 Cris Cohen: What stands out in your mind when you think back to your time in Huey Lewis & The News? Chris Hayes: We had a lot of good times together. It is kind of like being in a family, an extended family kind of situation. When we started out, I didn't really think we were going to be super huge and famous. It was more like, okay, we got a band. But looking back on it... like that "We Are the World" session for example. That was really an incredible moment in time. If you had told me when I was graduating from high school that eventually I would do a recording with those people, I would have laughed in your face. I would have said, "There is no way that is going to happen." Those really were some incredible moments. Getting nominated for an Oscar was a big deal for me. I had no idea that was ever going to happen. Challenging Songs Cris Cohen: From a music perspective, what was one of the more challenging Huey Lewis and The News songs to record? Chris Hayes: I remember going over one of the a cappellas that we did. I think it was "Naturally." I remember that as being difficult. That wasn't one that just went right down on the tape. It took a while to get that right. I remember "Do You Believe in Love" being a little tough, because it was in B. But then other ones like "Workin' for a Livin'" and "Couple Days Off," those were a lot of fun. "Small World" too. But mostly the singing was the hardest part. Because it is hard to make background vocals sound great. In those days, we had to sing all of them. Nowadays, you do it once on your computer and you copy it. Cris Cohen: And there was no Auto-Tune back then. Chris Hayes: No. There was no Auto-Tune. We were Auto-Tune. And you have to get every guy's singing on pitch and in rhythm at the same time on tape without laughing or something. It's a challenge.  Guitar Solos Cris Cohen: What makes for a good guitar solo? Chris Hayes: I think having some sort of theme is always good, and being able to have something in there that is easily whistled or hummed. Something kind of catchy. Not too complicated. Not super technical. Try to be a little bit more melodic. Try to have a hook of some kind. I'm not the greatest technical player in the world, but I tried to do something melodic in there so that people would recognize it. Something recognizable is probably the most important thing. Cris Cohen: Johnny Colla said that one of the reasons your solos were different from everything else on the radio at the time was because of your jazz background. I'm curious how much of your solo writing was different on purpose, and how much of it was just because you couldn't help it, because you were so inundated with the world of jazz when you came into this? Chris Hayes: I came up in that. I learned playing all those standards out of the book and playing a lot of funk, and not really playing a lot of rock. I had to kind of learn that. So I'm kind of more of a funk player. I never considered myself a great jazz guitar player or anything, but that's kind of how I learned. So I possessed certain parts of the lexicon. I sort of speak that language a little bit. So naturally it is going to have an influence on the note choices that I would make. That is what I would gravitate towards. If I had been a devotee of Jimi Hendrix or a blues guy, it would have been a completely different thing. If I had been some sort of technical, Eric Johnson-type guy -- he's fantastic -- if that was the kind of stuff that I liked to play, then it would be more like that. Cris Cohen: Everyone has kind of their own voice on their instrument... Chris Hayes: I think so. That is the way I look at it. That is why music is so cool. Because regardless of your technical level, there is a certain amount of expression that goes into it. There are varying levels of technicality. And sometimes being perfect isn't necessarily the best thing, because none of us are really perfect. It is kind of more human almost in a way to have the flaws in there. That is my excuse for not playing better, anyway. Cris Cohen: What's the old saying with live performances… if you make a mistake, do it a second time. Then everyone will think you did it on purpose. Chris Hayes: Exactly. The whole thing goes by so fast, it is like nobody even notices.  Cris Cohen: And then staying on the idea of the solo, there is some cool concert footage out there of you doing these extended solos / intros to "I Want a New Drug.” How did you develop that?
