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By: Michael D. Vogel

© August 21, 1997. Michael D. Vogel.  All Rights Reserved.     

Published in:

Venica Magazine – January 1998

Americans like their guitar-based blues-rock to have some sort of geographical identification. Whether it’s New York’s underground, Los Angeles’ club scene, the Jersey shore or even Chicago’s house music–these are all places that can easily be located on the map. Lately, though, bluesy guitar rock has started pouring out of places not normally associated with those that are part of the cultural mainstream, cities like Seattle, Athens, GA, and Shreveport, LA, to name a few. The latter of which, to be sure, is an unlikely place to find any type of major trend (that is, unless you consider places like the Mall Of America a relevant and major trend in today’s society.) In general, though, most guitarists tend to think of the traditional places like LA, New York or even Austin as the strongholds of good old, guitar-driven, blues-rock.

To the casual observer, the blues seem somewhat of a periodic musical form. That is, it seems to have ebbed and flowed in popularity throughout every decade, defined by certain musicians or bands who manage to take the music to a whole new level. Yet music influenced by the blues is constantly being played, recorded and performed on a daily basis. Jonny Lang, Robben Ford, Corey Stevens and Ian Moore are but a sample of the new generation of blues-based rock guitarists. But for mainstream Rock Radio and its various sub-formats (Active and Adult Rock) there’s been an increasing interest in the blues, and that interest shouldn’t just begin with Robert Johnson and end with Stevie Ray Vaughan, with the occasional side excursion through Muddy Waters and B.B. King. There are always players bubbling up just under the surface, attracting regional and even national acclaim for their mastery of the blues.

In a perfect world then, where talent, contribution and historical significance are rewarded with fame and fortune, Kenny Wayne Shepherd should be next in line to inherit the riches of King Solomon’s gold mines. Shepherd is a true master of the blues guitar in terms of technique, versatility, output and overall musical maturity.

 I read somewhere once that a great player is not defined by someone who has an ability to master the instrument alone, but one who takes the instrument and incorporates it into their own personal being, making it an extension of their own heart and soul,” states Shepherd while taking a break in Arizona from his journey across the country, “and I agree with that.” But inspiration can be a funny thing. Some guitarists, like Jimi Hendrix, claim their muse comes to them in waves, like being struck by a lightning bolt right out of thin air. Others, like Carlos Santana and Buddy Guy, play from the heart and not from the head. It’s instinctual and not something tangible or easily ruled out. A true musician really has no method for what he plays–merely a passion to share and an ability to communicate clearly through music.

Kenny Wayne Shepherd–the “Tornado” from Shreveport–has helped to rekindle the blues in the 90s much like Clapton, Page and Beck did in the late 60s and 70s. With his own band, as well as the additional support of Double Trouble, Shepherd simmers, steams and rocks the blues so as to attract a crowd of serious concert-going fanatics, ranging in ages from their late teens and up. His unadorned guitar lines alternately caress and blister, easily whipping the unassuming into a mass frenzy. His sophomore album, Trouble Is…, continues the high octane deluge he started on Ledbetter Heights by echoing the influences of B.B. King and Jimi Hendrix, all the while updating the blues for a new generation of guitar fans.

The image of Shepherd, with his long blonde hair and Stratocaster in tow, is not only one of a certifiable guitar wizard, but one of a deeply spiritual man committed to the religion and philosophy of the six-string.

“It may sound corny or a bit cliché, but it’s the music itself that keeps me on the right track. Of course, there is also some sort of ‘outside’ force, like divine inspiration, that has also helped me along. But the focus itself has always revolved around a passion to write and record music.” His persona, when coupled with his otherworldly technique, is almost daunting to his peers, not to mention his audience. It may even be his aura of mysticism, the transcendent quality of his music, that’s made him somewhat of an enigma to newer and more casual listeners. “I play the guitar and people seem to appreciate it. That’s what I always asked for and that’s exactly what I got.”

To even more fully understand Kenny Wayne Shepherd, one must understand his early inspirations. “From as early back as I can remember, I was always fascinated by musicians. The emotional responses that were evoked by their soulful music really had a profound affect on me. The music itself, though, seems to play out differently for me than it does for others. I can remember jumping up and down on my grandfather’s bed listening to ZZ Top’s Fandango album. Even at such an early age, I was able to memorize the guitar parts and the tried to emulate them on my own guitar. But it wasn’t until I got my first real guitar, at seven years of age, that I was really able to play what I was hearing. The rest, as they say, is history.”

When you’re the new wunderkind in town, comparisons to past greats are as inevitable as death, taxes and a double-bogey. In the case of the now-20-year-old guitarist extraordinaire, both the press and public alike most often evoke the names of the Jimi Hendrix and Stevie Ray Vaughan when attempting to describe the sounds he seduces out of his vintage Fender Stratocasters.

Although he’s flattered to be in such immortal company, Shepherd states, “Sometimes things manifest themselves because they are talked about so much. I am always asked whether I felt the pressure of recording a second album and if it was going to live up to the expectations and surpass the previous album. Due to my own naiveté, at first I didn’t know what they were talking about. But, because this question is constantly asked, you ultimately tend to find yourself stressing out.

“As far as pressure goes,” Shepherd humbly adds, “I really try not to get caught up in all that. When I was a kid I dreamed about being on the cover of Guitar Player magazine or having my name mentioned with the likes of Buddy Guy, John Lee Hooker and B.B. King. I’m just a guy from Shreveport doing what I love to do–playing guitar. Because I have been on both sides of the fence now, I really feel appreciative for what has happened to my music and me. Every player knows something different, which is what makes each player so unique. I truly appreciate the position I’m in, playing guitar and making music, so I don’t really put those kinds of pressures on myself. I am confident in my abilities as a player, because I have been onstage with some of these all-time greats. So, I’m just going to keep playing the best way I know how.”

Trouble Is…, the Kenny Wayne Shepherd Band’s sophomore release for Revolution Records, displays a somewhat more versatile sampling of KWS’s musicianship than the impressive yet decidedly Stevie Ray sound of the band’s first album. This is due in part to natural growth and maturity as a person and as an artist, as well as a change in the vocal representations of the band.

“The change in vocals adds a lot more authenticity to the sound of the music. For the Ledbetter Heights album, my first singer Corey [Sterling] came from a totally non-blues based background, whereas Noah [Hunt], who handled the vocals for Trouble Is…, has a firm knowledge of roots rock and the blues. Unfortunately, you couldn’t pin Corey down to sing any blues standards simply because he doesn’t know any. But, on the other hand, Noah seems to be able to pull them out anytime due to his exceptional understanding of the music. To top it off, the best part about it is that even the way he sings and pronounces things sounds more Southern. Together, they add up to a perfect mixture of guitar and vocals.”

