Bassist Nathan East’s resume reads like a music industry who’s who.
East, a founding member of renowned, contemporary jazz quartet Fourplay, also is one of the world’s most in-demand bassists with credits that include Eric Clapton, Michael Jackson, Phil Collins and Whitney Houston.
East’s sophomore solo album, Reverence, is a collection of original tracks and cover material spanning the R&B, pop, rock and jazz songbook. Included is a scorching cover of Earth, Wind & Fire’s “Serpentine Fire,” originally recorded in 1991 and featuring Eric Clapton on guitar and Phil Collins on drums. There’s also a soul-stirring interpretation of “Somewhere Over the Rainbow” that features East’s 16-year-old son, Noah, on piano.
I recently spoke with East about Reverence, his time performing with Eric Clapton, his gear and more.
Did you have a particular musical direction in mind for Reverence?
I always try to go in one direction, and it’s the same with Fourplay and all of the other projects I work on. You always try to go for sonic excellence. The idea is to keep the bar high in terms of quality and sound.
How did you determine what material to use for this project?
It’s a little more of a challenge as a bass player because you have to play bass and then any lead bass is in addition to it. So it’s actually two separate sets of basses on there. The idea is to find songs that lend themselves to that format in writing or covering. You always want to come up with something that will translate to the bass. The other thing I like to do is make records that are song-based and not just chops. Songs that touch a nerve or someone’s heart is also a big criteria.
Your cover of Earth, Wind and Fire’s “Serpentine Fire” actually began 25 years ago. How did it come about?
That was originally a project I was working on with my brother called Two Faces of East. We were living together at the time and doing work in the studio, and that particular song was one that we put together. Coincidentally, it was also when I was working with Phil Collins and Eric Clapton. I remember we flew over to England and asked if they’d like to lend their talents.
Sure enough, they put their stamp on it. We pretty much finished it up, but the project never got a deal and the song wound up sitting around in a basement on 2-inch tape.
Read the rest of my Interview with Nathan East by Clicking Here!
You could say it’s a guitar album that’s 600 years in the making—with a masterful, 21st-century approach.
I recently spoke to Menn about Abandon All Hope, her gear and more.
How did the Abandon All Hope project begin?
I’ve always liked the idea of art that incorporates other art and how you don’t have to just make music but can also make images that accompany it. I’m the daughter of a writer and grew up reading a lot of classic literature. I started playing around with the idea of doing something that would be the music to a work of literature I really liked.
Around that same time, Guitar Player Editor-in-Chief Michael Molenda reached out about doing a collaboration. I remember we met in a coffee shop and he handed me this sheet of paper that said, “Dante’s Inferno: A Journey in 11 Different Musical Moods,” and I was just blown away. It was one of those rare moments where I knew exactly what I was going to be doing for the next few years of my life. That’s how it came about.
You said you pored over orchestral scores and listened to a lot of music to prepare for this album. How did that help you?
I read scores every day, and where some people do crossword puzzles, I do counterpoint exercises [laughs]. But I didn’t want to take “x” from Led Zeppelin, “y” from Igor Stravinsky and “z” from Kate Bush. Instead, I listened to whatever inspired me. I’d listen to Stravinsky’s “Rite of Spring,” but I also listened to Roger Waters’ Amused to Death –a concept album he did with Jeff Beck. I really wanted to explore structure and the intense interplay between instruments.
You can read the rest of my Interview with Gretchen Menn by Clicking Here!
Def Leppard‘s new concert film, And There Will Be a Next Time: Live from Detroit, captures the power and raw energy of one of rock’s most dynamic and celebrated bands.
The disc, which was filmed at the DTE Energy Music Theatre in Clarkston, Michigan, includes a gaggle of hits from across the band’s 40-year career, including highlights from their monster albums—Pyromania and Hysteria—straight on through to their self-titled 2015 release.
I recently spoke with guitarist Phil Collen about Live from Detroit, the 30th anniversary of Hysteria, gear and more. You can check out the interview below.
And There Will Be a Next Time: Live from Detroit will be out February 10—and the band will be hitting the road again this spring.
What made the band decide to do a live project?
During this last tour, everyone—including the band—was saying this was the best they had ever heard Def Leppard. We knew we had to document it. We had also done Live: In the Round, In Your Face back in 1987 and knew we needed to update it. It was a no-brainer. But there was no real concept voyage behind it.
The first real sellout on the last tour was in Detroit, which has always been a brilliant market for the band. So we said, let’s record the most ravenous audience on that tour and the first sellout and update the whole thing, since it was all going so well. That was it.
