STEAM Magazine South Texas Entertainment Art Music volume 8 issue 1 April 2019

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2 NEW MOVIES & MUSIC 4 COMICS 5 QUICK READ 6 ALBUM COVER OF THE MONTH 7 CD REVIEWS 8 MALCOLM BRUCE: MUSIC OF CREAM 10 CHRISTI MATHEWS: FINE ART 14 JACKIE VENS ON : PURE JOY 16 3RD COAST FOOD IE: BILLY JOE’S CRAFT HOUSE 18 ADAM JA MES MU SI C TROMBA PRODUCT REVIEW TIME TO ADOPT-A-BEACH 19 VO ODOO L OG I C : NEW MUSIC PUBLISHER RUSTY HICKS EDITOR TAMMA HICKS COMICS EDITOR ALLENE HICKS STAFF WRITERS STEVE GOLDSTEIN, TAMMA HICKS, RUSTY HICKS STAFF PHOTOGRAPHERS ALLENE HICKS, RUSTY HICKS CONTRIBUTING WRITERS J MICHAEL DOLAN, DEREK SIGNORE, ROB DICKENS, RICK J BOWEN, DEBBIE NOBEL Alternative Weekly Network

April 2019 VOL.8 ISS.1 #85 ON THE COVER...

MEMORIES

BY CHRISTI MATHEWS

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THE EXHAUSTION OF AVOIDANCE J. Michael Dolan Too often we spend more time thinking about it than doing it.

It’s a high cost to pay for such a petty payoff. We must continuously stand toe-to-toe with the work that is truly wanted & needed in order to get closer to that which we say is our greatest goal and most desired dream.

Important because artists and treps are notorious for dragging their feet, until the resistance to do the work is exceeded by the exhaustion of avoiding it.

DON’T ASK YOU! J. Michael Dolan Your life as an independent artist/entrepreneur is truly about self-motivation, self-discipline and self-reliance. Problem is, you are the worst person to consult when you’re deep inside the belly of the beast being devoured by doubt and consumed with confusion.

Important because some are guided by their own self-righteousness and insist they can handle it themselves. However, pros are aware of their limitations and smart enough to know when to reach out to a trusted, like-minded advisor to help them avoid occupational roadblocks, take advantage of spontaneous opportunities and sort their way through perplexing problems .

I GOT BLISTERS ON MY FINGERS! J. Michael Dolan Every single day we struggle to figure it out, effort to get it right and meticulously scrutinize every step we take in order to manifest an idea, a vision or a dream. Then, at the end of the day, our inner critic casts doubt on how much we really accomplished and points to how much more needs to be done.

The process itself is mentally confronting, emotionally frustrating and physically exhausting. And while it’s difficult for others to understand, pro artists and risk-taking entrepreneurs forge ahead toward the promise they’ve made to themselves and the dream they have committed to achieve.

Important because it’s from the sweat of that exhaustion and the angst of that frustration that our destiny is forged .

LERAN AND GROW RICH J. Michael Dolan We must keep studying, researching, learning and observing the changing landscape and the continuous disruption in every corner of our beloved entertainment industry. Which is being meticulously dismantled and rebuilt from top to bottom, including music, movies, television, theater, publishing, production, art, animation, acting, design, radio, retail, big corps and small business.

Then we need to re-evaluate how our own art and commerce fits into this new exponential culture of creative exploitation.

Then we need to re-consider our willingness to break old habits and change the way we create, produce, present and pitch our work.

Then we need to re-commit to a revised set of goals and dreams.

Important because in the midst of the chaos there is opportunity. And as our industry evolves so should we.

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By the end of the 1960’s rock and roll was long out of its infancy and well rooted in popular culture. New forms of music were sprouting from those roots: hard rock, country rock, art rock, glam rock, and on and on.

One of the more interesting sub-genres of the era was the progressive rock movement with two bands at the forefront; King Crimson and The Nice. Both were formed in London around the same time and their paths would cross occasionally. But it wasn’t until they both appeared at the famed Fillmore West that The Nice’s classical and jazz influenced keyboardist, Keith Emerson, jammed with Crimson’s like-minded bass player and vocalist, Greg Lake, and the seeds of this artistic super group were planted. After searching far and wide, someone suggested rapid-fire drummer Carl Palmer from an up and coming English band, Atomic Rooster. This amazing debut allows Emerson, Lake & Palmer to not only shine individually, but also in support of each other. The six tracks are each an aural, symphonic voyage. The Moog synthesizer was still fairly new at the time and no one really quite knew what to do with it. It was being used in the studio for accompaniment here and there, but when Keith Emerson got hold of it, it became an essential element to ELP’s sound, and electronic music took a monumental leap forward. His use of the Moog, along with some creative stereo panning on the classic “Lucky Man” shed brand new light on this strange, new “instrument” and is the perfect counterpoint to Lake’s acoustic guitar and vocal. “Tank” is a textbook example of Carl Palmer’s masterful, hard rock drumming. ELP continued to forge their influential sound and produced sev-

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eral hits before disbanding in 1979. They would all pursue their own musical projects and occasionally reunited in various forms. Keith Emerson’s suicide at age 71 in 2016 was followed by Greg Lake’s death from cancer at age 69 that same year. Carl Palmer went on to have an illustrious career with Asia and continues playing and hosting drum clinics.

He remains one of the true masters. This album is where it all started. “Take A Pebble” is a twelve and a half minute opus of virtuoso musicianship and strong vocals that shows the range that these three Brits were capable of, and is a recommended track to seek out.

Palmer was initially reluctant to join, but eventually was on board. Not to be confused with any of their previous bands, they chose Emerson, Lake & Palmer as their name.

That defining song with its creative use of stereo panning is still played on Classic Rock radio today .

Alabama born Emmylou Harris has firmly established herself as a leading female force in the realms of Country, Folk, and Americana music. She possesses the Triple Crown distinction of being a talented, multiple award winning singer, songwriter and musician. She has earned the respect of her peers and collaborated countless times with the cream of the crop; Bob Dylan, Gram Parsons, Rodney Crowell, The Band, Johnny Cash, Elvis Costello, Steve Earle, Mark Knopfler, to name just a few. Emmylou was the first artist to cover Townes Van Zandt’s classic “Poncho and Lefty” on a record. By 1979 Emmylou Harris had released six albums, five of which went gold. She continues to record, collaborate, tour and rack up the awards. This record would win her the second of 14 Grammy awards, including a Lifetime Achievement Award in 2018.

