Category Archives: Interviews

Interview: Love Stories: G. Love stirs up Hilton Head

gloveIsland Packet — About 15 years ago, G. Love (Garrett Dutton, to his family) found the right mixture for his Special Sauce, and it hasn’t needed a whole lot of tweaking since.

Sure, these days it’s a little bluesier than it used to be, a little more indebted to Lightnin’ Hopkins and Mississippi John Hurt than the easy-rolling hip-hop that he first began weaving with loose groove and boogie harmonica on the streets of Philly in the mid 1990s. But it’s also sunnier — his most recent albums, last year’s “Superhero Brother” and 2007’s “Lemonade” — were laid-back, barefoot-style records, due likely to his affiliation with hammock-rock all-star Jack Johnson’s Brushfire label in 2004.

G. Love and Special Sauce — which includes Jeffrey “Houseman” Clemens on drums, Timo Shanko on bass and Mark Boyce on keyboards — perform at 9 p.m. Saturday at Hilton Head Island’s Shoreline Ballroom in one of those increasing shows-that-don’t-come-around-here-much. Recent weeks found Mr. Love on vocal rest due to doctor’s orders, but he was able to shoot some answers back via e-mail last week.

• G. Love and Special Sauce – Recipe (live).mp3

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Interview: Patterson Hood on “Murdering Oscar,” new DBT and his dad’s records

79543-patterson_hood_2009_lBillboard — After fifteen years of work, the second solo album from the Drive-By Truckers’ Patterson Hood, “Murdering Oscar (And Other Love Songs),” will finally see the light of day this summer.

“It’s very much a labor of love,” said the jet-lagged but ever-gregarious Hood from his Athens home, where he’d just returned from a series of Australian dates with Booker T. Jones in support of the soul man’s “Potato Hole,” on which the Truckers serve as house band (they’re billed live as “Booker T. and the DBTs”). “And it’s been a source of great anguish,” Hood added with a laugh.

The 12-track set, due June 23 on Hood’s Ruth St. Records, comes with plenty of history: It’s grounded in tracks that predate even the Truckers, home recordings he made upon first moving to Athens, Ga., in 1994 and passed around town on cassettes. “That dates how long ago this was,” he said.

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Album Review: The Bad Plus (Joined By Wendy Lewis): “For All I Care”

badplusforallicareAll About Jazz — If you are The Bad Plus, and you’ve spent your acclaimed and wacky career dismantling pop and jazz tunes down to their barely recognizable components—spreading those components around like bike pieces on a garage floor and building them back together into a state that bears only occasional resemblances to its source material—it is not the easiest thing in the world to advertise for helpers.

But when the band found itself looking to employ a singer for the first time, the hiring process was surprisingly speedy. “We felt like it was time for something different, (but) we didn’t want to get a jazz singer,” says bassist Reid Anderson. “We wanted someone with a direct approach, because that’s really what we do as well.”

The Extended Review, over at All About Jazz.


Interview: Tom Jones: ’24 Hours’ and counting

Billboard/Reuters — Pop star Tom Jones’ new album is the 68-year-old’s first U.S. release in 15 years and, practically speaking, his American comeback — in the studio, anyway; he still performs more than 200 shows a year.

“I’ve been thinking about this album for a long time now,” Jones says of “24 Hours,” due November 25 on S-Curve Records. “I’ve had success worldwide, but with albums that were never released in America.” (His last album, 2000′s rock-covers collection “Reload,” moved 5 million copies in Europe, but labels found its roster of British-leaning duet partners off-putting, so it never came out stateside.)

Unlike artists like Johnny Cash and Neil Diamond, Jones isn’t using the comeback pedestal to deliver a stark, acoustic, depth-of-the-soul thing; this is a characteristically splashy, bombastic, large-sounding platter of future-retro swagger in the vein of the Amy Winehouse-led throwback-soul movement. (It was produced by British duo Future Cut, which has been behind recent tracks by Kate Nash, Lily Allen and Estelle.)

Witness these couplets from “Sugar Daddy,” a vaguely dirty come-on at the record’s center: “I been singing this song before you were born”; “I’ve got male intuition/I’ve got sexual ambition”; “You don’t send a boy to do a man’s job.” The best part: The Welsh singer got U2′s Bono and the Edge to write that for him after a night of drinking in a Dublin pub.

