* On this page, we're featuring all those interviews you may have missed...

Stored so far...
1: Len~Til
2: Ole Ask
3: Bob Collum
4: Bob Cheevers
5: Dr. Ted Borodofsky (Southern Jazz)
6: Emaline Delapaix
7: Matt Woolway (Rolling Dog)
8: Kim Dancha (US Author)
9: Vinny Rakit
10: Kate Howden of UK Acoustic duo HOWDENJONES
11: Christine Collister
12: Emily Slade
13: Clive Gregson
14: Mark "OX" Browning
15: Rik Wright
16: Jim Love & The Blue Groove
17: John Wetton
18: Bob Bradshaw
19: Karen Tobin
20: Bob Delevante
21: Kenny Edwards

...with more to follow!

Interview with Len~TIL: Singer/Songwriter

DW: Tell us a bit about yourself.

LT: What can you do that ain't already been done a billion times?? When I was around the age of sixteen, the question appeared. I was a young guy in the middle of an incredible creative community. Every one around me was into writing, singer, acting or just living through the movement. That was in north Ontario in Canada in the early 60's and 70's. Already at that time I'd hitchhiked Canada back and forth - coast to coast - singing my songs everywhere. I guess what I'm trying to say is "wonder lust"; they used to call me "lackadaisical Len". Most all Canadians are transient people. The open spaces and far away places sort of call for nostalgic movement. I think this is a major reason for the creative uniqueness that so many Canadian artists have shown us. We don't just play Hockey but we do skate a lot - miles and miles :-)) "Wish I had a river I could skate away on" - Joni Mitchell.

DW: I know you're Canadian, what made you take up residence in Europe?

LT: Blond hair and blue eye's - inevitably!! :-)) I found a woman hear in Europe, started a family and just ended up staying. I decided that to be able to write better material I should try to understand my roots/background. My mother being Celtic and my father Norwegian brought me to Europe, and besides, Canada apart from "first nation people" is inhabited with people from all around the planet and Europeans are for sure no exception. I've learned a whole lot being here and feel that I know both sides now and try my best to reflect that through my artwork and songs.

DW: There seems to be a very vibrant music scene in Europe, who particularly impresses you?

LT: Well, since I reside in Norway and know the scene best here then I'd like to mention Jan Garbarek. I remember back in the late 70's I really wanted to collaborate with this guy - he's a genius and has become a major world figure in Jazz, maybe there is still a chance? He did collaborate with Buffy Saint Marie. Otherwise, the "roots" movement is very apparent these days with new singer songwriters popping up everywhere. I think people in general are pretty tired of all the "plastic" that's gets all the air play. Kids are starting to reflect again and there songs are coming from the heart and soul. My estimated guess is that the F'd up world situation is the major reason. Keep up the good work - that's my advice to the young ones. Performers are tired of the big record companies and we're seeing a lot more independent releases these days and with Internet any thing can be made public.

DW: Your songs (on the "Face It" album) appear to be very personal, where do you get your ideas from?

LT: I consider my songs to be visual, somewhat like painting them on a canvas. I'm a professional visual artist along side the singer songwriter thing. I've travelled, experienced and read allot, so the pictures in my head find an outlet through the songs. Any art is just another way of communicating on another plain. It's like a necessity for any artistic personality, the need to communicate. I guess it could be a spur of the moment thing or a special memory triggered by some emotional happening - that's a good way of putting it. We all have rhythm in us; I think that's universal. People, places, time - fragments of dialog, everything adds up. Each song has its own story and experience so to speak.

DW: As I said in the review, the arrangements are fairly sparse on "Face It" - was that a conscious decision on your part?

LT: Definitely. I am in many ways an expressionist and in order to bring out the personality and soul of my work, the vocal and text had to be in focus. I believe that most of the good songs ever written are genuinely simple and that's what's gonna make them stick around in peoples minds for a while; maybe even make them sing them? I believe in them as they are, that has to be good enough. Picasso's most powerful works are the ones that are the most naive, honest and spontaneous.

DW: I can imagine that you enjoy playing live and that your songs are well suited to that medium - do you prefer playing solo or with a band?

LT: I like performing with the band mostly, cause I enjoy people around me and like to allow space for their colours as well. Although performing alone has its charm. I guess the venue would decide mmmmm?? I like both. I perform alone or with a 5-piece band, sometimes with 2 or 3 harmony singers as well.

DW: We've discussed you playing over here in the UK, have you toured here before?

LT: Unfortunately not lately, although I've travelled and performed all over the UK years ago and really enjoyed myself. Can't wait to do some performing there again, maybe later this year or after the release of my new up and coming album in the late spring or fall. I'm actually looking for a serious booking agent that would work for me there in the UK?

DW: I'm always intrigued to know who (or what) an artiste's influences are - who (or what) are yours?

LT: Most of the songs on the Face It album were strongly influenced by or through the admiration for my late father in law - the great explorer/anthropologist Thor Heyerdahl, also known as Mr Kon-tiki. He will be remembered as the first in the twentieth century to rewrite history, withstanding the resistance and dogma from the established world of science and history. He also expressed his concerns about world ecology already in the 50's in public. In other words, his strength and endurance inspired me to go the wall as it were, concerning my art and to really believe in what I do. I feel extremely fortunate to have known him on a personal level. We had a few magical moments together. Otherwise I should mention at least four major Canadian singer songwriters that have inspired my music allot - Gordon Lightfoot, Joni Michel, Leonard Cohen and Neil Young. I more or less grew up with them.

DW: Any thoughts on a new album?

LT: It's on the way and I'm really happy with it so far. I suspect it to be finished this spring and most likely released in the fall. This time I'm collaborating with a producer and the album will definitely have a world sound and lots of cool new songs and arrangements. :-))

DW: What next for Len~Til?

LT: Len~Til Paradigm is movin'. My goal is to spread my songs to a broader audience. Touring and recording as much as I can in the years to come. And why not start in the UK??

My thanks to Len for taking the time to "talk" to us - Dave
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The Ole ASK INTERVIEW:

DW: As we're new to you over here in the UK, tell us a bit about yourself.

OA: I am 38 years old and live in Vikersund Norway. As we all know life has it's ups and downs, and my music is what I am. The music is a mirror of my heart and soul. I am a cheerful philosophical thinker, and it's very important for me to be honest in my music.

DW: Who are your influences?

OA: My influences are all kinds of melodious music or artists like - The Rolling Stones, Joe Cocker, Janis Joplin, Bruce Springsteen, Rod Stewart, Pink Floyd, Bob Dylan, The Beatles, Willie Nelson, Elton John, The Queen and more…

DW: What's the best song ever written and why?

OA: I don't know if there is a best song ever written! But what I can think of right now must be, "The joker - Steve Miller Band", "Sweet home Alabama - Lynyrd Skynyrd", "Wild Horses - The Rolling Stones"…

DW: Where do you get the inspiration for your songs?

OA: In every day life, love and travelling.

DW: Do you think your material comes across better live than on record?

OA: If your listen to the music with a headset, you would have a different experience than if you went to a live show. But yes I have often heard that I sound even better live.

DW: Do you enjoy performing live?

OA: Yes I do! A live performance is something special, and it gives you the opportunity to get close to your audience.

DW: Are you working on any new material?

OA: Yes! I have already written new songs for a new album. I have made a demo and I am shopping for a new record deal, and getting a new record deal is the hardest part of it.

My thanks to Ole for "talking" to us - Dave
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The Bob COLLUM INTERVIEW:

DW: Tell us a bit about yourself and your music...

BC: I play what is most often referred to as "Americana-Rock" but I'm not sure what to call it myself. I started playing in my hometown of Tulsa, Oklahoma around 1989 or so.

DW: Who are your influences?

BC: When I was a little kid I discovered the music of Elvis, Buddy Holly, and Hank Williams. We had a cool A.M. station called KELI that would play nothing but old records and I got tho hear all of that stuff. I found my mother's Beatles records a few years later and there was no turning back! They lead to discovering the whole British invasion and beyond... Stiff Records, New Wave/Punk, etc. The influence that made me want to start writing songs was Elvis Costello.

DW: What's the best song ever written and why?

BC: My favourite song changes form day to day. Today, I would have to say its "PO' BOY" from Dylan's LOVE & THEFT ALBUM. It's a revelation every time I hear it. Dylan's sense of humour and his humanity really shine through on that song.

DW: Where do you get the inspiration for your songs?

BC: That's a tough question. Usually I sit around playing chord changes on the guitar. Sometimes I get lucky and find a melody that fits and lyrics that don't make me cringe! I really can't buy into the "sons come from some divine source.. I'm just the messenger" school of thought. It's a craft that you have to learn and takes a lot of practice.

DW: Do you think your material comes across better live than on record?

BC: Sometimes the atmosphere of a gig can make a song come alive, i.e. I lose myself in the performance. It's hard to get that feeling in the studio where you're very aware of every little mistake. I tend to go for the take that comes closest to that "wild abandon" you get at a good gig. Ideally a good song should be able to come across on record with a full arrangement or on stage with just a voice and guitar.

DW: Do you enjoy performing live?

BC: I really love gigging. It's easy to get bogged down in the aspects that are a drag.... travelling on a tight schedule, bad takeaway food, bad P.A.'s, you know... the stuff that takes up 95% percent of the gigging experience. But the other 5%, i.e. the actual performance, the chance to hang out with the guys in the group (bassist Dan Wilkinson and drummer Paul Quarry), the cool people that you meet at gigs, that stuff makes it all worthwhile.

DW: Are you working on any new material?

BC: The next record has been written and we go into the studio in early May. I've really been listening to a lot of "SELL OUT/ QUICK ONE" era Who, so I'm really interested in seeing how that has rubbed off on the new songs. We're going to be working with a fellah called Pat Collier who has worked with Robyn Hitchcock and the Soft Boy so expect lots of grooviness!

Many thanks to Bob for taking the time out to "talk" to us - Dave
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Bob CHEEVERS: POST UK TOUR INTERVIEW (20/01/02)
* Bob Cheevers is an American Singer/Songwriter who lives in Nashville, Tennessee.

* Bob is a Solo Acoustic performer, who's songs are mainly character driven - reflecting life in the Southern States of the US of A.

DW: You've had some time to reflect on your recent UK tour, when will you be coming back?

BC: My second extensive tour of Ireland, Scotland and England is now almost two months behind me...and I'm into booking my next one which will be this coming April/May.

DW: What are the "plus points" that you've taken away with you?

BC: I'm excited about returning to the venues where I've played, seeing the friends I've made and experiencing the rewards of beautiful sights, great food and audiences who come to hear the music.

DW: And the "minus" ones?

BC: I'm reminded every gig I play in America what a major difference there is between Europeans and Americans when it comes to the arts. America is such a disposable society artistically speaking...such a flavour of the month society. Europe, with its vast history, has such an appreciation for stories and background. Europeans love to talk about their forefathers and their country where as Americans just don't seem that interested. When I talk about the characters in my songs to European audiences, they are all ears...they want to know what's behind the songs and what's in the mind of the writer. I love that. It has the quality of making me feel special and at home.

DW: I'd have to agree with you that there is a vast cultural heritage over here - there is a natural curiosity about history in general. Because of this, shared interest, did you find that Europeans are more accessible to you and your music?

BC: There is also such a camaraderie among the venue people who are so willing to share information and make my tours make sense. There have even been those who aren't necessarily drawn to my particular brand of music but who realize what I'm trying to do and have been more than willing to suggest other venues and agents who might be alternatives. Working together to make the music happen...that seems to be a real thread that runs thru the UK's music scene. I'm very taken by that and proud to be supported by so many wonderful people.

DW: Thanks Bob, any final thoughts?

