SINCERELY, FUTURE POLLUTION
STEPHEN SPAZ SCHNEE: SINCERELY, FUTURE POLLUTION is about to be released. How are you feeling about the album and the reaction you’ve had to it so far?
TAYLOR KIRK: I’m extremely proud of the recording. I feel it’s without a doubt the best effort yet. Reactions are encouraging.
Like any genre, Punk was never about just one ‘thing’ – it was a movement made up of many moving parts. Behind the torn jeans, mohawks, leather jackets and missing teeth (thanks, mosh pits), Punk was first and foremost about the music. Initially, a reaction against the overblown pomp of Progressive Rock and Disco (and any other musical movement that the Punk kids deemed pretentious and worthy of a kick in the gonads), Punk became the most influential movement in Rock history since Elvis had his crown stolen by The Beatles in 1964. In 1976, Punk Rock scared people. However, it wasn’t meant to destroy and move on – Punk was about taking Rock back to ground zero and rebuilding it from the ground up. Punk stole the blueprint from Chuck Berry’s safe and brought Rock ‘n’ Roll back to its basic foundation. Sex Pistols was the first band to gain international notoriety, but the whole of England was soon swarming with equally important bands like The Clash, Buzzcocks, The Jam, The Damned, et al. It was a beautiful thing. These bands knew how to write a cracking tune and that is why they are still remembered 40 years after Punk broke wide open.
Judy Collins is an American treasure. From her early Folk recordings – her debut album was released in 1961 – up through her brush with the Pop charts in the latter half of the ‘60s and into the ‘70s, she has possessed one of the most beautiful voices in Pop music. With hits like “Both Sides Now,” “Chelsea Morning” (both penned by Joni Mitchell) and Stephen Sondheim’s “Send In The Clowns,” Collins has built up a catalog of remarkably timeless recordings that never seem to age – much like the singer herself. Her gentle, moving performances have inspired generations of performers spanning all genres. Whether she is performing a song she composed or interpreting someone else’s musical creation, the song becomes Judy and Judy becomes the song. And fifty-six years after she made her recorded debut, Judy’s voice sounds better than ever. If you have ever fallen under the spell of Judy Collins, I’m fairly certain you are still hypnotized by her talent.
WHEN THE BULLET HITS THE BOX:
For over fifty years, Golden Earring has been Holland’s greatest Rock band, yet they have only scored two bona-fide hits in the U.S.: “Radar Love” (1973) and “Twilight Zone” (1982). While they’ve managed to maintain their popularity in other European countries, their unique brand of Rock ‘n’ Roll has largely been overlooked by American audiences. Their career trajectory closely followed that of the similarly-fated iconic UK rock band Status Quo: from flowery Psych Rock band in the ‘60s to Rock titans in the ‘70s (and beyond). However, the band has remained virtually intact throughout their entire career, in this way echoing the longevity of The Rolling Stones. These comparisons aside, Golden Earring has always done things their way. Staying largely out of the spotlight in the U.S. has allowed the band to travel their own path and create music without having to cater to the American market like so many other bands have been forced to do. Ironically enough, the music that these four gents create (Barry Hay, George Kooymans, Cesar Ziderwijk and Rinus Gerritsen) has always been exactly what America needs. Pure, honest Rock ‘n’ Roll that acknowledges but never gives in to current trends.
Those that are only familiar with their two American hits will be surprised to find out Golden Earring has released twenty-six studio albums alongside nearly a dozen live albums, as well as several compilations for those who only want to hear the hits. The four members of Golden Earring celebrate their huge catalog by playing all the favorites to their adoring fans, yet they seldom take the time to celebrate the many milestones that have paved their road to success. Although they are currently acknowledging their Silver Anniversary by hitting the road (again) this year, the band did not intend to put together yet another hit collection to commemorate the occasion. Instead, their record company worked behind the scenes and put together the ultimate tribute to the band: a twenty-nine CD box entitled THE COMPLETE STUDIO RECORDINGS, a glorious set that contains all twenty-six studio albums plus three CDs of non-album tracks. An absolutely astounding set, this release is an important part of Rock ‘n’ Roll history. Forget about biographies, Wikipedia entries or magazine articles. This box tells the real story of Golden Earring in the most honest and passionate way – through their music. Listen to it and weep, because it doesn’t get much better than this.
