Lynyrd Skynyrd Interview (Part 1 of 1) [Listen 24:00 min] – Getting the God’s Honest Truth From Johnny Van Zant S04 Ep01
Podcast: Play in new window | Download
S04 Ep01 (Part1 of 1) - Getting The God's Honest Truth From Johnny Van Zant
Special Guest: Johnny Van Zant - is the lead singer of one of America’s most loved and respected bands--Lynyrd Skynyrd. They are, without a doubt, Rock’n’Roll royalty and put Southern Rock music on the map, giving a big and rebellious voice for the common man in the midst of the days when the rock stage was leaning towards the more glamorous bands and outfits. Lynyrd Skynyrd rise to fame began in a practice shack called the Hell House, but the band also cut their teeth in honky-tonks, college campuses, the back of flat-bed trucks, and bars like The Comic Book Club. They crafted their unique and strictly American sound, southern hard rock – a sound that mirrored their surroundings reflecting a culture which Americans recognized, understood, and saw as their own, taking pride in the music that they could call their own.
Lynyrd Skynyrd just brought out their twelfth studio album "Last of a Dying Breed." It is an album that draws from the past without sounding as though they are living in the past; a band who are paying respect to the past, but with a sound that is very current.
The Vinyl Story
The Independent Record Store and why Vinyl still matters
They still come in--articles about some indie record store that despite the dismal economy and all is managing a good business. It's good to see them; they make it onto the mental list of stores to visit if I happen to find myself on such particular spot on the earth. I retweet these stories whenever they come up with a sense of self-righteous justification(@goingthruvinyl). The last one that caught my eye was from some paper in South Africa. The story of the successful independent record store seems to be making the rounds around the globe. I'm glad for them, each and every one of those indie stores that gather enough attention to gain some space in the press, but I also find them a bit odd. The reality is that vinyl never really left and it seems a little strange to be publishing articles about stores successfully selling superior product.
Yes, records in terms of sales in music are increasing, and increasing sales above any other music format, but vinyl never left. Demand waned, it's true, and I'm not saying that I'm any better and never got wooed away from vinyl by the emerging magic medium of the cd. Truth is, I couldn't wait to have a player installed in my car--that is, until my friend got one and I found out how often they skipped (the early ones. It was pointless to have one if you lived anywhere where the condition of the roads were so bad that you wouldn't ever get through a song.) But, my point is that vinyl never left-the medium was never obsolete or passe. But sales dwindled and lost major ground to the digital format. Most retail stores eventually stopped carrying records. It became a rough go for the second-hand store; stock was easier to get, but harder to move. Many record stores folded, some remained, but more as a staunch throwback. Sadly, some landmark stores are closing shop these days, even in the midst of this "resurgence," which makes these stories more poignant despite their original intention.
Most of the articles get into how records sound "warmer," the benefit of having the larger canvas of artwork to look at, and the simple pleasure of the tactile physicality of the medium. All this is true, and most people can rip off these benefits even if they don't own a turntable. Much less often do they get into the benefit of the medium itself, which really is the heart of the matter. You get the full spectrum of sound whereas with digital, you're always missing something, digital is only a representation of the sound-wave really. It gets better, or more accurately, finer, the higher the bitrate, and people are trying to develop better digital forms for reproducing music all the time, Neil Young included among them with his "Pono,"(which, I admit I hope never to see) but still, nothing in digital is going to give you the full spectrum, not when digital comes down to the zeros and ones, on or off. Black and White - you'll never get the full wave.
It's an old format, vinyl, but nothing has come to better reproduce music; we here at Going Thru Vinyl are biased, of course, but if you want music, you'll get all of it with a relatively simple set up. You can spend as much money as you want on a system, and really it just gets down to bragging rights at a certain level, especially when those who can afford the grandiose, high ticket setups are usually older people who's hearing has already declined and will only continue to do so (everyone's hearing declines with age). But a good system is not hard to come by, and thanks be to glory (or whatever) that there are good records out there and thanks to the resurgence, and thanks to Jack White, reissues are being pressed to keep it going. It's been a long fight to knock off the throwback image. And despite whether you have a tin ear, or aged or untrained ears, if you want music, the complete package is in vinyl. The best that you can do for yourself is to give yourself everything that's there.