BC: Thanks Ireland, Scotland and England. You are wonderful to me.
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SOUTHERN JAZZ:
DW in conversation with clarinetist - Doctor Ted Borodofsky
Interview conducted 2nd July 2002

DW: How did your band Southern Jazz originate?

TB: Southern Jazz as a group was an idea of mine. As a practicing eye surgeon who loved to play, I didn't have the opportunity very often and when I did I was limited by another groups choice of music. So, around 1990 I looked up the best musicians I could find in my region of Western Kentucky and started the group Southern Jazz..

DW: I'm always interested to know what musicans influences are. Who are yours?

TB: My influence is that of the New Orleans clarinet player Pete Fountain, his voicing and tone in my opinion is the greatest.

DW: Having listened to your recordings, the band obviously enjoys playing together.

TB: The group has had a lot of fun playing together - we do wedding receptions, anniversary parties, conventions, concerts, worked with a local casino near us, charity work etc...

DW: How many albums have you made?

TB: In 1998 we recorded our first CD, "Swingin' In Paducah" and in 1999, our 2nd "There's No Place Like Home" they were recorded in a studio in Nashville.

DW: I get the impression, while listening to your albums, that the music is recorded live - is that the case?

TB: We all played together at the time of our recording although the different parts were on tracks for editing purposes.

DW: All your material is Jazz standards. Do you ever get the urge to write some original material?

TB: We do all head arrangements. No original material...but timeless melodies, just as you noted when listening to our music. As others have commented too, the sense that we are having a good time comes through - and we are. This shows through in our live performances as well. We play off of each other in all our tunes and do a lot of accapella horn work.

DW: I particularly liked the use of Jerry Ford's vocals on the second album, I thought his singing added an extra dimension to the music.

TB: For variety we add Jerry's voice...not often. We all feel the 2nd CD is better than the first.

DW: Will there be a third album?

TB: Maybe there will be a third, I would hope so. There's none in the works now.

DW: What about your live work?

TB: We continue to play in our local area...hopefully we will spread out more in our venues if the opportunity presents itself.

DW: Have you ever considered making a live album?

TB: We have thought about it, but I doubt that I could get the right environment to do it so that it sounds good...but who knows, maybe some day...

Thanks to Ted for talking to us - Dave
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Australian Singer/Songwriter: Emaline DELAPAIX
Interview conducted 20th July 2002

DW: As we're new to you over here in the UK, please tell us a bit about yourself.

ED: Well I am a self taught singer/songwriter who has been playing for just over 3 years now. I write lush fiery songs not limited to one genre but influenced by Folk, Jazz, Pop, Flamenco, Electronic and more. I also have a tendency to use a lot of strings in my songs and am especially fond of violin.

DW: A question I always ask musicians is, who are your influences?

ED: There's so many! I grew up listening to Blondie, Kate Bush, Split Enz and Madonna and think I have actually picked up a little from each of these artists somewhere along the line. I would also add Tori Amos, Ani Difranco, Dar Williams, Heather Nova and eclectic Scandinavian artists such as Anja Garbarek, Stina Nordenstam, Sophie Zelmani & Bjork into the mix but I consider myself a sponge and pick up influences everywhere, I'm not limited to one style, I can even be influenced by writers, films and the weather, in fact the weather features a lot in many of my songs.

DW: How did you get into the music business and what started you off writing songs?

ED: I've always wanted to sing and perform since as far back as I can remember, it's something that's part of me and I've never had to think "Oh, what do I want to be?" it's always been there it's sort of like air to me, I couldn't function without it. I began writing songs when I was about 13, terrible, terrible songs (laughing) but everyone has to start somewhere. Originally everyone thought I was going to be a writer but I was hopeless at finishing them off. I found that songs in themselves were like mini stories and I also got to sing and perform. I also realised that part of it was also getting in a way to kind of act so it was this wonderful conglomeration of everything I loved most.

DW: You have a very interesting and (dare I say it) unique sound, how did it come about?

ED: I knew I loved strings, growing up listening to Kate Bush and Split Enz had shown me that and I really loved the way so many non Rock instruments were used in their music and used well. When I first started it was pretty obvious that a violin would be a wonderful instrument to add to the music as I just began writing on piano and the music lent itself to something soothing and lilting. In Jan 1999 Sara walked through the door, this shy 19 year old who created such a beautiful sad sound with her violin, it was just perfect with what I was doing at the time, sad and melancholy piano songs. Now I have grown as a songwriter I use so many more instruments and sometimes I get carried away because I do so many styles ie Folk, Cabaret, Jazz, Roots, Flamenco, Pop that I want everything on stage and sometimes it's awfully crowded but fun! I think I am very good at picking up ideas non intentionally from things I hear, films I see and the people I meet and I don't limit myself.

DW: I really like your use of acoustic instruments like violin and cello in the arrangements - they give the songs an almost classical quality. Are you classically trained?

ED: No I haven't had any training apart from a few scattered singing/guitar lessons which didn't last long as I am a terrible student and don't read music! I can't take all the credit for the string arrangements, I have to point out that Sara (violin) and Claire (viola) both have this amazing natural talent for arrangements and always know exactly what my songs need. I think we have this innate understanding between the three of us, in fact I think I am lucky with all the musicians I have. I am so blessed to have people around me that understand what I am trying to say through all my crazy
banter and when I hum them a tune or an idea they can just play it automatically, it's fantastic.

DW: Your songs come across as being deeply personal, is this the case and what inspires you to write them?

ED: I am inspired by everything around me. In the beginning when I first started writing everything was mainly about me, I guess it was a cleansing process I had to go through to get to the next step; becoming a great story teller through music which I believe I still have a long way to go with. I have written about extremely personal issues like my own experience with child abuse, death of close friends, love, childhood friendships and have now started to sit back and listen more to the world and put other people's stories into my songs. I am inspired by beauty, struggle and the human condition and think people are fascinating creatures. Sometimes my songs are joyful and other times they can be downright heart wreching but I think it's important that music encompasses every part of us as a people. This includes the sweetness and light as well as the darkness and things we're conditioned not to talk about because of society and it's rules, it's all-important.

DW: I particularly liked the 2002 version of "Slow Down", what's the inspiration for that song?

ED: This song was one of the first songs I wrote and I don't think there's really one particular situtation that inspired it, it is more about the way I was feeling at the time. I think I was 18 or 19 and there were certain people in my life that I thought were my friends and I believed and trusted them. They ended up hurting me pretty badly and I couldn't understand for the life of me how everything went right for these people who were cruel and selfish and why nothing good would happen for me. Of course now I realise this attitude wasn't going to get me anywhere but "Slow Down" gave me a chance to express my frustration and feelings at the time. It's funny because lyrically this song is very childish but I think the vibe is there enough for people to dig it. Some people are going to kill me but I think I want to re record it again for my first album when I get around to it and have been in talks with some people involved in Anja Garbarek's music as I think they would work well with this song.

DW: I found both your EPs left me hungry for more, have you any plans to produce a full album?

ED: I would love to do a full album but being an independent musician that is slightly left of centre it's almost impossible at this point in time without the resources and financial backing that I need. I want to produce something with integrity and professionalism that I can be truly proud of and I want to find the right people to work with for each individual song which will be a long process. I think the two CD's I have done are great starting points and really show talent and promise but now I am ready to move on and create something that will be fantastic and showcase every part of me without letting the music suffer because of lack of money or the wrong people involved in the project. I am however looking at possibly doing demo songs in London for the album when I come in July so you never know!

DW: Your music is virtually impossible to pigeon hole, there are elements of Folk, Rock, Jazz etc in it - is that a conscious thing on your part, or is it just the way your music has evolved?

ED: Nothing I do is ever really a conscious thing when it comes to creativity and music. Because I'm not trained I believe personally this has been a blessing for me as I don't know any better and don't limit myself to one style or sound. Of course having no training can sometimes be harder as I have trouble explaining and defining things but all in all I think it works for me. I think I can also thank the musicians in my band for giving me ideas and because they put their own style into the songs then I learn to move with something different I may have never been able to think of myself. I especially think my guitarist Amira has been partially responsible for opening me up to more styles such as Jazz and World Music, which I hadn't really listened to much before I met her. My music is constantly evolving, next I want to try recording some electronic Jazz influenced music. I have two tracks that I have written in mind so maybe London will be great in getting my creative juices flowing.

DW: You have a worldwide promotional tour ahead of you, have you any plans to record and release a live recording of this event?

ED: I haven't really any plans but I do intend on recording every show and we will be taking a video camera with us on tour so who knows.

DW: After you've finished your tour, what else do you have in the pipeline?

ED: I will be putting together a new band in Australia as Amira (guitar) will be heading off to do her own thing as she's primarily a singer and Sara (violin) now lives in London. I have decided to try out guitar, drums/percussion, cello, piano/piano accordion as my staple live band with other people coming in and out depending on the situation. As I said before I'd like to try some other styles and start working towards putting together an album and securing some sort of financing for it. I will also begin putting together a 2-month tour incorporating Europe, North America and Asia for Spring/Summer 2003 later this year. Oh and sleep and relaxation are really high up on my list of priorities, I promised myself I will slow down a little when I get home but I was never very good at keeping promises to myself when there's a show to be played or work to be done. I am a self-professed music workaholic!

My thanks to Emaline for taking the time out to talk to us - good luck with the tour! - Dave
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Matt Woolway of ROLLING DOG:
Interview conducted on the 1st of August 2002

DW - I'm listening to your demo CD as I'm writing this, how long have "Rolling Dog" been together? Your sound is very tight for a young band!

MW - Thanks, when we recorded the CD we had only been together for about four months. I had written the songs before the band was formed, all of a sudden these simple chord-driven songs were sounding like full pieces when the band came together. The process was really exciting, as a band we gelled real easy.

DW - As we're new to you and your music tell us a bit about yourselves and how the band got started.

MW - It happened in phases really. In chronological order, I started writing songs and my drum-playing brother (convenient, eh?) started to accompany. The guy who originally taught me guitar liked what we were doing and teamed us up with Bridgette (bass) and Rich (guitar) who he had also taught. So I suppose we could have been called 'Graham Bushell's [the teacher] lost children', but we went for Rolling Dog instead.

DW - The standard of song writing on the album is first rate, where do you get your song ideas from?

MW - Song writing is the key, it sounds stupid to say that but so many bands bypass that element and concentrate instead on just making a wall of sound. But you look down the line of great bands, their music has always been underpinned by good structure. That's what you build upon. I sit down with a battered old acoustic guitar and search for melodies until something falls into place, and it generally does.

DW - I always like to ask musicians, "Who are your influences?"

MW - We're diverse for a band, I'm 60s through to indie (Kinks, Jam, Stone Roses, Pulp), Bridgette is Bowie to Smashing Pumpkins, Rich is more guitar led while Sam goes for a more modern mix such as Bluetones, Ben Folds and The Divine Comedy. All in all this makes our diverse sound and has perhaps helped us along the way. There is no direct influence - we're pretty hard to pin down, which is good, the end result is a mixture of melody, guitar-led indie, a bit of rocking out and some good fun.

DW - I particularly like "Forever & A Day" and "Us & Them" what was the inspiration behind these songs?

MW - Well 'Forever and a Day' is all about the working day, the drudgery of 9 to 5 and wanting something different - the fact you want to live your life rather then just go through the motions. There's this great pressure to conform and take your small place in society's big picture, but why? Resist the call to dignify yourself. If you want to fit into this big picture then good luck, but surely you want something for yourself. 'Us and them' highlights our perceived division in society. A suppressive mono-culture exists in most parts of our island, the mainstream, and alternatives are hard to find. This is especially the case if you live outside the big city, your expected to work, take your work home, dance to Kylie Minogue on a Saturday night, drink some expensive bottles of beer and be happy for the privilege. We say no thanks, that's your bag, we're going to find something else for ourselves.