Chris Hayes: I used play with this band called the Ellis Liebman Band with Dave Liebman and Pee Wee Ellis. There is a long tradition in jazz of doing solos with just drums. If you listen to like Elvin Jones “Live At The Lighthouse”… just drums and saxophone. A soloist and a drummer. So, we started doing that as an intro for that song. I think it was a good time for everybody to take a break. I'm sure they were backstage making fun of me, or doing whatever it is that they needed to do to get ready to do the last song. Because traditionally we did that as the last song in the set. Bill would just start with a kick drum, lay down the four beats, and I would try to jam a little bit. Sometimes the solos were really good, and then other times they were less good, but it was always fun. I tried to do different things and use different modalities and scales. It was actually a great thing for me to be able to do, and I was glad Huey let me do it, because with most bands you might not get to do that. Cris Cohen: So basically it sounds like you had kind of an overall skeletal structure to it, but within that, there was some room to play and improvise every night? Chris Hayes: Yes. And the nice thing about just having two instruments is there is a lot more freedom in terms of harmonic content. You can play whatever you want. There is nobody playing any chords underneath you. You can try some different things. I enjoyed it. Cris Cohen: A lot has been written about how your jazz background influenced your playing in this rock arena, but I'm curious how your experience in the world of rock influenced your playing? Chris Hayes: It certainly gives you a better sense of how to entertain people. Not that I am some sort of compelling performer, but I am probably a better performer for having done that for 22 years. Now sometimes I will find myself jumping around on stage. Traditionally when you go see jazz guys, they don't jump around all that much. But from time to time I will do something like that. Watching His Son Learn Guitar Cris Cohen: I know that your son plays guitar. Watching him learn the guitar, how has that given you a different perspective on the instrument? Chris Hayes: It is interesting because he is learning it from a whole different direction and perspective than I did. When I was a kid, we learned how to play by playing with people and eventually playing in clubs. You did a lot of jam sessions. There were opportunities to go out and play that were pretty easy. We didn't have the internet, obviously. Nowadays, you can learn anything that you want on YouTube, from fixing a dishwasher to learning how to play Eric Johnson solos. He got into country music, which is a completely different animal than playing be-bop or funk. He is more of a country kind of guy, which is great. I was never really very good at that, so it's cool for me to watch how he approaches it. Because it's more of a lick-driven sort of thing. Cris Cohen: I found out that your son is a big Brad Paisley fan. Chris Hayes: Loves Brad Paisley, and Brad has been so great. He has been really cool to both of us, and we have been to a bunch of his shows. He is really a great guy and a great guitar player. Ben absolutely idolizes him… as do I. I think he is fantastic. He is a great performer and a great human being. Songwriting Cris Cohen: What is or was your songwriting process? Chris Hayes: A lot of times Huey would just give me a piece of paper with some lyrics on it. "Here. Write a song to this." That was the easiest thing to do. I was really into just writing songs, but I was kind of a little blocked on the lyrics side. Huey really preferred to write the lyrics himself anyway, which I totally get and he was better at it. Maybe he would give me just one verse and one chorus, so I could get sort of the pentameter of it. Those twenty years I was really into just coming up with music. It was flowing through me. So sometimes I would bring songs to him and go, "Hey, this is something I've been working on. Can you write some lyrics to this?" That was harder, because he had to come up with lyrics to my music and melody. That is a lot more difficult than writing the song to lyrics that have already been written. Because music has its own higher emotion than words do. Words are powerful, but music is emotionally powerful, and it is hard to come up with something that is not corny to fit the emotion of a musical passage. That is hard work, but he did it. I'm proud of him. He did it well. Cris Cohen: How would you say your songwriting changed from album to album? Chris Hayes: When I first got into the band, they had a couple of songs that they were working on, and I said, "Well, I like to write songs too. Can I write some?" And they were like, "Sure, of course." So I came up with a couple things, and then we ended up using a couple of them on the first album. I think we used three songs, which was cool for me. The first stuff that I wrote for the band had a New Wavy kind of vibe, because that is kind of what we were doing on that first record. It was more of a New Wavy kind of record. The second album was more of a pop kind of thing, except for "Workin for a Livin," which was kind of almost a country tune. It has been covered by three country artists, so that's kind of interesting. The lyrics are so every man. By that time, we weren't really New Wavy anymore. We got "Do You Believe in Love" on the radio, and that helped us. Once we did that, then we went out and just played a bunch. When we started working on "Sports,” I think we got really lucky, because "Heart and Soul" was a huge hit. "I Want a New Drug" and "If This Is It." "If This Is It" is a pretty well-crafted pop song. "The Heart of Rock and Roll." Those were pretty compelling album tracks. There were a lot of different things on that record that ended up being bigger than I would have thought. When we were making "Fore!", we were into the record and we still didn't really have a whole bunch of hits. Bob Brown (the band’s manager) said, "Hayes, I need a hit out of you." So I got myself a six-pack of beer, went back to my house, and just threw down "Stuck With You." Not the lyric part of it, just the music. I brought it to Huey, and he came up with the words for it. A New Purpose Cris Cohen: In other interviews you spoke of taking a hiatus from music. What did that entail and what was the reason behind that? Chris Hayes: I kind of just got into hanging out and watching my kids grow up. Music becomes like a lifestyle for musicians. It is like an identity and a lifestyle. Sometimes that identity or lifestyle may conflict with other stuff happening in your life, and for me I think that was it. Now I am just Sara, Ben, and Nick’s dad. Sometimes your purpose changes. It is all good stuff. I am just happy that I had the life that I had with the band. It was a lot of fun. I really enjoyed it and I learned a lot. I'm just really thankful that I was able to experience the things that I was able to experience.
