Bonnaroo’s Musical Evolution

Over the past nine years, Bonnaroo has notably evolved from a jam band fest to an all encompassing music experience.  Was it difficult for Bonnaroo to stray from its jammy roots, or was it a prudent business decision to move in the new direction?  MTT has been to the past four Bonnaroos in a row, and we’ve certainly witnessed firsthand the progression that the festival has made.

Personally, I embrace the changes in band bookings.  Admittedly, I’m not the largest jam band fan in the world (I can only take so much noodling!), so the evolution in booking has been welcomed in my book.  With the noticeable increase in attendees this year, many others must also embrace the changes.  However, in the past few years, we’ve spoken to many jam band purists who feel that Bonnaroo has “sold out” when they turned their back on keeping it jam-centric.

Stagnation of music on a huge festival level is a killer.  I like Widespread Panic, but just how many times can they close a festival?  Phish closing Bonnaroo out in 09 was excellent booking.  They may have played two nights, but their lasting energy helped the burnt out Bonnaroonians to power through the last night.  This past year, Dave Matthews Band closed it out on Sunday night.  Talk about a college kid magnet…  Bonnaroo has successfully avoided musical stagnation by smart and diverse booking.

From The Dead, to Phish, to Panic, then to Jay-Z.  Is this a strong progression?  I feel  that it is.  Actually, I feel as though Mr. Carter’s (Jay-Z) performance at Bonnaroo was one of the best performances (visually and sonically) that I’d ever seen over the years at the festival.

People may argue that 2010 was the least strong headlining roster yet, but how can one ignore the very strong number of supporting acts on the bill!  The dilemma for most people is whether a festival should have amazing headliners, and the rest would just fall into place, or if the fest should have many good undercard bands.  What are your thoughts on the situation?

Friday at Bonnaroo

Kings of Leon.  Daryl Hall and Chromeo.  Tenacious D.  The Flaming Lips performing Dark Side of the Moon.  Kid Cudi.  The Crystal Method.  Steve Martin.  Conan O’Brian…. Are you kidding me?  Bonnaroo’s Friday was super jam packed with amazing acts throughout the day.

Admittedly, I’m not the biggest fan of Kings of Leon.  I do like their newest album, and a few other tracks, but had never gotten into them like B has.  “Kings of Leon is going to melt my face,” B said.  Hey, at least they’re not Dave Matthews… Oh.  Wait, they’re here too.  Oi.  On the other hand, I’ve been very intrigued by the odd pairing of Daryl Hall and Chromeo.  Hall and Oates is a band that you tend to forget about the legion of hits that they had put out over the years, until you hear them and think, ‘oh yeah… they wrote that too!’

So, back to the festival…  The heat has been brutal, the people have been crazy, and the music has been superb.  Friday’s action was non-stop with Conan O’Brian kicking off the day to thousands of people.  No, not just the lucky ones who made it into the tent, but to 10,000+ people watching him on the Lunar Stage screen.  It didn’t make any sense that he didn’t perform on the main stage.  His crowd would have been larger than Chris Rock’s.  Conan’s show was a mix of music and standup, which would have gone very well on a large stage.  Oh well.  The Train isn’t the show promoter.

Nas and Damian Marley tore it up midday.  They had a solid balance of solo songs as well as tracks off of their album.  We then swung over to She and Him, which had an enormous crowd.  Zooey can definitely sing her ass off.  There was a great chill vibe flowing through the crowd. Maybe it was the huge green cloud surrounding the tent.

Later, we headed to the Tenacious D set.  I was a bit skeptical about how they’d sound live, but they certainly proved me wrong.  The Kage Man and Jack Black can tear it up.  The show was extremely high energy, and the whole crowd was very into it.  Jack can sing much better than I had originally remembered.  I was extremely impressed with the entire show.