Although, when pressed about his own vocal contributions, Shepherd exclaims, “It will happen sooner or later. Although I do cover some of the background vocals on Trouble Is…, I don’t think I’m to the point where I would be comfortable handling all the vocal duties for a full record. It comes down to a growing process, where maybe on the next album I may sing lead on a few songs, but definitely not the full record. To me, singing is an important aspect of creating music because it would help bring more to my total performance. But at this moment it is only something that I am going to pursue in small steps. Unfortunately, singing doesn’t come as naturally as playing a guitar. This is somewhat surprising considering the only musical talent on my father’s side of the family was singing.”

Reflecting on his own heroes, the Strat-master states, “I’m in good company and therefore not really worried about it. For example, look back at the careers of Jimi Hendrix, Stevie Ray Vaughan or Eric Clapton. All three of these guys played guitar for many years before they got behind the microphone and started singing.”

The other key player aiding in the progression of the Kenny Wayne Shepherd Band is producer Jerry Harrison, who’s just recently finished producing an album with Big Head Todd & The Monsters. Although he’s most known for his own music in the alternative genre, most notably with the Talking Heads, his roots trace back to a Milwaukee blues band where he began his career. “Jerry is amazing. He adds a whole flavor that wasn’t present before. By introducing a whole new dimension, Jerry is able to capture a sound that is rawer and more edgy in feel and sound that wasn’t part of the music before.”

To talk about the music and the genre itself, Shepherd is very clear about the place blues have in today’s modern rock radio world. “As far as the entire genre itself,” the Louisiana native exclaims with a level of excitement growing in his voice, “the blues are getting bigger than ever! One of the main reasons I can think of, when I think about the wider acceptance to this music is that it is a return to real music. What I mean by that is there are real people playing real instruments. Alternative music has the benefit of coming out of the 80s when music predominantly featured drum machines and big keyboards. Personally, that is one of the most appealing aspects of alternative music: it is the antithesis of the music that preceded it.

“As with the cyclical nature of music, people’s tastes returned to real instruments instead of sound bites and computer loops. As a result there was a huge explosion on the country music scene. The rise in popularity of country music was amazing. Fortunately not all music has the benefit of a second time around.” Demonstrating a perspective wise beyond his 20 years, Shepherd continues, “Take disco for example, there might be some initial interest in some places but for the most part, it tried to make a comeback and it failed. The ‘big-hair’ thing of the mid/late-80s is also trying to make a comeback. The difference is that they aren’t doing the same type of music they were making back then–they’ve changed it up. The blues have also gone through many cycles of being on top and at the bottom of the music scene, as well. It is just the natural evolution of the various types of music created.

“There is always a lot of musicianship involved, but there are also more ways of getting your point across without using loud, distorted guitars. The music is supposed to be intense and filled with emotions that people can relate to, but not necessarily to the point of screaming in your face. At its most basic point of definition, isn’t that what the core of the blues is all about? A serious groove with some musicianship behind it. The blues, similar to other kinds of music, tells of real people’s problems and emotions. At the same time, though, it’s music that makes you feel good. But, with the way everything is defined and labeled, the reality is that everything seems to fall into some sort of category. I wouldn’t necessarily say the Trouble Is…, is a straight ‘classic’ sounding blues record, because it definitely is not! The evolution of the music can best be described as a modern mixture of the blues and rock & roll. Combined together, this album really rips!”

Kenny Wayne Shepherd’s soulful guitar playing is part and parcel of his rare ability to communicate intimately with his audience, by transforming any size concert venue or car interior into a small living room where every listener feels as though the music is being played exclusively for them. His powerful connection with his supporters are captured throughout Trouble Is…. With a virtual treasure chest filled with sophisticated-yet-down home music including such soon-to-be staples like “True Lies” (Shepherd’s favorite), “Blue On Black,” the cover of Dylan’s “Everything Is Broken,” Hendrix’s “I Don’t Live Today” and “Slow Ride,” which is currently a Top 5 track at Rock Radio.

The best way to experience Kenny Wayne Shepherd’s regal power is, of course, to see him live, where he can truly dazzle and amaze. Perhaps the most impressive characteristic about Shepherd is that he continues to push himself hard by constantly searching out new avenues to help stretch his playing abilities; however, his true playground will always be the live stage. He can hold an entire audience spellbound with a single melodious run. What he and his band have achieved is of no small feat: focusing the spotlight on the junior Shepherd’ s uncanny knack for guitar and at the same time avoiding the eons of struggle that many musicians suffer through. “I don’t want people to just listen to my music,” declares Shepherd, “I want them to hear it. Having people appreciate what I do is the ultimate satisfaction for me. I think there’s a big explosion happening in blues-based music, and it’s very exciting. I’m glad to be a part of it. I want to help turn my generation on to it. I want to help keep the blues alive for them and eternity!” ^m^ 

Origin:                                                                      Website: 

Shreveport, LA                                                       www.kennywayneshepherd.net 

Line-Up:                                                                                     

Kenny Wayne Shepherd – Guitars & Vocals            Jimmy Wallace – Keys               

Noah Hunt – Vocals                                                            Robert Emerson – Bass 

Joe Nadeau – Guitar                                                           Sam Bryant – Drums 

Guest Musicians: 

Chris Layton – Drums                                                        Reese Wynans – keys 

Tommy Shannon – Bass                                                    James Cotton – Harmonica 

About This CD: 

This is Kenny Wayne’s sophomore CD, following up on the heels of Ledbetter Heights which sold in excess of 500,000 copies and spent an amazing five months atop the national blues chart. 

Discography:  

Trouble Is… (Revolution, 1997)                                       

Ledbetter Heights (Revolution, 1995)               

Produced By: 

Jerry Harrison 

Label: 

Revolution 

© August 21, 1997. Michael D. Vogel.  All Rights Reserved. This originally appeared on the Vogelism blog at https://www.vogelism.com, authored by Michael D. Vogel. This article may be shared or reprinted as long as this entire copyright message, including the source location of this article, accompanies it.

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By: Michael D. Vogel

© July 15, 1997. Michael D. Vogel.  All Rights Reserved. 

