Monday, April 20, 2015

Jorma Kaukonen of legendary Jefferson Airplane and Hot Tuna interviewed

© Scotty Hall

We believe, that introduction isn't necessary for one of the greatest guitarist of our generation, but still here's a short overview of guitar master. Kaukonen has a very rich musical history; from starting as a folky, that arrived at the scene of happening early on in the '60s and befriended all the well known musicians to his work with one of the largest bands of the '60s - Jefferson Airplane. In the '70s he formed Hot Tuna with his long time friend Jack Casady, who was also member of Jefferson Airplane. Their involvement with one of the leading psychedelic bands led to Hot Tuna, which was moving back to their roots. Both, Kaukonen and Casady were avid listener of old blues and folk songs and Hot Tuna offered interaction between their mutual love. Jorma Kaukonen is still active as ever. A few years ago we made an interview about their new Hot Tuna album (interview here) and today we'll be talking about his new solo album "Ain't In No Hurry", which is kind of an autobiographical piece, consisting of Jorma's love for very old songs, BUT you can also hear a few new tracks. We also managed to talk about surrealistic Jefferson Airplane years. Lately there were some rumours circulating about their reunion, but Jorma refute all statements claiming about possibility of getting back together. 

You have a brand new album out 'Ain't In No Hurry', which came out on Red House Records. Album is a collection of classic American songs, blues, rockers and your originals. From very old songs to new ones. What's the story behind making this one?

Nature abhors a vacuum… it was just getting to be time. I realized that it had been five years since 'River Of Time'.

We could call this album autobiographical with strong concept about your life and what you became. From very old songs, that inspired you to some quite new. How did you decided which songs you'll include? They must have a special place in your heart?

I consider my repertoire as a part of my personal story at any given time, which is why I’m always honored when someone chooses to listen to my work. As you know, I really love old… to very old music. The images contained in that period material always strikes a responsive chord in my heart. The new songs that I wrote for this project just continues ‘the tell.’ I re-recorde Bar Room Crystal Ball because I wanted to give it an acoustic treatment.


Let's talk about originals? Can you tell us about song-writing process?

Usually I start with the music… a guitar lick or set of changes… not always though. "River Of Time" started as a poem and the music followed. Once I get the music off the ground I just follow the words until it is time to edit and finish the tune. That’s definitely the way it was for Ain’t In No Hurry.

This new album also offers a lost Woody Guthrie lyric set to music by you and Larry Campbell, the CD's producer. How important is Guthrie for you as a long time musician?

Well… what an honor it was for Nora Guthrie, keeper of the Guthrie legacy, to give us this opportunity. Woody was, quite simply, the man!

You're currently on a tour and if I'm not wrong you'll be on a tour with Hot Tuna again. Will you play any of these songs?

Absolutely. I play all these tunes with Jack in our acoustic format and we’ll at least be doing "Other Side Of The Mountain" on the electric runs.

Can you share a few words about lineup, that helped you to record Ain't In No Hurry?

Well… to have Larry Campbell, Teresa Williams and Justin Guip on board was a treat and an honor. To have Myron Hart, my friend, neighbour and guitar tech on board to play upright bass was the frosting on the cake.

Is there anything else, that currently occupies your life?

My eight year old daughter and my seventeen year old son.

Since this is kind of an autobiographical album I would like to ask some questions about now legendary albums you recorded back in the '60s and '70s. Let's start with some basic questions.
What can you tell us about your home growing up? Was there a lot of music around you? Were either of your parents or any of your close relatives musicians or extremely interested or involved in music?

There has always been music in my life. My mother and father both played piano. Mom sang… my grandparents were always listening to classical music, or jazz… or songs from the Old Country, Russia...

What do you consider as your first real exposure to music?

The wind up Victrola on our house.


You travelled a lot with your parents, since you were little boy. In Washington, D.C you met your long time friend, Jack Casady and you formed a band called 'The Triumphs'. What can you say about 'The Triumphs' and how did you two meet?

Well… the Triumphs were a short lived band we had in 1958 in High School… good times. Jack and I met through his older brother Chick, who was my buddy.

You went to Antioch College, where you got befriended with Ian Buchanan, who helped you with fingerstyle guitar playing. He was also one of your friends, that introduced you to legendary blues icon, Reverend Gary Davis. What in particular did you like in his approach of playing and delivering music?

Ian, may he rest in peace, was not much older than I… but he was generations older in his musical experience. His muse was Lonnie Johnson… but that was too advanced for me at the time. His introducing me to the Rev. Gary Davis changed my life more than words can say! Ian’s approach to music was so pure, so intense and so without regard to ‘success.’ He was a good one. Check out the site his widow put up. www.windingboy.com

In 1962 you travelled to West Coast, where you started to study at Santa Clara University. You started playing blues music in various of coffee shops. Who all did you met there? What did your repertoire consist of?

I met Janis Joplin, Jerry Garcia, Steve Talbott, Herb Pederson, Ron McKernan aka Pigpen and many others. At the time my repertoire consisted of many of the songs that are on the first Hot Tuna album as well as a host of others… bluegrass included.

What's the story behind The Typewriter Tapes?

Janis and I were rehearsing for a gig… my ex was writing a letter to her parents in Sweden. I had a new tape recorder… I recorded everything.

Later on you joined Jefferson Airplane. Who invited you to join and how did you like their idea?

I found it interesting… I came to love it later! Paul Kantner invited me to join.

© Jim Marshall

You were part of Jefferson Airplane and played on all those legendary albums. What was it like to be in Jefferson Airplane? You were very popular and played all around the world with most famous groups.

To be young… to become ‘a star’ almost over night… to go from being nobody to being somebody… hard to describe.

What can you say about song writing process in Jefferson Airplane? One of the most notable songs you made is "Embryonic Journey". Is there a story behind it?

"Embryonic Journey" was written in 1963… I didn’t really want it on Surrealistic Pillow… I thought it didn’t fit. I’m glad they made my put in on the disc. The song evolved from me messing around on a 12 string in drop D.


Did hallucinogenic substances play a large role in your song-writing, performance or even maybe recording processes? I believe it can really inspire you in various of ways, you can't imagine before using it… What's your opinion about it?

Hallucinogenic has had nothing to do with my playing, writing, or recording. Perhaps it could be inspiring to some… it was counter productive for me.

What are some of the strongest memories from recording and producing JA albums?

The excitement of new music, new techniques… both musical and technical… and, of course, being young!

What were some names from your generation, that you liked? You played with various of musicians during all this years.

Buddy Guy, Steve Mann, Dr. John, Mike Bloomfield, Jerry Garcia, Eric Clapton, Jimi Hendrix

Around 1969 you and Jack Casady decided to form Hot Tuna and you got back to your blues roots. It's still an ongoing project.

That it is… may it last longer.


