(click on picture to open file)

By: Michael D. Vogel

© September 11, 1997. Michael D. Vogel.  All Rights Reserved. 

Published in:

The Album Network magazine – September 26, 1997

Resilience and faith are two commodities that are essential in today’s fast-paced life. “The name Jars Of Clay” states Charlie Lowell, keyboard and vocalist for the band, “comes from scripture. ‘But we have this treasure in jars of clay to show that this all-surpassing power is from God and not from us’ (II Cor. 4:7). That one verse describes exactly the picture we are trying to communicate.” Once just a group of friends sharing a common faith and inspiration to make music, Jars Of Clay have begun a movement to bring religious music into the mainstream.

Much Afraid, Jars Of Clay’s second full-length album, is the anxiously awaited follow-up to their self-titled platinum-plus, multi-award winning debut album. [Writers Note: It is important to note here that Jars Of Clay was certified platinum in the non-secular market several months before it reached commercial radio!] Now with a newly recorded album and single already impacting at commercial radio, the band is ready and eager to prove their intentions. By projecting a more intense sound that traces darker themed characteristics than their debut album, Jars Of Clay demonstrate they are far from being just a pious band.

Although a majority of their music is written in praise of the Almighty, Jars Of Clay manage to expound their joy and faith without preaching. By resisting an urge to sound excessively religious by shoving spiritual beliefs down our throats, the casual observer might not even realize Jars Of Clay are a band from the religious world. But these four guys also have other inspirations, as I found out initially in listening to their new album, Much Afraid, and subsequently on a follow-up conversation with Charlie while in Nashville, a few days later.

It seems like Jars Of Clay just got off the road, yet in the last few months the band has recorded a new album, Much Afraid, and are planning to go back out on tour within the next few weeks. How are you preparing for the road this time around?

Charlie Lowell: “A little over a year ago we started a co-headlining theater tour with The Samples. It was quite a unique situation, though, because the band that had sold more records in the market got the headlining position in the show. It was an on again, off again thing. We were exhausted and ready to take some time off and prepare for the new album. The record had already been out for well over a year and ‘Flood’ had already peaked at radio. So it really just felt like bad timing to go back out on tour; whereas this time around, we are refreshed and ready to hit the road. It just feels like the first official tour we’ve headlined. With a new album and single at radio, and a well-balanced supporting band [Plum], it just seems this time around things are set up to be more successful. I hope I didn’t just jinx us by saying that!”

How much of a role does the band have in the decision-making on who you tour with?

CL: “Actually quite a bit. A couple of months ago we started talking about options and which bands had new albums coming out. We also considered who would fit well with what we are doing musically and artistically, and then see which ones looked possible. Specifically, for this tour, Plum was our primary choice from the very beginning because they have a vision, both musically and lyrically, that is very close to ours. It’s just a desire to make good music without coming in with an agenda or being heavy-handed.

“In the case of our last tour with The Samples, it looked good on paper, but when we got out on the road both bands became pretty miserable. We all got along well on a personal basis, but felt that musically we were moving in different directions and as a result both bands, as well as the audience, were suffering. Ultimately, it was a mutual decision and The Samples dropped off the tour with the vacancy to be filled later by the Gufs.”

In the case of Plum, sharing the same label and management probably doesn’t hurt either!

“Certainly, that’s a huge benefit. In this case, it just makes everything a whole lot easier!”

Having such strong personal convictions, how does the band deal with other artists that have different views and habits then you do?

“We really try not to judge other people. We love all kinds of music so much that it is just a thrill for us to play with other bands. Regardless of their philosophy or value system, it’s simply exciting just to share the stage with another band as well as get to know them personally. Most bands, regardless of the type of music they make, can relate on at least one level to where other artists are at. Inside a common profession, like the music business, most experiences are relative. Therefore, there is a common bond that ties people together based on these similar and shared experiences.

“The end desire is to create music that is of excellent and lasting quality as well as being challenging to our fans. On a personal level, we try to present life’s struggles and experiences through the lyrical content of our music. A lot of that comes across through our faith, our up bringing and what we have come to believe in as individuals. The end result is an album that is a lot darker and more introspective then our first record. For example, ‘Tea And Sympathy’ does not necessarily deal with faith, although that does come into play, but more about the struggles of being in a relationship. ‘Portrait Of An Apology’ is about how one’s heart changes, as well as being seen for the person that you really are and the struggles that you go through. By presenting the music in this fashion, hopefully different people from various backgrounds will all be able to relate to the record.” 

What about fanatical supporters and groupies?

“The concept of ‘groupies’ is very weird to us. Some we try to ignore simply because they are too fanatical. They have no idea who I am nor do they ever express any interest in who I am as person–yet, they are making fools out of themselves. To us, that kind of behavior is too eccentric and therefore something we really try not to deal with.

“Our fan base comes from both the religious and secular worlds. Those that are coming from a non-secular background are usually fanatical about the religion itself, and although they enjoy the music, the whole event turns into somewhat of a religious pep rally. Although that type of event can be very interesting, it does tend to alienate some of the mainstream audience that only wants to enjoy the music itself. But it is also the fan base that gives constant words of encouragement and the desire to keep moving forward as an artist. In the end then, I guess fans walk a fine line. Through positive responses the artists can grow and mature with the audience, whereas eccentric and fanatical behavior often tends to be destructive to both the artist and the individuals involved.”

The approach to the new album, Much Afraid, is much more rock-oriented than the debut album. Was that intentionally done in an effort to shed part of the religious stereotype? 