Are there any extra nerves going into recording a live show, knowing there are no second chances?
Not so much nerves, but I do remember going over to the side and seeing a drone camera floating around by my head, filming me and taking photos. You get distracted and go, “This is not normal!” [laughs]. All of these kinds of things happen, but it’s all part of a live performance. There’s also going to be mistakes in live things, but it just shows that you’re human and it makes the record even more live.
This year marks the 30th anniversary of Hysteria. What was your biggest challenge when making that album?
The biggest challenge was that we had been working with Mutt Lange and then he had to go off and finish a prior commitment, which was the Cars’ album [Heartbeat City]. So we fended for ourselves for a while and it just wasn’t happening. Then when he came back into the fold, he had a vision of what it was going to sound like, and that’s when it really started clicking. It was a joy to actually hear it come together because it had been frustrating working on something for two years.
When Mutt came back in, we saw what he was trying to accomplish. It was something unique that I had never heard before. Now you hear it for what it is, but at the time it was the absolute perfect hybrid of a rock album into the pop market.
Read the rest of my Interview with Phil Collen By Clicking Here!
Last year, the longtime Journey guitarist—and the band’s only remaining founding member—celebrated another season of touring and was reunited with his longtime friend and mentor, Carlos Santana, for the Santana IV album and tour.
The new year is already off to a memorable start for Schon. In addition to the assortment of solo-related projects he’s working on, it was recently announced that Journey–whose current lineup includes Jonathan Cain (keyboards, vocals), Ross Valory (bass, vocals), Steve Smith (drums) and Arnel Pineda (lead vocals)—will be inducted to the Rock and Roll Hall of Fame in April alongside Yes, ELO, Pearl Jam, Joan Baez, Nile Rodgers and Tupac Shakur.
I recently spoke with Schon about Journey’s induction, his upcoming projects and more.
Did you ever think the day would come when Journey would be inducted into the Rock and Roll Hall of Fame?
I didn’t really think about it. We were up about 17 years ago, and when we weren’t nominated, I kind of forgot about it. One of the main things that got us in was our fans voting so hard. The fans and the music are the main things for me. They spoke and the Hall listened. It’s an honor to be in there and get the nod for some of the staples and cement we’ve made.Do you see Journey’s induction as a stepping stone for other “classic rock” bands to eventually get a nod?
I really can’t say because I have no clue what the voting process is. Personally, I’d love to see it be more fan-based. A hall of fame is about different artists and bands and the legacies they’ve left. Even if the people deciding don’t care for a certain type of music, the artists that have the credentials and sell millions of records deserve to be there.
Read the rest of my Interview with Neal Schon by Clicking Here.
“A botched robbery leads down a destructive path for a police officer, an amateur photographer and a strung-out mall Santa as they all converge in one explosive and deadly night.”
With a cast that also includes Eric Close (Nashville, Without A Trace), Adrian Paul (Highlander) and Mary-Margaret Humes (Criminal Minds, Dawson’s Creek), Sara Castro’s next project, “Christmas Eve” is sure to be one of the most talked about independent films of 2017. The film reunites the beautiful actress with director Richard Friedman, who worked with Castro on the critically acclaimed “Halfway To Hell”.
In “Christmas Eve”, Castro plays the role of Kasey Edwards, a mother trying to manage her husband’s alcohol recovery while caring for her sick daughter.
Castro has also earned praise herself for her powerful work in the film, “The Shift” aa well as the genre-defying, award-winning horror/sci-fi, “The Dark Tapes”.
Although “Christmas Eve” won’t be released until next year, I recently spoke with Castro about the film and more in this exclusive new interview.
How did “Christmas Eve” come about for you?
I had the pleasure of working with Richard Friedman again on this project. Richard has a lot of experience as a director and is always putting together interesting things. But it wasn’t a role that was just given to me. I liked the fact that I had to work for it and earn it. It makes you want to work even harder so you can show them they made the right decision.
What was it about the script that piqued your interest?
It was having the chance to work with Richard again, the story and the role. The fact that it had such good names attached to it was another factor because you learn so much from them. Eric Close (who plays my husband, Randall) has been in a lot of series and just finished Nashville. It’s always cool getting to work with great people. It validates why you do what you do.
How would you describe the story of “Christmas Eve”?
