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By: Michael D. Vogel

© September 20, 1999. Michael D. Vogel.  All Rights Reserved.  

Published in:   

The Album Network magazine – September 20, 1999

Webster’s defines a sound system as: sound (n), a particular auditory impression; the sensation perceived by the sense of hearing.  And system (n), a regularly interacting or independent group of items forming a unified whole; a group of interacting bodies under the influence of a related force.  Just like any great sound system, the eclectic Los Angeles-based rock band 311 is comprised of five perfectly matched–yet independently functioning–components, which when operating as a well-tuned unit creates an undeniable musical force.

Like many of their alternative rock contemporaries, 311 is taking that success to the road–where they see the performance as the key that opens the door to a successful career as a band.  “The emotion that comes during a live show is so different than during the making of albums, which becomes a very personal thing.  But a live show is this collective experience that we share with everybody,” says bassist extraordinaire P-Nut.

The stage is the first love of 311.  They were discovered after building a dedicated following across the Midwest through the release of three independent records and an aggressive touring schedule.  With this kind of dedication, Capricorn Records rewarded them with a contract and an opportunity to do what they love most–perform their own special, highly potent musical cocktail for the masses.

With a new CD, Soundsystem, close at hand, I recently spoke with 311 bassist P-Nut (from 311′s studio, The Hive, in beautiful sunny Burbank, California) about the importance of being a live band, the new album and the upcoming grassroots tour–as well as the state of music as we move toward the new epoch.

After the experimental Transistor CD, 311′s back with a guitar-heavy, dancehall-influenced rocker that really makes the walls thump.  Do you feel there were some demons that weren’t fully exorcised on the last CD that you needed to deal with now?

P-Nut: “I think that was the motivation behind writing Soundsystem.  We wanted an album that was a little bit more in our field of play.  Transistor was great for a studio album, and we all think it will age really well, but we’re a band that needs to be in front of a live audience.

“For this album, we really wanted to play the majority of it live because that’s what we had in mind when it was written–to be played in front of a live audience.  It can’t be ethereal and dubby, because that’s hard to duplicate in a live setting.  It has to be powerful and straightforward.

“Comparing these last two albums, Transistor was written almost entirely on an individual basis, with not much collaboration going on.  This was an important step for us because it allowed us each to grow as songwriters–which in turn helped create a much tighter, cohesive songwriting unit when crafting Soundsystem.  We worked on these songs for over a year.  We haven’t had this much time in the studio since we worked on the Music album.”

The period between these last two albums, although Capricorn did release a live CD, represents the longest break you’ve taken from recording.

“It was definitely time to take a break and enjoy what we’d done.  We needed to take a deep breath and then get back out there and get everything going again.  I think it’s good for our fans to take a break, as well.  It seems that sometimes when a band becomes too popular, their music can over saturate the market and can possibly even damage an artist’s career.  With two albums in a little over two years, plus 200-plus shows per year for that period, we absolutely wanted to prevent burnout from happening.  It’s just good to get your head straight and be smart about your life, making sure you keep your relationships as good as possible, both personally as well as in the band.

“I remember Chris Cornell saying that one of the reasons Soundgarden broke up was because they stayed in the studio for 15 months.  You have to be smart with your creativity; you can’t just push it.  There needs to be balance.  Take a vacation and come back energized and ready to throw yourself back into what you do.  For us, that’s getting out and playing in front of a live audience.”

Last time around, you guys hit mostly larger venues, averaging 10,000 in attendance on the 1997 US headlining tour.  Yet with such massive attendance success, why are you opting for a smaller venue grassroots tour?

“It’s just good to start things over, even though this is our fifth [studio] album.  We just want to do things on a smaller scale, take things at our own pace.  There will be no opening bands either, just us…’An Evening With 311.’  Besides, it would be weird to just go into a couple of thousand-seat venues after not doing anything for a couple of years.  We’re doing things the safe way, which isn’t always our attitude.  It’s just going to be a no-pressure situation, because we’re confident that each show will sell out.” [Editor’s note–at the conclusion of the small venue grassroots tour, 311 will be embarking on a worldwide tour, covering large venues for most of the year 2000.]

With concertgoers seemingly becoming more and more violent and riotous behavior breaking out even at Dave Matthews Band shows, are you concerned about this type of activity happening at a 311 show? 

“It’s not the way things are supposed to be.  We’re definitely not going to encourage crowd-surfing.  Moshing is cool, but getting on your neighbor’s back and rolling over unwilling participants that are also standing in the pit, that’s not fun for anyone.  Especially when it resorts to simple violence for the sake of violence.  That’s not the image we want people associating with a 311 show.

“We love a rowdy crowd; that’s why we’re going to play clubs and bars that don’t have any seats and are all-ages, but that still doesn’t justify injuring someone else.”

What purpose do you see music filling now, as things are moving toward this violence trend? 

“It can be a catalyst for it; it can make it happen or it can be an escape from it.  We feel that the latter’s a much more agreeable path.  Music and going to a concert should be an escape from where you are.  You enjoy the atmosphere and the people around you.  It should be a like a trip to the fair, providing a good time and a lasting memory.  That’s the image we’re trying to project.”