I'm glad that vinyl's popularity is back. Kudos to the indie stores that weathered the storm; it's been a tough go. Pay one a visit; it could be an experience. It's the good indie store that's maintained the passion. And isn't this really what music is all about?
--Guthrie Alan Corwin
Steve Albini Interview Part 1 [Listen 43:28] – Doing stuff to amuse Steve Albini and myself S03 Ep05
Podcast: Play in new window | Download
S03 Ep05 (Part1 of 2)- Doing stuff to amuse Steve Albini and myself
Special Guest: Steve Albini is famous for his distinctive style, the music he has been a part of, and his anti-producer producing philosophy. His work speaks for itself, recording bands like Nirvana, the Pixies, Superchunk, Godspeed You Black Emperor, Helmet, PJ Harvey, Cheap Trick, Bonny “Prince” Billy, Jarvis Cocker, Sparklehorse and believe me when I say the list could go on. He has been a member of the bands Big Black, Rapeman, and Shellac. I first came across Steve Albini's name from reading Nirvana interviews around the time Nirvana was releasing their masterpiece “In Utero.” In those interviews, Kurt Cobain talked about how he wanted to follow up their mega-hit album “Nevermind” with the producer who recorded his favourite albums like “Surfa Rosa” by the Pixies and “Pod” by the Breeders. Albini’s style of engineering and producing has been described as “hands off,” or minimalist in its approach. He also is a person who prefers not to receive credit on the albums he has worked on, stating that he doesn't think it's right to be paid in perpetuity for something he took part in for only one day. Albini is also known for his integrity to the music, and has gained fame not only in music he put out but for his reasonable recording rates (charging affordable flat rates regardless of the bands' fame). He's clearly music fan and I am thrilled to have Steve Albini on the show.
In this interview, Steve Albini and I talk about his unique and controversial recording philosophies, Cheap Trick and recording “Special One” , “Rockford”, and rerecording “In Color”, The Pixies and some interesting lessons he learned recording Surfer Rosa, he reflects on PJ Harvey and her career and we finish off talking about working with Mark Linkous of Sparklehorse just before his tragic and untimely death.
Bonus Guest: Brett Anderson (of The Stripminers and The Donnas) - has teamed up with Paul Stinson (The Radishes), DJ Bonebrake (X, The Knitters), Scrote (Daniel Johnston, Puscifer), Holland Greco (Anais Mitchell, The Peak Show) and Brett Simons (Brian Wilson, Melissa Etheridge) to form her latest side-project “The Stripminers.” Frail Hope Ranch is the second album of The Stripminers and finds the band in an Americana/Folk Revival mood for this release. Although this is a huge departure from The Donnas for Anderson, the album itself will no doubt be loved by many of her fans and gain new ones of those who are into the genre. In this interview I ask Brett Anderson about how the band came together, and address the ongoing question if Paul Stinson and her are an item. We break down some of the tracks and talk about her love of the Majestic Theatre in Detroit.
Listen to get A Free Copy of ” Frail Hope Ranch” by The Stripminers*
Listen to the end of this podcast to hear how you can get a copy of the limited edition“Frail Hope Ranch” on White Vinyl.
Albini: Abrasive Humanist or Punk
To say that Steve Albini is not your usual producer falls way short of the mark. He actually refuses to be called "producer" but rather prefers to say that he "engineers" music. To be certain, he's an iconoclast. His iconoclastic way of being was developed early on at one particular time when he said that he had an enlightening moment when he realized that he could and simply wouldn't care about what people thought of him. Obviously, it's something he's laid the foundation of his life on and continues through to this day. It's served him to some degree; his name is well known, and carries with it his distinctive sound, not to mention notoriety of his personality, but of course his boldness also has brought him infamy and could have as easily destroyed everything he's tried to build for himself.
He alienated himself in the production world early on for posting an article declaring and describing his hatred for the music industry (the link is posted below.) He has stated since that the industry just isn't the same anymore; he described that the industry just doesn't have the stranglehold on artists that it used to have and cannot exploit to the measure it once did.
His outspokenness and behaviour has earned him quite some ill repute throughout the years and began early on
during his early 20's playing in bands. Attention was brought largely on the topics that his band sang about; wife beating, animal slaughter, child abuse, not to mention titling one of his bands, "Rapeman." He was labelled a misogynist and masochist in an era that was used to upheaval and shock: the Punk era. He stirred a fervour to such a a degree that groups would protest outside his shows, and at times he received death threats. Many people I'm sure would simply not believe that today he's married, loves to cook, and says that he likes to watch cute kitten videos. Yet, speak to the man and he'll speak with absolute candour.