Cris Cohen: What stands out in your mind when you think about the recording of the album “Let The World Decide”? Kyle Travers: Definitely the time put in. We worked really hard on this. We used the Prince method -- it is what we called it -- where we tracked every idea that we could come up with, and then listened back and decided what was good, what was bad, what actually added to the song, what took away from the song. It was definitely an intense effort… and that's a different way than we did the last record. It was also our first time recording at Echo Mountain Studios, which is a very fine studio here in Asheville, North Carolina.  Cris: Especially on this album, sometimes you have what sounds like three songs in one song. I'm curious how much of that is planned and how much of that is inspiration? Kyle: I'd say about 60% planned, 40% inspiration. One thing we wanted to do with this record was capture our live personality more than we did with the last one, and in order to do that we had to open up some room. For instance, the extended guitar solos on “Do Confide” and “Individuals” -- kind of the middle section -- that's us just venturing into our own improvisational territory and seeing what we can muster up, which is something we're known for doing live, and we wanted to be able to capture that on a record. Cris: And along the lines of solos, one thing that really stood out to me in videos of your live performances was when you go back and forth between using a pick and not using a pick within the same solo. What drives that and how hard is it to pull that off? Kyle: Well, it's become easier over the years. I think being raised in western North Carolina had a big influence on that. There's the flat picking technique, which some of these guys can play lightning fast with a pick, and some of my blues influences as well played like that. But then also as time went on I got into more of the finger-picking style and also slide guitar. Two of my main influences (with that were) Duane Allman and Derek Trucks. Neither of them uses a pick when they play slide, and it kind of gives it a more human tone, a softer edge to it. So when I'm playing a solo at any given time, I try and be spontaneous about it. And sometimes that involves harnessing more of that flat picking style or that aggressive blues picking style, or more of the finger touch. (It depends) on where the band is taking me, because they kind of guide me around in the solo, so to speak. I'll adjust my technique to match them and hopefully fit the improvisational effort we're trying to put down. Guitar Parts That Are Like Vocals Cris: On the instrumental “Ursa Major” the guitar parts are really like vocals. You could almost imagine there were lyrics that you are channeling through your guitar. How has your guitar playing been influenced by either your vocals or the vocal techniques of other people? Kyle: That song is written by Josh Clark, our bassist, and he is an incredible songwriter. He's able to add that vocal touch to any instrumental he writes. He uses a loop pedal and he puts down his bassline and kind of writes a vocal-sound line to begin with, with his bass guitar maybe an octave up, using another pedal so he can find the harmonic response to the initial baseline or melody he set out to do. So he wrote that melody and I kind of just added harmony to it. But as far as my personal influence from singers, my father introduced me to all sorts of great soul singers: Aretha Franklin, Etta James, Otis Redding. I think it's almost subconscious. All those years being a kid and him spinning these records over and over again, it kind of just comes out in your playing. I don't know if it's as much of a conscious effort as kind of just happens from hearing these soul singers. Donny Hathaway, Stevie Wonder and just the licks they kind of sing with their voice. When I'm just winging it, playing the guitar, they kind of come out for me at times. Cris: There is some really interesting musical conversation between you and Josh on this album. Traditionally the bass player locks in with the drummer and it's the two of them having this really symbiotic relationship. But with you guys it is the guitarist and the bass player going back and forth within songs. How did that evolve? Kyle: That’s Josh's melodic ear that he has trained. He can work from their cohesiveness (with Eric on drums) and kind of complement me simultaneously. A good example of that (kind of playing) is one of our favorite records, “The Allman Brothers Band - Live At Fillmore East.” If you listen to Berry Oakley's playing, he's right there with the two drummers. But at the same time you'll hear him hit a lick right there with Duane or play just against Dickey Betts, while he's still in the pocket with the drummers. Everyone Contributes Cris: With this band, it sounds like everyone is allowed to be an individual. Everyone is allowed to contribute. Everyone is allowed to musically voice their opinion. And yet, especially in songs like “Sweet Anna Lee,” you guys are all paddling in the same direction, for lack of a better term. Is that