(click on picture to open file)

By: Michael D. Vogel

© May 22, 1997. Michael D. Vogel.  All Rights Reserved.

Published in:

The Album Network magazine – June 6, 1997

Free Gotham – January 20, 2012 

Is there an archetypal locale in this great country of ours from which hardcore rock bands are formed? First responses might be Los Angeles, New York, Detroit or maybe even Washington D.C. But wherever this mecca of aggressive rock may lie, the humble and quaint surroundings of San Francisco, most probably don’t pop up very often in hard-edged comparisons. After all, the bay area is the home of the Grateful Dead, Jefferson Airplane and Journey to name a few.

Although most of the members are involved in various side projects, a team sense of pride is deeply rooted within the band. It is a fierce energy that has bonded these men together for a career that has spanned fifteen years and seven albums to date. But this is not a happy band. The members of Faith No More feel they have not fully realized their potential nor have they received the attention they deserve.

Plenty of rock and metal bands have incorporated different musical styles into songs, usually in very small doses. With Album Of The Year, Faith No More have taken the next step on the road to darker pastures. Battling constant rumors of a split and the ever- present battles in the court system, bassist Billy Gould took some time out to discuss the state of Faith No More and set the story straight.

Faith No More has always been about explosive music, yet as of late the rumor-mongers and fortune-tellers of the music business have predicted the eminent implosion of the band. Let’s set the story straight! 

Billy Gould: “In a nutshell, here is our history – Faith No More have been together for almost fifteen years, releasing seven albums to date, one every two years. When any group of people are together for that long there is bound to be some turmoil, but nothing that was to overwhelming to resolve. As for rumors and insignificant gossip, we have been dealing with those kinds of breakup speculations since we recorded our first album. Our last album, King For A Day, Fool For A Lifetime was somewhat of any angry record. The material came out of the firing of our guitarist, Jim Martin. We all thought the band was lacking in guitar heaviness in the past. So our intention was to record an extremely guitar heavy album. Once the record was completed, we hit the road touring for a short nine months. Not wanting to be too burned-out, we stopped touring a little early and went immediately back into the studio to record a new album.

“The way we work musically is a democracy. This process is a little harder because the album needs to be worked out to everyone’s satisfaction. As members of the band, we all realize there is a need to compromise, but at that same time there is also the desire to be able to exercise your own artistic vision. It is that reason, (Mike Patton has Mr. Bungle; Roddy Bottom started Imperial Teen; and Mike Bordin has been playing with Ozzy Osbourne); they all have their side projects. Each of these other projects is completely different from the others.

“Once you get the demons out, then your ready to come back and face the war with a clear head. Each of our albums has been a logical progression. As far as a particular formula for our sound, we don’t follow any particular guidelines. A formula is not something that we could really hold onto. We are a real band: An organic entity that matures, experiences changes and gets older. As we see it, our responsibility is to grow in the most natural way as possible. Album Of The Year expresses that growth. Although, for a definition of the album, its’ meaning will probably not be evident for a couple of years – until we can all look back and see how it fits into the rest of our chain of records.”

As an anti-formula band, Faith No More seems to thrive on the philosophy of concentrating on areas that are lacking from past albums. Is there a certain point you are trying to get across? 

BG: “The Real Thing might be unique and a little different from the mainstream, but for the most part it was a pop-rock album. Unfortunately, as a result, we had developed into almost a cartoon type band. In order to show a different, darker side of the band, we recorded the Angel Dust album. Although this was a heavier record, with a lot of atmosphere, it never really smacked you in the face. King For A Day, Fool For A Lifetime was really where we attempted to do just that.

“We always try to do strengthen those area’s we feel are shallow. King For A Day was the release valve. An explosion of music that we really felt we needed to express. Our new record, Album Of The Year, is somewhat of an after effect. The debris has settled, leaving the exposed the wreckage. In all, it is a post explosion, moody album that deals with the topic of death.”

Is this a manifestation of the D.i.Y. (Do It Yourself) philosophy?

“If you think about the process of maturity, there are certain point where adolescence ends and adulthood begins. There are always certain things that signify each of these stages. But, for the most part, growth can be a very intense process. Bands of today are not encouraged to grow and develop, taking chances with their music. It is a very painful thing to do. So we took it upon ourselves to push who we are as a band and what we are representing musically. In more simple terms, we record what we heard inside of our heads and not necessarily what outside influences are dictating. 

“It is impossible to classify Led Zeppelin or Pink Floyd; they are in a group unto themselves. Similar to that, we want to create our own category, where there are no comparisons of any kind. People have always tried to classify our music. Some say we are metal while others say we are more funk oriented and still others think we are the perfect crossover mix. We would prefer people to say instead, Faith No More recorded a new album and it sounds like Faith No More! To be creatively satisfied is the ultimate goal of any musician.

“The same can be said for the name of the album. It has really taken on a life of its own since coming up with the title Album Of The Year. On one hand it took a whole year to record, so it really is the ‘album of the year’. But is also a tongue and Cheek joke. It is a response to the way things are over-hyped these days. This level of hype and the threshold of a person’s credibility has been taken to such an extreme that the title becomes a relevant statement of the times.”

Over the years many artists have been labeled wild cards – renegades that are outside the fringe of conventional music. Do you feel Faith No More is now caring that flag? 

“We have been ignored over the last couple of years. For a lot of people, especially in the music industry, everything would probably be better if we just went away. Our music makes it very difficult for radio programmers to categorize because we the wild card that doesn’t fit into any one format. If the world were orderly and neat with everything fitting into its’ predetermined slot, the whole business would run much more efficiently. But that is fantasy and this is reality. For better or worse, people today are on the bandwagon where everyone belongs to a particular group. So by giving the record the title Album Of The Year, it is our way of injecting a little obstinacy into reality.”

In the past, Faith No More has shied away from the over use of toys that modern technology provides. Has the band now embraced the new age? 

“Our philosophy has always been that the more stuff you include on a record, the smaller the album becomes. As a result, we have always tried to keep things as minimal as possible. But then again there is nothing wrong with pro-technology either. The most important thing is that it works well with the music.