Stephen SPAZ Schnee was able to chat with Barry Hay, who graciously took time out of his busy schedule to discuss the release of the box and other things Golden Earring-related…
STEPHEN SPAZ SCHNEE: STITCH OF THE WORLD is just about to be released. How are you feeling about the album and the journey you took to make it?
TIFT MERRITT: I’m feeling really proud of this writing, these performances. I feel really, really lucky to have worked with this cast of characters. Marc Ribot is my favorite musician and one of my favorite human beings. He’s plugged into the sun. And I am forever grateful to Sam Beam for his input and generosity. To be in conversation with him about songwriting gave me a new eye on lyrics, on what to look for in third verses, on countermelody. But honestly, I don’t know that I ever truly have perspective on my work. I just have the sense of having had a creative experience that hopefully opened me more and will inform my next creative experience. I think that is what it is all about.
A VERY NELSON CHRISTMAS
STEPHEN SPAZ SCHNEE: THIS CHRISTMAS TOO, the new holiday release by Matthew And Gunnar Nelson, is just about to be released. How are you feeling about the album and the journey it took to create it?
GUNNAR NELSON: I’m actually feeling fabulous about it — very accomplished and proud of the result. It’s been an incredible journey so far. Honestly it’s taken about four years to get to this point with this record. THIS CHRISTMAS TOO is a photo negative of the first release of last year. Allow me to explain: when we recorded this record we intentionally overcut by double. On last year’s release, half of the record had instrumental versions of these Christmas classics. The other half had vocal versions. This year, THIS CHRISTMAS TOO has the songs flipped. What was an instrumental track last year is now the vocal version and vice versa. Plus we’ve added two bonus tracks that were not on the first album, as well as the completely new take on our original Christmas hit single ‘This Christmas’ featuring Carnie and Wendy Wilson, who are driving the whole effort. The good news is, if you bought 2015’s THIS CHRISTMAS album, you’re not going to get a single duplicate on THIS CHRISTMAS TOO — they’re designed to complement each other perfectly.
ONCE UPON A TIME IN THE WEST(WORLD):
As the leader of British outfit The Pack, singer, songwriter and guitarist Kirk Brandon’s unique musical vision was far too adventurous to be constrained by the limits of Punk Rock so he folded that band and moved forward with new ideas. By 1980, he had formed Theatre Of Hate, which included bassist Stan Stammers, saxophonist John Lennard, guitarist Steve Guthrie and drummer Luke Rendle. During their first two years of existence, the band released a few studio singles as well as a live album, HE WHO DARES WINS. By the time the band entered the studio to work on their debut full length, Guthrie had departed and Brandon took over all guitar duties. With The Clash’s Mick Jones in the producer’s chair, TOH began work on what would become a milestone in Post Punk history – WESTWORLD! With a mix of tribal rhythms, Spaghetti Western riffs, Post Punk guitar slashing and Brandon’s passionate wailing, Theatre Of Hate was a band unlike any other. While the band was known for their live performances, they took on a different form in the studio. Pre-dating his Big Audio Dynamite recordings, Mick Jones brought a lot of his experimental ideas to the sessions, which worked extremely well with Brandon’s vision. The end result is still being talked about today…
While TOH folded in 1983 – making way for Kirk’s next project, Spear Of Destiny – their musical legacy lives on. The band has reformed with various line-ups over the years and are now making waves again with both a new album (KINSHI) and a deluxe three CD edition of WESTWORLD. This excellent reissue on Cherry Red includes a remastered version of the album alongside non-album singles, Peel Sessions, alternate mixes and a live concert taped during the WESTWORLD tour. Still sounding fresh and invigorating, this expanded edition is the definitive version of an album that helped pioneer Post Punk in the UK.
