You read that correctly. From now until Friday, August 31st you can download a copy of my 172-page suspense/thriller “Neapolitan Sky” on Amazon Kindle absolutely FREE with no strings attached! All I would ask is that you consider writing a review of the story after you’ve finished reading!
Here’s a brief description of “Neapolitan Sky”:
“Dreams of becoming a professional writer are abruptly put on hold for college student Nica Mitchell following the unexpected death of her mother and her father’s cancer diagnosis. Forced to return home when he’s hospitalized after encountering a near death experience, Nica learns that her father has been keeping a dark secret. Something in between the stages of life and death that, when revealed, will change her life forever.”
Click here to download your FREE copy! Hope you enjoy!
Love Ghost is a young, alternative rock band that’s been playing venues in and around the L.A. area for the past three years. What’s even more amazing than a few of the band members still being in high school is the fact that they’ve opened for bands like Buckcherry and Smash Mouth and were recently awarded Best Alternative Band in the 2017 Hollywood Music In Media Awards.
Love Ghost’s first full-length album, Lobotomy is a psychedelic, groove-ridden collective of songs hearkening to the days of grunge, but with a uniquely cool, twenty-first-century vibe. Songs like “This is The Truth,” “Nowhere” and “Parasitical Identity” tastefully capture the youth-ridden angst but with a fresh, deeper sense of maturity.
In addition to the new album, the band is gearing up for its next round of live dates, which includes opening for Fuel at the Canyon Club in Santa Clarita, CA on Friday, Sept. 14.
Love Ghost is Finnegan Bell (vocals/guitar), Mya Greene (viola), Ryan Stevens (bass) and Samson Young (drums).
AXS recently spoke with Bell and Greene about Lobotomy and more in this exclusive new interview.
AXS: How did Love Ghost come together?
Finnegan Bell: It actually started a few years ago. The original lineup included people I had brought together from school and from being a part of the School of Rock. Me and Mya actually met at a jam session and because our parents work in casting together.
AXS: How would you describe the sound of Love Ghost’s album, Lobotomy?
Mya Greene: There are a lot of inspirations but we’re not copycatting anyone. It has its own unique sound.
FB: It’s definitely grunge and hard rock, but there are also elements of classical, pop and even a little bit of psychedelic.
AXS: What’s your songwriting process like?
FB: For me, it usually starts with the melody, instrumentation or guitar part. Then I’ll bring it to the band, who’ll expand on it, and then I’ll write lyrics on top of it.
MG: A lot of the time what happens is that we’ll all get together and have jam sessions where song ideas will come out. Then we’ll come up with our own parts and make suggestions on each other’s parts.
AXS: Let’s discuss a few tracks from Lobotomy, starting with “This Is The Truth.”
FB: I wrote the lyrics for that one. There was a time in my life when I had reached a spiritual plateau and was numb to almost everything. That song is me trying to force myself to be able to find a direction or motivation to get out of an eternal numbness.
Read the rest of my Interview with Love Ghost by Clicking Here!
Dream Child is the new band founded by ex-Dio guitarist Craig Goldy that was conceived after a brainstorming session with the president of Frontiers Records. Goldy’s mission was to pay homage to two of his favorite bands, Deep Purple and Rainbow, but in a unique and ferociously cool way. Joining him in the line-up are some of rock’s most dynamic players, including Simon Wright (drums), Wayne Findlay (keyboards), Diego Valdez (vocals) and featured guest, Rudy Sarzo(bass).
Dream Child’s debut, Until Death Do We Meet Again, and songs like “Weird World,” “You Can’t Take Me Down,” “”Under The Wire,” and “One Step Beyond The Grave” succeed in conjuring up images of Goldy’s musical heroes, but it’s also an album that’s best experienced loud and with a set of headphones.
AXS recently spoke with Craig Goldy about Dream Child and more in this exclusive new interview.
AXS: How did Dream Child come about?
