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.
There are few artists with the ability to successfully transition between the world of dance, feature film and commercial work. Even fewer can successfully maneuver these mediums with desire, versatility and charm.
Ashley Watkins, a professional actress and dancer, and a fixture of the entertainment industry for nearly ten years, meets all of this criteria.
An accomplished artist and performer, her resume encapsulates the full spectrum of drama, comedy, horror and dance/music videos. Her versatility, prowess and beauty are matched only by her innate ability to draw deep emotion.
Watkins takes on multiple roles in her latest project; providing the voice-over narration for James Wood’s suspense-thriller, “Neapolitan Sky”.
In “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.
Watkins’ entertaining and infectious voice can be heard on the Audible version of “Neapolitan Sky”, which is available now!
I recently spoke with Ashley Watkins about her work on “Neapolitan Sky” and more in this exclusive new interview.
Was voice-over work something you’ve always done as an actress?
I’ve done some voice work in the past but never voice-over narration. So, this was totally new for me. It was fun to delve into the characters and find out who they are and then bring them to life. At one point, I didn’t even have to look at my notes to see how to do each voice. It came very naturally.
What are some of the differences between typical acting and doing voice-over for a book?
In a film, there’s typically one actor with one character. This was one actor playing multiple characters. So, I had to focus not only on the main character, but the side characters as well and then bring them all to life. They all come up very quickly in the book, and I remember at one point five of the characters were together on one page! Having to distinguish between the voices when the men were having a conversation was also a bit of a challenge.
Was there anything you had to do to prepare to take on this project?
Just like a movie script, I had to read through the story and then break down the acting in each of the chapters. I used a different color highlighter on the page to mark each character who was speaking. That way, I could prepare by seeing in advance who I was going to be speaking for while I was recording. I also had to make sure I was able to pronounce words correctly, so I did some research beforehand. After I had recorded each chapter, it then went into the editing process where I would clean up any excess sounds. I didn’t want any breaths or smacks and wanted only true silence between every space and at the end of each chapter.
What did you enjoy most about the story?
I liked the twist. It was something I never saw coming. I’m reading this book with a character I can completely relate to: a girl with a military dad who grew up in the military and had a close group of friends. I related to so many things and then, out of nowhere, the twist just blew me away. You think everything is comfortable and then something happens that makes you re-think about life. You’re asking yourself, is this real? I felt for every character in the book.
You began your career as a figure skater. What made you make the transition to acting?
When I moved to Northern California when I was twelve, I had to quit ice skating because there wasn’t anywhere to skate that was within driving distance. The closest thing I could do that was similar was cheerleading and dance. As I started doing that, I also fell in love with drama and theater, which eventually opened the door to film. At the time, I was really into leading lady characters like Neve Campbell, Sarah Michelle Gellar and Julia Ormund. I went to college and got a theater degree and as soon as I graduated college, I went straight to L.A..
Are there any other projects you’re currently involved with?
I have a movie called “Professor Dario Bava” where I play the villain, Camilla. We’re going through an Indigogo phase right now. Our director, Phil Mucci, also wants to turn it into a comic book series to build the fan base. We’ll probably start filming in the spring.
What gives you the most satifaction about doing “Neapolitan Sky“?
I liked that I was able to add all of my touches on it. A writer brings the story to life and I got to bring the characters to life, vocally. Normally, there’d be an audio expert coming in to edit when everything is finished. But since I also did the editing, I learned a lot about the process. It was fulfilling to know I could put all that work into something and people will be able to hear it. It was fun to start the project and see it through to completion.
Fresh off a monster summer tour with fellow classic rock legend, Steely Dan, The Doobie Brothers recently announced their first ever live, full-album performances, which will take place over two consecutive nights at New York’s Beacon Theatre. The band will perform Toulouse Street on Thursday, Nov. 15, and The Captain and Me on Friday, Nov. 16. Both will be performed in album sequence and in their entirety.
