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.
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.
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.
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.
The Tracks and Greg from Dillinger speak about camaraderie, DIY or Die and more at Bonnaroo.
DILLINGER ESCAPE PLAN INTERVIEW WITH MOE TRAIN’S TRACKS
Greg Puciato, Monty Wiradilaga, Brian Kracyla
Manchester, TN – Bonnaroo 2009
You never know what’s going to happen during a Moe Train’s Tracks interview, as Greg Puciato, frontman of Dillinger Escape Plan, has his own interview with a dazed and confused girl, we speak about the camaraderie of the scene, how “DIY or Die” fuels his band, their new lineup, and next year’s upcoming album. Enjoy.
M: What’s going on man?
G: Nothing, just hanging out, just walking around checking some stuff out.
Random girl: (to Greg) Can you point me in the direction of the Rendezvous Tent?
G: Umm. (Laughter) What is your name?
RG: I’m Caroline.
G: Caroline, I’m Greg from the Dillinger Escape Plan, and we are doing an interview right now.
G: Um, and I have no idea where I am right now either.
C: I’m supposed to have a rendezvous at the Rendezvous Tent.
G: That what you do at the Rendezvous Tent, right, but you don’t know how to get there, which poses a problem. I don’t know either. (to random passerby) Do you know how to get to the Rendezvous Tent?
RP: I don’t know how to get there.
G: What good is trying to rendezvous with someone if you can’t get to the Rendezvous Tent?! (all laughing) Caroline, good luck trying to get there.
C: Thank you.
G: Wow! How many drugs did that girl take?
M: Welcome to Bonnaroo.
G: Seriously, that was amazing. She was higher than a kite.
M: (Laughter) I think that’s the general consensus with most people here right now.
G: Most people I look at here, if they don’t have sunglasses on, you can just look in their eye and be like, “You’re on some other thing right now in some other place.”
M: Exactly. Earlier today, when you guys came on, it was like, “Wake the fuck up Bonnaroo!”
G: Dude, I can’t believe how siked people were. I thought for sure, in general at this fest’ because it has a reputation for being more of a hippy peace-love type of thing, that as soon as we come out and start screaming at people and doing cool shit, people are going to turn around and just walk the other way, but people were siked, at one in the afternoon on the last day! It was honestly, we were talking about it after the show, the best big show that we’ve ever played in the United States.
G: Yeah. We felt like we played well. People seemed stoked on us.
M: Yeah, the reception was definitely great.
G: This type of vibe, it just doesn’t exist that often in the U.S., this type of festival vibe. It felt very European. In the United States, when you think of a festival, you think of Ozzfest or Warped Tour, and it’s like the same thing all day long. But this is cool because yesterday was Nine Inch Nails and today, if you wanted to, you can see the Dillinger Escape Plan and then Erika Badu.
M: She’s still on right now.
G: I really wanted to see her…
M: I’ll cut it short then.
G: It’s okay. It’s cool because it seems like, for a very long time here, people have been very into the mind-set of like, “I’m only listen to metal” or “I only listen to hip-hop”. Now, it’s cool to see so many people turn out for such an eclectic thing.
M: Exactly. It’s just always weird to see the different the different scenes clashing.
G: No, it’s cool, it’s very cool.
M: In watching your set it became evident how camaraderie really works its way into your music. You don’t see often where you can throw your mic into the crowd, let them sing, and when you call for it, they throw it right back to you.
G: I think something about our music, we’ve been around for ten years, I think there’s some aspect to it, besides the obvious insane energy and aggression of it, there’s a vibe of everyone knowing that it’s not the easiest thing in the world to listen to and it’s not the easiest thing in the world to get. For as many people who are siked on it there’s a lot of people that just probably hate it. I think that makes the people that are into to it have this really us-against-the-world type of vibe. We’ve always tried to be really hands-on with our fans and really communicative and never to-cool-for-school and always talk to them and do cool stuff with them. If they right to us online we try to write back to every person. I think, over the years, it’s created now a point where we have this really cool synchronous type vibe with our fans. It’s neat man, it’s really nice.
M: It’s also basically crossed the line from camaraderie to trust.
G: Yeah, that kid could have stole the mic and ran away with it, but he threw it back. That’s the other thing, I think when you have confidence and you give someone some responsibility and your cool to them, they feel obligated to be cool back. If that kid had tried to run away with the mic I probably would have jumped on him and killed him. But it feels good and it’s interesting, I have a lot of people say that our shows, even though they are so aggressive and so violent, it feels like the overall vibe is still positive in a way. So, yeah, that’s really cool.