Later on you decided to record some solo albums. What would you say is the main difference working on your solo albums?

My solo albums are about the songs… Hot Tuna is about the interaction between Jack and myself.

Any comments on Monterey Pop Festival or Woodstock Festival?

Wow!!!!!  Glad we were a part of those!

You played with so many bands and experienced many things, BUT is there any crazy story you would like to share with our readers?

Driving to NYC for the Dick Cavett show after Woodstock in a station wagon with flat tires.

Is there a chance for JA reunion?

No.

Thank you so much for taking your time and effort. Last word is yours.

Klemen… sorry this took so long.  Thank you!


Interview made by Klemen Breznikar/2015
© Copyright http://psychedelicbaby.blogspot.com/2015

Sunday, April 19, 2015

Belzebong exclusive track for It's Psychedelic Baby, released by Emetic Records


Happy 420!! On this glorious day, we're presenting Belzebong's second album "GREENFERNO":

1. Diabolical Dopenosis
2. Inhale in Hell
3. Goat Smokin' Blues
4. The Undertoker

Greenferno will be released later this summer by Emetic Records as a LP, CD and cassette. More details coming soon. 

photo by Rafał Kudyba

Psychedelic Attic #15


Vinyl:
Music On Vinyl
Edgar Broughton Band
Warren Zevon
Redbone

Mother's Children
The Shrills
Honey Badger
TRMRS
Outer Minds Behind The Mirror
Bath Party

CDs

Friday, April 17, 2015

Michael Moorcock interview about Hawkwind, Robert Calvert ...


Michael Moorcock is well respected author, probably most known for his science fiction and fantasy sequences. He was also a part of underground rock band like psychedelic warriors – Hawkwind. He worked as an editor for well known British science fiction magazine 'New Worlds' from mid '60s to 1971 and from 1976 to late '90s. Many of his works are now considered classic among sci-fi literature. In 2008, The Times newspaper named Moorcock in their list of "The 50 greatest British writers since 1945". We are honored, that Mr. Moorcock took his time to talk about his collaboration and assorted things.

Hawkwind at Windsor Free Festival (1973)
Robert Calvert, Michael Moorcock, Simon King & Lemmy Kilmister
Photo by Dave Walkling

You first became aware of Hawkwind in 1970, through the underground magazine 'Frendz'. What were your first thoughts when hearing their debut album?

Bob Calvert came to see me with Jon Trux. He wasn't with Hawkwind at that point. He was enthusiastic about this new band and we all went to see them at a gig in Fulham I think it was. I loved them. DikMik wandering about turning knobs and plugging in jacks, Del a kind of crazed dwarf. Bit of dry ice.  Dave and Nick in the flickering strobes. Wave upon wave of sound. It felt like, as I said at the time, like being aboard a generational starship whose crew had gone totally raving barmy.  I was impressed by their lack of pretension. I met them that night and got on well. We quickly became friends. Jon Trux was heading a project To make the newly created motorway bays a facility for local people. My wife Jill and best friend Jim Cawthorn painted murals and we installed tiered bench seating and created a stage for plays, rock performances etc. Hawkwind, Quiver, Brinsley Schwartz, Pink Fairies - all the local bands. A day or two before they were due to go on at what was now called Portobello Green, which was five minutes from my place. Dave and Nik were by that time fairly frequent visitors and by this time Bob was with them but was in one of his hyper states so they had no one to front them. I'd just written some stuff for them including SONIC ATTACK. First I went to see Bob in the bin and reassured him I would stand down the moment he was ready to rejoinder the band.  And that's what we did for some years off and on. I didn't think the first album showed the band at its best and was involved with the seconds. Barney Bubbles was another friend and showed me the visuals as they developed.


One of the most interesting things to talk about with a well respected author like you are your influences and inspiration. In one interview you mentioned, that your father left you a few books, which inspired you a lot. What else inspired you later on in the '50s and '60s, when you were working for 'New Worlds' as far as literature goes?

Oh, heady times!  Camus and the Existentialists. Peake. Gothics. Bester. Not much SF. I was a professional journalist at 17 and I was playing sniffle. A whole melange of edgy culture created me, my friends, many of my generation and what we in turn created. I was part of the zeitgeist.


In the late '60s there was a whole revolution happening on different levels. Very afflicted was definitely music business, which all the sudden exploded with underground rock bands experimenting and some of them managed to produce unique shapes of sound. Did music have a big role in your teen years?

Absolutely. I met some of the great bluesmen of my day and was in bands from the age of 15. I had a nodding acquaintance with rockers like Tommy Steele and early R&B and blues people like Alex Korner. I knew Long John Baldry, Zoot Money and others. I was from South London and moved to Notting Hill.  I knew musicians and loved music, including a lot of classical and modernist music.  

Before reading 'Frendz' magazine about Hawkwind, were you aware of some other bands for instance The Deviants etc? And if so, did any of them brought interest to you?

I knew Mick well as well as many 'underground' musicians. I performed with various people in scratch bands. Made the odd demo.

Robert Calvert formed the Street Theatre group, Street Dada Nihilismus and was also part of aforementioned magazine, 'Frendz'. Calvert's poems were also published in 'New Worlds' and some other magazines. What's your opinion about his style of writing?

He had a great natural talent. I think he would have developed into a very fine writer. He was a bit lacking in discipline.

Calvert befriended with Dave Brock of Hawkwind and became lyricist and frontman of Hawkwind from early '70s to 1979. Your first performance with the band was at The Green, Portobello Road. You were part of Sonic Attack and Power Armour songs. 
Calvert was very inspired by your book 'The Black Corridor', which is shown on 1972 release of 'Doremi Farsol Latido'. What can you say about this?


Not a lot. It was a psychological story where you don't know if it's real or going on in the protagonist's  mind. It appealed to Bob and I said he could use it.


In 1975 'Warrior On The Edge of Time' saw the light. You had a big part on making it. Please tell us about concept behind it. Its origins are probably from 'Eternal Champion' series...

It was an extension of The Eternal Champion story. Essentially it's a part of the whole mythos.


'Sonic Attack' was another album you collaborated on, but the most intensive collaboration with Hawkwind was definitely release of 'Chronicle of the Black Sword'. Tell us about it.


Actually that one was a bit fraught because I'd discussed a lot of it with Nicky and almost nothing with Dave. Nicky was fired again around that point so all the work was in my view wasted. I quietly decided to have less to do with it after that. They were virtually my last gigs with Hawkwind. I saw Dave's point of view but didn't think he'd handled it well. Then Dave, without reference to me, got Doug Smith's label involved.
Given I was at that point in dispute with Douglas, I felt Dave should have told me more about what was going on. So I pulled my numbers. After the dispute with Douglas was partially resolved I let the stuff go back in. I enjoyed doing the Hammersmith Odeon gigs but I have never been as involved with Hawkwind since. It's a shame really that the 'Black Sword' tour was where it pretty much ended for me.