In addition to performing deep cuts that have never been performed live, both shows will also feature an additional selection of material from the band’s extensive arsenal of hits.
Toulouse Street (released in 1972) launched The Doobie Brothers to stardom and featured the hits “Listen to The Music,” “Rockin’ Down the Highway,” and “Jesus is Just Alright.” The Captain and Me (released in 1973) included hits like “Long Train Runnin’” and “China Grove,” as well as fan favorites “South City Midnight Lady” and “Without You.”
The Doobie Brothers are led by Tom Johnston, Pat Simmons and John McFee
AXS recently spoke with Tom Johnston about The Doobie Brothers upcoming residency, the albums, career highlights and more in this exclusive new interview.
AXS: What inspired this Doobie Brothers two-night residency at The Beacon?
Tom Johnston: I’ve been requesting that we play at The Beacon for a few years now. For me, it’s one of those places that sits in the hall of rock fame of places to play. All kinds of great bands have played there. The Allman Brothers owned it there for a while, and Steely Dan has also done many shows there. The idea to do the albums came from Mitch Rose at CAA. We were in a conference call and I brought up the subject of playing The Beacon. Mitch thought it was a great idea and suggested we do an album night, and since we were going to do two nights in a row, he suggested we do Toulouse Street and The Captain and Me.
AXS: It’s early on, but what’s it been like revisiting those albums and preparing for this event?
TJ: We’ve been working on it the whole time we’ve been out on tour with Steely Dan. We’d start sound check by working out tunes we don’t play in the set, and in a lot of cases, had never played before. It was really eye-opening. It was a long time ago and some of the songs were fairly complex. The other thing that’s interesting about doing an album show is that you do it in album sequence, which is nothing like you would do live. It’s a challenge but we’re looking forward to it.
AXS: Let’s talk a little about Toulouse Street, which was the first album where the band experimented with recording with two drummers. Was that always the plan?
TJ: We had already been performing live with [drummer] Mike Hossack before we ever did that album. We did our first tour with John Hartman, and at some point, after that, we tried it with two drummers. We decided we liked it. Mike was such a good drummer and it added a whole other feeling to playing live. So, when we got into the studio, that transferred over to all the songs we were cutting. It was pretty easy to do. It was also the first album we did with Ted Templeman [producer].
AXS: How did you develop your unique picking style?
TJ: I come from a blues, R&B and rock background and there was a period of time, from 1969-1972, where I spent a lot of time playing acoustic guitar. I played all day every day. I’d spend hours playing guitar; just listening to various artists and then trying to emulate a finger-picking feel. That’s how I developed that rhythm style you hear in songs like “Listen To The Music” and “Long Train Runnin.”
Read the rest of my Interview with Tom Johnston by Clicking Here!
Megadeth bassist and metal icon, David Ellefson, recently announced his new Basstory: An Intimate Evening of Riffs and Repartee tour. A series of limited, storytelling engagements that combines details of Ellefson’s illustrious career in music with solo bass performances.
The tour kicks off Sept. 20 in Portland, OR and includes stops in places like Spokane Valley, WA; San Antonio and Houston, TX. More dates will be announced shortly. VIP meet and greets along with exclusive merchandise will also be available at each event.
AXS recently spoke with Ellefson about his new Basstory tour, Megadeth(which is celebrating its 35th anniversary this year), career highlights and more in this exclusive new interview.
AXS: How did the Basstory Tour come about?
David Ellefson: I had done as spoken word tour for my autobiography, “My Life With Deth,” back in 2015. I tried doing them in a lot of different formats. Some nights it felt like stand-up comedy and other nights it felt like a bass clinic. On the very last night, I tried a different approach. I just came out and sat on the stool with my bass and started telling stories about my life as a bass player and writing songs. I kept that in my mind as I was looking at my schedule this year. That’s where the idea of merging the bass and the storyteller began.
AXS: What’s the one thing that most fans want to know?
DE: People often ask if I can play the “Peace Sells” riff or about the interworking of Megadeth and how it works. Those are the top two. From there, it can be all kinds of random questions, which is cool because it forces me to stay up to speed on the catalog and riffs.