always the case? What happens when one guy wants to go in one direction and another guy wants to go in a different direction within a song? Kyle: A long discussion happens. Sometimes heated, sometimes not, to be brutally honest. But yeah, like you said, the way this band writes songs is everyone has a voice. You got that nailed. And one of the rules and principles we go by is we are not going to confine ourselves into a small space musically. In the instance of “Sweet Anna Lee,” my brother (Eric) penned that tune, and I helped as well. We co-wrote it, but he definitely started it off. I came to him and I was like, "Man, you have got something special here." Growing up in the Blue Ridge Mountains of western North Carolina, we always have loved this Americana kind of sound, and he really was able to harness that with this song. We all thought it deserved to be on the record. And a discussion happened. Does it fit? Is it us? Eventually the conclusion (we came to was): Anything we write and enjoy is us. We are not going to restrict someone. Just because it doesn't sound like something I wrote, doesn't mean it's wrong. You know, maybe I'm wrong in that scenario. What is the direction? We have been advised to play (just) one kind of music, and it is something we cannot feasibly do. We just have too many influences and we enjoy playing different styles of music. We take pride in being good at playing different styles of music. We like to switch it up and just play the game however we see fit. Cris: I totally get that, because the music industry does not know what to do with someone they can't put in a box.
Kyle: Oh they don't. They have no clue, man. Cris: Did you guys consciously decide as a band, we're not going to let anyone pigeonhole us? Kyle: Yeah. To tell a story I rarely tell in an interview, we were approached when we first started by some names that will not be named in Nashville, some heavy hitters. We did a showcase. It kind of looked like “American Idol.” They set us up on a big stage and said, “Play four of your songs. We are going to sit here and take notes.” And they liked us. They sat down with us and said, "First off, you guys are good looking. We can work with that." And we were immediately thinking, "Oh no." Then they said, "Here's what we're going to do. We are going to shorten the songs (to) two and a half, three minutes. No more guitar solos. We are going to sit you down with a songwriter that can gear this more towards pop music," and so on and so forth. We just said no. We'll fight in the trenches out here before we set ourselves up for that kind of situation. So it was a conscious decision. We decided we are going to do it our way instead of their way. Maybe that cost me millions of dollars, but I don't care. I'd rather play the music I like than be wealthy. Cris: Focusing on your locale, most articles refer to you as an “Asheville-based band.” How would you say Asheville has influenced you as musicians? Kyle: You can hear it in the versatility of our music. There's just so much good music going around here, and the fans in Asheville are usually very open minded. You'll see the same guy at a bluegrass show that you'll see at a jamband show, or the same guy at a blues kind of show that you'll see at a hard rock show, or an Americana show. Growing up around these people and learning from them, it has just soaked into our nature as musicians. That's something Asheville certainly has to offer: The versatility and well-rounded musicians for young cats like us to learn from. Cris: In this one interview you were quoted as saying, "We play what we feel, not what we think." Can you elaborate on that? Feeling Versus Thinking Kyle: Certainly. I think music, for me at least, is something you feel more than something you think about. When I was 7 years old and I first heard the Beatles or (specifically) “Sgt. Pepper's,” I didn't think, "This is ingenious and creative." I felt it was ingenious and creative… if that makes sense. To take that to an improvisational sense, if you're playing a three-minute solo, and you have the eyes of a thousand people watching you and it's just you making up ideas off the top off your head… at the point you get caught thinking, you are dead in the water. The flow stops, because now you're thinking, "Where are we headed next? Are we headed in the wrong direction?" You're (second) guessing yourself. You have to stop all your thinking and just feel the music, play what you feel. Cris: And then my other question along those lines is: How do you stay with that once you get into the studio? Because from everything I've heard and read, a lot of people get trapped in overthinking when it becomes studio time. Kyle: Right, certainly. And I think we've been guilty of that too, as much as anyone else. Before you go in, you do the thinking. What are we setting out to do? You kind of lay out an outline. With this song, what are we setting out to do? But once you get in there, you have to let that go and kind of let the tune evolve (on its own), if you're going to let it sound organic and a become a piece of art. I think