That's another area that separates Albini from the crowd: how he deals with the people in general and conducts his business, apparently he answers his own phone and he refuses to record no one. He does not charge exorbitant fees, but an affordable rate, nor does he treat a band the way a producer usually does in the studio, nor expects the same rewards afterward. He refuses to accept royalty fees. And this is something he's held to, not just as some wishful thinking young idealist, but he continues to operate in the same fashion to this day when he could easily charge much more.
Albini says that it's from being part of a band that gives him his understanding and appreciation of bands but in my research of his background, I uncovered something I can't say for certain helped shape Albini's approach, but it's certainly telling of the man to have made an impression. He said that something about John Peel had an impact on him; about how Mr. Peel views people's work when they sent him a record. 
Mr. Peel said that he understood that for someone to send him their record, they must have felt passionately about it, and if the music didn't strike him, then the fault was with him, that he simply didn't get it, not that the fault was in the music, and for someone with as much knowledge and influence as Mr. Peel to have such humility had an impact on Albini, he stated. This may have influenced the way Albini views a band. He sees the band, as he states, more in the light as a social entity or family with tight relationships, and in that relationship, for him to offer his opinion as a producer, or audio engineer would only be an ignorant one. And understands with this insight, for him to act as a producer who places himself above a band would be foolish. Weather or not John Peel was the influence that led to his approach, Albini says he sees himself in more of a peer relationship and allows the band to make the decisions and to shape the recording of their album the way they (the band) see fit.
One thing that Albini doesn't negotiate is that he records in all analogue. Ask him about drum machines and autotune, and you'll get an interesting opinion, and one full of passion, although, through the test of time, proves to be the accurate one. Really with a little forethought, it's should be quite clear: what's taken for convenience's sake, or for an easy hook is the quickest and easiest way to date and cheapen the music. Although, he knows that a lot of music that sells is just that: cheap and popular. And he hates it. He has said the same about the intention for which music is made. If it's done for some other motive, that destroys the quality. When Albini was asked the reason why Nirvana sounds as good today as they did when they were making their music, he replies that it's because they were genuine.
So say what you want about the man, he's offended many, and will continue to do so. His position is that your opinion of him doesn't matter. But he may be one of the best things that happened to music.
- Guthrie Alan Corwin
Links, disclaimers, and everything else:
The Problem With Music by Steve Albini
http://www.negativland.com/news/?page_id=172
*Details of how to enter draw for The Stripminers album at the end of the podcast (answer skill testing question). Shipping not included.
David J and Zia McCabe interview [Listen 18:57] – Having some lunch with David J S03 Ep03 (Part 1 of 2)
Podcast: Play in new window | Download
S03 Ep03 (Part1 of 2)- Having some lunch with David J
Interview Date: September 12, 2012 @5pm EDT
Halloween Special Guests: (Audio) David J (of Bauhaus and Love and Rockets): is an indie legend and a Goth Rock icon. David John Haskins (aka David J) was a key member in the band Bauhaus, as well as the band Love and Rockets, and now is forging a solid solo career. He is someone I can easily say is a person who formed the soundtrack of my high school years with classic songs like?: "No New Tale to Tell,:" "Ball of Confusion," "Ziggy Stardust," "So Alive," and "Bela Lugosi's Dead.” At that time I knew him as the sunglass and suit wearing bass player who had a fantastic Dub quality; as the years have gone on, my respect for him and his musical legacy has only grown. In this podcast we talk about David J`s new album "Not Long for this World," using Kickstarter, the song "Because You're Gone," “Hank Williams to the Angel of Death," and what it takes to do a great cover song, and much more. http://www.davidjonline.com
Halloween Special Guests: (Written) Zia McCabe of the Dandy Warhols: is the keyboard player, percussionist, song writer and bass guitarist, for the Dandy Warhols.
Zia McCabe of the Dandy Warhols Interview - 'This Interview Kills Fascists' (Part 1 of 2)
GTV - I kind of see the Dandy Warhols as the vanguard of the MTV video generation. How important are videos today and do you see a new future for the music video?
