interview-justinhayward-forblog

JUSTN HAYWARD: An EXCLUSIVE interview

     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…

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An Exclusive Q&A with NADA SURF’S Matthew Caws!

PEACEFUL GHOSTS:

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!

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An Exclusive Q&A with DAVE HOLLAND!

AZIZA:
The self-titled debut from the Jazz supergroup featuring Dave Holland

STEPHEN SPAZ SCHNEE: The self-titled Aziza album is just about to be released. How are you feeling about the journey to make this album and the reaction to it so far?
DAVE HOLLAND: The whole process of putting together the music on this recording with these three great musicians has been a pleasure and truly inspiring. We’ve received an enthusiastic response from the audiences at our concerts and a very positive reaction from people who have heard the album.

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DANNY BROWN: An EXCLUSIVE Q&A

TELL ME WHAT I DON’T KNOW:

“All rap music sounds the same.”
That is a statement uttered by the non-believers – those who don’t connect with the music and the messages found on the plethora of rap and hip hop releases that hit the streets throughout any given year. However, one listen to Danny Brown’s fourth album, ATROCITY EXHIBITION, will obliterate any notion that all rap/hip hop “sounds the same.” Released on the legendary Warp Records label and featuring guest appearances by Kendrick Lamar, Earl Sweatshirt, Petite Noir and B-Real (amongst others), this is one of the most original full-lengths of the year. While it may not sound like albums by acts like De La Soul and A Tribe Called Quest, ATROCITY EXHIBITION is just as groundbreaking – an album that will appeal to all music lovers who like to live on the edge. On the surface, it will intrigue the listener but as they dig a little deeper, the depths of this album will lead to amazement. Peel away the layers and you’ll discover a cornucopia of musical ideas fighting for a chance to be noticed. This is an album to explore. It is a listening adventure. This is emotion in motion. It is hard-hitting yet loving and embracing at the same time. ATROCITY EXHIBITION – named after a Joy Division song! – is art for art’s sake.
Stephen SPAZ Schnee was able to gather a few questions together and send them Danny Brown’s way. Danny was gracious enough to take time out of his busy schedule to answer them…

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JAH WOBBLE: An EXCLUSIVE Q&A

Invaders Of The Art:

From Post-Punk to Dub to Jazz and back to Dub again, there are very few musical genres that have not been touched by the genius that is Jah Wobble. Born John Wardle – and christened with his stage name by none other than Sid Vicious – Wobble has defied the odds and has remained one of the most innovative and forward-thinking musicians of the Rock era. He first came to prominence in John “Johnny Rotten” Lydon’s post-Sex Pistols outfit, Public Image Ltd. After a few years of knocking about and causing musical mayhem with Lydon & Co., Wobble struck out on his own. Working with artists such as The Edge (U2) and Holger Czukay and Jaki Liebezeit (Can), he was able to expand his resume while exploring new sounds and styles. During this period, Wobble also put together his own band, Invaders Of The Heart. By the end of the ‘80s and into the ‘90s, he had become one of the most respected British musicians of his generation – entirely unpredictable yet always riveting. With Invaders Of The Heart, Wobble was able to combine World Music, Ambient, Folk and Electronica, creating a sound that was both unique and commercially successful – not an easy feat for any artist. Scoring a hit album, RISING ABOVE BEDLAM, at the beginning of the ‘90s, was a little surprising but very welcome and well-deserved. With a line-up that has evolved over time, Jah and his Invaders Of The Heart have become one of the most exciting and inspiring musical outfits in modern music. One of the most prolific artists of his generation, Jah’s work with Invaders Of The Heart is only the tip of the iceberg. As a leader or collaborator, Jah Wobble’s catalog is as deep as the music he plays. A visit to www.jahwobble.com will catch you up to date.
EVERYTHING IS NO THING, Wobble and the Invaders’ 2016 release, takes the band into an exciting dimension – Spiritual Jazz. Produced by Youth and led by Jah’s warm and emotional bass playing, the album takes the listener to new and exciting levels of ecstasy. Anyone looking for Ambient, Dub or Post-Punk will not find them here. However, the attitude and excitement of those genres can be found lurking deep within the grooves of the album. Wobble’s never-ending musical journey means that he never makes a bad record. Spiritual Jazz may not be the direction some fans of “Visions Of You” may be expecting, but open your mind and you’ll most certainly enjoy the ride. This is not music that you’ll just listen to – it is music that you will feel.
Stephen SPAZ Schnee was able to toss a few questions over to Mr. Wobble, who kindly took time out to discuss EVERYTHING IS NO THING and much more…