With her cowboy boots, jumbo Gibson, Hot Band featuring James Burton, Rodney Crowell, Ricky Skaggs, Emory Gordy and Albert Lee, and 10 Country covers, Emmylou lets us know full well that she can handle this brand of music just fine. She feels right at home kicking things off with Willie Nelson’s upbeat “Sister’s Coming Home” and turns the heartfelt bluegrass classic “Rough and Rocky” about loosing love into a bellyrubbing honky-tonk ballad. The band gives a fitting nod to Emmylou’s former partner Gram Parsons on the Byrds’ “Hickory Wind.” “Sorrow In The Wind” is an acoustic ballad written by Jean Ritchie that starts side two with dynamic three part harmony with Sharon Hicks and Cheryl Warren from The White’s joining in with Emmylou. Don Everly shows up for a duet on the Louvin Brothers’ sad tale of heartache, “Everytime You Leave.” “Even Cowgirls Gets The Blues” featuring Emmylou joining in harmony with her future Trio partners, Dolly Parton and Linda Ronstadt, is a fitting end to this Country music joyride. This album also garnered three top 10 Country hits; The Drifters’ “Save The Last Dance For Me,” “Beneath Still Waters” which reached number one, and the title track about the “Blue Kentucky Girl,” originally recorded

by Loretta Lynn and featuring more dynamic harmonies by the White girls, and that’s as fine a recommended track to seek out as any.

WALTER TROUT SURVIOVOR BLUES (PROVOGUE)

BY RICK J BOWEN After making over 40 albums, journeyman guitarist Walter Trout decided the time was right to record a full set of blues songs, covering his favorite artists and sharing some rare gems that spoke to him with new meaning. The dozen new tracks on Survivor Blues, released in January of 2019, are not all straight-ahead blues, but they certainly are given Trout’s treatment of fire branding. Recorded at Robby Krieger’s studio in Los Angeles, the set Begins with Jimmy Dawkins’ “Me, My Guitar and the Blues,” a blistering slow blues that seemingly was written for Trout. From there he moves through deep cuts from the catalogs of BB King, Sunnyland Slim, Otis Rush, J.B. Lenoir, John Mayall, Magic Sam and Elmore James. Sugaray Rayford joins him on an incendiary run-through of mod-

FLAMEKEEPER THE MICHAEL CLEVELAND STORY JOHN PRESLEY, DIRECTOR

BY ROB DICKENS I first saw Michael Cleveland play at the annual International Bluegrass Music Association (IBMA) World of Bluegrass event in Raleigh North Carolina in 2013. Peter Rowan had a set in one of the large rooms at the Conference Hotel and had assembled quite a large and somewhat ramshackle-in-appearance and perhaps hastily-assembled ensemble.

Of course they turned out to be a highly talented group of players, so good that they played brilliantly with not much apparent rehearsal. But, on that morning, no one stood out as much musically as fiddle player Michael Cleveland, standing quietly at the extreme of (our) stage right. He was mesmerizing – playing in a style and to an ability to which I was not accustomed. I have followed his career since that day.

Now we have a worthy visual testament to this gifted man who is one of the most sought-after and celebrated musicians. A documentary which is warm, informative and engrossing.

In March, Flamekeeper: The Michael Cleveland Story premiered at the Country Music Hall of Fame and Museum in downtown Nashville.

The film tells the story of Cleveland and the great personal hardships he has overcome to become one of bluegrass music’s most revered instrumentalists.

Cleveland has won more IBMA Awards than anyone. Fiddle Player of the Year eleven times and Instrumental Recorded Performance of the Year on six occasions. Cleveland also fronts the five-time Instrumental Group of the Year, Michael Cleveland & Flamekeeper, which he founded in 2006.

Cleveland was born blind and with a cleft palate. In early childhood he

ern Chicago Blues “Women Don’t Lie,” and Krieger sits in on ethereal slide guitar on a lazy read of Mississippi Fred McDowell’s delta blues “Goin’ Down to The River.” Trout shares in the album notes that “Old Blues songs somehow make me feel better,” so for him this album is a soothing balm passed on from one survivor as a gift to a world in need of healing.

WALTERTROUT.COM RICK J BOWEN: WABLUES.ORG

JAMES BUDDY ROGERS EVERYTIME (JBR RECORDS)

BY RICK J BOWEN

lost 80% of the hearing in his left ear. In spite of these challenges, he undertook a musical career undeterred and has ascended to the highest possible echelons of his genre.

One of the movie’s strengths is the treatment given by its director John Presley, whose hand documents objectively and provides a compellingly visual and musical narrative while empathizing with its subject.

“I learned that our visually impaired friends see the world in an entirely different way,” says Presley.

“One of my goals was to create a film that Michael would be able to experience and enjoy through sound alone.”

“When I was first approached about the idea of a documentary film about me, I was definitely surprised, and it still seems so surreal,” adds Cleveland. “For as long as I’ve been playing music professionally, I have made it a point to keep the focus on the music and not the fact that I am visually impaired. I decided that if I was going to have a career in music, I wanted to make it on my abilities as a musician and not the fact that I was blind. After I talked to John and took a few days to think it over and run it by my family and the rest of the Flamekeeper team, I realized that this could be an inspiration to some young kid somewhere with a dream

that looks as impossible as it seemed to me when I was growing up and dreaming of a career in music.”

Flamekeeper features interviews with multiple Grammy Award winners Bela Fleck and Vince Gill, who says of Cleveland, “It’s wicked to see how much music he pulls out of a bow—He’s untouchable.” Also appearing in the film are such music notables as Sam Bush, Jens Kruger, Jeff White, the Bibelhauser Brothers and Andy Statman.

Flamekeeper is a joy to watch if you are a bluegrass fan. Presley was joined on the project by co-producer Cortlandt Ingram, a familiar name in th e bl ueg ra ss w orl d who se knowledge was an essential part to the film’s success.

BUT … the movie goes beyond bluegrass – it can be enjoyed by anyone whose music tastes are deep and, in fact, by any of us who are captivated by dreams and desire. It’s proof that that there is hope, you can achieve anything if you apply yourself.