• Sample “24 Hours” at the Official Online Home Of Tom Jones.

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Interview: “Weird Al” goes digital with T.I. parody

Update: A day late, but here it is.

Billboard — For the first time in his nearly three-decade career, comedy maestro “Weird Al” Yankovic is releasing his parody of a current No. 1 single — evidently just days after he thought of it.

Yankovic’s version of “Whatever You Like,” a riff on the T.I. track of the same name, will be available for download tomorrow (Oct. 7) on iTunes, where it will be an exclusive for two weeks before being released on other digital download services.

In a post on his MySpace blog, Yankovic indicates “Whatever You Like” may be the first in a series of future, more timely digital releases.

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Interview: Nils Lofgren says the current E Street Band tour represents ‘the best shows we’ve ever done’

Island Packet – When discussing the E Street Band in its current form, Nils Lofgren is unequivocal.

“From my perspective, we’re doing the best shows we’ve ever done,” the guitarist said from his Arizona home after the close of the band’s recent triumphant swing through Europe. “This is just such a spectacular period for (Bruce Springsteen) and the band.”

Lofgren is one of four guitarists on E Street these days, counting Springsteen, Little Steven Van Zandt and Patti Scialfa. Having just completed three nights at Giants Stadium in New Jersey, the band is gearing up for a tour-closing 12-show dash that begins tonight in Jacksonville, continues Saturday in Charleston — what’s believed to be the first Lowcountry show in more than 30 years — and closes Aug. 30 with a slot at the Harley-Davidson anniversary festival in Milwaukee. (And earlier this week, the New York Post revived the oft-floated rumor that Springsteen will play halftime at next year’s Super Bowl in Tampa.)

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Interview: Michael Franti revels in his dub groove on “All Rebel Rockers”

Billboard — In the past four years, Michael Franti traveled into the hearts of Baghdad, the West Bank and the Gaza Strip to shoot his documentary “I Know I’m Not Alone” and its audio companion “Yell Fire!,” and he wrote a children’s book, “What I Be.”

So you can’t blame him for wanting to blow off a little steam. “All Rebel Rockers” (out Sept. 9 on Anti-) is that release. Despite its revolutionary-sounding title, it’s a groove-heavy and often joyous affair shot through with the dub and reggae-club sounds of its Jamaican birthplace.

“I’ve definitely never left the political behind,” Franti says, “But absolutely we wanted to make this a fun record, to make music that could be socially engaging and challenging for this crazy time but would leave people inspired and uplifted.”.

“Rude Boys Back In Town” wastes no time in conjuring up a dub groove, while the sun-splashed “Life in the City” backs into the club-worthy singalong “Hey World (Remote Control Version),” the latter of which is now available online. The set was recorded mostly in Kingston with Jamaican production mainstays Sly and Robbie.

“In Jamaica, the music’s not on iPods,” Franti says. “You hear it first on a studio sound system. The door to the studio’s wide open, and people are coming in off the street, dancing and grooving. There was a guy in the corner I’d never seen before saying, ‘Hey mon, you know you need another keyboard to come in right there,’ and I was like, ‘What the hell, are you producing the record?’ But I listened, and I was like, ‘Damn, he’s right.’”

One of the elements Franti set out to explore more was dub. “Dub is more than anything personal enjoyment,” he says. “‘All I Want Is You’ started out as a bass line I hummed to Robbie, and when I started writing words for it, it was political. Robbie turns to me and says, ‘Nah, mon, that rhythm is too sexy; you need a love song for that one. You got a love song?’ I ended up moving the key and then dropping lyrics on top of it.”

To that end, what Franti says are “tons” of dub mixes will anchor the record’s two deluxe editions. The first will feature five music videos, a making-of doc and bonus tracks; the “super-deluxe” version, Franti says, will sport extensive liner notes, a 7″ vinyl component, patches and assorted goodies.

Franti and Spearhead will be on the road until the end of the year, performing at festivals throughout the United States, Europe and Japan; headlining dates in the States, Australia, Brazil and Tanzania are also in the cards.