Next up were B’s boys, Kings of Leon…. (To be Continued)

Los Lobos Cancels Arizona Performance And We Support Them

Grammy Award winning roots-rock band Los Lobos has decided to cancel their scheduled performance at The Talking Stick Resort on June 10th, 2010. The band has made this decision based on the current call to boycott Arizona in response to SB 1070.
Through their management, Los Lobos issued the following statement: “We support the boycott of Arizona. The new law will inevitably lead to unfair racial profiling and possible abuse of people who just happen to look Latino. As a result, in good conscience, we could not see ourselves performing in Arizona. We regret the inconvenience this may have caused the Salt River Pima Maricopa Indian Community, Casino Arizona, Talking Stick Resort and our fans, but we feel strongly that it is the right thing to do.”

The members of Los Lobos are Steve Berlin, David Hidalgo, Conrad Lozano, Cesar Rosas and Louie Perez.

Personally, I think the recently passed Arizona law is absolute trash and an embarrassment to all that the United States stands for.  I’m all for the boycott of all things Arizona if possible.  As someone that’s been racially profiled, I’m proud of Los Lobos as they’re standing up for their beliefs.

- Moe

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.

Hole – Nobody’s Daughter (1.3/10)

I’ve heard some shitty albums lately, but nothing as absolutely horrendous as this “Hole album.”  I put it quotes because this piece of crap sounds as though Courtney Love (not Love-Cobain anymore) sat in her living room, downed a bottle of pills, clicked on Skype and hit record.  There was a minute possibility that Courtney could have redeemed herself musically with a killer album, but she all but killed any chance to prove she still has it.

Hole – Nobody’s Daughter (1.3 out of 10)

I’ve heard some shitty albums lately, but nothing as absolutely horrendous as this “Hole album.”  I put it in quotes because this piece of crap sounds as though Courtney Michelle (not Love-Cobain anymore) sat in her living room, downed a bottle of pills, clicked on Skype and recorded the audio through her webcam mic.  There was a minute possibility that Courtney could have redeemed herself musically with a killer album, but she all but killed any chance to prove she still has it.

Sure, she’s a mess.  Physically and emotionally, Courtney’s gone through a lot.  There was potential for a very revealing and cathartic album, but she bombed.  Did she even have the same band at all?

As you can tell, I was disappointed.  I guess I shouldn’t have had such high hopes!  Have a listen, then recycle.

Related articles:

• Courtney is Love no more – call her Courtney Michelle (pbpulse.com)
• Love It Or Hate It: Courtney Love (imnotobsessed.com)
• Courtney Scolds Frances On Twitter (perezhilton.com)

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!

———————

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)

Toots & The Maytals New Record and 4/20 Limited Edition Pkg (COOL SHIT!)

Reggae legends Toots & The Maytals are happy to announce the release of the band’s latest record, Flip & Twist in stores May 18. In honor of the recent holiday, Toots released a special 4/20-themed limited edition package (via TootsAndTheMaytals.com) including: a joint-shaped USB drive loaded with Flip & Twist, a Toots Stash Box, a physical copy of the album, & various other surprises! For a taste of what the full album holds, download a FREE MP3 of the song “Perfect Lover” HERE. Keep an eye out for the band’s upcoming videos and make sure you don’t miss Toots & The Maytals as they tour the US this summer!

A reggae legend not to be missed.  Look for Moe Train’s Tracks interview with Toots on MoeTrainsTracks.com soon!

Did Lady Gaga Rip Off Ace of Base?

This is odd, and maybe semi-random, but the similarities are too close to ignore. Did Lady Gaga rip off Ace of Base? Have a listen to Gaga’s “Alejandro,” and then check out Ace of Base’s jam, “Don’t Turn Around.”

Do you hear it? The beat, the vocal melody, the rhythm. Yeah. That’s Ace of Base. I’ve always given credit to Gaga about her creativity and live performance skills, but what the shit? Yes Lady G, some of us are old enough to remember a band that gave us anthemic bliss like “The Sign.”

Your points dropped at least ten points in my book.

Sincerely,

The Train

Next Page »