How good friends were you with Calvert? Could you comment his two solo albums; 'Captain Lockheed and the Starfighters' and 'Lucky Leif and the Longships'?


We were good friends.  I worked with him quite a bit on 'Lucky Leif' and that too was a great pleasure. I love that album. I still listen to it. Calvert and Eno were a perfect fit. I was doing a bit of guitar on it when Eno asked if anyone had a banjo they could play. I went home and got my banjo. I hadn't taken it out of its case for years. Island studios were only five minutes from my flat. I told Eno I'd have to go and buy some new strings before I could play but he insisted I keep the old strings on. The result is what you hear. I worked on Hype quite closely with Robert, helping him structure it and so on. I played my Rickenbacker 12 on that, I think.


What's the story behind Michael Moorcock & The Deep Fix release 'The New Worlds Fair'?

I did a single demo (Dodgem Dude) which Douglas took to UA. It was the second demo I'd done (first was for EMI, which was dreadful, 1956). I'd done a joke record with Lang Jones and other musician friends called SUDDENLY -- IT'S THE BELLYFLOPS in 1964.  I had lunch with the A&R man.  He said: "When can you do an album for us ?"  I came away with a 3-album deal.  So I decided to give a few musician friends a share in the good fortune. The core band were Pete Pavli, Graham Charnock, Steve Gilmore, Terry Ollis and myself, with Snowy White, Kumo, Hugh Lloyd Langton on some tracks. I think Simon King was on one or two tracks and, of course, Simon House played fiddle.   


There were problems with the production. We seriously needed a producer but didn't want Douglas to do it. IU think we should have got someone else in. There's scarcely a track I'm happy with.


Hawkwind were known for their psychedelic appearances and they were also known to use a lot of hallucinogens. May I ask if you ever experienced psychoactive substances and if so, did they have any impact on your writing process?

Yes and no! I was very puritanical about writing and the only stimulants I ever used were strong coffee and lots of sugar. There's no drug like mescal but you'd be a fool to try to write on it or, in my case, use it for 'visions'. I have visions all the time, many of them quite elaborate. In the Middle Ages I'd have been burned as a witch. The thing is that, having had complex visions since a child, I became used to them and took them for granted. I seemed more able to handle such stuff because it was pretty normal to me.


What is the craziest moment you experienced with the band?

I don't remember..
Maybe Nikky failing to rise into the air at the Oxford Apollo. There were several Spinal Tap moments like that.
Nikky sailing past me out into the audience when he slipped on the wet floor and flew in his frog suit. I remember looking at him as he went by and wondering if his sax would be all right.

What are you currently working on?

The second volume of a semi-autobiographical novel THE WOODS OF SARCADY, some new stories in my WW3 SEQUENCE FOR Denoel in Paris, a new fantasy graphic novel with Robin Richt for Glenat in France. In Paris at the moment I'm working with Martin Stone (lead guitars), Denis Boudrillard (drums), Brad Scott (bass), Patrick Couton (autoharp), Sean Orr (fiddle) and have almost completed basic tracks for LIVE FROM THE TERMINAL CAFE. IT'S A deep fix project. I composed several songs using harmonica because my fingers don't work that well, these days. Strong Cajun influence.


Are you following current underground music scene? And what are you currently listening to?

I'm very picky about music. I still listen to whatever's recommended and go to see bands in Austin, but I don't get to gigs as often as I'd like. I'm going to a Dylan concert next month. I used to get in to see my friend Mac McLagan (who used to be in the Faces) but sadly he died last year. I go to quite a few 'house concerts' but they tend to be restricted to one performer.

What are you reading?

Just finished Brian Catling's THE VORRH which I'd strongly recommend. The Prison House by John King. Their Lips Talk of Mischief by Alan Warner.

We would like to thank you, Mr. Moorcock for taking your time and effort. Would you like to send a message to It's Psychedelic Baby Magazine readers?

Stay alive, alert, enjoy yourselves and always try to lead the conscious life? Always try to listen with all your attention to new music ? Stop picking your nose? I dunno. Keep smiling! Thanks.

Interview made by Klemen Breznikar/2015
© Copyright http://psychedelicbaby.blogspot.com/2015

Thursday, April 16, 2015

OOIOO - Feather Float (1999) review


OOIOO "Feather Float" Birdman Records, 1999)

Oh man, this record is god damn magical! Fronted by Boredoms drummer and Flaming Lips muse Yoshimi P-We this definitely has elements of the Boredoms, but this is also channeling a much crazier beast. Immediately you are summoned by the first track to "Be Sure To Loop" with the repetitive vocals and tribal drum patterns that instantly bring you back to the Boredoms excellent album "Super AE" that came out a year earlier. The closest band I can compare this to is Can when they went into their more ambient phase on the great record "Future Days" but with a heavy electronic influence. The song "Jackson's Club 'Sunspot'" has a bass riff that is a dead ringer for something you would expect Frank Zappa would put on one of his album, but instead of going in freaky jazz territory its heavily repeated like it was a uncompleted tune that they couldn't quite figure out where to go with so they went a "krautrock" route instead. The most intense song for me personally is "Baby Bamboo From Nose" it literally sounds like they recorded one of the members having an anxiety attack and hyperventilated into the microphone instead of a paper bag, I don't think a panic attack has ever sounded so beautiful, and this is coming from someone who suffers from them. This album is a something special that is hard to put into words, I recommend listening and discovering its magic for yourself!   

Review made by Matt Yablonski/2015
© Copyright http://psychedelicbaby.blogspot.com/2015

Kingdom of the Holy Sun - Surya's Smile II (2013) review


Kingdom of the Holy Sun "Surya's Smile II" (2013) 

There’s a recipe for the sound Kingdom Of The Holy Sun make ... though sadly too few seem to be able to follow it.  This review encompasses all of their releases, as the band never strays far from what makes them shine.

1. Take a good lazy helping of fuzzed out wasted Black Angels ...
2. Sprinkle in a pinch of the quieter earlier Velvet Underground
3. Add to that, equal teaspoons of The Doors’ first album along with ‘Electric Music For The Mind & Body’ by Country Joe & The Fish
4. Then mix in a touch of the pop vocal sensibilities of the Allah Las, along with a desired helping of Brian Jones on sitar …
5. Finally, gently blend in the dark romance of Spacemen 3
6. Now bake in the sun ‘til it’s all firm around the edges and mushy in the middle ... and that my friends is how it’s done.

Referred to as Psychedelic Shamanistic Madness, Kingdom Of The Holy Sun, who hail from Seattle have managed to encapsulate the vintage rhythmic sensibilities of low-keyed organic THC laced garage-psych that merely breaks the surface as they string one set of hazy lysergic drenched notes after another, delivering an intoxicating midnight drive through the stars and wasteland of jettisoned spacecraft orbiting at low altitudes. 

