INTERVIEW: A Conversation with Zach Gabbard (Buffalo Killers)

You initially released “Ohio Grass” as an ep for Record Store Day this year – what went into the decision to re-release it with additional tracks through traditional distribution channels?

It did well and we wanted to share it so when we decided to repress the vinyl, we through some songs from Record Store Day that we did live from a record store called Omega in Dayton, OH and then we had a brand new track. 

You’re from the Cincinnati area, did living in Ohio influence your writing?

Well, we always work hard at what we do, and I live out in the sticks so I’m not really caught up in anything _ I don’t really have any day-to-day head-trip bullshit anymore.  So, we just write songs and I have two kids and I think where I am from keeps me going.  It’s cheap to live here, and we can maintain life and go on the road.  It helps us to keep records coming. 

Ohio seems to be a place for that.  I know that you worked with John Curley from the Afghan Whigs and Bob Pollard’s out of Dayton, and the standard of living there allows him to keep putting stuff out at the frequency that he does.

Man, Guided By Voices…I bought “Bee Thousand” on my 18^th birthday and it was the first weekend I had gone out on the road with the band I was in at the time.  I had no idea they were from Dayton, I had just heard it at a bar while we were out.  And seeing the Afghan Whigs on MTV as a kid?   I just thought that shit was for fucking rock stars from Hollywood or something (laughs) – that was super inspirational.  Guided By Voices and bands like that, they were doing this in their BASEMENT!

I know…being in your late-30s and a school teacher?  That was kind of the prototypical rock dream come true!

Yeah, man.  They just kept doing it and they didn’t fucking care about anything. They lived in Dayton, they got drunk, and they made records.  You know?  (laughs) They were fucking awesome!  You’d go to Dayton and go out to the bars and see Bob there, and it was like fucking Paul McCartney walking around.

The cheap and easy reference point for your music would be the Black Crowes, and you definitely share some of the same aesthetic, but I hear some heavier psych elements in your music that seem to point to acts like Blue Cheer and Vanilla Fudge and even more contemporary acts like the Heartless Bastards and Sheepdogs.  Who do you consider some of the artists that inspire you?

Me and Andy have been playing music forever with Joey, and the music that we write is just the result of everything that has been put into us over the years.  We grew up listening to Neil Young and the Grateful Dead and country music and bluegrass.  I like to think that we are just an honest band, you know?  We are what we are.  You can’t cover it up.  I just love playing music with my brother and Joey.  We have another guy in the band now too – we’ve been a four-piece since March. And we all really connect well – it took a special person to join us since we’ve been a three-piece for so long.  Byt to share those moments on stage with the people that you love and to travel everywhere, I could never imagine that we’d be doing this…it’s awesome.  It tickles me to death.

What’s your songwriting process like?  Does it start with a riff or a lyric?  Do you bring something in and then the whole band fleshes it out?

It actually comes really easy.  Me and Andy write songs apart and then bring them together.  The majority of what we show each other that first time, that’s what it is.  With some minor changes…it is a completely open atmosphere where the other guys can feel free to add stuff. The way I usually write songs is in my head – I take that little piece, the starting, and then flesh it out when I get a guitar in my hands. The majority of the time I just start with something that sticks in my head.  I have a great songwriting partner in my brother.  He brings songs in and they are just beautiful. We work well together…it’s easy.  It’s not labored over at all.  It’s harder just getting everyone in the same room [laughs].  Everybody’s connected, everybody wants to be there and we’re all in the same headspace.

Are there challenges to being in a band with your brother?  Does it get like the Davies brothers (of the Kinks) or Gallagher brothers (of Oasis), or do you guys find a way to make it work?

It’s great for me!  We both want to be there.  It’s easy and we do care about each other.  And we LIKE each other [laughs]

That makes a world of difference, I’m sure [laughs]

Totally [laughs].  I mean, shit man, I’m lucky I get to travel with my brother.  Some people don’t spend any time with their family.  We don’t have any real problems.  I’ve got the ultimate bandmates.  The not getting along in a band, that definitely shows in your output and I think you can tell from our music that we like each other.  We’re not Davies [laughs].