Flamekeeper was released globally to audiences online through Amazon and other streaming platforms on March 1, 2019

Maple Ridge, British Columbia guitarist and singer-songwriter James Buddy Rogers gets right to the point on his latest release, Everyday, out in January of 2019 by putting the word “Live Blues” on the cover in large print. The five song EP was release just in time for is appearance at the 2019 International Blues Challenge in Memphis as a companion piece to that event and a declaration of how he feels blues music is meant to be heard “Raw, Rough, Dirty.” The set recorded at The Blues Can in Calgary opens with the instrumental “Puddle Jumper,” a gritty shuffle that highlights Rogers fret work and multitude of influences.

The Texas Blues “Come Back to Me,” builds easy over a familiar walking bass line. The title track is a romantic ballad with clever arrangement that is deceptive in its simplicity and artifice. The straight-ahead rocker “Can’t Get You Off My Mind,” is full of energy and the fine set closes with the swinging “All I Need.” Of note is the fact that drummer Mike Woodford was a sub for the gig and had only met and played with Rogers the night before. Amazing.

BENRICELIVE.COM RICK J BOWEN: WABLUES.ORG

FLAMEKEEPERFILM.COM ROB DICKENS: LISTENINGTHROUGHTHELENS.COM STEAMMAGAZINE.NET APRIL 2019 STEAM MAGAZINE 7

By Tamma Hicks, STEAM Magazine Photo: Christine Connallan During its heartbreakingly short lifespan, Cream was an explosive musical cocktail that provided the super-group blueprint for others to follow. The group’s third album, Wheels of Fire (1968), was the world’s first platinum-selling double album, and collectively they sold more than 15 million copies of their albums worldwide. Not surprisingly, Rolling Stone ranked the Rock and Roll Hall of Fame group (inducted in 1993) as 67th in their ‘100 Greatest Artists of All Time’ list.

Apart from an equally brief reunion in 2005 of seven shows at London’s Royal Albert Hall and New York’s Madison Square Garden, Cream retained an almost mythological status in the music world, right up until the passing of Jack Bruce in 2014. This, for many fans, marked the end of an era and an acceptance that there would never really be another opportunity to celebrate the group’s legacy. That is until The Music of Cream – 50th Anniversary World Tour emerged.

The pedigree of hallowed ‘60s trio Cream – Ginger Baker’s son Kofi Baker, Jack Bruce’s son Malcolm Bruce and Eric Clapton’s nephew

(and son of Zeppelin/ Stones/ Hendrix engineer Andy) Will Johns – have returned to the US for a new th leg of The Music of Cream – 50 Anniversary World Tour with three stops in Texas. The show celebrates the extraordinary music and legacy their family members created on the heels of the 50th anniversary since the original lineup’s farewell U.S. tour of 1968.

On the eve of this US Tour, we caught up with Malcolm and talked about a myriad of topics; from growing up with a famous dad to the Music of Cream tour to his upcoming projects including writing an opera.

Good afternoon and how are you today?

I'm doing great! We flew in a couple of days ago and we've been rehearsing yesterday and today and our first show is tomorrow.

I know a lot of people are really looking forward to seeing you and hearing the Music of Cream here in Texas.

I am so excited to be going back to Texas.

It's been about nine years since I was last there; I was in a support band for Joe Satriani's tour around 2010-2011. We played a number of House of Blues venues and I believe we're playing a lot of those types of shows on this tour.

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Yes, House of Blues in Dallas and Houage of 5 or 6, then bass when I was about 8, ston and you’ll be at the Empire Theater and my dad got me my first guitar when I in San Antonio, which is the closest to us. was 10. And those are the three I play. I have So the first thing I thought to ask you always sung as well and I'm actively working about is your childhood. Did you know on my voice and discovering how to use it your dad was so famous when you were a more and more. I think that's one of the kid? hardest things I've had to do just because my I think I became aware of it around the age dad had such an amazing and iconic voice. of eight or nine, maybe 10. I used to go to Unfortunately, there are people out there the shows and musicians used to come to who wonder if I sing as well as my dad; well, our house and I remember they would play I don't care for those types of personal commusic. Allan Holdsworth, very well-known parisons because everyone is unique.

Jazz Fusion guitarist and an avid cyclist, would cycle from LonI agree. There are musiDad had a very open spirit don to our house, which cians with parents that is about 80 miles outside when it came to music and I are famous for their of London, to play mu- think that's what made him voices but they can't sic. So you know it was sing a lick; however, such a special artist. always around us and yes they can play every inI was certainly aware of strument you can imagine. You were it from going to shows and hearing the audisaying that your dad encouraged you ence clapping as he was singing. with your music. Did you choose to play And, although I did become aware of his or was it because he was a musician and fame, at the same time he was just my dad. thought you needed to be one as well and He encouraged me to develop as a musician. this is what you're going to play?

We used to play music together as I was He never said “you must play” or that growing up and as I got older I started work“you're going to be a musician.” He was ing with him in the studio while he was makprobably more “being a musician sucks, get a ing an album; helping with arrangements and real job” and “Don't do it man!” (laughing) play guitar.

No, he never said I needed to do this or don’t do this, but he did say “Yes, I believe Which came first piano or guitar? you have the talent,” “I believe it's great what The bass and that's what I'm playing on this you're doing and I think you should do anytour. Well actually, piano came first from the thing you want.” And he always pointed out

that it is a very difficult industry and there are a lot of pressures to confirm whether it's for radio, harmonically, or commerciality. It's very difficult to be a real musician in the market because it's not based on musicality it's based on the consumerism; which of course I'm not against but I think music is so vast with many possibilities and we don't give the public as much credit as they should have. We undersell ourselves by pulling things down to the lowest common denominator which is not very good for our collective consciousness because music is such a powerful tool that can change things for the better or the worst. For example, look at 1930s Germany and the rigid marches used against the opposition.

What was music like with your dad?

Actually, with my Dad, we just made music together and it was just a very natural thing.

