Pretty Lights

What’s up dance fiends?  In this show, we bring to you one of the hottest acts to rock the late night dance scene:  Derek Vincent Smith, otherwise known as Pretty Lights!

Derek has had one hell of a first year hitting the festival circuit, and blew up the crowds at Bonnaroo, Rothbury, Camp Bisco and more.  His live performances along with his drummer Corey are an absolute must see.

Pretty Lights has been releasing free albums (with option to donate) on PrettyLightsMusic.com, so you definitely need to grab yourself some of his albums.  If you need a great soundtrack to drive around to on a beautiful sunny day, Pretty Lights is the way to go!

Be sure to check out the new MoeTrainsTracks.com for an all new Tracks experience…  So we bring to you… The man who moves the feet…  Derek Vincent Smith, from Pretty Lights.

Derek Vincent Smith (Pretty Lights) Interview on Moe Train’s Tracks

Monty Wiradilaga and Brian Kracyla (MTT)

Moe (MTT):  This is your first festival season right?  How’s it treating you?

Derek (Pretty Lights):  I had no idea what to expect coming into it.  I was very excited about it.  And to be honest, I’ve received nothing but love at all, it’s been really cool.  Even fifteen minutes before the show, when the tent’s empty and I’m feeling kinda nervous about if people are going to come check out the set, they’ve never let me down.  Everyone has been really cool, it’s been packed, lots of energy.  People obviously come to festivals to listen to music and dance and get down and I’m glad that I can help them do that.

M:  You guys run an interesting improv angle with your music, you always have an evolving sound.  How do you work to create an evolving musical journey throughout your set?

PL:  That’s a cool question.  A lot of people look at me behind a table and think that I’m a DJ, and to be honest, I’ve never spun a record in my life.  I could probably match beats with records, but I’ve never even tried it.  All the music is original, using original productions I should say.  I’m using software and different devices to trigger different parts and arrange it on the fly and to affect it and manipulate it and play some of the layers live on top, like melodies and samples and stuff like that.  But back to your question, how do I look at it as a set, as a whole, I try to think of it more as how a DJ would as far as tempos.  I really try to bring the energy up and back down smoothly.  Even if it’s a real hype hip-hop speed track, I don’t like to play it after some more up-tempo electric track because it just doesn’t feel right.

M:  Don’t want to burn people out?

PL:  Yeah.  Also I like to produce a lot of different styles of music, of a lot of electronic kind of music, but they also vary in energy a lot.  But rather than just have my live shows be all high energy dance music, I like to bring in some of the more organic down-tempo, more emotional kind of tracks.  It does take some consideration of where to bring that in and where to play it or not to play it.  Honestly, as I play more and more, I’m getting better at being able to do that. Because I never have a set list, the songs have a level of improvisation, but the sets are always improvised as far as the order.  Like last night, these people had grabbed a set list off the stage and I could see people were kinda arguing over it and I went down and said, ‘That’s not even my set list!  That’s the set list for the band that hasn’t played yet.  You better put that back up there, they’re not gonna know what songs to play.’

M:  Well you and Corey worked together in another band before this, so I guess you guys have a good chemistry going.

PL:  Yeah, we worked together before Pretty Lights in a band and actually when that broke up, when that kinda ceased to exist, that’s when I started writing the first Pretty Lights album.  There was really a period of time for about two years between when that band ended and when the first Pretty Lights show that I actually invited the drummer up to play with me.  I wanted that element live and I feel like it brings a certain kind of hands-on, live energy to the show.  Also, I like to be able to play off another individual.  So that’s when I collaborated with him and started doing the shows with a live kit.

M:  You basically formed a sort of sign language on stage, sort of tipping each other off on what’s going on?

PL:  Yeah.  When we first started playing it pretty much was only two hand signals, like ‘cut out’and ‘come back in’.  But as we played together more and I’ve written more music in a way that it can be performed differently each time, utilizing the different technology like Abelton Live with the different kind of features…

M:  Is that what you use?

PL:  That’s what I use live, yeah, in conjunction of a device called a monomer.  We use signals like, I have different hand signals to switch drum beats, or switch high-hat speeds, or switch to ride signals, or we’ve got one for switching to an off-beat snare pattern, or losing the snare and keeping the kick and high-hat, or different things for bringing the energy up or bringing the energy back down, and things like that.  It’s definitely evolved, the way in which we communicate on-stage.

M:  So how do you think the live performance brings your audience a different experience than what’s on your albums?

PL:  It’s all about the energy, about hearing the music in a different sort of setting.  It’s good car music, I think it’s good bedroom music but a lot of…

M:  Bedroom music, huh!  Getting the beds rockin’?

PL:  That’s what I’m saying, man! People have told me that I’ve gotten them laid.

M:  There you go, to your credit…  Put that on your resume, ‘Getting People Laid!’

PL:  (Laughing)  Back to that question, what I was trying to say was that it’s not all me, or us, the people on-stage, creating that live experience.  It has so much to do with everyone coming together and experiencing the difference of the live show energy but also within a congregation of people.  And it also has a lot to do with, nowadays, the light show and bringing the visual medium.  Which has evolved, but I’m looking to take it a lot further.

M:  Just an all encompassing experience.

PL:  Exactly, a multi-media experience.  A lot of people think that when I named it Pretty Lights that I named it exactly for that, some crazy laser light show, but that definitely wasn’t in my mind at all when that name kinda came to be.  It was more about personal experiences of pretty lights, I’m always on the look at for that kind of thing.  But I’m definitely trying to bring the whole live light/video aspect of the show to a whole ‘nother level, and just keep pushing that, keep pushing the production so that people can really have a cool experience that’s far different than listening to the record.

M:  We are doing a show on Michael Jackson.  How did he affect you, if at all?  With his passing, it hit us all in the music industry in one way or another.  Did he affect you at all?

PL:  Yeah, he did.  Not maybe at the same time that other people, especially at my age, might have been exposed to it or hit by it because, honestly, I grew up in a family that, when I was a kid, I wasn’t really exposed to a lot of music.  Being born in the eighties, I think a lot of people my age heard a lot of Michael Jackson growing up but it was a different experience for me because it didn’t get into to it until I was able to find it myself as a late teenager.  In junior high I was like ‘Oh, I know who Michael Jackson is, he’s the King of Pop’ but I wasn’t really exposed to his music.  When I really started getting into music, and getting into production, and really going back and listening to it with fresh ears, a lot of it is just unbelievable.  It’s just incredible music.  The records he did specifically with Quincy Jones, who’s one of my icons as a producer, have been very inspirational, not only in how I create music but also in a personal way.  That combination of artists was really able to create some pieces of music that made you feel.  And that’s what music has always been about for me, creating emotion and always having people be able to feel something from the music, inside.

M:  Where do you see Pretty Lights evolving to in the near future?

PL:  I have a lot of ideas that I want to manifest and to make happen in my career, wherever it goes.  Right now, and in the recent past, I’ve been doing a lot of collage sample producing, where I’m taking different snippets from vinyl and bringing them together to create pieces of music.

M:  Like Girl Talk style?

PL:  Not like Girl Talk at all.  Actually, nothing like that.  More like DJ Shadow, a big influence for me.  The whole idea is more obscure pieces of music and just little pieces of it.  So you can still really implement melodic creativity and create feelings and emotions that didn’t exist in the song that the sample was taken from because you’re getting pieces from all these different not only artist but different decades.  As far as pushing the project and the show and the music in general, I feel like the sampling phase of my career is kind of dwindling because I have the means to create that stuff on my own.  Before, in that two year period I mentioned between the prior band and Pretty Lights, I worked as an audio engineer in a professional recording studio and did a lot of records with, not only local bands, but some bigger artists.  I did some work with Lyrics Born and Greyboy Allstars and stuff like that.  I want to be able to capitalize on my experience as an audio engineer and working in the studio producing other musicians, just how we were talking about Quincy Jones.  I’m actually already looking into getting my own vinyl press and buying analog tape machines, so I can really create the sound that I want, which right now I’m getting by taking it from vinyl from other decades.  But I want to be able to create that in the present day.  As far as future records, I’m looking to work with networks of musicians and really utilizing recording techniques to hang on to that golden age of music where everything sounded so warm and awesome.  As far as my records, that’s where I’m looking to take things, but also I’m looking to make it very multi-media.  I do a lot of video editing and stuff on the side and haven’t been able to really bring that to the show yet.  So one thing that I’m looking to work on in the near future is also realizing audio/video compilation things, not just records but records and video accompaniments and the same time.  But, anyway, you’re letting me babble on, which I appreciate.

