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By: Michael D. Vogel

© September 1, 1996. Michael D. Vogel.  All Rights Reserved.

Published in:

The Album Network magazine – September 27, 1996

For over 25 years, ZZ Top has been playing rock & roll with various shades of blues for fans around the world – sometimes, with raw street-corner passion and sometimes with the polished licks that modern technology can provide. Over the years, the only rule has been that there are no rules. Whichever direction the trio heads has been governed by its collective gut, rather than some sort of organized master plan. Drawing from mean rhythms, Rhythmeen is full of tough, funky grooves and gritty electric guitar stylings – music derived from the earthy blues of Elmore James and the forward-thinking adventurous grindings of Jimi Hendrix. Call it modern barroom music; ZZ Top mixes traditional sensibilities with the raw power and energy of a band that is still (or just now?) hitting its stride.

It was from these humble beginnings that ZZ Top are able to do what they do best – play their own interpretation of this art form that some cal funk or Texas blues and yet others simply refer to as good ol’ rock & roll. No matter how you classify it, the rough and tumble nature of Rhythmeen is evident from the first guitar blast serving as a useful reminder that this little ol’ band from Texas can still produce a mighty large sound.

Recently, I tracked down singer and guitarist extraordinaire Billy F. Gibbons as he was taking a much-needed rest in South Africa, before embarking on the “ZZ Top Continental Safari.”

The band clearly seems to have new intentions with Rhythmeen. How would you describe the new album?

Billy F. Gibbons: “Without question, this album is a concoction of the Texas meets Africa sound, by way of grungy garage rock. This perhaps represents a full and genuine return to the early style of ZZ Top. It is no secret that that, during the recording of Antenna, we were going for a raw edge recording. Rhythmeen is a successful embracing of that style, what most refer to as that good old style of early ZZ Top.”

Is the objective to use less slick production techniques and just focus on the basics of guitar, bass and drums, which were also the primary focus on Recycler and Antenna?

BG: “When we went into the studio, we wanted to be very basic, with very few rules and guidelines. Our intention is to keep the focus on guitar, bass and drums. These are the elements that are at the forefront of the record, which is probably the most honest record we’re delivered in quite some time. A close listen reveals that there is no extra tracking, no overdubs or rhythm guitars, it’s just the Texas trio working overtime!”

Did you have to sidestep a lot of natural habits to achieve the raw sound of the album, or was it simply a matter of instrumentation and production?

“Let’s face it, modern technology has offered some tantalizing temptations, But, to stay true to the early style of ZZ, it became quite a challenge to compose actual song structures that maintained the original fat fullness between the scope of just three guys. It is no easy task rising to the challenge of returning to a rude, raw, rough and ragged sound. It really motivates one to become a bit more resourceful. In doing so, you tend to start experimenting with your own talents and the instruments that you employ to achieve your won style of music. These are the elements that are not covered in the ‘How To…’ manual, yet, as an artist; you are still able to come up with that groove focus. When you boil it down to its most basic parts, the creation of good music is really a quest to maintain the willingness to refresh one’s resourcefulness. It is a call to recognize your influences, and also lend a genuine piece of spirit toward a personal interpretation. I would call it challenging, but more motivating.”

With the rise of artists like Kenny Wayne Shepherd, Eric Johnson, and Ian Moore, are you glad to see the music industry turning an ear back to the Texas blues?

“In addition to the familiarity of having been steeped in a Texas tradition, there is also great pressure to follow through with a groovy delivery of all that is assumed Texans can pull out of a hat. That tradition may rest only in that we are good players or maybe there is something in the water. No matter what it is, I would say that it is the positive pressure of Texas.”

How has the band been able to survive when many of your contemporaries have since fallen by the wayside?

“ZZ Top is still doing what we started doing over 25 years ago. We like to have fun, and part of that comes from constantly pushing the musical envelope. We are constantly tinkering with our instruments and amplifiers. This curiosity allows us to incorporate the new, and, at the same time, continue to use the old stuff in fresh and exciting new ways.

