rock

The Second Summer – Undertow

Posted on by patrickdonders

The Second Summer, hailing from Chicago, characterizes their musical style as Hard Power Pop. Their latest release, Undertow, hit the airwaves a few weeks back and is packed with fantastic tracks. Steve Gatland shares with Sweet Sweet Music blog the story behind the album’s creation.

You can discover ‘Something’ featured on the Best Power Pop of 2024 Spotify Playlist.

Success can take on different meanings as time goes on. When envisioning success for this new record, what does that picture look like now?

Maybe it’s because where we all are in our lives, but what we really care about is having our music resonate with people in an authentic way. That is success for us. We don’t write cute or super light-hearted material (not that there’s anything wrong with that), but try to write about the feelings, emotions, stories, observations that we experience as we live our lives. We hope listeners can relate to some of what we’re writing about …

The song Invisible has a lot of angles to it, but one is the feeling of being left out, not fitting in, being unseen. The song centers on a relationship that has turned, but the song also ties to a theme we write a lot about, which is growing older. As we get older, we slowly become invisible. When we are young, our light shines brightly and that makes us very visible to the world (sometimes for the better, sometimes for worse, but definitely visible) … as we get older, our light becomes duller and duller, until we are on longer seen.

The song Undefeated is about a person(s) that we likely all know … the person that can’t ever say they’re sorry. The ability to say sorry, apologize, admit you’re wrong, is the single best thing we can do when we screw up. But there are many people, including some of the most powerful people in the world, that simply cannot say “I’m sorry.” And because of this character flaw (because that’s what we think it is), people waste time, money, energy, and emotions running around in circles trying to explain away (often by lying) their actions. And, most importantly, this can and does end up hurting a lot of people … emotionally, physically, financially. All because someone did not have the character to say “I messed this up … I’m sorry … please accept my apology.”

We hope that people can relate to songs like these.

As an artist, the act of baring your emotions to the world is profound. Does this vulnerability come naturally to you, or is it a constant journey of finding comfort?

We are very comfortable expressing our feelings and emotions via our music. Most of our songs are written from the perspective of the triumphs and tragedies (and everything in between) that we all experience as we go through life. We have been around the block – families, jobs, relationships started, relationships ended – and those experiences are a really big part of our material. We don’t write about these things in a sullen or melancholy way, but in what I’d call a sober way.

The other big cloud that we all live under is the cloud of getting older. In a lot of ways, our music, our band name, our outlook stems from this belief that although we’ve done a lot of living and learning the hard way, there is always a chance for a second summer. Whatever that might be for you, we believe that even when youth (summer) has passed you by, there are still many summers left – you just need to chase them.

Can you recall the last instance when you felt the immediate certainty of having penned a hit song?

Just to be clear, we have never written a hit song … maybe someday we will. We’re lucky, I think, in that we’re not really trying to write hit songs per se. As I said earlier, we want to write songs that resonate with folks.

That said, we have some songs that consistently get better reviews, feedback, and attention than others. The song “Something” has been a top attention getter for us with a lot of radio play, and feedback from other artists. Of course, it was also the last song we recorded, and we almost didn’t put it on the release. The old saying that sometimes the best songs come the quickest and most naturally has been true for us. And Something is a good example of that. We knew that it was a really good song in rough form, and felt even more confident that it was when it came out of mixing. But, we can’t say that we ever had certainty it was going to be well received. But we had a feeling!

Among the compliments you’ve received, is there one that remains etched in your memory? If so, what made it particularly unforgettable?

First and foremost, every time someone says they like our songs, we are humbled and grateful. It doesn’t matter if it’s the first time, or the 1,000th time, we are always so thankful. The one memory that jumps out playing our first show in Chicago. We were booked by Emily at Bang-A-Gong to play in late December at Montrose Saloon.