Do you feel like your writing has matured or that you have grown as a songwriter since having a family?

Having a family just made me grow as a person, and as a songwriter, that all plays into it.  The more I write, the more secure I am in my writing and it’s just a matter of letting it come out.  As far as being a parent, that shapes everything about you.  It brought a lot out of me, material-wise.  I have two kids, and we live out in the country, there are chickens in the yard, I have a wife and she cares about the band…I’m where I want to be!

That’s awesome, man.  So what’s on tap next for you guys?

We just started a new album and we signed with Sun Pedal Recordings, which is a part of the Warner Music Group.  We did that awhile back and we just worked on the record this past week.  It’s being produced by Jim Wirt (renowned Cleveland engineer and producer). It’s in the can…being mixed right now.  It’ll be out in the beginning of 2014. 

There’s a plan to tour the record obviously?

Oh yeah.  When it comes out, we will definitely do a US tour. Can’t wait to get back on the road!

REVIEW: Johnny Revolting @ Nietzsches, 1/10/13

Punk's not dead...it just needs occasional breaks to stretch and catch its breath!  Buffalo's own Johnny Revolting, celebrating 20 years as a band, tore through a set of fiery Left Coast-inspired punk with abandon on Friday night and the older-skewing Nietzsche's crowd (seemingly filled with friends and longtime fans) lapped it up and cheered along.  For a band that only gigs occasionally, these guys' chops are still in evidence.  The set was a nice blend of "greatest hits" and covers and it's a testament to the band that the former outshone some of the latter (though it's nigh on impossible to NOT enjoy a roughed-up cover of the Go-Gos' 1982 megahit "Vacation"). The band wear their influences on their sleeves, favoring bratty, tuneful punk from the Descendents/Adolescents/Dictators school and the effect of Bill Stevenson's songwriting is all over their catalog - additionally, the inclusion of the Misfits' "Astro Zombies" and a warm-up run through Bad Religion's "Do What You Want" give you a sense of their melodic priorities.  Simply put, the playing was fierce (particularly Brian Young's astounding basslines and Andy Boehmer's solid drumming), and the songs had all the scatological hallmarks of the best punk tunes.  

Two notes: the efforts of the Nietzsche's staff to quash the small group of guys and gals slam dancing up front was disheartening.  This is a goddamn punk show!  The band were perfectly suited to the climes of the venue (far more so than their last show at the cavernous and soulless Waiting Room), so let's hope that in the future the staff allows the crowd the ability to express itself more freely.  Additionally, the one and only criticism of the band's performance was the pacing of the show...their banter is hilarious, but the songs might have been better served by simply plowing through more of them in a row ala the Ramones.  The breaks broke up the intensity a bit.  These are minor quibbles, though, and all punk bands should sound as fresh and tight 20 years on...viva middle-age hardcore!  BALLS!

It's too late to stop now!

Alright, kids, school is in: touring on the back of 1973's underappreciated gem "Hard Nose the Highway", Van put together the Caledonia Soul Orchestra. They are simply one of the most nimble and overlooked live ensembles in rock and soul: Jef Labes on keys, Dahaud Shaar on drums, "Brother" Jack Schroer on sax, David Hayes on bass and the blindingly-talented John Platania on guitar formed the backbone of the band. Six months later they would be torn apart and Van (as he is and was wont to do) had moved on to the heavily Irish-influenced folk-soul of "Veedon Fleece" before disappearing from the public eye for several years. For the briefest of moments, though, they burned brighter than anything else out there. Grab a loved one, play it loud, and enjoy...

Pardon our dust...

Hey all...I've been a bit lax updating this here blog-type thing, but that's all about to change!  Here are some of the exciting things you have to look forward to in the coming weeks:

- Interviews with Murry Hammond of the Old 97s, Rick Miller of Southern Culture on the Skids and Zach Gabbard of Buffalo Killers

- The "Best of 2013" list

- Various and sundry album reviews

Thanks for hanging in there and here's hoping we can close out '13 strong!

INTERVIEW: Richard X Heyman

(photo by Nacy Leigh)

Journeyman rock n' roller Richard X Heyman has played with some of the biggest and most noteworthy names in rock and soul, and continues to put out incredibly well-written and passionate solo albums.  Upon the release of his latest solo platter, "X", Heyman reached out to chat about the record, his influences and some of his more his more notable experiences as a backing musician. 