”There is one new element in trying to determine how to make heads of it all. With so many musical genres putting forth endless numbers of interesting exponents and styles, if you are able to create a good feeling in the audience, then you have accomplished half the battle. If you’re smiling, and, at the same time, the audience is doing that groove thing in their seat, then both objectives have been accomplished.

“The day of limitations on musical styles has become somewhat of a distant shadow. The real challenge comes back at attempting to answer the question, ‘Can I create a stylistic expression that I feel good with and where do I take it from here?’ This is the kind of dichotomy that today’s artists have to deal with. Competition, in this way is a very healthy thing.”

What, specifically, has the band done to promote the longevity of ZZ Top? 

“We were asked to provide some sort of flavor to the soundtrack for Quentin Tarantino’s From Dusk Til Dawn. The pace was fast and furious. We went into the cutting room and laid down rough mixes for ‘She’s Just Killing Me’ and ‘Vincent Price Blues’ in barely over half an hour. After that, we got to thinking that maybe the business of just letting the music fly was a good idea. It was this moment of re-evaluation that allowed us to refocus our direction and, basically, to redefine what the classic sound of ZZ Top really is.

“As far as video’s are concerned, we script nothing. We just toss a few ideas around and try and shoot the entire project before the sun goes down. If we can accomplish that, then it has been a good day. The best projects are those that come off the cuff. We attribute at least 99% of the success to a great management team, exceptional directors and tremendous support, from both the video industry and the record companies. The rest is left to us; we walk on, drive fast, play hard and hope there is still a pretty girl left when the smoke clears. That is the beauty of the unpredictable nature of music.”

There seems to be a meaning behind each of the band’s album titles; what is the meaning behind Rhythmeen?

“We originally had a working title of ‘Nearing The Completion Stage.’ But, it was the backbeat, that mean groove, which hit us as a strong recurring element of the album. So, we did our customary play on words, shuffling words about until we came up with our own invention – a feel-good elixir named Rhythmeen.”

“What’s Up” with the first single?

“Our initial direction was formed out of the offerings on the soundtrack for From Dusk Til Dawn. This hardedge outing found us revamping our production values, leaving us in search of compositional creations that, more or less unfolded in the studio. The first single came about midway through the recording sessions. Suffice it to say, that it is our personal stab at honoring those great R&B artists and their patented methods that have influenced so many that have come after them.

“I would say the music definitely has that Memphis R&B inspiration; but the question that is invoked is really left up to the listener to ponder and draw their own conclusions. One should be provoked by the incongruous couplings contained in the words and the chorus line. The first verse says, ‘Tomorrows want to be today/But it never seems to work that way/Because a tomorrow can’t be today/So what’s up with that?’ It can be a bit complex to analyze, but, at its basic, it is nothing more than simple blues language.

“Lyrically, they all come back to the same thing – blatant sexual content. It’s definitely the accusation that we have been burdened with, and, only now can we admit it through the use of double entendre and secret blues language.”

You wrote the first three tracks on the album, whereas the rest of the album is more of a collaboration with Frank and Dusty. Why this separation of creative input?

“Those songs came from late-night, after hours excursions. The control room was decorated with all sorts of spooky African icons; statues, spears and shields, masks, swords, and juju bags, all helping to create a definite flavor and effect. (All that) combined with the yellow glow of a lava lamp, the glowing tip of Joe’s cigarette and a hummbucking guitar can stir the soul to write some pretty weird and off the wall stuff.

“This kind of raw primitiveness has been injected by our newfound love of collecting African art. We are sending out musical smoke signals that reflect the primitive side of the blues, which we feel can be traced back to its African retentions. In fact, this excursion has enabled us to be the self-appointed agents of Afrikana, by way of California and Texas.”

What are your favorites on Rhythmeen?