It’s a story about a robbery that leads down a destructive path for a police officer who’s reconnecting with his estranged mother. That leads to another story about an amateur photographer and his vindictive fiancé. From there, it connects to a strung-out, mall Santa. He’s my character’s husband and is a recovering alcoholic who’s having a hard time keeping a job. My daughter is very sick and needs assistance, so we really need the money. I’m a nervous wreck trying to make sure the stress isn’t getting to him but at the same time I have my own demons.
What else can you tell me about your character, Kasey?
Kasey is the strong one in the family and has been through a lot with her daughter being sick. She’s trying to keep everything together and under control.
Is there a certain way you like to prepare for a role or scene?
I always try to put together a backstory for my character: where she came from and what’s led her to this point in time.
What do you enjoy most about the creative process?
I love the process of discovery and surprising myself as well as giving the director different takes. That’s the most fun and beautiful part of the process. It can be a bit nerve wracking when you just throw yourself into a scene but you’ll always be pleasantly surprised and find things you never expected. The unpredictability makes it fun.
Are there any other projects you’re working on?
I recently attended another of “The Dark Tapes”. Michael McQuown (Director) has told me that he has plans to do a spin off of it. I believe we’ll be shooting that in February.
What are you most looking forward to about the 2017?
I’m really excited for 2017 and with the help of my team feel I’m getting closer and closer to my goals. The momentum is going so well and it’s only going to get better!
After making his professional acting debut as Stradivarius Helberg on the television show ‘Quintuplets’, actor Michael Nardelli went on to star alongside Zac Efron in the independent film, ‘Derby Stallion’ as well as the comedy ‘Grassroots’ with Jason Biggs. He’s also had recurring roles on such shows as ‘American Crime Story: ‘The People Vs. OJ Simpson’, ‘CSI: New York’, and ‘Nashville’.
But as 2016 comes to a close, Nardelli’s creative prowess is really starting to heat up. Beginning with the new Hallmark film, “Christmas in Homestead’.
In ‘Christmas In Homestead’, Jessica (Taylor Cole), one of the most famous actresses in world, heads to the Christmas-obsessed town to shoot a holiday-themed film. While there, a romance brews between Jessica and a local innkeeper. Nardelli plays the role of Ian Cooper. An aggressive paparazzo who makes his living by chasing down celebrities and getting the dirt on their love lives.
In real life, Nardelli is currently producing, writing and starring in a new digital series called ‘Dark/Web’ that’s slated for release early next year. Each episode consists of a portion of a serialized tale and a stand-alone science fiction / horror short centered around technological themes.
I recently spoke with Nardelli about ‘Christmas in Homestead’, ‘Dark/Web’ and more in this exclusive interview.
How did “Christmas in Homestead” come about for you?
It came up with an audition. My agent sent me the request and I taped it. Nowadays, a lot of auditions (and even callbacks) are put on tape rather than in room. I actually never had to audition in a room with anyone. The glory of modern technology [laughs]!
What was it that attracted you to the script?
I’d just come off several really dark, challenging roles so to run off and make a Hallmark Christmas movie felt like going on holiday! I liked the idea of doing a feel good romantic comedy. I also liked Ian’s arc a lot. Going from someone very self-centered to someone who realizes he must become a better person to keep someone he cares very much for in his life.
How would you describe the story of “Christmas in Homestead”?
It’s an old fashioned, fish out of water Christmas story. “Christmas In Homestead” is about a Hollywood production that goes to a small-town in Iowa to film a Christmas movie. There’s lots of hijinks and clashing of morals: big city folk kind of rediscovering their values in this small town where things like family and tradition are more important than fame and fortune.
What else can you tell me about your character, Ian Carter?
Ian Carter is a paparazzo and makes his living chasing down the big photo and the big exclusive in Los Angeles. When we meet him, he’s very bottom line driven and doesn’t have a lot of sympathy for others’ privacy. He’s been chasing one of the biggest actresses in the world, Jessica (played by Taylor Cole) and follows her to Homestead to get the big scoop on whether or not she’s getting back with her ex. Along the way, he meets a local Innkeeper who kind of changes his entire world.
What can you tell me about your new series, Dark/Web?
I really like stories that deal with the human condition and also what it means to be alive today. And “today” means technology and social media. We’ve opened these doors in our lives that will never close again in terms of the Internet and connectivity, and most of us don’t really know its impact on our daily lives and our future. “Dark/Web” came out of that. For this project, I teamed up with my brother, Tim Nardelli and Mario Miscione.
How would you describe the series?
