The Following is an article I wrote for a Scranton/Wilkes-Barre, PA television stations' website in 2006 on John Lilley of The Hooters. Great guy John is, make sure you check out him and the band... Here's John and myself backstage at fellow Hooter Eric Bazilian's show at Philly's Tin Angel in 2006.
Most uninspired way to start off an article:
Yes, that statement is trite, simplistic, and in no way meant to
underscore the music that John's been working on lately, but truth
is - it rightfully sums up the acoustic based with a smooth vocal
drawl tunes John's got available for preview on his web site. More
extensive chit chat about John's music in a bit, but first a little
background on the man himself.
Through his days with Robert Hazard and The Hooters, John's been
mainly the guitar slinger. It wasn't until recently that he's put
his own songwriting at the forefront. "I started about a year or so
ago after (The Hooters) tour, getting really excited about going
back into the studio and writing some songs" he says. "I was playing
with (audio program) Pro Tools, learning how to do that. I'd never
used it and everybody was using it. So I got a Mac from Eric
(Bazilian) and asked a lot of people a lot of questions and started
cranking things out. This music is kind of what happened."
John's music that he's demoed so far reflects a man that's got a
wealth of musical experience, but he says that the music was
essentially an outgrowth of his experimenting in the studio. "When I
kept writing, I realized that there was another voice in there" he
says. "There was this country guy that nobody knew about, so that's
kind of where this is going." John was heavily influenced by a mix
of rock 'n roll, country, and blues artists growing up, and he's got
a genuine love of acoustic guitar. This shines through on tracks
he's working on like the earnest Digging Deeper Down and straight
from the heart ballad I'm Gonna Love you More.
John's own views on the music he's working on? "Some of it's true,
some it's real" he says. "I try to be honest with what I'm singing
about. Whatever the feelings are, I'm not making stuff up - I'm
feeling it. If you listen to In The Driver's Seat, that was
something that was very difficult for me, but it came out in a song.
Hopefully someday, someone will hear it and get it."
John tells a funny story about singing Country Roads in Germany;
apparently Deutschland has a thing for those West Virginia mountains.
"In Berlin one night, I'm having dinner with (Philly's WMMR DJ)
Pierre Robert. This couple was next to us, and we were getting
friendly - out orders were getting mixed up. We were asking each
other what everyone did for a living, and when it came to me Pierre
said 'you ever heard of The Hooters?'. The guy at the next table
started singing (Hooters song) Johnny B. Then someone started
singing Country Roads, and everybody stared singing it - it was
huge. Then Pierre and I were walking down the street the next day,
and I said 'let's try this', and I started singing Country Roads.
Strangers started singing it. So that night at the show, instead of
Digging Deeper Down I sang Country Roads."
In addition to working on his own songs and ongoing writing and live
dates with The Hooters, John's been involved with Philadelphia
singer/songwriter Phil Roy. "I play in his band as well" John says.
"He's an amazing guy. The band is fun, it's different than The
Hooters, and the guy's a really talented songwriter." John noted
that he was actually going into Philly to play an impromptu gig with
Phil the day of this interview. It's clear that playing live gets
John Lilley's batteries recharged.
John Lilley's plate is full at the moment with musical projects, and
that's a good thing. As he explains: "I lost the joy of music for a
number of years, and now I've found the joy of music again. There's
nothing like it. It's really back for me."
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OurAfter/Dakota Drummer Sounds Off
Eli Hludzik on Life in Both Bands, And Then Some
No doubt by now you’ve read some press or heard through the grapevine about one of NEPA’s most promising new bands – OurAfter.
The band, who released their debut CD “Perfect Day” in May, is still generating chatter from an impressive live set at the CD’s release party at Tink’s in Scranton. “Perfect Day”, which is available at all local Gallery of Sound stores, combines elements of rock, pop, and electronic music to create a sound that’s been heralded as one of the most refreshing local releases in recent years.
All seasoned musicians, OurAfter is comprised of John “Guido” Phillips on lead vocals/guitar/keys, Zhenon Zaia on bass/keys, Mike Dudley on lead and rhythm guitar, Clyde also on lead/rhythm guitars, and Eli Hludzik on drums. The guys are somewhat spread out geographically, but they’ll be coming together again in July for two shows on the 7th in New York City, and the 8th at Nightcaps in Edwardsville, then again locally on August 5th at Tink’s in Scranton.