“Listen closely to ‘Blackfly,’ ‘Rhythmeen’ and Hummbucking Part 2. ‘Hummbucking’ has a real African backbone, partly due to the antique African tribal drums that really help to provide an authentic feel to the song. Although the song is simplistic in its chordal structuring, the complexities on the rhythm track and the dual pitched vocal singing effect created what can be best describe as one mean, bad-to-the-bone jam.”

Where did the idea for ‘ZZ Top’s Continental Safari’ come from?

“We started by accepting the invitation to perform through the summer as part of the European festival dates. After reviewing our tour itinerary, and aside from Antarctica and the North Pole, we will be stepping through most of the continents across the globe. So, ‘ZZ Top’s Continental Safari’ is really attached to this global campaign. The sounds on this record are fully steeped in ZZ Top’s tradition, but it’s also got a worldliness that comes from those wide and varied influences heard on the radio. To say ‘Continental Safari’ is our way of attempting to be all encompassing with the entire outing. The best generic description would be a warm and fuzzy, sit-down-in-your-living-room, intimate show with ZZ Top – with a foreboding sharp edge!”

After 25 years of that good time rock & roll, can you finally shed a little light on the mystery behind the name ZZ Top?

“You had to hit me with that! I guess as an interviewer, you wouldn’t be doing any justice to the fans if you didn’t.

“Currently, I’m 7000 miles away from both Frank and Dusty and yet they remind me that as of this point, I am still part of the fraternity. Unfortunately, for you, I can’t give up the ghost. This is going to be a secret that will go down between the three of us.

“And, as long as we are on the subject, let me say this about the beards, In Dusty’s own words, ‘It’s probably best that we don’t shave. At this point in time, we not even sure what’s under there any more and, frankly, we’re not sure if we even want to find out either! ^m^

Origin:

Houston, TX, though they’re now based in Austin.

Line-Up:                                                                                    

Billy F. Gibbons – Guitar & Vocals

Dusty Hill – Bass & Vocals

Frank Beard – Drums                                               

About The Current CD:

After a 20-year partnership with Warner Bros., that saw the release of 10 full-length records, this is ZZ Top’s 12^th studio album – and the second for RCA. Rhythmeen, the prototype of the band at its best, follows 1994’s Platinum CD Antenna. 

Discography:

Rhythmeen – (RCA, 1996)                               Degüello – (Warner Bros., 1979)

Antenna – (RCA, 1994)                                     Tejas – (Warner Bros., 1977)

Recycler – (Warner Bros., 1990)                  Fandango! – (Warner Bros., 1975)

Afterburner – (Warner Bros., 1985)           Tres Hombres – (Warner Bros., 1973)

Eliminator – (Warner Bros., 1983)              Rio Grande Mud – (Warner Bros., 1972)

El Loco – (Warner Bros., 1981)                     ZZ Top’s First Album – (Warner Bros., 1971)    

Produced By:

Bill Ham & Billy F. Gibbons

Label:

RCA

Website:

www.zztop.com

© September 1, 1996. 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.

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By: Michael D. Vogel

© August 7, 1996. Michael D. Vogel.  All Rights Reserved.

Published in:

Virtually Alternative magazine – September 21, 1996

‘…band members wanted: Must be into the Beatles, Buffalo Springfield and the Byrds…‘

This ad, placed in Los Angeles The Recycler, a classified newspaper used to sell cars, pets, stereo equipment, etc., was the instrumental ingredient that helped launch the career of the then soon-to-be singer/guitarist for the Bengals – Susanna Hoffs. Combining an avant-garde mélange of pop and rock, the band was to become one of the most popular precursors of the “riot grrl” movement. Despite their success, the constant threat of being taken more seriously for their appearance than their music and over-exposure by FM radio and the video channels caused the Bengals to disband in 1989. Subsequently, Susanna Hoffs moved on to pursue a successful solo career as a singer as well as an actress.

Susanna’s authenticity makes for a welcome change from the hundreds of pale imitations, which have appeared in the post-new wave era. Combining the musical ambience of the Beatles with the D.i.Y. spirit of new wave, Susanna Hoffs has all the ingredients for lasting success. In her songs, Susanna incorporates perfect vocal harmonies, sophisticated melodies, powerful rhythms and light, floating solos.