It’s a stoner’s delight ... that I promise you.

***
I will say that finding physical copies is rather difficult ... so, since you’ll be downloading, there are a few numbers that seem to stagger on just a bit too long without a sense of fundamental being, and can certainly be ignored in order to gain a more tight and delightful selection of songs to waste away the early morning hours.  I would suggest that you select these: Swarga, Dead Monks, She's Set Free, Hey Baby, Cult Of The Death Goddess, Her Sweet Delight, Sihanouk Trail, Bhajan, Gone To The Devil, Lakshmi Lost, The House Of The Yé-yé, Surya's Smile, Fleur Du Malheur, Acid Test 1, Pharmacokinetics, In Her Way, 13 Eyes, Getting Higher, A Go Go, She Lies, Hey Hey Hey, How She Comes, Rave Up, Chiang Rai, White Noise, The One ...

Review made by Jenell Kesler/2015
© Copyright http://psychedelicbaby.blogspot.com/2015

Wednesday, April 15, 2015

JAZZ CORNER Presents: Curtis Nowosad

©Rachel Boese

Curtis Nowosad is a very busy man. He's a Jazz drummer, composer, arranger and also an educator. A native of Winnipeg, Manitoba, Curtis became recognized as one of the faces of the new generation of jazz players in Canada, and he has performed with such world-class jazz musicians as Philip Harper, Donny McCaslin, Stefon Harris, Miguel Zenón, Jack Wilkins, George Colligan, Dave Douglas, and Steve Wilson. He has performed with two NEA Jazz Masters, Candido Camero and Jimmy Owens, and recently recorded with a third, pianist Kenny Barron. His latest album Dialectics brought attention to us and that's why we decided to include him in "Jazz Corner". 

When and where were you born?

I was born April 2nd, 1988 in Belleville, Ontario, Canada, but I grew up in Winnipeg, MB, Canada.  

How old were you when you began playing music and what was the first instrument you played?

I come from a family of musicians, so I messed around with a few different instruments (piano, trumpet, saxophone, guitar) as a child before settling on drums at 12 years old. My mom is a piano teacher and church organist, so I started on piano, having heard it every day, however, I hadn't learned how to follow directions yet so I didn't get very far taking lessons from her! I didn't learn piano again until I got older and started playing jazz around 15 years old, and now I do a lot of composing and arranging, so I spend a lot of time at the piano. But of course, drums are my instrument!

What inspired you to start playing music?  Do you recall the first song you ever learned to play?

As I mentioned, my parents are musicians so there was always music in the house. I was inspired to start playing by hearing bands like KISS, Van Halen, Rush, Black Sabbath, and others, but the one that really sealed the deal for me was Led Zeppelin; I spent the first three years that I played the drums trying to sound just like John Bonham! As for the first song I learned to play, it was "Killing In the Name" by Rage Against the Machine (it had some pretty colorful lyrics for a 12-year-old, to say the least).
  
Did you attend any school of music? Would you say school assisted on what you became as a musician? By that I mean your style of playing and on how are you approaching the process of writing new compositions.

Yes, I received a Bachelor of Jazz Studies from the University of Manitoba in my hometown of Winnipeg, and just finished a Masters of Music at Manhattan School of Music. I mainly learned how to play on the bandstand, but school helped me to understand more clearly what it is that I was doing. I had many great playing experiences early on with my primary teacher, bassist Steve Kirby, who played with many of jazz's greatest musicians, including extended stints in the bands of Elvin Jones, Cyrus Chesnut, Abbey Lincoln, and many others. Steve started taking me on gigs when I was 17 or 18, and I learned by doing it; it was the equivalent of being thrown in the pool and learning how to swim! While at the U of M I had the chance also to study with both Terreon Gully and Quincy Davis, which was instrumental to my development. 

My time at MSM has definitely improved my composition skills. I have written for big band, studio orchestra, and several other configurations, an definitely expanded my approach to composition. I had the good fortune to learn from legendary composer/arranger Jim McNeely during my time there. I also studied privately with John Riley, who is one of the world's greatest drum teachers, as well as playing in the MSM Afro-Cuban Jazz Orchestra, working very closely with Bobby Sanabria, which taught me a lot about Cuban, Puerto Rican, Haitian, and Dominican music. MSM also has on faculty tabla virtuoso Samir Chatterjee, known for his work with Ravi Shankar, and I got to take some classes with him which really opened my eyes to a whole other world of musical conception.

Who are some musicians, that influenced you in one way or another?

First and foremost, my teachers: Steve Kirby, Terreon Gully, Quincy Davis, John Riley, Bobby Sanabria, and many others. Musically speaking, I am heavily influenced by the great lineage of this music, and the many great drummers, such as Tony Williams, Elvin Jones, Art Blakey, Philly Joe Jones, Max Roach, Billy Higgins, Arthur Taylor, and so many others. I am also very heavily influenced by R&B and Hip Hop, as well as folkloric African-rooted drumming, particularly Rumba groups from Cuba such as Los Muñequitos de Matanzas, and Senegalese sabar drumming master Doudou N'Diaye Rose.

What were some of your first efforts, that resulted as an album?

I have two albums out, the first one being The Skeptic & the Cynic, from 2012 and the most recent being Dialectics, released in March of 2015. Conceptually they are different when it comes to repertoire, but both feature more or less the same band and thus the same style at its root. The concept behind the Skeptic & the Cynic is contemporary pop music from various sources, which is something that I really enjoy doing, and especially used to do a lot at the time in my life, which is taking songs that are not originally intended as jazz songs and arranging them for a jazz group, and using them as vehicles for improvisation. Dialectics features more of my writing, and the songs that are not originals are from within the jazz canon. Wayne Shorter and Thelonious Monk are both composers and performers I respect very much and are greatly influenced by, so I wanted to put my own stamp on their music. 

You played and shared stages with many worldwide known jazz musicians. How was to work with them and what are some altering experiences from working co-working with them?

The process of learning jazz has always involved mentorship, so there is no replacing the experience of playing with musicians that have been around for a long time. There is so much that changes about the way each generation approaches the music, and there is a lot to learn from each of them. I've had the chance to perform with three NEA jazz masters: Candido Camero, Jimmy Owens, and Kenny Barron, and learn from a fourth, Dave Liebman. Candido is 94 years old and brings so much joy and history with him every time he performs. I did a recording session with Kenny Barron once, and I couldn't believe my ears, after having listened to him for so many years, and hear his influence on so many other musicians, to hear the real deal coming through my headphones. That was a lesson to pursue an individual sound, and always believe in every note I play. 

©Lindsey Bond

In 2012 you released The Skeptic & the Cynic album. What can you say about the lineup and the recording process of releasing this album?