NEPAToday had the chance to speak with OurAfter drummer Eli Hludzik from his home in Los Angeles, where it turns out he’s got more than a few irons on the musical fire. Eli, who is the son of Dakota founding member Jerry Hludzik, also plays drums for that band as well. He gave us the scoop on Dakota’s current activities, and gave us some perspective on one of the coolest musical projects to hit Northeast PA – OurAfter. It went like this.
NEPA: So Eli, tell me about how OurAfter came together.
Eli Hludzik: OurAfter actually came together in pieces. I remember being in LA when I got the call from John asking if I would be interested in doing a project with him. I said yeah and we went from there. I was actually just getting ready to move back to the area for a few months before my trek out here (LA) to live so it worked out quite nicely. I met Zhenon and I have known Dudley for quite a few years at that point, and I had met CJ prior to that because he was working at Sound Investment Recording Studios and I had done a couple projects there while he was working. Then from there we just started to get together and do some pre-production stuff and everything kind of fell into place after that.
NEPA: How did you guys find the musical direction for OurAfter?
Eli: Well a lot of the process was John would come in with an Idea and Zhenon Dudley and John would come up with the basic tracks. That is my understanding of how it all went down. I wasn't around too much in the beginning stages. But when we got down to final arrangement stuff and setting up drum tracks and general feels I came in. I even wrote a guitar part on “Shallow”. But most of the writing was done by those 3 guys.
NEPA: Pretty good reviews so far for OurAfter; what's your take on how the band's been received?
Eli: Yeah! It is very cool that people are accepting the band as well as they have. I have gotten a lot of comments on how people love the music and that they can really relate to the subject matter. And that is a very cool feeling when someone gets something out of it, it makes you feel like you did something...you know...
NEPA: How would you describe the band's music?
Eli: Man that is a good question... We all have so many different influences that are kind of interleaved into the sound of the band. Definitely some Cure, Depeche Mode, Killers, U2, Motley Crue (not really that one is for Zhenon). It's a weird question to answer because I have gotten response from different people saying it sounds like all the above bands and also that it has Police moments, Peter Gabriel moments. I mean the best answer I can give is listen to it and let us know what you think it sounds like.
NEPA: So what makes OurAfter a great band?
Eli: The musicianship...hands down. We all come from different places musically and personally and THAT is what makes it such a dynamic thing. Plus the level of each player whether it's in the studio and or stage is great. And I think that really comes across on the CD and even in our live performances.
NEPA: How is the ongoing Dakota reunion been working out?
Eli: The Dakota scene is great. I really dig playing music with my dad. He has been one of my biggest musical influences since I was a Zygote. I started playing gig's around the NEPA area at the age of 14, and it has been such a great experience playing with players who have been doing it for a long time, and had the experience and were willing to show me the way. That was very a very cool schooling for me at a very early age. And then when we started recording new DAKOTA albums back in the late 90's all the way up to the last show we did at the Staircase in February of last year.....MAN...........Playing with My Dad, Bill, Jeff, Louie, John...........It's Killer!!! It's really surreal when I watch the video footage of that night and see me Driving that Bus playing tunes that I have been hearing my entire life...well it's pretty cool......
NEPA: Is there still the planned Dakota studio record?
Eli: New Dakota Studio Record is definitely on the horizon...we are currently wrapped up in getting this new DAKOTA LIVE DVD out for people hopefully in Early 2007. There is however a NEW DAKOTA LIVE ALBUM from the last show at the Staircase in February of last year. I actually just got my copy in the mail so they are ready for anyone who wants one.
NEPA: So working with your dad in Dakota’s been a cool experience?
Eli: Well as I said earlier, he has been one of my biggest musical mentors from an early age. I grew up playing music and learning the business through him and that has been paramount in me getting this far. And also playing in situations with the cats that my dad was playing with was great for my overall musical development.
NEPA: Tell me a bit about our musical past. Didn't you have a progressive jazz band a few years back?