you could work on one song for eternity. But at some point you have to say, "This is done." Cris: Is that kind of giving up on the idea of perfection? Kyle: Yeah, maybe so. Part of that is understanding that perfection is unobtainable, and also undefinable. What is perfection? How can you ever reach something that you can't define? In my opinion, you've reached perfection when you've reached a good stopping point, rather than redoing it and redoing it and redoing it. Some friends of mine are doing their first record. They're called Black Garlic. They are out of West Virginia, and they tragically lost their lead guitar player, Stevie Watts, in a car accident, right after they started making the record. They asked me to play on the record because he passed away and he was a big fan of mine, and I was set to be a guest on the record anyhow. But there were all these huge holes and gaps left in the music, because he wasn't able to come back and do overdubs. I kind of just harnessed the emotions I felt about the whole thing and about the songs. I wrote a couple of harmonies that I could play with him. But it's definitely weird to play... Music is like a time machine. I got in a time machine, went back in time, and played harmony with my friend who passed away, and traded licks with him and played solos. And I'll tell you right now, 90% of the material they're using is the very first bite I took at a solo. Even though I would try it two or three times, that first whack is the one. Sometimes perfection is just spontaneity. It is not over-calculating. Cris: Was the emotional level the same as if you were all in the studio together? Kyle: Yeah, I would say so for sure, if not more so, because I knew in a way this was the last time I was going to get to play with my good friend. My emotions were kind of heightened in that session, because of the finality of the whole scenario. This is my last chance, so I'm going to get it, dammit. 
photo: Daniel Coston
For this episode of the Bands To Fans podcast I spoke with Michael Bram, drummer for The Weight Band and Jason Mraz. We discussed the different approaches he has for those two artists, what he learned from studying the work of Levon Helm, and what influenced his singing style.
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This episode is brought to you by… us. Because of the internet, every musician is now also a media company. Your media company needs a professional writer / editor / interviewer / biographer. Hire Bands To Fans to tell your story. Our theme music was created by iSourcemusic.com. Check out our other podcasts: Connect To Fans - interviews with insightful and creative business people A Healthy Dose Of ER - A Podcast About All Things ER. Two longtime friends talk through episodes, dish about characters, and basically revel in the fact that their favorite show is finally available for binging. Love You To Death - Four hometown friends dish on all things past, present, and future. 
For this episode I spoke with Matt Starr, drummer for Mr. Big and Ace Frehley. We discussed the origin of his hard-hitting playing style, how being a drummer has influenced his work as a producer, and how with his coaching work he gets people to really dig down and reconnect with the goals that genuinely excite them.
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This episode is brought to you by… us. Because of the internet, every musician is now also a media company. Your media company needs a professional writer / editor / interviewer / biographer. Hire Bands To Fans to tell your story. Our theme music was created by iSourcemusic.com. Check out our other podcasts: Connect To Fans - interviews with insightful and creative business people A Healthy Dose Of ER - A Podcast About All Things ER. Two longtime friends talk through episodes, dish about characters, and basically revel in the fact that their favorite show is finally available for binging. Love You To Death - Four hometown friends dish on all things past, present, and future. 
For this episode of the Bands To Fans podcast I spoke with Fur Dixon. Best known for being a member of the punk rock band The Cramps, we discussed her new band, Fur Dixon and WTFukushima, their new album, “Return 2 Sender,” what she learned from the time she spent busking on the streets of New York, and the comfort that comes from owning your history.
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This episode is brought to you by… us. Because of the internet, every musician is now also a media company. Your media company needs a professional writer / editor / interviewer / biographer. Hire Bands To Fans to tell your story. Our theme music was created by iSourcemusic.com. Check out our other podcasts: Connect To Fans - interviews with insightful and creative business people A Healthy Dose Of ER - A Podcast About All Things ER. Two longtime friends talk through episodes, dish about characters, and basically revel in the fact that their favorite show is finally available for binging. Love You To Death - Four hometown friends dish on all things past, present, and future. 