“Part of it was intentional and part of it was a maturity thing. I think more than anything we have been playing live as a six-piece rock band for the last two years. When we recorded the first record, it was more of a studio project. We didn’t plan on playing anything larger than coffeehouses. In fact, when we were signed to Essential [Records] as a band, we had only played about ten shows and mostly acoustic. And because we didn’t have a drummer at the time, we were forced to use loops instead. But as we prepared to start touring, the necessity for a drummer became obvious–and from then on it has pretty much been a [rock] band thing. For example, our live shows have never really sounded like the first record. So, in actuality, our sound is just the natural progression of who we are as artists and not so specifically an attempt to get away from our spiritual connotations.

“We wanted to create something that would have somewhat of a timeless sound but not in an egotistical way. We wrote this album with a live interpretation in mind without being necessarily reflective of the trends in music at that time. Five years from now, we still want our music to hold up and not sound dated.”

Where did the name for the album Much Afraid come from? 

“A book called ‘Hind Feet On High Places’ by Hannah Hernard. It’s basically an allegory of the journey of life.  In the book there are several characters, the lead character being named ‘Much Afraid.’ A lot of the concepts from that book weave throughout our record. It is also an anthem of hope and faith and a sense of resolution. That, above all else, is what we’re trying to learn and live, and the message we want to leave with people.”

Do you put high expectations on the band because the music has some religious significance? 

“I think there’s a temptation to. We try not to feel too much pressure to be there and please the extreme religious fanatics. We simply try to express ourselves and hope that a connection is made with the audience. Looking back on the first album, it was who we were at the time we recorded it. There’s not really a feeling of obligation or a need to hit a particular topic. The only thing we feel bound by is experience and honesty. Some bands are embarrassed by some of their early material, as if it was something they were trying to be and never really completely achieved it. We are very proud of our first album but at the same time we have grown a lot since then–it was also a tremendous milestone for us as well. ^m^

Photograph credit: Matt Barnes

Origin:

Hailing from Rochester, NY, Winter Springs, FL and Decatur, IL, the four members of Jars Of Clay have relocated to Nashville, TN

Line-Up:                                                                                    

Dan Haseltine – Vocals

Matthew Odmark – Guitar & Vocals

Stephen Mason – Guitar, Bass & Vocals

Charlie Lowell – Synthesizer, Organ, Piano & Vocals     

About The Current CD:

Much Afraid is the bands third album, and the highly anticipated follow-up to their multi-format, monstrously successful self-titled platinum CD.

Discography:

Much Afraid (Essential/Silvertone/Jive, 1997)                                         

Jars Of Clay (Essential/Jive, 1995)

Frail (Silvertone, 1994)  

Produced By:

Stephen Lipson

Label:                                                              

Essential/Silvertone                                          

Website:

www.jarsofclay.com

© September 11, 1997. Michael D. Vogel.  All Rights Reserved. This originally appeared on the Vogelism blog at https://www.vogelism.com authored by Michael D. Vogel. This article may be shared or reprinted as long as the entire copyright message, including the source location of this article, accompanies it.

(click on picture to open file)

By: Michael D. Vogel

© September 2, 1997. Michael D. Vogel.  All Rights Reserved.   

Published in:

Virtually Alternative magazine – September 1997

Over the course of the last 20 years, Ric Ocasek has been one of alternative rock’s most revered pioneers. His work with the Cars, the various side and solo projects, and even his poetry have kept him front and center in the music world–even when he’s not writing or producing. He’s had enormous triumphs as well as a few falls. If he has an opinion on a particular subject, he speaks his mind freely, directing pointed barbs at any detractors, rarely apologizing for anything.

Through it all, amazingly, he has for the most part remained unscathed. His status as one of rock music’s most creative geniuses is as revered as it has ever been!

Today, he is the same soft-spoken man that put raw emotion and angst into rock music more then a decade before anyone even imagined the “Alternative Movement.” The only difference between then and now is that he no longer uses a “band” as his musical vehicle of expression. In fact, he looks back on much of his younger times with the Cars as something that was an expression of difference yet also symptomatic of the decadence of the times. “I certainly was seeking out things that were left of center and somewhat decadent.” After more then a decade removed from the band, he still remains very insightful about life, music and an eloquent observer of the world around him. “It always interests me how far people are willing to go. But, for the most part, I feel we’ve become a lot more decadent now then we were ten years ago!”

I recently had the pleasure of speaking with one of the original “New Wave” engineers, tucked away in the quite confines of his Los Angeles hotel room followed by a rare personal meeting, in the hallowed halls of the Album Network. Ric Ocasek is back out on the road getting both radio and retail reacquainted with the man that brought us “Candy-O,” while also promoting his new album, Troublizing the first in four years. Any hints of a rebellious youth are long gone, fashionably attired in a conservative T-shirt and sports coat, jeans and his trademark dark sunglasses. His only concession to a more formal attire were his shoes–fine Italian loafers–of course! Ric never broke form: During our phone conversation he was very deliberate in his replies, often taking long pauses, mulling over the appropriate reply to a question. In person, the only difference was that he was a bit quieter and more introspective.

Meet the new Ric, same as the old Ric. “I’m just a general skeptic from evolution on up, more than anything, but I also feel that I do hold some sense of humor about life as well. I’m certainly optimistic as opposed to being pessimistic as a person too.”

Like pieces of a rather ill fitting pie chart, Ric Ocasek’s life seems to be broken into odd slices that all center around music. “Life is for living in all ways and all forms. After all the craziness of the Cars and now as a solo artist, I have dabbled in all kinds of artistic expressions–from writing books and poetry to photography. Throughout it all, music has always been a very important part of my life.” In his writings, similar to his music, he’s apt to sketch an idea and then let his audience fill in the details. Consequently, he feels little or no pressure to define Troublizing, to delineate the generation and development of its songs. “As far as music is concerned, I don’t think I’ve had any different opinions since I initially began making music. It’s still about being confused regarding your place in society and trying to be something that you are not.”