Eli: My musical past...hmm…I started really young at the age of about 6 and was in a few bands through my early teens, but I really started playing ALOT at the age of about 14. That is when I really started doing a lot of live work and actually some studio work as well. I played in many different kinds of bands from this point on. Which included (in no particular order) Blind Fish, Little Big, The Multiples of 3, and Ray's Music Exchange. The last band on the list is the progressive band that you referred to in your question. I was with Ray's for about 2 years, in which I have toured around the country, and had the opportunity to play on the same bills with many different bands and many of my musical hero's such as Mike Clark (Herbie Hancock and the Headhunters), MMW(Modesky Martin and Wood), The Wailers (w/Family Man on bass), Peter Rowan and Tony Rice, Otiel and the Peacemakers, Jacob Fred Jazz Odessy....just to name a few. Rays was a very cool band to play with mostly because it was pretty much 150% musically satisfying as a Jazz Drummer as well as a Funk/Rock drummer...Imagine Miles Davis "Live Evil" Meets Zappa (circa You Can't Do That On Stage) meets the Meters...fun right? And also the guys in the band are great players and great guys. I feel like I gained 5 brothers through my time in that band.
NEPA: Got any other musical projects on the horizon we should know about?
Eli: My other musical endeavors are many and varied. I play with DAKOTA (dakotajerrykelly.com), OURAFTER (ourafter.com), CHECK IN THE DARK- only can be described as an acoustic tornado (checkinthedarkmusic.com), TIFF JIMBER- piano driven pop(tiffjimber.com), WILL CHAMPLIN BAND- This cat plays piano and sings his butt off (willchamplin.com), The DAVE WOOD TRIO - Slamming 8 string Guitar player. (davewoodmusic.com), and I am in the house band for a pilot that will hopefully become a series on BRAVO, as well as a few Indie movie projects out here in L.A. that I am Music Supervisor for, that should be out hopefully in the next year or so. One of which is a short film called WHISPERINGS. It is a screenplay adapted from a 1-woman show by Boo Friedman dealing with genocide. You can check out her blog spot at www.artagainstgenocide.blogspot.com/. And I teach drums at the Orange County Music Academy as well Monday - Thursday. Other than that not too much going on...well, sleep, but sometimes there aren't any hours left. Plus it's overrated.
Check out OurAfter at www.ourafter.com and myspace.com/ourafter
Dakota’s website is www.dakotajerrykelly.com
Joe Satriani Interview By Mark Uricheck
Joe Satriani has just released his 9th studio album, titled “Is There Love In Space?” The album is another fine collection of guitar madness that has made the mighty Satch the gold standard for rock guitarists everywhere. While this record may be one of his most accessible to new fans, longtime die-hard guitar geek types will not be disappointed. Satriani had just finished up a short promotional tour for the record, and was soon to embark on the European leg of his G3 tour with Steve Vai and Robert Fripp when we spoke.
Hey Joe, how are you? How’s the promo tour been going?
It was really a lot of fun. I didn’t think I’d enjoy it as much, but it turned out to be a really creative kind of experience.
First off, congratulations on the new album - it sounds great. When you start writing new material, where do you get your inspiration? How do the songs initially come together?
Well, they’re all kind of a reaction to basic life experiences. Some of them are easy to peg - some are about having fun, some are about the bad times. Some are like prayers or wishes. Some I just completely fabricate; just like wishes or daydreams that I can put into a form that I can write about.
You’ve been pretty consistent over the years in releasing your records, how do you decide when it’s time to make a new one?
Well, to a certain extent I think the record business helps you out with that. I’m sure you know what it’s like; a lot of us wish we didn’t have a schedule so we could be “free”, but when we become “free” often we don’t become very productive. So the record business kind of puts you on a schedule. In order to keep their business flying, they’ve got to keep you going. You reach sort of an agreement with your label that’s based on, it used to be every three years, but now it’s been cut shorter because of the way the world operates. It’s about every two years now, which makes sense because it takes about a year to broker a tour of the world. I don’t go out on the road for 6 months straight, I do about 6 weeks at a time. Whether or not I bring my family, I just don’t like to be out away from reality for too long. But it takes us about a year because Europe is larger now; we do Asia and the Pacific Rim. Anyway, that’s what tells me it’s time to record (laughs) - my schedule.
You finished up one of your G3 Tours a few months ago, and are soon going to Europe for another installment. How did the G3 idea come about?