AXS: What can fans expect from your Basstory Tour?
DE: This year, we’re celebrating the 35th anniversary of Megadeth, and on our recent tour of Europe, we dug back into the catalog for some classic gems. So, we’ll have that be an open discussion and palette to draw from. I also like to open it up to Q&A, and in America, we’ll even have some support bands play on the bill as well. It’s an interactive bass event and every one of them will be different. That’s the beauty of it.
AXS: You mentioned the 35th anniversary of Megadeth. What goes through your mind when you look back now with so much perspective?
DE: It honestly seems like it was just last year when I moved to L.A. and when we were out doing the Killing is My Business Tour. At the same time, we’ve grown a lot together. It’s funny how Dave [Mustaine] and I will talk about things and it’s almost like we’re revisiting the halls of our high school together. It was the golden years of the L.A. metal scene, and there were three bands (Guns N’ Roses; Mötley Crüe and Megadeth) who were on the edge of debauchery and disaster. Bands from three different genres who, in some ways, epitomized the lifestyle of L.A. A lot of that comes into Basstory. That’s part of the charm of the storytelling.
Read the rest of my Interview with David Ellefson by Clicking Here!
Fresh off a series of Southern California live shows, Rock & Roll Hall of Famer Nancy Wilson of Heart and her band, Roadcase Royale, are gearing up for their first East Coast and Canadian shows of the summer. The group, which features members of Heart as well as R&B powerhouse vocalist, Liv Warfield (Prince’s New Power Generation), will be in support of their eclectically cool, soul-driven debut album, First Things First.
The five-city tour begins in Waterloo, New York on Saturday, Aug. 11 and wraps up in Toronto, Canada on Saturday, Aug. 18. Tickets are available now.
AXS recently spoke with Nancy Wilson about the new Roadcase Royale tour, songwriting and the 40th anniversary of Heart’s album, Dog & Butterfly in this exclusive new interview.
AXS: What can fans expect from your upcoming tour with Roadcase Royale?
Nancy Wilson: When we’re out touring as Roadcase Royale, we’ll be doing quite a bit of the hits Heart fans really like to hear, like “Crazy on You,” “Barracuda,” and a reinterpreted “Straight On” that’s even more rock and fun. We’ll also be doing a few original songs from our album, First Things First, and a few covers that we really love to do. It’s a good place for a Heart fan to be.
AXS: How has the reaction been to the new Roadcase Royale album?
NW: A lot of people have called it a fresh, new take on rock and soul, which is exactly what we were aiming at. It’s still fun performing our song, “Get Loud,” which was aimed at the #MeToo movement before it even started. We wrote the song for the women’s marches and it’s even more of a relevant song today. There’s also a reinterpretation of “These Dreams” on First Things First. Liv is such a different kind of singer, and her interpretation and spin on the Heart songs is something so unique and different. She’s made the songs her own.
AXS: You’ve described the sound of First Things First as muscular rock with a flavor of R&B. Was that what you intended to have or did the sound evolve as you all started jamming and writing?
NW: It was definitely an intentional collaboration. I first met Liv when her band opened for Heart. She had been wanting to rock more and I’d always loved the flavor of soul and R&B. We liked each other so much that Liv sent me some tracks and we started talking about how we could make music together. I had a million ideas, but the first one I wanted to try was this amazing song, “Hold On To My Hand” by Colin Hay. The version I’d heard was just one acoustic guitar and voice. It was so moving that I thought, let’s interpret this simple, meaningful song, make it our own and see what our sound is going to be like. It still may be my favorite song on the album.
AXS: Can you tell me the origin of the track, “Cover Each Other” from First Things First?