M:  That’s cool.  I asked the question.  Hey man, thanks a lot for being with us.  I appreciate it.  We look forward to your set tonight.

PL:  Yeah, me too!  It’s been a pleasure.   Thank you so much.

Toots and the Maytals

We spoke with the man possessing the golden pipes about being a part of the establishing scene of reggae, coining the term reggae, being great in an amazing scene, finding his voice, and tons of other topics.  Toots was definitely one of the most endearing and genuine musicians that we have interviewed over the years.

Interview with Toots Hibbert (Toots and the Maytals)

Brian Kracyla, Jacob Little and Monty Wiradilaga (Moe Train’s Tracks)

Hey, what’s going on reggae fans worldwide, you’re listening to a special reggae royalty edition of Moe Train’s Tracks.  In this very special show, the Tracks has the honor to bring you one of the most memorable voices and performers in all of music, Mr. Toots Hibbert from Toots and the Maytals.

We had the opportunity to interview the man with the golden pipes about being a part of the establishing scene of reggae, coining the term reggae, being great in an amazing scene, finding his voice, and tons of other topics.  Toots was definitely one of the most endearing and genuine musicians that we have interviewed over the years.  Toots and the Maytals just released their latest album, Flip and Twist, and we’re sure that it will further his legacy as one of the top reggae artists of all time.

So Moe Train’s Tracks is honored to bring to you, this very special interview with the legendary Toots from Toots and the Maytals.

Moe:  Absolutely amazing set today.  Were you really having as much fun as it looked like you were having?

Toots:  Yeah, a lot of fun.  The people are so nice that when you sing for them you have to have some fun.

M:  Feeding of the energy…

T:  Yes, that heart energy.

M:  After a long weekend like this, everyone’s energy is going down, but when you got out there…

T:  Everyone just liked it.  It’s a nice day!

M:  Your voice is one of the most recognizable and classic sounds in all music, where do you draw all of your positive energy from to bring it into the music?

T:  Well, my music is from good spirits, good spirit from the church, and from the people that come to my show with a good understanding to learn the ways of reggae music.  That’s part of my energy too.

M:  Your community of musicians, back in the day in Jamaica, included the most legendary performers of all time.

T:  Yeah, mon!

M:  Skatalites…  The Wailers…  How was the community of musicians back in the day when you coined the term “reggae”?

T:  It’s a good fellowship in music from that time until this time.  When I coined the word reggae it was just like now but people lived different.  It took a little time for people to know about my music and they are really into my music now.  So, it’s a good t’ing, the times have been changing and music has been better for Toots and the Maytals.  When I coined the word reggae, when I sang the song Do The Reggae, the music was already playing in Jamaica all over but nobody called it reggae.  People were searching for the name reggae but couldn’t find it.  People used to call the beat in Jamaica “blue beat” and “boogie beat” and those are the things that spread from America to Jamaica.  Boogie beat, blue beat, and “ska”, it’s like a slip.  My two friends, Jerry and Raleigh, we sat down one morning and the word came up.  We used to use a word in Jamaica called “streggae”, when the girl was looking so good you call her streggae, if she dressed raggity, you know.  So, maybe the word comes from that, but I was the one who said let’s Do The Reggae!  R-E-G-G-A-E.  Reggae was spelled a lot of different ways in those days, but this is what it’s spelled like now.  R-E-G-G-A-E.

M:  Did the community feel that there was something huge happening?  Because your music is universally recognized across all genres.

T:  Yeah, that’s why I have 31 number one records in Jamaica.  In those days, as it came out, people enjoyed it and knew that it was good.  I have a couple of number ones, 31 number ones in Jamaica, and on vinyl in those days.

M:  What was it like recording in Studio One?

T:  It was strange.  But, I started from Studio One.  I was a good t’ing.

M:  The whole process, working with Coxsone, was it just…

T:  It was great, the process was good.  Sing for very many, no good for many maybe, choose the songs.

M:  I heard that you have some members of your family in the band.

T:  My daughter and my son, my son play the bass and my daughter back up for me.

M:  You’ve got to be proud.

T:  I’m never proud of myself.  I know it’s good, but it’s not good to be proud, because the Lord says that you should not be proud.  You just know that it is good and give t’anks.

M:  Your music has been covered by some of the most recognizable names in all of music, like the Clash, the Specials, and Sublime.  What’s your take on their covers of your music?

T:  Well, I think it’s good, it’s a good t’ing to do.  If a song is good, you can cover it.  You can put your own line, your own style on it, and it’s still good.  A lot of people cover my songs, I never really say which one is the best.  I know I appreciate it, and they appreciate it also.

M:  54-46 is an amazing track…

T: I don’t even want to talk about that prison business.  I’m tired of talking about that crap…  It was a number one song though!

M:  Well, some of your tracks… When they think of you… They think of certain tracks…

T:  When I just came in, when I was like fifteen or sixteen…  Those things happened when I was getting my first tour abroad, to go to UK.  So I hardly talk about those t’ings again.  It was a frame-up.  When I didn’t get to go to UK, they sent a different group in my name, which never worked out for them.  It was a thing that was planned.  I just sang a song about it and it went number one.

M:  You have the Toots Foundation…

T:  Well, we planned this foundation for helping the youths, not only in Jamaica but wherever help is needed.  My foundation is going to be bringing a lot of assistance.  We founded it a few years ago and it’s been doing well.  We did foundation things for the children in Jamaica, for the hospitals, for the blind, for the cancer society.  We gave to the schools, we gave to the old age homes.  We gave to the school in Clarendon, where I was born.  The foundation is going good and I hope that we can give a helping hand whenever I do my show, which charges one dollar extra to go towards the foundation.

M:  What does it mean to you to be able to give back to Jamaica, to give back to your country?

T:  It’s been good, that’s why I do it.  I couldn’t do it by myself, not without the people in America and all over the world.

M:  We are also doing a special on the passing of Michael.  How has Michael Jackson affected you musically?  Or do you have any stories dealing with Michael Jackson?

T:  No, his music never affected me.  His music refreshed me.  He was a cool guy, I liked him.  I loved him too.  It’s a pity that what happened happened, but it’s like you knew something was going to happen too.  I figure he’ll always be innocent for me.  He will always be missed by Toots and the Maytals.

M:  With your music, with so many albums, so many number ones…  When you are looking at your career as a whole, how do you think it lays in the history of music?

T:  It’s history.  My music is history. It’s antique… and it’s unique… and it’s good.  It’s fattening.  It’ll make you strong.

M:  (Laughing) That’s the best quote I’ve heard all weekend!

T:  It’s full of love and happiness.

M:  How much longer are you going to be doing it?

T:  Well, I’ve got no limit.  We have to live good to one another, whether you’re black or you’re white.  Show love to one another.  Show respect.  Learn to say good morning again, and good evening, good afternoon, good night, hey how are you doing, hello.  Just be good, be nice, be Rastafari.  That’s the way God would love we to do.  His name is Rastafari and I’m just a son of God.  I look at myself as an angel and a son of God.

M:  So you’re looking to further the message…

T:  My songs will always be a message of spirituality and happiness.  My words have to be positive, if the words are negative than its not real reggae.  They have to be positive, that’s the fulfillment of reggae music.

M:  So, you just draw from the energy, from that positive energy, and put it through your music to your listeners.

T:  Yeah, because it’s for real.  Music is for real, for Toots and the Maytals, it’s for real.  And love is for real.  It’s not just “one love”.  True love and real love is for real, there’s more than one love.

M:  And that fuels everything you do?

T:  Yeah.  I love to do this, I love to do that.  So many love, you know.  What’s love is real… So make it reveal… Whenever you feel… It make you feel good!  Wake up in the night and rejoice that you’re gonna live to see another day.  There’s no limit in my career.  I do it as I can.  You will always hear about Toots and the Maytals.

M: What’s your responsibility to all your listeners, to the world, through your music?

T:  My responsibility to the world and for everywhere is that I’m truly responsible to the people and my music is to be positive, as it used to be and as it is right now.  You have to be positive, that’s my responsibility, to make music positive for the world and for God to give us more blessings.  He gave me the talent.  (Singing)  And I sing everything I talk!  Hey-aay!  (speaking again)  I have to give thanks for giving me that kind of voice.  I can sing it without music, I can sing it with music.  It’s a revelation, a message of salvation.

M:  Getting your start, how did you really come to find your own voice?

T:  I give praise, I grew up in the church with my parents.  Over the radio, I listened to Ray Charles, I listened to every artist, and I listened to every artist in Jamaica also.  I founded my voice, and I have to learn it more, and I have to do things with my voice like (making sounds with throat).  It’s a thing you have to do, like practicing a guitar.  (making yodeling sounds)  It’s thing that’s coming for the church, from the Lord God Rastafari, and I have it.