“The beauty of modern technology is that it puts the power back into the hands of the musicians and away from studio tech’s and engineers who have, for the most part, made themselves a necessary part of the recording process. In the past a few thousand-dollar investment got a band a three-song demo tape with no flexibility for creative input from the band. Now, for that same investment, a band can buy a computer hard drive recording system and make demos to their own specifications. There is a certain amount of pride that goes with doing something for your self. For example, we edited this record in my basement. That’s not something that could have been accomplished five years ago.”

You once said ‘The music business is disgusting’. Do you still feel that way? 

“There is a lot of hypocrisy in the industry. Most of today’s music mirrors what is going on in the business right now. This irresponsibility comes from the corporate nature music has evolved into over the last several years. A major reason why records aren’t selling is due to the lack of connection people have with the music. The industry is out of touch with what is written and recorded. In short, there is so much control over what is being released that the music tends to suit the needs of the people who are promoting it rather than those who are recording or buying it.

“If you don’t sell records, the band is eventually going to get dropped from the label. A record companies vision is on a quarter-by-quarter basis. They are very short sighted; it’s part of the business. So, if you are going to pursue the path where you are self-reliant, you then run the risk of losing everything you have worked hard to achieve. There is also the realization that there may be no rewards at all, other than the self-satisfaction of enjoying what you are doing. For better or worse, we have taken that path. But I am relieved that, like this interview, it hasn’t all gone for nothing!” ^m^

Line-Up:                                                                                   Origin:

Mike Patton – Vocals                                                            San Francisco, CA

Jon Hudson – Guitar                                                                 

Mike Bordin – Drums                                                                

Billy Gould – Bass

Roddy Bottum – Keys

About The Current CD:

This is the seventh album from a career that has spanned over fifteen years. Other notable successes of Faith No More – 1989′s double platinum The Real Thing and 1992′s gold album Angel Dust.

Discography:

Album Of The Year (Slash/Reprise, 1997)         

King For A Day, Fool For A Lifetime (Slash/Reprise, 1995) 

Angel Dust (Slash/Reprise, 1992)

The Real Thing (Slash/Reprise, 1989)

Introduce Yourself (Slash/Rhino, 1987)

We Care A Lot (Mordam, 1985)

Produced By:

Roli Mosimann, Billy Gould & Faith No More

Label:

Slash/Reprise 

Website:

www.fnm.com

© May 22, 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 

© May 8, 1997. Michael D. Vogel.  All Rights Reserved.  

Published in:

The Album Network magazine– May 23, 1997

Free Gotham – January 13, 2011  

Everyone has a different concept of what reality is. On the surface, it would seem, by definition, reality would be an absolute constant in any situation. As always, truth is never easy to come by. Everyone has his or her own interpretation of what is real and what is not. Those who share a similar outlook on what is reality we call our friends and comrades and those that don’t we tend to avoid. Such is the case of Sammy Hagar. Where the “Red Rocker” used to count his friends on one hand, he now counts them on the other.

In order to move forward we sometimes have to take a jump or “a leap of faith.” It’s really all about getting things started, finding new ways of solving problems and making your presence felt. Sammy Hagar has done just that. After what can only be described as an ugly split, the former lead singer for Van Halen didn’t sit back and relax, waiting for something to come to him. Instead, with the help and advice of Mickey Hart, the Grateful Dead’s longtime drummer extraordinaire, Sammy has turned the other cheek to begin the next chapter in his life. Relaxing in the plush confines of his Beverly Hills hotel suit, Sammy and I discussed life after Van Halen, his evolution as an artist and what the future holds in store for the “Red Rocker.”

There are three messages on your answering machine: One from God, another from Michael Jordan and a third from Eddie Van Halen – Do you return any of the calls? In what order?

Sammy Hagar: “I would certainly call God back immediately. The first thing I would ask him is what does Michael and Eddie want from me? If he couldn’t give me an answer, then I would probably call both of them back. I would be curious as to what Eddie would want. At the same time, I’m not interested in rekindling anything other than a friendship. If it were just a call to talk and wish each other the best, then that would be great. I’d certainly call him back but I would rather hear from God than anybody else.”

Is it really just a matter of letting the dust settle? 

SH: “I was forced to become a solo artist again. That being the case, I went straight ahead into it. I’m the kind of person that can pull things together fairly quickly and land on my feet. Don’t get me wrong, I was pretty mad, but there is only so long you can dwell on it. I didn’t want to sit around and procrastinate nor did I want I want to take much baggage with me.

“The strained feelings between the band were already there so it was no surprise when the call came that the band was over. We had just wrapped up the last tour and were about to jump into the Twister soundtrack project. At the same time, my wife and I were expecting a baby. When I tried to talk to the guys asking them for a little time to rest and spend with my wife and new child, they were very rude about the whole thing. This wasn’t going to be another Fast Times At Ridgemont High or Heavy Metal, which were movies that dealt heavily around a soundtrack. I tried to write the songs with Eddie, but they wanted to go left and I wanted to go right. It was evident at this point that doing a new record was going to be difficult. I really didn’t want to record a song for the greatest hits record for a third time with a third producer. Before I knew it, Eddie had gotten Dave back in the band to record a few songs for the greatest hits album. At that point, at 9:00 a.m. on June 16th (Father’s Day), Eddie told me they were having a great time with Dave, just like the old days, so I might as well go back to being a solo artist.

“Eddie and I could sit down and write another great record tomorrow; but the point is, I was forced to become a solo artist again. I went to Maui for a few weeks to contemplate retirement and the future. Those were two of the most miserable weeks I have ever had. Here I was in one of the most beautiful places on Earth and I couldn’t enjoy it because I was upset. So I dove head first into what was now going to be my future. If I didn’t, I would have gone crazy.  Mickey Hart had a similar experience he shared with me. When Jerry Garcia died, he felt lost. The Grateful Dead was a huge part of his life and without that he had a big void. So, but getting right back into the creative process of writing music helped in the healing of the soul.