As we move toward the year 2000, what type of responsibility does music have? 

“There’s always going to be violence at certain shows, so you’d think a hardcore band like us would have the same problems, but such isn’t the case.  Our message is so positive that it rarely comes up, because people are there just to have fun.  They’re not there to see acts of brutality toward themselves or those around them.  In order to help ensure this, we don’t overdo the alcohol promotion because everyone knows that always leads to violence.

“There’s always time to rage, but you need to be smart about it.  Don’t disrespect the person next to you–stay in your own space, have fun, enjoy yourself and don’t be a jerk.  At least then you know, in a little way, that you’re not adding to the problem.  That’s our whole philosophy.  There are thousands of problems out there in the world; we only want to make it as good as we possibly can.

“Even if it’s not truly a conscious thing, it’s definitely a subconscious thing, definitely affecting all of us.  It’s a good place to be.  Everyone’s up for new challenges and that’s what it’s always been about.  We always make new hurdles to overcome.  So, even at this pinnacle we’re at right now, we’re always looking to push the envelope by outdoing ourselves.  That’s the great thing about being in a band: always trying to reinvent yourself and not trying to recreate what you’ve already done.

“I’m not saying we’ve reached the pinnacle of positivity, but we’re definitely keeping things on that side.  We know that having a good philosophy allows us to get the most out of life, rather than being cloudy and bringing everyone else down.  Being able to do what you want for a living is such a joy that there’s really no reason to ever complain about it.  So, as a result, we sing about good things.  And if a problem does arise, then deal with it.” ^m^

Line-Up:                                                                            Origin:

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

Count SA Martinez – Vocals & Scratches             now reside in Southern California

Timothy J. Mahoney – Guitar                                         

P-Nut – Bass

Chad Sexton – Drums & Percussion

How Label Deal Came About:

After independently releasing three albums and touring aggressively throughout the Midwest, 311 began to earn a dedicated regional following.  In 1992, 311 moved to Los Angeles and, through massive word of mouth, quickly captured the attention of Capricorn Records.

About The Current CD:

After two certified Gold albums, followed by two certified Platinum-plus albums as well as a certified Platinum video package, Soundsystem is the fifth studio release from 311 and their sixth album overall for Capricorn Records.

Discography:

Soundsystem (Capricorn, 1999)                                Music (Capricorn, 1993) 

Live (Capricorn, 1998)                                                  Hydroponic (self-released, 1992)

Transistor (Capricorn, 1997)                                     Unity (self-released, 1991)

311 (Capricorn, 1995)                                                    Dammit! (self-released, 1990)

Grassroots (Capricorn, 1994)    

Produced By:

Hugh Padgham and Scott ‘Scotch’ Ralston

Label:

Capricorn

Website:

www.311.com

© September 20, 1999. 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

© September 20, 1999. Michael D. Vogel.  All Rights Reserved.  

Published in:   

Virtually Alternative magazine  – October 1999

Here’s an anecdote straight out of suburban youth culture (yes, it’s a true story–we have all lived this scenario in some way shape or form!).  Jake–who at 13 years of age believes he resembles nobody, much less a pre-pubescent Eddie Vedder–is being shuttled by one of his parents to a Thursday afternoon guitar lesson.  This week, he’s decided to take something of a break; he’ll grapple with no items from The Beatles songbook, nor will he try to master any of the requisite Jimi Hendrix solos.  Instead, he plans to exchange the 15 hard-earned dollars crammed into the left pocket of his baggy black shorts for instructions on covering The Clash’s “Should I Stay Or Should I Go.”  At the moment, though, he’s staring out the car window, listening to 311′s Soundsystem CD.

Older ears–the kind that pay for historical consciousness with stray hairs that sprout around the edges–might be able to categorize 311′s music.  The pounding bass and drums recall the furious attack of Elvis Costello’s Attractions.  The guitar is at times reminiscent of Santana, and at others pounding out a ferocious sound along the lines of The Clash’s Mick Jones.  And the dual-vocal attack of SA Martinez and Nick Hexum follows trails blazed by hip-hop and rap.  Combined, these five Los Angeles transplants have helped to carve out their immediately recognizable Omaha-stylee sound.   More rigorously than most other new rockers, 311 has embraced, as well as developed, new music-making strategies–combining funk with rock as originally trumpeted by the Red Hot Chili Peppers and Fishbone–and adding some rock-steady reggae with hip-hop flava.  And miracle of miracles, they do so without being fey, arch or ironic.  For nearly nine years now, 311 has successfully melded the conventional rock/alternative form to rap’s collage aesthetic.  “Do You Right”–a 1993 hit–formulated the potential of this fusion.  Einstein said E=MC(2): Energy derives by expanding the MC’s role by the power of two.  And as Spinal Tap’s Nigel Tufnel would say, “This one goes to 11!”