NW: That song was inspired by my husband, Geoff. He has far-reaching talent and had been working for many years in movie division and TV. One day, they offered him and a bunch of other people a buyout, which was a very generous reward for all the years of loyalty and success. It was one of those things you’re happy about when you take it, but then realize there’s this whole other emotional level you didn’t anticipate. Leaving is like graduating school and missing your friends; the camaraderie and structured routine. I knew he was dealing with some of those feelings, so I wrote the words for “Cover Each Other.” Because when someone is going through something hard, you catch them and are there for them. That’s what the song is about.
Read the rest of my Interview with Nancy Wilson by Clicking Here!
It’s been a while since I posted a blog article on “Things I Think”, so I decided to go back and revisit a bunch of my favorite songs from the 1980’s. I’ve listed a bunch of them here, in no particular order of favorites.
These songs all remind me of growing up in the MTV generation. A time when going to the store to buy an album and then running home to listen to it alone in your bedroom was an experience. If you didn’t listen to an album in its entirety from first song to last (even if the hit was song #3) you weren’t doing it right. You listened completely and as you did, you made sure you read every lyric, liner note and thank you that was written on the sleeve. NO exceptions!
So grab an Orange Julius and Bavarian pretzel and put the quarters for Pac Man and Dragon’s Lair to the side for later. Here’s my list with a little commentary on why each song was so special to me. Let’s have some fun with this!
Ready? Let’s go.
“Africa” by Toto (From the album, Toto IV – released in 1982)
There are very few songs from my era as a teen that I will listen to whenever it comes on the radio, and this is one of them. Let’s be honest, how may writers do you know who can put the line, “As sure as Kilimanjaro rises like Olympus above the Serengeti” into a song and still make it fucking cool? The song is from the band’s Toto IV album, which won six Grammys, including Album of the Year. It is the band’s first and only #1 song (“Rosanna” was also a monster hit but only reached #2 on the Billboard Hot 100).
“Kiss On My List” by Hall & Oates (From the album, Voices – released in 1980)
“Kiss on My List”; along with The Buggles’ “Video Killed The Radio Star”, were the first two songs I vivdly remember listening to as the 80s began. The only reason the latter song didn’t make this list is because it was released in 1979. “Kiss On My List” was Hall & Oates second #1 song (“Rich Girl” was their first; four years earlier). I still remember listening to it on the radio in the summer of 1981, when I recorded my own “Weekly Top 40” countdown on a beat up cassette recorder. Of course, this song was always #1.
“She Dont Know Me” by Bon Jovi (From the album, Bon Jovi – released in 1984)
“Runaway” was a big hit and, of course, there would be a ton of other songs to follow, but this song from the band’s debut album will always be my favorite. The very first concert I ever saw was on June 16, 1984 when Bon Jovi (on their very first tour) opened for The Scorpions in Allentown, PA. It was a magical day. This track is also the only hit that wasn’t written by Jon and Richie Sambora. It was actually penned by Marc Avsec, who also wrote the song, “Ah! Leah!” Because it wasn’t written by the band, it was essentially dropped from the set once Slippery When Wet became a smash in 1986.
“Cum on Feel The Noize” by Quiet Riot (From the album, Metal Health – released in 1983)
It was during the summer of 1983. My Dad was driving me and my siblings along a rural stretch of Pennsylvania back road when the drums kicked in on the radio, and my immediate instinct was to yell, “TURN IT UP!!!” “Cum on Feel The Noize” (actually Quiet Riot’s verion of a Slade song from ten years earlier) was the first song that, as a teen, I said was “my song”. A roaring combination of guitars, vocals and groove.
“If She Knew What She Wants” by The Bangles (From the album, Different Light – released in 1986)
I’ve loved these ladies ever since their 1984 debut, All Over The Place. They collaborated with artists like Prince and even opened for Queen on their 1986 Magic Tour. This was a tough one for me, because there are actually two Bangles’ songs from the 80’s I adored. And although I loved “Manic Monday” and “Walk Like An Egyptian,” my favorite track from their album, Different Light, was their infectious cover of Jules Shear’s “If She Knew What She Wants”.