Zia McCabe - One of the first places people go to check out a band they’ve never heard is Youtube. If you don’t have songs on there with actual videos then the viewer/listener is going to get a live version filmed on someone’s phone with the speaker distorting or a still shot of the album cover or something that a fan has put up to get the song onto Youtube. While these versions are fine for the hardcore fan. A video that gives you proper visual stimulation while the song plays goes a lot further. So yes, I believe videos can be important, though I don’t see the big budget ones being as necessary. Oh but I do love that M.I.A. dessert one with the cars on their sides. Dang, that thing was worth every penny!
GTV - In my discussion with Anton Newcombe, we got on the topic of bands getting discovered (half way through the interview). He said that being discovered and promoted by a major label as the only route to success is a farce, and he stated that no one needs to get permission to be successful. After I saw the movie "Dig!" it seems to be the direction you took (signed to a major label and well promoted.) Do you think a band can "make it" outside of the regular channels today? If so, what would a band need to do to be successful outside of the regular channels?
Zia McCabe - I don’t know if being signed to a major label can even be considered the “regular channels” these days. Now it’s all about the niche. The Dandy’s have done it all. The major label (just before they, for the most part, crumbled), then we made up our own label (kinda) and self released an album and now we are on an indie. It was a helluva good time having all that money spent on us but ultimately a drag having those fools up in our business threatening our artistic integrity left and right. And well, we sucked at having our own label and hardly anyone even knew we released an album on Beat The World (different story in Australia because we did sign with a label to release it, thank god). Now, we’ve settled in the middle, working with great indies in the different territories, we have press coverage again and someone looking after the bits that we have proven to ourselves have no business looking after. This has become a DIY world though and you can “make it” via a myriad of different options. A la cart!
GTV - I’ve seen some interviews with you where you talk about some of the ways you have been able to find a happy medium with being in a rock band and also being a mother. They seem to be two extreme poles of existence. Could you elaborate on this. You identify as a feminist, yes? Has this been the foundation to occupy both worlds successfully?
Zia McCabe - There are things in our lives we manage to pull off without exactly knowing how. Balancing Rock and Roll and motherhood is for sure one of them. I’m sure most parents with careers and well adjusted children feel the same way. You just do it. Every day you make sure your little one is part of your life and feel, without a doubt, loved and safe. And when you blow it, you find a way to make it up to them the next day. A feminist? Me? Ha! Ya, know, I never really used to identify myself that way. It’s a title I accept reluctantly. I believe in myself. I believe in the innate magic and beauty and strength of the female energy in nature but never thought of it as something to rely on. Yes, woman can roar, and yes men can be tender. But it’s not about that and that’s why I have always avoided feminism as my creed. I didn’t believe woman turning into men was the answer. I do believe that we as women have strengths and talents that are not being understood, celebrated or encouraged in our society and that the male energy is out of control all over the place messing stuff up. We are out of balance is all. Sounds like a small thing but sadly it’s not.
Come back next week for the finale of our GTV Halloween Special with Zia from the Dandy Warhols and David J. You don’t want to miss it! We’ll see you next week.
Getting Knocked Out by Wanda Jackson (Part 2 of 2) – the Wanda Jackson interview [Listen 24:04] S03 Ep01
Podcast: Play in new window | Download
S03 Ep01 (Part2 of 2)- Getting knocked out by Wanda Jackson
Interview Date: August 23, 2012 @1pm EDT
Special Guest: Wanda Jackson - has been called "The Queen of Rockabilly" and is by all accounts a Rock'n'Roll legend - she has a distinct style in both Rockabilly and Country (often bouncing between both styles on the same record). Credited as being the first women to record a Rock'n'Roll single; Wanda Jackson is a crucial figure in the Rock genre and the feminist movement. In this podcast we talk about the songs “Mean Mean Man,” “Let’s have a party” “Fujiyama Mama”, Ken Nelson, Buddy Holly, Joe Maphis,and Roy Clark.
Wanda Jackson has some "Unfinished Business" coming out a week from today; her new album is out October 9 and is produced by Justin Towns Earle (Steve Earle's Son) from Suger Hill Records. Check out more at: http://www.wandajackson.com/
Tribute to Joe Maphis
Joe Maphis, born Otis W. Maphis, known as "the King of the Strings," and his playing lived up to the title. His custom built double necked Mosrite guitar had one shorter, and strung to an octave higher. He could play between the two seamlessly. He could play multiple stringed instruments equally well, as he displayed for audiences shifting through banjos, mandolins, and guitars. He played with some of the greats including Wanda Jackson, and his influence spread further to Merle Travis, Jimmy Bryant, and Chet Atkins.