But the kid on his way to his guitar lesson has young ears.  He knows little of the history behind the music that fills his family’s car.  “You know,” Jake declares, and it’s already clear that he intends to congratulate himself as much as issue a judgment, “this is pretty cool!”  He doesn’t realize that the samples, aural citations, electro beats, riffs and motifs that pattern 311′s highly potent musical cocktail can be traced back to pioneers like Malcolm McClaren and Peter Tosh.  He’s probably doubly unaware that at this point in time, listeners are having a hard time discerning the various genres of music.

Or at least one would hope so.  311′s bassist extraordinaire, P-Nut, is a model for civility.  He clearly enjoys the give and take of conversation, as well as the burden of elaboration.  “I think that’s just the way music is going.  It’s pretty obvious that music is in that state now, because so many bands are crossing over and achieving huge levels of success.  It’s just going to be more and more evident as time goes on that if you stay in one place, you’re moving backwards, but if you’re moving forward then you’re obviously on the right track.”

One thing is for sure: when it comes to band business, these guys are as serious as a Pixie Stick with a triple-espresso chaser.  311 is known for a relentless touring schedule of 200+ shows annually, as well as averaging nearly an album release per year.  P-Nut helps to put 311′s impressive work ethic into perspective: “A lot of bands think that once they’ve gotten their record deal, they’ve made it.  They get big egos and become complacent.  But in truth, all a record deal means is that now you have a chance to make it.  It’s a job, and you’ve got to work.

“Everyone is looking for diversity.  People are shying away from strictly one thing or the other.  Everything is not so cut-and-dried or black-and-white anymore.  The crossovers are going to occur and ultimately the genres are going to bleed together.”

It’s obvious that P-Nut, as well as the rest of 311, is well versed in the ways of the music business–and why not?  311 cut its teeth in the music scene that spreads across the Midwest.  In addition, shortly after hitting the road in support of their debut CD, Music, on Capricorn Records, their tour was briefly sidelined when their RV caught fire and exploded, destroying all their equipment and personal possessions.  Unwilling to concede defeat, 311 canceled only one show before returning to the stage with gear donated by sympathetic friends and fans.

“Looking back, I think we all worried way too much,” P-Nut says.  “I know that’s easy to say now, but if you really believe in what you’re doing, you’ll get the break you deserve.  You should do what comes from the heart or everything will ring hollow.  At the end of the day, all we want to be able to say is that we did something honest.”

311′s personal philosophy, the power-of-positive-thinking mindset, is reiterated over and again within the group’s lyrical and musical content.  “Even if it’s not truly a conscious thing we think about, it is definitely a subconscious thing, definitely affecting all of us.  It’s a good place to be,” muses P-Nut.  “We don’t see it as a bad thing.  Everyone is up for new challenges and that’s what it’s always been about.  We always make new hurdles to overcome.  So, even at this pinnacle we’re at right now, we’re always looking to push the envelope by outdoing ourselves.  That’s the great thing about being in a band: always trying to reinvent yourself and not trying to recreate what we’ve already done.

“I’m not saying we’ve reached the pinnacle of positivity, but we’re definitely keeping things on that side,” P-Nut continues.  “We know that having a good philosophy allows us to get the most out of life, rather than being cloudy and bringing everyone else down.  Being able to do what you want for a living is such a joy that there’s really no reason to ever complain about it.  So, as a result, we sing about good things.  And if a problem does arise, then deal with it.”

This may explain why 311 isn’t preoccupied with achieving a preconceived level of success.  “We know that radio support is important.  We know that when it’s kind, radio can help make a band, whereas when it’s cruel it can also serve to help break up a band.”  The music business can be very unapologetically cutthroat–where you’re only as good as your last single.  And yet, even in the face of this, 311′s convictions are absolute. “Even after a Platinum album and #1 songs,” continues P-Nut, “we still did not see much support for our last album, Transistor; yet we’re still here doing what we’ve always done.”

But living up to the expectations of a Platinum record isn’t easy, and many bands don’t cope with it well.  Fortunately, P-Nut cites strong ties with their label: “One thing we all like about Capricorn is that they never really try and tell us what the content of the album should be.  Of course, it will be discussed, but they’ve never tried to push us into a corner and force us to do something that’s musically non-representative of 311′s sound.”

311 has no problem with helping to push this new album to Platinum the old-fashioned way, either–by touring.  Remember, this is a band that sold thousands of CDs on their own before signing with Capricorn, as well as issuing two new CDs dedicated to their loyal fans (these CDs are available exclusively on their own official Web site, www.311.com.  “First and foremost, we are a live band.  The music we write is intended to be heard live.  There’s nothing like it when the band is just ripping it up and the crowd is jumping.  Everyone’s just feeding off the same intense energy.

“We really put a lot of time into how these songs would come off live, and then wrote them accordingly.”  If imitation is the sincerest form of flattery, then the men of 311 should be feeling pretty good right about now.  “There are several bands out there right now that are doing it just like we did it years ago–go out on the road and rock the people.  Boom!  That’s what it’s all about, straight and simple.