After our set, someone (Corey!) come up to us and said that she loved our sound, that her brother had a radio show, and that she had sent him a video of our performance and suggested he play us … and the next week we were on The Power Pop Shoppe radio program. That memory will always stick with us. It’s been great getting feedback from some great Chicago and Illinois bands like Van Go, Thrift Store Halo, Dreamjacket and Half Catholic.

And it’s been fun hearing feedback from critics and radio folks. We’ve been compared to Teenage Fanclub, The Posies, Buffalo Tom, The Connells, and more. Just being in the same sentence with these bands is crazy! And while we like all those bands, I would not say they were the bands we listened to the most growing up and into adulthood. Many of us were into grungy-90’s rock, punk, prog-rock and even metal, although bands like Material Issue, Nada Surf, and Descendents were definitely in the mix.

Looking ahead to the next couple of months, what exciting plans or projects are on the horizon for you?

We have a busy schedule with gigs through the summer. We’re really excited to be playing the International Pop Overthrow Festival in Chicago, likely on April 27th (the festival runs from April 19-17 at Montrose Saloon in Chicago). This festival has so many great power pop, indie rock bands and more, and we are really looking forward to it.

We’ve been connecting with some really awesome Chicago-area bands, and are working to put together some shows with them. Stay tuned by following our social media pages on Facebook and Instagram.

We have a ton of new songs that are ready, and we’ve been weaving (and will be weaving them) in our sets.

And, we are hoping to release more singles and then a second LP/EP in later 2024 or early 2025.

Studio moments often hold a touch of magic. Could you recount an instance that stands out as the most enchanting during your creative process?

Our songs were tracked in a home studio. The performances were really good, but the recording quality was not superb (we have good amps, guitars, basses … but not good mics, and we definitely were not super knowledgeable about micing techniques). We were really worried that we would have to go back and re-track all of them in a studio … which would take a lot of time and money.

A Chicago studio, Gravity, mixed our songs and we were blown away by how they came to life sonically and dynamically. There is no doubt the tracking would have been better if we had done it at Gravity, but at the same time Gravity was able to squeeze every last ounce of tone and feel out of these tracks, and we were blown away by how awesome they sounded.

We worked together on the mixes, but Gravity really helped us get them to a great place. When we first heard the mixes we were floored by how big and beautiful they sounded. The song “Never Not Forever” really exemplifies this … the tracks were well played and the performances were great, but it was somewhat thin sonically. When it come-out of mixing it had been transformed into a song that was at times spartan, and at times thunderous. There is no way we could have even come close to that without working with a studio.

How would you describe the evolution of your sound in this new album compared to your previous works? Were there intentional shifts in style or themes?

We have always been rooted in what I would call hard power pop, but our earlier stuff leaned a little more in the direction of pop-punk. We’ve brought more harmonies to our new material, added more texture and played some slower tempo tunes, and our lyrics have changed to be more reflective of the lessons we’ve all learned the hard way. None of this was intentional. It was really just where the songwriting went and we didn’t resist it.

The Maureens – Everyone Smiles

Posted on by patrickdonders

The Maureens, hailing from the Netherlands, have introduced a new gem to their discography with ‘Everyone Smiles.’ This album features thirteen bright and lively pop tunes that Dutch critics aptly liken to the finest works of The Posies, Teenage Fanclub, and The Jayhawks. These comparisons are fitting, as, akin to these influences, ‘Everyone Smiles’ not only boasts beautiful melodies but also elevates its offerings to an exceptionally high level through harmonious vocals.

Hendrik-Jan de Wolff provides insights into the creation of ‘Everyone Smiles.’

You can discover ‘Stand Up!’ featured on the Best Power Pop of 2024 Spotify Playlist.

The initial responses on social media and the initial reviews for “Everyone Smiles” are positive. Did you sense that you were working on something special during the making of the album?