Craig Goldy: It actually began when I was on the phone with the president of Frontiers Records, Serafino Perugina. Deep Purple and Rainbow have always been my favorite bands. I’d been watching some of my their videos on YouTube and noticed that a lot of the comments were all the same: “They don’t make music like this anymore.” I casually mentioned that to Serafino and he said, “Well, can you?” I told him I could. Then he said, “Can you get Rudy Sarzo and Simon Wright?” I told him I could do that too and that I’d also like to have Wayne Findlay on keyboards. Then he asked me who I’d have sing.
AXS: What was your answer to him?
CG: About eight years ago, a friend of Diego Valdez sent me an mp3 of a Dio cover he did of a song me and Ronnie wrote for the Killing The Dragon album called “Push”. It was so good it was frightening. It was almost as if Ronnie had covered his own song. I remember calling Diego and telling him how great I thought he was and that someday we’d do an album together. When we lost Ronnie in 2010, I was destroyed and it took a long time for me to get the inspiration to do original music again. But I remember saying at his first public memorial that whenever I do original music again I’d like to utilize everything I learned from the master in such a way that I hope would make him proud. The mission of this album is to recapture an old era that was thought to be long gone and never return, and that’s what we did.
AXS: What was the songwriting process like for Until Death Do We Meet Again?
CG: Since I had learned Ronnie’s method on how songs, melody lines, lyrics and titles were written, I decided to utilize it. Me and Chas West wrote “Under The Wire” and “Midnight Song” together. Jeff Pilson [Foreigner] wrote the first verse of “It Is What It Is” and then I took it from there. Doogie White had written the melody line and some of the lyrics to “Until Death Do We Meet Again” and then me and Wayne took it apart and added a middle section. Simon and I were in the same room together when we did the drums. Rudy got an amazing bass tone and [co-producer] Allesandro Del Vecchio was able to make it even more aggressive. Even Diego added some different melodies that made everything better. It was a real collaboration.
AXS: Let’s discuss a few tracks from the new album beginning with “Weird World.”
CG: I’ve always wanted to do a song like that. I had the chorus in my head for a while but it needed to be… weird! The riff for the middle section was originally the verse for the melody and lyrics of the song, “It Is What It Is.” It was a song that needed special treatment and an odd middle section.
Read the rest of my Interview with Craig Goldy by Clicking Here!
From the time she learned to walk, Erin Fleming knew performing would be her calling. The beautiful, multi-talented actress, producer and director certainly has a knack for creating emotionally powerful characters. A feat that’s evidenced in her new film, “Custody Road”.
In “Custody Road” Fleming plays the role of Ashley Towne; the ex-wife of a struggling, up and coming comedian named Logan (portrayed by Josh Daugherty). The film centers on the trials and tribulations of the couple as they battle in court for custody of their young son. But when Logan enlists the help of friends and goes to extremes in an attempt to get his own way, the lives of many are forever changed.
Written and directed by John Lacy, the world of “Custody Road” is best described as a hauntingly desperate landscape. A turbulent and authentically relevant story with an amazing ensemble cast and an insatiable “Sleeping With The Enemy” vibe. Fleming’s performance is particularly appealing, as she channels her own personal struggles into creating an emotionally flawed character that resonates with audiences.
I recently spoke with Erin Fleming about her role in “Custody Road” and more in this exclusive new interview.
How did you become involved in “Custody Road”?
My very good friend and co-star, Frank Crim (who plays Otis in the film), called me up one day and told me about a role he thought I’d be perfect for. He wanted to know when I’d be available to meet the director, John Lacy. So, John and I met and history was made. I actually met Josh [Daugherty] on that same day. It was chemistry from the very start.
What was it that attracted you to the project?
The character of Ashley relates to many women who’ve gone through trauma in their lives. She’s someone who’s gone through a difficult lifestyle with her mother and father; surviving an abusive husband, and then having her husband continue to bully her after the divorce. Those kind of things are what a lot of women have to face daily, and most of their stories are never told. I was so happy to see that John was willing to explore such a powerful story. It’s something we really need more of.
As an actress, is there a certain mindset you have to get in to take on such a role?
We all have our own personal traumas we go through, so exploring my own world and the things I’ve had to deal with was a major factor in getting into the character. I also had an abusive boyfriend for years and so, for me, it was instantly personal.