“As far as the new version of Van Halen, I hope they are great and if they flounder and ruin this big thing, I’ll be greatly disappointed. There were times, in the studio and onstage, that I think we were the greatest band in rock history. We could have gone up against Led Zeppelin, Cream or even U2 at their best. I admire all these groups but I can also state there were times when Van Halen was the crème de la crème. I’m not trying to destroy anything about the past but rather preserve it. I would like our history as a band to be put on a pedestal so that it may be seen as special as it really is. So, I’m still holding the banner for Van Halen to help preserve our past.”

Is it necessary for interviews to be very confessional, otherwise the public may tend to lose interest?

“I have always been that way. I feel a need to bear my soul because I always want to be truthful. Part of the reason I think I have been around for so long is that I have been honest with my fans. I think they trust and believe in me and the last thing I want to do is change that. For example, I have never endorsed a product that I don’t use personally or believe in. I play Washburn guitars so I endorse them. I love Cabo San Lucas, so I try and convince people to come and enjoy the city’s beauty. I don’t ever want to be put in a position where I tell people what to do, like, Drink Milk. Above all honesty is the best way to promote something.  I really feel if I don’t bear my soul at all times, then I’ll erode at the level of trust I have built with my fans.”

Because your music is very confessional, do you often have to explain yourself in much more depth than those artists who record simple pop songs? 

“I feel I have run out of that. Back in 1972, I wrote `Bad Motor Scooter,’ which was a pop rock semi-hit. On the other hand, `I Can’t Drive 55’ was a big success, both to the fans and various law enforcement agencies. The song was an honest statement, being written shortly after receiving a ticket. Throughout my career, I have written several pop songs, with Van Halen as well as on some of my solo material. I don’t go about trying to write a pop song, they just end up that way. It is for that reason that I try to be soul bearing in my songs in order to take Sammy Hagar to the next level as well as being different from everyone else.

“I love songwriting especially if I make so sort of connection with the fan. The best way to do that is to keep exposing truth and honesty. Real true-life experiences aren’t always the biggest radio hits, but the do tend to touch people a little deeper, creating a bigger impact. These are the kinds of songs I try to write. `Where Eagles Fly’ is a good example of a song that reaches people at a very deep level. Personally, I don’t care about a pop melody that’s fun to sing if I can’t make a personal connection. When everyone can feel the same thing in the deepest form possible, then a higher force can come into being. This ultimately should reveal the presence of God.”

Do you find that you always need to be serious or are you done fooling around? 

“I have always felt a need to be serious. I am very serious when it comes to my private life. I am very methodical when I’m home, always reading, studying and thinking. But there is also an outgoing side that loves to have fun. I’ve got two sides and both are very evident on this record.

“As far as my lyrics are concerned, most people don’t take them seriously of my image. My outgoing stage personality has always over-shadowed everything so people just assume that I must be some sort of crazy maniac party animal. I am so opposite of that in real life. Even the critics who dislike me for being irresponsible will see a different side of me. I have exposed a lot more of myself, the true Sammy Hagar. Marching To Mars, in my opinion, is the closest to who I really am.”

Do you ever wonder if some music could ultimately have a damaging influence over some people? 

“As much as we would like everything to be positive, some things just aren’t possible. For example, the Van Halen song `Don’t Tell Me What Love Can Do’ originally was titled `I Want To Show You What Love Can Do.’  I wrote the lyrics about Kurt Cobain with the intention that if someone had truly shown him what love could do, it just might have saved his life. That is a very bold statement to make, especially in hindsight, but in my heart I believe that had I known him personally, I could have made a positive impact on his life. As for the song itself, the band felt it just wasn’t right. So, because we were a band, I compromised and changed the lyrics, something I never would have done on my own record.”

Art as a medium, whether it’s movies, theater or any other form, has an obligation to try and improve the world around us. Do you believe music has any obligations? 

“Artist should reflect the world the way the see it, that’s what makes it art. Although music has power, I don’t think it has any obligations. This album is a real reflection of what is in my heart. Songs like `Amnesty Is Granted`, `Karma` and `Little White Lie` are all true reflections of my feelings inside. While some of the biggest pop songs of all time were senseless with absolutely no message to them at all. Personally, I feel an obligation to try and reflect on what I see in the world. When you don’t have anything left to say in your heart, look around and see what nature and the environment provide. All you need to do is stop, look and listen to what is gong on in the world around you.”

From pre-Montrose to post-Van Halen what is the evolution of Sammy Hagar? 

“It has been all documented and recorded. All in all, it has been one huge learning experience. I learn everyday how to better express myself, which is the best think, I think, an artist can do. John Lennon is a good example; he was able to freely express himself through song, while Jimi Hendrix excelled at self-expression through his guitar. I am learning to be comfortable in my career and in myself that I may freely expose myself on a record. I’m not afraid anymore, so that has pretty much been my progression.

“I never would have been able to record an album like Marching To Mars if I hadn’t been part of Van Halen. I’ll be the first to admit it; being in Van Halen helped me become a better singer and songwriter, a better player and a better performer. But it doesn’t stop there. I’m always trying to become better. All those experiences, as well as a divorce six years ago, have helped in the evolution of Sammy Hagar.

“During the Montrose era, I was always the rock star. I was dressed in platform shoes, bellbottom pants and glitter. I wouldn’t leave the house unless I was decked out for fear that someone might see me opposite of what I was trying to portray. I was a wild and crazy man throughout the 80′s. I didn’t want my true self to get in the way of my image. I could run faster, scream louder, jump higher and play faster then anyone else. I’m not a screaming raving maniac anymore, but when I hit the stage, in front of 20,000 people, I certainly become a little more outgoing. So you can either retreat into your shell or get out and experience the world.”

What risks do you take when writing and recording new material? 