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VAXXED: An EXCLUSIVE interview with producer DEL BIGTREE!

THE TRUTH IS OUT THERE:

     First things first: regardless of what you may have read elsewhere, VAXXED: FROM COVER-UP TO CATASTROPHE is not an anti-vaccination film. However, it is a very important documentary that does raise some interesting and often alarming facts about the relationship between the MMR (Measles-Mumps-Rubella) vaccine and autism. While this subject may not be new to older readers, there is a new generation of young parents who are completely unaware that this was even an issue in the recent past. And why don’t they know? The answer to that question can be found in VAXXED, one of the most controversial and misunderstood documentaries in recent memory.
Before discussing the focus of VAXXED, let’s go back a few years. In 1998, Dr. Andrew Wakefield, a British gastroenterologist, was falsely accused of starting the anti-vax movement when he – and eleven other authors – published an article in UK medical journal The Lancet. The article, which linked autism with the MMR vaccine (and not ALL vaccines), caused outrage and panic in equal measures. For reasons more complicated than I can go into (Google it!), The Lancet eventually retracted the feature, ten of the twelve authors retracted their support of the article, and Wakefield was eventually barred from practicing medicine in the UK. Flash forward to 2013 when biologist Dr. Brian Hooker received a call from Dr. William Thompson, a Senior Scientist at the U.S. Centers For Disease Control (CDC). Thompson, as it turns out, led the CDC’s 2004 study on the link between the MMR vaccine and autism. According to Thompson, the CDC omitted crucial data in their final report that revealed a “causal relationship” between the vaccine and autism. Hooker then reached out to Andrew Wakefield and the seeds of VAXXED were planted.
VAXXED: FROM COVER-UP TO CATASTROPHE is a fascinating film from beginning to end. Directed by Wakefield and produced by Emmy-winning producer (THE DOCTORS) and medical journalist Del Bigtree, the film focuses on William Thompson’s astonishing revelations about the truth behind the CDC’s findings. Thompson does not appear in the film, although his voice and the documents he turned over as evidence do, and these documents are quite startling.
The passion, belief, concern and love that went into making VAXXED is evident in every frame. However, writing about this film doesn’t do it justice. Although a documentary, VAXXED plays out like a political thriller and the viewer is left with many questions by the time the film ends. That may leave an audience angry and confused after watching a film of fiction, but for a documentary like VAXXED, it leaves the viewer with a different perspective…and the desire to see changes made. For Bigtree, Wakefield and all of those involved with this film, that is the type of reaction they are looking for. Intrigued now? Well, you SHOULD be.
Stephen SPAZ Schnee was able to chat with the film’s producer, Del Bigtree, and discuss the film’s goals, the controversy surrounding it and more…

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CHRIS COLLINGWOOD: An EXCLUSIVE interview with the LOOK PARK/FOUNTAINS OF WAYNE frontman!