We had a Hammond Organ and piano at home and he would sit at the organ while I sat at the piano and we would make funny noises or jam as I got older. We'd talk about music, listen to other artists together and our genres were very broad; classical, jazz, rock, whatever we wanted. He had a very open spirit when it came to music and I think that's what made him such a special artist. He was very accepting and very loving in that aspect and of others opinions and I saw that in the recording studio. He thrived on letting people have suggestions and he would let them find their own ideas and explore them before coming in at some point to guide and develop things the way he originally saw it, but even then he was never like fascist about it. He was truly democratic on how he allowed people to express themselves and he understood that.

So tell me about how you put this group together and why.

Well, I've known Kofi for a long time, since I was about 14 I believe, and I've known Will Johns for a while. Kofi and I have done a few projects together in the past and this has been an interest for both of us for a long time. About 3 years ago we were approached by some promoters in Australia-New Zealand about doing a tour there and really that's where this project stems from. We did 7 shows there with special guests Glenn Hughes (Deep Purple) and Robben Ford. I believe the promoters wanted this initial group with guests because they weren't quite sure that the three of us would have enough of a draw. I think in retrospect we all realized that the guest didn’t make that much of a difference because it was because the audience was there for the music and the special legacy of Cream. Cream’s music hit at a special moment in history with popular music because they were alongside the Rolling Stones, Led Zeppelin, and the Beatles.

The tour was a success so we decided to keep it going with just the three of us just as Cream was a trio. One of the promoters, Simon Roberts, said he would like to manage the project and take it forward to the rest of the world. At that point, we got a US agent and a UK agent. Last year we did 4 shows in the UK and this is our second US tour with 23 shows this spring and in the fall we're planning to do a US West Coast tour.

We are thrilled to have you back in the US and doing this project.

ship. Like all of the best things in my life so far, it's just kind of emerged from my own processing and not trying too hard to do it.

So, we’ve done a number of tests shows where the players are dressed in costumes and they’ve been well received, but there's still a lot of writing to do to get it to where it needs to be in the next 18 months.

son? I don't know that you do. It's a funny thing where we go around with the noise in our head thinking about who’s at fault or guilty or who should be blamed and it's very complicated. You think you’d like to know what the truth but the whole of the experience is subjective. It's just a big process of letting go, isn't it?

That is very exciting. Have you ever writIn my experience, being a musician ten an opera before? means that you have a number of proNo, never an opera. I have jects going on at once.

Dad never said I needed to do written orchestral music Besides the Music of Cream, what else are this or don’t do this, but he did and continue to do so, so I you working on? say “Yes, I believe you have the do understand music and I Yes, I'm just now getting talent,” “I believe it's great what have an educated perspective. Of course, I also love to the point where I'm you're doing and I think you to rock out, you know. accepting where I'm at and trying to do some should do anything you want.”

In your opinion, what things that I haven't been makes a whole musician? able to before. Doing this show is really a I was recently talking to someone about my stepping stone for me. Currently I'm writing dad like this and discussing that he had the an opera and I'm getting ready for my next knowledge and the education as a musician solo album, so this is a great way for me to but he also had intuition. And really I think get out there and get some other exposure that's where the magic happens when you and, of course, honor my dad the best that I have both the ability to have the knowledge can. Really, it's an amazing experience. Kofi and the structure and the ability to let it all and Will are incredible and it's ideal for the loose and have a good time. This show is like three of us to work together, we just have that. It's all about the audience; it's connectgreat fun with this music. At the same time, ing with each other and just having a good if I were to only do this for the rest of my time with this music. life I'd probably go nuts.

I think a part of you will always love that person and the way you felt at the time.

No matter how deep you were hurt or how you've hurt them, I think there's always something there. Getting a bit deep here, aren’t we? Let’s talk about another project you just mentioned, a second solo album. How is that going?

I love this country; I've worked here a lot over the years. I made my first solo album in Nashville, I've made a lot of really good friends here, and the people are wonderful; not so sure about the politics but that's a whole other subject. Politics are like that everywhere, you know; we have Brexit happening in the UK and it's just crazy.

You mentioned that you are writing an opera, King You's Folly, and I’ve read the short description on your website. I’m not much of an opera fan, but this sounds very interesting.

Oh yes, it's a very exciting project! I'm working with Wilfried Rimensberger as the producer, he's a very interesting person who’s all across the Arts and was the publisher of Metal Hammer Magazine in the 80s. I believe it's going to premiere in London in about 2 years as we’ve got about half the funding we need and we're now matching funds; because really it's about half a million pounds sterling to put on an opera. It's based on an ancient Chinese semi-historical story and we've got some academics in Munching that are interested in it as well, so we can possibly be taking it to China once we’re ready. I think it could be, from a cultural point of view, a nice connection between the West and China. I think especially now it's an important thing to attempt, to have a positive relation-

Tell me a little about your album, Salvation. It's your first solo album?

Yes, it was more or less trial by fire. During the making of the album, I had fallen in love with this girl, deeply in love, and it ended abruptly so I had to rewrite the whole album because it just didn't make sense anymore. I think it’s best to get your heartbroken while you're making an album; it's the way to write the lyrics.

I've heard that that's the time to write; when you have massive emotions going.

Yes, I think I succeeded in some respects and the rest was a big learning curve about my journey, but my favorite song on the album is What You're Saying. The evening I split up with my girlfriend I wrote and recorded the tracking for that song, so it's kind of poignant in that way and how I reacted in that moment. You know I still feel the same, it's been some years. So do you ever stop loving someone if you really loved that per-

Yes, well I am just in the hermit writing mode and I've got about 20 songs in development. At the end of this tour I'm going back to London and a studio in New Jersey to record. I'm also talking to a couple of labels as well and I may end up just doing the album myself. I really am just learning all the time and I'm excited to be able to get out on my own with my own band when the new record is released. You know the music industry is a funny thing, some people think you don't need a label anymore.

My opinion is that years ago, say when your dad was with Cream, there was definitely a need for a label because there was no way for musicians to reach out to the masses; but now with the internet, we have at home studios and access to professional recording software, we have websites and software that help you be your own publicist and do it yourself tours. So I'm not sure that a record label is as needed as it used to be.

I guess the various aspects of a record label can be done essentially by yourself; however, I do believe a traditional model of a record label is still very important. I think you still need a budget for marketing, PR, and tour support and it's not cheap. To do it well you still need 50 to 100 thousand over an 18month period to pay for the PR and try to get on Jimmy Kimmel.