(photo: Daniel Coston)
For this episode of the Bands To Fans podcast I spoke with Jim Weider, guitarist and vocalist with The Weight Band. We discussed their new album, “World Gone Mad,” why the Fender Telecaster is his guitar of choice, and about his experiences playing in The Band with the late, great Levon Helm.
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This episode is brought to you by… us. Because of the internet, every musician is now also a media company. Your media company needs a professional writer / editor / interviewer / biographer. Hire Bands To Fans to tell your story. Our theme music was created by iSourcemusic.com. Check out our other podcasts: Connect To Fans - interviews with insightful and creative business people A Healthy Dose Of ER - A Podcast About All Things ER. Two longtime friends talk through episodes, dish about characters, and basically revel in the fact that their favorite show is finally available for binging. Love You To Death - Four hometown friends dish on all things past, present, and future. 
Why you should not worry about video stats on YouTube and Facebook.
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This episode is brought to you by… us. Because of the internet, every musician is now also a media company. Your media company needs a professional writer / editor / interviewer / biographer. Hire Bands To Fans to tell your story. Check out our other podcasts: Connect To Fans - interviews with insightful and creative business people A Healthy Dose Of ER - A Podcast About All Things ER. Two longtime friends talk through episodes, dish about characters, and basically revel in the fact that their favorite show is finally available for binging. 
For this episode of the Bands To Fans I spoke with electro-jazz-pop artist Grace Kelly. We discussed her desire to break down the virtual walls between artists and audiences, how she incorporates dance into her performances, and the music she hears and sees in everyday life.
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This episode is brought to you by… us. Because of the internet, every musician is now also a media company. Your media company needs a professional writer / editor / interviewer / biographer. Hire Bands To Fans to tell your story. Our theme music was created by iSourcemusic.com. Check out our other podcasts: Connect To Fans - interviews with insightful and creative business people A Healthy Dose Of ER - A Podcast About All Things ER. Two longtime friends talk through episodes, dish about characters, and basically revel in the fact that their favorite show is finally available for binging. 
This week we are doing something a little different. Although not a musician, my guest this time around has been an important figure in the US music landscape for decades. For this episode I spoke with legendary rock radio DJ Dusty Street (…and yes, that’s her real name). We discussed her famous voice, her start in radio in San Francisco in 1969, how she developed her finely tuned ear for music, her work in the Los Angeles music scene in the 1980s, and how music helped her work through the shock of her mother’s sudden death in 1974.
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This episode is brought to you by… us. Because of the internet, every musician is now also a media company. Your media company needs a professional writer / editor / interviewer / biographer. Hire Bands To Fans to tell your story. Our theme music was created by iSourcemusic.com. Check out our other podcasts: Connect To Fans - interviews with insightful and creative business people A Healthy Dose Of ER - A Podcast About All Things ER. Two longtime friends talk through episodes, dish about characters, and basically revel in the fact that their favorite show is finally available for binging. 
For this episode of the Bands To Fans podcast I spoke with Emily Saliers of the Indigo Girls. We discussed their new live album, which they recorded with the University of Colorado Symphony Orchestra, how putting this show together has influenced her songwriting going forward, and how alternative guitar tunings have led to the creation of some her most well-known songs.
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Follow the Indigo Girls on: Their website YouTube This episode is brought to you by… us. Bands To Fans does content marketing for bands and individual musicians. Hire Bands To Fans to grow and engage your fan base. Our theme music was created by iSourcemusic.com. Check out our other podcasts: Connect To Fans - interviews with insightful and creative business people A Healthy Dose Of ER - A Podcast About All Things ER. Two longtime friends talk through episodes, dish about characters, and basically revel in the fact that their favorite show is finally available for binging. 
For this episode of the Bands To Fans podcast I spoke with Michael Staertow, guitarist for Lou Gramm. We discussed how he sees himself as an ambassador of Lou Gramm’s catalog, which were the more challenging Foreigner songs to master, and the importance of telling a story with each guitar solo.
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This episode is brought to you by… us. Bands To Fans does content marketing for bands and individual musicians. Hire Bands To Fans to grow and engage your fan base. Our theme music was created by iSourcemusic.com. Check out our other podcasts: Connect To Fans - interviews with insightful and creative business people A Healthy Dose Of ER - A Podcast About All Things ER. Two longtime friends talk through episodes, dish about characters, and basically revel in the fact that their favorite show is finally available for binging. 