LookPark_LookPark_COVER

LOOK POP:

An EXCLUSIVE interview with CHRIS COLLINGWOOD

When an artist attempts to alter their musical direction in even the slightest way, the final results are scrutinized by critics and hardcore fans alike. One of the few bands that were able to expand their artistic vision without losing their fan base was The Beatles. Since then, very few artists have been able to mature and grow without being lambasted on the internet by fans who felt betrayed by their beloved musical idols. Remember when Bob Dylan went electric in late 1965? One man yelled “Judas!” and the world spun off its axis. By the way, Dylan’s career recovered quite nicely, thank you! Even The Stranglers, one of the UK’s most popular Punk bands, was skewered once they became a bona-fide Pop/Rock outfit by the middle of the ‘80s. It would seem that their fan base wanted them to remain the scruffy, crabby crew they grew to loathe a decade before. So, what is an artist to do? Stay the same and lose fans because they don’t alter the formula, or alter the formula and lose fans because they didn’t stay the same? Chris Collingwood, he of Fountains Of Wayne (“Stacy’s Mom”) fame, has decided to do both – but with his new project, Look Park, he’s not in any danger of losing fans. At all.

Although it has been five years since Fountains Of Wayne released their last album, 2011’s SKY FULL OF HOLES, Collingwood has been working hard on mixing up his proven songwriting ‘formula’ and approaching the songs in new and more intimate ways. FOW bandmate Adam Schesinger has been busy with various projects, including the fab new Monkees album, but Chris has surprisingly kept a very low profile. One of the few times we’ve heard from him since 2011 was when he covered The Dream Academy’s “Life In A Northern Town” for the excellent ‘80s ‘tribute’ album HERE COMES THE REIGN AGAIN released in 2014. All the while, he has been working on new material and finally went into the studio with producer Mitchell Froom and recorded the most excellent LOOK PARK album. This ‘debut’ album is a collection of well-crafted songs that retain the melodic charm of FOW but takes Chris in new and exciting directions. One of producer Froom’s earliest claims to fame was his work with Crowded House, and Look Park travels a similar musical path as those albums from the Kiwi band led by Neil Finn. The album is filled with great melodic hooks, yes, but the album is warm and intimate. These are songs you fall in love with, and like true love, the album only gets better with time. The production is lush yet intimate and Collingwood approaches each track with a tenderness that was not as apparent as on his work with FOW. “Stars Of New York,” “Breezy,” “Minor Is The Lonely Key,” “You Can Come Round If You Want To,” and “Crash That Piano” are absolutely lovely without being maudlin or too mellow (not that either of those are bad things). Surprisingly, there is very little electric guitar on the album – acoustic guitar, piano and mellotron create an atmosphere that is inviting and melancholic. In essence, LOOK PARK is a beautiful piece of work. It is Pop and it is powerful – it’s just not Power Pop. Don’t fear, FOW fans, Chris has delivered the goods and they are glorious.

Stephen SPAZ Schnee was able to chat to Chris Collingwood about the making of the LOOK PARK album and much more…

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MICHAEL SCHENKER: An EXCLUSIVE Interview!

 
ATTACK OF  THE MAD AXEMAN:
 