The original idea for a G3 Tour came out of griping session I had with my management. You know, I’m on tour all the time and I’m making records, but how come I’m always isolated from these other guitar players that I’ve always wanted to play with? We wanted something where guitar players could come and hang out, exchange ideas. We started vamping on that idea, and we had come up with this mini-festival idea. After talking with our agents and promoters, we had to decide the kind of venues - whether it be theaters, or a large outdoor venue the time period we usually have is from 7-11pm. You have to be off the stage or they start to fine you by the minute (laughs). So we came down to having three performers. Any more than that, none of them would be able to play long enough and they might not be attracted to join the tour. We formulated this so every performer would get anywhere from 45 minutes to an hour to play with their own band. Then, at the end of the night the guitarists would join my band for a 30-minute improvisation based on popular material. We started this in 1995 and it took us a good year or more to convince not only the musicians but also the local promoters that it was a great idea. I sort of was tenacious about having Steve Vai and Eric Johnson joining us for the first outing. Once we did the first show they fell in love with the idea. It’s become something we’ve been able to continually book every year, year and a half. Artistically, it’s just really satisfying. The total upside of it is that I get to stand on stage every night with some of the greatest guitar players in the world.
You’ve always been a master of phrasing, and have a great sense of melody in your playing. Is that something you consciously worked on from the beginning?
All the players that I admired were just masters of phrasing. I just fell in love with it, and I aspired to be as good as those guys. Be it Hendrix or Beck or Clapton or Page, players like Fred McDowell or Wes Montgomery - a great jazz player. Their sense of melody was great, and I was attracted to that as a listener. It was natural that I’d want to play that way.
I know a lot of guitar players are never satisfied with their tone. Are you the same way?
I think that we’re always looking for a new angle of our sound. Personally, I have a lot of different amplifiers in the studio to try and match the sound of the guitar with the feeling that I’m trying to project. I use the tone to reflect the kind of vocabulary that I want to play to. But then when you go live, you can’t bring 30 amps on stage. It’s been made easier with having my own amplifier built by Peavey. You know, it’s like when you asked me about the promo tour. It’s the first time I’ve toured with the actual finished product. I found myself without the distraction of a band, stage, lights. I was just standing in a TV studio or a record store. I could focus on just how my guitar sounded, and it was just a great experience. I could focus more on the tone and the phrasing; it was a more in-depth, enriching experience than when I’m on stage. There you’re integrating with other musicians, and a larger audience. So having that amp with me everyday from our zombie-like 7am TV appearances (Laughs), all the way to our evening shows at the record stores was a great experience. It was years of trying to get someone to design an amp to do what I thought an amp should do.
You’ve always had a tasteful approach with the wah-wah pedal; it’s become kind of a signature sound for you. Is that your Hendrix influence coming through, or is it been a subconscious thing?
Well it’s certainly been an unusual thing. I remember when I was starting to work on these albums I was so sick of the wah-wah that I preferred not bringing it to the sessions. So on my first album “Not of This Earth” my producer said “Don’t you have a wah-wah pedal”, I said “I’m sick of wah-wah pedals (laughs). So I did the whole album with no wah-wah pedal. Then by the time we got around to doing “Surfing With The Alien”, I made the decision literally as I was packing up my car to go the studio, and there it was sitting on the ground. I thought you know, I hate this thing, but I’m going to bring it and just try it. I’ll plug it in and see what happens. And it was that record that kind of introduced me, to myself, kind of a new way of using the wah-wah pedal. Now of course I do find that it is kind of an extension of my sound.
What made you decide to become primarily an instrumental artist as opposed to being the guitar player in a band?
Well that was just an accident really. I was busy in bands, trying to be as successful as possible, trying to get a record deal for years and years. At home, as I needed to explore deeper music I would make these tapes. I eventually got a 4-track cassette recorder and I started making more and more of these tapes. One Christmas holiday my band decided we were going to take a month off from each other. I just decided you know what, I’m going to go down to the courthouse and I’m going to start up my own publishing company, my own record company. I must say the reason I did this is because we rehearsed next to a place called Nolo Press in Berkley, California. They published books to help people do their own thing; start a business, do their taxes, that sort of thing. So they had these books with the forms in them, you just pull them out. Their dumpster went right outside our rehearsal space. So when we were outside on a break, I saw all these books in the dumpster and it got into my mind I could do all this stuff on my own, you don’t need a lawyer, you don’t need a manager, you could just do it yourself. So I took it upon myself to find a book on starting your own business. Basically I then went and recorded a very avant-garde all guitar tape at a friend’s home studio. When the band got back from the break, I presented the tape to the guys and said look what I did over the Christmas vacation! (laughs) I said I started this label, this and that and I said it’s so easy, we should be doing all this ourselves. What I ended up doing was printing up the tape, I found a company and printed up vinyl copies and sent them out to every magazine that was distributed in record stores around the world. I sent them out with a letter that said “this is free, do whatever you want with it.” Anyway a couple months later someone said to me “hey, you just got reviewed in Guitar Player magazine”. I was kind of shocked. I read this little review, and what struck me was they didn’t know who I was, but they knew I was playing in these bands in all the clubs, and were unfazed by this little avant-garde record. They gave it a good review, and were hoping to hear more. I realized there was a path opening up in front of me in my life, which was “you could keep flogging a dead horse aiming for commercial music or you can do something completely wicked and crazy. You could do whatever you want because they already think you’re a nut”. So I said “I’m going to do another one of those”. It took me a while to finance it. It wound up being from a pre-approved credit card mailed to me. It had like a $5,000 credit line, so I recorded this record on the credit card. So it was really an accidental career, and was still new to me when “Surfing With The Alien” was becoming popular. I had always been on these pop bands, or heavy rock bands. So anyway, that’s kind of like the haphazard way to do it.