Surrounded as she was by rock music and the avant-garde culture, Susanna decided to put her own poetry to music. Her first solo effort, When You’re A Boy, was more of a new wave concept circa the late 70’s, spawning the commercially successful song “My Side Of The Bed.”

So now for her second solo album, anonymously titled, Susanna has enlisted the help of veteran hit-maker/producer/musician David Baerwald, along with ace engineers Jack Joseph Puig and Matt Wallace. “It’s amazing how the world keeps getting smaller the longer you’re in it,” reflects Susanna. A small world is an understatement, as the cast of collaborators is among the hottest and brightest in the music scene today. Mark Linkous from Sparklehorse, David Lowery of Cracker and Charlotte Caffrey, formerly of the Go-Go’s helped share in the co-writing credits. Rounding out the cast are a plethora of great musicians who accompany Hoffs on the album, including Jason Falkner and Roger Manning of Jellyfish fame, Davey Farragher from Cracker, and the legendary Mick Fleetwood as well as Linda Perry, recently of 4 Non Blondes. Hoffs happily points out, “I feel incredibly luck to have such a talented group of musicians as part of my record.”

The new album reflects a newly gained level of maturity and sophistication as an artist, as well as her own unique ability to fuse mass-appeal pop with alternative music. Referring to the recent birth of her son Jackson, as well as the interim problems with record companies and management teams, Susanna has learned a lot of life lessons along the way. “This record marks a personal growth for me as an artist. It is the cumulative effort of overcoming a lot of life’s obstacles.” Hoffs continues, “The birth of my son was such a profound experience that it can’t help but change my life and put things into their proper perspective. Life teaches you a lot of things along the way, but you have to be observant in order to comprehend the lessons that are being shown.”

After being in a band that achieved a great deal of success, there is a certain level of expectation the artist is expected to achieve. Even though, in a sense, the artist is starting fresh as a soloist. “The expectation that you will be as successful as the band is so high that you can’t be perceived in a fresh light. Eventually, you fall through the cracks.” Susanna explains. This type of expectation places the artist in a dichotomy. On the one hand, the artist is expected to be a huge commercial and retail success, but at the same time they have to struggle to establish their own personal artistic identity. “ I rushed in to recording the first solo album without answering these questions for myself. As a result, I now feel somewhat disconnected from that project. In the end, I have matured as an artist, with this record being the manifestation of that growth,” Susanna states proudly.

The music of the 60’s was a very influential element in the formation of Susanna’s artistic personality. “I don’t think I would have developed as an artist, if it weren’t for women like Patti Smith. She is the ultimate artist, poet and woman – as well as my role-model and hero!” declares Hoffs. These roots are prevalent throughout her music as well as her philosophy on life. “Influences get under your skin and stay with you forever. Why should you try and cast them off? They are a part of who you are, what you say and how you relate to music,” pontificates the former Bengal.

Although she pays considerable homage to her predecessors, Susanna also reflects on those that she may have influences herself. “It’s a great compliment and I am deeply flattered. If I am able to influence other women to be musicians, the way my idols influenced me, then I’ve been able to do a great service for both music and women!” tenders Ms Hoffs.

The album itself indicates an evolution of style that blends her 60’s leaning roots with modern day insight. The various tracks on the album demonstrate the level of her vocal expertise while displaying her own brand of unapologetic lyrical and musical moxie. “It’s all how people relate to the music,” asserts Susanna. In contrast to her first solo effort, and those recorded by the Bengals, Susanna has really tried to distance herself from the ‘group spirit’ to settle down and record a personal album. “My sole intention was to record a very intimate record, one that was still somewhat loud and unaffected (by over production),” expresses Susanna. With this type of emotion prevalent throughout her attitude and music Susanna Hoffs will be able to add her name to the list of female solo artists extraordinaire! ^m^

Origin:

Athens, GA

Line-Up:                      