For this episode of the Bands To Fans podcast I spoke with Gregg Lohman. He is currently the drummer for country artist Easton Corbin. Before that he spent 10 years as the drummer and music director for Kellie Pickler. We discussed the importance of building up personal capital, the profound impact his school music teacher had on him, and how his world changed after he was in a life-threatening car accident in 2013.
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This episode is brought to you by… us. Bands To Fans does content marketing for bands and individual musicians. Hire Bands To Fans to grow and engage your fan base. Our theme music was created by iSourcemusic.com. Check out our other podcasts: Connect To Fans - interviews with insightful and creative business people A Healthy Dose Of ER - A Podcast About All Things ER. Two longtime friends talk through episodes, dish about characters, and basically revel in the fact that their favorite show is finally available for binging. 
For this episode of the Bands To Fans podcast I spoke with singer Laura Tate. We discussed the skills she developed doing musical theater that have helped with her solo work, the many things she has learned from her band, and how she is more comfortable singing on stage in front of an audience than singing in a studio.
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This episode is brought to you by… us. Bands To Fans does content marketing for bands and individual musicians. Hire Bands To Fans to grow and engage your fan base. Our theme music was created by iSourcemusic.com. Check out our other podcasts: Connect To Fans - interviews with insightful and creative business people A Healthy Dose Of ER - A Podcast About All Things ER. Two longtime friends talk through episodes, dish about characters, and basically revel in the fact that their favorite show is finally available for binging. 
For this episode I spoke with Michael McDermott, drummer for Joan Jett and the Blackhearts. We discussed his relentless pursuit of knowledge and improvement, that how well you get along with your bandmates offstage will directly influence how well you play together onstage, and the surreal excitement he feels during a show when he plays the opening to “I Love Rock ‘N’ Roll”.
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This episode is brought to you by… us. Bands To Fans does content marketing for bands and individual musicians. Hire Bands To Fans to grow and engage your fan base. Our theme music was created by iSourcemusic.com. Check out our other podcasts: Connect To Fans - interviews with insightful and creative business people A Healthy Dose Of ER - A Podcast About All Things ER. Two longtime friends talk through episodes, dish about characters, and basically revel in the fact that their favorite show is finally available for binging. 
photo: Alicia Reed
For this episode I spoke with Fred LeBlanc, lead singer and drummer for the band Cowboy Mouth. We discussed the influence of his home city of New Orleans on their music, where his resilience comes from, and his ethos that a Cowboy Mouth show won’t solve your problems but it will make you feel damn good as you dance all over them.
The latest album from Cowboy Mouth
Don't miss an episode. Subscribe to the podcast This episode is brought to you by… us. Bands To Fans does content marketing for bands and individual musicians. Hire Bands To Fans to grow and engage your fan base. Our theme music was created by iSourcemusic.com Check out our other podcasts: Connect To Fans - interviews with insightful and creative business people A Healthy Dose Of ER - A Podcast About All Things ER. Two longtime friends talk through episodes, dish about characters, and basically revel in the fact that their favorite show is finally available for binging. 
For this episode I spoke with Scotty Johnson (far left), guitarist for the band Gin Blossoms. We discussed their new album, “Mixed Reality”, how his extensive training in jazz influenced his guitar solos, and the night years ago that changed his musical direction.
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This episode is brought to you by… us. Bands To Fans does content marketing for bands and individual musicians. Hire Bands To Fans to grow and engage your fan base. Our theme music was created by iSourcemusic.com Check out our other podcast, Connect To Fans, where Cris interviews insightful and creative business people. 
photo credit: Rahm Carrington
For this episode I spoke with Joel Cummins, keyboardist for the band Umphrey’s McGee. We discussed their new album, “It’s You”, how the extensive vocal training he had back in school influenced his keyboard playing, and why – despite his years of keyboard and piano experience – he still takes lessons here and there.
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This episode is brought to you by… us. Bands To Fans does content marketing for bands and individual musicians. Hire Bands To Fans to grow and engage your fan base. Follow Joel on Twitter Our theme music was created by iSourcemusic.com. Check out our other podcast, Connect To Fans, where Cris interviews insightful and creative business people. 