Published in:   

The Album Network magazine – August 8, 1997  

Although 311 have become both mainstream and commercial in their appeal, they have managed to maintain, with the utmost care, the integrity and power of their message. Although they operate in the “commercial” arena of the alternative movement, that doesn’t mean they should be taken less seriously. Hailing from the midwest, the five guys of 311 are as close as we get in America to a “voice of the people.” Whether you like their music, you should listen up, for 311′s attitude runs the full gamut of their sound. It’s about noise, volume, speed and the sheer intensity of the music. It can make you want to jump around and act stupid or it can make you think and want to change your life. Hopefully, you’ll want to do a little of both.

On the eve of their departure for a European tour, 311 leader and resident guru Nicholas Hexum and I sat down, in his new home high atop the Hollywood hills, for a very candid conversation about the struggles and frustrations of the last year, dancehall reggae, their longform video and the new album.

311 have always been very active, yet the band has been off the road for almost nine months. What’s been going on with 311? 

Nicholas Hexum: “So much has happened in the last year. But, at the same time, it really doesn’t seem like we took any time off either. The popularity of our last album, 311, was amazing. The song ‘Down’ alone went to #1 on MTV as well as at Alternative Radio. We then received quite a big surprise being voted the top song in KROQ’s ‘Best Of’ year-end countdown. In addition, the album has sold several million copies as well. There is a lot of hard work and dedication on all our parts, the band and everyone associated with us, that has helped to achieve the success that we have. Over all, we feel very fortunate to have all these fantastic things happen to us.

“Some people are doctors or lawyers. We are musicians. Our only job is to constantly and consistently push our own level of creativity to the limit. Making music that will be enjoyed for years to come is our biggest priority. If we rest on our past successes, then we really aren’t doing anything new. The end result is that the music, the artists and ultimately the fan suffers. 311 are about creativity. We constantly push ourselves past where we have been so that new doors of sights and sounds can be experienced.”

Although there was some support, for the most part radio wasn’t “Down” with 311 until almost a year, and three singles, after the album was released. Does this type of delay in the recognition and exposure of the music frustrate the band? 

“It is really only about the music. The album might have been close to a year old at the time radio discovered the song ‘Down,’ but the important thing is the song received the attention of radio. This helped to open the door for some of the other material on the album. Ultimately, the biggest benefit came in the re-examining of the songs on our other two albums as well. 

“When, Music, our first album, was released, the whole music vibe was caught on the Seattle grunge sound. Therefore, a rock/rap hybrid probably would not be very well embraced. But nothing ever stays the same for to long. If we kept true to ourselves and our musical goals, we believed eventually would get our day in the sun.”

There is a stark contrast between the last album and Transistor. Why shift to more of a dancehall reggae sound?

“Reggae and dancehall music have always been such a love of ours that we felt compelled to play it as well as try and bring some much needed attention to the whole genre. It satisfies the whole band because of the intense rhythms of rap music and also the melodies that reggae music provides. Our style for this record is a combination of the two. Each song is so completely different and unique, though; no one descriptive term can accurately describe the whole album. There are some rock songs, others that combine hip-hop beats with dancehall vocals and a 60s-style surf guitar sound into what has become a unique 311 formula. Simply stated, Transistor is a quasi-musical cocktail of funk, rock, rap, and reggae with a few other spices thrown in. As a result, the music can be enjoyed by almost everyone.

“Personally, I have been listening to more singers than rappers. On the last album, I had a rap on almost every song, whereas for Transistor, I have only two raps on the entire album. The vocals styles of SA [Martinez] and myself are very complementary. Where he is more of a hardcore rapper, I tend to reflect the styles of jazz/reggae crooners. The rap and hip-hop feel will always be a part of the music we do, but for this record, we wanted to concentrate more on melodies. It is essential to the longevity of the song. If there is no melody, the song will eventually become dated, fitting only that musical climate when it was written. But if it has a melody, which defines the essence of what dancehall reggae is all about; the song should have lasting appeal. Overall, we would like to think of our music as potential standards, rather than something simply destined for a mosh pit!

“During the recording of our last album, 311, we were creating some pretty tasty rock riffs and then combining them with vocal raps. A very simplistic approach compared to the recording of Transistor, where the lyrics were composed simultaneously with the music. Each song is written with a specific melody in mind, leaving room for improvisation in order to add some extra texture to the music. Without it, there is no sense in continuing with that project. In short, slapping two things together doesn’t accurately portray the picture the song is trying to create, as well as having a complete vision and then seeing it through to its completion.

“But, with change comes other factors as a result. By trying something new, our goal is not to try and bring in those that were not supporters of the band before. Instead, we concentrate our energies on what we need to do in order to get the job done and rock the house. It is not so much that we were looking to grab the Hootie & The Blowfish fans, as we are trying to make lasting impressions with the existing fan base.

“It was simply time to challenge our fans as well as ourselves. We really wouldn’t feel proud of the album if it were simply a rehash of the same old thing. Fortunately, our fans have always embraced the different changes and styles we have employed over the last few albums, but at the same time demand we continue to really let it rock. We believe Transistor embodies that kind of creative philosophy. For example, there are some really hardcore songs on the new album. ‘What Was I Thinking,’ ‘Electricity’ and ‘Galaxy’ are all extremely intense songs.

“Overall, everyone in the band has really grown and matured since the last album. [Chad] Sexton’s beats and [Tim] Mahoney’s solos are always amazing, but the biggest difference is SA and P-Nut’s growth in the songwriting forum.”

Too few musicians understand how to listen in improvisational situations–do you feel that it’s a matter of leaving your ego at the door? 

“Improvisation starts with a unique riff that hasn’t been used by anyone else. If it is adding to the overall groove of the song, then we will stick with it and just let everything else flow. But if there are five guitarists shredding at the same time, the music wouldn’t sound right. People need to know when to sit back and when to take center stage. In our case, this album reflects a lot more of SA’s vocal stylings as well as adding the new element of turntables as a viable instrument into the musical mix. By doing so, we can explore on a wider musical scale without having to rely solely on the vocals.

“As time moves on, I can see us getting into the instrumental side of music. Our improvisations are the combination of punk rock that really doesn’t embrace the solo, with instrumental music to create a blend that is a more mature, cerebral way of expression. Pop bands always use vocals in their songs, whereas more developed bands like Led Zeppelin and the Grateful Dead tend to regularly use long instrumentals throughout their music. The aim is to take the listener on a trip purely for music and without any lyrics.”

At the beginning of the year, 311 released the Enlarged To Show Detail longform video and CD. Why did the band intentionally downplay the new music covered in that package? 