The line-up featured my teachers at the time: Jimmy Greene, Derrick Gardner, Steve Kirby, Laurent Roy, and a couple of my colleagues from Winnipeg, Will Bonness and Julian Bradford, and special guest Taylor Eigisti, who played on one song, Pink Floyd's Welcome to the Machine. We recorded most of it live off the floor, the only things that were overdubbed were some Hammond Organ and Fender Rhodes. The timing worked out perfectly that Taylor Eigsti was in town with Gretchen Parlato and had a day off, on a day that I had a gig, and he agreed to play with us, as we all knew him already. After that, he agreed to play on a track of the album, which turned out spectacularly. 


How about the arrangements?

As I mentioned before, aside from two originals, it features all arrangement of contemporary pop songs: "The Way You Make Me Feel" by Michael Jackson, "My Old Man" by Joni Mitchell, "Welcome to the Machine" by Pink Floyd, "Three Little Birds" by Bob Marley, "California Love" by 2Pac, and "Definition/RE:DEFinition" by Black Star. I really enjoy many different styles of music, and spent a lot of time playing in rock and R&B bands, and as I mentioned before, I grew up on rock so I know a lot of music outside of jazz. I always get excited when I hear a song that has a strong melody and it makes my imagination wander to see if it would work with my band. Sometimes it does, sometimes it doesn't, but it's always a really enjoyable process.

You have a brand new album out on Cellar Live Records, and features Jimmy Greene on tenor saxophone, Derrick Gardner on trumpet, Steve Kirby on bass, and Will Bonness on piano and it's one of the most refreshing albums out there. We have been pleasantly surprised when first hearing it. What would you say about making your latest one?

The latest one was a fun process, because we got to go on the road for a couple weeks before recording. You don't always get that lucky that the timing works out like that, but Steve, Derrick, Will, and I did a Western Canada Tour prior to the recording, so we got a chance to workshop the new music. After that we did a concert at one of Winnipeg's top concert halls with Jimmy, which was a fundraiser for the Ana Grace Project. The next day we went into the studio, but these guys are so good it only took us a day! I think there is only one song on the record from the second studio day. These guys hit all of it in one day, which is amazing.


Are you satisfied with the result?

Definitely!

What lies in the near future for you?

My quintet (with Jon Gordon on saxophone in the place of Jimmy) will be touring Canadian jazz festivals this summer, and I will be doing an official US CD Release at Shapeshifter Lab in Brooklyn in May. On top of that, I will be in New York, playing with as many musicians as I can, learning as much as I can, and writing as much as I can. Most of my work as a leader has been in Canada, so I am going to start working more with my own band in New York and around the northeast US.

L-R: Will Bonness, Niall Bakkestad-Legare, Craig Bailey, Derrick Gardner, Curtis, & Laurent Roy

During the past few years you have been part of many projects. What are some you would like to highlight?

Yes, the main project I've been a part of lately is Philip Harper's Quintet, which plays every other week at Smalls in NYC. Philip Harper was a Jazz Messenger and had a very successful band with his brother Winard, called the Harper Brothers. I love playing with this band and I'm looking forward to doing as much as possible in NYC this summer. 

You're also very active as a educator and clinician and you have your own radio show. Tell us more about your other endorsements?

Yes I haven't had my own radio show for a couple years now, but I do really miss it. I recently guest hosted on WKCR, Columbia University's Radio Station, and I realized how much I miss playing music on the radio and educating  listeners about the many great artists. I do really enjoy teaching, and I have done a lot over the years. I am hoping to get involved in more educational efforts here, as I really do enjoy passing on what I've learned and educating the general public about this music. 

Thank you very much for taking time to be part of It's Psychedelic Baby's Jazz Corner. Last word is yours.

Thank you for reading! All the best!



Interview made by Klemen Breznikar/2015
© Copyright http://psychedelicbaby.blogspot.com/2015

Milwaukee Psych Fest


Andrew James Shelp is a man behind Milwaukee Psych Fest. He is founding, curating and doing all the organization work for the festival. He came with this idea already in 2010 and it wasn't until 2011 when the first Fest was organized. Milwaukee Festival will start in May, 2015 and will feature some of the most interesting bands from current psychedelic rock scene. Shelp sure knows what to invite, because he's also a musician and is playing in bands like Moss Folk and Dancing Silks. When asked what he thinks about psychedelic music he replied: "The beautiful thing about psychedelic music is, to me, it can be anything that the listener finds transcendental or trippy. It's up to the listener. It's in their minds. What I find to be psychedelic you might not and vice versa. Unlike most genres that are relatively stuck or restrained by certain formulas and expectant sounds, psychedelic music can be anything; punk, hip hop, experimental, electronic, anything because the listener is the sole interpreter and deciding factor as to if it is psychedelic. It can be heavy, it can be ethereal, it can be deliberate or it can be abstract. Psychedelic music truly can be anything. Psychedelic music chose me, I didn't choose it".

Line-up includes a lot of bands we managed to interview and review. So those interested in knowing what will appear on Milwaukee Psych Fest check the links below.


It's Psychedelic Baby Magazine is proud to be media sponsor of Milwaukee Psych Fest (May, 14-17, 2015)

Tuesday, April 14, 2015

Cowboy interview with Scott Boyer and Tommy Talton

Cowboy Capricorn promo
Brown, Boyer, Stewart, Bramblett, Talton.

Cowboy are one of the best bands coming from now legendary Capricorn Records. Talton and Boyer have a long history in music. From Talton's start in "We The People" to Boyer's "The 31st of February", which was a band, that at certain point featured Duane and Greg Allman. Later on Talton and Boyer got together and formed "Cowboy". A band, that managed to release four albums. Their debut came out with a little help of Duane Allman, who was a friend. They are still both very active in music business.

When and where were you born?

Tommy: Born Jan. 9, 1949 in Orlando, Fl.

Scott: I was born in 1947 in Binghamton, New York.

How old were you when you began playing music and what was the first instrument you played? 

Tommy: I started playing guitar when I was late 13, early 14.

Scott: I was four years old when my mother saw me banging on the piano and started getting me lessons.

What inspired you to start playing music?  Do you recall the first song you ever learned to play?

Tommy: I had been around music growing up. My mother and my older sister were always listening, so it was there in the house all day everyday, and I was thankful it was!
One of the first songs I learned was by the Ventures (learned many of theirs) "Walk Don't Run."

Scott: I guess I've always liked music. I was inspired to play guitar and folk music back in the '60s by Peter Paul and Mary and some other folk bands. The first song I learned on guitar was"Blowing in the wind" which I discovered later I had learned wrong.

What bands were you a member of as a youth and what types of music did you play?