Or Jimmy Fallon? And if you really pushed them you can get on SNL. Jimmy Fallon, yes! Actually we heard from our manager and we had an offer for Jimmy Fallon, however, it conflicts with one of our shows and I was like reschedule the show!

Yeah, that's what I'm thinking, reschedule the show. It's better to break the heart of a few then to miss the chance of capturing millions.

Well, that might be in the cards for the fall tour.

SHOWS APRIL 18 HOUSTON,@ HOUSE OF BLUES APRIL 19 DALLAS @ HOUSE OF BLUES APRIL 20 SAN ANTONIO @ EMPIRE THEATRE MUSICOFCREAM.COM FACEBOOK.COM/MUSICOFCREAM MALCOLMBRUCEMUSIC.COM Music of Cream performed by Malcolm, Kofi, & Will

Photo: Alan Messer

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C o n ti n u e d f r o m P ag e 11 was breathless at the beauty of the clear water and beautiful sea life! He showed me sea pens, huge starfish in bright colors and nudibranchs. As bad as I wanted to see more, no matter how much coffee I had drunk I could not get my wet suit warm enough to stay. So after only 10 - 15 minutes John took me back. John's sainted wife Alma had a pot the size of a garbage can of HOT clam chowder waiting for the group, no wonder they all came every Sunday.

As the chowder warmed me up the other divers began to come in. I was amazed and touched when each one brought something to show me of life in Puget Sound. The most amazing was when Roger, a 6'4”' young man, and his buddy brought in one of the giant Puget Sound octopus to show me. Roger walked up with this monster's head flung over his shoulder and the tentacles hanging down his back and out about 4 or 5 feet on the sand. Holy Cow was all I could say, in my pure Texas accent, with my mouth hanging open. Says John, "No, it is one of the Giant Puget Sound octopus that divers hold the Giant Octopus Wrestling Contest for every year.” While we visited eating more chowder, I learned why my Texas wet suit didn't keep me warm. Puget Sound is 54 degrees year round so you need a special custom-fitted suit that is 3/4 inch thick with pants and torso all one unit and the jacket and hood is another piece. Once you got it on, it was like a second skin. First thing Monday morning I went to the dive shop and got measured for one!

C h r i s ti M a th e w s . ne t

W IN G S O F R O S E L UNCH AT THE B AR G O AWAY Y ESTERYEAR ON MUSTANG I SLAND C HRISTI’ S S TUDIO S PACE

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SHOWS 3RD COAST MODERN GALLERY 1012 E. NORTH STREET, ROCKPORT OPENING RECEPTION 4/6, SHOW RUNS THROUGH 4/30

14TH ANNUAL PORT ARANSAS ARTFEST ALISTER STREET & AVENUE C, PORT A 5/25 & 26

NOTE: AT TIME OF PRINT CHRISTI HAS NOT RECEIVED CONFIRMATION SO PLEASE CHECK HER WEBSITE!

By Tamma Hicks & Rusty Hicks, STEAM Magazine

Originally

a classical pianist, Jackie picked up the guitar, shortly after graduating from Berklee College of Music, and made the giant leap from the tradition of classical music to the raw and gritty blues and soul.

Absorbed in music since the age of 8, this singer/songwriter/musician instantly captures your attention with her vibrant musical soul and the passionate control of her instruments. As she mindfully blends Blues, Rock, R&B, Soul and more with her introspective lyrics, the message is clear- when you’re listening to Jackie you hear the “Truth in Music”.

We caught up with Jackie as she prepared to release her new album, JOY, and discussed the music and how she became a sampler.

First, I want to tell you how awesome I think your streams on Thursday nights are. I haven't watched all of them, but I have watched quite a few and I really enjoy what you’re doing.

Thanks. I actually have to reinstall the backdrop tonight before I go live; you know, it's just a little trip down to Home Depot.

You know, every time I look you up I find you’re somewhere else. So where are you today?

Today I am chilling in Austin Texas.

Cool, welcome home! Are you actually from Texas or are you a transplant to Austin for the music?

I was born and raised in Austin and moved out of my family home when I was 18.

How did you get your love for music?

Are your parents musicians or did you just hear something one day that clicked?

My dad is a bass player and vocalist and he worked mostly weekends while my mom, who worked in the medical field, worked weekdays so she worked the “normal” job and they kind of took turns with all nine of us. I'm the youngest of nine; yeah, big family. Anyway, Mom signed all of us up for six months of piano lessons and if we didn't like it we could quit after that, so I quit after 6 months because I hated my teacher.

About 2 years later I found another piano teacher at the elementary school and he had really found a way to get me interested in the piano and I ended up taking classical piano lessons from him for the next 12 years.

Wow, what a great teacher! With piano as your main instrument for so long, do you compose on the piano more than the guitar?

No, I compose on the guitar and really that's why I stopped playing piano so much, I didn't like the songs that I was writing with the piano.

Let me guess. The songs were too “ballady”?

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No, theatrical. Like theatrical ballads, not Bob Seger cool ballad like Turn the page, which is rad. But more like songs from the Broadway hit show Wicked ballad. I mean I really like Broadway music but it’s hard to make a living doing that type of music and I wanted to do cool music that everybody likes.

Did you always know you wanted to be a musician?

I always knew I wanted to be a performer but I always wanted to be a performer and a songwriter and I wanted to do Funk and Rock. I really couldn't figure out how to do that on the piano, so I switch to the guitar.

I think that's a great explanation as to why you don't use the piano to compose.

Many people assume if you play piano you should compose on the piano.

Yeah, well, the more you're in the music scene and you adjust to your life you realize that there are other tools that work just as well. You use what you can use and when you don't need it you don't use it.

Good advice. Let’s talk about your new album, Joy. To start with the production is way higher than my previous projects. The producer and I just clicked and almost felt like we could read each other's minds when it came to the songs; which was the first time I ever worked with a producer that I really truly vibed with. Joy has a way different energy but of course, it's still me, I'm still a genre-hopping like a crazy person!

Did you write all the music?

Yep, I did have a few different producers.

The bass player produced a song and so did the keyboardist, and, for the most part, Tim Palmer mixed almost all the songs.