To those in the know, he's a respected guitarist, and one who's skill earned him recognition in the Country Music Hall of Fame, where his double necked guitar can be seen on display; to those who don't know him, he deserves a moment of your attention, where, he'll easily capture and hold it for the duration. He was known for having a bit of flair and absolute ease of application. What is strange, in that I've never seen it mentioned, is that you can see it in his smile. It's often there captured in his pictures; it's not arrogant, it's not cocky, but it's a little sly and knowing.
You can see that he to
Parting Thoughts:
I thought I might put a link to Joe Maphis knockin' everyone out!
Wanda Jackson Interview (Part 1 of 2) – Playing records for Wanda Jackson [Listen 20:45] (S03 Ep01)
Podcast: Play in new window | Download
S03 Ep01 - Playing records for Wanda Jackson
Interview Date: August 23, 2012 @1pm EDT
Special Guest: Wanda Jackson - has been called "The Queen of Rockabilly" and is by all accounts a Rock'n'Roll legend - she has a distinct style in both Rockabilly and Country (often bouncing between both styles on the same record). Credited as being the first women to record a Rock'n'Roll single; Wanda Jackson is a crucial figure in the Rock genre and the feminist movement. In this podcast we talk about her first radio show, playing Bob Neals 8th Anniversary Jamboree on August 5, 1955 in Overton Park Shell, Memphis, Tennessee, and the day Elvis and her talked about switching her style to Rockabilly to fit the new demographics coming of age (teenage kids with enough money to buy their own music).
Wanda Jackson has some "Unfinished Business" she needs to get off her chest; her new album is out October 9 and is produced by Justin Towns Earle (Steve Earle's Son) on Suger Hill Records. Check out more at: http://www.wandajackson.com/
The Royalty of Rockabilly
Bill Haley, of course. Out of Detroit, and spearheaded the popularity of rock with Shake, Rattle and Roll, and Rock Around the Clock. He didn't look the part, but he had a wild history. More rock than rock. If you're not familiar with him, you should do that, and quickly, if you like music. He didn't just come out of nowhere, he had a successful thing with western swing.
Elvis Presley. Sam Phillips of Sun Records struck gold releasing "That's Alright Mama". Elvis fit the mold of what Phillips was looking for in a white boy who could sing black. They changed everything again in music. Too good looking and talented to stay working as a truck driver, plus it's hard to shake your hips driving a truck.
Little Richard. Unbelievable energy, and the inspiration for several legends after him Including Bob Dylan, James Brown, The Beatles, Jimi Hendrix, Led Zeppelin, The Rolling Stones, and Michael Jackson. "Tutti Frutti" started it all off, and wasn't even intended to be recorded during the session. He did what he wanted and quit rock and roll to pursue his calling into the priesthood. He came back into music to sing gospel, for a while . . .
Chuck Berry. Influenced by T-Bone Walker, Berry played blues and some ballads, but his country playing got him labeled as the black hillbilly. His hybrid style launched him to one of the top acts of 1956.
Buddy Holly. Also the progenitor of the rock band standard with two guitars, bass, and drums. A real rock and roll rebel, who's career and life was cut short in the plane crash memorialized as the day the music died.
Fats Domino. Ambassador of New Orleans music in the 1950's, and great inspiration to John McNally of The Searchers. Do you get it yet? These are the great influences in music overlooked by time's passing. He admitted the lyrics weren't too deep, but he landed 40 songs on Billboard's top 10 rhythm and blues between 1950 and 1961.
Jerry Lee Lewis. The Killer. The bad boy. He put everything he had into his performances. He became known nationwide in 1957 with "Whole Lotta Shakin' Goin' On" then had successive hits with "Great Balls of Fire" and "Breathless."
Roy Orbison. With such talent and such a dynamic voice, he could do nearly anything and any style. Almost to his detriment; it took a time and a few different labels for Orbison to find his place and start churning out the hits. But once he did, he was off. And off again in the 1980's with his resurgence.