“It was really designed for our hardcore fans–a little taste to satisfy their desire for more music until the new album was released. But the project was not, nor was it ever intended to be, considered our new album. Similar to Transistor, there were several songs that unfortunately didn’t make the final cut. The same is true for the video package. The songs contained on the special CD were all B-side material from previous albums. Even though these songs were the ‘left-overs,’ we still felt they were creatively important. The video contains some live footage as well as the mayhem that happens behind the scenes. For the most part though, we were concerned with over saturation.”

With success usually comes some sort of change. In the past, 311 has had some pretty big-name producers working on the album, yet on the new album, you chose to use your own soundman as the producer. By making such a radical decision, have 311 become the master of its own destiny? 

“We are completely left on our own to make our musical vision come true. It is for that reason we chose Scott ‘Scotch’ Ralston, our soundman, to produce the record. He is very much like us–he is from the Midwest and in his mid 20s. We have worked with outside producers before, but for this record we wanted to keep it all in the family. We wanted to test our own level of self-reliance. As a natural part of life, disagreements occasionally do happen. Some take votes in order to solve these problems others simply make rash decision, but for us, Rock, paper and scissors play a serious role in the decision making process of 311. But, after everything is all said and done, we feel we made the right decision.” ^m^

Line-Up:                                                                                      Origin:

Nicholas Hexum – Vocals & Guitar                                   Originally from Omaha, the boys of 311 now reside in Los Angeles

Count SA Martinez – Vocals & Scratches              

Timothy J. Mahoney – Guitar                                         

P-Nut – Bass                                                                                 Website:

Chad Sexton – Drums & Percussion                                   www.311.com

About The Current CD:

Transistor is the fourth album from 311, following on the heels of their multi-Platinum self-titled album.

Discography:

Transistor (Capricorn, 1997)                                                 Hydroponic (self-released, 1992)

311 (Capricorn, 1995)                                                               Unity (self-released, 1991)

Grassroots (Capricorn, 1994)                                                Dammit! (self-released, 1990)

Music (Capricorn, 1993)

Produced By:

Scott ‘Scotch’ Ralston

Label:

Capricorn

© July 15, 1997. Michael D. Vogel.  All Rights Reserved.  This originally appeared on the Vogelism blog at https://www.vogelism.com, authored by Michael D. Vogel. This article may be shared or reprinted as long as this entire copyright message, including the source location of this article, accompanies it.

(click on picture to open file) 

 By: Michael D. Vogel     

© July 15, 1997. Michael D. Vogel.  All Rights Reserved.  

Published in:   

Virtually Alternative magazine – August 1997  

[Author’s note: There are times in rock & roll where journalistic objectivity flies out the window. This is one of them. I’ve been friends with 311 for nearly five years now–not just professional business acquaintances, but honest-to-goodness pals. So, as you can imagine, this was a rather simple assignment, since I probably would’ve been hangin’ out with these guys anyway! All of this is meant as a warning; what follows is not so much an interview as it is two friends (311’s fearless leader Nicholas Hexum and myself) catching up on things. It’s also an invitation to be the proverbial “fly on the wall” and eavesdrop on our little chat.  And, best of all, neither of us mind if you listen in.]

Back almost eight years ago, inspired by some of the greatest groups of the early punk-rock movement, (i.e. Sex Pistols, The Clash, Ramones and the Buzzcocks), 311 formed in the heart of middle America–Omaha, Nebraska. Through three self-produced indie albums and an exhaustive touring schedule that has helped them cultivate one of the most intense (and biggest) “grassroots” fan bases around, the band has managed to maintain their straight-up, melodic hard-core style.

Flash to 1991. 311 trades in nearly two years of hard work and sweat to go with “the man.” Goin’ corporate, if you will. At the time, bandleader Nicholas Hexum says, “We’re going to do what we want to do, and we’re always going to be the people we’ve always been. So, in the long run, I don’t think it makes much difference either way.”

Cut to the present, 1997. The boys of 311 are riding high on the success of their multi-Platinum third album, which has spawned three Top 20 tracks, including the #1 alternative juggernaut “Down.” They’ve recorded four albums since signing to Capricorn, and at the time of our talk the new album, Transistor had yet to be released, but the guys were already packing their bags in preparation for a whirlwind tour of Europe. Unfazed by the rush of the moment, Nick Hexum invited me to his new home, nestled high atop the Hollywood Hills, to catch up on the last few months, as well as to treat me to an exclusive preview of some highly tasty tracks from the new record. [Somewhere, throughout the rest of Hollywood, 311’s other four symphonic-hipsters–Chad, P-Nut, Tim and S.A.–were busily making preparations and tying up loose ends before the impending trip abroad.]

Nicholas Hexum is basically an open and friendly guy who, in my opinion, defines what growing up in America’s heartland is all about. Relaxing in an antique dining room chair, with an illuminated Dodger stadium just over his shoulder, Mr. Hexum is quite game to give me a little insight into the new album. In between final trip preparations and some last-minute phone calls (as well as a few quick games of billiards), Nick is ready to talk to me (and my tape recorder).

“We’ve changed a lot and then some

You know that we have always been down

And if I ever didn’t thank you

Then just let me do it now.”

“We all feel very fortunate. If it ever gets stressful, we remember that there are others out there who are less fortunate than us. Everyone has to have a job, yet the job that we have is something that we would, for the most part, be doing for fun anyway. I think the rap to ‘Starshines’ states it the best:

“I am a music lover and somehow I get paid

 This song would still exist if no money was made

That’s the difference!”

The band’s long-time fans needn’t worry about the spectre of a possible 311 sell-out–the new material is the same intense, streamlined rock-meets-reggae cocktail that has always been the signature of their sound. The simplicity of the project shines through, and the 21 tracks on the album paint a clear picture of what’s going on with the band.

“It’s a lot rawer,” Nick says of Transistor ‘s overall vibe, as a cool summertime breeze and sirens from the city below float in through the window. “We just tried to think of it in artistic terms. But that also made us relax a little more, as well as have more fun, overall. It’s the energy that is important. We felt we could get more out of each song, as well as go off further on certain tangents. Our sound is pretty different when we play in a live forum. We deliver the song with more force, and there is a lot heavier of a groove and power that you really can’t appreciate until you see us play in front of a live audience. We do have ‘album’ fans, but first and foremost, the most important thing to us has always been playing live. We aren’t going to be media manipulators, or fashion kings, or this week’s bunch of bad boys. All we want to do is play the music.”