Judging by the quality of his work on the new album, Ocasek has assembled one of the strongest works of his illustrious career. It is a stunning collection of material that echoes his past with the Cars as much as it reflects the wide spectrum of his current musical endeavors. And so, Troublizing comes to us without an instruction manual, and that means you can ultimately take its endearing blend of rock forthrightness and pop catchiness off on your own personal tangent.

Clearly, Ocasek hasn’t abandoned his strong beliefs that made both he and the Cars famous, but he does harbor some doubts about music as an effective vehicle for spreading complex ideas. “When I first started making records, I loved all the equipment and technology. I loved the whole process of making an album. But things have progressed a lot since then.” Although he’s not sure about technology and the information age as a vector for social change; he is, however, certain about the affects it will have on individuals and society. “I do fear for the future of our children and people in general. I see things getting more information oriented; information that we don’t necessarily need, as well as people being confused about their position in life” he says. But then he pauses and qualifies the statement, “I feel sorry for the children who have to be motivated to live on. Although, with a little attention to what is going on around you and a firm conviction to do something about it, things can always get better!”

As a vocalist and a lyricist, Ocasek’s gift has always been an ability for breathing personal intensity into the music. “My music comes straight from the heart because I care–I’m not doing this for any other reason.” This holds true for his view on poetry and how it relates to music. “People who write good, insightful lyrics have in some way been influenced by some lines of poetry. When people think of songs, they think in terms of verses. At its root, that is what poetry is all about. The only difference, I would imagine, is that music tends to be more thematic whereas poetry doesn’t.” Certainly, a great rhythm guitar and a strong beat contribute to any songs effectiveness, but Ocasek has a knack for charging street-wise sentiments with vitality. As an excellent songwriter, he is also able to communicate the inarticulate. “I think you can learn a lot from the way people express themselves, whether it is what they say or do.”

But, where others wade in a sea of indecisiveness, Ric Ocasek has always been sure about one thing–himself. “It is my firm belief that you are the person you are and therefore there is no reason to try and be someone else.” Holding true to his convictions about the power of music and, ultimately, the role it plays in the politics of style, he adds, “Not all records are huge popular success stories.” And, “with the short attention spans we cultivate in today’s societies, if you haven’t recently been in the forefront of the publics eye, you tend to be forgotten. But when you are suddenly reintroduced to the mainstream, you are then labeled with the term ‘come back.’ I’m sure there is a multitude of people who have forgotten about me or never really paid that much attention in the first place. Overall, I don’t look at this record as any kind of comeback at all! It is just the next record in line.”

Although it is sometimes hard to tell whether he’s being provocative or honest, Ocasek’s populist sentiments are a refreshing antidote to the prevailing reign of rock seriousness. “One of the biggest things I learned from the onslaught of success, as an artist, is to relax and wait until the very last minute before delving into the pressures of creating music.” There is a certain level of irony here though. He adds, “when it comes to writing music, I am definitely obsessed. I think about it all them time. It’s like having that other kind of love, one that is not shared with another living being. It shows that there is, in general, something different in life.” But in regards to the topic of recreating what has already been done, Ric was very quick to reply “It’s hard to get away from writing the same type of song even though you might make it better.” He continues, “I like to think philosophically that we all have a dream, one that is so great, but unfortunately will never come true.” He is definitely a free spirit who can attract others based on the style and content of the message.

Ric Ocasek is also one of those rare behind-the-boards talents who remain a vital force in the industry even as you trace the history of rock & roll through his credits. His image, similar to other rock visionaries like David Bowie, is synonymous with what is ‘cool’ and up-and-coming in music.

In its various forms, the rock genre has always been the musical halfway house between the eclectic singer/song-writer and the angst-ridden, distortion and feedback guitar bands. “It is very important to have control over the recording process, so that all possible options can be viewed and equally discussed.” In this fashion, Ocasek has functioned as a musical conduit, delivering alternative sounds into the waiting arms of a rock & roll melody. This coupled with the fact that “Modern Rock” has become the central focus of the rock genre explains why he is even in more demand now then ever before.

Musical growth has consistently been the modus operandi for Ocasek since he helped take the Cars through the musical evolution of the early 80s. Throughout the bands career, the Cars were known for his arrangement style, which thrived on subtle dynamics and precise production–something that has prompted other artists to request his assistance.

Ric Ocasek’s growing appeal as a producer among the new breed of alternative/punk rock bands, with such high profile artists like Hole, Weezer, Bad Religion, Iggy Pop and D Generation (to name a few), is not so surprising. He is sympathetic to young recording artists as well as having an understanding of the unprecedented pressures they must persevere. “The most important thing is a passion for what you are doing. Generally, if you are content with you situation, along with a little hard work and dedication, you ultimately will be a success at what you do.”

He has built his reputation on being a persistent, hard-working master of details, gauging time and an artist’s temperament and how to best combine them to create that indefinable magic. “I look for the things that are different then what I do. They might be examples of things I would like to do. Bad Brains and Suicide, two bands that are quite different in themselves, are examples of bands that are at the opposite ends of the musical spectrum. On the other hand, I think working with other pop bands, similar to the Cars, or similar to something I might be working on, wouldn’t be as interesting at all.” Yet he claims, that despite commons threads, his approach must vary depending on what he and the artist feel should be contributed to the project. ” I might even choose to produce a band in order to have them explore areas that they never intended or imagined before.” Once those elements are in place, he sees his basic job as simply helping the artist reach their maximum potential. “Although the role of the producer is to add another personality into the mix, the main focus is to accentuate the positives of the artist.”