The new album, “X”, is a delightful album that almost sounds like a greatest hits collection of all new songs – how do you feel you have grown as a songwriterwith this record? 

Thank you.  If only they were hits!  It's difficult for me to assess the songs in terms of growth.  The writing process is an emotional outlet and the songs that come closest to achieving the feelings I envisioned are the most realized.  One can only hope that they improve with experience so if someone listening thinks there's growth in the songwriting, I'll accept the compliment.  One thing I have been experimenting with on this project is to take songs I've written on piano and then turn them into guitar-oriented arrangements.  Several of these tracks were written while I was working on my last album "Tiers" which was primarily piano-based.  If they had been included on "Tiers," the piano parts would have been prominent.  For the "X" album we mixed down the piano and I played the piano voicings on various guitars, mainly a Fender Stratocaster.

Despite almost always playing all the instruments on your records, this is the first one you recorded at home.  How did that change the dynamic or influence the sound of the album?  (As a side note, I think it’s hilarious that you titled your bedroom studio “The Kit Factory” yet recorded the drums elsewhere!) 

Actually I've done several albums at home.  Nancy and I live in a New York City apartment so it is impossible to record drums here properly.  Not to mention we'd probably get evicted.   The name of our home studio is a pun based on The Hit Factory (the famous NYC studio).  We are both cat lovers, hence the "kit" reference.  It's always fun to record in a large state-of-the-art studio and I did a few of my prior albums in that environment.  But with today's advanced technology, independent artists can achieve a high level of fidelity with a computer and some decent microphones.  I do try to retain as much warmth in the sound as possible via an analog pre-amp compressor and a tube guitar amp (a Fender Vibro-Champ).

I imagine your songs are like children – it’s tough to choose one above the others. But let’s say you are asked to make a “Sophie’s Choice”; is there one that you are particular proud to have written or one that is particularly special to you?

It's very simple - the first track on all of my albums is my favorite.  On "X", besides "Denny", I like "Please Be Mindful," "Somebody Has Finally Found Me," "Mourning," and "House of Cards."  I know it's a songwriter's cliche to refer to their songs as children, but I never felt that way.  Though I guess if you're gonna go with the family relations analogy, some songs are like a favorite child and others are like a troglodytic nephew.

What are some of your musical touchstones, those things that you heard and loved and go back to?  Who inspires you musically?

I grew up listening to a wide variety of music.  Big band jazz, classical, Broadway shows, Sinatra.  Then I got into rock'n'roll.  I love the Everly Brothers, Chuck Berry, Little Richard, the great songwriting teams such as Leiber & Stoller, Goffin & King, Weil and Mann, Barry & Greenwich.  I also am into blues artists like Freddy King and Magic Sam, as well as soul singers Sam Cooke, Wilson Pickett, James Brown and all the incredible Motown acts.  Then I got into Bob Dylan and Phil Ochs, the Incredible String Band, Joni Mitchell and of course the British groups -- Beatles, Stones, Who, Kinks, Hollies, Procol Harum, Yardbirds, Animals, Zombies and the American artists - Jimi Hendrix, The Byrds, Lovin' Spoonful, the Beach Boys, the Band, the Mamas & the Papas.  I'm sure I'm forgetting many others.

Your music often gets saddled with the term “power pop”, though I think it’s got as much in common with girl groups and the 60’s mod scene.  Do you feel constrained at all by being defined that way?

I'm not a fan of the term power pop.  To me, it's an oxymoron.  Most of the music that is filed under that category is neither very powerful or popular.  That's what the term "pop" originally referred to - its popularity.  When you release anything out into the public domain, others are free to write or say whatever they want about it.  So I have no control over what label or genre someone thinks I fit into.  The Who - now that's real power pop!  I would say I consider myself a rock'n'roll singer/musician.

You have worked with several very high-profile collaborators (hell, your resume is kind of a trip-tych through the last 40 years of rock and R&B!) – are there any collaborative experiences that were particularly memorable that you wish to share?