DW - I assume you've played live quite a bit; have you any gigs lined up?

MW - We're gigging and loving the experience, it's great to play tunes that you wrote in your bedroom to an audience of several hundred. Some people are beginning to sing the choruses and clap specific solos now, which is really quite scary. We hire out function rooms rather than play pubs round here, as there are virtually no openings for bands playing their own material. Unless you play Mustang Sally, they a'int interested. But we've really bypassed that stage, having played the Wedgewood Rooms in Portsmouth twice in the past month in the band '02 competition. First the heat, which we won, and then the semi, which we won also. It's great, so many big bands have played there such as Oasis, Ash, The Bluetones and The Divine Comedy. We've beaten some signed bands along the way, which always makes us smile. Them with their Marshall stack and van, us with our little amps and wondering how we're getting to the venue. We've got the final of band '02 in September and Covent Garden Rock Garden in the same month, but we're also lining some up for August.

DW - The tracks on the CD sound very fresh - did you record them "live"?

MW - Actually, we layered them but the is probably due to the fact that there is the live sound. Due to our time constraints we didn't, for example, layer several lead guitar parts on such songs as 'Forever and a Day', which we could have. What you have, on the whole, is what you hear when you come and se us. However, the shows of late and more recent songs have rocked out more though we're still pushing melodies in every direction, of course.

DW - Any news on attracting a major label's interest?

MW - Well we've just teamed up with Holier Than Thou Records, as a guy called David Begg wants to promote us and push us into the spotlight. There are other things in the pipeline as well, mainly resulting from this band '02 event in Portsmouth - label interest. It should all become a bit clearer soon as we're going to Reading to record a promo single for HTT and feeding the quality recording to interested parties. The 6-track demo has served its purpose now, to give people a basic idea what we're about, but you're never going to produce what your capable of if you record six songs in two days.

DW - Have you considered putting the album out yourselves or is that too expensive?

MW - We're confident that if we work hard and keep writing and gigging that we can get someone to finance an album. In the meantime we are going to concentrate on recording one song over two days in a pro studio on a regular basis. The first recording is scheduled to take place on 6th August, a song called 'Plastic People'.

DW - What next for "Rolling Dog"?

MW - We should be recording 'Plastic People' on the 6th, battle of bands final and Rock Garden in September, pursuing interest resulting from this in-between and chasing more gigs. In general, keeping the dog rolling…

Thanks to Matt for taking the time out to talk to us. Since the interview, Rolling Dog have sent me a copy of their Six Songs follow up Plastic People and very good it is too!
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Author: Kim DANCHA
Interview conducted 20th of June 2002

* "My Own Time" by Kim Dancha is the authorised biography of English vocalist/bassist/composer John Wetton. Covering John's early years as a musician to just prior to his involvement with Steve Hackett's "Genesis Revisited" album and subsequent 1996 tour - it's a fascinating read, with plenty of room left for a sequel!

* As Kim kindly sent me a copy of her book to review, I thought it would be a good idea to contact her to find out how the book came about.

DW: What made you decide to write the book?

KD: The idea came to me during John's '95 North American tour. After seeing his Philadelphia show, it reminded me of his interesting history - many bands, never quite gaining the fame he deserved, finding the fame then losing the band, etc. Since I'm a writer first, I did a little research online and found that the only thing formally written about John was a booklet in Japan - so I decided to tackle the project.

DW: How did you go about researching John's musical history?

KD: Through previous work, I knew I had access to Geoff Downes (ASIA) and Eddie Jobson (UK), both good starting points for on John. For some reason, I decided to call Eddie first (I think it might have been because I decided to make calls at night, after work, and Eddie was in the US...as opposed to Geoff who would have been asleep in the UK. At the time, Eddie and John shared the same management company. He suggested I contact the company first, saying they'd probably be more likely to work with me if I told them up front what I had planned. I took his advice and called.
They, in turn, asked me to fax my contact info and a brief outline of the book.

DW: Where did you go from there?

KD: I heard nothing for two weeks until, one afternoon, my phone rang and it was John Wetton. His management had forwarded my fax, and John called to offer his help. No doubt he wanted to make sure it wasn't going to be some scandalous tell-all book, but his assistance and support gained me access to people, facts, and photos I never would have been able to use.

DW: Was JW a willing "interviewee"?

KD: From March of 1996 through February of 1997, I interviewed John weekly by phone. In October of 1996, I flew over to John's house in England, where we selected photos for the book. I wrapped up work in early March, 1997, and the book was published in May of that year."

My thanks to Kim for talking to us - Dave
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US Rock Musician: Vinny RAKIT

DW - Firstly, tell us a bit about yourself and your music.

VR - Well I started playing music at a very young age. My first experience live was at 11 years old in front of a 100 or so people playing a recital on classical guitar. After about six years of that I quit high school and started playing in a cover band and played around a bit in a run down school bus. After a few years I moved out to LA and wrote music with the machines and watched the Hollywood scene from a distance for a few years. Then RAKIT was born taking us to the present going on four years now. RAKIT is dark danceable modern industrial rock.

DW - I found your excellent album - "Rakit" a deeply disturbing listening experience, what inspired you to write the songs?

VR - I was going through some really dark times personally and that is what came out of that time for me. My new stuff is also dark and disturbing in a modern way. But that album will not be tracked until later this year and won't be available until the early part of next year. This will be my first time tracking on a computer system.

DW - My favorite tracks are "Right About Me", "M.I.A.B" & "Hate". "M.I.A.B" & "Hate" are possibly the two most powerful songs I've ever heard - considering you played all the instruments on the album yourself, how did you manage to get so much venom into those tracks without other musicians to bounce off?

VR - As I said earlier, I worked a lot with machines and feel rather comfortable with them and I have always been a loner as a writer and have tracked all the instruments myself so it just seems natural to me.

DW - From a technical standpoint, how did you set about recording the tracks by yourself?

VR - Drums and loops first,then gtr,bass and lastly vocals. All the work including pre pro was roughly 100 hours per song if not more.

DW - I was impressed with your use of color and atmosphere too - I honestly expected to hear a totally over-the-top "Thrash Metal" album when I saw the cover! There are also some nice changes of pace in the songs, which adds to the overall effect. Was that a conscious decision or did the tracks just naturally evolve that way?

VR - Well when I write I normally write a dozen songs till I get one that hits me. The one that hits me does so because it is a good song and does not sound like the others, so I guess in someways it's a conscious decision.

DW - I'm not usually one for expletives in songs, but have to confess that "M.I.A.B" works really well with them in. There's an enormous shock value achieved, was that your intention? - I'll bet that track is dynamite live!

VR - Actually I was p*ssed because my vocal melodies were sucking badly for that song so I tracked it cussing out the world with one pass (pre pro) and kept it to play for my mgr to freak her out. I didn't intend to keep it. She was floored and loved it. I was like really? So even the lyric is that same first run through off the top of my head. Yes the song is a RAKIT cult thing. Our fans scream it out and cuss a long. We love it!

DW - I'm a great fan of live albums, would you consider releasing one in the future?

VR - Absolutely. We would be the perfect band for that since we send the sound man our own mix.

DW - I'm assuming that you haven't played over here in the UK? Have you any plans to do so?

VR - Have band will travel. All we need is the means to get there. Being an unsigned local Los Angeles act makes that rough at the moment.

DW - A questions I always ask - as the answers often fascinate me is, who are your influences?

VR - Well I am a classically trained musician who taught myself how to sing and play rock guitar. My influences were local studio and live rock guitarists who would throw me a bone here and there. They would be like "no kid play it with your heart not your head". I always hated that phrase but now I write from my heart and that is full of anger,rage and depression. Those emotions are my influences!

DW - I assume that your touring the "Rakit" album at present. Do you have any plans to go back into the studio to record a follow up?

VR - As far as "touring" is concerned, we perform locally in Hollywood and Los Angeles on a regular basis but don't have the means to travel with our show. Our live show is very intense. Computer generated lighting fx,white tribal lights, lasers and fog machines. It takes a few crewmembers on top of three band guys to get it set up with in the 15 minutes Hollywood allows bands to set up before they cut into your set time. I currently am writing a follow up album which I have plans on recording in a project studio with in the next few months.

DW - What plans do you have for the band's future?

VR - Bringing RAKIT to the world and letting the world decide what to do with us!

Interview conducted on the 10th of September 2002. My thanks to Vinny for talking to us - Dave
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Interview with Kate HOWDEN of UK Acoustic Duo ~ HOWDENJONES:

DW: Tell us a bit about yourselves...

KH: My background as a musician had started when I moved to Lancaster in 86 and got involved with The Musician's Co-op here, I started as a drummer in a few local bands, and then writing and playing my own songs on guitar in 1995. When I met Paul in 1998 I had been performing in a band locally for a couple of years. The band I was in had split and I was working as a music and arts worker on a project for young people. After a couple of conversations we got together and shared our songs, working out arrangements for two guitars and voices. That developed into us producing our first CD as a demo in 1999, travelling to folk clubs doing "floor spots" and then getting "guest spots". The response was good and in 2001 we produced "Silver Waters" which gave us good reviews and got us more work nationally at clubs and festivals. We gave up the day jobs in autumn 2001 and teamed up with multi-instrumentalist Tony Taffinder, with whom we recorded our third album 'Room to Breathe' in spring 2002…

DW: What's the history of "HowdenJones"?

KH: Last September we played our autumn tour as a duo playing 40 dates up and down the country. Occasionally we were joined by Sarah Cheffins on Fiddle and Nycklharpa. We had known Sarah from visiting many of the clubs and festivals on what we call the M62 corridor! There are lots of folk Clubs out Yorkshire way! It was a great experience working with a fiddler and she brought a new dynamic to what we were doing. By October we had also recruited Laurence Canty (bass), a Lancaster- based player with some tasty bass moves who had also been our photographer, and Trevor Wagstaff (percussion) who had been in a band with me before and was very interested in putting percussion with our material. That's how the band "HowdenJones" was created and we worked together over three months to produce "Beautiful Again"…

DW: "Beautiful Again" is a recording of your November 2003 concert at Glasson Dock ~ what was behind your decision to release a live album?

KH: Our previous albums were studio albums and this was something we had always wanted to do, giving the live sound and feel and encompassing a "best of" our last three releases. Working with Laurence, Sarah and Trevor was a relatively new project for us, opening up different directions, musically and dynamically, working new arrangements for songs done previously as a duo or trio, we felt a live concert with the new-line up was the best way to showcase the band and their interpretation of those songs. Whilst visiting clubs and festivals over the past 2 years members of the audience were asking for particular songs, the new album also gives them all the songs at the present time that they would hear in our live performance…

DW: Where do you get the inspiration to write your songs ~ I particularly liked "Fenham Carr" and "Life On The Road" on the new album by the way...

KH: Inspiration can come in all kinds of ways, from something you see or hear, (I got an idea for a chorus from some graffiti written on the inside of a lift door once!) other peoples and your own experience, stories, bits of history… I can't speak for Paul but as I wrote "Fenham Carr" I can give the story behind that. Lancaster has two buildings that were originally mental institutions in the 1800s, big imposing gothic buildings. When I was working in adult education I was based at a social centre in the grounds of one of these buildings and used to walk my dog there. The Council has opened Fenham Carr as a walk attached to Williamson's Park in Lancaster, and Fenham Carr still has the reservoir used for supplying water to the wards of the hospital and for fire fighting. The place has an atmosphere. I read up information in the local library about the hospital, the tragedy of people being "disappeared" into such institutions and the conditions in which those people existed, and created images from that information that I then used in the song…

DW: I've been listening to a lot of UK acoustic driven "Roots" albums lately, but wouldn't describe your style as "Folk". For the uninitiated, how would you categorise your music?