It’s a scary, fresh, relevant take on where we are today with technology and the dangers of a world that is “always on.” It’s reminiscent of “The Twilight Zone” in the way it tackles modern issues we’re all dealing with thematically, but hides some of that in stories that are meant to be entertaining, scary and thrilling. The show has an anthology aspect to it, so a cool variety of filmmakers and actors pop in and out for episodes. There’s also a serialized portion of the show though that spans across the eight episodes and kind of ties everything together. It’s the kind of show where the more you watch the more you see how everything is connected.
Do you have a timeframe as to when it will be released?
We still have three episodes to film in February and we’re hoping to release it in spring 2017.
Did you always know that you wanted a career in entertainment? Was it something you always aspired to do?
Yes. I grew up watching old movies and TV shows with my mom and always wanted to be up on stage or in front of the camera (or behind) doing the same thing. In middle school, I’d write, direct and act in little shorts that my classmates and I would make. I’d always ask if I could put a little film together instead of writing a paper and sometimes even got my wish! I did all of the theater I could in high school and college. Because I didn’t grow up in Hollywood or New York and didn’t have family in the entertainment business, it was an unconventional decision to make. But there was never any other option for what I wanted to do!
The sold-out show, which took place in June, was highlighted by hit after hit—from “Crazy on You” and “Barracuda” to “Magic Man” and “Dreamboat Annie”—plus tracks from the band’s engaging new studio album, Beautiful Broken.
Besides Ann Wilson (vocals) and Nancy Wilson (guitar/vocals), the band that night included Ben Smith (drums), Dan Rothchild (bass), Craig Bartock (guitar), Chris Joyner (keyboards) and, of course, the Royal Philharmonic Orchestra conducted by Nick Davies.
I recently spoke with Nancy Wilson about the Royal Albert Hall performance, gear and the stories behind some of the band’s biggest hits.
When and how did the idea for a performance at the Royal Albert Hall originate?
We had been pushing the concept of bringing the band over to the U.K. and doing some shows for some time. That was when someone who had been handling big shows at Royal Albert Hall got wind that we were coming over and asked if we’d be interested in doing a World Symphony show. And we were like, “Uhm, yeah! I think we could manage that!” [laughs]. It all fell together very naturally.
What was the process like in terms of putting orchestration behind the band’s iconic songs?
It was a cool thing because we already had some standard charts from Paul Buckmaster, who worked us on Beautiful Broken. But we didn’t want to give it a pastoral kind of sound. We wanted more of a rock-symphony sound. We came over and had one day with Nick Davies looking over the charts and talking them over. We perused through them together and decided what to add and what take out.
The same day as the show was the only day we actually rehearsed with the orchestra. They’re so insanely talented. Once we got out there and saw how great it sounded in the room, we knew right away it was going to work. That’s when we said, “Ok, let’s go have some fun!”
Read the rest of my Interview with Nancy Wilson Here!
They say actors can always just sit and wait around for the right roles and auditions to come along. But David Banks was never about the status quo. Instead the actor –who’s credits include more than 100 commercials as well as the features “The Dark Tapes,” and “CUT!” chooses to shine by doing things his own way.
Case in point. Banks’ upcoming project, “Preacher Six” required the wisecracking funnyman to gain more than twenty pounds. To reach his goal in the quickest amount of time, Banks hit the weights hard and supplemented his routine with Optimum Nutrition products.
I recently spoke with him about his dramatic transformation and his upcoming projects in this exclusive new interview.
“Preacher Six” required you to gain some weight. How were you safely able to put on 20 pounds of muscle?
My character is one of those heavily caffeinated, fast-talking lug types. I’ve been the skinny, twerpy guy for a long time. So when they asked me if I’d be ok with putting on ten pounds I said, “Why not go for twenty?” Robert Corbett and the guys at Optimum Nutrition really helped get me get on the gain train! Their gainer shakes and Amino Energy quickly became my new best friends.
What was your exercises routine like?
I went the resistance route. Lifted heavier than normal and whenever I wanted to stop, I did two more. I got to the point of excitement that I’d hit the scales just to see how much heavier I was than the day prior. I also set my alarm clock to wake me up in the middle of the night to devour tuna and protein shakes.
What can you tell me about “Preacher Six”?
The minute I picked up the script I literally couldn’t put it down. Tracy Ray [screenwriter] is onto something really big here! “Preacher Six” is the story of a small town preacher who’s summoned to the big city where he ends up fighting evil. The characters he meets along the journey are something special and unique! The film also stars Naomi Grossman (American Horror Story), Zach Galligan (Gremlins), Kyle Hester (The Chair) and Bill Oberst Jr. (Criminal Minds). Kyle and I have been talking about working together for years, so I’m excited it’s finally happening. He is an absolute talent.