At the time, our focus was primarily on delivering the songs at their best. The journey to recording was extensive, spanning 2.5 years, including the challenging period of the pandemic. We crafted numerous songs and tested them in the rehearsal room before recording began. We were perhaps too close to the material to view it objectively, as the press and listeners do now.

The connection with Frans, our producer, was strong, as was our belief in the songs. However, judging our own “child” is always a challenge. It’s gratifying to receive positive reactions, especially when they capture the essence of what we love to create: songs with substance and clear influences from the Beatles and the 60s.

Frans Hagenaars, your producer, is credited with shaping the sound of Dutch Indie Pop. Did you ever inquire about his influence on the genre?

Absolutely. His work on albums with Johan and Daryll-Ann, among others, consistently features an edge and a vintage feel that aligns well with our music. Frans brings a unique perspective to recordings, emphasizing live performance and avoiding excessive perfection. In our pre-production discussions, his vision aligned seamlessly with our desires.

There is a substantial number of years between the release of ‘Something in the Air’ and ‘Everyone Smiles.’ What are the key moments in the history of the creation of this album?

Due to the Corona period, we could no longer rehearse weekly, leading to a different approach to creating songs. I worked extensively on songs on my own, often in collaboration with Stefan (drummer). However, this made it less of a band process and more fragmented.

During the recording week, several drastic choices were made, giving songs a completely different vibe, as if they had been through the car wash. Frans played a significant role in these decisions, whereas before, we were mainly at the helm ourselves.

This truly was a co-production, resulting in an album that sounds different from our previous records and has more of a live feel.

The harmony vocals stand out more on ‘Everyone Smiles’ than on previous albums. Is singing together a particularly enjoyable aspect for the band?

Absolutely! Harmonizing is a significant element for us, often introduced towards the end of the creative process. I pay careful attention to harmonies, recording vocal parts early on to emphasize their prominence in the song development. When we rehearse the vocals together, it feels like adding the perfect finishing touch. Singing together as a band gives the songs an extra lift, creating a beautiful synergy.

Being a Dutch band on a Spanish label is intriguing. Can you elaborate on that?

In 2018, the Spanish label Meritorio approached us with enthusiasm, showcasing a preference for guitar bands, especially jangle pop. We reached favorable agreements regarding vinyl pressing and promotional activities. Communication is straightforward through Whats App, and the connection with Spain provides additional attention (press) and opportunities for performances, which might not be as apparent otherwise.

What are your plans for the upcoming months?

“Everyone Smiles” is set to release on vinyl on January 26, followed by the album presentation at Tivoli on February 3. We aim to play in as many places as possible to promote the album. Additionally, we hope to schedule shows in Spain and England in May, details of which we’ll share soon. Stay tuned to social media and our website for updates. Meanwhile, we’re already immersed in creating new songs, as we don’t want to wait another five years for the next album.

Jordan Jones talks about his new album “And I, You.”

Posted on by patrickdonders

Unlike some artists who prefer to maintain a consistent sound throughout their careers, Jordan Jones is not bound by such constraints. His recent release, “And I, You,” on Lolipop Records, deviates significantly from its self-titled predecessor.

This captivating newcomer presents a richly orchestrated pop sound, drawing clear influences from the meticulous songwriting styles of Brian Wilson and Burt Bacharach. However, Jones transforms these influences into a contemporary sound, creating a modern album that can be readily likened to the acclaimed works of artists such as Michael Rault or Jonathan Rado.

You can discover ‘Love Song of J’ featured on the Best Power Pop of 2024 Spotify Playlist.

The decision to seek opinions on your new songs is intriguing. When did you realize that external perspectives could contribute to your creative process?

The only competitive bone in my body comes out when writing music. Mike Collins (Drugdealer) and I basically lived together through the pandemic and while he was writing his new record, I was writing mine so we would go back and forth sometimes until 6 or 7 A.M. discussing ideas and notes and chords and changes to make each other’s songs come together. When he would bring me his latest idea, it was usually (and obviously) really fucking good so I couldn’t wait to leave the room or pull his iPhone speaker away from my ear and run to my piano to write something as good if not better. His opinions were and still are important to me. Nobody else’s though.