But this is also a musician, who attributes his cool exterior to the very word that commands only one description–perfectionist. That is especially true when it comes to defining his work ethic in the studio, especially for his own material. “Right from the start, I knew I wanted a musician to produce this record. The reason I chose Billy [Corgan] was because he is just as obsessive about music as I am. From all the material I had read about him, he really presented himself as his own person, one with individual ideas and the way things should be done. He believes 100% in what he is doing.” He further adds, “The Smashing Pumpkins have covered “You’re All I Got Tonight”, so I was already aware of what they could do with a Cars song, but I was most curious about how he would take the songs that I had written and do them. I knew he would be very much in control of that and that is what I wanted.” These are important qualities to Ric, who was quick to differentiate between the two, [an artist and a producer]. “First of all, Billy is a songwriter, something you don’t get in a producer. You also don’t get members of bands who know what the politics of the game are all about. What I really wanted was someone who would really live the making of the record. I felt the best place to look for that was the people that actually make the music–the artist themselves. In this case, Billy Corgan more then fit the bill.” In fact, that diversity is the magic in Ric Ocasek’s universe.

Troublizing is the end result–an album that is as powerful in simplicity, as it is majestic in its textured blend of musical styles. The veteran singer/songwriter has come up with the most versatile and wide-ranging collection of sounds and songs of his eclectic career. At the same time, he has also come up with a very accessible approach that more than mirrors his past successes. “If someone is in control of their own folly, the end result is usually something positive. Maybe you just need to be obsessed with something and then follow that obsession to fruition. We all do things in order to obtain a certain goal–the difference between success and failure is just a matter of being in love with what you are doing.” ^m^

Origin:

Originally from Australia, the band has now relocated to London, England

Line-Up:                                                                                    

Ric Ocasek – Vocals, Guitars & Keys                             Ira Elliot – Drums          

Brian Baker – Guitar                                                             Melissa Auf der Maur – Bass

Billy Corgan – Guitar                                                            Greg Hawkes – Keys

Matt Walker – Drums

About The Current CD:

Troublizing is the fifth solo album from the former leader of The Cars, featuring co-production, guitars, keyboards and backing vocals by Billy Corgan of The Smashing Pumpkins.

Discography:

Troublizing (Columbia, 1997)                              

Quick Change World (Reprise, 1993)      

Fireball Zone (Reprise, 1990)

This Side Of Paradise (Geffen, 1986)

Beatitude (Geffen, 1982)

Produced By:

Ric Ocasek & Billy Corgan

Label:

Columbia

Website:

www.ricocasek.com

© September 2, 1997. Michael D. Vogel.  All Rights Reserved. This originally appeared on the Vogelism blog at https://www.vogelism.com authored by Michael D. Vogel. This article may be shared or reprinted as long as the entire copyright message, including the source location of this article, accompanies it.

(click on picture to open file)

By: Michael D. Vogel

© September 2, 1997. Michael D. Vogel.  All Rights Reserved.  

Published in:

Venice magazine – October 1997

Over the course of the last 20 years, Ric Ocasek has been one of alternative rock’s most revered pioneers. His work with the Cars, the various side and solo projects, and even his poetry have kept him front and center in the music world–even when he’s not writing or producing. He’s had enormous triumphs as well as a few falls. If he has an opinion on a particular subject, he speaks his mind freely, directing pointed barbs at any detractors, rarely apologizing for anything.

Through it all, amazingly, he has for the most part remained unscathed. His status as one of rock music’s most creative geniuses is as revered as it has ever been!

Today, he is the same soft-spoken man that put raw emotion and angst into rock music more then a decade before anyone even imagined the “Alternative Movement.” The only difference between then and now is that he no longer uses a “band” as his musical vehicle of expression. In fact, he looks back on much of his younger times with the Cars as something that was an expression of difference yet also symptomatic of the decadence of the times. “I certainly was seeking out things that were left of center and somewhat decadent.” After more then a decade removed from the band, he still remains very insightful about life, music and an eloquent observer of the world around him. “It always interests me how far people are willing to go. But, for the most part, I feel we’ve become a lot more decadent now then we were ten years ago!”

I recently had the pleasure of speaking with one of the original “New Wave” engineers, tucked away in the quite confines of his Los Angeles hotel room followed by a rare personal meeting, in the hallowed halls of the Album Network. Ric Ocasek is back out on the road getting both radio and retail reacquainted with the man that brought us “Candy-O,” while also promoting his new album, Troublizing the first in four years. Any hints of a rebellious youth are long gone, fashionably attired in a conservative T-shirt and sports coat, jeans and his trademark dark sunglasses. His only concession to a more formal attire were his shoes–fine Italian loafers–of course! Ric never broke form: During our phone conversation he was very deliberate in his replies, often taking long pauses, mulling over the appropriate reply to a question. In person, the only difference was that he was a bit quieter and more introspective.

Meet the new Ric, same as the old Ric. “I’m just a general skeptic from evolution on up, more than anything, but I also feel that I do hold some sense of humor about life as well. I’m certainly optimistic as opposed to being pessimistic as a person too.”

Like pieces of a rather ill fitting pie chart, Ric Ocasek’s life seems to be broken into odd slices that all center around music. “Life is for living in all ways and all forms. After all the craziness of the Cars and now as a solo artist, I have dabbled in all kinds of artistic expressions–from writing books and poetry to photography. Throughout it all, music has always been a very important part of my life.” In his writings, similar to his music, he’s apt to sketch an idea and then let his audience fill in the details. Consequently, he feels little or no pressure to define Troublizing, to delineate the generation and development of its songs. “As far as music is concerned, I don’t think I’ve had any different opinions since I initially began making music. It’s still about being confused regarding your place in society and trying to be something that you are not.”