KH: As we started visiting "Folk Clubs" we fell into a category that was called "Contemporary Folk" at that time, singing and playing acoustic' instruments. But we talked about this one…what do the words 'Folk Music' conjure up? We aren't folk singers. Our songs and music can take on aspects that can sound like folk ballad or traditional tune, but on the other hand can have a blues feel or jazz lilt. We use instruments associated with folk music, (fiddle, bodhran and mandolin) and fuse them with our own style and interpretation. It is our own brand of music and that's very exciting…

DW: All the songs on "Beautiful Again" are classed as "Howden/Jones" compositions ~ how do you write songs together?

KH: When we started playing together each of us brought a handful of songs we had written alone, and worked on them together. We would then have an arrangement for that basic song adding, harmony or instrumental, each person putting their style of playing, singing into that and collaborating that way. "Beautiful Again" brings together that collaboration although songs are originally written by myself or Paul…

DW: Following on from that, how do you decide which one of you will sing lead vocals?

KH: The writer usually sings the lead, but that's not in stone, I sang lead on Paul's song "Mistletoe" (on the album "Silver Waters"). Songs aren't gender based either, "Your Daddy Has Gone" being from a woman's point of view (written by Paul) and "Pretty Fair Maid" from a man's point of view (written by me)…

DW: The musicians in your backing band are all first-class, is there anyone else that you'd like to collaborate or work with?

KH: I have favourites and people who have inspired me over the years, "The Be Good Tanyas" being a favourite at the moment. In collaboration, it is really the sound or style that interests me, it would be great working more out of this country and the folk scene, and networking with other musicians and taking influences from their styles, arranging a song with tablas and fiddle or using non-western scales, playing with a brass band and a full orchestra for instance. It could be anywhere ~ but we are already working towards our first trips to Holland and Canada…

DW: How's the latest UK tour going?

KH: We are not touring as heavily this Spring as we did last year. We've been concentrating on getting the album out and working with the new band. Now is a time to be creating new material. We are also sorting out dates for Autumn this year and Spring 2005…
DW: When can we expect a new studio album?

KH: Working with the band has opened up lots of possibilities and we are itchy already to be recording again. There are thoughts of producing an EP with the band ~ who knows, we have our "fingers in some pies" and maybe we'll be in the studio soon "banking" new ideas…

*Many thanks to Kate for taking time out to talk to us…

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Interview with UK Singer Christine COLLISTER:

DW: I've been listening to several tracks on your excellent "Into The Light" album and I've been trying (with great difficulty) to "pigeonhole" your music. My first thoughts were leaning towards "Jazz", then "Folk-Rock"...How would you describe your music?

CC: Ah well ... I have the same problem. There are so many influences present in everything I do that it is difficult to neatly box it up. I rather like this but ... in the big wide commercial world this is definitely seen as a negative. I live in the hope that "one day" my variety will become my strength!

DW: Looking at the track listings for your various solo albums, I've noticed a fairly even mix of self-penned songs and cover versions. Would you describe yourself mainly as a singer/songwriter or rather as an interpreter of other people's songs?

CC: I would always say that I'm a singer first and foremost. Writing is becoming more and more important to me and I'm able to apply those skills with more confidence as time rolls on.

DW: You included Paul Simon's "Quiet" & U2's "I Still Haven't Found What I'm Looking For" on "Into The Light". What made you choose those particular songs and how do you decide which songs you want to cover?

CC: Those particular songs came to my attention at different times. I'd loved U2's song for many years but not thought of it as a song to sing myself. When I started gathering material for "Into the Light" it seemed an obvious choice. I had no idea how to approach it until Steve Lima and I began to throw some ideas about in the studio. He's such a creative musician! As for "Quiet", this was brought to my attention by my good friend Abi Grant. Both songs were in the same key and the move to dovetail them was a natural movement. As for choosing songs in general; it's a continuous process! I have a number of great friends whose taste in music is wide-ranging and highly selective. This is by far the best way for me to source material; it means I have a much wider pallet to choose from than if I did it all myself. How the final decisions are made is a complete mystery to me!

DW: You've worked with great musicians like Richard Thompson & Clive Gregson. What would you describe as your career highlight so far?

CC: Walking out onto the Albert Hall stage, armed with nothing more than my little guitar and a rising sense of hysteria! I was supporting Don Williams in November 2002 and the thrill of playing to a packed auditorium of the Albert hall's stature was fabulous. I also remember performing to 10,000 people in Winnipeg many years ago ... fantastic! Working with Richard in any situation is also amazing. Sorry but it's hard to think of only one! There are many more but I'll stop myself here…

DW: You'll be touring the UK in March and April, are you performing solo or will you have backing musicians with you?

CC: It's just me and my guitar. I've been a fully-fledged solo performer for 7 years now; it's one of the things I'm most proud of. For a long time I thought I couldn't do it! And now I love it!

DW: What sort of material will you be performing during your UK tour?

CC: A mix of songs from the last 20 years. My latest CD "Home", which is a collection of live recordings over the past few years, is a celebration of my 20 year career. I've re-learnt several songs I used to do way back then and some of them have found their way into the set. There may well be a few new songs too, as I'm beginning the journey towards a new studio CD later in the year...and of course a fair few anecdotes!

DW: You're touring again in the Autumn, have you any other projects between now and then?

CC: Well , apart from a studio album, I'm also working on a vinyl-only recording, working with Roy Gandy at Rega Hi-Fi. He's able to provide an incredibly natural and high quality sound with special microphones and old analogue machines. It's great fun and very exciting…

DW: Tell us a bit more about the “Home” project.

CC: It's part of a celebration of my 20 years in the business! Where did all that time go?! Included on the CD is a CD-ROM portion, which boasts 2 videos! A video of Don McClean's “Vincent”, one of the songs I used to do on Piccadilly radio in Manchester when I first came to England in 1983; and an excerpt of a - soon to be available - DVD, with interviews and footage from TV appearances etc over the years: it's all very exciting.

DW: When will you be releasing the new studio album?

CC: There's no fixed date but hopefully by the end of the year or early in 2005.

DW: A question I always like to ask interviewees (as I'm always fascinated by their replies) is, who are your influences?

CC: I always balk at this one ... there are so many it's hard to know where to start ... and then stop! Here's a few names to start the ball rolling; Jeff Buckley, Bonnie Rait, Peter Gabriel, Joni Mitchell, Karen Carpenter, Beach boys, Beatles, Arvo Parrt, Glen Miller, Billie Holiday, Steeley Dan, Sting, 10cc ... how's that for a few? There are so many more!

DW: What are your future plans?

CC: How long have we got?! More writing, recording, working with other performers, writers; playing with my 9 nephews and one niece, all on the Isle of Man; enjoying life in general and working towards world domination!

DW: Thanks for taking the time out to talk to us.

CC: Hurrah! Thanks for your interest, I really appreciate it.

For more information on Christine Collister, please click on the following Link.

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An Interview with UK Folk Singer/Songwriter: Emily SLADE

DW: For those of us new to you and your music, please tell us a bit about yourself…

ES: I sing and play guitar, write songs, record albums and tour. The style of the music is acoustic and fairly folky.

DW: Are you a trained musician or self-taught? I ask this, because I was particularly impressed with your guitar work on the instrumental track “Fretless” on your new album…

ES: I had guitar lessons from the age of nine from a self-taught folk guitarist. As a child, all I wanted to do was play my guitar. My parents never had any problem getting me to practise. At the age of fourteen my teacher said we’d gone as far as we could with lessons. From that time I actually learned more, teaching myself by listening closely to tapes and records of other guitarists.

DW: I thought the arrangements for “Fretless” (the album) were beautifully understated and uncluttered, was that a deliberate decision on your part?

ES: Yes. I wanted “Fretless”, my second album, to have an intimate feel. My first album was colourful, with a variety of instruments and styles – a public experiment for me in recording, writing, arrangement and production. For the second album, I wanted to focus more closely on my developing style of singing, playing and writing. My own songs and my particular style of playing tend to get lost if there is too much noise and clutter surrounding them so I went for stripped down instrumentation and arrangements that valued space and silence as much as sound.

DW: I loved your cover version of Clive Gregson’s “Blue Rose” and the accapella rendition of Dan Fogelburg’s “Wandering Shepherd”, but why did you choose to do “I Don’t Like Mondays”?

ES: When I was a student I earned money by singing in London hotel bars. All people wanted to hear were covers of popular songs. I learned a whole set of songs by the Beatles, Sheryl Crow, Fleetwood Mac, Cyndi Lauper and others. “I Don’t Like Mondays” was one I used to sing. I’d learned the version on “Fretless” from a man called Dave Burland, who had slowed the song down so you could fully appreciate the words and story. I stopped singing it for years and then sang it one night at a concert with Phil Beer. Phil picked up his fiddle and improvised a great accompaniment. We played the song at subsequent concerts and the feedback from audiences was really encouraging so we recorded a version for the new album.

DW: I noticed that Phil Beer contributes on several tracks, how did he become involved in the “Fretless” project?

ES: I played and sang in Phil’s Band for a couple of tours. When it came to making “Fretless” he offered to come and play.

DW: “Female Rambling Sailor” & “John Rand” reminded me a bit of mid period Kate Bush, is she an influence?

ES: No. The thread that links those two songs, for me, is traditional English folk music. “Female Rambling Sailor” is a traditional folk song. “John Rand” is an original song but the style I seem to be writing in at the moment has its roots in traditional folk. So the link between those songs is really down to the part of my musical upbringing that adored traditional English songs.

DW: Which leads me nicely on to, who are your major influences?

ES: As a small child my parents only played folk music in our family home. None of my major influences are ‘well known’ as ‘popular’ artists. I remember listening, as a small child, to a duo called Bob Fox and Stu Luckley, as well as Nic Jones. A bit later on I started listening to Clive Gregson and Christine Collister. At the stage when I finished guitar lessons I listened to an American singer/guitarist called Brooks Williams, as well as Martin Simpson and Isaac Guillory. Songwriters who I particularly admire include Pete Morton, Brian Bedford, Clive Gregson, Paul Simon and Mike Silver.

DW: Where do you get inspiration for your songs?

ES: I’m not one of those people who has always written poetry and music. I only really started writing when people asked why I hadn’t tried! So my early songs show me experimenting with communicating ideas and stories, through a range of styles and subject matters, testing myself just to see if I could write. My recent songs seem to have grown from things I’ve noticed in the world around me. On “Fretless”, for example, there is a song based on the idea that too much choice can result in a confusion that freezes many young people, rendering them unconfident about making wise choices in life and love. Another song on “Fretless” explores the restrictions we can tie about ourselves in the name of exercising the freedom we have through education, sexual expression, and our use of the money we earn. “John Rand” tells the true story of an 18th century tramp who paid for all my books through higher education. He was a wealthy eccentric who left his fortunes to the parish who buried him – my home parish! I’ve not written widely enough to have really pinned down my style but my inspiration currently seems to be coming from my immediate environment.

DW: I think I’m right in saying you’ve recently finished the “…As I Cycled Out On A May Morning” tour with Ashley Hutchings et al, what was the tour like?

ES: The tour was a musical celebration of the centenary of Cecil Sharp collecting his first folk song. Most of the songs were, therefore, traditional. There were 16 shows in a range of venues from 300 seat theatres to small village halls. The individual musicians in the band chose the songs and Ashley tied the whole set together by researching and performing excerpts from Sharp’s notebooks. An Australian audience member described the show as a musical history lesson! The tour was a treat for me, firstly to perform with Roger Wilson, Simon Care and Ashley Hutchings. Usually, as a guitar player in a band, you are put in the role of rhythm guitarist. In this line up it was possible to experiment with tune, harmony and rhythm with the fiddle and squeezebox. I don’t usually play much traditional music as a solo performer so again it was a treat to indulge in a whole tour of traditional music.