“Downtown Train” by Rod Stewart (From the album, The Best of Rod Stewart – released in 1989)
I may take some heat for this one, but that’s ok. As far as the 80’s go, “Young Turks,” “Infatuation,” “Some Guys Have All The Luck,” “Forever Young,” and “My Heart Can’t Tell You No” all spoke to me. But THIS track, actually a cover of Tom Waits 1985 song, wins the day. I just love Stewart’s arrangement; particularly the guitars in the bridge and the squealing hammond-synth sound as it goes back into the chorus. Gives me chills every time. On a side note, check out Waits intriquing, original version of the song, which sounds nothing like it.
“Say It Isn’t So” by The Outfield (From the album, Play Deep – released in 1985)
When you think of the 80’s, most folks gravitate toward The Outfield staple, “Your Love” from their 1985 debut album, Play Deep. Others will consider the anthemic, “Since You’ve Been Gone” from their 1987 album, Bangin’. For yours truly, I’m going with the first single from Play Deep, and my first exposure to The Outfield – “Say It Isn’t So”. I love the intro to this song and the infectious harmonies of Tony Lewis and the late John Spinks. Do yourself a favor – fast forward to 1:50 of this video and listen to them harmonize on the bridge portion of the song. Especially the line, “I see right through you”. Killer!
“Time After Time” by Cyndi Lauper (From the album, She’s So Unusual – released in 1983)
Rob Hyman from The Hooters wrote this song with Cyndi, and when I interviewed him about it, he told me Cyndi’s inspiration for the song and title came from when she was reading TV Guide and noticed the 1979 film “Time After Time” was coming on. The song orignally was much faster, but the two ended up slowing it down to the masterpiece it became.
“And We Danced” by The Hooters (From the album, Nervous Night – released in 1985)
Speaking of hooters… well, The Hooters, this is another track that makes me wanna move. This song reminds me of summer time, and I’ll never forget the first time my neighbor, Mike, exposed me to this band out of Philadelphia. Thanks, dude!
“I Can’t Hold Back” by Survivor (From the album, Vital Signs – released in 1984)
This track holds a special place for me. The entire Vital Signs album, actually. This was one of the first videos I remember seeing on MTV when it finally went mainstream, and a song that spoke to a fifteen year old kid who was looking for love. It was also one of the very first songs I ever learned how to play on guitar. The Vital Signs album I owned then is still with me to this day, and is now signed and framed on a wall in my office. Needless to say, it’s sentimental.
“Heat Of The Moment” by Asia (From the album, Asia – released in 1982)
It was June of 1982. I was in seventh grade music class sitting in an ungodly hot room during one of the last days before summer vacation. As an end-of-year gift to the class the teacher, Mr. Brobst, allowed students to bring in some of their albums to listen to while we cleared out our desks. That was when a classmate named Danny put this album on the turntable. As needle met vinyl and the crackling hum and hiss began, it was the first time I heard that now infamous guitar riff and opening line: “I never meant to be so bad to you. One thing I said that I would never do …” I don’t think I have to say anything more.
“(You Can Still) Rock In America” by Night Ranger (From the album, Midnight Madness – released in 1983)
Gotta give kudos to Mike again for introducing me to these guys way back when. Every Friday night during the school year required a mandatory visit to the mall. And it was on one of these occassions, as Mike’s mother was chauffeuring us over in this super-huge station wagon, that Mike dropped Midnight Madness into the cassette deck. If you could’ve seen my eyes when the first sounds of this track came through the speakers, they were as wide as saucers. It was something I had only heard glimpses of with Boston and Thin Lizzy, but it was also something else. Something insatiably magical.
“Eternal Flame” by The Bangles (From the album, Everything – released in 1988)
I couldn’t end this list without giving another shout out to The Bangles. “Eternal Flame” was released as a single in 1989 and would go on to become the band’s second #1 hit (“Walk Like An Egyptian” was first). Without a doubt, this is my all-time favorite Bangles song. But when I hear it now, some thirty years later, it’s almost melancholy, because it reminds me of the end of the 80’s.