Susanna Hoffs – Vocals & Guitar

Matthew Sweet – Backing Vocals

David Baerwald – Guitar, Keys, Percussion & Backing Vocals

Bill Bink – Guitar

Jon Brion – Guitar, Bass, Keys, Percussion & Drums

Charlotte Caffey – Guitar

Jason Falkner – Guitar, Bass, Organ, Keys, Drums & Percussion

David Kitay – Guitar & Percussion

Larry Klein – Guitar & Bass

Greg Leisz – Guitar

Mark Linkous – Guitar & Banjo

Linda Perry – Guitar & Backing Vocals

Anders Rundblad – Guitar

Jeff Trott – Guitar

Davey Farragher – Bass & Backing Vocals

Dan Schwartz – Bass

Chris Fudurich – Keys

Kevin Gilbert – Keys

Bruce Kaplan – Pedal Steel Guitar

Thomas Caffey – Strings

Bill Bottrell – Cello, Percussion & Backing Vocals

Mick Fleetwood – Drums

Curt Bisquera – Drums & Percussion

Lenny Castro – Percussion

Jim Keltner – Drums

Brian McCleod – Drums & Percussion

Jeremy Stacey – Drums

Michael Urbano – Drums

Julie Christiansen – Backing Vocals

Sally Djorosky – Backing Vocals

Petra Haden – Backing Vocals

Rachel Haden – Backing Vocals

About The Current CD:

A much more personal album then her solo debut, the self-titled sophomore release is deals with topics like abusive relationships, and insecurities.

Discography:

Susanna Hoffs (London, 1996)                              When You’re A Boy (Columbia, 1991)

Produced By:

David Baerwald, David Kitay, Jack Joseph Puig & Susanna Hoffs

Label:

London/Polygram

Website:

www.thebangles.com

© August 7, 1996. 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     

(click on picture to open file) 

 By: Michael D. Vogel

        (click on picture to open file) 

 By: Michael D. Vogel     

© August 5, 1996. Michael D. Vogel.  All Rights Reserved.  

Published in:

The Album Network magazine – August 30, 1996

Virtually Alternative magazine – October 19, 1996   

One of the most explosive and experimental bands in the rock world today, 311 fuse hard rock with funk, rap and reggae to create their own personal and very potent musical cocktail. Blending razor-sharp musicianship with such a diverse mixture of musical styles, 311 exhibit quite an aggressive attitude, both musically and politically. Drawing on a grassroots fan base that incorporates many different lifestyles and view points has helped catapult the band to Platinum record status and a #1 song at Alternative radio.

Since signing with Capricorn Records in 1992, 311 has recorded an album per year and toured the country non-stop, playing to standing-room only crowds nationwide. With recent headlining spots on the “H.O.R.D.E.” and “WARPED” tours, as well as an MTV  ‘Choose Or Lose’ voter registration and awareness concert in San Diego, 311 have stepped out of the pack of new artists to establish themselves as a viable powerhouse on the new music scene.

While many of today’s bands are busy contemplating the woes of society, 311 are quick to point out that their attitude does not always equal anger. Instead, they have taken the path of a positive outlook, both lyrically and politically.

Growing up in the Midwest – Nebraska to be exact, where the East meets the West – has proven to some extent to be the perfect breeding ground for the sound of 311, as well as their many dimensions.

The being an election year, I geared my conversation with Nick Hexum, co-lead singer for 311, towards politics, as well as music. Reminiscent of the Clash, Midnight Oil, U2 and Bob Marley – this is the politics of 311.

Do 311 have any particular political views or beliefs?

Nick Hexum: “We have strong feelings on a variety of issues. We stand for pro-choice, anti-censorship and the decriminalization of marijuana. We all support the use of hemp-based products as an alternative to the deforestation of the planet.

“There are certain injustices in America today that are ridiculous. If a ‘dead-head’ gets arrested for possession, he will spend 12 to 15 years in jail, whereas someone who is convicted of a violent crime will only spend six months in jail. One of these crimes has a victim and one doesn’t, yet the drug charge carries so much more of a stigma.