Tommy: My first band was a trio with no bass player for the first few moths, "The Keyes" later became the "Chessmen." After that I was with a group called the "OffBeats" and we joined forces with a band from Leesburg, Fl. "The Trademarks." That combination became "We The People." We The People had good success with RCA Records and can still be heard on discs that have been released from Sundazed Records.


Scott: I was a member of the Englewood high school orchestra from seventh grade on. I was also in a folk singing group called "The Travelers".

How was the scene in your town? Any other bands you shared stages with?

Tommy: In Florida in the mid-'60's the music scene was strong, We played a few gigs in Cocoa Beach, Fl. with a band called "The Allman Joys," later to become the Allman Brothers Band. "Mud Crutch" from Gainesville, Fl. became Tom Petty and the Heartbreakers. Steven Stills, Gram Parsons, and many others grew up in the area.

Scott: The first band I was in was called "The Bitter Ind." We share the stage with "The Electric Prunes", "Spanky And Our Gang", and others. We also played at the 1968 Republican national convention in Miami, Florida. We also share the stage with a band called "The One Percent",which later on became Lynyrd Skynyrd.

When did you begin writing music?  What was the first song you wrote?  What inspired it and did you ever perform the song live or record it? 

Tommy: I began writing not long after learning from records on just where the chords were and how to get some sounds out of the guitar. Don't recall the title of the first song, but we played everything we wrote back then.

Scott: I honestly don't remember what the first song I wrote was, but I was probably in a band called "The 31st of February" and I wrote it to record on the only album we did in about 1967. I don't recall the names of any of the songs I wrote. I was inspired by the fact that we needed five more songs on the album to complete it.¸

Tell us more about "The 31st of February".

Scott: That album was recorded at the criteria studios. It made the top 100 on billboard. Dwayne and Greg joined the band after our first album, which is why they don't appear on our only released record. Greg and Duane joined the band after that album was complete. We did some demos for a second album, which was later released as Greg and Duane the early years. Those demos contained, among other things, the first recorded version of Melissa. Vanguard, however, refused to give us a budget for the second album. I'm pretty sure someone lost their job over that. I'm not exactly sure how we got on the Vanguard record label, I should mention our producer was Bradley Schapiro, who went on to produce Wilson picket. someone must've known someone. I'm looking forward to reading the interview.


Who were the members of the band and how did you guys come together?

Scott: The members of the band were Bill Pillmore, Tommy Talton, George Clark, Tom Wynn and Peter Kowalke. We had several other members, including Randall Bramlett and Chuck Leavell along with many others. Pete asked me to accompany him to Orlando where he introduced me to Tommy. He was playing with Tom and George and Pete and I were playing with Bill and we decided to pool our resources.

Did you play any shows as Cowboy before recording your first album?

Tommy: Yes, just a few. Mostly around the Jacksonville, Fl. area where we had rented a house to rehearse and prepare for the recordings.

Scott: Did you play any shows as cowboy before recording your first album. We all did some pick up gigs around Jacksonville to make rent money. We also had a paper route.

One of the first gigs for an audience (1970)
Talton, Kowalke, Clark, Wynn and Pillmore. © Chris Thibaut

As legend has it, Duane Allman banged on your door at 7 am one day and asked to hear some songs. He then recommended you to Capricorn label owner Phil Walden, who sent Allman Brothers producer Johnny Sandlin to check you out.
What's the story behind Duane and his early arrival?

Tommy: Duane and Scott Boyer and myself had all run across each other in the earlier days of music in Florida, so, when he was passing through Jacksonville, he stopped by to say hello and see what we were up to. After playing some time with us and listening to our new tunes he went back to Macon, Ga. and told Phil Walden (president of Capricorn) about us.

Scott: Duane and Greg Allman played for a short time with me in "The 31st of February". We kept in touch after that, and he heard from someone I was in a band called "Cowboy". He stopped by our house in Jacksonville on his way from Daytona Beach to Macon Georgia. We played him a few songs and he went back to Macon and talk to Phil who sent Johnny down to listen to us.


"Idlewild South"  © Chris Thibaut

Did you know Duane from before?

Scott: I met Dewayne and Greg in Daytona in 1966. We were looking for a gig and having a great deal of difficulty. As we were walking out of the last place we auditioned somebody at the bar told us we played a nice set. Our bass player grab him and ask him why it was so hard to get a job playing music in Daytona. It turned out to be Greg Allman and we struck up a conversation which lasted well into the night. After that Duane called us for an audition in Jacksonville at the comic book club. They were actually responsible for us getting our first club gig in the band "The Bitter Ind." after we changed our name to "The 31st of February", Duane and Greg played in that band with us for a short time. We cut some demos in Miami to try and get a record budget and were turned down by Vanguard Records. After that we broke up and Duane and Greg put together The Allman Brothers. The demos we cut included the first recorded version of the song "Melissa" and several other really good songs by Gregg.

How did you like The Allman Brothers Band?

Tommy: The ABB have been among the best for a long, long time and it is all well-deserved. They started a genre of music and blazed a trail for younger musicians to learn and grow from, that is monumental. I loved their music and even more, I liked their approach to music.
Scott: They were a band of excellent players, a little wild, but always very nice to me and I love them.


Berry Oakley, Dickie Betts and Duane Allman at Cowboy House in Cochran, Ga. music for friends. Summer of '71.
Duane's last Summer.
Getting ready for some music at the Cowboy House in Cochran, Ga. '71-
Dickie Betts, Joe Dan Petty, Kim Payne and Duane Allman.
© Joe Bender (all above)

Sandlin ended up producing several Cowboy albums for Capricorn, of which this 1970 release was the first.

Tommy: Yes. 

How did you liked the contact with Capricorn Records?

Tommy: Well, from the standpoint of meeting wonderful people and having countless, unusual opportunities, it was a fine time. Although, from a business and contractual view, myself and others should have looked a little closer before signing some of the agreements we got involved in. Enough said on that subject!

Scott: I suppose it was like most things. We had good days and bad days. Phil, Johnny and the rest of the people at the label were and still are friends of mine so I guess everything went okay.

Publicity Bus shot Cowboy Indian Harbor Beach, F.

Reach for the Sky is your very first album for Capricorn Records. What are some of the strongest memories from recording and producing it? What gear did you use?

It was nothing but good memories. We were recording the songs we had been writing and working on for the few months we lived together in Jacksonville, Fl. It was a great release, to finally get them down on tape and let them live!
Also, working with Johnny for the first time began a life-long friendship and very creative working environment.
The studio was only 8 tracks at that time, so it made us approach the songs with a preciseness, that was good to learn. Making sure that what was there was important and did its job, to make the song move the listener, hopefully!
Not sure what you mean by the gear, I am not the one to ask about the recording board, we did use the 8 track MCI recorders of the day. As far as instruments go, we were using Gibson and Martin acoustics. Stratocasters and Les Pauls. There was a beautiful grand piano in the studio, although, it was replaced later by an even greater one that was bought from Carnegie Hall, a nine foot grand Steinway. It would sound like an entire orchestra when it was miked a certain way.