Judging by the quality of his work on the new album, Ocasek has assembled one of the strongest works of his illustrious career. It is a stunning collection of material that echoes his past with the Cars as much as it reflects the wide spectrum of his current musical endeavors. And so, Troublizing comes to us without an instruction manual, and that means you can ultimately take its endearing blend of rock forthrightness and pop catchiness off on your own personal tangent.

Clearly, Ocasek hasn’t abandoned his strong beliefs that made both he and the Cars famous, but he does harbor some doubts about music as an effective vehicle for spreading complex ideas. “When I first started making records, I loved all the equipment and technology. I loved the whole process of making an album. But things have progressed a lot since then.” Although he’s not sure about technology and the information age as a vector for social change; he is, however, certain about the affects it will have on individuals and society. “I do fear for the future of our children and people in general. I see things getting more information oriented; information that we don’t necessarily need, as well as people being confused about their position in life” he says. But then he pauses and qualifies the statement, “I feel sorry for the children who have to be motivated to live on. Although, with a little attention to what is going on around you and a firm conviction to do something about it, things can always get better!”

As a vocalist and a lyricist, Ocasek’s gift has always been an ability for breathing personal intensity into the music. “My music comes straight from the heart because I care–I’m not doing this for any other reason.” This holds true for his view on poetry and how it relates to music. “People who write good, insightful lyrics have in some way been influenced by some lines of poetry. When people think of songs, they think in terms of verses. At its root, that is what poetry is all about. The only difference, I would imagine, is that music tends to be more thematic whereas poetry doesn’t.” Certainly, a great rhythm guitar and a strong beat contribute to any songs effectiveness, but Ocasek has a knack for charging street-wise sentiments with vitality. As an excellent songwriter, he is also able to communicate the inarticulate. “I think you can learn a lot from the way people express themselves, whether it is what they say or do.”

But, where others wade in a sea of indecisiveness, Ric Ocasek has always been sure about one thing–himself. “It is my firm belief that you are the person you are and therefore there is no reason to try and be someone else.” Holding true to his convictions about the power of music and, ultimately, the role it plays in the politics of style, he adds, “Not all records are huge popular success stories.” And, “with the short attention spans we cultivate in today’s societies, if you haven’t recently been in the forefront of the publics eye, you tend to be forgotten. But when you are suddenly reintroduced to the mainstream, you are then labeled with the term ‘come back.’ I’m sure there is a multitude of people who have forgotten about me or never really paid that much attention in the first place. Overall, I don’t look at this record as any kind of comeback at all! It is just the next record in line.” 

Although it is sometimes hard to tell whether he’s being provocative or honest, Ocasek’s populist sentiments are a refreshing antidote to the prevailing reign of rock seriousness. “One of the biggest things I learned from the onslaught of success, as an artist, is to relax and wait until the very last minute before delving into the pressures of creating music.” There is a certain level of irony here though. He adds, “when it comes to writing music, I am definitely obsessed. I think about it all them time. It’s like having that other kind of love, one that is not shared with another living being. It shows that there is, in general, something different in life.” But in regards to the topic of recreating what has already been done, Ric was very quick to reply “It’s hard to get away from writing the same type of song even though you might make it better.” He continues, “I like to think philosophically that we all have a dream, one that is so great, but unfortunately will never come true.” He is definitely a free spirit who can attract others based on the style and content of the message.

Ric Ocasek is also one of those rare behind-the-boards talents who remain a vital force in the industry even as you trace the history of rock & roll through his credits. His image, similar to other rock visionaries like David Bowie, is synonymous with what is ‘cool’ and up-and-coming in music.

In its various forms, the rock genre has always been the musical halfway house between the eclectic singer/song-writer and the angst-ridden, distortion and feedback guitar bands. “It is very important to have control over the recording process, so that all possible options can be viewed and equally discussed.” In this fashion, Ocasek has functioned as a musical conduit, delivering alternative sounds into the waiting arms of a rock & roll melody. This coupled with the fact that “Modern Rock” has become the central focus of the rock genre explains why he is even in more demand now then ever before.

Musical growth has consistently been the modus operandi for Ocasek since he helped take the Cars through the musical evolution of the early 80s. Throughout the bands career, the Cars were known for his arrangement style, which thrived on subtle dynamics and precise production–something that has prompted other artists to request his assistance.

Ric Ocasek’s growing appeal as a producer among the new breed of alternative/punk rock bands, with such high profile artists like Hole, Weezer, Bad Religion, Iggy Pop and D Generation (to name a few), is not so surprising. He is sympathetic to young recording artists as well as having an understanding of the unprecedented pressures they must persevere. “The most important thing is a passion for what you are doing. Generally, if you are content with you situation, along with a little hard work and dedication, you ultimately will be a success at what you do.”

He has built his reputation on being a persistent, hard-working master of details, gauging time and an artist’s temperament and how to best combine them to create that indefinable magic. “I look for the things that are different then what I do. They might be examples of things I would like to do. Bad Brains and Suicide, two bands that are quite different in themselves, are examples of bands that are at the opposite ends of the musical spectrum. On the other hand, I think working with other pop bands, similar to the Cars, or similar to something I might be working on, wouldn’t be as interesting at all.” Yet he claims, that despite commons threads, his approach must vary depending on what he and the artist feel should be contributed to the project. ” I might even choose to produce a band in order to have them explore areas that they never intended or imagined before.” Once those elements are in place, he sees his basic job as simply helping the artist reach their maximum potential. “Although the role of the producer is to add another personality into the mix, the main focus is to accentuate the positives of the artist.”