Success can take on different meanings as time goes on. When envisioning success for this new record, what does that picture look like now?

People playing the record at any type of social gathering. If somebody can listen to “Promise You Forever” and realize that they aren’t alone and that things pass. When the label needs to press a lot more copies. These things are a success to me at the moment.

Within this collection, do you feel that the best song you’ve ever written finds its home? If not, what distinguishes this record’s essence from your prior work?

“Love Song of J” is probably the best song that I’ve written up to this point. This record creates a nice atmosphere for it so yeah I guess you can call it a home. Maybe an apartment.

As an artist, the act of baring your emotions to the world is profound. Does this vulnerability come naturally to you, or is it a constant journey of finding comfort?

I’ve never even noticed it. I don’t use my vulnerability in creating music. I usually save that for times when my music can be useful once it’s completed. I’ve always felt extremely comfortable making and performing music. The comfort I’m on a journey for is accepting praise. That I will never handle naturally.

Defining a song’s completion can be elusive. How do you determine when a composition has reached its final, ready-to-record form?

When you just can’t see out the windshield of it any longer. You can keep going but it’s too dangerous and ultimately detrimental and you’ll just need to start backtracking to clean it up because you’ve over complicated things.

Can you recall the last instance when you felt the immediate certainty of having penned a hit song?

The first time I heard the playback of the “Love Song of J” demo (which back then was just called “F Song”) I knew I had done something really special, at least special to me. Then I showed that demo to some very important people to me and the response was overwhelming. They validated my feelings, I needed that. At that point I really wasn’t concerned if the public latched onto it or made it a “hit” because I was already satisfied.

In a hypothetical scenario where you could tour with two other bands, who would be your ideal companions and what synergies do you envision?

My dream is to tour with Spiritualized. It would just work.

Among the compliments you’ve received, is there one that remains etched in your memory? If so, what made it particularly unforgettable?

One of the musicians I hired for my record release show last weekend just complimented me on how professional I was as a band leader. That was really striking and pleasing.

Studio moments often hold a touch of magic. Could you recount an instance that stands out as the most enchanting during your creative process?

First are all the moments I would hum or play individual notes on the piano for the string part I had envisioned to Emily (cellist) and Laena (violin & viola) and they perform it and watch it work perfectly. As someone who doesn’t read or write music, that direct communication from your brain’s idea coming to life and with such immediacy, made me physically numb. Second was watching Molly Lewis (whistle) perform while recording “Love or Lose”.

Where do you see yourself situated within the broader landscape of the music industry? How do you perceive your unique role and contribution?

Scoring film and producing records is something I would really like to do.

With the record completed and the music released, do you believe the pinnacle of enjoyment has been reached, or is this just the beginning of an exciting phase?

I really hope I never I never reach any type of pinnacle in music.

Looking ahead to the next couple of months, what exciting plans or projects are on the horizon for you?

Finding management or some sort of representation. Booking really special shows. I’m also going into the studio to start on the 3rd record later this month.

In the digital age, visual elements are intertwined with music. How did you approach the album’s visual aesthetics, such as album art and accompanying visuals? How do they complement the sonic experience you’ve crafted?

Having my good friend Andrew Peters shoot the album photos was crucial. I believe his talent will be a really important part of drawing people in with that beautiful cover photo. Christopher Deloach’s gorgeous portrait painting for the “Listen” digital single art was a complete success too. I believe when you hear “And I, You” and see all this sensitive and slightly mysterious art, you’ll further understand the mood of the record. I’m really lucky to have these artists in my life.