He’s just got this crazy ear where he can make a song sound the way it's supposed to sound, not songs in general but that individual song. Really you give him a file and he gives you a song back and you think “I didn't even know it should sound like this but it should”. You can give him any genre to work his magic on. He hears what is in the song that you just haven't brought out because he wasn't in the studio as you rehash the song repetitively. He has a complete fresh ear and that's what you want in your producer. Anyway, he is a huge part of why this album sounds so good.

What singles have you released?

There are two actually. Witchcraft came out in February and Joy, which is the title track of the album, was the second dropped in March.

You already mentioned that you're genre -hopping.

Yes, but there are definite segues and transitions and everything flows very well together, but one track you're listening to a reggae song and the next a synth-pop song.

But because it's all produced and mixed pretty much by the same person it flows very well.

Do you find it hard having so many gen-

res on one album?

No and yes. It's still me; I play and sing all the songs and I wrote all the songs, so just because it's a reggae beat and a reggae bass line does it mean it’s not me. It's just how it's arranged and really I don't understand why people trip over genres so much. To me its music; we need to just listen and enjoy. What's crazy as hell is how insane the industry is over genres. I’ll send my reggae song to a reggae station and they'll say this is great, but there are only two reggae songs on the album so they won't play any.

Personally, I like it when an artist switches it up. There are too many people that put out album after album that sounds just like their first one because it was a hit or everything they put out is pop even though the song would have sounded better with a rock, country, or reggae beat.

Exactly. I believe the music has to be about the song or else we'll stop having great songs.

Let's talk about your live streams. You do these shows by yourself using your machines and you don't use a Looper anymore, you only use a Sampler, correct?

Yes, the last five years of my life have been learning to use Sampler, Looper, and Drums machines. Honestly, I believe last year was the hardest year ever in this journey learning how I can pull off my sound with as few people as possible. Really, that's what started me in this direction because I saw immediately that the more people I have involved, including industry people, the less chance that the project would survive.

I’m getting the feeling that you’re not an industry fan.

I have met some really excellent people in the music industry, but most of the people in the industry that I have met are either not skilled enough, don't have the right connections to what needs to be done because they're just too green, or they have all the connections and they're just really bad people. We're talking really bad; like the villains of Pixar movies. The kind of villain that walks around with cartoon black bombs with the fuse lit and hands them off to any unsuspecting person they see.

So what's your advice in staying away from those people?

I realized that you have to keep your cards very close, you have to keep your circle very tight, and don't ever get desperate. Don't ever get to the point where you say “I need this, I need this,” because that's when you get screwed.

That’s great advice, especially for people who are just learning.

Of course, there's going to be a group of people who say that's not true and that it's nothing like that, but what I think they're going to find is that it is true once you get to a certain point on the ladder. If it really doesn't happen to you it's because you aren't on the ladder yet, you haven't been around long enough yet, or you're just not taking music seriously enough it's something you just do on the side so to speak.

The moral to my story is the fewer people I can feed off the money that I make, the farther I can make each dollar go. I have learned to be lean and mean and that's what started me on this sampler Journey with a looping pedal 5 years ago. The looping pedal lasted about 3 years when I started adding a bass pedal, a keyboard, and then even a drum machine. But I was found that it was too hard, too distracting to run all these other machines and play guitar at the same time. Besides, the songs that I write are not looping songs; they are songs that have different bridges and sections and I wanted to be able to do a guitar solo.

Really, I wanted my music to sound like me, not like a repeat.

How did your shows go over with the audience?

I found, during this 5-year journey, that people would say they liked my Looper show but the band show was more exciting and that's when I realized they were right. That was the point where I realized I have a decent solo show but everyone preferred a band show and that's where I was about four years ago. That's why last year was the hardest. That's when I figured out what sampling was. I take completed recordings that I arrange, blend, and transition the songs into each other and I play guitar and sing over all of it.

So that’s how that works. So for your CD release party at the Paramount Theater

are you doing a solo show or a band show?

I'm doing a band because it's a big venue and we're also going to record the show.

The band plays along with the sampler as well, so the actual difference between my solo sampler show and my band show is that we have a live drummer and a live bass player but the samples are still there.

Actually, I recently added a Duo show. I removed all the drum samples, left all the bass and keyboard samples and run them through a bass amp, so the show is a drummer, me, and the sampler. It sounds exactly like a full band and it's only possible because of the sampler.

I think the best part about your show is that you are fun to watch and being a sampler I think that's something of a requirement to keep the audience’s attention.

Yeah, the f*** it is and I have to practice.

And I have to have my control boards and my gear exactly in the right place so I don't really have to look at around for anything, I know where it all is and I can be absorbed in the music and get my audiences absorbed as well.

I read that you were on tour with Gary Clark Jr. Yes, that was before I found the samplers and before I added the drum machine and keyboards. We were a power trio of guitar loops and guitar player, bass player, and drummer. That's when people began telling me my solo show was boring. Now if I were asked to go in support of a major artist on tour, depending on the budget they give me, I would feel completely comfortable bringing a sound man, a light guy, and my solo show. And my freaking show would be amazing!

I don’t know if anyone realized that I wasn't joking earlier that you're never home. So where are you headed next?

Well, the day after my CD release I go to Dallas, at the end of the month I'll be in Tulsa for two shows, and then I play Austin before I head off to Europe. I'm working on getting a September show in San Antonio and I'll keep you informed when that happens.

Wow, you go to Europe a lot! How long will you be there this time?

26 days and this will be my sixth trip. No wait, my eighth time. No, I'm sorry this is my tenth time back because I've also been to Finland a couple of times. Until I was 25 I'd never gone to Europe and now I go twice a year!

Just a quick thought on your CD Release Show, I think people need to get their tickets now because I read that it was nearly sold out!

Yeah, I just read that too. It’s going to be an awesome show!