“The war on drugs is almost useless to an extent. It’s one of those cosmetic things that politicians are saying in order to subvert and misguide the youth of America. Personally, if it wasn’t for marijuana being illegal, I would be a completely model citizen!

“As far as the youth of America, politicians are making decisions without contemplating how it will affect this country’s younger generations. For example, the greenhouse effect is a serious problem that the young people of this country are going to have to deal with. In addition, the Reagan supply side economics are merely a euphemism for deficit spending, which the younger generations are going to have to pay for in the long run!”

Would you say this is a subversion of the personal freedoms of the younger generation by the older generation?

NH: “Absolutely! There are a lot of people that believe young people think politics are just about taxes, and disregard most other issues. In reality, these types of issues affect us more than anyone else.”

Are you, personally, active politically?

“I vote and I speak my mind as much as possible. I am a registered Democrat and I believe in stripped-down politics. There have been presidents in the past, like Kennedy, who were doing things, like the fight for civil rights, that weren’t very popular with the rest of the political agenda of the country. In all, we need more pioneers and less wimps in politics!”

Recently, you performed in San Diego for an MTV ‘Choose or Lose’ free concert in support of voter awareness and registration. How did you become involved in this nationally televised broadcast?

“We have a pretty hard-core touring schedule. But MTV was very insistent on us being involved. They felt we were the perfect band for the show. They flew us out to San Diego, set us up in a nice hotel and took really good care of us. Besides, it is for an important cause, expressing ourselves in a way that would attract the young people of this country and get them to register to vote.”

Did you watch any of the recent political conventions?

“The conventions are really just a big infomercial. They sit around and pat each other on the back. For the most part, it seems like a lot of delusional people. As a band, we know why we are here.” 

If you were a woman, would you support the Republican or Democratic platform? Being male, does this change your perspective?

“The Republicans stand for taking the choice away from women. I think any woman in her right mind would vote for the Democrats. The Democratic party caters more towards the minorities and women. As far as the band is concerned, we are making money. The tax bracket that we are in is killing us. If we wanted to be selfish, we would be supporting the Republican party because they are in favor of a tax reduction. There are more important issues than that. We feel we are doing what is morally right.”

Do you intend to make the lyrics of your songs political in nature?

“In the song ‘Unity’ from the Music album, I do explicitly state that if you don’t vote, then don’t bitch. That’s the bottom line! You can’t sit around and complain about the government if you don’t get out and vote. Personally, I’m more interested in the politics between two individuals. I speak and write about what I deal with on a daily basis, which is the politics between two people and not just what’s on any government level. People should follow their own personal bliss. On our second record, Grassroots, there is a lyric that states, ‘Make no attempt to try and suss the stupid out,’ suss meaning understand others differences instead of trying to change their point of view. It’s really about being tolerant, non-combative and non-confrontational. Just accept that people are different. That’s a fairly liberal attitude, which explains why I support the Democratic party.”

Do you see the band as a way for you to express your own feelings about personal freedoms or is it an incorporation of the band’s sentiments as a whole or is it a reflection of the political situation in general?

“To the best of my knowledge, I am speaking for the entire band. If we were all talking politics, P-Nut would gear the conversation towards the legalization of cannabis. But that is only one issue out of many. SA’s lyrics revolve mostly around poetry, images and rhythms. Overall, we’re known as a celebrational good-time party band. But we don’t hesitate to express ourselves on issues that we feel are significant.”

Do you feel that the younger segment of your audience, which attends your shows and are purchasing your records, are the easiest to communicate and relate with?

“The younger you are, the more open-minded you are. The older you get, the more jaded your thoughts tend to be. It’s only natural!

“With the success of our latest single, ‘Down,’ and our video in rotation at MTV, our national exposure has obviously grown. Therefore, the sizes of the crowds at our shows have also swelled. With that, we have also seen an even younger audience that comes to our shows. But every person has somewhat the same emotions, so we don’t practice any form of elitism between the younger and older sections of our fans.”