But this is also a musician, who attributes his cool exterior to the very word that commands only one description–perfectionist. That is especially true when it comes to defining his work ethic in the studio, especially for his own material. “Right from the start, I knew I wanted a musician to produce this record. The reason I chose Billy [Corgan] was because he is just as obsessive about music as I am. From all the material I had read about him, he really presented himself as his own person, one with individual ideas and the way things should be done. He believes 100% in what he is doing.” He further adds, “The Smashing Pumpkins have covered “You’re All I Got Tonight”, so I was already aware of what they could do with a Cars song, but I was most curious about how he would take the songs that I had written and do them. I knew he would be very much in control of that and that is what I wanted.” These are important qualities to Ric, who was quick to differentiate between the two, [an artist and a producer]. “First of all, Billy is a songwriter, something you don’t get in a producer. You also don’t get members of bands who know what the politics of the game are all about. What I really wanted was someone who would really live the making of the record. I felt the best place to look for that was the people that actually make the music–the artist themselves. In this case, Billy Corgan more then fit the bill.” In fact, that diversity is the magic in Ric Ocasek’s universe.

Troublizing is the end result–an album that is as powerful in simplicity, as it is majestic in its textured blend of musical styles. The veteran singer/songwriter has come up with the most versatile and wide-ranging collection of sounds and songs of his eclectic career. At the same time, he has also come up with a very accessible approach that more than mirrors his past successes. “If someone is in control of their own folly, the end result is usually something positive. Maybe you just need to be obsessed with something and then follow that obsession to fruition. We all do things in order to obtain a certain goal–the difference between success and failure is just a matter of being in love with what you are doing.” ^m^

Origin:

Originally from Australia, the band has now relocated to London, England

Line-Up:                                                                                    

Ric Ocasek – Vocals, Guitars & Keys                             Ira Elliot – Drums          

Brian Baker – Guitar                                                             Melissa Auf der Maur – Bass

Billy Corgan – Guitar                                                            Greg Hawkes – Keys

Matt Walker – Drums

About The Current CD:

Troublizing is the fifth solo album from the former leader of The Cars, featuring co-production, guitars, keyboards and backing vocals by Billy Corgan of The Smashing Pumpkins.

Discography:

Troublizing (Columbia, 1997)                              

Quick Change World (Reprise, 1993)      

Fireball Zone (Reprise, 1990)

This Side Of Paradise (Geffen, 1986)

Beatitude (Geffen, 1982)    

Produced By:

Ric Ocasek & Billy Corgan

Label:

Columbia

Website:

www.ricocasek.com

© September 2, 1997. Michael D. Vogel.  All Rights Reserved. This originally appeared on the Vogelism blog at https://www.vogelism.com authored by Michael D. Vogel. This article may be shared or reprinted as long as the entire copyright message, including the source location of this article, accompanies it.

(click on picture to open file) 

By: Michael D. Vogel  

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

Published in:  

The Album Network magazine – September 5, 1997 

Free Gotham – November 10, 2010

Inspiration is a funny thing. Some guitarists, like Jimi Hendrix, claim their music comes to them in waves, as if you’re being struck by a lightning bolt right out of thin air. Others, like Buddy Guy, Carlos Santana and Robben Ford, play from the heart and not the head. It’s instinctual and not something that’s tangible or can be reasoned out. A true musician really has no method for what he plays, just a passion to share and an ability to communicate clearly through music. 

Not since the late Stevie Ray Vaughan has anyone burned up the blues like Kenny Wayne Shepherd. The “Tornado” from Shreveport, LA, who has, with his long blonde hair and Stratocaster in tow, rekindled blues in the 90s much like Clapton, Page and Beck did in the late 60s and 70s. With his own band, as well as the additional support of Double Trouble, Kenny Wayne simmers, steams and rocks the blues so as to attract a crowd of serious concert-going fanatics. His unadorned guitar lines alternately caress and blister, easily whipping the unassuming into a mass frenzy. His sophomore album, Trouble Is…, continues the high-octane deluge he started on Ledbetter Heights by echoing the influences of B.B. King and Jimi Hendrix, all the while updating the blues for a new generation of guitar fans. I spoke with Kenny Wayne recently about the evolution of the music, his sixth sense, the stresses of success, the prospect of singing and his personal touch on the blues; all the while on his cross-country journey through Arizona on the way to Southern California. 

How early did you come to know and understand your sixth sense regarding music? 

Kenny Wayne Shepherd: “From as early back as I can remember, I was always fascinated by musicians. The emotional responses that were evoked by their soulful music really had a profound effect on me. As a result, from a very early age, I knew that writing music and playing the guitar would be my calling. There are pictures dating back to when I was four or five years old, holding a plastic toy guitar. It was solid plastic with nylon strings and had a picture of the Village People on it. 

“The music itself, though, seems to play out differently for me than it does for others. I can remember jumping up and down on my grandfather’s bed listening to ZZ Top’s Fandango album. Even at such an early age, I was able to memorize the guitar parts and then tried to emulate them on my own guitar. But it wasn’t until I got my first real guitar, at seven years of age, that I was really able to play what I was hearing. The rest, as they say, is history.”  

Rock music is based on the blues, yet ironically, a Program Director I recently spoke with defined your music as “exactly what Active Rock radio wants and needs,” a format which historically has not been a solid home for blues/rock music. Why do you suppose that is?  