M:  Absolutely.  When did you know that ‘this is my voice’?

T:  Well, I haven’t got one special voice, I have a lot of voices.  I can make it turn to sing any kind of way.  I know that I can sing, and people call me great, but I don’t think I’m great.  I just want to be simple, and make people think I’m great.

M:  (Laughing) Gems…  I’m loving it!  Is there anything else that you want to do in your career that you haven’t done yet?

T:  Yes, there are a lot of things I want to do that I haven’t done yet.  I wanna make a straight-up R&B record, well it will have some reggae in it, but mostly R&B flavor.  I’m doing that.  I want to be able to extend my foundation’s reach.  I want to do things in Africa where a lot of black, and white people, is also, cuz there are a lot of white people born in Africa also.  They’re African, so it’s not a black t’ing.  If people need help, you help them when you can.  My plan is to spread out my foundation and see what people think of it, and they can donate things for my foundation, and I could help.  From American to Jamaica, and from America straight to Africa, all over the world, I want to do something for some people who need help, each and everywhere, north, west, east, and south.  That’s my plan and my good thought and my wish.

M:  That’s excellent.  Thank you very much for being with us.  It’s an honor and we appreciate it!

T:  Yeah, mon.

Giant Panda Guerilla Dub Squad

We’re headed back to the vaults for an interview with Matthew O’Brian, the former lead vocals and guitars for the roots reggae and dub outfit called Giant Panda Guerilla Dub Squad. Although Matthew and the band have parted ways, this interview gives a great insight into the mind of one who has created a thriving and perpetually touring band

A big welcome to all you rastas and reggae heads.  We’re headed back to the vaults for an interview with Matthew O’Brian, the former lead vocals and guitars for the roots reggae and dub outfit called Giant Panda Guerilla Dub Squad.

Although Matthew and the band have parted ways, this interview gives a great insight into the mind of one who has created a thriving and perpetually touring band.  Have a listen as we discuss the vibe of their band, brushes with the great Toots of Toots and the Maytals, and their green stance.  We wish both Matthew and Giant Panda the best in the future, so be sure to check them both out when they hit your area!  So from the vaults, the Tracks bring to you… Matthew O’Brian, former vocals and guitars for Giant Panda Guerilla Dub Squad (giantpandadub.com).

Interview with Matthew O’Brian (Formerly of Giant Panda Guerilla Dub Squad)

Brian Kracyla and Monty Wiradilaga (Moe Train’s Tracks)

Moe (MTT):  We’re sitting back here with Matt from Giant Panda.  What’s going on, man?!  How are ya?

Matt:  Very well.  Nice to see ya, Monty!

MTT:  Awesome, great set today.

M:  Thanks.

MTT:  How is the Rothbury experience compared to your other festival experiences?

M:  We’ve gotten to experience it since Thursday night, we had a whole day and a half of anticipation for our own set.  Everything has been super-exceptional, super-clean, and the vibe is real strong.  The experience with the set was great.  We played first so we got an excellent soundcheck full.  We were ready to go, all dialed in before we hit the stage.  That’s better than most festivals where you’re rushed to get on.

MTT:  Your music draws from the roots, dub, but you guys also mix in improvisation.  How important is it for the band to take the listeners on a musical journey?

M:  It fulfills our own musical desires and our own creative desires to be able to take those risks in the live setting and really feel like we are pushing our selves and challenging ourselves.  For very many people, it’s apparently one of their favorite things they get to experience at the Giant Panda shows as well, the improvisation.  It’s been openly confirmed recently that we really want to bring that to every show.  We really want to have that experience of not knowing what’s going to happen next, no plan.

MTT:  So, you feel that your live show is really the bread and butter of your music?  Or do you feel it’s your recordings?

M:  We tour and do 180 shows a year.  Our live shows are our bread and butter.  The history of reggae is a studio history.  A lot of the sweet reggae we have heard over the years is all produced in the studio and rarer live.  We’ve sought to bring true roots-sound and that real vibration to the live scene as much as we can, that’s our contribution.

MTT:  Speaking of which, you’ve shared the stage with some legends.  How have they really influenced your sound?  Do you have any stories with the classics?

M:  Their sound influenced us for our whole upbringing.  Lee Scratch Perry was influencing our sound before we knew what recordings he had influenced so much.  You listen to the old Bob Marley and that was all black art, that was the finest Lee Perry productions.  Toots sets a wonderful example because Toots’ music is some of the most uplifting and positive of that roots era.  His voice is so rich, but he also is so positive and so giving of his own energy to his audiences.  He’s very, very musically disciplined and his band is one of the sharpest.  He really lives up to his reputation.

MTT:  Do you have any stories with him?

M:  We lived down on State Street in Rochester, NY and he was staying at the Crowne Plaza, directly across the street from our apartment.  We played with Toots at one of the biggest shows we’d ever done at the time, in Rochester, at a big outdoors jazz-fest thing.  Toots headlined and at the end of the festival blew it out in the street, and we got to open for him and then we were heading to Bonnaroo that night, the minute we were done with the set.  We were running late, running around, and we found ourselves back at our house getting our last things together as Toots was pulling into his hotel.  Dylan, our guitar player who’s met Toots before, ran over and said “Hey man, nice to play with you.  It was a great honor.”  And he turned to us with both of his hands in the air and just like (pumping both hand in the air), all the way as we were driving away he was pounding two hands in the air!  He gave us the best energy we could get to hit the road with.  We were just proud to be there with him, let alone the fact that he acknowledged us like that.

MTT:  Speaking about legends, we’re doing a show on Michael Jackson.  How has Michael Jackson influenced you personally or musically?

M:  Michael, to me, means quality, top quality from the time the public was aware of him.  He was five years old and making untouchable high quality music and it never wasn’t untouchable, high quality.  I have nothing but the utmost respect for Michael’s music.  I think that with somebody like Michael Jackson, the influence is so thick, so ingrained in everything, it gets taken for granted as a part of reality.  It’s a culture of his own.

MTT:  It was definitely a shock.  It felt like a part of our childhood was taken away, well not just childhood but our whole life.

M:  It is, its part of everybody.  He’d been there 45 years of his 50 years!

MTT:  The band (GPGDS) takes a very green stance.  Are you guys are participating in the (Rothbury) think-tank?

M:  We are participating in the think-tank.  They asked us to do that, I guess they picked up on the green stance.  We’re not too preachy about it or anything but we, in our own lives and travels, have made choices and changes.  The Sprinter runs on diesel and we’ve converted it to run on waste veggie oil.  It’s been a process getting to know the whole scene but we put a lot of thought and a lot of money into getting it real right.  This is the first summer, so we’re just getting it under way.

B:  How do you get the oil for it?  Do you go to restaurants and try to get what they let go of?

M:  More and more you can buy filtered waste veggie oil.  You can get waste veggie oil from places that preferably don’t use any fat.  Some places just fry tortilla chips or just fry potato chips.  You want as much of the clean stuff as you can get in the first place because then you have to filter it, let it settle out through all these filters, and then you put it in your van.  It goes through a little bit of a filter putting it in, but you put it in and then you burn it like diesel fuel.

MTT:  HOW MANY MILES TO THE GALLON DO YOU GET?

M:  I can’t say a specific number but to give you an example, Rochester, NY to Burlington, VT, one forty gallon tank of waste veggie oil.  That’s like a 8 hour drive sometimes.

MTT:  Where do you see the evolution of your band, where do you see your future?

M:  We see ourselves asserting our right to, you say we take a “green stance”, we take an “everything stance”.  We feel a responsibility to bring the highest that we can bring.  We feel the responsibility to give the audience, and give people that take the time to enjoy and experience music, the best of what we can give them.  We treat our lives that way and we try to keep ourselves in good shape, we make good choices with our bodies and with our lives, in our actions and with the way that we speak to people.  I hope that our band can keep reflecting that and keep getting more gigs like at Rothbury to reflect that and stay true to our roots.  We always want to be able to be who we are and maintain creative integrity and to talk to more people like you.

MTT:  Thanks very much for being with us.  We appreciate it.

M:  Yeah, thanks Monty!

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Matthew and Rachel (also a former member of Giant Panda) have started a new band called Thunder Body.  Check them out on Facebook at: http://www.facebook.com/pages/THUNDER-BODY/111078485595149?ref=ts

The Hold Steady

The Hold Steady, a Brooklyn-based band, is well-known for their guitar-riff heavy tunes and also great lyrical storytelling by frontman, Craig Finn.  The Hold Steady’s live shows are second to none.  High energy, tight playing, and overall atmosphere of their shows makes The Hold Steady a must see on the concert and festival circuit.