USED – Sensationalize (Q&A)

Posted on by patrickdonders

The German guitar pop band USED, comprising the twin talents Marco and Dario, delivers ‘Sensationalize,’ a rich double CD boasting 18 tracks that traverse both electric and acoustic realms, each resonating with its own greatness. While echoes of Fountains of Wayne, Teenage Fanclub, and the finest of The Lemonheads may occasionally surface, they’re unnecessary; the moment the music begins, its world-class quality speaks volumes. To me, ‘Sensationalize’ stands as the coveted gem of 2023. Embark on a treasure hunt and discover its brilliance!

Marco and Dario explain.

Could you share the journey of bringing this record to life? How did all the pieces come together to create the final product?

During the pandemic, we were busy working on new songs in the studio.

Our first plan was to record new singles, but in our creative process, more and more songs appeared, and we finally felt the urge to release a new album.

In the process of recording, we nearly lost our files because of technical issues. So it felt really good in the end when we finally finished the album with a big relief and a smile on our faces.

Among the gigs you’ve performed, which one holds an indelible place in your memory and why does it stand out?

One of our early gigs was with an amazing audience at a club in Germany, and we jumped into the crowd.

It was the first and only time we did stage diving.

Another great moment was at a small venue when a woman started crying and was really touched by one of our songs.

Defining a song’s completion can be elusive. How do you determine when a composition has reached its final, ready-to-record form?

Writing a song can be really quick sometimes but can also take ages.

If we play the song live and feel comfortable with it, it’s usually ready to be recorded.

With every studio visit, we try not to repeat ourselves too much musically, but if it feels right, it is right.

Striking a balance between experimental artistry and commercial appeal is a challenge. How do you navigate this dynamic within your music?

We never record something just because it’s commercial.

We like good melodies and hooks but also music that is a bit more sophisticated.

Our aim is always to create songs that have artistic and commercial tendencies.

Lyrics often carry profound meaning. Are there particular lines you hope listeners will always remember from your songs? If so, what’s the significance?

Some of our songs have words that mean a bit more to us than other songs. For instance, the opening track “I don’t care” of our new record:

“Nervous looks, but I’ve got to keep moving.”

“Everybody keeps a secret deep inside.”

We don’t like telling people what to believe in when they listen to our lyrics. In other words, not telling people what’s right or wrong.

It really makes us happy if there is a line or a whole song that someone likes and can relate to.

Can you recall the last instance when you felt the immediate certainty of having penned a hit song?

We were hanging out with a friend in his flat, guitars in our hands.

Finally, we came up with a guitar lick, and a few minutes later, we had the la la melody.

We immediately looked at each other and said, “This is a good one.”

It ended up as the song “Eleven Days.”

Another time we felt it was when we wrote the chorus of “Even the Stars Die.”

“Baby, you’re so disco” and “Let me see you shine, another glass of wine” felt brilliant.

Nick Frater presents The Rebutles 1967​-​1970 (Q&A)

Posted on by patrickdonders

Nick Frater shared with Sweet Sweet Music blog, “I’m going through quite a productive songwriting period at the moment, and melodies seem to arrive thick and fast.” This creative burst has culminated in the creation of two exquisite albums, adding an extra sparkle to the musical landscape of 2024. November saw the release of ‘Bivouac,’ landing it in the Top 10 of The 50 Best Power Pop Albums of 2023. Now, right after Christmas, ‘Nick Frater presents The Rebutles 1967​-​1970‘ pays homage to The Rutles, often considered the ‘ultimate’ Beatles tribute. It’s quite a journey, isn’t it? Below, Frater delves into the mechanics and origins behind this musical endeavor.

A surprise release so late in the year. What’s the story?

“The Rebutles / 1967-1970” has been a little side project I’ve been working on this year, as a follow-up to my last ‘secret’ album, “Nick Frater presents The Rebutles: Ron, Dirk, Stig and Barry the Solo Years, Vol 1,” which I included as a CD in the first 200 Earworms LPs.