You’ve recently stepped away from commercials to be a little more involved in films. Is there one you enjoy doing more than the other?
I’ve always had a strong love for commercials and enjoy the process of it a little bit more. It’s fascinating with everything that goes into a simple thirty-second spot.
David Banks – (Before)
What’s the biggest compliment you’ve heard so far about any of your commercials?
“Wow, you were so annoying!” [laughs]. I think the minute I stop being the aggravating, irritating and imbecilic idiot next door is when I know it’ll be time to quit.
You have two other movies coming out soon, “Half Magic” and “Bornless Ones”. What can you tell me about them?
“Half Magic” is Heather Graham’s directorial debut and was an absolute blessing to be a part of. She really put her heart into this one and is one of the most giving actresses I’ve ever worked with. I also got to work alongside Chris D’Elia and it was non-stop laughs.
“Bornless Ones” will be out sometime in early 2017. Alexander Babaev [director] is absolutely going to be huge! I’m excited about that one as well.
What do you enjoy most about the creative process?
I’d have to say my favorite part is witnessing how it all comes together in the editing process. I also tend to lean more towards the seriously dark and depressing characters in a film and am fascinated by the ability one has to turn on the “crazy” switch.
Have you ever given thought to your next writing / producing project?
Absolutely! I had so much fun watching my last writing adventure; “CUT!” come to life. I’m already working on a new film even more twisted [laughs].
Glenn Hughes is an elusive artist with an uncanny ability to jam with Stevie Wonder one night and rock out with Disturbed the next. But perhaps no album showcases the real Glenn Hughes better than Resonate, his first solo album of new material in eight years.
With its groove-oriented, Detroit-style sound, the Rock and Roll Hall of Famer has made the album his fans have been longing for. Tracks like “Heavy,” “Landmines” and “Flow” spotlight Hughes’ limitless swagger, while “Long Time Gone” is acoustic and secretive.
I recently spoke with Hughes about the new album, his gear, Black Country Communion and a some of the more memorable moments of his career.
Resonate is your first solo album in eight years. Why such a long wait?
I’ve written three Black Country Communion albums, a California Breed album and bits and pieces with others artists. As I was recovering from double-knee transplants earlier this year, I was bedridden for a while and wrote this album. But I didn’t go in to write a solo album. I did it for cathartic/therapy reasons. If you know anything about me, you know I’m always writing.
To me, this album is one long song with 12 breaks. It’s a meaningful record because I sing about the human condition and what gets us through. I’m singing about my father’s death and I’m pissed off, but I’m also sensitive and you get to hear that in the tone of my voice in certain songs.
Read the rest of my Interview with Glenn Hughes by Clicking Here!
Guitarist John Roth first met vocalist Terry Brock in 2009 while working on Giant’s Promised Land record.
The pair immediately developed a musical bond, not to mention the songwriting chemistry that would eventually lead to their infectious debut album, Roth Brock Project.
For Roth—who gigs with Winger and Starship Featuring Mickey Thomas—and Brock (Giant, LeRoux, Strangeways), the 11-song collaboration of thundering guitars and powerhouse vocals pays homage to the inspired songwriting and style of Eighties arena rock while showcasing the talents of two seasoned veterans.
I recently spoke to Roth about the Roth Brock Project, his time with Starship and Winger, gear and more in this new interview.
How did your musical relationship with Terry Brock begin?
In 2009, I did a record with Giant called Promised Land. Dann Huff was the lead guitar player of the band, but he was too busy to do the record. He knew the guitar community, and I got the call to come in and do the record. Terry was the lead singer and he and I did some co-writing for the record and really hit it off.
How would you describe the Roth Brock Project in terms of its sound?
It’s classic, arena rock and roll. It’s got an Eighties vibe but with new gear and new recording technology. I wanted to deliver a record that has the elements of Winger, Starship and Giant. It’s inspired by that kind of sound.
What’s your writing process like?
I’ve written a few songs from musical ideas, but most are inspired when I hear a melody or lyric in my head. I’ll usually hear the chorus in my head first and then write what would go behind it and then move on to the verse and bridge. For me, it really comes chorus first.
You can read the rest of my Interview with John Roth by Clicking Here.
Interview with Nathan East by Clicking Here!
Guitarist John Roth first met vocalist Terry Brock in 2009 while working on Giant’s Promised Land record.
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