Tad Kubler (The Hold Steady)

Interviewed by Monty Wiradilaga and Brian Kracyla (Moe Train’s Tracks)

Moe:  Hey we’re sitting backstage with Tad from The Hold Steady.  Thanks for being on the show, man.  Appreciate it.

Tad:  No problem.  Thanks for having me.

M:  You guys have gotten so many accolades, including “Best Live Band in the World”, what has it taken for you guys to get to that point?

T:  I think just for us to continue to go out and try to have a good time with what we’re doing.  Obviously, the audience has gotten larger, and the shows have gotten bigger, and the venues have grown in size, and I think as things continue to happen for us it would be easy for us to go out and phone it in every night with as much as we tour, we play anywhere between 200 and 250 days a year, but I think the most important thing for us is to constantly remind ourselves of why we do this in the first place, and that’s to go out and have a good time.  So I think that’s the most important thing about what we do and that’s hopefully one of the reasons that we what do translates so well live, the enjoyment of what we do.

M:  Speaking about translating live, your live album that came out is phenomenal.

T:  Thank you.

M:  Was there additional pressure to capture that live essence in putting out that album?

T:  No, I don’t think so.  There were a lot of times where a bit of time passed in between when we did the actual live recording to when it came out, it came out during one of the tours for Boys and Girls in America.  There were a couple of songs on the record that we were in the process of writing for Stay Positive, so it was nice to go back and listen to how they kinda changed in between the writing process and the actual recording of them.  For us, there wasn’t really a lot of pressure other than just making sure that there wasn’t a lot of mistakes.  The live record took place on Halloween in Chicago and we were all in costume and during the mixing of it I remember hearing parts where it was like, ‘Oh yeah, that’s wear I’m shedding parts of my costume, I think I was trying to get the poncho off!’, or whatever I had on.

M:  What were you wearing?

T:  We were all dressed as kinda banditos.  You know, fake mustaches and, not sombreros, but some kind of weird hats, and cigarillos and stuff like that.  Nothing we do is that deliberate, but I think sometimes it’s taken that way.  But, like I said, what we do is try to go out and have a good time.  And usually good things come out of that.

M:  Yeah, the live stuff seems like it’s your guys’ bread and butter.

T:  In terms of being able to sustain playing in a rock band right now, it’s certainly financially our bread and butter, as I think it is with most bands.  You gotta stay on the road.  It’s obviously very hard to sell records right now.

M:  Speaking of which, one of your albums leaked really hardcore…

T:  Stay Positive, yeah.  It leaked really quickly.  It was somewhere overseas where the promo copies leaked right after they were manufactured.  That is what it is.  We really didn’t expect it to leak as rapidly or as widespread as it did, but I guess that’s something that just goes with the territory.  I think these days you kind of have to be prepared for that.  I think, luckily for us, when we were in the studio we recorded so many songs and there was so much material that it was still easy for us to go ahead and alter the actual release itself to make it a little more special than what had leaked.

M:  With that leak, does it help with viral marketing?

T:  It’s frustrating obviously because when you do a record you want to present it as a whole piece with everything you’ve done.  You work so hard to keep the sonic integrity of it, and to have it leak onto crappy digital MP3’s that are out of phase and that are kind of an inferior product to the actual record itself, it can be frustrating.  But, it’s the nature of the music business now.  It’s kind of expected at some point now.  The one thing that it did do was show us the demand that was out there for the new record, it was a pleasant surprise.  So, you gotta take the good with the bad.  That’s something that, in this day and age of technology and the way people consume music, it’s unfortunately just part of the plan.

M:  Going back to Boys and Girls in America, it was one of my favorite albums.  It just tells stories, it seems like just sex, drugs, and rock and roll.

T:  Well, a lot of people have said that but Craig’s lyrics, I think what I take away from them, and I’m as big a fan of his lyrics as anyone, is that there’s a lot of hope and I think that a lot of it deals with faith and those kind of topics.  I think that even in some of the darker Hold Steady songs, lyrically, I think there’s a lot of hope involved as well.

M:  How did Michael Jackson influence you?  Or do you have any stories as a kid?

T:  His fame and celebrity I think was probably very different than his body of music and performances.  I think that the Quincy Jones stuff and some of the earlier records that he did were great.  Also, keep in mind that Michael Jackson is somebody that always brought in great guitar players to play on his records, from Slash to Eddie Van Halen.  So I think that he did a great job of blending a lot of musical styles.  I think that that’s one thing that everybody can take away from any Michael Jackson record.  The production was always fantastic and, in terms of the scope of music, there was always something there for everybody.

M:  How important was it for you guys to mesh styles, to mesh modes of play in your music?

T:  It’s fun for us.  You spend so much time on tour performing and promoting an album, to get back in to the writing process and the recording process’s and stuff, it’s fun for us to try new stuff obviously, and to try to grow as a band, as songwriters, and as players.  There’s influences that really have a broad span.  We obviously get the Springsteen thing a lot, and Led Zeppelin, and we’re a pretty traditional rock band in a lot of senses, but there’s a lot of influences that come from, not just different things in terms of musically, but also just from people you meet that make an impression on you, with the traveling that we do, just being in different parts of the world.  You take all that in and then you go in and make a record.

M:  How’s the chemistry with the band?  Working together as a cohesive unit, ups and downs, how’s it been?

T:  It’s been great.  One thing that’s really fantastic about The Hold Steady is that everybody still gets along well and there’s a real bond.  There’s a lot of complex friendships with all of us in the band.  I think that has really helped us be able to stay emotionally healthy, especially with the kind of schedule we keep in terms of touring and recording and stuff.  That’s not always the case with a lot of bands, there might not be the kind of friendships that you find with The Hold Steady.  I think that really translates into that sort of joy and celebration that goes along with our band.

M:  So, down the road, when it’s all said and done, what do you hope to see as the legacy that you guys have left on the music scene?

T:  I don’t know.  You try not to think about that too much.  I think that the most important thing for us is to kind of stay in the now and just stay present and enjoy what’s happening for us in the moment that it’s happening.  I think if you start to think about that than you start to lose sight of what you’re actually trying to accomplish, which for us is to have a good time and enjoy what we are doing.

Related articles:

• Listen free to the Hold Steady’s new album, Heaven Is Whenever (guardian.co.uk)
• The Hold Steady Evolve (But Stay The Same) On Heaven Is Whenever (mtv.com)

Jeremy Stein (Rothbury Creator)

MTT has a chat with Jeremy Stein, creator of the Rothbury Festival about putting together a festival, dream acts, and the festival’s future.

Moe:  We sitting back stage her with Jeremy Stein, promoter and creator of Rothbury Festival.  Thanks for being with us.

Jeremy:  Fantastic being here guys, thanks.

M:  How did you go about putting together your vision of the Rothbury Festival?

J:  That’s good question.  I think it came together really over a course of years.  It’s funny, I was reading Outliers by Malcolm Gladwell and there’s a big thing in there about taking 10,000 hours of work to really get a vision for something and think that’s what happened over the course of a decade.  We were putting on a lot of different events; 5,000 people, 15,000, 20,000, all over the world and also had a lot of different artists under our management firm who were traveling the world at festivals.

So I had this kind of rare experience to be able to go to festivals across Europe/Australia/Japan, and really make notes on all of them, and see what was working, and combining that with a general attempt to have a cultural event at Rothbury, and an art event.

Obviously music is a magnet, no question, but it’s so much more than that for everyone.  Some people even have trouble putting their finger on what that more is, but it’s so much more.  You combine all those factors and it almost surfaced organically.

M:  Last year, we called Rothbury ‘Festival of the Year’; for the lineup, for the atmosphere, for the people, the total experience.  How important was it for you to create an all-encompassing experience for your guests?

J:  The general idea is that it’s an immersive environment that people come to live at.  A lot of festivals, not for good or for bad but just the way they are, are generally daytime into the evening events and they shut down, and they’re not camping festivals so everyone goes home at night and they might come back the next day.  This kind of event is different.  Not only is it a big holiday weekend (4^th of July), and people are really looking forward to getting off work and they’re out of school and all those types of things, but they are living here for four days.  And when you’re living somewhere for four days, you get to know the people next to you, and you make some new friends out there.

Not only are you obviously here for the big shows and the big dance events and all that kind of stuff, but most of the time you’re not at a big show, you’re relaxing.  You can’t just be on level 11 for 24 hours a day. (Moe giggles)  So, that’s a big part of what the forest turned into, it’s a daytime lounge.  And when people can get that downtime in a shaded, cool environment with their friends, they have way more energy for the rest of the day and they’re not just totally burnt out at the end of the show.  That’s a pretty exciting scene.