Erin Fleming – Custody Road
How would you describe the story of “Custody Road”?
It’s a story about two broken people really struggling within themselves and over the custody of their son, and the journey of figuring out how to heal.
What else can you tell me about your character, Ashley?
Ashley comes from a really dysfunctional family. One that was always hiding behind the false pretenses of religion. She’s desperately trying to break free of that world and uses her body and herself to find a connection she never had with her personal life. She’s trying to pursue her own salvation like so many humans do in life. But we sometimes hurt each other along the way, when all we’re really trying to do is help ourselves.
It was such a fun journey to meet these people and become a big family. I really enjoy working with directors with a pro attitude and John’s technique is fantastic. Being that he also comes from the acting world made it that much better. The chemistry between Josh and I was spontaneous and wonderful. We really understood each other well. It was fun, and terrifying, to explore the lives we were creating. I’ve also been wanting to work with Frank Crim for years. The entire cast was so talented and the set was really special. It was amazing all around.
Was a career in entertainment something you always knew would be your calling?
I’ve wanted to act ever since my body and brain could communicate with the world. Everything was art to me. My dad is an actor and my mom is a makeup artist. Dancing and acting is what fed my soul. I started acting professionally when I was five with the Seattle Children’s Theatre and then with Seattle Repertory Theatre. From there, I traveled in a show in San Diego when I was seventeen and when I was finished with the show, I moved to L.A.
Do you ever foresee yourself getting on the other side of the camera at some point – either as a writer, producer or director?
I started my own company, Shakespeare In The Sphere, in 2015 with Tony Williams and Don Purnell. We produce film, television pilots and 360 degree educational and behind the scenes entertainment. I also direct many of the projects. The learning curve is interesting to me and fascinating.
Are there any other projects you’re currently working on right now?
Right now, I’m producing a TV pilot that has some seriously amazing talent attached. I’m in the cast as well and it’s very exciting. I have to leave it at that for now but stay tuned!
What are you most looking forward to about this next phase of your career?
I’m looking forward to the next creative journey. I love what I do and am so blessed with my strength and hardworking ability as a woman. “Custody Road” is such an amazing film that really speaks to the human experience. I’m ready for whatever comes next.
Inspired by his love of California rock and frequent songwriting trips to Nashville, singer-songwriter, and Babysguitarist, Joey Sykes has formed a new project, Honey River. A trio that blends the influence of country-rock artists like the Eagles, Tom Petty and Jackson Browne with well-crafted lyrics and insatiable melodies.
Joined by Jay Mags (vocals/bass/guitar) and Chris Vincent (guitars/vocals/dobro/mandolin), Sykes and Honey River have recently released their first single and video, “Peace, Love”. An infectiously harmonic track that calls for a simpler time in an ever-changing and volatile world.
AXS recently spoke with Joey Sykes about Honey River and their forthcoming album, I Miss America, songwriting and more in this exclusive new interview.
AXS: How did your new project, Honey River, come about?
Joey Sykes: I’ve been going to Nashville for the last twelve years and have written with some of the most amazing writers. During this time, I’ve been piling up a lot of really great songs and was disappointed that they weren’t getting their due. I’ve always been a fan of the Southern California and country-rock genres and it inspired me to go for it. I pulled in a few great drummers on the album, including Steve Ferrone (Tom Petty). I wanted to make the record I wanted to make and I’m really proud of it.
AXS: How would you describe the music of Honey River?
JS: First and foremost, it’s always about the song. The eleven songs on this record are very strong, both lyrically and melodically. As far as a sound, Americana and country rock are good ways to describe it. There are country elements in the lyric writing and harmonies, but it also has the Tom Petty, Jackson Browne and Eagles kind of rock.
AXS: What was the songwriting process like?
JS: Whenever I get in a room with someone, I’ll usually be the one to throw out the musical idea and melody. But the thing that’s great about working with Nashville lyric writers is that they’re able to dig in and craft a really clean story. I just love that. That’s what I learned on for the bulk of this album.