I thought releasing it on an unsuspecting world on Boxing Day was the perfect poetic nod to Magical Mystery Tour, which was first shown on Boxing Day 1967. What I’ve learned through doing this is that Boxing Day isn’t really a thing in the USA! I received several messages from friends and fans in the States asking what the hell I was talking about, in the various hints and clues I was putting out in the run-up.

I’ve read a lot of positive reactions. Do you have an explanation for this so soon after the release?

I’ve been quite taken aback by how well “The Rebutles /1967-1970” has been received! I guess people still love, as I do, the idea behind The Rutles. As a HUGE Beatles fan and Rutles fan, creating the songs for my original tribute (is that a thing?) was a lot of fun to do, and I hope that translates into a fun listen. For years, I’ve been wanting to try something very, very ’60s psychedelia, and this was the perfect excuse. Getting great feedback from some of my favorite bands has been wonderful.

I’m so curious about how the concept came about and how far you think you can go if you want to continue it?

As with most great ideas, The Rebutles started off as a joke with friends in the pub—the idea of what The Rutles would have done in their solo careers. The idea stuck with me, and I started writing the first album. It turned out that my musical friends were VERY into the idea and helped to turn it into a reality. Having started at the end of the story of The Rutles/Rebutles, the only place to go was backward and do a prequel. Although things start to get a bit meta; like that bit in Back to the Future where the characters on different timelines mustn’t ever meet! Never let conceptual sense get in the way of a good song.

Did you consciously start writing songs in this specific style for this project or does something like this arise organically?

I’m going through quite a productive songwriting period at the moment, and melodies seem to arrive thick and fast. So writing The Rebutles came more from ideas for song titles. “Loose Tea In Disguise” came early on, and the song pretty much wrote itself. That said, I think there are still some moments that pull the heartstrings in just the right way, like “Come Get Your Tea.” I think it has a nice bittersweet feel; it’s a favorite for me.

You wrote to me a while back, jokingly or not, that the best record of 2023 had yet to be released. You knew you had something good on your hands, didn’t you?

From the enthusiasm of the musicians who helped me record the songs, I had an idea that The Rebutles might be an enjoyable listen. It was always going to be an odd move to release two concept albums a month apart, and right at the end of the year, but hopefully, between Bivouac and The Rebutles, listeners have found something to enjoy. There are lots of things in the pipeline for 2024, including a new ‘normal’ album. It’s well underway and called “Oh Contraire!” (you read it here first!), so it might get released in time for the best of 2024 lists.

THE LOVED – The Loved (interview)

Posted on by patrickdonders

I also have this quote I picked up somewhere, sometime…I put it on a note that hangs on my wall: “Deep and simple is far more essential than shallow and complex.” Both of these lines mean something, form a bit of the base of how my songwriting should work.

theloved.jpg

Sweet Sweet Music talked to Lael Alderman about The Loved and their wonderful new EP.

 
Three cords and the truth – as you describe your music on FB – is often used to describe country music. Are you a country band that rocks or a rock band …. Or a pop band that ….?

Three cords & the truth… I know it is the old country adage but, for me, it comes from watching U2 take on All Along the Watchtower in Rattle & Hum. I must have snuck into the theater to watch that movie 3 times in the one week it was playing in my hometown. Twelve years old? Bono is really feeling it, breathing heavy straight into the microphone, and he vamps out: “All I got is this red guitar, three chords and truth / All I got is a red guitar, the rest is up to you.” Something in there hit me, something stuck with me. Keep it simple, keep it honest.

 

I also have this quote I picked up somewhere, sometime…I put it on a note that hangs on my wall: “Deep and simple is far more essential than shallow and complex.” Both of these lines mean something, form a bit of the base of how my songwriting should work.

 

To answer your question, though…the Loved, we are a rock band. We do have the very slightest of brushes with country in some songs, though I don’t think anybody would ever mistake us for a country band. I love the song structure and melodies of old country music. They find their way into our tunes sometimes.