M:  Did you take the forest idea from Fuji Rock?

J:  I’ve been to Fuji Rock a lot and there’s no question that we are kindred spirits.  Especially on their recycling.  They were doing that recycling before just about anyone else that I’ve seen out there.  They weren’t doing composting but the teams that we working at the cans and everything and having a strong green scene.  That was just more a part of the culture there than anything else but they were a little ahead of the curve.  I’m friends with those guys and it’s probably the closest relationship of a forested environment for a festival that I know of.

M:  In the future, what do you see for Rothbury and what is your perfect headlining act?

J:  Wow, that’s a tough question.  I think year to year, there’s no question that the headlining acts give a little bit of their own identity to what that year of the festival is, and some of them are available some years and just not another.  There’s no question either that there’s a top 25 names out there and we all know who they are, there’s no big secrets.  So, one year it’ll work for Rothbury and one year it won’t.  We just gotta go where the wind takes us.  I care just as much about the music, I’m not afraid about the music though, we’ll get the right music every year.

I think that now we’ve hit a critical mass where the industry knows what it is.  It’s just as exciting to the artist as it is to everyone else and they want to be here.  So, we’re gonna get there on the musical side.  I care as much about the community building, the interactive environment, and getting more people involved in the show.  The more everyone’s involved in the show, the more the entire grounds become the stage.  It’s not just you come to watch something, you come to be a part of something.  That’s what I’m after.

M:  Thank you very much for being with us.  We appreciate it.  The festival’s been killer.

J:  Great guys, good luck.  Have fun out there.

Related articles:

• Rothbury 2010 Canceled; Midwest May Gain Bamboozle Fest (rollingstone.com)

Flogging Molly

Nathen from Flogging Molly drinks Guinness with the MTT crew and talk music, Michael and Irish Pride.

Flogging Molly Interview on Moe Train’s Tracks

Nathen Maxwell (Flogging Molly)

Monty Wiradilaga, Brian Kracyla ( Moe Train’s Tracks)

Moe:  What’s going on man, how are you?!

Nathan:  Aw, I’m having a great time, Moe!  How bout you?

M:  Having a blast!  What do you think about the Rothbury scene?

N:  Right on brother.  Man, it’s cool, it’s different for us.  I’d call it kind of a hippie festival but it’s great that our music can be a part of this.  I think we fit in.

M:  Well your music is not traditional Celtic music, obviously you put your own twist on it.  I’d say you guys put a little dose of balls into Irish music.

N:  Yeah, thanks man.

M:  How does the Irish culture take your music?  How do the people take your music?

N:  Well, people think that we’d be huge in Ireland, and I’ll tell you it’s not the case!  (laughs)  And one of the reasons, like someone told me, is because there’s 34 million Irish in America and there’s about 4 million Irish in Ireland, you know!  I think the youth in Ireland too, they grow up with traditional music, it’s not such a novelty to them.  I mean we’ve got great fans in Ireland but it’s not as big as it is in the US and other parts of Europe.

M:  You’re appealing to the Irish, you’re appealing to the punks, you’re appealing to such a wide audience.

N:  I think that’s the thing about our music, it’s for everybody, young and old.  I was just talking to this lady behind me, she was just saying that one of the things she loves about Flogging Molly is that it’s one of the only bands that her and her father agree on.  I think that’s a big part of it too.  I grow up a punk rocker, but this music it transcends scenes, man.

M:  I heard you guys take a “deadly serious” approach to your music, what’s that all about?

N:  When I say a deadly serious approach to music, I mean that this is all we have.  This is our life, it’s everything to us.  But at the same time, we don’t try to take ourselves too seriously.  You gotta have fun, you gotta laugh at yourself, man.  You know what I mean!

M:  Absolutely.  Irish pride, what role does that play in your music and how does it affect your interaction with your fans?

N:  Well, our singer Dave is a Dublin-er, born and raised, and he’s ginger as well, so he looks the part.  I think the Irish pride thing is biggest amongst our fans.  Dave’s obviously proud of where he’s from and we’re all proud of where we’re from.  I’m from L.A.  I’m proud of that, Cali’ pride.  But for me, I think it’s human pride, you know, we’re all one big family.  That’s the way I see reality.  So I think the Irish pride thing is bigger amongst some of our fans then it is amongst the band.  I’ve got Irish blood.  But I also have Mexican blood, Polish blood, German blood;  it’s a human thing for me personally.

M:  Yeah, we’re sitting here drinking Guinness…

N:  Yeah, thank you by the way.

M:  Absolutely, you are welcome.  I was going to bring over some Jameson but I didn’t want to be responsible for you guys getting shit-faced before your show.

N:  Oh we already opened the Jameson bottle on the bus!

M:  Ah, okay, guess I should have brought it then.  You guys have got to have some drunken Irish stories.

N:  Well, I can’t remember the last time I blacked out.  How bout that?

M:  You can’t remember?!

N:  I can’t remember.  What did we do last night?  I don’t know.

M:  Exactly.  So do you guys always get tuned up before you play?

N:  Yeah, well, most of us.  Our drummer stays pretty sober but the rest of us like to kinda hit the sauce and get that swagger on before we hit the stage.  And then we just continue on through the night and party.

M:  So what’s your definition of swagger?

N:  Just walking the walk, you know, just being yourself.  Don’t try to copy anybody, just be yourself and own it.

M:  We’re also doing a side-show on Michael Jackson.  Has he influenced you in anyway?

N:  Sincerely, absolutely, Michael Jackson has been a part of my life ever since I can remember.  All my family loved Michael Jackson, I grew up listening to Michael Jackson.  I love Michael Jackson.  I think Off the Wall is one of the best albums ever made.  It’s a real loss.  I’m not here to judge, I don’t know about all that drama he was going through the last decade and I don’t have an opinion on that and I’d like to keep it that way.  To me it’s a shame that he never got to, if he was innocent, redeem himself in the eyes of the public.  It’s a shame that he died so young and I think that we lost a great talent with Michael.

M:  How has “D.I.Y. or Die” played a role in the success of Flogging Molly?

N:  It’s been everything for us.  We didn’t stand a chance in the world in the beginning.. People used to tell us we were shit, that we were just a bar band, that we’d never make it, just another bar band.  We were like, yeah whatever we started at a bar, we like to drink but come on, we could play for anybody!  So we had to do it ourselves, there was no one there to help us.  We financed our first two records ourselves.  We got lucky to become friends with a great indy label SideOneDummy, we’re still with them today, they put us on the Warped Tour.  It’s all been about do-it-yourself.  I’m here right now, I feel like a pretty successful person with Flogging Molly, and in my personal life I blessed, and it’s all been because I’ve done it myself.  I wasn’t handed a goddamn thing.

M:  So what would you say to people who are trying to get there start?

N:  Just do it man.  Believe in yourself first-and-foremost.  If you don’t believe in yourself ain’t no one gonna believe in you.  Believe in yourself and just do it.  Don’t take no for an answer.  If you get knocked down, get right back up.  It’s pretty simple.

M:  That’s right, Irish Ethos right there!  (both laugh)  Finally, as you said, we’re at a hippie festival, we bounce around at different festivals and, well, you can smell the patchouli oil out there…

N:  And the weed!  I like the weed smell!  The patchouli I could stand to do without, but the weed’s good.

M:  So, who would win in an epic battle here at Rothbury, the trippin’ hippies or the drunken Irish, and why?

N:  Well, here at Rothbury, I go with the hippies!  There’s a lot more of them.  I think the hippies are definitely outnumbering the drunk Irish.  Plus, you know, when you’re on that LCD you get super-powers!  I don’t recommend it, kids!

M:  Thank you very much for being on the show.  We’re looking forward to your set.

N:  Cheers, brother!

MGMT

A classic interview with Andrew and Ben From MGMT in 2008 just as they broke as major new players on the music scene.

MGMT Interview on Moe Train’s Tracks

Andrew Vanwyngarden, Ben Goldwasser (MGMT)

Monty Wiradilaga, Brian Kracyla (Moe Train’s Tracks)

Starlight Ballroom – Philadelphia, PA

Here’s a great interview that was rescued from The Tracks’ vaults…  Back in early 2008, MTT caught up with Andrew and Ben from MGMT in Philadelphia, PA.

MGMT had just gotten a major break in the music scene with the widespread critical success of Oracular Spectacular.  Keep an eye on MoeTrainsTracks.com for tons of great new content!