JACKIEVENSON.COM APR 12 THE PARAMOUNT THEATRE, CD RELEASE SHOW, AUSTIN APR 13 MAIN STREET GARDEN PARK, DALLAS APR 26 MCGONIGEL'S MUCKY DUCK, HOUSTON APR 27 JOSEY RECORDS, TULSA, OK APR 28 GUTHRIE GREEN, TULSA, OK STEAMMAGAZINE.NET APRIL 2019 STEAM MAGAZINE 15

illy Joe’s Craft House in Port Aransas is all about crafting you the best experience you are looking for whether it is food, drink, or music – they have it all! ince Billy Joe Wilson was a kid, he’s always wanted to be in the kitchen. At the age of 15 he went to work at a restaurant and that experience sealed the deal and he began working his way

2217 TX- 361 PORT ARANSAS TX 78373

361.749.1714 OPEN DAILY LIVE MUSIC EVERY FRIDAY & SATURDAY BILLYJOESCRAFTHOUSE.COM Facebook.com/ BillyJoesCraftHouse

16 STEAM MAGAZINE APRIL 2019 STEAMMAGAZINE.NET

through the restaurant from busboy to waiter and bartender and sous chef to head chef. Even while he was at Rice University playing football, cooking and creating was what he wanted to do. After college he moved to Austin where he studied under some of the city’s best chefs; he even had his own cooking show for a while – it was on at 2 AM, but it was his own show! As time flew by, and

we all know it does, Billy Joe found a stopping point in Port Aransas in 2014 and he joined the ownership of EATS. And his reputation as a master chef soared! s with many stories of Port Aransas preHurricane Harvey, there’s wasn’t much left afterward. There was however food and lots of it – Billy Joe and his employees had stocked away all the perishables and nonperishables in deep freezers and storage

although at the time he had no idea if anything would survive, but it did! As soon as people were allowed back into Port Aransas Billy Joe did something extraordinary…

With the help of his friends and his staff (who still work for him), he worked to make sure no one would go hungry; from the survivors to the people doing clean up and rebuilding, everyone was able to get a good meal and it didn’t cost them anything. As his supplies began to dwindle the donations came in and Billy Joe and crew kept this up as long as they were needed. ith the destruction of EATS came the dream of a lifetime for Billy Joe – His own restaurant doing what he liked best! Crafty drinks and beer, fine food, and music…

Billy Joe’s Craft House! Some of the things you should know when you go to BJCH. Billy Joe likes to keep things fresh and changes the menu every three months. Remember he’s a chef and loves to experiment with flavors, so everything on the menu is there with reason – each meal is crafted to give you the most flavorful experience possible and are plated beautifully to wow your eyes. Just a quick note, BJCH uses Billy Joe’s recipes for sauces, dressings, and beer cheese and stout chili; all of which are wonderfully mouthwatering tasty. If you’re looking to enhance those flavors, ask your server for suggestions from the bar. BJCH works with many of the local breweries and has 16 Craft Beers on tap! They also have their own Craft Cocktails which Billy and his team spent an entire day concocting drinks and those that made it through are like treats! Next is the music, Billy Joe is an avid supporter of local and regional musicians and besides the intimate indoor stage Billy Joe can set up the outdoor stage and have a party in the parking lot. You are more than welcome to sit inside, but the front porch seating has a fantastic view of the setting sun. ur good friends Terry and Trisha Mitchell joined Rusty, Allene, and me for dinner along with my mother, Barbara Jean. As always the idea is for each person to order a meal and then we all share it, that way we get a wide variety. At the time of our visit, Billy Joe had just introduced the Spring Menu and it is full of seafood! One last note about BJCH’s staff… They are awesome!

As I had said earlier most of them have been with Billy Joe since EATS and all have great ideas and suggestions for the menu and the bar. They are really wonderful!

tomatoes, onions, and jalapenos.

So good they made me miss football! Next, we tried the new Mahi-Mahi Nachos. This plate came out in a color explosion!

Bright red tortilla chips covered with grilled mahi-mahi, pico de gallo, avocado, black olives, and mounds of pepper jack and cheddar cheese which was perfectly accented with a cilantro lime aioli. o lighten it up a bit we got the new Pomegranate Tuna Salad and thankfully there were six of us to share this huge eyepleasing treat! Seared ahi tuna and crispy prosciutto topped the fresh greens along with sweet pomegranate boba, red onions, and goat cheese. The blueberrypomegranate vinaigrette was amazing! We followed the salad up with Crafty Mac & Cheese because everyone loves mac & cheese! The large bowl of cavatappi pasta tossed with beer cheese, crispy prosciutto, and bacon and topped with gouda cheese and truffle salt and then baked to a flawless tender and creamy delight. The aroma was so “gouda”! I know you were thinking it, so I had to say it. have heard from so many people that the BJCH Smoked Bison Meatloaf was the best thing on the menu. We had to have it and we were not disappointed! Two thick slices of house-made bison meatloaf that are wrapped in bacon and then smoked with a blend of pecan and mesquite. To finish it off a tasty and aromatic fig barbeque sauce was drizzled over it. Also sharing the plate were perfectly glazed and tender fresh carrots.

A dinner salad was a perfect complement. A simply delightful meal. Chicken Fried Steak is the Texas State Dinner and Billy Joe has the most wonderful take on it I’ve ever had; Chicken Fried Filet Mignon! Melt in your mouth tenderized filet mignon that’s hand battered in Billy Joe’s own flour and spice blend and topped with bacon chorizo gravy and served with heavenly mashed potatoes and perfectly seared asparagus. This was the table favorite, pure heaven, and a perfect way to end dinner!

We started with fan favorites Tater Kegs. Honestly, these are the largest tater tots I’ve ever seen – no wonder they called them “kegs”!

Each one is stuffed with bacon, cheddar, and chives before being topped with beer cheese, stout chili, STEAMMAGAZINE.NET APRIL 2019 STEAM MAGAZINE 17

Reviewed By Brian “The Kid” Kelly

ADAM JAMES

I have played trumpet since I was 8 years old and I've always played traditional BFlat trumpets, never a C trumpet. STEAM Magazine asked me to take a look at the Tromba Trumpet and I didn't know quite what to expect.

This is your first month in a new state and city. What does Austin represent to you?

Austin represents so many amazing possibilities for growth. I’m also really inspired by the strong sense of community amongst the musicians here. I just feel incredibly fortunate for the chance to immerse myself into the local scene.

Are there any local artists that you’re a fan of?

Gary Clark Jr. is fantastic. Also, Shakey Graves’ sound is high voltage. Aaron Behrens with The Midnight Stroll and Ghostland Observatory has an incredible voice and stage presence.

What does playing music do for you?