It must have been pretty fulfilling to get it done yourself that way.
It was fantastic. It was the greatest feeling. It was wrought with incredible danger though because suddenly realized it was all on me, it was all on my head; the costs and everything. As a matter of fact the first solo tour I did, was in January of 1988. “Surfing” had just landed on the charts and I’d gotten on the cover of some magazine. One day I got called into my manager’s hotel room. He said “just to let you know, when this tour’s over you’ll have lost $7000 per week”. At the time I had no money, I was completely broke. I thought, how do you have a record on the charts, and we were a tiny traveling act, and losing money? I remember saying something’s gotta happen to turn this around. And then a couple of days later I got a call to audition for Mick Jagger’s band, and I said well, this sounds like a good idea (laughs). So I got the audition and the job, then I did two tours with Mick that year. That pulled me out of my money situation, and in turn the notoriety from that tour helped my solo tour into the black. So it was an incredible amount of work, but it exposed me to an audience that was waiting to hear something new.
What kind of advice would you give to musicians?
Well, aside from the obvious, there’s a two-part set of instructions I’d say. The first part is the obvious stuff; know what you don’t know. Theory - memorize it once and for all, stop kidding yourself. Notes, chords, scales, rhythms, you can’t fool yourself with that. But then on the other side of it I’d say it’s really important to focus on being original, finding your own voice. You’ve got to love what you do; that’s what gets you through it. The other thing is that the audience out there is dying for someone to come up with something different and unique. I understand quite clearly having to work all my life as a guitar player that in the beginning as an amateur you get rewarded for sounding like other people. But in order for you to become like those other people you need to not be those other people. If you don’t spend any time trying to figure out who you are on the instrument, than the opportunity will slip right through your fingers.
Band Website: www.satriani.com
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BRET MICHAELS INTERVIEW 2003
'Nothin' But A Good Time' in Berwick
A rock star's work is never done. Bret Michaels' whirlwind of a day was filled with various interviews for print media, sandwiched between two live radio phone-in interviews. This was his afternoon - he hadn't even played the show that night yet. That chaotic schedule would explain why I was surprised when my phone rang about 45 minutes early for our scheduled interview. Talking to a bona fide rock star early is better than not talking to one at all I guess.
The Poison frontman is in the midst of a solo tour in support of his solo CD Songs of Life; a tour that will bring the Pennsylvania native to Pepper's Arena in Berwick on Saturday, Dec. 6. Living up to his reputation of being a personable interview subject, Bret and I had the chance to chat about the Songs of Life CD, the tour, and even the future of Poison. It went a little something like this.
Bret Michaels: It's been absolutely incredible, for two reasons really. One is that most importantly, that the fans know that I have no intention of leaving Poison. I'm not out here trying to leave the band, I'm just out here doing what I love to do which is playing music. The reaction to the album live has been great because I intermix the set; it's half Poison and half solo stuff. The reaction's been incredible; it's a really energetic, fun show. I think the fans are getting to see me up close and personal for a change. You know, you can put me on just about any stage anywhere, and because of my passion for the music- you can feel it when I'm up there. In other words, I'm still as exited (as a Poison show). Obviously there's no pyro or laser light show(laughs), but it's still just as exciting of a show in a slightly different way. Plus I've been out since early spring/summer with Poison for 5 months prior to this tour, but yeah it's been a great reaction.
NEPAtoday: What made you decide to put the solo CD out when you did? Was it something you'd had on the back burner?