AXS: Let’s discuss a few tracks from the new album, beginning with “Peace, Love”.
JS: That was a song I wrote myself. The world seems to be at a crossroad right now. I’m not a news junkie but it always seems to be in your face. “Peace, Love” is really just a simple summary. Is it too much to ask to just live our lives, have a laugh here and there and have peace? To just be happy with whatever you are whatever level you’re at? It’s a simple thought but that’s what the song is about. It’s a very timely message.
AXS: How about the track, “I Miss America”?
JS: We’re shooting a video for that one right now. Anyone who sees the title might think its political but it’s not. It’s basically just me writing about what I miss about growing up and what America meant to me as a kid. Simpler things once again. It’s about the things you have growing up that, as you get a little older, don’t seem to be as readily available as they were when you were younger.
Read the rest of my Interview with Joey Sykes by Clicking Here!
Following the success of their first album in five years, America, Location 12, Dispatch—along with producer John Dragonetti and engineer Mike Sawitzke—went back to the studio to wrap up some recording they didn’t finish the first time around.
The result is Location 13, a collection of material the band has been steadily releasing, one song at a time, every few weeks throughout the summer and will culminate as an album after the last song is released.
The new album finds the band continuing to push boundaries and break new ground. With honest, emotional storytelling and an eclectic sound that infuses the best elements of rock, Americana and folk, Dispatch are entering a new era with the passion and vigor of a band in its infancy and the experience of one that’s been together for more than twenty years.
Guitar World recently sat down with Chad Stokes, the band’s guitarist, to talk about Location 13, gear and more in this new interview.
How does the music on Location 13 compare to some of the band’s previous work?
This album came on the heels of America, Location 12. I see them both as siblings to each other, but this one is a bit darker and a little heavier. The songs we’ve written over these last two years feel more cohesive compared to our recording and writing processes of years gone by.
What was the writing process like?
For me, it usually starts with just messing around with a melody line on a guitar. If it sticks with you as the days go by, then you start fleshing it out. As you start working on it more you begin to see if the song is showing up. Sometimes, you feel like you may be walking through mud, but if you keep walking you get that little extra thing that tells you the song is worth finishing and sharing with the guys.
Let’s discuss a few tracks from Location 13, beginning with “Letter To Lady J.”
That song started right around the time when Eric Garner was killed by police in New York. It was preceded by Trayvon Martin and followed by Michael Brown and Tamir Rice. I’m not anti-police at all and have great friends in the field, but there is a racial problem we have in this country with authority, profiling, fear and accountability. The chorus is vague enough to be about justice, but for me the genesis of the song came from police brutality and the overuse of violence and lack of accountability.
Read the rest of my Interview with Chad Stokes by Clicking Here!
The classically trained Coley, whose partnership with late England Dan began with the duo performing psychedelic, soul and fusion jazz before settling on their signature sound that became synonymous with Seventies radio. Songs like “I’d Really Love To See You Tonight,” “Nights Are Forever Without You” and “Love Is The Answer” are still relevant today and continue to evoke warm memories of times gone by.
Coley continues to write, record and perform to audiences worldwide. His recent album, Eclectic, is a two-CD set and features artists like Vince Gill, Collin Raye and Jamie O’Neal. Like his work with England Dan, Coley’s new music transports you to a special time with good feelings.
AXS recently spoke with John Ford Coley about the upcoming Rock The Yacht Tour stop in Philadelphia and more in this exclusive new interview.
AXS: What can fans expect from your upcoming performance?
John Ford Coley: People really enjoy going down memory lane, and that’s what’s so fun about these shows. Sometimes we’ll try something a little different, but we all enjoy playing the songs people are familiar with.
AXS: What do you think makes the music of that era so timeless and special?
JFC: It’s the melodies. There are so many memorable melodies people want to go back to. They’re something you can sing along with. And if you can sing along, it evokes a certain feeling.
AXS: I want to ask you about a few of your biggest hits with England Dan. What can you tell me about “I’d Really Love To See You Tonight?”