M: Absolutely. Also, not just that, but you doing stage diving and your guitarist stage diving with his guitar! Now that’s trust.
G: Yeah. To me, we just try to take the vibe of playing in a basement to twenty people where we came from and try to get that to translate to bigger places and the only way to do that is to be as hands-on and as physically in people’s faces as possible and force them to wake up a little bit. It sad to see so many people have such a rock star complex that the only time that they engage their fans is if they do some kind of scheduled meet-and-greet or a signing or something. You know, hang out for a little bit and shake some people’s hands or jump into the crowd or do something. I do know man, you (the rock star) are no better than anyone else. This is going to be over for us one day and who knows what we’re going to be doing. So to try to act like you’re cooler than school is silly.
M: Hippies versus hardcore kids…
G: It’s two sides to the same coin because the whole hippy vibe and the punk rock thing, which is what hardcore came out of, are both very socially aware movements. The
re both very communal, we’re all in this together versus some type of exterior force type of vibe, and one just took a much more aggressive approach than the other. It’s kinda like one is Malcolm X and one is Martin Luther King Jr. They want the same thing but one is like, “I’m gonna smoke you out” and the other is like, “I’m gonna kick you in the fucking face!” But we want the same thing, so I think that’s why it translates. It’s not like we’re just knuckleheads trying to incite the crowd to beat each other up. I’d like to think it’s more intelligent than that.
M: What do you think about the term “DIY or die” and how’s that relate to your band?
G: Well, for us, that’s pretty much exactly how we try to do everything. We don’t have a manager, we self-manage ourselves. We are very hands-on, there’s no merch’, there’s no poster, there’s nothing about our band visually, sonically, how we are represented in press, anything, that we are not the seed of and have the final say in. As much as it drives us nuts and we spend every waking moment of our lives working on this, I know that there is absolutely nothing out representing us that we didn’t see from its inception to its finality. I think that it’s another thing that our fans appreciate. If they get a t-shirt from us, they aren’t getting it from some graphic designer that works for the record company that we were just like, “Yeah, whatever, that sounds cool, how big is the check we’re gonna get?” That thing has to look like something that I would wear, that means something to me, that’s looks cool. I think, especially in the climate now where the record industry is just collapsing completely, that the people that can do the most DIY are the only ones that are going to stay afloat.
M: That’s basically how the trend in music is going these days.
G: It has to be. It has to go back to that. If you’re forced to be in a position financially to cut back every bit of slack you possibly can and to try to do as much by yourself as you possibly can, it’s gonna weed everybody out. The only people that are going to stay alive are the people who really give a shit and the people who care enough to put in the time to do everything themselves. The days of being a kid, and thinking that your rock star fantasy is going to come true and someone else is going to wipe your ass for you and do everything for you and you’re just gonna get a check at the end of the day, are completely over.
M: Hit the road and promote yourself.
G: Yeah man, go out and do the shows. Don’t suck live. Don’t write shitty music. Put out cool shit and you’ll last.
M: So what’s your favorite lyric, the one that means the most to you?
G: You know what, it’s probably a lyric that’s going to be on our upcoming record because, for me, lyrics are snap-shots of where you were in your life, and you don’t want to be there forever. So when we sing songs from our past records it’s like looking at a picture of myself in an auditory way. I’ll be singing a song, and I’ll remember writing that song, I was twenty-three, I was in my basement, this is exactly what I was talking about. I might not relate to it now. Hopefully, you’re in a different place, especially when you’re yelling and screaming and pissed, you know. You shouldn’t still be pissed six years later at the same thing. The trick is to find a kernel of that memory and hone in on it, you can still mean what you saying and you’re not just spitting out consonants and vowels. That’s for someone else to decide. I know that’s a shitty answer, but I don’t have a favorite one of my lyrics. I know they’re all pretty piss-poor, to be honest with you. (laughter) If you want to listen to lyrics, you should probably listen to Dylan or something.
M: So when’s the new album coming out?
G: February or January of 2010, which sounds like a long time but it’s realistically like 6 months away. We do three more weeks of touring and then we go home and start recording in late July, early August. January, February at the latest, we’ll get it out, and we’re siked man.
M: What can we look forward to in the new album?