Interview: Charles Walker and the Dynamites: Can you feel it?

Island Packet – If a crucial part of music is surrounding your sound with a scene, inventing a vibe, conjuring up some sort of world into which your sound plays the key role, the Dynamites have absolutely mastered the vocabulary.

Their debut album is called “Kaboom!” and it was released on OuttaSight Records. The following words appear frequently in the band’s bio: “deep funk,” “super soul,” “blew the roof off,” “nasty grooves” and “well-greased.” Their flyers are little 8-by-10 posters with block lettering and a lot of stars, decorated with bold-font declarations like, “DO IT WITH SOUL.” Also, they’re called the Dynamites. It’s hard to look at some records and know what’s going on inside; it’s impossible to look at the Dynamites and not have a fairly solid idea what they’re up to.

“We’re not just what they call funky,” said singer Charles Walker said from his Nashville home, “It’s funk and soul, and that makes quite a difference.”

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• The Dynamites, feat. Charles Walker – Can You Feel It

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Interview: Gnarls Barkley are aware of their own oddness and uniqueness. Can you dig it?

Billboard — The title of Gnarls Barkley’s sophomore record is the first, and probably last, funny thing about it.

If the band’s 2006 debut, “St. Elsewhere,” seemed to sail in from some neighboring planet — a pop disc that smeared itself with psychedelic weirdness, a vague sense of the creepy and a knockout Violent Femmes cover — the follow-up is a much trickier trip to the dark side. (“I’m not doing so good,” a serious-sounding Cee-Lo Green intones on the otherwise effervescent opening track, “Charity Case.”)

But where there’s darkness there’s light, Green says. And as Gnarls Barkley — Green’s musical partnership with Danger Mouse — prepares for the April 8 release of its highly anticipated sophomore set for Downtown/Atlantic, “The Odd Couple,” he’s making sure to keep focused on both.

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Click here for the print edition.

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Lyrics Born can go ‘Everywhere at Once’

lyrics-born.jpg

NEW YORK (Billboard) — During the writing and recording of his new disc, “Everywhere at Once,” Bay Area rapper/producer Lyrics Born found himself constantly going head-to-head with a demanding coach: himself.

“The only thing constant in this world is change,” he said. “So what I said to myself was, ‘How can I change, how can I still be relevant, how can I function in today’s music world and have the attention of the people, yet still be able to bring that lyricism to it?’ That was the challenge with this record.”

Born Tom Shimura and one of the founding members of the Bay Area’s seminal Quannum Projects label and roster, Lyrics Born addressed that challenge in recording his new set, due April 22 on Anti-. The 18-track “Everywhere at Once” maintains the rapper’s gift for firing off tommy-gun rhymes with deceptive ease.

Following up 2003′s “Later That Day” and its attendant remix record, 2005′s “Same !@#& Different Day,” he went into the writing process with the philosophy that he’d do “what nobody else is doing — or at least what I haven’t done before. (The record is) funky, it’s soulful, it rocks, it’s hip-hop. There’s a really broad range of issues and emotions being covered.”

The rapper is downplaying his label shift to Anti-, saying that Quannum had a distribution deal with the label several years ago. “It’s really no different,” he said. “I still make the records I want to make, still work with the people that I always worked with. I’ve always said I didn’t care if I came out on a major or on an indie, as long as I could make the records I want to make.”

Key to the new album was the speed with which it was created. “I’ve been in the situation, back in the day, where you take two years to make a record, and you kind of dwell on things a little bit too much,” Lyrics Born said. “I don’t like to do that. I like to write a record, record it, listen to it, mix, print, done. It takes a while to learn how to get into that zone.”

He also had to learn to work with a live band. Lyrics Born’s 2006 live effort, “Overnite Encore,” featured members of his band, a conceit that carried over into the sample-free new record.

“That was my next challenge, something I hadn’t done yet,” he said. “I thought, ‘I can’t really call myself a producer until I’m able to do that.’ And I did that. The biggest thing was that I wanted to write my own material, write my own melodies and lines, and (having a band) was the next logical step for me.”

Reuters/Billboard


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