“The only risk I can see is not going into this record with a band. It was less of a risk by not competing with Van Halen then it would have to assemble some of the greatest rock players around. I didn’t want to compete with them on any level. You don’t leave a band like Van Halen and then try and put another band together just like it. So, instead I went the direction of the blues, using different kinds of players, I felt it was the right thing to do. As far as the line-up for the record, it was a lot less methodical then you would think. The synchronicity of the event and good karma helped everything to come together. As long as the music sounds good in the end, then there really aren’t any risks involved.” ^m^

Photograph credit: Melanie Nissen

Origin:

Monterey, CA, but he now resides just outside of San Francisco

Discography:

Sammy Hagar:

Marching To Mars (Track Factory/MCA, 1997)                     Musical Chairs (Capitol, 1981)

I Never Said Goodbye (Geffen, 1987)                                          Street Machine (Revolver, 1979)

VOA (Geffen, 1984)                                                                              Danger Zone (One Way, 1979)

Three Lock Box (Geffen, 1983)                                                        Sammy Hagar (Green Light, 1977)

Standing Hampton (Geffen, 1981)                                                 Nine On A Ten Scale (One Way, 1976)

Hagar Schon Aaronson Shriev (aka (HSAS)

Through The Fire (Geffen, 1984)

Van Halen:

Balance (Warner Bros., 1995)                                                         OU812 (Warner. Bros., 1988) 

For Unlawful Carnal Knowledge (Warner Bros, 1991)         5150 (Warner Bros., 1986)

Montrose:

Paper Money (Warner Bros, 1974)

Montrose (Warner Bros, 1973) 

Line-Up:                                                                                    

Sammy Hagar – Vocals, Guitar & Bass    

 Guest Musicians:

Slash – Guitar                                                                                        Mickey Hart – Percussion

Ronnie Montrose- Guitar                                                                 Giovanni Hildalgo – Percussion

Roy Rogers – Slide Guitar                                                                Bootsy Collins – Bass

Huey Lewis – Harmonica

About The Current CD:

This is Sammy Hagar’s tenth solo release/sixth major label studio album and the first to be release by the Track Factory/MCA following an eleven-year run as the lead singer for Van Halen.

Produced By:

Mike Clink

Label:                                                                                                       Website:

Track Factory/MCA                                                                            www.redrocker.com

© May 8, 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

© Aprl 14, 1997. Michael D. Vogel.  All Rights Reserved.

Published in:

The Album Network magazine – October 25, 1996

From seemingly out of nowhere, Seattle, WA punk/popsters, The Presidents Of The United States Of America (now that’s more than a mouthful) seem poised to once again capture the imaginations of America’s youth. Although no bet is entirely safe, in this instance, the best way to endear one’s self to the mainstream is to completely cut across it; to turn one’s back to the establishment and create your own musical vein.

That is exactly what The Presidents have done. Fresh from their 1995 Grammy nomination for “Best Alternative Music Performance,” and a certified double platinum debut release, the (other) boys from Seattle are ready for another term, with their sophomore release II; after all, this is an election year!

For this article, I got Two-String Basitar (a guitar with two bass strings)/singer Chris Ballew on the phone for a little chat.

The band has been covered by such a wide variety of magazines that you guys could be considered the media’s darlings. Does all the attention sometimes become overwhelming?

Chris Ballew: “When I was younger, I spent a great deal of time playing (music) down in the subway. Playing for such a diverse group of people gave me a good indication of what appealed to people. I was looking for some sort of physical reaction to determine whether my music was really being enjoyed. When I began to see a positive reaction, I knew I had achieved a certain level of success.

“As far as being on the cover of a magazine, I see that more as a screwed sense of reality. It’s not real in terms of who you are, how you feel, or the way you conduct your life. It’s very superficial and detached. The scene is set and the shots are already laid out. You take the pictures with the photographer and then it appears on the cover of the magazine. Sure, the exposure is great, but there are other things to do.

“In raw, basic terms, I look at it as simple advertising for the band. All the coverage is flattering and it definitely helps for recognition and the marketing of the albums, but I don’t get to the point where I change my frame of mind as an artist. At times, it seems as if I’m looking at someone else.”

After selling over 2,000,000 copies of your debut album, what’s next for The Presidents?

CB: “For me, the key to writing a good song is the music. I never compromised my songwriting toward the goal of popularity if I didn’t feel the song was good enough to be performed live. Unfortunately, a lot of people tend to discount something that is popular and fun, as not being worthwhile. Somewhere along the way, somebody took the roll out of rock & roll and it just became rock. If we are able to hold our own in the marketplace of incredibly meaningful rock, then that is the ultimate in musical statements. I just don’t think rock has to be socially conscious to be successful.”

How long does it take to write material in this stream of consciousness method?

“I didn’t really write songs for just the two records. Some of the material from the first album is from 1987 and some of the new album is from 1985, like ‘Little Indian Princess,’ which was sold on a demo tape at some of our early shows. As far as our live shows are concerned, we have begun to track through the back catalogue to incorporate some of our older material into the set. In all, the music just comes to me from all over the place. It develops somewhat of a life on its own; a song is done when it feels and sounds ripe and is ready to go. It could be a day, a week, month or even several years.

”The success we have seen as a band recently has inspired me to be more creative and really challenge myself to grow as an artist and songwriter. It really comes down to a 24-hour thing. I have tape recorders all over my house because I never know when creative inspirations are going to come to me. Every once in a while, I review what was recorded and if it catches my ear of cultivates the creative juices, I’ll develop it. I had this idea about writing a song about volcanoes; they explode with raw force and power – that’s rock & roll imagery at its finest!”

What kind of goals have you guys set as a band and what are the overall expectations of the new album?

“We really don’t have any. In a creative way, we kept the expectations low. We strive to do the best effort that we can. We do the interviews and the photo shoots, as well as the radio promotions. But from there, it’s really in the hands of the radio listener. If they appreciate our music then they’ll buy our albums. I never would have predicted that our first record would have done as well as it did.

”For the most part, this is all hindsight because these were never issues when we recorded the first album. I’d become a creative cripple if I tried to think in exclusive terms of what’s going to sell records. In my opinion, that is the first step on the path of making extremely mediocre music. This is a very personal art, an extension of one’s self. For the most part, I’m trying to be as creative as possible so that I don’t become bored with the scenarios of everyday life.