DW: When will you be touring to promote the “Fretless” album?

ES: In March and April 2004.

DW: When you do tour, will you be performing solo?

ES: I love performing with other people and would love the next tour to not be solo. I’ve asked a few other musicians and it’s not always that easy to find musicians who are all available at the tour time, people who enjoy the same music, people who play instruments that will work well and sensitively with my guitar, and a group of people who get on with each other!!!

DW: When will you start planning and writing for your next album?

ES: Now. After the first album I took a long time to consider the direction I should take for the second. The second took over a year to make, which has given me time to think about the direction of the third. I have a couple of differing ideas about the form the new album should take. I’m going to write loads and I’m also considering the possibilities that could be opened by working with a different producer, maybe for a different record company, rather than keeping the tight control over the music that I’ve had over the last two albums.

DW: What other projects do you have lined up?

ES: I’ve been asked to make a short CD of acoustic ‘seeker’ songs – songs with a message. This project would incorporate a tour with a minister, visiting churches around Britain, which would be exciting. There are also a couple of opportunities I’ve been offered that would expand the music to a new audience. For the immediate future I’m taking a break over Christmas, as I’ve not had a break for three years. There’s writing for the new album, rehearsal and preparation for the spring tour – lots to do!

Many thanks to Emily for “chatting” to us…
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An Interview with UK Folk Rock Legend: Clive GREGSON

DW: You start the UK leg of your tour in November, how's the American part been so far?

CG: Not very well! Not at all, in fact... I had to re-schedule the first three dates as I was laid low with the flu. Feeling better now so I'm off to the West Coast in a couple of days. Wish me luck!

DW: Are you touring with a band or solo?

CG: Solo... I pretty much tour solo all the time these days. It' s the simplest and most flexible option for me and also the most enjoyable.

DW: What material have you been playing live?

CG: Whatever springs to mind, really. I try and balance whatever I feel like playing with whatever I think the audience might like to hear. I usually try to play a high percentage of new/recent material. I don't have a set list as such. Just a big list of songs that I dive into. Playing solo means it is easy to change the show every night: so I do!

DW: Do you only do your solo work or do you play songs that span all your career?

CG: I try to visit all areas. Since I've been the only songwriter in all three phases of my "career" (actually I never call it a "career", playing music has been my way of avoiding a career!) i.e. Any Trouble, Gregson & Collister and solo , it's easy for me to just think of it as all just banging out Gregsongs in one way or another!

DW: I've been listening to several of your solo albums, "Comfort & Joy", "People & Places" & "I Love This Town" and was very impressed by them ~ I find your music highly infectious! I know you're described as a Folk Rock musician, but I actually found your material very hard to pigeon-hole. There are elements of Pop, Rock, Folk etc.. How would you describe your music?

CG: To be honest, I try not to! Too difficult.... To the pop world I sound like a folkie, to the hard core folkies I sound like a pop singer. To me it all just sounds like me banging on about me! Typical songwriter... glad you liked the CDs, anyway!

DW: Where do you get the inspiration to write your songs?

CG: Anywhere... books, meeting people, films, newspapers, art galleries, overheard conversations. It's all fair game! The trick is to keep the antenna up, recognise when usable info is coming in and go with it...

DW: I think I'm right in saying that "Comfort & Joy" was your most recent solo album? Have you anything new in the pipeline and if so, when can we expect a new album?

CG: Yes, "Comfort & Joy" is my most recent release. My next CD "Long Story Short" is just about finished. It will be released next Spring (2004).... seems like ages away but it will soon roll around!

DW: Have you any plans to release a live CD of your current tour?

CG: No. "Long Story Short" is actually all voice and guitar recordings (apart from one song that is piano and voice and one song that is banjo (!!!) and voice) so it's like the live show without glasses clinking and people shouting abuse at me! I did a mostly live CD in 1994 ("Carousel of Noise") and that is still available. I decided to make "Long Story Short" a simple guitar/vocal outing for two reasons: one , because I've never done that before (although people seem to think I have!) and two, because a lot of people at my gigs ask if the CDs I sell at the end are like the show they've just seen. Now I can say yes!

DW: I have fond memories of your "Any Trouble" days and, looking at your biog, how many excellent musicians you've played with since ~ Christine Collister, Boo Hewerdine (On tour in the UK at present), Eddi Reader, Plainsong etc.. Do you have a career highlight (or two)?

CG: I've been very fortunate. No rubbish there! I'm eternally grateful for the fact that I've never really had to play dodgy gigs just to make a quid, which can certainly be the musicians lot! I've got a lot of happy memories.... Highlights? Playing with Randy Newman at a radio show in West Virginia, standing next to Richard Thompson onstage for so many nights, touring and recording with Boo and Eddi, the last Gregson & Collister show in London, Any Trouble at Dingwalls, Man Utd doing the treble...

DW: I noticed that you also appeared on Nanci Griffith's "Other Voices" Tour. Are there any other musicians you'd like to work with either as a musician, songwriter or producer?

CG: I play on a fair number of sessions in Nashville, which I really enjoy. I'm happy to play for anybody that asks me, to be honest! I've been lucky enough to play with some of my "heroes"... can't think of anybody offhand that I'd really like to sit and play with. Not now that George Harrison is dead, anyway...
As a writer, I think I'd probably find it hard to top writing with Boo. I'm not a natural co-writer (although I've done a fair bit of it....) but Boo is the consumate collaborator and I think we've turned out a few real winners. Must do some more!
As a producer, I'd love to make records with Dick Gaughan and Dave Burland, two people that I really admire and where I think I could bring something worthwhile to the table. It's pretty hard as a "non mainstream" producer these days. Recording budgets have all but disappeared and more and more people are recording in their bedrooms and basements (me included!).... Still, I get offered a few things and some of them I even get to do!
I tend to like records where the production is transparent, where it just sounds like a bunch of people in a room playing together. Although it can often take a great deal of work to get something to that point, it usually ends up sounding like no production values were employed! Maybe that's why I don't get hired...

DW: I'm always fascinated to know a musician's influences ~ who are yours?

CG: 50s Rock n Roll (Elvis, Chuck Berry, Jerry Lee Lewis, Little Richard, Gene Vincent) 60s pop (Beatles, Stones, Who, Kinks, Hollies etc), Dylan, Randy Newman, Richard Thompson, John Martyn, Nick Drake, Martin Carthy, Nic Jones, Prefab Sprout, Roddy Frame, XTC, Oasis, World Party, The Band, Little Feat, Sex Pistols, Van Morrison, Merle Haggard, Salvador Dali, Thomas Kenneally, Morecambe & Wise, Tommy Cooper, Alan Partridge, Peter Kay, Eric Cantona, David Beckham, Damon Hill etc etc...

DW: What next for CG after the tour finishes?

CG: Little break for Christmas... back in the studio in the new year, for a couple of production projects and to start my next solo CD. Japan in February... US dates March/April, UK in May, Europe in June.... onwards, upwards! No rest for the wicked. Or me, apparently!

Many thanks to Clive for taking time out from his busy schedule to talk to us ~ Dave Clive GREGSON: Interview 2

DW: You're coming over to the UK soon for a solo tour. Have you ever toured with backing musicians or is that not cost effective?

CG: Christine (Collister) and I did one tour with a band back in the 80's but I've never done it as a solo act. It really isn't cost effective, although it's something that would be fun to do. I wouldn't rule it out at some point but don't hold your breath...

DW: You described your last studio CD "Long Story Short" as being like your solo shows, have you ever considered bringing out an actual live album?

CG: "Carousel Of Noise" (1994) is a mostly live album. No current plans to do another but I do tend to record a few shows on each tour and stockpile tracks, so it's always possible...

DW: On the subject of tours, I believe you recently "did" Japan? Is that your first Far-Eastern trip or have you been there before?

CG: I've been going to Japan pretty regularly since 1986. Always a lot of fun, oddly enough my last trip was actually rescheduled at the last minute because one of the other acts on the bill had a serious illness in his family. I'm hoping to go back at some point next year...

DW: You've been doing a tour with Nanci Griffith what was that like?

CG: Still on that tour, actually. I'm writing from my hotel room in Washington DC. Another week to go, we finish up at Carnegie Hall on Nov 2nd. It's been a good experience for me. Hadn't played in a band for ages, also playing quite a lot of electric guitar which I don't do onstage that often. Good bunch of folks...

DW: Did you get to do a solo spot or where you just a member of the band?

CG: I'm essentially just a sideman but I have opened up a few of the shows along the way. Always nice to play to a larger audience...

DW: Are you working on a follow up to "Long Story Short"?

CG: Yes...it's been a bit on the back burner this year since I've been on the road so much! I have a new album about half finished. I'm hoping to get it completed in the first half of next year, or while I'm still young. Whichever happens first...

DW: When will it be out?

CG: I'm shooting for next Autumn. Fingers crossed...

DW: I read recently that you're doing an ANY TROUBLE album and tour, how did that come about?

CG: We were pretty heavily involved in a compilation that Cherry Red/Stiff put out a few years back and it was a very enjoyable experience and also very well received so we got to talking about the idea of doing something new. At this point we have nothing concrete in place (apart from demos of about 30 songs I've written for the project), again because of my insane touring schedule, but the basic plot is to try and record the album early in 2006 for a late spring release, followed by live dates. Watch this space...

DW: What other projects have you got planned for after the UK tour?

CG: I'm going to take a holiday! Hopefully somewhere quiet and warm. I've been on the road almost solidly for well over a year now. After that, AT album, solo album, possibly a production project and then another solo tour starting next May. That will all roll around pretty quickly, I suspect. More of the same, really...which is fine by me!

* CG was "interrogated" by DW. My thanks to Clive for taking the time out to "chat" to us...

* A review of "Long Story Short" can be found in the "Archive" section of the site...

For more information on Clive, please click on the following Link.
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An Interview with New Wave Acoustic Singer/Songwriter: Mark "OX" BROWNING

DW: You're over here on tour in the UK to promote your album "Dust Bowl Revival". Is this your first trip to the UK?

MB: I've been to the UK many times, though until last spring, never north of Birmingham. my mum is english all my family is of welsh decent. I can work here legally without them throwing me out. this is my 3rd tour and this time we're doing the whole 9 yards: Portsmouth to Inverness, Newcastle to Galway, Ireland, Wrexham, Wales... our bovinity will stink up the whole island (well, a few islands I guess)...

DW: The tour's just started how's it going?

MB: We do well in canada and the US but over here it's been pretty silly. people are really liking it... which I found strange because there are a lot of songs about a typically North American experience: fast cars and fast food... and fast women... diners, trailers, stolen stuff... places like, Iowa, Wichita, Alberta, Sudbury Ontario etc.. We do an REO Speedwagon cover and have a song titled, 'Transam', the smoky and the bandit car that never got built over here. none of this seems to matter - people are getting it. which I guess shouldn't really surprise me... I got Thin Lizzy and Pulp...

DW: Are you performing solo or have you got a band with you?

MB: Both... Ireland is all band all the time. UK gigs before the 17th (Glasgow) are sans drummer, we're a 3 piece starting in Wrexham next week. None of this matters, Ox is Ox. It's still a stinking farm animal no matter how it's presented!

DW: You've been compared to fellow Canadian Neil Young. Having listened to your album, I thought your songs and delivery reminded me more of US songwriting greats Paul Simon and Bruce Springsteen ~ but with "attitude"! Would you agree with that assessment?