KWS: “One of the main things I can think of, when I think about the wider acceptance to this music is that it is a return to real music. What I mean by that is there are real people playing real instruments. Alternative music had the benefit of coming out of the 80s when music predominantly featured drum machines and big keyboards. Personally, that is one of the most appealing aspects of alternative music: it is the antithesis of the music that preceded it. 

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

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

 Is there a lot of pressure on you, already considered part of blues/rock’s guitar elite–beginning as such a soulful teenager–simply based on the strength of the Ledbetter Heights album? 

“Sometimes things manifest themselves because they are talked about so much. I am always asked whether I feel the pressure of recording a second album and if it is going to live up to the expectations and surpass the previous album. Due to my own naiveté, at first, I didn’t know what they were talking about. But because this question is constantly asked, you ultimately tend to find yourself stressing out. [Build it and they will come/say it and it will happen.]  

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

What helps you deal with the stress of constant touring and recording deadlines? What helps you to stay centered and focused on the music?

“It may sound corny or a bit cliché, but it’s the music itself that keeps me on the right track. Of course, there is also some sort of ‘outside’ force, like a divine inspiration, that really helped me along. But the focus itself has always revolved around a passion to write and record music. I play the guitar and people seem to appreciate it. That’s what I always asked for and that’s exactly what I got. 

“Compared to the first album, the recording of Trouble Is… was a little more hectic. We spent three months recording Ledbetter Heights, whereas less than two months was spent recording this one. We tend to split the recording time up, so that our time in the studio can be as productive as possible. For the first album, we recorded 13 tracks and then took a few weeks off. It was in that time that we wrote ‘Deja Voodoo,’ “Born With A Broken Heart” and “(Let Me Up) I’ve Had Enough”–the three most successful songs on the album. For the new album, we took a month off to tour with G3 as well as some shows with Lynyrd Skynyrd and Paul Rodgers. During that period, we wrote “Slow Ride” and “Long Gone,” which features the extraordinary playing of James Cotton.” 

With your new singer, the vocal and guitar arrangements are more reminiscent of a hybrid of Bad Company and Humble Pie. Was this change made to better accentuate the blues-driven style of your music? 

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

Do you ever see yourself stepping up to the microphone and taking a more active role on vocals, similar to Jonny Lang and Ian Moore, or are you simply content to stay behind the six-string? 

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

“Overall though, I’m in good company and therefore not really worried about it. For example, look back at the careers of Jimi Hendrix, Stevie Ray, or Eric Clapton. All three of these guys played guitar for many years before they got behind the microphone and started singing.” ^m^ 

Photograph Credit: Marina Chavez  

Origin:                                                                     Website: 

Shreveport, LA                                                      www.kennywayneshepherd.net

 Line-Up:                                                                                     

Kenny Wayne Shepherd – Guitars & Vocals             Jimmy Wallace – Keys               

Noah Hunt – Vocals                                                             Robert Emerson – Bass 

Joe Nadeau – Guitar                                                            Sam Bryant – Drums 

Guest Musicians: 

Chris Layton – Drums                                             Reese Wynans – keys 

Tommy Shannon – Bass                                        James Cotton – Harmonica 

About This CD: 

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

Discography:  

Trouble Is… (Revolution, 1997)                                       

Ledbetter Heights (Revolution, 1995)       

Produced By: 

Jerry Harrison 

Label: 

Revolution 

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

(click on picture to open file) 

By: Michael D. Vogel

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

Published in:

The Album Network magazine – September 5, 1997 

Totally Adult magazine – November 7, 1997

FreeGotham – November 10, 2010

Inspiration is a funny thing.

Some guitarists, like Jimi Hendrix, claim their music comes to them in waves, as if you’re being struck by a lightning bolt right out of thin air. Others, like Buddy Guy, Carlos Santana and Robben Ford, play from the heart and not the head. It’s instinctual and not something that’s tangible or can be reasoned out. A true musician really has no method for what he plays, just a passion to share and an ability to communicate clearly through music.

Not since the late Stevie Ray Vaughan has anyone burned up the blues like Kenny Wayne Shepherd. The “Tornado” from Shreveport, LA, who has, with his long blonde hair and Stratocaster in tow, rekindled blues in the 90s much like Clapton, Page and Beck did in the late 60s and 70s. With his own band, as well as the additional support of Double Trouble, Kenny Wayne simmers, steams and rocks the blues so as to attract a crowd of serious concert-going fanatics. His unadorned guitar lines alternately caress and blister, easily whipping the unassuming into a mass frenzy. His sophomore album, Trouble Is…, continues the high-octane deluge he started on Ledbetter Heights by echoing the influences of B.B. King and Jimi Hendrix, all the while updating the blues for a new generation of guitar fans.

Ken Shepherd Sr.—a former radio programmer, DJ and concert promoter, and now his son’s manager—exposed his only boy to this business we call radio at a very young age. By proxy, the young Shepherd was steeped in his father’s fine personal music taste, which leaned towards R&B and the blues. At the age of seven, Shepherd, Jr., was struck by one of the masters when Vaughan (who was performing at the Louisville Music Festival, a show his father was promoting) plunked the child upon an amp near the stage and let him absorb his show up close and personal. That night was an epiphany for the tow-headed youth, and he’s never looked back. Putting serious pressure on his parents, Kenny Wayne got his first real guitar, a cure-rate Yamaha, that Christmas.