“I think that was the motivation behind writing Soundsystem. We wanted an album that was a little bit more in our field of play.  Transistor was great for a studio album, and we all think it will age really well, but we’re a band that needs to be in front of an audience.

“Besides, you can’t be a real judge of the band until you see us live.  Even though we’ve put years’ worth of work into recording, we’re still a live band.  The emotion that comes during a live show is so different than during the making of albums, which becomes a very personal thing.  But a live show is this collective experience that we share with everybody.”

P-Nut continues: “For this album, we really want to play the majority of it live, because that was what we had in mind when it was written–to be played in front of a live audience.  It can’t be ethereal and dubby; it has to be powerful and straightforward.

“Comparing these last two albums, Transistor was written almost entirely on an individual basis, with not much collaboration going on.  This was an important step for all of us, because it allowed us each to grow as songwriters, which in turn, helped to create a much tighter, cohesive songwriting unit when crafting Soundsystem.  We worked on these songs for over a year.  We haven’t had this much time in the studio since we worked on the Music album.”

What makes a good band is the intangible chemistry that exists in the songwriting processes of the band members.  Sometimes, when a songwriter is left to his own devices, there’s suddenly no one there to temper his/her tendencies.  “There is always going to be a little reflection of the last album, because we’re not going to completely abandon what we’ve already done–that would be foolish,” states the very self-assured P-Nut.  “There’s always going to be a little residue left over, especially from something as different and diverse as Transistor.  It was really a fun album to write and record.  We are all very proud of it.  We even plan on incorporating some of the songs into our live set, as well.  But unlike the last tour, where we had a basic set list, we plan on playing a variety of songs, because we know there will be diehard fans attending show after show and we don’t want them listening to the same set every night.  Furthermore, it was with this in mind that we structured a small venue/club tour before going out on the full-blown world tour.  We’re just going to try and keep everyone happy, including us.”

And happy they are.  “There’s always going to be stuff on a smaller scale that goes wrong, but you really can’t get hung-up on that.  We are not going to sacrifice the content of the music.  We’re just going to keep doing what we’re doing; making sure that everyone in the band is happy and work out any differences democratically.  We try and keep everything as positive as possible.

“It really is the only way to be.  Being in a different town, in front of a different group of people every night and dealing with different problems, is just a fact of life for musicians.  The laundry is going to get messed up, the salmon isn’t going to be ready on time, someone is running a half-hour behind schedule and soundcheck is a disaster.  With these kinds of things you realize that this is life–you don’t always have to push the envelope–sometimes you just have to deal with the way things are.”

This philosophy can best described by the track “Life Is Not A Race”:

“The world whirls around your mind in a golden spiral/

The natural way that things organize/

You can’t stop entropy, so why even try/

Observe the conscious flow and don’t mystify/

Life’s not a race”

Soundsystem also marks a studio maturation for 311, thanks somewhat to the contribution of veteran producer Hugh Padgham (XTC, Phil Collins, Sting, The Police), in addition to 311′s long-time producer and live sound engineer, Scotch Ralston.  The hooks throughout Soundsystem are more subtle; yet still in your face, with tighter changes and a more diverse sonic range.  “We wanted someone that we knew had a good record of people to work with, as well as artists that we admire and respect.  We were looking for someone who’d give us an objective opinion on melodies and harmonies and bring that old-school element of recording back into the studio.”

“Come Original,” the first single released from Soundsystem, shows that 311 can keep current with its dancehall rock attack.  Combining Nick Hexum’s melodies with P-Nut’s quirkiness, this first offering is “really just a hard-hitting song that you want to hear over and over again,” declares the very proud bassist.  “And that’s only the first track from the new album!”

For now and on into the foreseeable future, 311 will be radiating their brand of positivity to help erase the anger, bad news and unpleasant vibes in the world. ^m^

Line-Up:                                                                            Origin:

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

Count SA Martinez – Vocals & Scratches             now reside in Southern California

Timothy J. Mahoney – Guitar                                         

P-Nut – Bass

Chad Sexton – Drums & Percussion

How Label Deal Came About:

After independently releasing three albums and touring aggressively throughout the Midwest, 311 began to earn a dedicated regional following.  In 1992, 311 moved to Los Angeles and, through massive word of mouth, quickly captured the attention of Capricorn Records.

About The Current CD:

After two certified Gold albums, followed by two certified Platinum-plus albums as well as a certified Platinum video package, Soundsystem is the fifth studio release from 311 and their sixth album overall for Capricorn Records.

Discography:

Soundsystem (Capricorn, 1999)                                Music (Capricorn, 1993) 

Live (Capricorn, 1998)                                                   Hydroponic (self-released, 1992)

Transistor (Capricorn, 1997)                                      Unity (self-released, 1991)

311 (Capricorn, 1995)                                                    Dammit! (self-released, 1990)

Grassroots (Capricorn, 1994)  

Produced By:

Hugh Padgham and Scott ‘Scotch’ Ralston

Label:

Capricorn

Website:

www.311.com

© September 20, 1999. 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

 © October 10, 1998. Michael D. Vogel.  All Rights Reserved.