By 1989, I was already two years out of high school. The Friday night hang outs at the mall; the pep rallies and bonfires; and the cruising of the strip in my souped up ’74 Torino were over. All the friends I had grown up with were either half way done with college, entering the workforce or joining the military. As for me, I was still struggling to determine where I fit in with the big mystery called life.
The days of childhood innocence were over, but this song will forever hold a special place in my heart because, at least for me, it officially says “goodbye” to that decade.
Whew! Ok, there’s mine. Let’s hear some of yours! Drop a line in the comments below!
Following her win at the Sarah Vaughan International Vocal Competition and subsequent performance at Montreal’s International Jazz Festival, singer/songwriter Arianna Neikrug will introduce audiences to her eclectically cool, groove-ridden sound with the release of her debut album, Changes.
Produced by Grammy Award-winning pianist and arranger, Laurence Hobgood, Changes features Neikrug’s inspired interpretation of songs from The Great American Songbook, as well as classic pop and R&B.
Tracks like Al Green’s R&B staple, “Let’s Stay Together” and the fusion of Joni Mitchell’s “Help Me” and “Be Cool” are instant stand-outs. Each revealing a depth of artistry well beyond Neikrug’s twenty-five years. The new album also contains two original tracks that take listeners on an even deeper dive into the beautiful songstress’ inner soul.
AXS recently spoke with Arianna Neikrug about Changes [which will be released on Concord Records on Friday, Aug. 24] and more in this exclusive new interview.
AXS: In your opinion, what do you think makes jazz so timeless and special?
Arianna Neikrug: I think it’s the delicate balance between something being complex and letting yourself go. The technical brain has to know so much about musical theory, but then you’ve got your natural voice (or instrument) to use as a vessel to convey it. Jazz to me is a platform for creativity. It’s about innovative thinking and improvisation, but it’s also about singing the most beautiful melodies and timeless lyrics.
AXS: How would you describe the sound of your new album, Changes?
AN: It’s definitely a groove-based album with reimagined style. It’s the fusion of singer/songwriter, pop and jazz moving in a modern, progressive direction.
AXS: How did you determine which songs from other artists to cover and include?
AN: It started by simply brainstorming. My influences are broad, and there are so many singers and instrumentalists I admire. But the thing that actually gave the most insight into what this album would become were the originals. Those songs were already there, so it was just a matter of finding and adapting the standards and other classics to make it a little more cohesive. The arranging part was the solidifier for the entire record. Finding things I love had an impact, but using the arrangement is what glued everything together.
AXS: Let’s discuss a few tracks from Changes. What can you tell me about your version of “Let’s Stay Together”?
AN: That was a Laurence pick. I remember we were working at his place and then decided to take a look at Rolling Stone Magazine’s 100 Greatest Hits of All Time. We took a stab at coming up with some harmonic ideas for some of the songs. Then he saw “Let’s Stay Together” and a lightbulb went off inside his head. It was magic. It’s a song that’s very close to my heart. From that point on, it was an exploration of the vibe.
You can read the rest of my Interview with Arianna Neikrug by Clicking Here!
With a sound best described as hip-hop-funk ‘til you drop jazz, New Orleans-based ensemble, The Soul Rebels, have been mesmerizing audiences for more than twenty-seven years with their uncanny ability to infuse the sounds of traditional brass with elements of hip-hop, jazz, funk and rock. The eight-piece group, which began with the idea of blending traditional brass with the music of their own generation, has spent much of the last few years touring four continents and collaborating with or supporting such artists as Macklemore & Ryan Lewis, Bruno Mars and Lauryn Hill.
In addition to working on a new album, the group is also geared up for another run of dates, including back to back performances at Louis Armstrong’s Wonderful World Festival and the Blue Note Jazz Club in New York on Saturday, July 21.
AXS recently caught up with The Soul Rebels’ founding member, Lumar LeBlanc and trumpeter, Julian Gosin, to ask them about the group, songwriting and more in this exclusive new interview.