MB: Sure, I'm ok with that. I think there's a lot of 'tribute' on 'Dust Bowl Revival' - certainly stolen bike is all 'The Boss' with a slice of Canadian cheeserockers, 'Loverboy' in there (nb. the chorus bassline) but stolen car has gotta be grandpa Young - people notice an REM thing in 'Transam', though I'm not a big fan and so it was unintentional - actually I was thinking more of my friends, 'Radiogram' from Vancouver on that one and also, 'Oh Eileen'. Paul Simon is a new one though. You figure that from 'Blue Morning'? He's all right I guess, a little close to James 'Stool' Taylor in my library though...he just don't ROCK man. no offense of course...

DW: I think I'm right in saying that this is your debut album? You've had huge success with it back home in Canada ~ were you surprised by the response you've had?

MB: It's OX's debut album. I screwed around on a couple of solo albums before getting this one going... and in many ways this one was also a solo album, with a 'band spirit' running through it. I sat down and sorted out the songs, did the vocal/guitar opposite Nathan on drums, then did all the bass, then did all the guitar and much of the backing vocals... was instrumental in the mixing with Chon...figured out the song order, did the radio tracking work, booked the tour to support the record... it really was a lot like an extremely expressive musical bowel movement for me, felt like a new man after I'd got it all out. Then others liked the smell and joined in the fun. To take the analogy a little further...it's easy to say the album stinks... but hey, everyone takes another few sniffs after someone cuts the cheese! It's a natural record, very human I think and that's appealing I guess...but yeah, I was surprised especially at the extent of the success. I never would have thought it would go to #1 on the Canadian national college chart - it's #2 in Holland right now and I haven't even toured there yet. It's all good weird...

DW: Who are the backing musicians on the album?

MB: Nathan Lawr ~ drums on everything but 'Transam', piano...
Ruby Loves U ~ organ on 'She Shot Me Down', backing vocal on 'Oh Eileen', 'Carolinah', 'Brand New Key'...
'Cosmic' Dave Jeffrey ~ guitar on 'Going Away', backing vocal on 'Stolen Car' & 'Stolen Bike'...
Jesse Zubot ~ violin on 'Weaving part 2', 'Oh Eileen', 'Blue Morning', 'Stolen Bike'...
Chris Herbst ~ electric dobro on 'Transam', slide on 'Spinning Wheels'...
Liam Carrier ~ backing vocals on 'Stolen Bike'. This guys a filmaker who was 'documenting' the making of the record...
I made him sing...
Geoff Hicks ~ drums on 'Transam'...

DW: I particularly liked 'Blue Morning' & 'North Country Girl'. Tell me a bit about the inspiration behind those songs.

MB: Well, there's a real underlying stream of 'break-up' running through the album and these two songs certainly carry it. My 'ex', the 'nightingale' - reference in Fat Old Sun'...really opened me up musically and emotionally...to my emotional demise...'Blue Morning' kind of points to some musical ideas that she tipped me off to...people like Will Oldham, Royal City. 'North Country Girl' was a drunken accident...a late night arrival at home run-through of a depression-soaked- musical-rant. It came together in sound rehearsals during our initial recording sessions for the record...like, whilst Chon was tweaking mic levels etc., for the 'good' songs...

DW: I also liked "Transam" and the little bit of the James Bond theme during the guitar solo. Who's idea was that?

MB: I kept having this image in my head of a beer swilling, greasemonkey...toque sporting canadian style red-neck but like...a world travel guy...real sophisticated like... stylish but lumberjack plaid. The anti-bond... so, no lotus or jaguar, a f*ck*ng camaro man - a TRANS AM!! Plus it was late, I'd been drinking...it seemed like a neat idea at the time...

DW: Your songs seem intense and in some ways very personal. What inspires you to write?

MB: I write when I walk. I strut... I do some good thinking while I'm on walks - home from the bar, wondering around a new town. I've been to a lot of places and I love to soak them up. I don't sit down and 'get my personal life out' it just happens that way eventually. When things have been processed inside, they spill out into songs. I'm usually a year behind. I like to blend myself into the things and places I've seen... the stolen car, camaro - the turntables - some of that is me, some of that is touring through California...

DW: I've read many different adjectives to describe your music ~ "Punk Folk", "Alt-Country" to name but two. What would your description be?

MB: I can't really say, though I have to in bios and press releases and so on. I enjoy reading what others call it. My favourite is still 'lo-fi'. it's descriptive of the attitude behind things in the same way The Stones kind of summed it all up with, 'it's only rock & roll'. man, you can't really put it any better than that... in spite of poor ol' Pete Townshends efforts to change the world it IS only rock and roll, but I like it... it's great for gettin' chicks....The Who's words, not mine ...

DW: We don't know too much about you over here in the UK, tell us a bit about yourself.

MB: If I can't get it out on record, it'd be cheating to tell you. My hometown is Sudbury, Ontario - the nickel city. Everything I am comes from there at some point along the way...

DW: I have to ask the obvious question I suppose, why "OX"?

MB: The obvious answer I usually give is, KISS was taken. Seriously though, it just crept up to me and sat there... it was in my head for years before I used it for this record. I waited until I was ready musically for it... I had the name, I knew what it would sound like, I could picture everything - trailer parks, trucker caps, pool tables, dirt, dope, videotape, and those sh*tty little halfpint beer glasses you get with the local swill at $1.50 a glass, scum under the nails. trucker rock, but it ain't for truckers. ox is illiterate - the kind of thing you might see scratched onto a cave wall...

DW: You've now got a successful album out and are touring to the masses, what next when you get back home?

MB: No home, just touring all the time. I've lived in Vancouver and Sudbury for a few months at a time over the past couple of years - basically when I needed to do something, like record, or mix, or book another tour. Right now I'm looking at a whole lotta touring coming down. I wanna rock as hard as I can for as long as I can, we'll stop to record next summer maybe if it works out. I want a label to pay for it and then try and keep up with me, if they can...

Muchos thankos to Mark for taking the time out to talk to us! - Dave

For more information on Mark, please click on the following Link

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A Chat With US Jazz Guitarist: Rik WRIGHT

DW: Your music is very experimental, where do you get your ideas from?

RW: Seattle has a very thriving and active avant-jazz and adventurous music community. So some of my approach came from breathing in the air and checking out what's happening in local clubs, lofts and art spaces. On top of that, "Isomorphism" in particular is influenced by modern urban soundscapes, that is, the sound you hear in everyday life: traffic, birds, modems, etc... I've often imagined music rising out of these ambient landscape sounds, and that imagining was the birth of this project.

DW: How did the music for your "Isomorphism" album come together?

RW: I walked into the rehearsal sessions for the recording with about a dozen original jazz charts. I worked those through with the ensemble and decided to record the charts that the musicians had an affinity for. I took those recordings and extracted samples and snippets from them that I manipulated via digital processing to create the loops and soundscapes that I wove back into the original live recordings.

DW: The musicianship on the album is of a very high standard. Was there a lot of improvisation, or had you pretty much got all the parts worked out?

RW: Both. Being a jazz musician, I naturally feel that all compelling music is a delicate contrast of composition versus improvisation. I brought my ideas to the musicians, whom I recruited from the local jazz scene, and allowed them to own the translation of their parts. They each worked within the context I had given them, added in their own interpretations and the result was a hybrid of our thoughts.

DW: "Speaking In Tongues" is an absolute blinder of a track. Where did the inspiration for it come from and was it a difficult track to record?

RW: I wrote that tune two or three years ago and have been performing it with different ensembles ever since. This particular version came together when saxophonist Dan Blunck suggested the syncopated chromatic bass line. That led to he and trumpeter Tony Grasso swinging the horn parts over the staggered bass line and the whole thing came together as a modern avant-jazz take on a big band era swing tune. I then instructed the players to take their solos pretty far out so that the improvised parts would starkly contrast against the more orchestrated parts. I then layered in samples from the opening contrabass solo, some monks chanting from a nearby Buddhist monastery and wind chimes.

DW: I like the way you've virtually steered away from the "verse-chorus, verse-chorus" song format in your work. Was that a deliberate decision on your part?

RW: Well, what I've done is more along the lines of modern jazz interpretation. It's pretty common for a late-20th century jazz recording to feature a written motif, or "head", and then improvisations over that melodic and chordal structure. Artists like Charlie Parker and Dizzy Gillespie introduced this sort of interpretation with the Bebop movement. After that, musicians like Miles Davis and John Coltrane increasingly challenged the boundaries of the improvisations, adding more and more complex music theory over the original compositions. Eventually Ornette Coleman hit the scene and even took those ideas a step further with his "Harmolodic" concepts. What I've done with "Isomorphism" is give my 21st century interpretation of the next logical step in the progression of jazz. I've used traditional jazz instrumentation, ambient sounds, electronica and then mixed in the concepts of European Free Improvisation and American Free Jazz.

DW: One of the things that intrigues me about the recording of the "Isomorphism" album is - did you record it live or put down a basic track and overdub the other parts on top? There's so much interplay between the instruments, that I've assumed it was recorded live.

RW: All of the basic tracks were rehearsed once or twice with the quintet and then recorded live as a (mostly) acoustic ensemble. I then went back to those recordings and overdubbed layers of loops, samples and other forms of digital manipulation on them. In doing so, I "performed" to the original live tracks, responding to the acoustic instruments with my samplers and processors as if they were another live instrument in the ensemble.

DW: Have you any plans for a follow-up to "Isomorphism"? Are you working on any new material?

RW: Yes! In fact right now I'm in the studio mixing "Polymorphism" the follow-up recording which will be released by HipSync Records early this fall. After the recording of "Isomorphism" I performed the material with various ensembles until I finally put together a quartet that I felt gave the compositions a new life beyond the original recording. This group then went into the studio and re-interpreted some of the material from "Isomorphism" as well as recorded some new material. The difference this time around is that it's all live - no overdubs! I'm calling it my "electric bebop" ensemble and early reviews of the material have been fantastic. I'm very excited about it.

DW: How do audiences react when you play your material live?

RW: The original ensemble that recorded "Isomorphism" has only performed publicly together once in a concert theater. The audience was completely blown away by the sheer magnitude of the performance. It's a very complex project to pull off live. It requires me spending hours upon hours setting up racks and racks of samplers, mixers and sound processing gear, as well as sound reinforcement for a large acoustic band. During the performance I divided my time between playing live guitar and triggering samplers and mixing in pre-recorded ambient sound like a DJ. All together, it was too cumbersome to attempt to reproduce nightly on tour. So taking the spirit of "Isomorphism" and streamlining it to perform that material live with a concise touring ensemble led to the quartet that recorded "Polymorphism". "Polymorphism" is defined as "the capability of assuming different forms", and that's in essence what I did. I took "Isomorphism" and I shaped it into something that could more easily be reproduced in a night club setting.

DW: I'm assuming you haven't performed over here in the UK, have you any plans to do so? If so, when?

RW: No, I've never performed in the UK with this material. We have major label interest in my next full length recording and I'm hoping that if all goes well I'll be able to get some corporate touring support to allow me to bring the show to the UK and Europe.

DW: You've mentioned that Kate Bush's "Hounds Of Love" was one of your favorite albums, is she an influence? Who else inspires your work?

RW: Absolutely! On "Hounds of Love" and earlier records like "The Dreaming", Kate was working closely with Peter Gabriel and sampling a lot of acoustic percussion instruments and environmental sounds like surf crashing on the beach and wind blowing. She would then sequence those samples and integrate them into a rhythm or background track for her compositions, much the same as I attempted to do within the confines of the jazz idiom on "Isomorphism". "Hounds of Love" was the recording where it all came together - what a masterpiece!