JFC: That song was written by Parker McGee and I still remember when they brought it to us. Dan and I wanted to be known as singer/songwriters, so we weren’t too happy about having to sing someone else’s song. We also thought it was more of a female song with a feminine angle, but they asked us to try it. We were skeptical at first, but then it started going up the charts. That’s when we said, “Parker? Buddy? What else have you got?” [laughs].
You can read the rest of my Interview with John Ford Coley by Clicking Here!
After individually cutting their teeth in the clubs and honing their musical chemistry, singer-songwriters Brent Rupard and Anthony Olympia decided to join forces and become Everette; an explosive new duo who’s organic, back-porch style approach to songwriting is as infectious as their own personalities.
One listen to Everette’s debut EP, Slow Roll, reveals the duo’s deep, blues-inspired escapism of grit and groove. Fueled with tastefully woven tales of struggle and heartbreak as well as stories about having fun and letting go. The debut single and video, “Slow Roll,” showcases Everette’s knack for combining friendly dance beats with an unforgettable chorus. Other stand out tracks on the new EP, like the anthemic “Mugshots,” reveal an intoxicating vibe and groove that’s sure to become a soundtrack of summer.
AXS recently spoke with Rupard and Olympia about Everette, Slow Roll and more in this exclusive new interview.
AXS: How did this partnership come about?
Brent Rupard: Anthony and I met back in our hometown of Bullitt County, Kentucky. We were both playing music in other bands at the time but quickly hit it off as friends and music collaborators when we started writing songs together.
AXS: Why the name, “Everette”?
BR: It actually has more to do with the film, “O Brother, Where Art Thou?” We’d been struggling to come up with a band name. Nothing seemed to fit. Then one day, we took a break from a session and stumbled on that movie. The whole vibe of how they went on to become the Soggy Bottom Boys was our soul and journey. It’s been a crazy ride to be where we are now.
AXS: How would you describe your style of music?
Anthony Olympia: Brent often says that we’re back-porch rock and roll. It’s bonfire night; where everyone has a guitar, spoons, a tambourine, or a glass of bourbon and is sitting around jamming. It’s a communal spirit, but we also have the rock and roll element where things might get a little crazy at times.
AXS: What’s your songwriting process like?
BR: It can come from a lot of different things. Sometimes it starts out with just a lyric idea, but most of the time we’ll start jamming to get the vibe and see what the day has to offer.
Read the rest of my Interview with Everette by Clicking Here!
Although best known for his iconic role of Bo Duke from “The Dukes Of Hazzard” and on shows like “Smallville” and his current series “The Have And Have Nots,” veteran actor John Schneider is also a celebrated country music artist with more than ten albums to his credit along with four #1 singles.
This year, the singer-songwriter has launched perhaps his most ambitious project yet. A 52-track, song a week, compilation called The Odyssey. Together with famed drummer/producer Paul Leim, Schneider has recorded fifty-two all-new, fully orchestrated songs with the help of acclaimed songwriters like Paul Overstreet, Chuck Cannon, Mac Davis and Bill Anderson, along with some of Nashville’s finest musicians. A recent track, “Can I Buy You A Beer,” offers an alternative and perhaps more appropriate way of thanking our military veterans and first responders for their heroism and service to our country.
AXS recently spoke with Schneider about The Odyssey, songwriting, and the upcoming 40th anniversary of “The Dukes of Hazzard” in this exclusive new interview.
AXS: What inspired your new project, The Odyssey?
John Schneider: It’s all about the story, but a song a week? No one has ever released a full-blown, fully orchestrated, mastered single every week. People are wondering how we did it, but that’s part of The Odyssey and storytelling. We cut all of these songs live. All of us in the same room together, counting it down and just going for it.
AXS: What’s your songwriting process like?
JS: For me, it usually starts with a bit of humor; like “My wife ran away with my best friend. I’m sure gonna miss him!” [laughs]. Other times, it could be more serious family issues like bills and too much month at the end of the money. There’s another song, “If These Walls Could Sing,” that’s told from the perspective of one of the last buildings in Nashville that were once a staple of the music business. Everyone from Elvis to The Rolling Stones and Willie Nelson has played there. Every time they tear down a great old building to put up a box monstrosity it’s aggravating, and that’s great kindling for a good song. But it’s not something where we just sit down and say, “Let’s write a song.”. It’s more about sitting down and asking, “What’s going on in your life right now?”
