet Walls: Official Featured Video

Live Concert Video Footage

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