Nicholas Hexum – vocals/guitar

SA Martinez – vocals/scratcher

Timothy J. Mahoney – guitar

P-Nut – bass

Chad Sexton – drums

www.311.com 

“Being a musician is an endless journey. If you try only to reproduce the first music recorded, you will eventually become very stale and people will ultimately see right through you. Every musician must go on a journey to experience the different flows of melody that an individual song can provide” – Nicholas Hexum

The inevitable flow began when the band (vocalist-guitarist Nicholas Hexum, vocalist-scratcher S.A. Martinez, bassist P-Nut, drummer Chad Sexton and guitarist Timothy J. Mahoney) met in their hometown of Omaha, Nebraska. Together they unveiled an extreme passion for music that has produced four studio albums, a video compilation and now 311 Live for the unexpecting and the unassuming.

Fusing elements of dub, trip-hop, roots-reggae, hard-core punk with some vicious guitar rock, 311 create one of the most distinctive sounds in music today. It is this unique sound combined with insightful lyrics, and delivered in a highly potent musical cocktail, that has propelled 311 to rock SRO crowds as well as achieving multi-platinum status. From Hawaii to Hong Kong, Los Angeles straight home to Omaha, 311 have toured the globe, and along the way built a worldwide legion of followers through unparalleled high-energy performances and an uncompromising flow of consciousness.

Beginning in small clubs in their native Nebraska, the 311 legacy began with three self-produced efforts. After catching the eye of Phil Walden, 311 released their first of four successful gold and platinum albums, Music, for Capricorn Records. “Our debut album was a greatest hits for us — up to that point. We had a wealth of material to choose from, so we picked the best that we had written at that time plus we included a few new tracks as well,” reflects Nick. “Whereas for the Grassroots album, we wrote and recorded it all in a couple of months in the living room of the house we all shared. The energy level was very fluid,” continues Nick, “but the songs themselves evolved more out on the road.”

Shortly thereafter, rock radio became more receptive for bands that fused hip-hop with rock, ultimately setting the stage for the 311 explosion that the eponymous titled album would bring, along with three Top 10 tracks including the #1 smash “Down.” Reflecting on their third album, Nick continues “the vision was so clear that we felt it was worthy of calling it 311.  It was all just a dream for us: We picked the producer and the studio we wanted to record in as well as beginning to feel the rewards that constant touring can bring. It was just a consistent flow of positive energy.”

This flow helped carry 311 into the studio for their fourth and most ambitious studio album to date. Transistor, continues Nick, “was somewhat of an over achiever. There were more than 30 song’s recorded for the album. Our goal was to be extremely innovative in order to make sure that we weren’t labeled as a pedestrian band sticking to the same rigid path.”

311 may still be one of music’s best kept secrets-but not for much longer.

With their most fully realized album to date under their belts including multi-Platinum status on the last two studio albums, 311 are set to release their first official concert recording, 311 Live. “Our bootlegs were available on a widespread basis. On top of that, there seems to be a huge demand for them as well. We realized that by recording our live shows and mixing them properly, we could release a live album that we were really proud of! We have always maintained that a 311 show is something to be experienced because they are all about the energy of the show itself and not exclusively a listening experience.” Nick further adds, “It’s just our way of thanking the fans for the continued support as well as giving them a quality recording of a ‘live’ 311 concert.”

311 Live is an amped-up blast of Rock & Roll crunch mixed with super-sweet melodies. Its fourteen tracks of knockdown, speaker-thumping rock combined with an explosive rhythm section.

As defined by their trademark sound, 311 delivers a one-two punch with a lethal dose of raw energy, two-part vocals, a frenzied guitar and bass attack along with big and dominating hooks, 311 Live smack you in the face (like a cold winter day.)

The centerpiece of 311 Live is the lead single, the relentlessly catchy ‘Beautiful Disaster.’ Also featured are some of the best that 311 has to offer, including the high energy performances of classic tracks ‘Down,’ ‘Homebrew’ and ‘Freak Out.’ This collection presents 311 captured in their element, doing it for their fans with an exciting mix of live versions of radio hits as well as concert favorites.

In a nutshell, 311 are the swift kick in the ass that end-of-the-century radio has been longing for!

© October 10, 1998. Michael D. Vogel.  All Rights Reserved. This originally appeared on the Vogelism blog at https://www.vogelism.com, authored by Michael D. Vogel. This article may be shared or reprinted as long as this entire copyright message, including the source location of this article, accompanies it.

(click on picture to open file) 

By: Michael D. Vogel

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

Published in:   

Venice magazine – November 1997  

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

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

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

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

“We’ve changed a lot and then some/You know that we have always been down/And if I ever didn’t thank you/Then just let me do it now.”  

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

“I am a music lover and somehow I get paid/ This song would still exist if no money was made/That’s the difference!” 