An EXCLUSIVE interview 
with 
MICHAEL SCHENKER
    There’s a reason why German guitarist Michael Schenker is considered a music  legend. He carved out a successful career as a hard rock pioneer with German  rockers Scorpions (1969-’73 and  ’78-’79) and British heavy rock band UFO  (1973-’78) as well as his own projects The  Michael Schenker Group and McAuley-Schenker Group throughout the ‘80s and beyond. His manic playing, songwriting skills  and knack for creating extremely memorable riffs has earned him legions of  devoted fans all over the world. And let’s face it – Michael Schenker is the  only guitarist that has ever made the Gibson Flying V guitar look cool. Many  have tried but only Schenker has succeeded. And now, with his latest project Michael Schenker’s Temple Of Rock, he  is proving once again that he still has plenty of fire, skill and energy. Even  though he has been a professional musician for nearly fifty years, he has never  lost his mojo.
    Schenker’s first claim to fame was joining his  older brother Rudolph’s band Scorpions in 1969. He and vocalist Klaus Meine joined the band at the same  time, although at fifteen, Michael was the youngest member of Scorpions by a  handful of years. He also just happened to be a unique guitarist and gifted  songwriter. He honed his skills with Scorpions for four years before leaving  the band and joining British rockers UFO. With UFO, Schenker became an
international sensation, steering the band away from their early Space Rock  leanings towards an edgy Hard Rock sound. UFO became a force to be reckoned  with, but by the end of 1978, he left the band. And to think he was barely into  his twenties at this point. Schenker rejoined Scorpions right after leaving UFO,  but soon realized he wanted to focus on his own thing. So he left – again – the  following year. The Michael Schenker Group was his next project, although he  moved away from the commercial sounds of his previous bands and embraced his  experimental side. For the next thirty years, he focused on various other  projects including a brief reunion with UFO, the McCauley-Schenker Group and  other endeavors. By 2008, he was ready to embrace his illustrious Hard Rock past and formed Temple Of Rock. The band has had several line-up changes over  the years but the most recent – and best – features Schenker joined by former  Scorpions members Herman “ze German” Rarebell (drums) and Francis Bucholz  (bass) plus guitarist/keyboardist Wayne  Findlay and powerhouse vocalist Doogie  White (Tank/La Paz/Rainbow/etc.). While on tour for their excellent 2015  sophomore studio album, Spirit On A Mission, the band was  approached about recording their live show using a new technology called 3D  Listening. The results can now be heard with the release of On A  Mission: Live In Madrid. On this release, you can practically ‘feel’  the atmosphere of the venue even on the normal stereo mix of this recording.  There’s even a version of the release that, with the correct audio equipment,  will make it seem as if you are there in the audience enjoying Michael and the  boys giving it their all on stage. The material during this scorching  performance spans Schenker’s entire career including Scorpions, UFO and, of  course, Temple Of Rock.
   Stephen SPAZ Schnee was able to chat  with Michael Schenker as he prepared to embark on a series Michael Schenker Fest  shows, which feature appearances from three original vocalists he has worked  with over the years – Gary Barden, Robin McAuley and Graham Bonnet

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Interview_TheDamned-ForBlog

THE DAMNED Documentary: An EXCLUSIVE interview with director WES ORSHOSKI

Like Rock ‘n’ Roll in the ‘50s and the British Invasion of the ‘60s, Punk rock changed everything. It began as a musical movement in 1976, yet it became something much bigger. Punk infected every aspect of pop culture – from fashion to art. Punk became a badge of honor for the younger generation and a punchline to bad jokes told by their parents. Bands like Sex Pistols, The Clash, The Jam, UK Subs, Buzzcocks and so many others climbed to the top of the charts in England and caused a stir around the world. The sudden rise of Punk inspired thousands upon thousands of amateur musicians to rise up and create a racket. It was a glorious thing. However, it is often forgotten that one particular British band was the first to release a single in England, the first to release an album, and the first to tour the U.S. If you guessed Sex Pistols, then you’d be wrong and should be sent to the back of the queue. The correct answer, if you paid attention to the title of this feature, was The Damned.

The Damned was formed by Brian James (guitar), Captain Sensible (bass), Rat Scabies (drums) and Dave Vanian (vocals). Uncompromising and entirely unpretentious, The Damned were great musicians out to have a good time. Armed with a load of great songs (mostly penned by James), The Damned became one of the most popular Punk outfits in the UK. Signed to Stiff Records, they beat all the other bands to the record shops with their “New Rose” single and Damned Damned Damned album. Their popularity and desire to have a good time didn’t mix well with the other serious, politically-charged Punk acts, and they were essentially ostracized from the ‘Punk Club’ by various legendary managers who felt The Damned were over-shadowing their own acts (i.e. The Clash and Sex Pistols). The band soldiered on, but James threw in the towel after the second album. With Sensible moving to guitar and the band switching gears musically, The Damned fought back with a string of singles and albums that expanded upon their musical roots while still retaining the Punk energy and attitude. Sadly, with so many line-up changes and musical detours along the way, they began to confuse all but their faithful followers. The most surprising thing is that the band’s desire to explore these new musical avenues is what made them BETTER than many of their contemporaries. It seemed to work for The Clash, but not so much for The Damned.