That kind of intensity smacks like an open hand to the back of the neck throughout Transistor ‘s nearly two dozen depth charges. At the time of my introduction to the new album, the songs hadn’t even been set into any type of running sequence, yet there was nothing remotely resembling a weak link in the bunch. “It was simply time to challenge our fans as well as ourselves. We really wouldn’t feel proud of the album if it were simply a rehash of the same old thing. Fortunately, our fans have always embraced the different changes and styles we have employed over the last few albums, but at the same time, they demand we continue to really let it rock. We believe that Transistor embodies that kind of creative philosophy.

“There are some really hard-core songs, like ‘What Was I Thinking’ and ‘Electricity,’ and then there is ‘Galaxy,’ which could be the most intense of them all,” exclaims Nick. “Galaxy” is probably the most obvious tip that a dose of their roots just may have filtered its way into their present trip. Yet, for all the savage shades that abound on Transistor (in addition to slots in regular rotations on MTV and Alternative Radio), 311 aren’t really out to prove anything, other than that they haven’t changed a bit since becoming a multi-Platinum band.

“Tune in

For those who are waitin’

Vision

Feel it from within

Sing along.“

“We’re not really trying to get the music heard anymore. We’re really just trying to maintain our creative level and maintain our fan base. Even though we’re aware that our records are going out to potential millions, we try to stay focused in somewhat of a grassroots orientation, where we make music that will appeal to our family and friends. But, by trying something new, our goal is not to try and bring in those that were not supporters of the band before. Instead, we concentrate our energies on what we need to do in order to get the job done and rock the house. It’s not so much that we’re looking to grab the Hootie and the Blowfish fans as we are trying to make lasting impressions with the existing fan base.

“The bottom line is that we’ve always done exactly what we wanted to do,” explains Hexum, leaning across the table to express the extreme seriousness of this response. Together with Chad Sexton, Timothy J. Mahoney, Count S.A. Martinez and P-Nut, Nick formed 311 back in 1990. “I guess we must have been somewhat ahead of our time. We have been making music like this, mixing beats with rock and reggae, for years now.”

311 has also gained a little breathing room when it comes to being labeled as a band whose lyrics are capable of an ultra-blatant lashing effect. They have often been classified as having some very strong political beliefs. Examples of this can be found in such songs as “Unity” from Music, “Applied Science” on Grassroots and “Guns (Are For Pussies)” from their third self-titled release, to name just a few. According to Nicholas, Transistor carries on in that same fashion, but at the same time takes a good hard look at the individual and his place in the universe.

“You’re a transistor

Lightning resistor

Conducting to the mother star

That’s what you are.“

“The concept behind the name Transistor, whether you realize it or not, is that we are all diodes, or circuits, of the same like. Our nerves are like electrical wires that are carrying impulses to the brain to create our individual thoughts. Therefore, we are all transistors of the same electrical force that comes from the song. I guess it would be something similar to conducting through the mother star. All living creatures, both animals and plants, are exchanging the same electricity. It is a message of unity that we are all one interconnected organism. Therefore, the differences we see in the people around us are nothing more than individual elements that help to make us part of one great big organism.”

Taking that kind of inspiration to heart, Hexum — who is normally very much immersed in 311′s composing and recording process–moved a little farther away from being the central singer/songwriter to a more relaxed and integrated member of the band.

“Personally, I have been listening to more singers then rappers. On the last album, I had a rap on almost every song, whereas for Transistor, I have only two raps on the entire album. The vocals styles of S.A. and myself are very complementary. Where he is more of a hard-core rapper, I tend to reflect the styles of jazz/reggae crooners.  The rap and hip-hop feel will always be a part of the music we do, but for this record, we wanted to concentrate more on melodies. It is essential to the longevity of the song. If there is no melody, the song will eventually become dated, fitting only that musical climate [of] when it was written. But if it has a melody, which defines the essence of what dancehall reggae is all about; the song should have lasting appeal. Overall, we would like to think of our songs as potential standards, rather than something simply destined for a mosh pit!”

“During the recording of our last album, 311, we were creating some pretty tasty rock riffs and then combining them with vocal raps. A very simplistic approach, compared to the recording of Transistor, where the lyrics were composed simultaneously with the music. Each song is written with a specific melody in mind, leaving room for improvisation in order to add some extra texture to the music. Without it, there is no sense in continuing with that project. In short, slapping two things together doesn’t accurately portray the picture the song is trying to create, as well as having a complete vision and then seeing it through to its completion.

“Overall, everyone in the band has really grown and matured since the last album. [Chad] Sexton’s beats and [Tim] Mahoney’s solos are always amazing, but the biggest difference is S.A. and P-Nut’s growth in the song writing forum.”

“Every life form is based on this simplicity

 The soul that you have is electricity.“

But, like each of its predecessors, neither Transistor nor the band itself can be defined by anything less than four words. “Reggae and dancehall music have always been such a love of ours that we felt compelled to play it, as well as try and bring some much needed attention to the whole genre. It satisfies the whole band because of the intense rhythms of rap music, but also because of the melodies that reggae music provides. Therefore, our style for this record is a combination of the two. Each song is so completely different and unique, though; no one descriptive term can accurately describe the whole album. There are some rock songs, others that combine hip-hop beats with dancehall vocals and a 60′s style surf guitar sound into what has become a unique 311 formula. Simply stated, Transistor is a quasi-musical cocktail of funk, rock, rap, and reggae, with a few other spices thrown in. As a result, the music can be enjoyed by almost everyone.”

With guitarist Timothy J. handling all the blistering lead riffs, Nick providing layers of rhythm on the guitar, and P-Nut and Chad laying down the beat, it’s up to Count S.A. on the turntables to add sonic texture to the song. “Improvisation starts with a unique riff that hasn’t been used by anyone else. If it is adding to the overall groove of the song then we’ll stick with it and just let everything else flow. But if there are five musicians shredding at the same time, the music wouldn’t sound right. People need to know when to sit back and when to take center stage. In our case, this album reflects a lot more of S.A.’s vocal stylings, as well as adding the new element of turntables as a viable instrument into the musical mix. By doing so, we can explore on a wider musical scale without having to rely solely on the vocals.”

