Future One Interview
Q: Can you talk about your history as a musician?
A: I started out on drums. My parents bought me a used kit for $100.00 and let me set up in the living room. That was awesome. My lessons were from Buddy Miles and Ringo for the most part (played along with Hendrix’s Band of Gypsies and Beatles). Got my way into a cover band which was good fun and people seemed to like my playing. On rehearsal breaks I would play around with our guitarist’s ax, then bought the Mel Bay book. Soon I switched to guitar – although not very good and a bit tone deaf – but trudged along and got pretty good after a while.
Then began to write and play in an original band called The Latest. Then into another original band called IBM. Both bands played CBGB’s multiple times. I actually put the musician side on hold for some years while I got into illustration and worked my way up to a gallery artist. Late ’90s brought me back to music; writing and recording my solo projects. I am currently playing in several bands on either drums, guitar or bass – and loving it.
Q: You mention that despite being a solo artist you wanted it to feel like a band - how did you achieve that?
A: I’ve recorded several cd’s with this premise. The first band name was Period Comma. I made up band member names (Michael Gunn, Buddy Life and Louise Mann). Funny, on one of the cd’s I invited a different fiction drummer from another fiction band (yeah, I may need help – ha). The 3rd cd from Period Comma, titled The Greatest Hit did have another real-life member, Nina Lava, for vocal harmonies. Now, finally with a new band name I continued the solo work with the debut of Lost Mighway. I finally mentioned my name because the producer, Wayne Warnecke, suggested it.
The reason for all this is I wanted anybody who listened to picture a band playing and not some guy switching around on instruments. I wasn’t crazy about solo projects and loved how different personalities of players all made one great sound. The idea of musical dialogue/conversation.
Q: What is your creative process like?
A: I’m usually watching the television with a guitar in hand and just start messing around with hook melodies or a chord pattern. When I like something I record it on my phone. I’ll use these little clips as reference and begin building what could be a verse, chorus etc. Then vocal ideas come to mind. Once I feel I have enough to form an arrangement out of it, bass and drum parts find their way in. I’ll do acoustic demos of the tunes and edit from those.
Q: Can you talk about your history as a musician?
A: I started out on drums. My parents bought me a used kit for $100.00 and let me set up in the living room. That was awesome. My lessons were from Buddy Miles and Ringo for the most part (played along with Hendrix’s Band of Gypsies and Beatles). Got my way into a cover band which was good fun and people seemed to like my playing. On rehearsal breaks I would play around with our guitarist’s ax, then bought the Mel Bay book. Soon I switched to guitar – although not very good and a bit tone deaf – but trudged along and got pretty good after a while.
Then began to write and play in an original band called The Latest. Then into another original band called IBM. Both bands played CBGB’s multiple times. I actually put the musician side on hold for some years while I got into illustration and worked my way up to a gallery artist. Late ’90s brought me back to music; writing and recording my solo projects. I am currently playing in several bands on either drums, guitar or bass – and loving it.
Q: You mention that despite being a solo artist you wanted it to feel like a band - how did you achieve that?
A: I’ve recorded several cd’s with this premise. The first band name was Period Comma. I made up band member names (Michael Gunn, Buddy Life and Louise Mann). Funny, on one of the cd’s I invited a different fiction drummer from another fiction band (yeah, I may need help – ha). The 3rd cd from Period Comma, titled The Greatest Hit did have another real-life member, Nina Lava, for vocal harmonies. Now, finally with a new band name I continued the solo work with the debut of Lost Mighway. I finally mentioned my name because the producer, Wayne Warnecke, suggested it.
The reason for all this is I wanted anybody who listened to picture a band playing and not some guy switching around on instruments. I wasn’t crazy about solo projects and loved how different personalities of players all made one great sound. The idea of musical dialogue/conversation.
Q: What is your creative process like?
A: I’m usually watching the television with a guitar in hand and just start messing around with hook melodies or a chord pattern. When I like something I record it on my phone. I’ll use these little clips as reference and begin building what could be a verse, chorus etc. Then vocal ideas come to mind. Once I feel I have enough to form an arrangement out of it, bass and drum parts find their way in. I’ll do acoustic demos of the tunes and edit from those.
Q: What are some of themes that are touched upon throughout the album?
A: Good question. It has a lot to do relationships, which I usually don’t write about. Lost Mighway’s subtext is about the understanding – or, trying to understand what makes a great relationship, or a bad one. In theory, it seems like it shouldn’t be so difficult: two people want to be happy. Happy with each other. Unfortunately I feel that insecurities float in and shift the tides. There are my own insecurities and behavior regrets that add to the theme.
Q: Have you played any of the material live or perhaps virtually?
A: I have played solo acoustic versions of the songs. I do want to put a band together. Something simple that can get the ideas and feel across. I’d need drums, bass and either keys or a second guitar. I don’t mind doing a little rearranging for a live performance.
Q: What else should we know about your music?
A: This release is my venture into pop music. I usually have a progressive influence with lyrics more on the abstract side. As a teen I listened to Yes and Genesis as well as Iggy Pop, New York Dolls. Ziggy Stardust and the Spiders from Mars was my bible. In the late ‘70s, early ‘80s I loved bands like Squeeze, XTC, Costello, The Jam and that whole scene. What a great time for pop music. Later in life, influences went a bit darker towards David Lynch and The Residents. I recorded an entire project as demos titled Decevening. A group of 10 songs which I really like but with my unskilled promotional tactics, this would not advance my career one iota. So I laid off and went to my ’80s influences and found a new way for me to write that I’m really loving. I am working on new material with this mind set and it’s just flowing. My challenge is to use more mainstream chord progressions under creative melodies and not ask listeners to think so much.
A: Good question. It has a lot to do relationships, which I usually don’t write about. Lost Mighway’s subtext is about the understanding – or, trying to understand what makes a great relationship, or a bad one. In theory, it seems like it shouldn’t be so difficult: two people want to be happy. Happy with each other. Unfortunately I feel that insecurities float in and shift the tides. There are my own insecurities and behavior regrets that add to the theme.
Q: Have you played any of the material live or perhaps virtually?
A: I have played solo acoustic versions of the songs. I do want to put a band together. Something simple that can get the ideas and feel across. I’d need drums, bass and either keys or a second guitar. I don’t mind doing a little rearranging for a live performance.
Q: What else should we know about your music?
A: This release is my venture into pop music. I usually have a progressive influence with lyrics more on the abstract side. As a teen I listened to Yes and Genesis as well as Iggy Pop, New York Dolls. Ziggy Stardust and the Spiders from Mars was my bible. In the late ‘70s, early ‘80s I loved bands like Squeeze, XTC, Costello, The Jam and that whole scene. What a great time for pop music. Later in life, influences went a bit darker towards David Lynch and The Residents. I recorded an entire project as demos titled Decevening. A group of 10 songs which I really like but with my unskilled promotional tactics, this would not advance my career one iota. So I laid off and went to my ’80s influences and found a new way for me to write that I’m really loving. I am working on new material with this mind set and it’s just flowing. My challenge is to use more mainstream chord progressions under creative melodies and not ask listeners to think so much.