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

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

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

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

“Tune in/For those who are waitin’/Vision/Feel it from within/Sing along.“ 

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

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

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

“You’re a transistor/Lightning resistor/Conducting to the mother star/That’s what you are.“

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

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

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

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

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

“Every life form is based on this simplicity/ The soul that you have is electricity.“

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

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

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

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

“I can show you where’s the beat/And you can do as you feel as long as you move/Two perfect strangers sharing a groove.“ ^m^

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

(click on picture to open file)  

By: Michael D. Vogel

© April 10, 1998. Michael D. Vogel.  All Rights Reserved.     

Published in:

Totally Adult magazine – April 24, 1998

We often talk about how most successful bands in the ’90s have largely set themselves up for the success they now enjoy. The Dave Matthews Band has perhaps become the best example. Through constant touring, releasing projects on their own label and by careful thought, they placed themselves into a position where major labels took notice.

To RCA’s credit, the A&R staff, the promotion department, the sales and marketing people, publicity and everyone else involved were willing to go along with the momentum Dave Matthews and his very talented band had already set in motion. Perhaps the biggest leap of faith was in trusting that DMB had a sound that the public was hungry for; a sound that didn’t neatly fit into any our convenient categories.

Well, four RCA releases and over 11 million albums sold later, the Dave Matthews Band is ready to take us to a new level–both in musical awareness and lyrical integrity. Pay attention to what Dave Matthews had to say in this interview with The Album Network’s very own Michael D. Vogel. It is clear that his dream for us is to be more open-minded – -not only about music, but about how we deal with each other as human beings. – John Schoenberger

The new album, Before These Crowded Streets, is a view of your more intense side. Why such a dark and brooding tone to this album?

Dave Matthews: “This is most definitely a darker album than what we have done in the past. There is even a certain level of desperation–a fear of loss in it as well. Overall though, I think, in certain elements, the album seems to present a fear of blindly losing hope. Sometimes I think we so eagerly storm toward the cliff edge, not ever really noticing that it’s there, mostly because we are too busy looking out at the horizon. With that view in mind, there is a certain degree of clarity on the album as well.

“In many instances, we are much better at fixing our mistakes after we’ve made them. In some situations, it is easier to sweep things under the rug and forget about them. People are not very pro-active in general, I think, because we are too busy rushing blindly towards our own goals. In relation to the album, there are bits of reflection and a lot of greed. Some of the characters represented on the album are selfish and greedy, but in a ‘tongue-in-cheek’ sort of way.

“But as for the overall feel of the album, the songs just developed that way. Maybe it’s just a place I’m in right now. At one stage there was more of a separation between my music and what I think about, but, at least for now, the two seem to have come together. It was more often an escape than it was something that needed to be addressed. Mostly, it’s just a greater level of frustration that has leaked into the music, especially on this album. For example, there are songs like ‘Crush’ that are more of a worship-of-women-type of song. I feel that I have worked my whole life to get to the point where I should have a good understanding of women. But I’m still trying, and although I think I’m a little closer, as any guy knows, we still have a long way to go.”

The song “Halloween,” a dark number that is somewhat reminiscent of a Vincent Price movie, seems to be an extreme reflection of this level of frustration.

DM: “True. Initially, the song was about a past lover. The main character is frustrated because he can’t control the subject of the song, the woman he desires. This infuriates him to the point where he decides to infiltrate her dreams–ultimately making her life a nightmare. The lead character thinks he’s in love, but he’s actually just frustrated that his affections are not being reciprocated. He has focused all his anger on his own inadequacies. And he’s doing a damn fine job of it, and it’s a little bit humorous, too.

“He’s angry at triviality as well. Although he seems much more vicious now, at the origin of the song he was much more frustrated with the blind leading the blind. Those sorts of images that are feeding our simple appetites and not looking for something more, that is where the song originated, but has now taken somewhat of a crash turn. The change probably came after listening to the song and realizing that he didn’t sound as lofty as he thought he was. He sounds much more like a crude version of a control freak to me. At his base though, he is simply a sad soul who is not as conniving as Marilyn Manson, but one who is much more of a victim. Besides, it’s got a good beat and you can dance to it.”

Although, lyrically, the tone created has a much darker feel, the music itself is played with such a high level of energy and emotion; a counterbalance is created within the music. Is this type of yin-yang relationship something that you constantly strive for in your music?

“Sometimes it’s nice to be able to reflect on the music itself and then write lyrics that I feel anyone can relate to. It’s not my dreaming tree that is dead. The feeling of a loss of hope is universal. There are moments that we’ve all felt a little bit of it, so I don’t think it is something that is too hard to identify with.

“We try and capture a ‘seize the day’ feel within the music itself. Even though lyrically the song may have a dark feel–songs like ‘Pig’ and ‘The Last Stop”–in a way, it is also addressing the topic in a positive fashion. Even though the music is somewhat furious, the song is really saying things really aren’t as bad as they seem.

“Other songs, like ‘Stay (Wasting Time),’ are so blindingly happy. It’s like sour candy that makes the back of your mouth water. Overall, the music on this album shouldn’t give off a sense of sadness, because it is played with so much intensity and emotion that you can’t help but feel good after listening to it. Music is supposed to make you feel good, and that is our goal!”