AXS: How did The Soul Rebels come about?
Lumar LeBlanc: The Soul Rebels started back in 1991. We were originally part of the family from Dejan’s Olympia Brass Band; a traditional, historic, brass band from New Orleans who wanted to have junior members carry on their tradition. We were playing the music that was prescribed to us, but we also had this other urge to play music that was connected to our generation: the funk music from Earth Wind & Fire and James Brown and from the emergence of rap and hip-hop. We’re revolutionizing the sound of brass band music in a positive way.
AXS: Julian, how did you become involved in the project?
Julian Gosin: Prior to joining, I had always been coming around the band for years. I got acquainted with the guys and was always a fan. I had even played a few gigs with them. So, when a position became available, it was just an easy, natural fit.
AXS: How would you describe the sound of The Soul Rebels’ music?
JG: It’s very organic and rich with soul. There’s a lot of freedom in the music and there are no barriers.
Read the rest of my Interview with The Soul Rebels by Clicking Here!
Although they’ve always proudly charged against the musical grain, DevilDriver have never made a record quite like OutlawsTil The End: Vol. 1. It’s the perfect combination of country grit and neck-wrecking metal, a game-changer delivered by true heavy metal outlaws.
The band rebuilt classic country songs from the ground up, and injected them with DevilDriver’s signature sonic assault, and vocalist Dez Fafara’s unmistakable roar. The album also features guest appearances by John Carter Cash, Ana Cristina Cash, Hank III and Mark Morton of Lamb of God.
With songs like “(Ghost) Riders in The Sky,” “Whiskey River,” “If Drinking Don’t Kill Me (Her Memory Will)” and “Country Heroes,” Outlaws ‘Til The End might be one of most invigorating records DevilDriver has ever made.
Guitar World recently spoke with Neal Tiemann, the band’s guitarist, about the new album and more in this new interview.
What made the band decide to do a country-themed album?
It actually started with Dez. Like any band, we’ll all be sitting in the back-lounge listening to music as we’re getting ready for a show. So, there was always the fair share of Pantera and In Flames, but he’d also be listening to Johnny Cash, Merle Haggard and Hank Williams Sr. The rest of us never batted an eye. For me, growing up in Texas, I heard them a lot. One day, Dez suggested we do a country covers record. We all laughed at first but then took a step back, and it slowly came to fruition. But it really all started with that back-lounge hang.
How have fans reacted to the new album?
Surprisingly well. We weren’t sure how people would take to singing on a DevilDriver record but everyone we’ve talked to on this run has been taking it in and loving it.
What was the criteria used in determining which songs to do?
We tried to pick songs that had some kind of meaning to us. Dez was adamant about doing the Willie Nelson song, “Whiskey River,” and whenever I hear Dwight Yoakam, it reminds me of fond memories with my dad. So, “A Thousand Miles From Nowhere” had special meaning. We listened to a lot of back catalog but also dug deeper to find songs that had a good melody or could transfer to metal. Then we took it from there.
Read the rest of my Interview with Neal Tiemann by Clicking Here!
With over twenty years experience as an actor and more than seventy national commercials to his credit, it’s safe to say you’ve probably seen some of Josh Daughtery’s work. His impressive resume includes notable commercial work for Budweiser and Kellogg’s as well also appearances in films like “We Were Soldiers” and “John Carter”, and in television shows like “Supernatural”.
But perhaps no role has given the multi-talented Daugherty the flexibility and creative freedom to dive deep into his craft than in his new film, “Custody Road”.
In “Custody Road”, Daugherty plays the role of Logan, a struggling stand-up comedian who goes to extreme measures to prevent his ex-wife her from winning sole custody of their young son.
Written and directed by John Lacy, the world of “Custody Road” is described as “Desert Gothic Noir”. A hauntingly desperate, violent and at times, tender landscape that audiences are sure to embrace. The film, which also showcases Daugherty’s vocal ability as a singer, in addition to his acting prowess, also stars Erin Fleming, Frank Crim and Andrea Muller.