“As far as expectations from the label, we went into the studio and recorded the best album we could. My basic philosophy is that if you reach one person and it helps rock their world, then it’s all worthwhile.”

What kind of evolution will we be seeing in the musical styling of The Presidents?

“After this record, we’re ready for a slight style deviation. We have already begun thinking about adding an acoustic section to the middle of the set when we got out on tour again. The nuances get pummeled when we perform live. It’s really more about rhythm and less about the big tone taking over. BY doing so, we create more space in the music and ultimately provide a great contrast within our live shows by adding a five or six song acoustic set in the middle of the show – similar to a singing-around-a-campfire. I could see The Presidents taking that kind of direction.

”We have become a rock band because we play these huge shows, like Mt. Rushmore, as well as tours in Japan, Australia and Europe. My goal is to transcend this. I like the tension that is created when rock music is performed acoustically; that is really the sound I’m aiming for. Imagine, for example, if ‘Walk This Way’ was performed with acoustic guitars. That would create an interesting sound. Not your typical acoustic guitar, but a slightly overdriven guitar sound with a drum set and a modest little tone to carry the music. That kind of musical feel, like a campfire sing-along, would create tension for this anthemic arena rock song.”

Have you ever used an existing song or arrangement as a model for other material? 

“I used to think that every song needs to have its own personality, but I don’t feel that way anymore. I don’t like the pre-packaged, homogenous music that is form-fitted to certain musical genres. As a result, I am not really driven to push the arrangements of the songs too hard. My main interest lies in achieving interesting tones and good lyrical content. For the most part, I leave that up to Dave and Jason. We’re not looking to rearrange how a rock song is created and performed; there are limits and restrictions within any given format. I like limitations; they cause you to use all your resources to be as creative as possible. The two-string bass and three-string guitars are good examples of these limitations that have provided for positive results.”

Coming off a constant touring schedule, when did you find time to write new material?

“I write all the time when I’m on the road. I never know when a creative idea is going to hit me, so I always bring an acoustic guitar, small keyboards and a tape deck. I go through my whole library of songs, fine tuning the older ones and writing new ones. So, every song is in a different state of construction all the time.

”If we start jamming to something in an aircheck, and we are all into it, then it’ll be a song that we spend further time developing. It’s a real natural kind of thing. We just let the cream rise to the top and never second-guess the effort that we put into it. If the song has merit, then it will rear its head and make some sort of impact on the fans.

“I have a bunch of songs that I have written myself. The sound is completely different from that of The Presidents. I represent the entire band on an 8-track recorder. Dave also has other songs that aren’t part of The Presidents’ repertoire. His musical approach is more revo0lving around straight-forward rock, with a Buddy Holly style.”

You guys produced this record, why?

“We knew what we wanted. We don’t want our ideas clouded by an outside person’s interpretation of what our band was supposed to be about. We’ve tried to work with other producers before and it has worked to some degree, but the situations always tend to be tense, ultimately ending up in a deadlock between them and us. Producing our own album created quiet an interesting situation for us for us because on one hand, it requires a lot of critical listening and not letting it interfere with the creative process. The only outside source was our sound engineer, Craig Montgomery, who is a veteran of the business, having worked with bands like Nirvana. He has a real understanding of our sound, helping to translate that during our live shows, as well as on our studio albums.”

What kind of album did you set out to make?

“We had the material for the album already finished. A lot of the songs we have been playing live for quite a while. The idea was to go into the studio, record the songs and then augment them with different sounds.

”When we originally went into the studio, back in January, we did too much thinking and not enough drinking. Working under those type of conditions can be very constricting and really promote atrophy of the creative spirit. As a result, we ended up with an uptight sound that we just weren’t happy with. Ultimately, we scrapped most of the project, keeping only a few basic tracks and some vocals.

“The initial recordings were done at The Wilson sisters’ studio, Bad Animals. The bulk of the recording was done in about 20 days at the end of August. Most of the album was (ultimately) recorded at Studio Litho in Seattle, which is Stone Gossard’s studio for Pearl Jam.

“In a nutshell, we look at our music as a sonic representation of three guys having fun and then jettisoning it out into the world. On a professional level, I think the ultimate compliment for The Presidents would be that our music inspired someone else to go out and start a band.” 

What’s the story behind the first single, “Mach 5?”

“Think back to when you were a small child and the thrill and exhilaration you experienced when smashing little matchbox cars. I took the basic experience and emotion and incorporated it into a rock song. Sure, there are some ‘Speed Racer’ tie-ins, but overall there are no hidden meanings in the song. Some people hear rockets and others hear cars. In its simplest definition though, the song is about the joy of smashing toy cars with rocks and hammers.”

Where do you draw the ideas for each song?

“I have gotten pretty good at exercising my imagination and keeping it nimble. A lot of what I think of doesn’t make sense, but that’s the fun of being creative – it doesn’t have to be coherent. I draw most of the ideas from childhood experiences. Some of the characters in the songs, and the style of the lyrics, came from the time my brother and I would make up songs while we were playing with our Lego’s.”

“I was trying to write songs for years that weren’t very personal, somewhat strange and removed from my own experiences. Then the realization hit me – my life experiences are my vocabulary for the songs. I started mining that without regard for whether the lyrics made sense because somehow they would make sense. Paul McCartney wanted to remove a line from ‘Hey Jude,’ but only after insistence from John Lennon was the line left in. The lesson learned is that if you can get outside of your own expectations, as well as living with your own mistakes, you tend to realize that things are better than what you originally thought in the first place.

“I try to write material that I am familiar with. I will take something I am fairly familiar with and then take it to the fantasy level. For example, ‘Dune Buggy’ starts out with the nut of the song describing a childhood memory of finding spiders dried up inside a toy police car in a heating duct. I then took it one step further, into a different world, where spiders drive dune buggies. It’s kind of like starting with a kernel of reality and then taking poetic license to manipulate it.