The sounds of 311 and Transistor are undeniably aggressive, but Nick is also very quick to respond that listeners should not mistake high energy for aggression. “A lot of people confuse aggressive music with angst-filled emotions. Some bands try to capitalize on this emotional response, integrating the anger into their own kind of sound to produce the desired level of energy. We would never sacrifice our own personal happiness to make the music sound more emotional–besides; I don’t believe that someone has to be really upset in order to rock really hard these days. Energy and emotions can come from almost anywhere, and to limit them to just the negative experience would be a great disservice to yourself and those around you. Musicians don’t necessarily need to have a tortured soul in order to be considered believable, as well as evoke an emotional response from the audience. Our music may sound aggressive, but we’re not letting off anger–we are jumping for joy!”

Point made. It is that kind of sensible thinking and grass-roots attitude that has helped to propel 311 to even higher levels of success against the backdrop of an angry society. You might be able to take the boys out of Omaha, but you simply can’t take Omaha out of the boys! In all, 311 can best be summarized with the opening lyrics to “Strangers,” the first track off Transistor that I originally heard in demo form.

“I can show you where’s the beat

And you can do as you feel as long as you move

Two perfect strangers sharing a groove.“ ^m^

Line-Up:                                                                         Origin:

Nicholas Hexum – Vocals & Guitar                      Originally from Omaha, the boys of 311

Count SA Martinez – Vocals & Scratches          now reside in Los Angeles

Timothy J. Mahoney – Guitar                                         

P-Nut – Bass                                                                    Website:

Chad Sexton – Drums & Percussion                      www.311.com

About The Current CD:

Transistor is the fourth album from 311, following on the heels of their multi-Platinum self-titled album

Discography:

Transistor (Capricorn, 1997)                                   Hydroponic (self-released, 1992)

311 (Capricorn, 1995)                                                 Unity (self-released, 1991)

Grassroots (Capricorn, 1994)                                  Dammit! (self-released, 1990)

Music (Capricorn, 1993)

Produced By:

Scott ‘Scotch’ Ralston

Label:

Capricorn

© July 15, 1997. Michael D. Vogel.  All Rights Reserved.  This originally appeared on the Vogelism blog at https://www.vogelism.com, authored by Michael D. Vogel. This article may be shared or reprinted as long as this entire copyright message, including the source location of this article, accompanies it.

(click on picture to open file)

By: Michael D. Vogel 

© July 1, 1997. Michael D. Vogel.  All Rights Reserved.  

Published in:

The Album Network magazine – July 18, 1997

Things are getting pretty unpredictable these days–movies about dinosaurs, cannibalism in professional sports and hearsay all over the country that hard rock is on the upswing again–what’s next, a Mars landing?

It seems most bands, at some point over the course of their career, change a member here or there. Usually it’s someone in the rhythm section that ultimately takes the fall. Switching singers however, has always been a shaky proposition at best. Change the vocal energy that often defines the group and you’re playing with fire. But then again some rules are meant to be broken.

After a brief hiatus and a one-off project, Mötley Crüe have returned with their original lineup and are ready to defy the odds. The LA natives have not only packed S.R.O. crowds into small clubs across the country for live listening parties of their new album, but are also receiving weekly sales orders for Generation Swine to the tune of over 120,000 copies in the first two weeks. From his home in Malibu, California, bassist Nikki Sixx spoke candidly about their live listening parties, the return of Vince Neil, a battle royal with Mancow, their fans and the new album.

What is the D.i.Y. philosophy of Mötley Crüe?

Nikki Sixx: “Music in general is still, for the most part, very corporate. What seems to get lost in the translation is that music needs to come from the artists themselves. Musicians are always in a state of struggle. But, there are also many outside influences insisting on telling people what to do. On any one-day the advice could be to change the name of the band or maybe cut, shave, grow or even dye your hair blue. Everyone always seems to know what is best for the other person and never for themselves.

“In our case, Mötley Crüe has always been about breaking the rules. Influences and opinions other than our own really don’t play an important role in the decision-making and songwriting process for the band. With the Dr. Feelgood album, there was a preconceived mission to buck the band and take the music into the mainstream beyond the normal three to four million copies sold. It was the first time the record company really put all their eggs into one basket for Mötley Crüe–and in return, the rewards paid off nicely!

“But success doesn’t always equal maturity. We, as a band, all had a lot of growing up to do. It’s not about Tommy, Vince, Mick or myself–it’s about the four of us and the music that we make as result of our chemistry together.”

With such a highly successful and cohesive unit, why change the band? 

NS: “When you’re in a band for 15-plus years, some changes can often be a good thing. After Dr. Feelgood we took almost two years writing our self-titled album and brought in John Corabi on vocals. His mellow, bluesy style was something we, as a band, wanted to embrace because it was a musical genre we had never done before. In hindsight though, I think we should have called this project something other then Mötley Crüe. It wasn’t what the fans associated with the Crüe ‘s music and therefore was met with quite a bit of resistance by both radio and the record buying public.

“As far as the label was concerned, there were a lot of rumors floating around that we were being pressured into bringing Vince back. This was simply not true! We had the committed support of Elektra to keep moving forward with our current lineup, but it was John himself who suggested that we could get more productivity out of the music with Vince back in the band. He simply felt that the fans would accept nothing less the original Mötley Crüe. 

“There is something to be said for the chemistry of personalities. You don’t always know what it is you have until it is gone. In our case, without a doubt, Vince was the missing element in the band. John is very low key, where as Tommy, Mick and I are all very high strung. With his return, the spring went tight; the band was back on track and ready to rock!

With all the heritage bands reuniting over the last few years, the 90s seem to be the decade of reunions. Yet, this seems to be much more then a reunion record.

“Validity comes from the sincerity of the music. It is why we do this and for no other reason. If there is another ulterior motive, then you are doing it for the wrong reasons. For example, by calculating royalties or how many T-shirts should be ordered, your focus for what is trying to be achieved becomes misdirected. Validity also comes from those that are willing to take chances. That is why David Bowie and the Rolling Stones, to name a few, are still so very cool and influential.

“We are back together because we want to be. For us, it all starts in the living room with an acoustic guitar and some toilet paper to write on. The intention must be put in at the very beginning of the songwriting process for music to be truly honest. At that time, the music will be of such quality that the fans will embrace it. We have a certain bond that allows us to make our own unique kind of music–one that pushes the sonic envelope production-wise but the basis of which is still very organic.

“As musicians, we discovered the four of us do something completely unique under the moniker of Mötley Crüe that works for a lot of people. We all have our side projects: Mick wants to do the blues, Vince is looking to eventually record another solo record, Tommy just completed Planet Boom and I have my side project, 1958. But we have never confused any of our personal interests with that of Mötley Crüe.”