Do you feel that the music of today brainwashes today’s youth?

“It doesn’t go as far as brainwashing. There are a lot of bands out there with varying viewpoints. 311’s attitude is more moderate than say Rage Against The Machine, but more political in nature then No Doubt. With the varying views and ideas that are present in music today, we felt the best thing for us to do is speak on what we know and feel strongly about.”

The band has been very active with headlining duties on the “H.O.R.D.E.” and “WARPED” tours, both are very active in the fight for environmental awareness. Do you see this as a natural venue for the band to express its political beliefs?

“There will definitely be an activism element on both of these tours. But, there is also a different vibe to both of these tours. The ‘WARPED’ tour was more of the underground punk rock scene, whereas the ‘H.O.R.D.E’ tour is more issue oriented.

”We try to downplay everything else but the music. We want to be known for our songs. That’s why we picked 311 for the name of the band. The name tells you very little about the band itself; it’s just some guys making songs. If you enjoy the music then you’ll like the band. The whole story of 311 is that we are hard-working musicians that love to get up and rock the house!”

311 has performed with artists ranging from Cypress Hill to KoRn; from No Doubt to Lenny Kravitz and Blues Traveler. How is it that 311 can segue with all these musically varying artists?

“We wanted to perform with these types of bands mostly for the experience. What a wonderful story that is, to be able to bridge the gap between the punks and the hippies. Lyrically, we talk about things that are somewhat sentimental, but we always have a serious punk energy. Because we, as a band, have such a wide range of influences and styles, we are able to successfully bridge that gap between these widely varying musical artists.”

Is there one band in particular that stands out as a personal favorite?

“The band that stands out the most is No Doubt. They are very good friends of ours, but more importantly, they have a tremendous vibe about them. Overall, we tend to get along with most bands, though.”

You were recently involved with the KISS reunion, performing at Madison Square Garden. What was it like to be a part of all that mayhem?

“That was another show that we did just for the experience. As far as the vibe for the show itself, it wasn’t a particularly great show. The show was a sell-out long before we were announced on the bill, so it wasn’t as if a whole bunch of our fans bought tickets specifically to see us play. For the most part, we performed our songs the best we could and then we split.”

How does the band collectively measure the level of success for 311?

“Six months ago, before any of this happened, we felt that we were on our way to breaking out in major way. Then all of a sudden, we started selling 50,000 records a week and our songs started climbing up the charts. It’s to the point now where it’s mind-boggling. We were already happy with what was going on for us as a band. We had achieved a great deal of success by doing it our way! Then all this extra stuff started happening; the addition of our video to MTV, a Top 10 song, appearing on ‘Late Night With Conan O’Brien’ and headlining spots on the ‘H.O.R.D.E’ and ‘WARPED’ tours. In reality, all this extra stuff is just gravy though. The definite upside is that we will no longer be considered just a little band from Omaha. As a result, our fans should always be able to find our records in the stores. There will always be a 311.

“Now that we are on MTV, there should be a certain demand in every market for our music. It’s the power of the music video that is able to touch hundreds of thousands of people simultaneously. That’s one of the important things about helping to break a band. It makes for the availability of the music, which is crucial to the further success of any band. Some of our fans might only like a few of our songs, whereas others are into the entire musical scene that we present. I hope that we are gaining not only the fair-weathered fan, but also those that will be sworn fans for life. The long-term goal is to be a band that is completely album-oriented. We don’t want to worry about whether a particular single is going to be a hit or if our latest video is going to be added at MTV. We simply do the music we love for the fans that have stood behind us, as well as those new fans that we are gaining right now. We strictly want to stay an artist that is true to the craft. In all, we want to reach for new heights artistically, not necessarily and exclusively financially.”

When creating an album, how important is it to consider potential radio airplay?