“Ultimately, the song doesn’t have to be about reality. It’s just an opportunity to be weird and crazy and surreal and not make any sense whatsoever.”

What are some of the things, then, that you do take seriously?

“I look at it more like reveling in certain feelings and subject matters. It is from this point that I take a little poetic license and dress it up in a somewhat surreal way. It’s simply a matter of playing with the material and not trying to deconstruct the feeling or sentiment to the point of parody. It all comes back to the point of having fun. The music paint’s a mental image, it’s meant to promote a festive atmosphere – plain and simple!”

Your live shows have a lot of energy. Have you ever thought about recording some material live?

“We are planning to release 12 live B-side songs for this record. Some songs are renditions from the first and second albums, while others are new material that we have not yet recorded. In addition, there will also be a promotional CD with five or six songs that should be included with the new album. Unfortunately, this is only promotional and will be included with the new record through Christmas.

”As a project by itself though, I would love to do some sort of a lie album. Whether it was an MTV ‘Unplugged’ show or one of our concerts, this would help bring the band into the living rooms of those that have never experienced one of our shows.”

What’s the deal with the hidden track on the album?

“It’s a song I made up with a bunch of friends back in 1986. My buddy was relaying this story about a basketball dream he had while I was at a typewriter typing out a few bits. After whispering part of the story to my then six-year-old nephew Tony, he repeated it into a recorder. After putting it music, I had this little unexpected gem.”

In hindsight, have you found it to be a detriment being called The Presidents Of The United States Of America?

A name is just a name. It is simply something that is functional. It is not there to make some sort of profound statement. The point is really to bring people into our shows and turn them on to our music. What would it take for me to randomly purchase an album? – A band with a distinctive name. So, I guess we have accomplished that goal!” ^m^

Photograph credit: Lance Mercer

Origin:

Seattle, WA

Line-Up:                                                                                    

Dave Dederer – Three String GuitBass & Vocals

Chris Ballew – Vocals & Two-String Basitar

Jason Finn – No-String Drums & Vocals                                  

About The Current CD:

II is the sophomore release from The Presidents. This album follows on the heals of their double platinum debut release in 1995.

Discography:

The Presidents Of The United States Of America: II – (Columbia, 1996)

The Presidents Of The United States Of America – (Columbia, 1995)

Produced By:

Chris Ballew, Dave Dederer & Jason Finn

Label:

Columbia

Website:

www.presidentsrock.com

© Aprl 14, 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

© Aprl 14, 1997. Michael D. Vogel.  All Rights Reserved.

Published in:

knac.com – April 12, 2002

Unsigned Egodog share their Rock & Roll D.i.Y. Philosophy

What’s in a name? Well, for starters, a name gives you identity. It describes who you are. And for some, it even gives a glimpse at what’s inside. For recording artists, a name not only represents who you are as a group, but also as musicians. A name can either be so intriguing that you immediately want to hear more of what the band has to offer or it can completely turn you off. In the case of Los Angeles rockers Egodog, there’s a lot in name!

So what exactly is an Egodog? Webster defines ‘Ego” as “(n) one of three subdivision’s of the psyche that serves as the organized conscious mediator between the person and reality – self-esteem.” And dog is defined as “a highly variable animal” known for his intelligence, compassion and loyalty. Combined, Egodog represents a band focused with a commitment to success, liberty and the right to rock – and they’re doing it there way.

To embrace the D.i.Y. (Do It Yourself) philosophy would be an understatement. While paying their dues on the club scenes from Los Angeles to Chicago, Egodog chose not to sit back and wait to be discovered, but to also earn their hard rockin’ reputation on the world stage as well. With consistent bookings on the United States Department Of Defense tours, Egodog has have rocked the troops from Bosnia to Japan. Not only does this dog hunt, but this dog also rocks!

Recently, vocalist Tony Oros and guitarist Mike McManus sat down to discuss with me the past, present and future of one of the world’s hottest unsigned rockers – Egodog.

How did two eastern boys hook-up and become the Southern California rock stars Egodog? 

Mike McManus: “Tony and I met when we were in different bands playing a Phil Lynott tribute show at The Palace in Hollywood. A few weeks later, I ran into Tony again at a King’s X show at The House of Blues. We were in the middle of recording the basic tracks for what would become Free In Captivity and had just given our old singer the boot. Tony agreed to sing on that project if I agreed to play guitar on a solo project that he was working on. We shared the same work ethic and musical visions, so it all just seemed to click together.”  

Through three studio albums, Egodog has seen a few personnel changes. Tell me about the other personalities that help make-up the Egodog team?  

MM: “The current line-up has been together for about two and a half years now and just keeps getting tighter and tighter. Our drummer Joe (Higgins) has been playing with Tony, on and off, for the better part of 15 years now. Rounding out the group is Damian Pampena who comes from a very funky background. He credits influences to guys like Bootsy Collins and Flea. Anybody that’s ever seen us live knows that the D-Man is a ‘monster’ on stage.” 

What’s the story behind the Egodog name?

Tony Oros: “Despite being the only band member unable to own a dog (damn allergies!), I’ll cop to being behind the moniker.  I’ve been very influenced by the writings of Ayn Rand, whose philosophy is very much based on self-empowerment and individualism.  I combined her Objectivist concept of Ego—which despite all the negative connotations means simply a sense of self—with a more… canine image!  The Great Dane on the cover of our first CD Free In Captivity is pretty much exemplary of our states of mind; stuck in traffic, growling, yet grappling for inner serenity.”

Through the use of double entendre or by words of inspiration, each of the three studio releases has employed unique album titles: Free In Captivity, Words Are Kerosene and the most recent The Pleasure Of Action. Where do these titles come from? 

