Daniel Glass: If you look at a great athlete, a great musician, a great martial artist, a great dancer, they are always relaxed. And they always make it look effortless.
And, for them, it is effortless. But they had to work very hard to get there. They had to put in a lot of effort in order to make that activity be effortless.
John Thomas Griffith of Cowboy Mouth: About the song "Everybody Loves Jill"…
In the mid '90s this lady named Jill Allemand started working for our manager. She's still a really close friend of ours. We were recording in a studio in Los Angeles and she had just moved there.
She would come to the studio and hang out. We'd talk and chat at lunch. I'd be playing my acoustic guitar in the kitchen and we'd talk.
Out of the blue, I said, "How's your love life now that you're here in LA?"
She said, "Oh, it sucks. I can't get any dates and the ones I do get, they're lousy."
I started singing, just out of the blue, "Nobody loves Jill. Nobody loves Jill." She laughed and said, "You make me sound so pitiful."
So I changed and started singing, "Everybody loves Jill."
She said, "Now you make me sound like a whore."
I was like, "Jeez, I can't win here."
But I just started doing "Everybody Loves Jill" in the chords that I had, those three chords. I was singing it to Jill and making it up on the fly. "She's got a red light…" I was thinking of The Police song "Roxanne" and "You don't have to put on the red light". It conjured up all these images in mind. I just said, "She's got a red light, she's got a red dress, she wears a red coat," whatever. I just made it all kind of goofy.
The producer walked by the kitchen and said, "What is that?"
I said, "Oh, I'm just goofing around."
He goes, "No, I like that. Sing it." I went through a verse and the chorus with him. It was more of a goof than anything else. He said, "Write a bridge for it and we're going to record it."
I'm like, "What?"
I was just goofing off and it's become one of our biggest songs. It's amazing.
I need to goof off more, I think.
Clients Huey Lewis & The News have officially launched their Instagram account at https://www.instagram.com/officialhueylewisnews/
A big part of my job... digging through pages and pages of client interview transcripts to find the gems... those wonderful insights and anecdotes.
Cris: How would you describe the music of The Fell?
Rich Redmond: High energy rock with pop hooks and retro undertones. Huge drums, big guitars, screaming bass, and crushing vocals with a hybrid blend of modern and throwback.
John Papa Gros: The way I was taught from George Porter Jr. from the Meters when I was with his band is you start a song, and all of a sudden doors can always open and give you opportunities to go see what’s in another room, investigate what’s over here, investigate what’s over there.
So we make sure we definitely have space in the set to do that because then that’s where the unexpected, that’s where the new energy is found. That’s what live music is all about.
Kim Wilson of the Fabulous Thunderbirds: You have to get the feel. You have to have the sound. If you can't get the sound, there's no sense in even being up there. You can play all the licks that you want, but if you're not getting the sound, what good are they?
Daniel Glass: We are involved in a long game. As drummers, as musicians, as artists, for most people success is not going to happen overnight. And that's okay. That's absolutely okay. It's about those who are still standing at the end of the day. They are the ones who are going to succeed, if what they are doing has real value.
John Papa Gros: I call my Hammond B3 organ “The Commitment.” I bought it about a year (maybe two years) after I bought my first brand new car, a Honda Civic Hatchback. I could pack all my keyboards, speakers, really my entire rig in that car. My two daughters were young at the time and their car seats would also fit. It was the perfect car for me.
And then, I made the leap of faith and bought a 1955 Hammond B3 organ. I had to sell this wonderful Honda Civic to buy a junky beat up used Ford Econoline van just to haul around the organ. If you don’t move it, you can’t play it.
And so, the quality of life went down. But, I was able to move the organ around town and play it on gigs. That's what set me apart from a lot of the other guys at that time. I was willing to do the work to move it.
I mean, it's 325 pounds! It's not easy. I can't or shouldn’t do it by myself. I need help. It really changed my lifestyle as a gigging, working musician.
That's why I call it “The Commitment”, because I’m married to the whole process.
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