I recently spoke with Josh Daugherty about “Custody Road,” his career and much more in this exclusive new interview.
How did your involvement in “Custody Road” come about?
The director, John Lacy, and I have been circling each other for the last ten years. He’s an incredibly talented actor with an amazing body of work. We both knew of each other and had shared words, but never really had an opportunity to get to know each other. We eventually became friends during an acting class where he told me about this idea he had brewing. In addition to being an amazingly talented actor, he’s also a phenomenal writer. He showed me some of the pages he’d written and I loved it. I told him I didn’t know where he was going but I wanted to be a part of it.
What was it about the project that appealed to you?
John really had his thumb on this character, Logan, who’s this incredibly flawed guy. A guy who’s a bit of an idealist in a lot of ways. Logan is a stand-up comedian and philosophizer who parses out the bullshit of everyday life. Sometimes, that’s done with philosophy and other times it’s through comedy or music.
How would you describe the story of “Custody Road”?
It’s a tough tale because it’s about male-female relationships and how, in some ways, it seems like they’re doomed from the get go. Men don’t under women; women don’t understand men; and egos, DNA and conditioning can all get in the way. It’s an unromantic look at the male/female condition and asks the question, “Are we really supposed to work out?”
What was the filming process like?
I love shooting independent films because you really get to immerse yourself in the process. It wasn’t a large crew, and we sometimes had to work in extreme conditions, but you really got to see the best in people. It was instant family.
Click here to watch the trailer for “Custody Road”.
What was it like working with John?
It was great. As a team leader, John set a wonderful tone for keeping things light and focused and fun. He’s one of those guys I think of as a close friend. My dad told me years ago that business was relationships, and that is never more true than in creative endeavors. John was very open for me to shape this character. I remember when we started talking about music, he even suggested I play a few songs. He had a great beginning for the project, and for me it was like, “O, Captain! My Captain! Take the lead. I’m in!” [laughs].
You mentioned playing a few songs in “Custody Road”. Was singing always a part of your life?
Oh, yeah. I come from a musical house, so music has always been a huge part of my creativity. I grew up doing musical theater and was even a vocal jazz major in college. The fact that John welcomed that and embraced it for my character and film was a lot of fun.
Was a career in entertainment something you always envisioned for yourself?
From the age of five, I knew this was what I was going to do. I can still remember my first time setting foot on stage doing musicals with my dad. I didn’t notice it at the time, but looking back now I can envision that moment clearly. I walked onstage, turned around and saw an empty house. At that moment, it was almost as if God had tapped me on the shoulder and said, “This is what you’re going to do.”
I have to ask you about your work on the show, “Supernatural”. What was that experience like?
That was really the first dark, evil character I played and it was a terrific experience. It was such a tight cast and crew. They’re a wonderful family, and Jensen [Ackles] and Jared [Padalecki] were such great guys.
Are there any other projects you’re currently working on?
One project I’ve been working on for the past few years is called “Nobody”. It’s a project I created with my partner, Felicia Willson, who’s an Emmy-winning writer. It’s an intense project about sexual trauma. And now with the #MeToo movement, it’s even more current and relevant. People are finally able to talk about their experiences and find healing. The project’s gotten incredible feedback and we’re looking to put together the right team and make it come to fruition.
What excites you the most about this next phase of your career?
With regard to the film, I’m looking forward to seeing all those days of long hours finally pay off. John is a master storyteller and I’m excited to see how he’s put it all together.
“Custody Road” is available on iTunes and VOD July 24.
Interview with Malina Moye by Clicking Here.
It’s been a while since I posted a blog article on “Things I Think”, so I decided to go back and revisit a bunch of my favorite songs from the 1980’s. I’ve listed a bunch of them here, in no particular order of favorites.
Interview with Neal Tiemann by 
With over twenty years experience as an actor and more than seventy national commercials to his credit, it’s safe to say you’ve probably seen some of 
How would you describe the story of “Custody Road”?
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