Bret: Well I'm always writing music whether it be with Stevie Nicks, whether it be with other bands, or soundtrack work for the film company I've got with Charlie Sheen: we're always making music. But for me, this was a 40th birthday present to myself. It was a chance for me to not only enjoy Poison, but also a chance for me to branch out to write and produce stuff that I would like to do on my own, aside from when Poison is touring.
NEPAtoday: The band you've got out on the road, are they the same guys that you recorded the CD with?
Bret: Yeah, they're the same guys. They're all buddies of mine; they're all guys that havve done a bunch of music projects with me. It's turned out great.
NEPAtoday: On Songs of Life there seems to be some more intense emotions in the songs than with Poison songs. What was your songwriting process like this time around?
Bret: Well honestly it was the same process that I would go through with Poison, except the production; in other words I'm able to take some subjects that are really close to me whether it be the birth of my daughter Raine, whether it had something to do with 9/11. I Remember is about music getting me through some tough times in my life, and there's also fun songs like It's My Party. They just reflect different moments in my life; some are really fun, some are sad, some are beautiful. It's basically the same process that I do with Poison. You know on one album we could have Unskinny Bop and still have Something to Believe In. I think that 's been the reason we've stayed in the arenas; we've written exactly what we've felt.
NEPAtoday: With this tour is there any place that's a guaranteed great show, like I've always heard that the mid-west is great for rock shows?
Bret: Well, let me give you an example. When we played Pittsburgh we played the Hard Rock. We sold it out once with Poison and now I'm coming back on this solo tour. It's about a 400-500 seat venue, and the reaction there is great. But it's also great when you get into Minneapolis, Minnesota. I played in L.A. at the House of Blues, which everyone said is the toughest show to play. I sold the place out and I went on stage; the crowd was great because I was having a great time. I don't go out on stage asking them to react, I just go onstage and have a great time making music; and let them get into it. I'm excited up there, so I think it makes them excited. You know, you can't go onstage jaded with an attitude, you just have to go on and have fun. So I've found very few places that really aren't awesome. Pennsylvania is a great state because it's where I'm from, and it's just a good rock crowd. They come to rock out.
NEPAtoday: Of the current crop of rock bands that are out right now, do you have any favorites or anyone particular that you're listening to?
Bret: Let me just state, music is universal. I just kind of listen to what I'm in the mood for. But some of the newer bands out there- I like the Foo Fighters. I think they write great rock music. I like Good Charlotte, Sum 41, Blink 182. To me it just sounds like great rock music with a little bit more of an edge. Then I'm also a huge country fan. I like stuff like Kenny Chesney, Tim McGraw, Faith Hill. Plus of course let's not forget the classics like AC/DC, Aerosmith and KISS - my bands that have been around forever.
NEPAtoday: Speaking of country, I've read that you'll be making a country CD next year. Do you think it would be much of a departure from this solo CD?
Bret: Well, it will be a slight bit more Americana; something along the lines of what John Mellencamp does or Springsteen does - meets like a Kenny Chesney. It'll be just more Americana. I write a lot in that style anyway; almost Tom Petty so to speak. I really like that style of music as well.
NEPAtoday: Do you have any advice for younger bands that are out there?
Bret: Absolutely, and this is my best advice: first and foremost be true to yourself. Be passionate about what you do. Find a great business manager and never give away power of attorney. Poison's always been really good about that. Make sure you're doing the music you want to play, don't do what's happening right now. Do what you want to do, because if you have a hit you're going to be playing it for the rest of your career (laughs). You better make sure you like it, you know what I mean. You know, there's not a song you could pull from our catalog that I wouldn't mind playing. We just wrote our own stuff and some of it hit, some of it missed. I'm proud of it all though. I keep going back to this though; the power of attorney. I just hate seeing musicians getting taken advantage of. One of the good things with Poison is we hired a good business management company right from the beginning. That's why we never ended up being casualties of rock 'n roll through thick and thin. I'm an advocate for musician's rights. I've seen so many musicians and buddies of mine get bad record deals, it's painful for me to watch.
NEPAtoday: What does the next few years hold for Bret Michaels?
Bret: That's a great question. Well, here's what I've got going on. I'll finish up this solo tour, 2004 it looks like Poison will be completely off the road. We'll take a one-year break, during that time I want to finish up a new film I wrote called The Forgotten. I'm also going to continue to work on what I call the Americana or new solo album and continue touring next year. In 2005 will be a brand new Poison record called 20 Years of Stuff. It'll be our 20th Anniversary and it'll kick off a 5 year continuous on and off tour until 2010.