How did the conflict with Mancow come about?

“The Crüe has always been a band that shoots first and asks question later. Rumors were flying back and forth, with each party escalating the whole situation. But, for the most part, everything got blown out of proportion. We want to support radio and at the same time be the recipient of its positive influences. It’s not about Mötley Crüe or Mancow, what really matters is the fans. We were all having fun with no intention of being malicious. In the end, we all had a good laugh and ultimately the fans won.

What does the title Generation Swine refer to?

“There is a lot to read into that. There are so many titles thrown around today, Generation Next, the Me Generation, etc., everything has become the ‘Generation Something.’ So, for us, the album title is really more of a tongue-in-cheek response to society’s need to place a moniker and description on everything. For the most part though, the name alludes to everything we’ve never stood for.

“As far as trends go, homogenized music and a lot of dance songs really annoy us. On the other hand, there are bands like Prodigy that really push the envelope of their musical ability and what is accepted in music today. Because we tend to put a descriptive title on everything, people are beginning to classify things as either old or new. There also seems to be a sentiment that only the new music is good. Fanatics are no longer exposed to a variety of different musical genres. Instead, as classifications go, you are either a rap fan, or a rocker or a cowboy. It is only recently, with the advent of artists like Prodigy, that there is a crossover of various musical styles.

“We just came back from doing a show in Copenhagen where we played on the coolest triple bill. What made it so significant was the variety in styles of the artists performing–The Smashing Pumpkins, Prodigy and Mötley Crüe. Even more amazing was the 90,000-plus audience singing along to ‘Tonight Tonight’ by the (Smashing) Pumpkins and Prodigy’s ‘Firestarter’ as well as ‘Shout At The Devil.’ It was the open-mindedness of the audience that allowed them to enjoy the widely varying styles of music being presented. Overall, society in general is simply over-labeled. In a perfect society, we would have no labels and one radio station that was open-minded enough to play one kind of music–good music!

“At its inception, MTV was very influential in helping to shape peoples musical tastes by exposing them to a variety of different kinds of music. At one moment, the viewer would be exposed to a Mötley Crüe video followed by one from Michael Jackson. This explains a great deal as to the surge in record sales back in the early 80s. We follow this philosophy in our live show as well. The music played before and after our set consists of everything from Frank Sinatra to Pantera to Alan Jackson. Overall, it is easier to be close-minded and say ‘no’ to new things than it is to invest the time to discover what the new experience truly is. That has been our message for the last 17-plus years.”

Critics expect records to be a natural progression. After more than years since Dr. Feelgood and nearly four since the self-titled album, is this the record your fans would expect?

“Progression is based on years and timelines. If Generation Swine were recorded four years ago, it obviously would sound very different than it does now. Over time an artist should grow and mature, or else they will stagnate and whither away. Each album is a snapshot of where that artist is at that moment. If we wait another 10 years between Swine and the next album, there will obviously be a much bigger jump than if we waited only a few years.”

What was the approach to the live listening parties?

“Usually, when a record label has a listening party for a new album, nobody hears the music. Our fans are rabid and somewhat out of control. As a result, we decided the best thing was to get back in direct contact with them. We invited a few thousand of our closest friends to local clubs and played the album top to bottom. After which, we sat down and talked directly with the audience. It was a very personal thing for both the band and the audience. In some cities, the results were phenomenal where as others were complete chaos.” ^m^

Photograph credit: John Harrell

Origin:

Hollywood, California

Line-Up:                                                                                    

Vince Neil – Vocals                                             Nikki Sixx – Bass & Vocals       

Mick Mars – Guitar                                              Tommy Lee – Drums & Vocals                          

About The Current CD:

In a career which has spanned over 17 years and yielded more than 35 million albums sold worldwide, Generation Swine is the seventh studio album from the Mötley Crüe and the first with reunited singer Vince Neil in nearly five years.

Discography:

Generation Swine (Mötley/Elektra/EEG, 1997)              Theater Of Pain (Elektra 1985)

Mötley Crüe (Mötley/Elektra/EEG, 1994)                          Shout At The Devil (Elektra 1983)

Dr. Feelgood (Mötley/Elektra/EEG, 1989)                         Too Fast For Love (Elektra 1981)

Girls, Girls, Girls (Elektra 1987)                                      

Produced By:

Scott Humphrey, Nikki Sixx & Tommy Lee

Label:

Mötley/Elektra/EEG

Website:

www.motley.com

© July 1, 1997. Michael D. Vogel.  All Rights Reserved. This originally appeared on the Vogelism blog at https://www.vogelism.com authored by Michael D. Vogel. This article may be shared or reprinted as long as the entire copyright message, including the source location of this article, accompanies it.

(click on picture to open file) 

By: Michael D. Vogel

© June 30, 1997. Michael D. Vogel.  All Rights Reserved.     

Published in:

The Album Network magazine – July 11, 1997

Fame and fortune do not always equal happiness, hard as it is for the average working person to realize. For Cry Of Love, the rise from obscurity to chart topping success has not been the smoothest of rides. It might be tough to conjure up a real level of sympathy for those whole earn their living by playing music in front of thousands of screaming fans, traveling the world and having anything they desire at their fingertips, but as Audley Freed, songwriter and guitarist for the North Carolina based quartet, Cry Of Love points out, musicians are people first and are hardly impervious to pain. Fame does not insulate – in fact, it tends to decimate our lives and emotions, regardless of the consequences. Clearly a mixed blessing, Diamonds & Debris demonstrates that there are no exceptions to that rule.

Pink Floyd’s acid casualty Sid Barrett may still be alive, but these days he’s only meditating. Make no mistake, Diamonds & Debris is the soundtrack for sin and salvation, telling the story of the journey of life while mixing together modern grooves, raw, high energy vocals, and searing guitar squalls mixed with a little bit of Hendrix riffage into a new southern psychedelia that’s anthemic and accessible.

From his home in Raleigh, North Carolina, Audely and I reflected on the philosophy of Cry Of Love.

What has been going on with Cry Of Love since the Brother album? 

Audley Freed: “After coming off tour in support of our first album, we decided it was time for a change in the band. This lead to the departure of our original singer and the introduction of Robert Mason by a mutual friend which ultimately led to a perfect match for the voice of our band. In between those two points, we wrote and rehearsed some of the songs we had already written for the new album. Because I like to keep the whole process as simple as possible, we used a four track recorder – the organic things a young band does when everybody plays an instrument.”

Has the change on vocals affected the band in any way? 