Now celebrating their 40th Anniversary, The Damned remain the most under-appreciated of all the original Punk bands. The current line-up of the band includes Vanian and Sensible, both of whom are still as charismatic and entertaining as they’ve ever been. However, it hasn’t always been easy for the band. From old record label contract issues that drove Rat and Captain apart, to a constant stream of great musicians who have come and gone, The Damned’s story is a long and convoluted one. THE DAMNED: DON’T YOU WISH THAT WE WERE DEAD is an absolutely brilliant documentary that sheds light on the band’s history and offers an inside look at a band that deserves far more attention than they have ever received. It doesn’t matter if you prefer “Neat Neat Neat,” “Smash It Up” or “Grimly Fiendish” – this revealing film by photographer/director Wes Orshoski (Lemmy: 49% Motherf**ker, 51% Son Of A Bitch) is as honest and funny as any music documentary you’ll ever see. By the time the credits roll, you’ll be cursing the screen and wishing it was longer. It’s heart-breakingly sad and soul-stirringly joyful. Toss in some insight from contemporaries and fans like Fred Armison, Chrissie Hynde, Lemmy, Dave Gahan (Depeche Mode), Mick Jones (The Clash), Nick Mason (Pink Floyd), Steve Diggle (Buzzcocks) and many others and you’ve got one of the best Damned documentaries you’ll have the pleasure of watching. See what I just did there?

Stephen SPAZ Schnee was able to chat with director Wes Orshoski about making the film, the band’s reactions to it and much more…

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Interview_AliceBag-forBlog

ALICE BAG: An EXCLUSIVE interview!

ALICE IN HOLLYWOODLAND:

 

Although she is forever associated with the late ‘70s Los Angeles Punk scene, Alice Bag’s journey over the last forty years has taken her everywhere from East L.A. to Nicaragua and back again. To some, she remains the lead vocalist of The Bags, but there is far more to Alice Bag than a rare Punk single and an appearance in the documentary The Decline Of Western Civilization (as The Alice Bag Band). Her status as a legendary Punk pioneer led to a career as a highly respected educator, feminist activist, and author. Her critically acclaimed books Violence Girl (2011) and Pipe Bomb For The Soul (2015) have been warmly embraced by her longtime fans and those who were previously unfamiliar with her musical career. She has inspired generations of young girls and women with her outspoken and thoughtful views on feminism. While largely absent from the music scene over the years, Alice has taken the Punk esthetic and made a real difference in the lives of those she has inspired. She may not have sold millions of records over the years, but she has remained true to her cause, and in turn, made an impact that is still being felt.
Surprisingly, nearly forty years after she started her musical career, Alice Bag is finally releasing her very first full-length album. Anyone expecting Alice to dip back into the past and relive her glory days with The Bags will be sorely disappointed. Instead, Alice incorporates many of her musical influences into a cohesive collection of songs that range from edgy Garage/Punk nuggets to instantly hummable ‘60s pop gems. The raw, straightforward production adds a tense atmosphere to the recordings, allowing Alice’s emotions to run free. There is some darkness in her lyrics although they are far from hopeless – she allows the listener to fill in some of the blanks and react accordingly. However, the album is filled with wonderful melodies and inventive arrangements. At its core it is Punk, but only in spirit. Musically, it is a potpourri of influences reaching back to the ‘60s. Like any good album, Punk or not, it turns expectations into revelations. The album Alice Bag is a superb look at the modern world by someone who has seen it all. It is intelligent without being preachy and raw without losing its playful charm – a simple, heartfelt triumph that sounds better with each spin.
Stephen SPAZ Schnee was able to chat with Alice Bag about her album and her music career…

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