NEPAtoday: Thanks for talking with us today Bret.
Bret: You got it, I appreciate you doing this. Just let everyone know the Berwick show's basically going to be the end of tour party since it's the last weekend of the tour.
NEPAtoday: You got it.
Bret: Take care.
YNGWIE MALMSTEEN INTERVIEW 2004
NEPAtoday.com Music Contributor
NORTHEASTERN, Pa. - Call him outspoken, outdated, or outstanding.
Whatever you call him, you can't deny that Yngwie Malmsteen is one fierce guitar player. The guitar legend is heading out on the road with fellow guitar icon George Lynch, formerly of Dokken.
The tour will bring the pair to Crocodile Rock in Allentown on Tuesday, April 6.
Malmsteen is out supporting his new CD Attack!, which is receiving critical acclaim as one of his strongest efforts since his classic 1984 solo debut Rising Force. Shred-guitar may not be the musical power that it used to be 15 years ago, or even in fashion these days; but Yngwie and his die-hard following prove that music ultimately defies the trends.
Equally notorious for his attitude as well as his music, Malmsteen personifies individuality; something I found out recently when I had the chance to chat with the guitar-god:
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Yngwie: Not on this one. For this one I was just like let it flow, you know. Whatever happens that shouldn't be there just let it happen.
NEPAtoday: With your guitar solos, do you sit down and work them out or is it just a free form jam?
Yngwie: One take. Roll tape, and that's it. If it doesn't happen in one take then I'll go downstairs and play pool or have a beer. I don't work them out and you know, I won't beat a dead horse. Some days it just happens really easy. Some days I just don't feel comfortable and I won't record that. That's the advantage of having your own studio.
NEPAtoday: How do you choose the musicians you work with on each album?
Yngwie: Well, they come to me really. All of the musicians on this record came to me; I don't call them they call me.
NEPAtoday: Do you think that the United States market will ever stray from the disposable pop mentality and accept more intricate musical works?
Yngwie: Music goes in cycles. I just got off a tour with the G3, with Steve Vai and Joe Satriani. That was strictly guitar music, and we sold out arenas everywhere in America - unbelievable. But there's always been a ground swell of people that like that particular music. I've been living on it for 25 years.
NEPAtoday: What do you think it would take to change the way people respond to music here?
Yngwie: Well, I think that's what's happening today is that the media only wants to show one thing. So when you switch on TV or switch on the radio, or look on the Rolling Stone cover, you see just that one thing. There's 280 million people, and there's always been a following for what I do and also for the mainstream. When you strip away that facade, you'll find there's a market for everything. Like with the music I play, sometimes it pops its head up above the surface and sometimes it keeps beneath; but it never goes away.
NEPAtoday: It's been 20 years now since your first solo record (Rising Force) came out. What's your secret to your longevity in the music business?
Yngwie: It's no secret really. What I've always done, I call it honest music - I really mean what I do and I don't try to be something else. I don't try to copy someone or follow a trend. I do what I do, and I think people sense that. They go "wow, this cat's for real". I think that's where the longevity comes from.
NEPAtoday: What can someone who's never seen you live expect from your show?
Yngwie: A lot of energy, lots of energy. A lot of passion. There will be a lot of the new stuff, some of the old stuff - we'll mix it up.
NEPAtoday: Any advice for musicians?
Yngwie: I wish I had. It's a strange universe, this music thing. It's like do you want to be good or do you want to be famous. If you want to be good, well you're going to have to work very hard at it. If you want to be famous, that's not so hard. Just do something outrageous, dress up in something outrageous and play for whoever. But if you want to be good, well there's no shortcut. There's two different things being good and being famous. Well, you may be good and you may be famous as well. But you can also be famous and not be any good.
NEPAtoday: Do you have any favorites to play live?
Yngwie: Not really. I just try to make everything count. To try to make all the songs fit it takes a lot of concentration. Some songs you can just have fun with them, bash out some chords and run around. It's fun to mix it up.
NEPAtoday: What would you say is the proudest achievement in your musical career?
Yngwie: Well, I always try to do the very best I can, everyday. I don't want to rest on my laurels. I'm proud of the first Rising Force record, and my orchestral work as well - my album Concerto Suite for Guitar and Orchestra. As far as right now, I'd have to say my favorite album is Attack!. It seems like everything just fell into place and it came out really well, and I'm already working on my next one.
NEPAtoday: Thanks Yngwie, good luck with the tour and we'll see you in Allentown.