AF: “The band sounds better now then it ever has. Jason (Patterson), Robert (Kearns) and I have been playing together since 1989. We have grown together as a family unit. When Mason was introduced to us by a mutual friend, we knew this was to be our new singer and the newest member in our circle of friends. But this isn’t just limited to just the four of us, instead branching out in a lot of different directions including members of the extended Cry Of Love family.

“But, what is really important to us is playing in front of a live audience. It helps us grow and mature together as a band and at the same time challenge our audience with new material. When we recorded the first album, it was pretty much done in a simplistic, wham – bam, nature.  We went into the studio, knocked out the album and then we were done. For this record, Diamonds & Debris, we experimented with a lot more layering. Over all, the whole recording process for this album has been a completely unique experience for us mostly because we were forced to rediscover the things that helped make us who we are as musicians. The end results are a real step forward for the band both musically and professionally.”

Cry Of love has always presented a live, warm and friendly rock & roll sound. How do you translate that natural feeling to the record? 

“The process changed for us because none of these songs had been played before a live audience. With our first album, we had several years and hundreds of shows where were able to perfect our songs. When we entered the Jag Studio, we had some preconceived notions of what we wanted to accomplish, but for the most part we had a fresh canvas before us. We let the songs themselves paint what type of musical picture the album would become. This type of process can be very exciting because you never know what type of twists and turns the journey will take. But at the same time there is a certain level of trepidation because of the uncertainty of the end results. What you are left with is the spontaneity of the moment.

“There is something to be said for going into the studio with a clean slate. For the most part, it just depends on the circumstances involved and where your head is at that moment. In my opinion, playing the material in front of a live audience is a good way to test the arrangements of the song. The Grateful Dead were masters of exactly that! By moving parts of songs around and changing the arrangements, you can really test the boundaries of each song. That way, when you go into the studio to record, you really have a firm grasp on the song itself and what you want to accomplish. Unfortunately, what might work one year probably won’t the next.”

How much does improvisation come into play?

“Depending on the circumstances, sparks can happen at the studio. For example, just the other day, we were jamming on a new song. What made it great was the fact that it was spontaneous. Sometimes it can be the melody or a riff that ultimately causes one of us to go off on a musical tangent. It can be somewhat methodical in the mixing and matching of various elements. Sometimes the song can come to fruition in five minutes and others several hours or even days. The trick is not to over-work the song to the point where all the life has been drained out of it and at the same time yields some fruits for the labor involved.

“We might improvise on the guitar riffs or vocals or even in the instrumentation of the song. On tour, we make sure to leave extra room for sonic exploration, but the arrangement of the song is pretty much fixed – lock, stock and barrel. The solos make playing the music for a live audience fresh and exciting. For the most part though, we really like that kind of improvisational thing, but in the studio we have yet to completely explore that musical direction.”

As a child, did you ever fantasize about playing in a band? 

“Who doesn’t dream about becoming a famous musician? I was pretty much the same as the other kids growing up. There were posters of rock stars on my wall. Before the days of MTV, I always tried to watch those few bands that made it onto broadcast TV. That was a fantastic period for me. All of my personal aspirations were wrapped up in playing music professionally. When it comes right down to it though, to be afforded the opportunity to be a musician is really a blessing. But at the same time there is also a lot of hard work and sacrifice involved. To truly achieve a level of success in this game, you must remember that there is always something new to be learn.” 

How does reality compare to that fantasy? 

“When I was a kid, I dreamed about playing my guitar in front of people and making records. It really wasn’t the glamour of limousines and trashing hotel rooms that appealed to us, so we don’t actively pursue those types of social circles. We see ourselves as just a little rock band trying to survive playing the music we want to play. If we can all grow both as musicians and as people, then everything becomes worthwhile and that is the epitome of what Cry Of Love is all about.”

With the plethora of bands recording today, do you feel Cry Of Love is still in a battle for recognition? 

“It is not really a struggle to be known as it is to try and keep your head above water. We are a workingman’s rock band, extending to both sides of the stage. We match the demographic of the people that come to see our live shows and buy our records.

“I’m not knocking any of the glitz and glamour. If your are into the whole scene, and that is what you aspire to, then that will motivate you to achieve a certain level of success. Personally, I would rather aspire to become a good guitar player because that is my whole life, it is what I do.”

In writing and recording Diamonds & Debris, you stated you were aiming for an album that was well crafted but also maintained that raw feel. Do you feel you have accomplished that goal? 

“Among rock bands, this somewhat of an age old ethic. A well-crafted album exists on two levels. First, some songs simply need to be crafted. The length of time involved depends on the individual song and on the attitude the song presents. The other level deals with the framework of the song. These can best be described as all the things that add up to make the song what it is.

“Some artists use music to help reinforce the lyrical imagery being presented. By approaching a song from a painter’s perspective, musicians like David Bowie and Jimi Hendrix are prime examples of those who use potent imagery to present intricately crafted songs. As for us, we are really just getting our feet wet being a bit more elaborate then taking the completely bare bones route.”

The album title Diamonds & Debris presents a dichotomy. Dealing with topics such as `sin and salvation` and `myth and reality`, was this album a soul cleansing for the band? 

“You are needing a sense of closure to anything. When the project has reached its conclusion, you relax and breathe a sigh of relief. This is where the Diamonds & Debris dichotomy comes into play. It really encapsulates the idea that life is a journey and not just a destination. It is very naive to think that you can sit back and never experience any difficulties. This is the real world where learning new things is part of the daily routine. By doing so, you stay firmly entrenched in reality instead of reaching for something that doesn’t exist. In all, once you stop pursuing the things that make you happy, you really become an incomplete person!” ^m^

Photograph credit: James Minchin

Line-Up:                                                                                      Origin:

Robert Mason – Vocals                                                           Raleigh, North Carolina

Audley Freed – Guitar                                        

Robert Kearns – Bass

Jason Patterson – Drums

About The Current CD:

After an impressive showing on their debut album Brother, which yielded three rock radio hits, Diamonds & Debris is Cry Of Love’s sophomore effort and first record in nearly four years.

Discography:

Diamonds & Debris (Columbia, 1997)                                                       

Brother (Columbia, 1992)                       

Produced By:

John Custer

Label:

Columbia

© June 30, 1997. Michael D. Vogel.  All Rights Reserved. This originally appeared on the Vogelism blog at https://www.vogelism.com, authored by Michael D. Vogel. This article may be shared or reprinted as long as this entire copyright message, including the source location of this article, accompanies it.