G: Well, we got a new drummer, and that’s the biggest difference. Our new drummer is just on fire! He’s twenty-four and honestly the best drummer I’ve ever played with. He wants to crush everyone. He’s got this fire in him that he needs to prove to the world he’s the shit. That’s kinda cool because he’s pushing us, and we’re really hard on ourselves so to be pushed by someone who is brand new is a really good feeling. I can honestly say, after being in this band for a decade, that the stuff we’re writing now is the most inspired stuff we’ve ever written. It’s hard to know whether you’re still going to be able to do stuff without becoming a caricature or parody of yourself. The fact that we can still have something to say, ten years into it, with essentially the same style music, to me is nice, the fact that people still give a shit. I think everyone will like it. Anyone that likes us should be pleased with the new record.
M: Awesome. We look forward to it. Thanks a lot for being with us.
G: Definitely dude.
Gregg Gillis/Girl Talk rocks a laptop like no one else. However, one can see how a laptop musician can be misunderstood. Gregg decided to address the questions and comments that he’s come across as of late…
GREGG GILLIS EXPLAINS GIRL TALK LIVE SHOW:
I’ve been seeing a continuous discussion over the last couple of weeks about live electronic performance. I’m not really interested in debating anyone’s points, but I thought I’d break down my own approach. I’ve gone over various aspects of this countless times in interviews, so this is nothing new, really, but I thought it might be helpful to clearly lay it out in one place.
I want to start off with some history of the project in order to provide some context. Prior to doing music and shows under the name Girl Talk, I was in some electronic-based bands, playing things like synthesizers and circuit-bent toys. This was in the late 90′s. I didn’t have my own laptop yet, but it was becoming more widespread as an instrument in the experimental electronic scene. I saw a variety of people use them live, ranging from Pittsburgh computer rock heroes Operation Re-Information to Austrian glitch artist Fennesz. I got my first laptop for college in 2000, and I decided to start a solo project called Girl Talk based around it. I wanted to do something that was entirely sample-based, influenced by audio collage artists like John Oswald, The Bomb Squad, and Kid 606.
I started to mess around with Audiomulch software (which I still use live today) and discovered ways to process sounds and trigger samples in real-time. I started playing shows within a few months. I never played at dance clubs, raves, or with DJs (sometimes someone would be playing some songs in between bands, but this was typically off to the side). Even though my music is made entirely out of samples, the goal has always been to make something transformative, something that could be considered a new entity. The shows I played were always at venues that had live music. The other artists could be electronic, punk, rap, whatever, but it was always live. These are the type of shows where you get on stage, it’s silent, everyone is looking at you, and you perform. During the first few years of doing the project, I toured the country a few times. My friends (who also did various electronic music projects) and I would book shows anywhere that would have us, and we’d be lucky if we ever made gas money. It was always a blast.
The primary purpose of mentioning this background is to highlight the fact that a laptop was my instrument of choice before starting the project. I looked up to those artists I saw performing live on computers and wanted to do that. It wasn’t like I produced a bunch of music, then had to figure out a way to perform it. The live sample-triggering and digital signal processing was how I arranged the collages in the first place. I never aspired to be a DJ in traditional terms. No disrespect to the DJ world at all, it just wasn’t my scene. I was coming from the subculture of glitch and IDM, where nearly everyone I saw perform would be doing some form of live sound manipulation on a computer.
OK, with that out of the way, I’ll go into a basic description of how I play live. Here’s a video where I go through most things I’ll mention here:
Every sample is triggered by hand. Every element is as isolated possible. In an hour of a typical set, there’s probably somewhere between 300-400 samples. When you’re hearing a drum beat, it’s possible there may be three loops: 1) kick and snare together, 2) hand clap, and 3) hi-hat. So you could be hearing the kick and snare playing a rhythm and when the hand clap comes in, that’s me clicking that sample. Likewise, every individual melody part is isolated. You could hear the piano from Elton John’s “Tiny Dancer” playing, then transition into the piano with bass behind it, and then transition into a part with piano, bass, and singing. Those would be three individual loops and in order for that sequence to happen, I would click the new sample when I wanted that part to play. Multiple elements are combined into a single loop only when it’s impossible for me to play the individual parts in a way that I feel is adequate.When I occasionally step away from the computer, the music will not progress forward; it will endlessly loop. You will never see me stage diving or with my hands in the air during transitional moments. I need to manually trigger all of the individual elements of that particular section in order for it to occur. The loops are quantized when initially assembling them to allow for beat-matching.