Yngwie: Great, see you there.
My Review of The Hooters Concert on 11/21/07 at The Electric Factory in Philadelphia:
MyFoxNEPA.com
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NEPAToday.com article April 2006
Eric Brittingham - Naked Beggars
"A Few Words From a Naked Beggar"
Eric Brittingham Sounds Off
Don't know much about the Naked Beggars? Well, you may know more about the band than you think.
It turns out, if you're a fan of the platinum-selling hard rock band Cinderella, there's a 50/50 chance you'll like Naked Beggars.
Literally.
Cinderella bassist Eric Brittingham and guitarist Jeff LaBar, exactly half of Cinderella, are involved in Naked Beggars. The band is rounded out by Brittingham's wife Inga on vocals, Kris Casamento on guitar, drummer Shawn Hughes, and Kristine Brasuell on keys. The six-piece unit unites for a raw, explosive, bluesy hard rock sound. Not too far distanced from what you'd expect from Cinderella, but with an energy and vitality all it's own.
Cinderella will hit Montage Mountain later this summer, but you can catch Eric and Jeff with the Beggars a little sooner around NEPA. The Naked Beggars are currently touring in support of their sophomore CD, "Spit It Out", which is currently available via their website www.nakedbeggars.net. The tour will bring the band to Shakerz in Dickson City on Thursday April 20th. They'll also be live at The Coal Hole in Shamokin on the 21st and at Goodfellas in Pottsville on the 22nd. Bassist Eric Brittingham answered a few questions for me about Naked Beggars to get you up to speed and ready for the big show.
Q: When did the idea for Naked Neggars come about?
A: Inga and Kris started the band about five years ago. I started out producing demos and eventually began playing with them. The band has evolved to where we're at now, including Jeff, Shawn and Kristine.
Q: Describe the band's music to a beginner...
A: The music is old school rock. We draw on our influences from the 70's and 80's with a little modern twist.
Q: I know your wife is the vocalist, tell me about her musical background and the other members.
A: Inga is a natural singer. She has been singing since she was old enough to talk. Her formal training came from being a theater major in college and performing with various bands. Kristine's musical background comes from country music. Although classically trained as a vionist, she grew up in a musical family and plays many other instruments as well. The rest of us have been playing in rock bands since we were young and have similar musical roots.
Q: What kind of plans did you have for the band at first, was it envisioned as a jam type thing or full time gig?
A: Early on, I saw a real potential for the music that Inga and Kris were doing. I would not have gotten involved if i didn't think we could make this a viable band.
Q: A lot of reviews have been pretty positive, was it hard to start something completely new when people had identified you with Cinderella?
A: The association between us and Cinderella has been a constant double edged sword. It sometimes makes it hard to get industry people to take us serious because of it, but on the other hand, it opens a lot of doors too. To us, it's all about the music and not the fact that half of Cinderella is in the band. We have a growing fan base which includes Cinderella fans and people who never listened to Cinderella.
Q: The two records you've done, how did you ever find the time to write and record while being on the road with CInderella the past few years?
A: Cinderella is usually only on the road for 3 or 4 months out of the year and has been touring every other summer since 1998. The rest of the band keeps writing and promoting Naked Beggars while Jeff and I are away. The band is constantly working up new material. We have the third record pretty much ready to record now.
Q: What is a Naked Beggars show like?
A: We like to be spontanious on stage. The show is nothing fancy, just straight ahead rock with a lot of energy. Inga is amazing live! She is one of the best performers i've seen as far as connecting with an audience.
Q: The band will be on hold for the summer, will there be more N.B. touring after the Cinderella tour?
A: We are already planning dates for the fall. Inga, Kristine, and Kris will also be doing some select acoustic shows this summer and continue promoting the "Spit it Out" CD.
Q: What's it like being able to work with your wife everyday?
A: It's been great. I joke around about having to be crazy for being in a band with her, but it works.
Q: Anything else you'd like people to know about the band-
A: You can expect Naked Beggars to keep growing and putting out the best music we can for a long time. We're just getting started and are looking forward to many great times to keep coming our way. Hope you'll be along for the ride!
If You Go:
April 20th 9pm Shakerz -1946 Scranton/Carbondale Highway Dickson City
April 21st 9pm Coal Hole- 500 W. Walnut St. Shamokin
April 22nd 9pm Goodfellas - 876 S. Centre St. Pottsville
Check out the band at their website: www.nakedbeggars.net
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