Moe:  We saw you guys down at Bonnaroo for your set, it was a great way to open up the weekend.  I was a pretty epic show if I must say.

Andrew: Yeah, it was fun.  We had been to Bonnaroo before so it was good to see it from the side of the artist instead of the person in the crowd.  It was only our second festival show.

M:  Oh really, where was the first, Coachella?

A:  Yeah.

M:  So how do they compare?

A:  I don’t know, Coachella was crazier for us because we were more nervous.  Bonnaroo was a little more relaxed and cool.

M:  You guys just started tour together with a band right?

Ben:  We started practicing with them about a year ago.  I think we were kinda thrust into exposure a little too quickly for our taste.  We played on national television after we had only been touring with the band for a couple of months.

M:  Was that on Letterman?

B:  Yeah.

M:  You looked a little nervous.

B:  Yeah, we were very nervous!  But we’re getting more comfortable and we don’t have to think as hard when we’re playing, its kinda getting to be more natural.  We’re getting used to playing for crowds.

M:  Did you guys have sound problems at Bonnaroo in the beginning, what was going on?

B:  Yeah, well, the festival thing, we hardly ever really get a sound check so it’s always a little weird starting out.

A:  I think the monitors were pretty messed up.

M:  (to Andrew) Oh, by the way, you had on some pretty fucking crazy pants.  I remember walking up to set and saying ‘holy shit’, those bright blue ones!

A:  Tropical floral bellbottoms, yeah.  Really big bellbottoms. 

M:  They looked comfortable though!

A:  Yeah, they’re real comfortable.

M:  Saw you guys backstage, you guys looked pretty chill, pretty relaxed, so I guess you feel like you’re falling into place with everything.

B:  We’re good at hanging out.  We’re good at relaxing.

M:  Any standout moments yet from your recent successes?

B:  We just played at the Oxygen festival in Ireland and that was really crazy.  There were all these people climbing up the towers that were holding up the tent and we had to stop the show because this girl made it all the way to the roof of the tent so that you couldn’t even see her anymore and everyone was yelling at her telling her to come down.

M:  Did she take a spill?

B:  No, it would have been ugly if she had!  That was probably at least 60 feet up in the air or something.  It was pretty crazy.

M:  I saw a video of you guys at some festival in Scotland that you guys were playing and you were walking around the grounds, checking out the scene; Andrew you like the thrill-rides?

A:  As much as I’d like to keep the myth going that I like thrill-rides, I’m new to them.  I’ve been on like Space Mountain and most of the Disney rides, and I like those a lot.  I was like twenty when I started going on roller coasters, so I don’t think I’d go on the Slingshot thing.  I would vomit.

M:  You guys got together at Wesleyan, and you were actually making music that you thought would be annoying?

A:  We knew it was annoying.

M:  Just to fuck around, just playing, just to amuse yourselves?

A:  I dunno…  We were young and foolish.

M:  You were freshman?

A:  Yeah.

M:  So it was basically putting that freshman energy, that drunken and banged up energy back into the music.

A:  Yeah, exactly.

M:  What’s up with the clothing optional dorm?

B:  At some point it was designated a “clothing optional” dorm but there aren’t many people walking around naked there.  There were a few, and we were friends with most of them.

A:  I did naked calisthenics with Vin Popper on time.  (all laugh)

B:  Nice.

M:  Tell us about some of those early dorm session jams.  We used to do the same thing.  We’d go out to parties, get all fucked up and come back and just grab our instruments at like 2 o’clock in the morning and start jamming.  So what was it like with you guys getting together?

B:  It was a lot like that.  It’s was just kinda very casual, just having fun.  We had a lot of other friends that we played music with and we were both in other bands at the same time.  It wasn’t like we started a band in order to get successful and get fans and all that, we just started it for something to do and didn’t really care if anyone liked it.

M:  You guys just probably wrote the album for yourselves.

B:  In a way, I mean, we know we were writing it for other people because we had signed a record deal at that point, so we had a delivery date, so there was a little bit of pressure on us but when we were writing the songs we didn’t think that anyone was actually gonna hear the album, so it was pretty much just writing it for ourselves.

M:  So I guess its still a surprise with all of this going on?

B:  Yeah, its still a surprise.  And, I don’t know, it keeps getting crazier!

M:  When you guys were first recording you guys had a pretty gritty sound right?  I mean, if you were recording back in your dorms you’re going to have that unintentional gritty, natural sound.  Did you guys try to replicate that sound?

B:  In a way it was the other way around because we were doing a lot of stuff just on computers, so a lot of it was very electronic and very clean sounding.  I think we’ve tried to get dirtier.

M:  You had the producer who worked with the Flaming Lips.  Did you guys pick him because he had that psychedelic background?

A:  We kinda just chose him because we talked to him and we’re fans of the Flaming Lips and other stuff he’s done, like Sleater-Kinney and Mogwai.  He’s not the kind of producer that wants to mold the band into something, he kinda just lets them do their own thing.  So, he was good for us.

M:  So did the album come out exactly how you wanted it to come out?

A:  At the time I think it did, yeah.

M:  Looking back now, what do you think?

A:  I’m sure now if we listened to it a bunch, we’d probably change stuff.  But we think it’s good that we can’t because it captures that moment.

M:  I see you in a lot of pictures wearing sunglasses, you’re not becoming Bono are you?

A:  I hope to God not!!  If I am you should stab me…

M:  What’s your beef with him?

A:  Nah, I just don’t like him.  I heard he’s a great guy, and he seems like he’s got good intentions.  I think it’s really the sunglasses that piss me off the most.  So, now I’m never going to wear sunglasses again.

M:  Will you burn them in effigy?

A:  We stabbed an effigy at our senior recital.

M:  Ben, you said, “To give music meaning you have to have your back up against something”; What, you don’t remember?

A:  (laughs) You sound like Thoreau or something.

M:  Yeah, I guess you were being pretty introspective.

B:  I guess maybe just having some resistance kind of helps.  With us, when we got signed and we had to deal with all the kind of big-record-label bullshit for the first time, I think it kind of forced us to look at what we’re doing and try to give it as much meaning as possible and try to ask ourselves why we were doing it in the first place.

M:  So what’s your validation?

A:  I don’t think we’re validated.

M:  No?  What will be your validation then?

A:  If aliens approve of our music.  So, we’re waiting for contact.

M:  Waiting for the return in 2012 when the earth ends?  I know you guys are joking around about your future, about what will happen hen things will come, but we’re sitting inside of a big tour bus.  Obviously this is probably five times bigger than your dorm room was.  You said that when the fame comes around and you get the big label money that you would go get blow jobs, you would ride horses to your gigs, and go get castles.  What’s going on with the success?

B:  Yeah, we’ve both gotten blow jobs before, which is cool.  We’re working on the horses and the castles.

M:  What have you benefited from just by being in the business?

A: We get a lot of free clothes, a lot of free stuff.  And we both got haircuts for the first time in a long time.  We used to cut our own hair and now we can afford real haircuts.

M:  If you guys think that everything musically has been done before, how does MGMT stray away from the norm’?

B:  I don’t know if everything’s been done before…

A:  All the good stuff has.

B:  Yeah, all the good stuff’s been done before but pretty much…

A:  You could string your guitar with celery or something, but that doesn’t mean it gonna be good music.

B:  Any new good thing I think comes out of recycled ideas and using them in creative ways.  Rock and roll is a pretty basic, simple form of music but there’s so many possibilities with it.

A:  You don’t have to make up your own language to write a good poem.

M:  Who is it that does that again…

A:  Sigur Ros!

M:  Oh yeah that’s right.  Did you guys see them at Bonnaroo, what’d you think?

A:  I heard for somebody that it’s much better to see them in a wide open cathedral-type space, like an indoor space, and I could see how that’d be true.  It didn’t translate that well to the festival thing.

M:  Yeah, it’s pretty grand I guess.  So, what’s the future of MGMT, or have not realized the present yet?

A:  We have trouble comprehending what’s happening at all times.  But the future should hold good things.   We’re trying to get a cabin somewhere in the woods.  James is gonna cut firewood, I had a vision of him walking towards me with an arm full of firewood and I’m gonna smile and then our dog is gonna lick our faces.

M:  (laughing)  Alright guys, thanks a lot.

Bill Kreutzmann (The Grateful Dead)

The Tracks brings you Mr. Bill Kreutzmann, drummer for The Grateful Dead.  In this interview, we touched on The Grateful Dead’s influence and interactions during President Obama‘s campaign, their responsibilities to the Deadheads, and if the Bay Area’s New Year’s Eve shows will be the curtain call for The Grateful Dead.