Stephen SPAZ Schnee sent off a few questions to Kirk Brandon, who was gracious enough to take the time to respond…
While The Beatles, The Rolling Stones, The Who and The Kinks may have received more press coverage over the years, there is no denying that The Moody Blues are one of the greatest British Rock bands of all time. From their rough and raw R&B roots in the mid ‘60s to their Symphonic Rock masterpieces in the latter part of that decade, The Moody Blues reinvented themselves while also inventing Progressive Rock. Their continued success throughout the ‘70s, ‘80s, and beyond has ensured that new generations of fans have been able to experience their well-crafted Rock and Pop first hand. The simple fact that they are not in the Rock & Roll Hall Of Fame is an embarrassment to Rock Music itself.
One of the band’s driving forces, Justin Hayward, composed and sang the band’s biggest commercial hits (“Nights In White Satin,” “Your Wildest Dreams,” “Tuesday Afternoon,” etc.) and has managed to balance a solo career in between his Moody Blues commitments. Hayward remains an exceptional songwriter nearly 50 years after he scored his first Moodies milestone (“Nights In White Satin”) and is arguably one of the finest vocalists in British Rock/Pop history. Though not a prolific artist these days, Hayward’s solo material is just as emotionally powerful as anything he has released with The Moody Blues. Under-appreciated by mainstream press for too long, Justin Hayward certainly deserves to be mentioned in the same breath as Ray Davies and Pete Townshend if not Jagger/Richards or Lennon/McCartney.
Released just weeks apart, there are two Justin Hayward titles that focus on his solo material… with just a pinch of The Moody Blues to entice you. The first, ALL THE WAY, is a CD that collects fifteen solo recordings and offers a great introduction into his non-Moodies catalog. The second release is a most excellent DVD, LIVE IN CONCERT AT THE CAPITOL THEATRE. Filmed in 2014 during Justin’s tour for his SPIRITS OF THE WESTERN SKY album, the DVD finds Justin in great form performing solo and Moodies hits with equal amounts of love and passion. Aided by guitarist Mike Dawes and keyboardist/backing vocalist Julie Ragins, this trio breathes new life into Hayward’s back catalog including some of his biggest and best-known tracks. To see an artist perform a fifty year old song with as much conviction as a new composition is inspiring.
Expertly captured by director/film-maker/composer David Minasian, LIVE IN CONCERT AT THE CAPITOL THEATRE is a warm and wonderful experience to behold. As an added bonus, the DVD features the video to the brand new song “The Wind Of Heaven,” which is also featured on the ALL THE WAY CD collection. The beautifully photographed “Wind of Heaven” music video, co-directed by David Minasian and Trinity Houston, is a prelude to an upcoming major motion picture by the same producing duo. The song itself is a rare collaboration for Justin who co-wrote the epic piece with David. Justin, who readily admits he’s never really been successful writing with other people, believes “The Wind of Heaven” to be one of the nicest things he’s ever done.
Stephen SPAZ Schnee was able to spend some time chatting with Justin Hayward about the new DVD, The Moody Blues and more…
STEPHEN SPAZ SCHNEE: PEACEFUL GHOSTS is just about to be released. How are you feeling about the journey to make the album and the way it turned out?
MATTHEW CAWS: It feels like a wonderful gift. An orchestral album is something we never would have imagined doing. When the offer came, we were right in the middle of finishing our most recent studio album, YOU KNOW WHO YOU ARE, and didn’t have the bandwidth to focus on it. We learned that Calexico had been asked the year before, which led us immediately to asking our friend Martin Wenk – one of Calexico’s two trumpetists and a Nada Surf collaborator who has played on some of our songs and joined us on many tours – to produce the album for us. That entailed choosing the songs, choosing a composer/arranger and supervising the project’s development. It felt like a distant concept and then, all of a sudden, there we were in Vienna playing these songs for the conductor. Hours later the orchestra arrived. Two rehearsals after that the audience walked in!