AXS: Let’s discuss a few tracks from The Odyssey, starting with “Can I Buy You A Beer.”
JS: I am always one to thank firefighters, military, police and first responders for what they do. They’re the ones running toward while the rest of us are running away. It’s common that we thank people in uniform for their service, but we’ve been saying it for so long that it’s almost become second nature. I love the notion of coming up with a new way of saying thank you.
AXS: How about the track, “The Phantom of The Grand Ole Opry”?
JS: That’s a song about dreaming big. You can’t get anywhere without dreaming and going for it every minute of every day. When I hear something that speaks of dreaming and dreaming big, I’m attracted to that because I’m a dreamer. That’s a story and that means something to me.
Read the rest of my Interview with John Schneider by Clicking Here!
It’s been an incredible year for guitarist, Malina Moye. Not only did the beautiful, multi-talented artist release her genre-defying collection, Bad As I Wanna Be, but the new album also marked Moye’s first #1 album on the Billboard Blues album chart and featured songs that infused the best elements of funk, rock, blues and soul.
Now, Moye sets her sights on another side of creativity – acting— where she’ll make her big screen debut in the Marc Fusco directed film, “The Samuel Project.” The story centers on a teenager named Eli (Ryan Ochoa) who, for a school art project, gets to know his Jewish grandfather, Samuel (played by the legendary Hal Linden), who was rescued from Nazi capture as a young boy. Moye plays the role of Violet Leroux, a bohemian art director who befriends Eli and shows him what’s possible with his gift.
Moye also penned a song specifically for the film. The emotionally charged anthem, “Enough,” which features her sultry vocals and guitar wizardry. The track is also featured on Bad As I Wanna Be. The Samuel Project hits theaters on Friday, Sept. 28.
AXS recently spoke with Malina Moye about the film, her new single and more in this exclusive new interview.
AXS: Many people know you for your infectious brand of guitar playing. Was acting something you always wanted to explore as well?
Malina Moye: It’s something that I started to discover early on in high school. I remember a friend of mine had asked me about filling in as an actor for a project she had been working on. I did the scene and really enjoyed it and got a lot of great feedback. At one point, I remember having to make a decision on whether to pursue acting or music. I obviously chose music because it was my passion and calling. But when this opportunity came up, it was another way for me to express my creativity.
AXS: What attracted you to “The Samuel Project” – was it the story? Your character? Getting the chance to work with some of these other amazing actors?
MM: It was all of the above. Everyone wants to show what you can do, and this was a way to show people another side of me. It’s a character I thought I could really bring something to and have people see me in a different light. Ryan Ochoa plays the teen my character befriends and I help him realize what’s possible with his gift. Hal Linden is such a legendary actor, so to also have a few scenes with him was unbelievable.
AXS: What else can you tell me about your character?
MM: Violet’s a classy, bohemian art director with a great personality and is one of Samuel’s favorite customers. Whenever she comes in she brings the greatest energy, light and all things positive.
Click here to watch the trailer for “The Samuel Project.”
AXS: What are some of the differences between performing music and acting? Is there one that gives you more creative satisfaction?
MM: When you’re on stage playing it’s a whole different feeling. That stage is the set and there’s no do-over. You feed off the energy from the audience, and when you get off stage at the end, you’re amped up. It’s the fifth gear of entertaining. With acting; and especially if you’re doing a deep, heavy scene, it can take a lot out of you. But that just shows you what an incredible instrument your body is. You have to be present and in the moment for both, and that’s what I love about it.
Read the rest of my Interview with Malina Moye by Clicking Here.
Interview with Love Ghost by 
From the time she learned to walk, Erin Fleming knew performing would be her calling. The beautiful, multi-talented actress, producer and director certainly has a knack for creating emotionally powerful characters. A feat that’s evidenced in her new film, “Custody Road”.
Interview with Chad Stokes by 
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