The song “The Last Stop,” reminiscent of Zeppelin’s “Kashmir,” is sonically different from the rest of the album. Why experiment with such a radical departure from your core sound?

“Personally, I have been listening to a lot more Eastern singers, especially from Pakistan and North Africa. I have been moving towards this type of music because the sounds of their scales tend to be more desperate in nature. Eastern prayer, for example, allows for a certain level of loose improvisation, which can be very overwhelming. Combined with a certain [intangible] element–maybe because it is somewhat foreign–that ultimately makes the music inherently holy. Almost as if the scales themselves hit you right in the center of your soul.

“So, I thought, to turn something like that into a rock song, with a heavy Zeppelinesque style, would be quite a challenge. Musically, the song has a much simpler guitar sound than some of our other songs, almost like a stereotyped movie soundtrack. We wanted to make it rock, but we also wanted to make it serene. Lyrically, the song describes a level of frustration with how easily we blindly follow our leader’s opinions without making sure we have a complete understanding of the big picture. The hook of the song, ‘Black And White,’ is somewhat of the idea behind it as well. Life is really a lot more complicated than simply seeing it as black and white. I personally think it is dangerous to easily dismiss [societies] as bad, yet this type of bigotry slowly creeps into our culture. Ultimately, we tend to judge others based on the way we view the leaders that represent them. As a result, we are teaching each other how to hate. It is this type of stereotype that gets ingrained within our society in a self-perpetuating cycle.”

Although the Dave Matthews Band has never been classified as a “political band,” it appears that you have some pretty politically charged views. In the past, you’ve tended to be a little more reserved; is it now a matter of needing to voice your opinions?

“I grew up in a very politically aware family. My mother always taught me to question everything, never believing anything simply at face value–especially the nicest, most adamant politicians.

“I’m still having as great of a time as ever playing, but this time around we approached everything a little differently. Because we weren’t preparing the new material on the road, I had more time to listen to the music and write lyrics according to what situation the music reminded me of. In the end, I try to maintain a little bit of ambiguity so that I can covertly sneak the notion of being less judgmental into people’s heads.”

The lead single, “Don’t Drink The Water,” gives some pretty potent imagery about one’s loss of self-identity. Is this a result of being too judgmental toward other cultures?

“There is a certain level of ambiguity to the song. The song could revolve around a Native American just as easily as it could be about a new arrival to our soil. If it comes across that it is about someone who has forgotten whom he or she is, and is now struggling to find an identity, then my aim for that track was true. In order to help promote the song, we employed the help of Dean Karr, who shot a wonderful video done mostly in the Amazon, with a few clips from the States. The point being, the character portrayed is not clearly identified as a native or not. It has been done in a surreal sort of way, but that is as much as I’m going to say–you’ll just have to wait until it comes on MTV to find out the rest.

“At its core though, the song is lyrically about the frustration I have with cultures being dismissed because they are different. It seems that the easiest way for people to deal with differences is through fear and, ultimately, hatred. To me, that is the mark of someone who is very shallow and narrow-minded.”

What prompted you to bring in outside artists for this album? Did you feel there was a missing element in some of the songs that only a certain artist could fill?

“I don’t necessarily think anything was missing from the music. Because it was a sound that we haven’t had before, I just thought it would be fun to include other artists, and that was pretty much the level of it. I wanted to bring in some strings on ‘The Stone’ from the moment I wrote it just, because I thought it was a logical element to be included in the song; but I don’t think it was desperately missing anything.

“I was very sure about the Kronos Quartet, I just wasn’t sure if they’d accept the offer. Bela Fleck has sat in with us a few times on the last couple of tours. Being a good friend, I just felt it would be great to have his contribution on the album as well. I met Alanis Morissette while visiting San Francisco for a benefit show. She came by to visit while we were recording the music, and again while we were laying down the vocal tracks. She was mainly going to do some background vocals, but because she was into the new stuff we ended up giving her a few verses.”

Let’s shift gears here. You have been very instrumental in the marketing and promotion of the Dave Matthews Band. How did you know it was okay to go outside the norm, to cultivate a fan base without the initial support of a major label?

“I think it is very key to keep a bit of control over how much exposure you receive. Personally, I don’t want to burn out on the whole scene. It’s not about having the best record deal, or winning awards or even being on television–we are here because we enjoy making music. We have been playing together for years before being approached by the industry, which has helped give us a solid foundation in regards to the whole scene. As a result, the same crew, for the most part, has been with us from the very beginning.

“I think inside the industry there is an urge to ‘blow your wad,’ so to speak, right away. Our popularity has grown quickly, and we are very grateful for that, but we are also very hesitant in regards to complete exposure. Although the stages may be larger, the lights brighter and the audiences bigger, we are still the same band making the same great music.”

Is the ultimate success story the Live At Red Rocks 8.15.95 CD, which has been certified Platinum with very little promotion?

“We just felt this was a good way to give something back to the people who care about the live shows, including the improvisational elements. It’s not that we have a problem with bootlegs, because nothing could be further from the truth. We have no intention of stopping people from bootlegging our shows. The trouble comes with the idea of some guy, who really doesn’t give a crap about the band or the music, just simply trying to cash in on an easy buck.