The set is mapped out in advance, in an ideal way that I want to get through it, and I will have it memorized. It almost never goes down exactly how I planned though. Mistakes happen or sometimes I feel like changing something up. At any given moment, I can skip over a part, repeat something more than I had rehearsed, or change the arrangements. There is some variation every night, even when I’m attempting to play the same material.
We have a video component to the show, but it is not sync’d up to a SMPTE feed. It is triggered live by the guy who also is doing my lights in real-time, Ben Silverstein. Rachael Johnston develops videos content, based around short audio clips I send to her. These visuals are built around the ideal way I want to play that particular part. If something changes on the spot, it’s up to Ben to recognize this and improvise.
I make small changes to the set often. I will substitute a new part in for something that I don’t feel like playing anymore. If I want to include a new section, I will have to develop a transition in and out of it. Creating the new material and becoming familiar with executing it live can be time-consuming, which is why I am usually only able to change a couple minutes per week. The set is made up of enough loops and samples that I need to constantly rehearse in order to keep all the details fresh in my mind. Typically on the day of the show, if there is any new material involved, I will spend minimally 2 hours practicing before the performance.
If you sat someone down in front of my laptop and gave them a quick demonstration on how to trigger samples, then yes, they would be able to learn to play parts of the live material. I do think it would be an extremely difficult task to memorize and execute the entire set though. Most of my time and effort goes into actually developing the material: cutting up all of the samples and going through the trial and error process of finding combinations that work. By the time it gets to the live set, it’s already written. Anyone with a fundamental understanding of playing the guitar can learn how to play “Smoke On The Water,” that doesn’t mean that Deep Purple writing/playing that song is any less entertaining/valuable/awesome.
To reiterate, this was not meant to call anyone out or to start arguments. Everyone has their own approach to performing live electronic music, and I respect that. There is no right or wrong way to do it. I’ve been playing my laptop live for 12 years. Thanks to everyone who has made that possible!
What’s goin’ on everyone? As I’m sure you’ve noticed, MoeTrainsTracks.com has had quite a facelift lately. We’ve had to rebuild everything from the ground up, but it’s all to make the site and show a much more interactive experience for everyone involved. Although Version 2 has taken a while to come to fruition, we promise that it will be worth the wait.
Here’s what the MTT.com upgrade will entail:
- All new design scheme: Version 2 of MTT.com revolves around functionality and interactivity. (It also looks pretty damn cool though, if I must say so myself!)
- More of our famous interviews: We have always prided ourselves upon the high quality of the musicians we have on the show, and the entertaining/informative aspects of the interviews. There will be quite a few of unreleased interviews to come out in the near future so keep an eye on the site. MTT hits artists from all genres. King B is our hip-hop/rap specialist, and Moe does most of the other interviews. We continue to double team every interview, as it’s certainly been a tried and true formula.
- New content at least 3 to 4 times a week: We’ve added new sections to the website to make the MTT experience a better one for our listeners/readers. The Tracks staff is still considering site contributors, so if you’re interested… Contact us.
- Excelsior’s Exclamations: King B + Moe Train = Team Excelsior. Excelsior’s Exclamations are our forum to say what we want, when we want, about anything that we want! (Ha.) Of course, the topics will mostly revolve around the music scene, but we’ll also be interjecting our thoughts on a whole slew of subjects (or whatever comes to mind the day that we’re writing!). If there’s ever anything that you’d like to hear us speak about, please feel free to let us know!
(Continued in Part 2)
Every year about this time, I get “Festival Fever.” You know the feeling… The weather’s shitty, you’ve been cooped up indoors for way too long, and all of the festival lineups are coming out. You long for fun in the sun, and the amazing music which becomes the soundtrack of your life.
Well, that time is here, and The Train’s got the fever! (No, it’s not a Swine Flu symptom. I’ve gotten the shot, thank you.) We’ve got about four months until The Tracks kicks it into super media mode, and does some more amazing interviews! (Check out the new interviews posted on the site) King B and I love being out in the crowd and also back behind the scenes so we can bring you as many great and uncensored musician interviews as possible!
What do you do when you get the fever? Do you start researching all of the bands that you’re going to see? Listen to new music? Check your tent to see if it still works? Hit the gym, so you can physically make it through the grueling festival weekends?
Well, no matter what you do… You’d better get ready, because there’s not much time before FESTIVAL TIME!
- Dan Deacon feeling better, played Purchase (pics), playing MtyMx & Bonnaroo, shares a name with a Philly cop (brooklynvegan.com)
- The Flu And Getting Lucky (plastic.com)