TO: “We try to take lines from our lyrics, as in our first two albums. Words Are Kerosene stems form our belief that language is a very powerful weapon; it can incite people to do either horrible, inhuman acts, or conversely, to achieve sublime and wonderful things.  Words are therefore, flammable.  That CD’s cover features art from an old Soviet propaganda poster, with Lenin gesturing to a mob of ragged masses.  Funny, I was in an airport in Seoul, Korea and struck up a conversation with a group of musicians from China, who were on their way to play some shows in the U.S.  In broken English, one gentleman pointed at the CD and asked quizzically, ‘You know… this is…’ I said yes, I was aware that a communist graced our album cover.  I then tried to explain the concept of words being inciting and able to ‘catch fire.’ Unfortunately, I think any poetic impact was lost in the translation! 

“The title of our latest release comes from an Ayn Rand quote that we relate to greatly, regarding emotional fuel being self-perpetuating; we’ve found there’s no rush like ‘the hard, exhilarating pleasure of action.’  This theme works well with the album cover, designed by Daniel Thompson of www.Inkoherent.com, who also happens to be a soldier we met in Bosnia.  The artwork is centered on a statue created by a sculptress in Texas named Bobbie Carlyle (www.bobbiecarlyle.com). It’s a figure chiseling himself out of a piece of granite, entitled ‘Self Made Man’.  My Mom actually spotted the piece and thought it was very us.  Good catch, EgoMom!”

There seems to be a lot of thought and effort as to what the title of the finished work will be. Does it have to be a thought provoking title – why not just a self-titled album?

TO: “We never view anything we do, musically or professionally, as just ‘ok for an indie band’. We feel that’s a cop out.  Our goal is to make every Egodog album as timeless as possible.  This includes the concepts behind the album titles as well as their coherent themes – which as a fan of bands like Pink Floyd and The Catherine Wheel, is very important to me creatively.  While I don’t think you’ll ever see any pseudo-Roger Waters ‘concept pieces’ out of Egodog, we nonetheless like to run certain threads through each of our releases.  Maybe it’s growing up listening to The Beatles, but we view an album as a piece of art in itself, down to song selection and order. We are pro-active in every aspect, down to the last detail.” 

Egodog’s history with KNAC.com began with the song ‘Bad Guy’ from the Words Are Kerosene CD a few years back. Give me the run-down on how you got involved with the Pure Rock Station and how the ‘Bad Guy’ video came to be shot on the KNAC.com soundstage?

TO: “Egodog was brought into KNAC.com by Joe Seta, who ran the Artist Underground section of the site.  Joe, in turn, gave our last CD, Words Are Kerosene to both Bob Ezrin and Long Paul, who subsequently wrote us up in his UBL column, and gave us our favorite review quote: ‘These guys are so close to breaking, it makes my butt itch!’  What else can you say to that?  Joe then brought us into the KNAC.com studios to film a live performance video of ‘Bad Guy’, which we recorded sans-monitors!  Ah, we love a challenge!  

“Long Paul thought since we were there; why not introduce the listeners to Egodog with a quick interview.  We were shuttled into the studio, which caught the on-air DJ a bit off guard, especially with such short notice, nor much info on who Egodog was! But, to her credit, she rolled with it nicely and Mike and I just started doing our radio-interview thing, talking about our latest tour and everything we had happening at that time.  She just let us go—perhaps out of her dearth of options! 

“Being on our third album, Mike and I have logged a few interviews and feel totally at home in front of a mic and/or camera.  So, on this day those experiences paid off.”

By embracing a D.i.Y. philosophy, how has your proactive stance helped in making your future a reality?

TO: “I think our D.i.Y. status is a blessing in disguise. Because a record label didn’t pick us up in our early stages, we’ve been allowed the opportunity to explore various elements of running the band as a business. This allowed us to have a certain level of autonomy we certainly wouldn’t have had if we were signed to a major label. For instance, I maintain and update the Egodog (www.egodog.com) myself. I edit content whenever necessary, which is huge.  These days, a web site is really the conduit between an artist and the listener. With that in mind, all e-mails to the band are actually answered by the band.   

“We know of several artists’ web sites that are, ‘run’ by their label, and yet haven’t been updated in several months.  Some label deals even require that a band sign over their domain name to the record company as well. In the case of Egodog, that’s how we stay in touch with our fans, and we have no intention of relinquishing that, no matter how much money a label wants to throw at us.  It’s less about money and more about creative control. 

“To be honest, ‘getting signed’ is far from our raison d’être.  Firstly, the industry isn’t about that any more.  We have musician friends who have signed to tiny labels with no distribution and no tour support, yet they’re doing back flips because they’re ‘signed.’ If someone thinks they can help us reach a broader audience, awesome, but they’d better have something to bring to the table that we don’t already have – as well as being prepared to work as hard as we do!” 

How did you get involved with the Department of Defense tours?

TO: “The Department of Defense tours have been an amazing opportunity.  Over two years ago I got a call to fill in with a classic rock cover band going to Bosnia; they liked to job I did on stage and off, and asked if I wanted to take my original band next time out.  Egodog works well within the military parameters, since we’re punctual, respectful to authority, patriotic – all the anti-musician traits!  Another big plus is that we’re not substance abusers. Most bases we play are dry of all alcohol, not that it’s prevented Egodog from instigating a few bloody mosh pits!” 

By starting on such a huge international stage, do you feel this has helped you gain a more educated look at how to be a successful band as well as how you view the world?

TO: “Travel has been such a blessing, on so many levels.  I thought I appreciated America before I started working abroad, but now that’s just been reinforced.” 

MM: “It never fails. Every time we head out of the country, I gain more and more appreciation for it. The tiniest things that we take for granted here are big deals everywhere else. When we were in Norway, I realized that they had two types of mustard – the yellow mustard and the dark mustard. And the same company that makes the ketchup made them. After coming back to America and standing in front of an entire shelf of mustard, I said to myself ‘That’s what makes America great. Two hundred and fifty different types of mustard!’”

TO: “But your perspective grows in different ways, sometimes more objectively and less predictably.  For instance, we’re currently writing a song about Americans traveling abroad and not appreciating the cultures they visit, which unfortunately, you see a lot.  It’s called “How Ugly, We”.  I’ll leave it at that for now!”