M:  Mr. Bill Kreutzmann, of the Grateful Dead, thank you very much for being here on the Tracks.

B:  Yeah, nice being here, thanks for having me.

M:  Legends… The Grateful Dead… Obviously if you think about American bands, you think about the Grateful Dead.  How do you feel the Grateful Dead’s influence and responsibility to the fans has been over the years?

B:  The responsibility lies in the love of playing music and trying to play the best music you possibly can.  For years and years we never pitched politics until this last horrendous eight years came up.  We’re always pretty much a-political and we didn’t tell the fans anything, we just entertained.  We just played music, that’s all we cared about.

M:  So you said these horrendous past eight years, how are the next years going to happen, how do you feel about it?

B:  I think the next eight years are going to be incredible.  At least it’s going to be a lot different, a lot better.  I got to meet President Obama and he’s real, man.  I stood closer than you and I are talking right now and I looked right in his eye.  He’s also from Hawaii so I kidded him about his surfing.  There was a picture of him bodysurfing and he had really good form, he was on his side and had his arm out like you’re supposed to have when you bodysurf.  I was kidding him about it, and he didn’t know where I was from, he thought Grateful Dead, he must have lived in the states or something.  He looked me in the eye real close and said, “You’re from Hawaii, aren’t you?”  That cat’s smart, man.  No, I really see a freshness.  We played the inauguration.  We played the Atlantic Ball.  He came and he met us there the first time and it was terrific.  The guy really took time to come and meet the people that helped him because we had played at Penn State to about 16,000 people, a young audience, college educated people, and that really helped.  I think the

young vote really helped him.  And the way he did his campaign was so smart.  Dave Axelrod is a wonderful person and he lead President Obama down the right path.  He said, “use computers, use the internet, don’t get lobbyist money, get donations” and that was smart.  Now he doesn’t owe any one person something, like some big corporation or something.  Of course, you know all about lobbying, I don’t want to get into all that nonsense, I dislike that myself.  That’s not politics.  You hire somebody from your state to be your senator and then they’re paid for by something

else.  That’s no good.

M:  So the Dead influenced the voter’s vote?  (laughs) Did you get him into office or what?

B:  I think we influenced them at Penn State for sure.  What happened to me is, about four or five years ago, I read his second book, The Audacity of Hope, and I said, my God, this is a dream if this guy can be president.  So I’m really happy with it.

M:  The show on New Year’s Eve is in the Bay Area.  The rumor is that that will be the farewell show for the Dead.

B:  That’s a rumor.  We have actually talked about that yet.  I’ve been asked a few questions today about plans and records and stuff but we haven’t actually gotten together and had a sit down about what we’re going to do yet.

M:  Well, thank you for the music for all these years.

B:  You bet, man!  It’s been fun!

M:  You’ve made a lot of people happy.

B:  It’s made me happy.  That’s probably why I’m still alive!  (laughs)

M:  Appreciate it.

B:  You’re welcome, man.

Related Articles:

• The Management Secrets of the Grateful Dead (futurelab.net)
• 7 Walkers Tour: Papa Mali, Bill Kreutzmann, George Porter Jr. (jambase.com)
• Bob Weir, Phil Lesh keeping the Dead alive with Furthur (pbpulse.com)

Minus the Bear

Jake from MTB talks with MTT about the evolution of their music, sleep walking through walls and more…

Minus the Bear Interview

Jake Snider (MTB), Monty Wiradilaga, Brian Kracyla

Manchester, TN – Bonnaroo Music and Arts Festival

Moe (MTTracks): All right, we are sitting back here in some alley at Bonnaroo with Jake Snider, lead singer, guitar, from Minus the Bear…

Jake Snider (Minus the Bear): Howdy. Hello there.

Moe: Thanks for being here.

Jake: You bet. Thanks for having me.

M: Hell of a performance today man.

J: Thanks man, I appreciate it.

M: How’s the vibe of Bonnaroo compare to the other festivals you’ve played?

J: It’s definitely laid back. Everything runs pretty much perfectly, so its seems like seems like everyone’s just got it down. It’s just super easy, the crowd it just awesome, one of the best crowds I think of any festival that we’ve played.

M: Why do you think it’s one of the best vibes?

J: I don’t know. Maybe it’s the location, or maybe it’s just the history of the festival, the vibe that people expect from it. You know, kind of a more free-form situation probably.

M: You played a good bit of tracks from Planet Ice…

J: Yup.

M: I think that an album’s true test is how it translates live…

J: Yeah, that’s definitely a good record. Live is usually better, hopefully. That’s the idea at least.

M: With listening to your music, I get sort of a sense that you incorporate a bit of jamminess into it. It feels like you’re translating that live performance into your albums and vice versa. You’ve changed your writing style lately haven’t you?

J: The last record, Planet of Ice, is a little more broader sounding I think. A little bit more ambient. It’s just not a tight as the other ones. Yeah, I don’t know, there are songs that are really fun to play live. And I think that that’s what our goal was, to write a record full of songs that we really enjoy playing live…and don’t get sick of.

M: Well, before didn’t you have more regimented songs. Didn’t you cut it short because you thought it would go on too long, and with this record didn’t you change your writing process to let certain parts just flow? Let um go where they had to go…

J: Yeah, totally. We kinda just laid back on that stuff. We used to be really concise, and it is really a lot more fun live and especially to be able to explore things a little bit more.

M: So, do you like this process a little bit more than what you were doing before?

J: Yeah. It’s a lot more fun.

M: What made you go in this direction?

J: I don’t know. It just started coming out that way, I guess. We’ve been playing together for years and years and years, and a lot of the same songs. At that point in time we felt like we needed to try some new shit, you know, basically.

M: It seems to me that you live a bit vicariously through your music…

J: yeah…

M: First of all, I’m not gonna go into your funny song titles and all… (Laughs)

J: Okay, cool.

M: I know that you’re probably sick to death of hearing about it.

J: Yeah, totally.

M: What are the main topics that you think in your head that you like to live vicariously through?

J: A lot of the songs are about sex, and a lot of those are kind of fictionalized. So, I do kind of live vicariously through some of those songs. Mostly those songs. I guess most of the songs are about sex on some kind of level, or getting wasted. But all that stuff is just another way to imagine life I suppose.

M: I’ve heard you say that after every show there’s a disco. What are some of the craziest moments you’ve had being out on the road, being on tour, whatever?

J: Well, usually Florida’s pretty brutal for us. We have had some run-ins with the law in Orlando. One of us got a little too drunk one night and ended up getting arrested.

M: Oh yeah, what happened?

J: Oh, nothing. He went to jail for the night. We got him out. And then hauled ass to the next show. He had to pay a fine, or whatever.

M: A little rowdy?

J: Yeah, just a little rowdy.

M: Did you really have a site called Friction USA?

J: Yes.

M: What was the deal with it? Was it a Suicide Girls…

J: Yeah, it was similar to that. It started almost exactly the same time as Suicide Girls. Just did it for a couple of years. My wife, it was her idea basically.

M: And it just never materialized or what?

J: It was good, the music thing just started taking over. Once I got into the band, there was just no time.

M: Well, you’re from Seattle, how’s the Seattle scene THESE DAYS?

J: It’s always good. It’s an amazing town for music.

M: What are some of the big things going on in Seattle THESE DAYS?

J: These Worms Are Snakes is a great band. I can’t even think about it right now, I don’t know why, sorry.

M: Question, have you done any sleep walking through walls lately?

J: Nope, only when I was a kid.

M: What happened?!

J: Yeah, my parents were building a cabin, and the walls weren’t sheet-rock yet. My bedroom was right on the hallway for the stairs, so basically, you would walk through the wall and fall right down the stairs, into the bottom of the stairs…

M: Holy shit.

J: Like a full story. So I slept walked through the studs and fell.

M: What happened?

J: Got a concussion and broke my arm.

M: Jesus Christ, that’s a pretty big fall.

J: Pretty brutal, yeah.

M: You’re band has a pretty distinctive sound. A lot of it comes from Dave’s guitar taping techniques. What do you think sets your band apart from the others?

J: I don’t know. We are always trying to find parts that we find interesting and try not to right the same stuff over and over again. I don’t know, that’s a tough question. The combination of personalities, it’s pretty hard to come up with something different. I think it’s just kinda crazy.

M: You guy are definitely always evolving with changing the lineup. How’s the new cohesive unit working?

J: Better than ever.

M: So, what’s next for Minus the Bear?

J: Um, next is a summer where we’re gonna play a few shows. We just re-released our They Make Beer Commercials Like This EP on Suicide Squeeze. That’s also out on vinyl for the first time now. And we’re writing a record…

M: How’s that going?