It's always an honor to get to play with musicians whom I respect.  Playing drums for Link Wray was a great experience.  He basically invented the power chord way back in 1958 with his song "Rumble."  When I played with him in the 70's he was playing a Gibson SG through an Ampeg amp and man he got the nicest tone I've ever heard.  It was such a  pleasure to pound along with that sound.  He was also a very sweet guy and let me do my thing on the drums, which I appreciated.  I recently played guitar for Mary Weiss from the Shangri-Las, and had a blast performing those classic hits like "Walking In The Sand" and "Leader of the Pack."  And just last week I played drums for Mark Lindsay, former lead singer of Paul Revere & The Raiders, and again was thrilled to get to play a set full of hits such as "Kicks," "Hungry," "Just Like Me" and many others.

What’s on tap for you next?

I'm just about to send out a bonus album to all the people who donated to my Kickstarter campaign, which helped finance the "X" album.  I also recorded a Christmas single that will be out for the holiday season.  I'm writing and rehearsing new material for the band I play drums in, The Doughboys, for our fourth release.  As far as my solo career, I'm trying to decide on what style or direction I should attempt for the next project.  I'm dabbling in some folk songs with just an acoustic guitar and single voice, but I also am interested in doing something toward the heavier side.  Though I don't really have the haircut for that.

REVIEW: Old 97s and Drive-By Truckers @ Town Ballroom, 11/3/13

Wow, what a show!  Two similarly-minded acts churning out parched, dusty rock n' roll, each fighting to be the best and loudest band on the Town Ballroom stage, and the audience was the winner!

The 97s, fresh off a year-long jaunt supporting the 15-year anniversary reissue of their masterpiece, "Too Far To Care", were in a loose and playful mood, pulling their setlist from albums across their career.  Rhett Miller, all boyish hip-shaking and guitar-windmilling, sounded stellar and Ken Bethea has gotten incresingly intersting as a guitar player...his near-constant leads and fills skittered around and gave the songs added twang and crunch.  Pingponging between classics from "Too Far" (like an absolutely scorching take on album-closer "Four Leaf Clover") and more recent gems from 2011's sadly overlooked "Grand Theatre" albums, Dallas' favorite sons were tight, fun and delivered a solid 65 minute opening set.  Miller promised that they would be back in the late-spring or early-summer (in support of their upcoming 10th lp), and this fan cannot wait!

The Truckers live experience is one built on pure volume and heat.  Opening with Mike Cooley's "Carl Perkins' Cadillac" was a nice surprise and Cooley and co-leader Patterson Hood absolutely CRUSHED with a set that was heavy on early classics while also debuting two new songs off their forthcoming record.  Longtime fill-in bassist Matt Patton seems to have finally joined the ranks full-time, and while the third guitar is missed (keys player Jay Gonzalez filled in occasionally), Hood and Cooley more than made up for it in the heft of their playing.  A solid set from a band that continues to bring the goods live!

Drive-By Truckers and Old 97s - LIVE @ Town Ballroom on 11/3

Buffalo, prepare to have you collective ass kicked on Sunday when two of the finest bands around alight upon the Town Ballroom for a show that is guaranteed to make your pits drip and your panties drop!  

Old 97s open the show and just announced a new record (their 10th!) is arriving in early 2014....lead singer/songwriter Rhett Miller told Rolling Stone that the new record is going to be reckless and raunchy, which should quench the thirst of fans from the Good ol' Bloodshot Records days!  I will also be speaking to bassist/co-leader Murry Hammond about this and everything else fit to be "hit by a train" very soon, so stay tuned for that!

More a force of nature than a band, the Drive-By Truckers are out in support of the recently re-released "Alabama Ass Whuppin'" and will no doubt leave the crowd a bedraggled mess by the time they leave the stage on Sunday.  If you've never experienced the rock onslaught that is a DBT show, you are in for a real treat!

In anticipation (and perhaps to lube up and properly prepare yourself for the experience), here are a couple of clips that showcase the energy that can be expected by the combination of these two acts on one stage:

Old 97s w/ Exene Cervenka - Four Leaf Clover

Drive-By Truckers - People Who Died

Enjoy!