For this episode I spoke with Kim Wilson, founder and lead singer of the band The Fabulous Thunderbirds. We discussed his solo album “Blues And Boogie, Volume 1”, his philosophy that “imperfection is perfection”, and how he never creates a set list for concerts but instead chooses songs based on the vibe of the audience. By the way, Kim called in for this interview while walking the grounds of a mission in California, hence the voices and noises you will hear in the background.
This episode is brought to you by… us. Bands To Fans does content marketing for bands and individual musicians. Hire Bands To Fans to grow and engage your fan base.
Subscribe to the podcast here. Our theme music was created by iSourcemusic.com. Check out our other podcast, Connect To Fans, where Cris interviews insightful and creative business people. 
For this episode I spoke with Troy Luccketta, drummer for the rock band Tesla. We discussed how, even after decades of playing, he is still a student of the drums, the sonic palette of colors he adds to their classic songs in concert, and how he still feels that he has to prove every show that he is the best drummer for this band.
This episode is brought to you by… us. Bands To Fans does content marketing for bands and individual musicians. Hire Bands To Fans to grow and engage your fan base.
Subscribe to the podcast here.
Our theme music was created by iSourcemusic.com.
Check out our other podcast, Connect To Fans, where Cris interviews insightful and creative business people.
For this episode of the Bands To Fans podcast I spoke with Ben Sesar, drummer for country artist Brad Paisley. Admittedly this discussion gets kind of deep, but Ben had some fascinating insights. We discussed how he utilizes and plays to whatever feelings he is having from moment to moment, his ability to play in sync with and predict where Paisley will go -- even during improvised solos, and his concerns about the music audience of the future and their ability to appreciate nuance.
For this episode of the Bands To Fans podcast I spoke with singer-songwriter Tim Charron. We discussed ways he displays more of his range on his latest album, the large amounts of work and business acumen that are necessary to make his beach life possible, and the powerful connections he has made with both kids and adults on his Anti-Bully Tour.
For this episode of the Bands To Fans podcast I spoke with singer-songwriter Jonatha Brooke. We discussed what she teaches other artists about songwriting, her preference for unusual guitar tunings, and the common strengths that helped her care for her ailing mother AND helps her survive in the modern music industry.
Interview excerpts:
On Songwriting "Any song that ventures to be universal and/or get people in some core place needs to have really interesting specifics that will draw a listener in." "Sometimes when I write, I'll go for walks. And I'll keep hammering away at the lyric until it rhythmically feels right." "I think that's the real judge of a great song: Can you pull it off with just an acoustic guitar and a voice?" "Even my very first songs… I would make tunings up to make them more interesting, to be able to play what I heard in my head, and make more dissonance per square inch, more complex harmonic changes."
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Visit Jonatha Brooke's: website Facebook page Instagram account Twitter account During the interview we mentioned her albums: Midnight. Hallelujah My Mother Has 4 Noses This episode is brought to you by… us. Bands To Fans does content marketing for bands and individual musicians. Hire Bands To Fans to grow and engage your fan base. Our theme music was created by iSourcemusic.com. Check out our other podcasts: Connect To Fans - interviews with insightful and creative business people A Healthy Dose Of ER - A Podcast About All Things ER. Two longtime friends talk through episodes, dish about characters, and basically revel in the fact that their favorite show is finally available for binging. 
For this episode I spoke with Travis Vance, bassist for country-pop artist Thomas Rhett. We discussed what it takes to play multiple styles of music in a single show, the surprising addition of choreography to their their arena and stadium concerts, and the emotional experiences he has had seeing former Talking Heads frontman David Byrne in concert.
For this episode I spoke with John Thomas Griffith of the band Cowboy Mouth. We discussed his songs “Everybody Loves Jill” and “Man On The Run”. We also delved into his overall approach to songwriting and what he still loves about being a musician.
This episode is brought to you by… us. Bands To Fans does content marketing for bands and individual musicians. Hire Bands To Fans to grow and engage your fan base. 
For this episode I spoke with Luis Espaillat. Luis is the bass player for country singer Trace Adkins, but he has also played and recorded with a multitude of artists across a wide variety of styles. We talk about what drew him to the bass, the challenges of shifting between so many different styles of music, and some of his favorite drummers to play with.
This episode is brought to you by… us. Bands To Fans does content marketing for bands and individual musicians. Hire Bands To Fans to grow and engage your fan base. |
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