Scott: Well, we recorded one of the tracks naked. I heard after that the janitor wouldn't come into the studio if a band was in the recording studio. I also remember a liquid called Everclear that they use to clean the recording heads. You could also drink it. It was awful, but it did the trick. 190 proof. We recorded naked because the Allman Brothers had just taken some naked pictures for an album in a stream owned by Otis Redding up there. We didn't want to be out done.

How did you decide for particular cover artwork, that was used?

Tommy: The artwork on "Reach For The Sky" was just crayons on poster-board, drawn by a few of us in the band and Phil Walden (president of Capricorn) added a few lines himself. The innocence of the art work sort of matched the sounds of the music, we thought.

The cover for the second album, "5'll Getcha Ten," was air brush painted by our friend Barry Brandhorst, he lived with us much of the time and helped in many ways to keep the group running.

Scott: Phil called us in one day and said the artwork was due that day, so some of the fellows in Cowboy drew a desert picture with some crayons that they had laying around. When that was finished Phil's vice president, Frank Fenter drew the cowboy with the hat over the top of what we had done and that became our cover.


How many copies were pressed and how did the distribution looked like?

Tommy: I have no idea how many were pressed. All of the recordings from every artist at that time on Capricorn records was distributed by Atlantic Records. Later, Polygram Records bought the catalog of Capricorn.

Scott: I think 5000 copies were pressed, and the distribution was fairly good for such a limited pressing.

How pleased were you with the finished product? 

Tommy: Well, happy enough. There is always a feeling that you could do more, but, it's very important to  know when to stop and move on. Be satisfied and begin the process for another work.

Scott: Although I believe it is the least professional of our albums, we were thrilled to death just to have a record coming out at the time. Now it seems most people enjoy the amateurish take that we had. I mean amateurish in a good way.

What was the writing and arranging process within the band? 

Tommy: The writing was never planned, we would have some songs that maybe Scott Boyer and Bill Pillmore might come up with, and others that Pete Kowalke or myself would write on our own. the songs we recorded were chosen according to which ones fell together in a good feeling way. Arrangements were usually pretty democratic, everyone chipping in at some level, and then, when in the studio, Johnny Sandlin might come up with some different ways of looking at it. It was good to have Johnny as an "outsider" with a keen knowledge of good music and, at the same time, he was like another member of the band.

© Chris Thibaut

Scott: Bill and I wrote several songs together. Tommy wrote largely by himself, as did Pete. The arrangements were finalized by everyone in the band, except for Amelia's earache which Tommy wrote right on the spot. I probably should have said made up. He didn't write anything down.

How did critics receive the album?  Did it break in any markets?

Tommy: Cowboy was always received well by the critics. I don't believe the distribution or promotion by the company was ever what it could have been. Even though we were based in the south of the U.S., the northeast was a very good region for us, lots of fans in that area, California also.

Scott: We had several glowing reviews, including one in Rolling Stone Magazine. The album sold well in Denver and New York, but because so few copies were pressed it didn't really break anywhere.

You shared many magic musical moments together. Would  you share your insight on the albums’ tracks?   

A1 Opening

Tommy: Beautiful melody that called out for the harmonies we used here. As it is titled, it was the perfect song to begin or  to "open" with.

Scott: I'm proud of the harmonies on this one. We grabbed a piece of wallboard from where they were building the studio and wrote the lyrics down on it so everyone could see. Then we all gathered around the microphone and sang. I thought it came out extremely well.

A2 Livin' in the Country 

Tommy: This was actually the first song Scott played for me when we were introduced by a mutual friend. As soon as I heard it I knew I wanted to work with Scott from then on....

Scott: This was, I believe, the first song I wrote with Bill. It is one I still get requests for. At that time I thought it was rather simplistic, but that angle seems to of serve the song well.

A3 Song of Love and Peace 

Tommy: This was one that Bill Pillmore and Scott wrote as the band was just coming together. One of the songs that helped create Cowboy's "sound" of easy going feelings.

Scott: "Can't we all just get along", song.

A4 Amelia's Earache 

Tommy: This was a quick little "joke" I came up with. Actually, I was walking by the piano to get to the microphone on the other side of the room and I happened to "tickle" the keyboard and I sat down and played and sang purely off the top of my head. I had no idea what chord I would hit next or what words would come out of my mouth. Johnny happened to have the recorder on and we decided to use this little, impromptu "snapshot" to help reveal the fun we were having while recording. Of course, the title is just a play on Amelia Earheart.

Scott: Hilarious. The song grew out of Tommy's not wanting anything to be figured out. Sort of. spontaneous combustion.

A5 Pick Your Nose 

Tommy: Very good advice, yes?

Scott: The thing I remember about this song is that we had too many verses, so we sang the last two at the same time. Classically stupid.

A6 Pretty Friend 

Tommy: This is a song I wrote before even meeting Scott Boyer and forming "Cowboy." Simply what it is titled, a song about a friend, purely friendship, no love interest on a sexual level.

Scott: One of the most pleasingly digestible songs on the record, one of Tommy's best.

A7 Everything Here

Scott: I always wondered what the song meant. I have a few guesses but nothing concrete.

Tommy: "Everything Here" was not written until the night before it was recorded. Johnny Sandlin, producer on the record, asked me to come up with another song for the album because we had some time that needed to be filled on the disc. Something that would not occur here in the "digital" age of recording. You see, when dealing with a vinyl disc there is only so much time you can put on one side before you begin to lose quality (about 22 minutes back then, probably still true). After that, the "groove has to grow smaller to fit more music on the disc, meaning the needle has less space to fit into for optimum quality! And there's our lesson on vinyl discs for today, there will be a quiz in the future, thank you!

B1 Stick Together 

Tommy: Here's another song that Scott had before the group got together, one of my favorites from the beginning. As most of these songs do, it speaks for itself.........

Scott: Another way of saying there is strength in numbers. I thought the band performed well on this song.

B2 Use Your Situation

Tommy: Don't want to repeat myself too much, but all these songs, hopefully, will speak for themselves lyrically. More good advice from Mr. Boyer!

Scott: Use where you're at to get where you want to go.

B3 It's Time

Tommy: Beautiful song, one of my favorites of all Cowboy tunes. Scott and I recorded this song again a few years later with the wonderful Bonnie Bramblett, from Delaney and Bonnie.

Scott: I remember thinking in this vocal range I sound too much like Neil Young. Bonnie Bramlett later recorded a killer version of this song. She sang a different melody in the chorus, and the melody I sang ended up being a harmony part.

B4 Honey Ain't Nowhere

Tommy: Kick your heels up and dance!