I've actually been listening to a lot of Europeans pushing the edge of jazz recently. I've been checking out artists like Bugge Wesseltoft, James Emery, Evan Parker and Hilmar Jensson, as well as more mainstream progressive rock artists like Faust, King Crimson and anything Hugh Hopper touches (Soft Machine, Hughscore, Softworks).

DW: What comes next for Rik Wright?

RW: A lot of live performance. My "electric bebop" quartet just came back from performing as part of a big music festival in Vancouver, BC. For the summer I'm playing dates and festivals in the Pacific Northwest, and even curating a concert series here in Seattle. Later this year we are gearing up to tour a good portion of the Western US and Canada, and from there - who knows? I'd very much like to bring the show overseas as soon as possible. I just need to hook up with a good jazz promoter on that side of the pond. I'm very excited to see what the response will be from audiences in London, Belfast, Dublin, Amsterdam, Berlin, Madrid and Paris!

Many thanks to Rik for taking the time-out to talk to us - Dave

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An Interview with the members of US Jazz band: JIM LOVE & The BLUE GROOVE

DW: How did you and the band get together?

JL&TBG: Jim and Andrew have been playing together for 6 years. Last year Jim met Ray through a friend. After many pleadings from Jim, Ray decided to play with him. Jim discovered Seth at a late-night jam session in Philadelphia. And they all lived happily ever after...

DW: Tell me a bit about the musicians involved.

JL&TBG: Jim is slow and from Texas. He is the mastermind behind the Blue Groove. Raymond is from Oklahoma, enough said. He composes the majority of the tunes for the Groove. Seth skews social convention. He provides the search and destination for the Groove. Andrew is from Planet X. He is a lover of all things fusion with a classical background. DJ D-Star lays down solo stylings for Gasm Recordings when not with the Groove. Mike DiFebbo is performance director of a local Big Band. Raina Frey is a budding singer and thespian.

DW: "Gather 'Round" is a very diverse album. I particularly liked the longer tracks (Mayan Blues, There's No Sound etc..) how did those tracks come about?

JL&TBG: While working on these tunes we realized the opportunity to stretch ourselves as musicians and we embraced it. Mayan Blues is all about Jim and his love of the New Orleans sound, and our celebration of the influence it's had on our music. At first listen, There’s No Sound seems simplistic and very bare-bones. However, this is the tune we end most of our shows with, as it represents the culmination of everything we discovered through the night (and in the case of the CD, everything we discovered during the recording sessions).

DW: Jazz has a bit of a reputation for being self-indulgent, yet your album is full of great melodies. Was this a conscious decision on the band's part? Seth Meicht's sax playing in particular is very melodic.

JL&TBG: Music is nothing without it’s melodies. The amazing thing about jazz is that it is a popular form of music with incredible melodic potential. Our goal is to create beautiful music while hitting everyone’s funky bone.

DW: I was particularly impressed by the way you used DJ Dstar on a couple of tracks and your use of modern rhythms. Are you a Jazz drummer by trade or do you come from a more Rock orientated background?

JL&TBG: Jim comes from a Rock background originally, but over the past 10 years, his drumming has evolved into a melding pot of various genres. His unique style stems from heavy influences of Second-Line funk drummers (such as Zig from the Meters, Stanton Moore from Galactic, Billy Martin from MMW, Idris Muhhammed, James Black, et al) mixed with Be-bop drummers, (Elvin Jones, Philly Joe Jones, Art Blakey, Roy Haynes), added in with a little funk (Clyde Stubblefield/Jabo Starks from James Brown, Harvey Mason), a good serving of fusion (Billy Cobham, Tony Williams, Dave Weckl), with a touch of modern jazz (Matt Wilson, Bill Stewart), and a sprinkle of everything else out there, especially world music and rhythms.

DW: Who are your influences?

JL&TBG: That depends on which band member you ask. But as a group we dig: Galactic, MMW, Scofield, the Meters, Trane, and Miles. As individuals, we are into all types of music that allow us to explore our unique style.

DW: Raina Frey's vocals on "Sunday School" made a nice contrast to the instrumental material. Have you any plans to add a vocalist on future recordings?

JL&TBG: Absolutely, we are working on some new tunes that will feature vocals. We like the depth it adds to our already diverse sound.

DW: I can imagine the band going down a storm live. What's the public reaction been like to your music?

JL&TBG: People really get into the music, and we've had nothing but positve feedback. There is a combination of drunken madness, great dancing, and exhilarating conversation every time we play.

DW: I assume you've not played live in the UK/Europe? Are there any plans to do so?

JL&TBG: We haven’t made it to Europe yet. It is definitely on the horizon, probably in early 2004. Is it cool if we crash at your place?

Thanks to the guys for taking the time out for a chat - Dave

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Interview with UK Bassist John WETTON

* I conducted this interview over the phone and my voice came out okay on the recording, but unfortunately, John sounded as if he was in a wind tunnel! I’ve tried several times to decipher the results, but may just have to admit defeat. Part one, featured below was okay, but the sound deteriorates from then on in ~ Dave

DW: You've played with a lot of different bands, let's start by talking about your King Crimson days...

JW: I suppose it was quite a leap...it certainly was for me, and I know it was for Bill Bruford at that time, but he wanted to get into something a bit more experimental...so did I actually. I'd been playing with Family, which was great, and it was a good way to get me in front of an audience...up until then, I'd really only played clubs. Family was a good stepping stone, but I knew that I wouldn't be featured much beyond playing bass and me contributing half a song on an album...whereas Crimson was an open door to a partnership, a democracy if you like.

DW: It's funny you should use the word "democracy", the general feeling, amongst the listening public, is that King Crimson was a dictatorship...

JW: Despite what a lot of people think. A lot of people think that it was a dictatorship, but it was not...you only have to look at the credits. Also you know, Robert chooses people who will talk back, because everyone who's been in King Crimson - they're not exactly side-men. Once we got into rehearsal and decided that we were going to be a band, the direction took a couple of albums to find, but you could do that in those days...you weren't expected to come up with a hit single or anything like that. In the early seventies, we were pretty much allowed carte blanche, so it was easier to record whatever we wanted and then it was up to the record company to sell that. (laughs) Those kind of terms don't really exist anymore...

DW: I can believe that! Tell us a bit about the music...

JW: As you can hear on the first two albums, "Larks' Tongues In Aspic" and "Starless & Bible Black", there were so many direction changes, it goes from contemporary ballads to slashing sort of Heavy Metal instrumentals...sometimes it gets close to Jazz...we were still finding out what we wanted to do and we had all the time in the world and a sackful of talent to do it...really, by the third album which we made, which was "Red" we actually decided the direction, or the direction had decided on us, and it was a lot more concise. In effect we still had those softer ballads and the razor sharp instrumentals, we didn't have anything of the in-between, we'd kind of cut the fat off if you like. Streamlined it, so that it was much more of a live concern and I thought we were going pretty well at the time! (more laughter) The plug got pulled on us and that was the end. There was a lot of individual chemistry in the band...the longer you're together, the easier the direction becomes. It was a bright start, but it burned out very quickly...

DW: One of my favourite tracks is "Red", where the music goes off at tangents I just wasn't expecting that...

JW: In the gig, sort of live situation, I could almost visibly see people thinking, "Where have they gone? I've lost it now!" Just at that point, when the elastic was about to break, we'd come back with a recognizable piece of music, a ballad usually and they'd go "Aaah!"...

DW: The music does sound very "Jazzy" to me, going off in different directions, particularly on "Larks' Tongues In Aspic"...

JW: It does smooth out towards the end...once we'd found our feet a bit more, we knew what worked and how to get it. For me, it was the most complete album that I was on because it was the most satisfying...I think it's stood the test of time more than the other two...

Thanks to JW for talking to us!

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An interview with US singer/songwriter Bob BRADSHAW

DW: As we're new to you in this country, please tell us a bit about yourself...

BB: Born in Ireland, I worked as a street musician around Europe before moving to California in the 1990s where I started a roots rock band Resident Aliens which, the San Francisco Herald said, "provided the soundtrack to many of our memories of San Francisco in the nineties." We released an album "Resident Aliens" and then I released two albums under my own name with the same band "Some Assembly Required" and "Enjoy Your Confusion." I'm presently a student at the Berklee School of Music in Boston...

DW: When I first listened to your "Enjoy Your Confusion" album I was half expecting a gentle, laid-back acoustic album but got a shock when many of the tracks are quite hard-edged Rock! Were you deliberately trying to get away from the "cosy" singer/songwriter image?

BB: You may have been misled by the photo on the album cover which shows me leaning against a brick wall in a folk-singer-like manner, but I wanted each song to have the instrumentation and arrangement it required - whether it be electric guitars and keyboards on something like "Tomorrow Is A Better Day To Die", or acoustic guitar and bandoneon on "Cruel Recipe"...

DW: Following on from that, I loved the arrangements and in particular Scoop McGuire's "White Album/Beatlesque" electric guitar playing ~ are The Beatles one of your influences?

BB: I like the Beatles certainly but I don't think they're consciously a big influence on me. If I'm trying to emulate anyone it's people from the rootsier side of pop - people like John Hiatt and Nick Lowe. Scoop is a big Beatles fan, though...

DW: Where do you get the ideas for your songs from?

BB: They could come from anywhere. Other songs. Books. Everyday conversation. This interview. Anywhere, really...

DW: "Tomorrow Is A Better Day To Die", "Tell Me A Story" & "Lucky 4 U" were my favourite tracks on the album ~ what inspired you to write those songs?

BB: "Tomorrow Is A Better Day To Die" is a song about hero-worship, about how a community might project all sorts of attributes onto an enigmatic, apparently fearless figure. I introduce it live as the theme-song for a James Bond movie that hasn't been made yet. "Tell Me A Story" is about fifteen seconds in the life of a woman who feels abandoned in the company of her lover. "Lucky 4 U" is about a guy who tries to come across as a shoulder-to-cry-on to a woman but who is actually manipulating events so that she will choose him over other men - a sort of "Every Breath You Take..."

DW: I'm also interested to know if any other artistes have covered your songs? (If not, why not!)

BB: I guess I haven't been able to get my songs into the right hands. Some publishers have been interested and contracts signed but it has never gone any further. Maybe the songs are not coverable. They're kind of quirky...

DW: Do you take the full band out when you tour or are you a solo performer?

BB: I play with the band when I'm in San Francisco, but go solo on the east coast. I'm getting more comfortable as a solo performer...

DW: What's the audience reaction like?

BB: Sometimes folk audiences expect singers to sing about their own experiences - incorporating their own opinions, philosophies etc. My songs are generally from a point-of-view outside myself - it could be a ghost singing the song, or a community, or a mermaid. I try not to explain too much in introductions. So it might take a few songs before people in the audience catch on to what the lyrics are about. With a band the energy and the music are more important - nobody can really hear the words...

DW: Any plans to come over here and tour the UK and Europe?

BB: I've some radio-play in Europe but there hasn't been enough interest to justify my touring over there...

DW: "Enjoy Your Confusion" came out last year (2005), any plans for a follow-up?

BB: There's two projects I'm working on now but I'm not sure which one will be finished first. One is an acoustic album of traditional sounding songs with modern, edgy lyrics. The other is a roots-rock/pop album with Scoop McGuire - a continuation of the more rocking material on "Enjoy Your Confusion"...

DW: What plans have you got for the future?

BB: Get as far as I can in school. Keep writing and playing...

* Many thanks to Bob for taking the time out to "chat" to us...

* A review of "Enjoy Your Confusion" can be found on the "Reviews" page...

* Bob was interrogated without mercy by Dave...

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An interview with singer/songwriter Karen TOBIN

DW: Tell us a bit about yourself...