“To be honest, I think the band is to a point where we don’t really have to worry about it. Personally, I’m leaning more towards melodies and less towards rap. Obviously there will be some songs that have hooks because that’s what we like to listen to. I’m a fan of all types of music. A band can be on the cutting edge and still incorporate classic melodies in the music. The best example I can think of is U2, who I consider to be my role models.

”As far as what’s next for 311, we have talked about busting out the acoustic guitars and even my Rhoades electric piano for a few songs on the next record. We already have two new songs that are destined to become 311 classics. ‘Beautiful Disaster’ is my favorite so far. The other has a working title of ‘Rub A Dub,’ which obviously will be changed by the time we record it for the next album. For the next album though, we want to go back to the basics, as far as melodies, but push to the fringe of our abilities for arrangements and production. Basically incorporate the past, but also push the envelope to the future.

“We don’t want to rush to do another album, though. We’re going to take our time and put as much ear candy on the record as possible. We’ll use little noises, space sounds and instruments like a clavinet and the Rhoades electric piano. I mean we plan on running the full gamut.

“Right now, we’re going through a cyclical period as far as how our music is produced. Our self produced record, Unity, was live punk, whereas on Music, our debut on Capricorn, we went all out with percussions, samples and new kinds of production and mixing. On our Grassroots album, we went back to a more raw sound. For our third album, 311, we took out most of the percussion element and stripped it down to just guitar, bass, drums and vocals. It’s an album filled with straightforward songs.

“We try to remain open-minded about our music and challenge our listeners. We try to throw in new styles, like acid jazz and trip-hop. These styles of music were not represented very much on the latest album. We will not be creating a ‘Part 2’ to the self-titled album; we are going to be moving into the future and not staying in the present or go too far into the past.

“Musically, I think the next record will be more of a hybrid – less rapping and more singing. We plan to use a lot of dancehall reggae, with drumbeats and rhythms, as well as dub styles, which is our musical niche. Songs like ‘All Mixed Up’ are a straight Jamaican sound with the incorporation of distortion guitar. That is a particular style the band is really into and something that we plan to explore further. Sometime after the new year, we’ll start pre-production on a new album to hopefully be on the street by June or July.”

There has been a tremendous amount of success with the latest album, 311, especially the third single. “Down” has received a great deal of airplay from Alternative Radio to mainstream Rock and even Top 40. MTV has even jumped in with support of the video. Has this sudden rush of popularity changed the way the band perceives its own success?

“At this moment, we are more concerned about preserving what we have. We weren’t ready for this type of madness on our first album. But we have grown and matured a lot, both personally and collectively as a band. We know where we’re at and what we are doing. So if we sold a billion records tomorrow, which would be great, we will still be the same artists, true to the music that has made 311 what it is. I guess this sudden rush in popularity has made us more secure as a band that our music is being listened to and appreciated.

”As far as ‘Down’ is concerned, it was the first song that everyone in the band was enthusiastic about playing live. We think it is one of the highlights of the show, yet it also has a hook for radio airplay. We collectively had this gut feeling about ‘Down’ because it was the perfect marriage between the two. The song has a significant meaning, as well: it is a thank you to all our fans who have supported us from the very beginning, but also it is a personal thank you from myself to the rest of the band for helping to keep the band rolling even in the face of adversity.” ^m^

Line-Up:                                                           Origin:

Nicholas Hexum – Vocals & Guitar        Omaha raised, Los Angeles based

SA Martinez – Vocals & Turntables                      

Timothy J. Mahoney – Guitar                                         

P-Nut – Bass                                                       Website:

Chad Sexton – Drums & Percussion         www.311.com

About The Current CD:

This eponymous effort is the band’s sixth release, and third for a major label. The album has exceeded Gold status and is fast approaching Platinum.

Discography:

311 (Capricorn, 1995)                                          Hydroponic (self-released, 1992)

Grassroots (Capricorn, 1994)                           Unity (self-released, 1991)

Music (Capricorn, 1993)                                     Dammit! (self-released, 1990)

Produced By:

Ron Saint Germain & 311

Label:

Capricorn/Mercury

© August 5, 1996. 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.