J: Starting it off, just getting it started, you know…

M: With the new album are you evolving to a new level, or is it something with the same equation that you’re doing now?

J: I have no idea yet.

M: It just comes together.

J: Yeah.

M: Awesome. Thanks a lot for staying with us.

J: Yeah, I appreciate it man.

G. Love & Special Sauce

Philly meets Philly when The Tracks interviews G. Love backstage while in Chicago at Lollapalooza…

Philly Meets Philly – Interview with G. Love

Garrett “G. Love” Dutton and Monty “Moe” Wiradilaga
Friday, August 3, 2007
Lollapalooza – Chicago, Illinois

Moe’s Intro: When you think about Philadelphia, you think about a few things… Philly Cheesesteaks, the Eagles, the Flyers, the Phillies… And when you think about music from Philly, you think about G. Love.

Moe Train’s Tracks Podcast had the chance to sit down with G. Love backstage at Lollapalooza in Chicago, Illinois, where we talked about his music… the advent of the “hip-hop blues,” the Summer Haze Tour with Slightly Stoopid, G. Love & Special Sauce, and Ozomatli, and even a bit about Philly.

Make sure you check out the Summer Haze Tour when they hit your area! So here’s the Moe Train’s Tracks interview with G. Love at Lollapalooza…

Moe: G… What’s up, man? How ya doing? I’m Moe. Nice to meet you.

G. Love: Hey, how you doin’ man? Yeah, how ya doing man?

Moe: Philly meets Philly!

G: Woo! You from Philly?

Moe: Yeah man. Well… From the ‘burbs.

G: Right on.

Moe: Definitely been listening to your music for a long time…

G: Thanks.

Moe: It’s finally good to meet you. Got your new DVD out right? What, it was released this week right?

G: Yup, it just came out. It’s called A Year and A Night with G. Love and Special Sauce. It’s really cool. It’s definitely like an in depth look at the band on the run, you know, like a band on the grind. ‘Cause we’ve been grinding it out for like fourteen years so…

Moe: You’re always touring right?

G: Yeah. We do like 150 to 250 shows a year. And so that’s a lot of time in the bus, and as we did eight years in a van to start out, so definitely…

Moe: A bus is nice!

G: Yeah. A bus is great! I’ve definitely seen this whole country, man.

Moe: Yeah. I’m really noticing a progression in your music, but than again, recently it seems like you’re going almost back to your roots. Tell me about the beginning of G. Love and the “hip-hop blues.”

G: Okay. You know, I grew up listening to hip-hop, just like any other kid. You know, like, the Beastie Boys, and L.L. Cool J, Run DMC and you know like a whole lot of other stuff too. And I was like, grew up in Philly, which had a pretty strong hip-hop culture so… You know, we were getting into trouble and like writing graffiti, and break dancing, and skateboarding, and doing all this kinda like city stuff and, playin’ basketball. So that was like one side of me. And the other side of me was I had played acoustic guitar since I was like eight years old. I got really into the blues, the Delta Blues, when I was in high school. I was always kinda searching for something original, and when I found the Delta Blues that was like, no other kid in my high school was playing the Delta Blues. I had something that, you know, was making me stand out from the crowd, which I think is like really important you know. Now basically one night, I was a street musician, and I was just shuckin’ on the guitar, and I started rappin’ Eric B. and Rakim… Paid In Full…

Moe: Paid In Full!? (Laughs) There ya go!

G.: Yeah… (Laughs) And I was like, ‘Oh that was something.’ And then I wrote my first rhyme like that week and then I was like ‘Okay, you know, I can do this,’ and I felt like, you know, it was real. It was like a real expression for me. Also at the time, the early nineties, like that was kinda when hip-hop was like at it’s peak, you know, like the late eighties, early nineties, so that was what I was listening to.

Moe: Right. Well, you play a lot of improvised chords don’t you? Lots of blues chords, not the real standard chords…

G: I basically got a lot of my chords from… I would try to learn like a Lightning Hopkins record, or Muddy Waters, or Robert Johnson, or whoever blues, you know. There wasn’t like you could Google ‘Robert Johnson Tablature,’ when I was in high school, so you had to learn that shit off the record. (Laughs) Yo, you don’t know what tuning he’s in, so got to make up these weird chords to try to find the sound that he’s getting! So, I had all these weird chords so, I’d always make these chords and then I just be like ‘Oh that’s cool.’ Then I’d make a song with them ya know.

Moe: Well, you’re saying you’re always performing… Do you think the live performance is the way to hear your music?

G: Yeah, I mean, definitely. You know, we love playin’ live and that’s what it’s always been about for us, you know, and being in front of people and…

Moe: Your albums are recorded a lot live aren’t they?

G: Yeah, well, what we do, we record in the studio live, you know. You can get something different on a record than you can get live, it’s all about what you like to, you know like, certainly there’s nothing that beats… Oh, Slightly Stoopid’s just going on…

Moe: Yep.

G: Nothing beats, but you know like, but you know there’s also nothin’… To me, I’d rather listen to a record than a live recording.

Moe: Yeah.

G: Except my new live recording which comes with my DVD!

Moe: That’s right. (Laughs) Explain ‘Everything’s a hustle.’ I heard you say that one time, you said that ‘everything is a hustle.’ That’s definitely Philly-style, the streets… You used to play a lot on South Street didn’t you?

G: Yeah.

Moe: I remember that. I think I saw you actually a couple times, yeah.

G: Really!?

Moe: Yeah… Explain ‘Everything’s a hustle.’

G: You know, I mean, it might not be the most positive outlook on life, but I mean, you know, like I think people are in inheritably selfish you know. So, it’s like, you gotta hustle for everything you get. And you gotta realize that people most likely wanna get something outta you, so, you know, you gotta make sure you don’t get hustled. And everything’s a hustle, like whether it’s the music business, or your job, to get a job… It’s a hustle to practice your guitar and get good enough to play, but you gotta hustle to get that gig, man! You know, and then once you get on stage you gotta let it be about the music, but the music business is all about the hustle you know. And then everything’s a hustle but love. When it’s real love, you know, and neither party’s trying to get up on each other. It could be love for music, or love for a person, or whatever you know what I’m sayin’.

Moe: Right… Well that seems like the mentality of independent music these days.

G: Yep.

Moe: People… They’re taking back the power from the labels and doing their own thing… More so, I guess it’s a hustle to take back that power.

G: Yep.

Moe: The question is…Pat’s, Gino’s, Jim’s, or a big ol’ slice of Lorenzo’s pizza?

G: (Laughs)

Moe: (Laughs)

G: Jim’s and a slice of Lorenzo’s pizza.

Moe: Wiz or without? Or “witout?” (Side Note: There IS a proper way to order a Philly Cheesesteak.) Excuse me…

G: Well, no… I get provolone. Provolone, onions, hot peppers on the side, baby!

Moe: (Laughs) What the hell is going on with Philly sports these days?

G: (Whistles)

Moe: Are we ever gonna win something? Is McNabb gonna stay healthy?

G: I don’t know I just…

Moe: Ryan Howard gonna do something?

G: I don’t know. We’ll see what happens. But I just moved up to Boston ’cause my kids up there and they just got Kevin Garnett and I’m like… We just got rid of A.I.! (Allen Iverson) (Laughs)

Moe: My co-host said to say to you that he ‘loves your music but Charles Barkley doesn’t beat Larry Bird.’ (Laughs)

G: (Laughs) No, but we said that Charles Barkley dissed Larry Bird.

Moe: Oh, okay.

G: It’s basically like, well Dr. J and Charles Barkley are the, I mean Dr. J and Larry Bird had the fist fight. But I think at the time Charles Barkley dissed Larry Bird somehow on microphone… I don’t know… I don’t know what he did! (Laughs)

Moe: All right, one last thing. You always give love to Philly…

G: Yeah!

Moe: How’s Philly been treating you?

G: Well, you know, Philly’s like a hard-love. Philly has hard-love. They show kinda hard-love I think, but you know that’s where I was born and raised, and that’s where my studio is, and I still live there part-time, and Philly’s a great city. Philly shows its love, man! We sold-out two Electric Factory shows last year.

Moe: There ya go!

G: And this summer we’re doing the Festival Pier (In Philadelphia). So, I gotta say, it’s still one of our best cities to play, and you know, it always means a lot to come home.

Moe: We’ll be bringing a crew to the festival pier to see you guys.

G: Ok, cool!

Moe: And good luck on your tour.

G: Thanks!

Moe: We’ll see you then…

G: Cool… All right…

Moe: Thanks a lot… Appreciate it, man.

G: Cool, man, appreciate it.

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