Scott: A memorable little guitar lick. Bringing the band in for the last four bars was probably more trouble than it was worth.

B5 Rip & Snort

Tommy: This one is getting some anger out, better than letting it eat at you.....

Scott: The high energy song of the album. Possibly a little hateful, but I was a little pissed when I wrote it.

B6 Josephine, Beyond Compare

Scott: I was flabbergasted when Tommy played me this song. One of the most beautiful I have heard anywhere. I believe he wrote it about a religious person named Mejer Baba. I don't know if that's the correct spelling.

Tommy: This is a very special song in my life. It came to me in a dream, I awoke and wrote all the lyrics out without thinking. It was not until 3 or 4 months later that I put the chords and melody to the words. Josephine can be left to the listener to decide who she is!

Your next release was 5'll Getcha Ten. Which came out a year later. What's the story behind this album?

Tommy: It was time for some new music. One thing with our group was we never were in need of songs. We all wrote constantly, and some were even recordable! This was done in Muscle Shoals, Alabama. The first album "Reach For The Sky" was done entirely in Macon, Ga. at Capricorn studios, but, the studio there was being redesigned and updated, so we moved our sessions to Muscle Shoals Sound for this album. Duane Allman joined us on a few songs, "Please Be With Me" on dobro and "Looking For You" he played an electric rhythm part.


Scott: As you said, it was a year later. We started working on the album in Macon at Capricorn studios. We kept having problems, and Johnny went to Phil and asked if we could come to muscle Shoals to record the remainder. He said okay, and off we went. I have a books worth of fascinating stories to tell about my first experience in the Shoals. Another time perhaps.

Two more albums came out; Boyer & Talton and final in 1977, Cowboy.  Would you like to comment the situation around this two releases?


Tommy: The Cowboy/Boyer and Talton album was all our friends joining us from the Capricorn studio "A" list. We were recording an album with Gregg Allman at the same time with most of the same people, his album was later titled "Laid Back."
The Cowboy album from 1977 would be the last for us, and, near the end for the original Capricorn Record Company.


Scott: The boiler and Taulton album came out of a number of demos we had recorded in Macon. It was after we had finished Greg Allman's album laid-back. Phil wanted us to record a new album to sell on Greg's tour which we were included in. We took the demos that we had cut and finish them up because it was quicker than starting from scratch on a new record. Our last album, "Cowboy", was the only one that Johnny didn't work on. He had a scheduling conflict and we co-produced it with a wonderful engineer named Sam Whiteside. Hopefully we had learned enough about production from Johnny to do a passable job.


Were you often playing together with The Allman Brothers Band and other from Capricorn Records?

Tommy: Yes, here and there. We all did lots of touring together in the early and mid-'70's.

Scott: We played several jobs with the Allman Brothers, but found our footing when we started playing with Poco, Pure Prairie League, The Ozark Mountain Daredevils and other folk rock acts.

In 1971 you played at Fillmore East with The Allman Brothers Band. Are there any recordings?

Tommy: No recordings of our gigs at the Fillmore.

Fillmore East onstage '70.
George Clark backstage Fillmore East '71. 
© Joe Bender (all above)

Would you discuss some of your most memorable moments in Cowboy and what made them so? 

Scott: When Johnny Sandlin put the band "Cowboy" together with Greg to record the laid-back album. That's probably the most memorable moment. We all knew that album was going to get a lot of airplay and a lot of album sales, so we worked extremely hard to do the best job we could. We must've done okay, because I got a couple of nice checks. There are so many other things, but it would take too long to tell.

TT at Fillmore East.
© Joe Bender

What happened after the fourth album? Were you part of any other projects? Both of you made several solo albums…

Tommy: I moved back to Florida for a few years, I grew up there and wanted to spend some time around my aging mother and family. I, also, did an album, "Happy To Be Alive," of my songs with Johnny Sandlin (producer and fine drummer and bass player) and Bill Stewart (drummer on many Capricorn and other recordings).

Scott: I spent a year in Los Angeles, writing songs with Ricky Hirsch from "Wet Willie" and producing an album on a Seattle band called "The Sky Boys". After that I joined a band called "Locust Fork" for a few years, then started a band called "The Convertibles" which Tommy was in for a short while.

What does occupy your life these days?

Tommy: After living for most of the '90's in Europe, I have been making music again in the U.S.
I am actually more busy now than I have been in some time. Writing many songs and recording with the help of HittinTheNote magazine and records, they are a southern music/Allman Brothers Band based magazine. My entire catalog is available (with a "Live" Reunion Cowboy album) on their website:
"Until After Then" is my latest release (October 28, 2014), it is just now beginning to roll and have some recognition, hope you find time to listen to it and the others. 
http://www.hittinthenote.com/cart/p-1702-tommy-taltonbruntil-after-then.aspx
"Let's Get Outta Here" is an album from 2012 and is still selling quite well.
Here is a link from a performance by the Tommy Talton Band in 2013 in Daytona Beach, Fl.
This song was also on the "Live/ Laid Back Tour '74" album by Cowboy on the Gregg Allman tour of that year.

Scott: I moved to the shoals in 1988. Johnny Sandlin had a band called "The Decoys". I have been in that band ever cents. 26 years. Johnny no longer plays with us, our bass player is now David Hood.
I recorded a solo album in 1991 and recently made a record with a songwriting partner N.C.Thurman called "Okay How About This?". The band recorded an album at fame recording studios called "Shot From The Saddle" a few years back, and are working on a new release. It's a great band in itself, but we also back up other artists like Delbert McClinton, Greg, Bonnie Bramlett, Russell Smith, Percy Sledge, and others. Too many to name. We are affectionately called "The Muscle Shoals House Band".
Here are some links:
Scott Boyer &  NC Thurman 'OK How About This?'
http://www.cdbaby.com/AlbumDetails.aspx?AlbumID=scottboyerncthurman
Scott Boyer 'All My Friends'
http://www.cdbaby.com/cd/scottboyer
The Decoys (ft. Scott Boyer, David Hood, Kelvin Holly, NC Thurman & Mike DIllon)
http://www.cdbaby.com/cd/decoys


We would like to thank you for taking your time. Would you like to share anything else with our readers?

Tommy: Sorry it took a while to answer all your questions, I hope I have helped to enlighten everyone a bit on the history of our music.
I wish everyone well, stay happy and listen to the music, it can help us all make it through the tough times!

Thank you much....later.

Scott: Only that I believe I'm getting better over time, and I hope my best work is still ahead of me. I would also like to thank all of your readers for taking the time to read this, and I hope you will listen to "The Decoys" when you get a chance. Oh, and come out and see me if I play somewhere close to where you are. Thank all of you.

© Chris Thibaut

Interview made by Klemen Breznikar/2015
© Copyright http://psychedelicbaby.blogspot.com/2015