“We were real specific about who we went after in that regard. In fact, some stores had the complete opposite reaction–grateful there was a good live album they could sell without having to deal with the hassles of selling mediocre multi-generation bootleg recordings. Besides, with that kind of recording quality, it just irritated us that people would spend their hard-earned cash on live albums that sucked. The fan could probably get a better mix if they taped off of the radio using an old tape recorder.”

With the cross-format success the band has seen, what genre of music does the Dave Matthews Band best fit into? Are you cautious as to how far you’ll delve into the mainstream, including Top 40 and Adult Contemporary?

“I don’t want to sound arrogant, but to define what type of music we play, for example, Southern rock, would only confine and constrain the whole creative process. If we were to limit ourselves, we wouldn’t be able to play a song like ‘The Last Stop.’ It would kind of be like Picasso saying his next phase would be the Cubist phase–that’s simply absurd!

“Whether or not there is an obvious song on the album which could eagerly be put into the Top 40 realm is irrelevant if radio is unwilling to play it. All we can do is make the music and, if they like it, it would be stupid to say, ‘Well, you can’t have it.’ I just try and write reasonable music that will fall into many different genres, reaching the most people as possible. Music has always appealed to people in many different ways. But it is also unrealistic to think that everyone will like us. If they came to a show because they like the song ‘Crash Into Me,’ but found that we didn’t meet their expectations, than we’ve lost someone along the way.”

The focus of the Dave Matthews Band has always been on the group as a whole and never on you as an individual player. Do you intentionally steer the spotlight away from yourself and keep it focused on the band as a whole?

“We sort of have to. Obviously the name of the band doesn’t make it any easier, but it was more for the lack of a name that we ended up as the Dave Matthews Band. It just seemed to be the easiest thing. Like some bands that are named for a fictitious person, people were surprised there really was a person named Dave Matthews.

“Certainly, when we are playing, it unfolds the way it is going to unfold. So there will obviously be more instrumental sections, but you also want to focus on the vocals and not necessarily on the guitar playing. The attention really should be spread out amongst us all, because there are some very accomplished musicians within the band. It just makes it more interesting for everyone, the fans as well as the members of the band, because it allows different voices to be heard.”

I think you are one of the most underrated guitar players making music today. Do you feel that your playing ability has received the recognition and credit it deserves?

“First of all, I don’t touch electric guitars. It’s just not my thing–I stick with acoustic guitars only. Secondly, I know I have a very unusual style of playing, where other more recognized and technically proficient players might look at me and wonder what the heck I’m doing. The purpose of my learning to play the way I do was more to accompany my singing. I figured out a style where I’m mentally playing the drums over a simple melody. I just try and put it all together and then not mess with it. For me, it’s a real obvious way to play, but to others it is simply technically wrong.

“Personally, I have always been drawn to percussion and drums, to bass and piano, in music much more then I am drawn to the guitar and the other lead instruments. The melodies are always the most important part to me. I am pulled more to the groove than the chord progression. After you find the groove, you find the most simple chord progressions and then sit inside that groove.” ^m^

Origin:

Born in Johannesburg, South Africa, Dave Matthews now makes his home in Charlottesville, Virginia, where he put together a multi-racial band consisting of acoustic guitar, bass, violin, sax and drums.

Line-Up:                                                          

Dave Matthews – Vocals & Acoustic Guitar         Stefan Lessard – Bass 

Boyd Tinsley – Violin                                                       Carter Beauford – Drums & Percussions

LeRoi Moore – Saxophone                               

Guest Musicians:

Tim Reynolds – Electric Guitar & Mandolin)                   Alanis Morissette – Background Vocals

Bela Fleck – Banjo                                                                       The Kronos String Quartet – Strings

How Label Deal Came About:

We often talk about how most successful bands in the ’90s have largely set themselves up for the success they now enjoy. The Dave Matthews Band has perhaps become the best example. Through constant touring, releasing projects on their own label and by careful thought, they placed themselves into a position where major labels took notice.

To RCA’s credit, the A&R staff, the promotion department, the sales and marketing people, publicity and everyone else involved were willing to go along with the momentum Dave Matthews and his very talented band had already set in motion. Perhaps the biggest leap of faith was in trusting that DMB had a sound that the public was hungry for; a sound that didn’t neatly fit into any our convenient categories. 

About The Current CD:

Four RCA releases and over 11 million albums sold later, the Dave Matthews Band is ready to take us to a new level–both in musical awareness and lyrical integrity. It is clear that his dream for us is to be more open-minded — not only about music, but also about how we deal with each other as human beings.

Discography:

Before These Crowded Streets (RCA, 1998)    

Live At Red Rocks (Bama Rags/RCA, 1997)

Crash (RCA, 1996)

Under The Table And Dreaming (RCA, 1994)

Remember Two Things (RCA, 1993)                           

Produced By:

Steve Lillywhite

Label:

RCA

Website:

www.dmband.com

© April 10, 1998. 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.