 

 

Mothers & Fathers is the biggest truth of them all. Is that the reason for the mantra-like outro?

I think you got it. The words in that outro seem to wrap around each other. Things do get mantra-like in there, for sure. I am a father now, and that experience has made me view my own father differently. And now I look at my kids, and that makes me think a bit differently on my own youth. In my mind, it all turned into this circle of mothers & fathers with their sons & daughters who will one day be mothers & fathers, too.

 

I always make a point to look into the audience when we are playing. I like to enjoy that part of playing. For years, I never did that for one reason or another. I think most performers would say the same. When we do this song, I look out into the crowd, look to see if we are connecting. On this song, more than any other, folks key in on it. The mantra of the chorus connects, the rhythm section is locked in, a momentum build. More than most of our songs, you can feel a moment happening during the show.

 

What was the biggest fun during the making of the last album?

Making this last album was a great time. We recorded all the tracks live, in a single six or seven-hour session…vocals, drums, guitars, bass. A few little dustings of studio magic followed during the two-day mix session. We could all see each other in the tracking room, lock in visually, me in an isolation booth to sing and play guitar, Daven & Jake staring each other down in a larger room. It was hot in the summer with no air conditioning. We drank a bunch of iced coffee, my wife brought us dinner. We would say it even while we were tracking the album: “It feels like a bit of magic is happening here.” We weren’t booking weeks of time on end, having to slog it out. We came into the studio with our songs, intending to do three, walked out with five. A pretty great day!

 

All of us in the band are so close…Daven was the best man in my wedding & we played in a band when we were younger for six years; after that, Daven & Jake have played in a band called Oh, Darling for another four years or more; all of our wives are the best of friends. Even our producer/engineer, he played lead guitar in a band he & I had together for a couple years. Making music with your best friends is about as good as it can get.

 

12512802_170680143297889_1636168841302811479_n.jpg

 

If we want to know you, which song do we have to listen to? And why?

I think Sun/Moon/Stars does the job of letting you know what we are about. It was one of the first songs we all worked on together, as well; the first song that let us know we were, perhaps, on to something unique & special as a band. That song will let you know I wear my heart on my sleeve. The melody & dynamics in the vocals of this song are right in our wheelhouse, and the music has some good twists & turns in it. It’s a sometimes-soft song that sometimes rocks you.

 

The music industry has changed a lot (or so they say). What did it bring you? And what not?

Well, we have all been around playing music for a while. I put my first record out in 1998, and it went on to be the little album that could. Within six months of my friends’ label independently releasing it, I had a recording deal with Geffen Records & a publishing deal with Sony. That was a lot for a 23-year old to figure out. And those things just don’t happen anymore in the music industry. The music industry has changed a lot, and the end of the ‘90s was the greatest change in the shortest amount of time that I have seen. In classic style, my deal was done, over and dissolved before I was even able to record an album. The experience of it all, though, is something I will always have with me, and it gave me the absolute confidence to move forward with my music on my own terms with my own style.

 

I know Daven & Jake have been putting out records for as long as I have, and we have all had our brushes with the musical industrial complex. For each one of us, every not-so-good story is balanced by another handful of great opportunities. That being said, hindsight has a way of pointing out lessons learned and not making you too upset about any potentially missed chances. It’s why we write & play music now for the love of it; no concerns about finding a spot anywhere in the larger music industry.

 

She tells you she will decide on a 5-song-mix tape if there is going to be a second date. Which 5 would you put on?

Is this purely for getting the girl? Man, it has been a long time since making a mix tape for that! Let’s try this out:

 

  1. Ask – the Smiths
  2. Sexy Back – Justin Timberlake
  3. Into the Mystic – Van Morrison
  4. Lover, You Should’ve Come Over – Jeff Buckley
  5. Don’t Disturb This Groove – the System

 

 

Buy here

Follow here