Although you have built a global following, how have you established and embraced a connection with your local fan base?

TO: “We like to think of playing military bases as musical shrapnel bombs.  After those shows we don’t just take off back to our rooms – well, usually we’re sleeping in tents anyway. We like to hang out, sign CDs and meet these soldiers, find out what they do on a daily basis – for OUR benefit.  A lot of times, the conditions these guys live in, especially for nine months at a time can be described in one word – Heroic! Whether you’re playing to two or 300 people, it really doesn’t matter. It is these people who then return to their respective hometowns, with the positive experience of the concert and the CDs they bought in hand. They then spread the word by telling their friends, and so the name and music of Egodog spreads. As a result, we have fans on our e-mail list all over the States and in dozens of countries worldwide. I just got a mail from a guy who saw us in Bosnia, and now he’s stationed in Korea.

“But as far as local, LA performances, we’ve pretty much scaled it down to the parameters that we’re comfortable with.  We’re not going to play a club, being rushed on and off the stage, asking our fans to drop a ton on a cover charge and valet parking.  We did that for years and it burned us out.  Maybe being working musicians is just spoiling us.  But when we play, it has to be an enjoyable scenario for everyone, which is why we’ve started to throw rehearsal studio parties instead.  That way, all our LA-based fans and friends can see us play live, but we also get to hang out and have fun, without the other logistical hassles. 

“We also do the occasional flyway—or in our case—drive-away show in the Southwest.  ‘Evil’ Laurie Steele had us out to Las Vegas recently.  We were invited into the studio for KOMP’s morning show for an interview and acoustic jam followed that evening by a rockin’ performance at The Boston to an extremely responsive crowd.”

Mike, your musical influences trace back to early British pioneers like The Clash, XTC and The Jam – with the Beatles and Queen as your two biggest influences. How then did the likes of American guitarists Neal Schon and Edward Van Halen guide you to the Berklee College Of Music? 

MM: “Ever since I was a kid I was into a lot of the music coming out of England. During the late 70’s and early 80’s America was going through the big disco phase so I started listening to bands like The Clash, The Jam, and Elvis Costello or American bands like Cheap Trick who were influenced by The Beatles. I also wanted to become more proficient on guitar so I enrolled in The Berklee College of music right after high school. I was listening to guys like Eddie Van Halen (of course!) and Neal Schon, but my favorite to this day is Brian May. That guy just amazes me every time I listen to a Queen album.” 

Those influences come shining through on the lead track ‘My Wonderful World.’ 

MM: “I think you can hear a bit of my influences in that song. Tony and I were chatting outside of a Chicago Bears bar in Southern California one day when he mentioned that if I ever had something to say in a song that I should go ahead and sing lead on it. I had some personal stuff that I needed to get off my chest so I made a little 4-track recording of what I told Tony was my ‘therapy song’. He took it home and called me immediately afterwards saying ‘Do not change ANYTHING on this song!’ So he gladly stepped back and took on rhythm guitar and harmony vocal duties.” 

Talk about a wonderful world, lots of good things has been rolling your way as of late. Tony, how did you get selected to carry the Olympic torch?

TO: “My Aunt is a 3^rd Grade teacher in Illinois.  She’s had me in her classroom on a few occasions to discuss my travels and my work for the military, even geo-politics – she has smart kids!  She nominated me to be a Torchbearer and I was accepted.  Something like 200,000 people were nominated, with only 11,000 actually selected to carry a leg of the run.  Quite an honor, and an experience I’ll never forget.  Especially after September 11^th, the patriotism was palpable; people were lined along the streets cheering and waving flags.  I still have the cute little white sweat suit, which I can’t see ever wearing again!  But the Torch I carried is proudly displayed in my office.  The nutritional supplement company I endorse (www.sportsnutrition2000.com) even dedicated a web page to the day.”

In addition to that, you have also been selected to sing the National anthem for the Long Beach Ice Dogs as well as for the Chicago Bears at Soldier Field. How did these amazing experiences come about?

TO: “My biggest non-musical passion is the Chicago Bears.  Until this past season, this has been a rather… unsatisfying pursuit!  But a few years ago I had sent (George) Halas Hall a demo and letter stating that I’m not only a professional vocalist wanting to sing the Anthem, but that I am, in fact, a card-carrying member of the Bears Fan Club.  Lo and behold I got the call and it turned out to be one of the greatest days of my life.  My whole family was there, we got to hang on the sidelines with the players – it was simply amazing.  It was an honor I took very seriously, especially with my Grandfather, a WWII vet, in attendance.”

What’s in store for Egodog for 2002?

TO: “Due in no small part to the urging of our fan base here in the States, we’re working very hard to procure a domestic booking agent and a tour this summer.  The bigger the stage, the better, as we have claustrophobia!  We are very excited as we have also just finalized a to return to Bosnia/Kosovo, for 15 dates in June and July. In addition, dates in Japan as well as other Department Of Defense shows are also in the works.” ^m^

Photograph credit: Tony Oros, Mike McManus and Michael D. Vogel

Vital Statistics:

Line-Up:                                                                Origin:

Tony Oros – Vocals                                             Los Angeles, CA by way of Chicago, IL  and Boston, MA

Mike McManus – Guitars and Vocals

Damian Pampena – Bass

Joe Higgins – Drums

About The Current CD:

The Pleasure of Action is the 3rd release from these City Of Angels transplants, continuing in the tradition of the 2000 release Words Are Kerosene EP by opting for quality over quantity, with five powerfully charged, hook-laden songs. Teaming again with co-producer Matt Chidgey, Egodog proves that a heavy band can also be melodic and respectful of a well-crafted song; setting the standard for modern heavy bands that aspire to make timeless, lasting hard rock.

Discography:

The Pleasure Of Action (Independent, 2001) 

Words Are Kerosene (Independent, 2000)

Free In Captivity (Independent, 1997)                            

Produced By:

Mike Chidgey, Tony Oros and Mike McManus

Label:

Unsigned

Website:

www.Egodog.com

© Aprl 14, 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.