Underneath the hype and the high profile press, an elite group of musicians who have been watching and whispering about Kenny Wayne have granted him the secret knock to gain access into their private clubhouse. At 20, he’s been invited to play with an exclusive collection of talent, including Buddy Guy, Eric Clapton and Bob Dylan. And while on tour with B.B. King, the elder statesman invited Shepherd to trade riffs onstage with him every night and shared secrets with him by day. “B.B. told me, ‘You could possibly be bigger than all of us,” Kenny Wayne told columnist Jaan Uhelszki in the San Francisco Examiner & Chronicle last month. “And coming from him, that meant everything to me.”

The media attention and the blinding spotlights haven’t seemed to shake Kenny Wayne’s confidence yet—he fearlessly and with much aplomb covers Jimi Hendrix’s “I Don’t Live Today” and Bob Dylan’s “Everything Is Broken” on Trouble Is…–and he levelheadedly continues to use his fortunate position to soak up as much knowledge as he can about his about his chosen profession and its history. Still, it’s a lot to ask from a manchild still not old enough to order up a legal drink. He’s spent most of the last few years on the road with King, Dylan, Clapton and Lynyrd Skynyrd, and was asked to be the third trine in the pyrotechnic-laden “G3” tour with Steve Vai and Joe Satriani. “Nobody forced me to do anything I didn’t want to,” Shepherd’s on record as saying. “And it wasn’t as if I didn’t have a childhood—I skateboarded and spent time hanging around malls like other kids. I’ve given up some things, but what I’ve gotten in return is definitely worth it.”

I spoke with Kenny Wayne recently about the evolution of the music, his sixth sense, the stresses of success, the prospect of singing and his personal touch on the blues–all the while on his cross-country journey through Arizona on the way to Southern California.

How early did you come to know and understand your sixth sense regarding music? 

Kenny Wayne Shepherd: “From as early back as I can remember, I was always fascinated by musicians. The emotional responses that were evoked by their soulful music really had a profound effect on me. As a result, from a very early age, I knew that writing music and playing the guitar would be my calling. There are pictures dating back to when I was four or five years old, holding a plastic toy guitar. It was solid plastic with nylon strings and had a picture of the Village People on it. 

“The music itself, though, seems to play out differently for me than it does for others. I can remember jumping up and down on my grandfather’s bed listening to ZZ Top’s Fandango album. Even at such an early age, I was able to memorize the guitar parts and then tried to emulate them on my own guitar. But it wasn’t until I got my first real guitar, at seven years of age, that I was really able to play what I was hearing. The rest, as they say, is history.”

Why do you suppose blues-based guitar rock is having a return to prominence? 

KWS: “One of the main things I can think of, when I think about the wider acceptance to this music is that it is a return to real music. What I mean by that is there are real people playing real instruments. Alternative music had the benefit of coming out of the 80s when music predominantly featured drum machines and big keyboards. Personally, that is one of the most appealing aspects of alternative music: it is the antithesis of the music that preceded it.

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

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

Is there a lot of pressure on you, already considered part of blues/rock’s guitar elite–beginning as such a soulful teenager–simply based on the strength of the Ledbetter Heights album? 

“Sometimes things manifest themselves because they are talked about so much. I am always asked whether I feel the pressure of recording a second album and if it is going to live up to the expectations and surpass the previous album. Due to my own naiveté, at first, I didn’t know what they were talking about. But because this question is constantly asked, you ultimately tend to find yourself stressing out. [Build it and they will come/say it and it will happen.]

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

What helps you deal with the stress of constant touring and recording deadlines? What helps you to stay centered and focused on the music? 

“It may sound corny or a bit cliché, but it’s the music itself that keeps me on the right track. Of course, there is also some sort of ‘outside’ force, like a divine inspiration, that really helped me along. But the focus itself has always revolved around a passion to write and record music. I play the guitar and people seem to appreciate it. That’s what I always asked for and that’s exactly what I got.

“Compared to the first album, the recording of Trouble Is… was a little more hectic. We spent three months recording Ledbetter Heights, whereas less than two months was spent recording this one. We tend to split the recording time up, so that our time in the studio can be as productive as possible. For the first album, we recorded 13 tracks and then took a few weeks off. It was in that time that we wrote ‘Deja Voodoo,’ “Born With A Broken Heart” and “(Let Me Up) I’ve Had Enough”–the three most successful songs on the album. For the new album, we took a month off to tour with G3 as well as some shows with Lynyrd Skynyrd and Paul Rodgers. During that period, we wrote “Slow Ride” and “Long Gone,” which features the extraordinary playing of James Cotton.”

With your new singer, the vocal and guitar arrangements are more reminiscent of a hybrid of Bad Company and Humble Pie. Was this change made to better accentuate the blues-driven style of your music? 

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

Do you ever see yourself stepping up to the microphone and taking a more active role on vocals, or are you simply content to stay behind the six-string? 

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

“Overall though, I’m in good company and therefore not really worried about it. For example, look back at the careers of Jimi Hendrix, Stevie Ray, or Eric Clapton. All three of these guys played guitar for many years before they got behind the microphone and started singing.” ^m^

Photo credit: Marina Chavez & Mark Seliger

Origin:                                                                      Website: 

Shreveport, LA                                                       www.kennywayneshepherd.net

Line-Up:                                                                                     

Kenny Wayne Shepherd – Guitars & Vocals             Jimmy Wallace – Keys               

Noah Hunt – Vocals                                                            Robert Emerson – Bass 

Joe Nadeau – Guitar                                                           Sam Bryant – Drums 

Guest Musicians: 

Chris Layton – Drums                                             Reese Wynans – keys 

Tommy Shannon – Bass                                        James Cotton – Harmonica 

About This CD: 

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

Discography:  

Trouble Is… (Revolution, 1997)                                       

Ledbetter Heights (Revolution, 1995)                      

Produced By: 

Jerry Harrison 

Label: 

Revolution 

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