KT: I love to sing, anywhere, anytime for anyone who will listen! When I was in high school I had a duet with a boy named Hugh Leavell; we used to songs like "Why Do Fools Fall In Love” and stuff by Paul and Paula and anything that had harmony. My first band was called "Maiden's Downfall in San Francisco and we did a lot of Eagles, Poco, Allman Brothers, we worked all the time…

DW: Did you sing lead vocals at that time?

KT: I was really a back up singer then but one night they let me do a few solos and then I was hooked on being the front person. Had a few other bands in SF area,I actually sang on the last Hot Tuna Album, Hopkorv -"It's So Easy To Fall In Love", just a harmony part, but I received great reviews in Cash Box; then moved to LA, and worked in a club band 7 nights a week…

DW: What happened after that?

KT: I finally put a showcase band together and got signed by Clive Davis to Arista Records. I was very young and inexperienced and it was a long time ago...when the deal didn't pan out, I started singing commercials and demos and writing a lot. I have been writing all along, through life's changes, and children growing. I almost moved to Nashville after I got a deal with Atlantic Records. We made a great sounding record with Keith Stegall, hey it still stands up today but they said that female artists were not selling at the time (it was the early 90's when all the "male hat acts" were dominating the charts), no more deal...

DW: So, what did you do then?

KT: I went back to California, did some European touring and pretty much laid low for a while. But the songs kept coming. The love of performing was alive and flourishing, and my guitar playing improved a lot. I have two daughters and so many loving friends and the most supportive man in my life now, my engineer, Brian Soucy, who helps me keep my writing and now producing habit alive…

DW: You brought out your album "That's What You Get" independently of the major record labels. What prompted you to do that?

KT: I decided that there were too many good songs in my catalogue that needed to be heard and shared. So, I refinanced my home in California and took some of the money and invest in myself. I am able to get some exposure through CD Baby and various compilations, so I know that people are hearing the music out there…

DW: I got the impression that lyrically your songs are of a very personal nature ~ is that true? Where do you get your ideas?

KT: Yes, unfortunately I have lived some of that heartbreak, and the songs come from feelings so real. The song Maybe Mexico, was a song I'd been working on for a while, I had the urge to just drive and get out of town. It seems anytime I pick up the guitar I start writing!

DW: One of my favourite tracks on the album is "Julieanne" ~ what was the inspiration behind that song?

KT: Well, I remember that one precisely - I was playing that musical hook over and over, then the words starting flowing out, I had to run to find my tape recorder so I wouldn't lose the melody and the title. Then the character was developing so easily it seemed like Julieanne's love experience resembled my own very closely…

DW: For the recording, you surrounded yourself with some pretty formidable musical talent ~ how did you assemble such a great backing band?

KT: I've been playing with Ed Tree for a long time ~ remember that club band when I moved to LA? Well Ed was the guitar player and has been a dear friend ever since. Mark Fosson and I had a long and tumultuous creative love relationship. We were in the duo, Crazy Hearts. We wrote a lot of great songs together which needed to be heard. Howard Yearwood, is one of the best acoustic players in this town. We still work together, he is the master of finger picking, he was also in Crazy Hearts. We toured Europe a few times with that band. Paul Marshall my co-writer on “River Of Time” he is my bass player ~ has been for 12 or so years now. Anytime that I get a good job where we can play my music I call Paul…

DW: I assume you do play live? Do any of the musicians on your album play in concert with you? If not, who are the members of your backing band?

KT; Yes, all of them usually if I can get a big enough budget to pay everyone, I will get the full line up. I play live all the time at least once or twice a month for corporate concerts…

DW: On the touring front, when will you be playing live again? Any chance you'll be doing dates over here in the UK?

KT: I don't have any plans right now to come to the UK, but I am surely open to any opportunities that come up. I would probably come with Howard and Paul and we could do a trio, because I know how expensive it is to have the whole band travel. I play private parties in the LA area, so I'll be performing next week!

DW: Musically, who are your influences?

KT: I love to listen songs by Johnny Cash, Dylan, Eagles some of the great writers from Nashville, like Kathy Louvin and Bob DiPero, Jeff Steele, Lucinda Williams…

DW: Finally what does the future hold for you?

KT; I just completed producing a CD project for Steve Roberson, who recorded 11 of my songs. Interesting to hear some of my female songs sung from a male perspective and it turned out great ~ I’ll send you copy when I receive it in a week or so. Also, I will be starting to record some of my new material just for fun and maybe another release from Sunnyland Records, who knows? Thanks for your interest, I hope I didn't ramble on too much!

* My thanks to Karen for taking the time out to talk to us! Dave

* A review of "That's What You Get" can be found in the "Review Archives" page...

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An interview with US singer/songwriter Bob DELEVANTE

DW: Tell us a bit about yourself...

BD: I'm originally from New Jersey and now live in Nashville. I moved here in 1993 with my brother Mike. At the time we were performing as the Delevantes. We made a record for Rounder Records, "Long About That Time, and one for Capitol Records, "Postcards from Along The Way". As well as a musician I'm a graphic designer and photographer so I sort of work at all these things...

DW: Some of your lyrics come across as being quite personal ~ is what happens to you a good source of inspiration?

BD: Sure, always. And what happens to people I know and just things I run across on a daily basis...

DW: One of my favourite songs on the album is "Circles Around Me"~ where did the idea for that song come from?

BD: I started it when my oldest daughter Emma was an infant and never finished it. Then when my youngest Ella was born (about 3 years ago) I completed the song. Emma can run some circles around me but Ella, Ella perfected that move!

DW: "C&TCM" seems to me to fall in-between a Rock & an Alt-Country album ~ was that deliberate or is that just the way the arrangements evolved?

BD: No, it really wasn't deliberate. That's always where I seem to land musically. It's what I've always listened to, from the Byrds to Creedence to Dylan then and new bands like Wilco. My first band I was involved in with my brother Mike was bluegrass band in NJ! So you can imagine what that sounded like...

DW: Your bass player Gary Tallent ~ famous for his stints with Bruce Springsteen, has worked with you a lot, how did he become involved in your projects?

BD: Mike and I met Garry in Nashville on our first trip here. He was buying a house here. We were all at a Steve Earle show and Mike and I had on the only black leather jackets (besides Garry's) in the room and he came over to us and jokingly said, "you guys must be from NJ!" We just stayed in touch after that, asked him if he'd like to work with us and we've been friends ever since...

DW: On the subject of the backing musicians on "C&TCM" ~ they're a very impressive bunch! Did you have specific people in mind when you started recording the album?

BD: In Nashville we're very lucky that all these people live here. The rhythm section I used are people I play out with. All the other folks are friends who I've toured with in the past or worked on other projects. There is an amazing musical community here!

DW: I assume you have been/will be touring to promote the album ~ do you take a band out with you or is it just you playing solo?

BD: If I can take a band I do, but a lot of times I'll go out with another guitar player as a duo. I enjoy playing with and off of someone...

DW: Have you toured over here in the UK? Have you any plans to do so?

BD: I've toured the UK several times. Once as a duo with my brother Mike and another time we performed with Steve Earle. This was several years ago. I'm currently putting a tour together for late fall or early next year...

DW: Something I like to ask everyone we chat to is ~ who are your influences?

BD: Oh my God, I don't even know where to start! Dylan, Springsteen, The Byrds, The Who, Beatles, Tom Waits, Nick Lowe...

DW: What are your plans for the future?

BD: Hopefully keep on pursuing my art. Be it music, photography or design...

DW: You've included a set of your photographs with the "C&TCM" album ~ I guess you must be a keen photographer?

BD: Yes, I studied it in college and have worked with it on and off for quite a while now. Creatively, it seems to pick up where songwriting leaves off and vice versa. They complement each other...

* Many thanks to Bob for taking the time out to "chat" to us...

* A review of "Columbus & The Colossal Mistake" can be found on the "Reviews" page...

* Bob was interviewed by Dave...

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An interview with US singer/musician/producer Kenny EDWARDS

DW: For those of us unfamiliar with your work, tell us a bit about yourself...

KE: I started out playing music for keeps when Bob Kimmel, Linda Ronstadt, and I started the Stoneponeys . When that band dissolved I joined with Wendy Waldman, Karla Bonoff and Andrew Gold to start Bryndle. We all learned a ton working on that project and, though the band never really surfaced, we formed lifelong musical relationships that continue to this day - I have produced and still play with Karla Bonoff . Wendy Waldman and I are frequent writing partners. I made my first solo CD, “Kenny Edwards” in 2003 and have been doing solo shows in addition to collaborating with those folks and a few others...

DW: When I looked through your discography, I was amazed how many other artistes you've worked with in one capacity or another! Is there anyone left who you'd like to collaborate with?

KE: There are some amazing people who I feel such a musical kinship and would to work with in some context; Eliza Gilkyson, Patty Griffin, Jim Lauderdale, among many others. I Am also a huge fan of Buddy and Julie Miller’s but sensibly realize I would have nothing to add to their perfect CD’s...

DW: Given the fact that you've been active in the music business for many years, how come it's taken so long for you to get round to recording your own solo album?

KE: For years I felt like I was best helping other songwriters express themselves, all of them really impressive talents. I think it took me a long time before I felt I had good enough songs to be worth recording sort of like 30 years of pre-production. Now that I have I really enjoy it; kind of a new beginning for me musically...

DW: Freddie Koella plays an important part on the album, producing and playing various instruments ~ how did he become involved?

KE: A guitar maker friend of mine, Danny Ferrington introduced us. Freddy was looking for songs to record with another artist he was considering producing. He really responded to my songs and offered to work with me on a solo effort - I jumped at the chance; I had seldom heard a more expressive and soulful musician...

DW: I was particularly impressed with your songwriting for the album, where did you get your ideas from?

KE: Thanks. To me that is the key to making a CD that would be worth hearing; the songs and the intent of the music. Sadly, I’m not a particularly prolific writer - the songs come hard and the lyrics especially. I think the lyric ideas are evoked in me by some quality in the music, something hidden in there that I wouldn’t ordinarily ever think of consciously...

DW: "Kenny Edwards" was released in 2002, have you any plans for a follow-up?

KE: Yes, definitely. I think I’m about sixty % of the way to having the right songs for the second CD. Probably by the end of 2006...

DW: You're also well known for being a member of Bryndle along with Andrew Gold, Wendy Waldman & Karla Bonoff ~ tell us a bit about that band...

KE: Aside from the Stoneponeys this was the most formative period in my professional music life. We all were from Southern California and had a similar take on the mixture of folk and pop music that is associated with that area. Really fun to sing with these folks but, as with many bands, too difficult to keep together, especially under conditions of hardship and lack of financial success. Everyone went on to make a living in the business in some way or another but we were unable to do it as a group. I regret that because there was something unique in the potential there...

DW: Have you played over here in the UK and have you any plans to tour over here in the future?

KE: I was there with Linda Ronstadt in the 70’s once and really loved it. I am very interested in coming over and playing there sometime , particularly in small intimate places. I feel like there’s an interest in folky/Americana type music there, at least on a small scale...

DW: A question I always ask (because I'm quite often fascinated by the replies I get) is who are your influences?

KE: Ry Cooder, bluegrass , The Incredible String Band, The Band, and more recently, Buddy & Julie Miller among many, many others; listen and learn is a good motto...

DW: What other future projects have you got lined up?

KE: I’m trying to do as many live shows as possible - I think it’s the real thing; you get the response (or not) right then; not filtered by the radio/record company axis that used to really rule and limit artists in the past. That said, I do like recording and I am producing some; I co-produced with Brian Joseph on his new CD, “If I Never Sleep Again”. And I’m very much looking forward to doing my next CD...

* Many thanks to Kenny for taking the time out to "chat" to us...

* A review of "Kenny Edwards" can be found on the "Reviews" page...

* Kenny was interviewed by Dave...