It takes me into a different state of being. When I’m performing, I feel like I’m at my most authentic. Music allows me to share my truth and you can see it in peoples’ eyes when a certain song resonates.

What do you strive to do with your music?

I want to inspire connection and get people to think. On one hand, we’re all overly connected through technology but more isolated than ever. We’re lost in our phones and social media. It’s this collective societal illness. My music offers commentary on those issues while forging a momentary connection with the audience.

My song ‘Feelin Lonely’ is about technology and the selfie culture.

The photo for that particular single shows the reflection of the phone in my sunglasses.

I sing about those issues, but I also sing about romance and heartache.

How would you describe your style of music?

I’m influenced by anything soulful. I’d say my style is really eclectic.

I borrow from a lot of different types of music.

Tell us about some of your favorite artists and why?

For me, Jeff Buckley was one of the greatest artists, probably one of the most underrated too. There’s so much depth to his music. Patty Griffin; she has a real earthy and refined style. Sam Cooke was thriving during the Civil Rights movement, and his influence is timeless.

Outside of music, what other projects are you working on?

I wrote a short film that will feature two songs from the EP on it. To find out more, you can visit my website.

ADAM JAMES LIVE.COM

18 STEAM MAGAZINE APRIL 2019 STEAMMAGAZINE.NET

ADOPT-A-BEACH SIGN UP FOR THE ANNUAL SPRING COAST WIDE CLEANUP

JUST STARTING OUT IN AUSTIN Austin attracts musicians from all over the world, and Adam James is one such artist, fresh on the scene, and looking to build an audience while collaborating with local musicians.

At 27, James has cultivated his eclectic musical style while living in New Orleans and Albuquerque, New Mexico. He describes his sound as a “fusion of Blues, Jazz, R&B and Pop.” Adam believes that Austin has a rich blend of diverse music, which is lending itself to “some of the most innovative sounds in the industry right now.”

We spoke with James to find out more about his music and how he hopes it will evolve in this new chapter of his life.

SAVE THE DATE!

I've always wanted a trumpet in the key of C, but a traditional steel trumpet is very expensive. I had played a P-trap trumpet in the key of B-flat at a music store once and was very impressed at how light weight it was, so I looked online and found Tromba. Not only was the C Trumpet under $175, in the key of C, it was also in my favorite color, silver!

My hope, in getting a C trumpet by Trumbo, is to make playing easier to play with the rock n’ roll and country bands that I play in.

We ordered and received it in the mail within a week and I haven’t put it down since. Light and responsive with good valve action. The only weight you feel is from the valves, which have springs that are easy to open to put valve oil in, and the slide moves in and out correctly and easily. The bright silver finish gives it the shiny look of a traditional trumpet. The accessory package that is included with each purchase is fantastic. You get a lightweight padded carry bag, fold up desktop stand, 7c and 5c mouthpieces, and a cleaning kit. Really, it’s just an unbelievable instrument and package for an amazing price.

I think the best part is that I can take the Tromba Trumpet places where a traditional one isn’t suited - see my beach picture below! And it’s great for kids too!

I’m still getting used to playing a C Trumpet and there are some differences in the intonation that will take some practice as the material performs slightly different than the traditional steel. However, intonation is right on the money with a good ear and a good solid lip and I am positive with practice I should be able to do this in just a matter of weeks.

Tromba Trumpet's high range is very easy and though it’s not as bright sounding as I would like, it is plenty for playing with country, rock, gospel, or other groups as its sound cuts through well. I think it might be a challenge in an Orchestra environment, although any good trumpet player would be honored to play the Tromba Trumpet.

I absolutely recommend the Tromba Trumpet for any player, from beginning to advanced and professional. In fact, I'm the proud owner of one!

ONLINE: TROMBAINSTRUMENTS.COM & TOCAVIVA.COM

Brian “the kid” Kelly, Vocals, Piano, Keyboards, Trumpet Vince Vance & the Valiants, Head East, Play Recording Group, Southmont Baptist Church Orchestra, and more

Volunteers are encouraged to sign up for the Annual Adopt-A-Beach Spring Cleanup on Saturday, April 13, 2019. The Texas General Land Office Adopt-A-Beach Spring Cleanup will take place at twenty-eight different locations coast wide across T e xa s . V o lu n te er s can s i g n u p a t www.texasadoptabeach.org or show up onsite to take part in a fun-filled day of giving back to our community and taking care of the Texas coast.

“The Adopt-A-Beach Annual Spring Cleanup is always an amazing turnout for Texans to join together and volunteer their time to keep our Texas beaches beautiful,” said Commissioner George P. Bush. “What better way to serve our great state than by spending the day at the beach? It is because of our wonderful volunteers, that our annual spring cleanup provides the Texas coast with the care it deserves. The dedication of our fellow Texans to help keep our coast in pristine condition never ceases to amaze me!”

GLO ADOPT-A-BEACH SPRING CLEANUP SATURDAY APRIL 13TH REGISTRATION BEGINS: 8:30 A.M. CLEAN UP: 9 A.M. TO 12 P.M. FIND A LOCATION! TEXASADOPTABEACH.ORG Special thanks to our sponsors who contributed to our 2019 Spring Cleanup event: Apache Corporation, Casa Del Mar Beach Properties, ExxonMobil Foundation, Dumpters.com, Home Away, Murphy Oil Corporation, Schlumberger, Seaworld Busch Gardens Conservation Fund, and Trusted Senior Specialists. We appreciate our sponsors' support and look forward to the care our Texas coast will receive with their help!

The Texas General Land Office Adopt-A-Beach program began in the fall of 1986 when 2,800 volunteers picked up 124 tons of trash. Since then, more than 529,000 volunteers have removed more than 9,600 tons of trash from Texas beaches. Each volunteer will be given data cards, gloves, pencils, and trash bags. All volunteers are advised to wear closed-toe shoes, bring sunscreen and plenty of drinking water. GLO Adopt-A-Beach Cleanups are held rain or shine!

Texans who are not able to attend the cleanup can help keep our beaches clean by making a taxdeductible donation online at www.TexasAdoptABeach.org. There are several different Adopt-A-Beach sponsorship levels ranging from $25 to $25,000, allowing both individuals and corporations to contribute to this major cleanup effort.

To learn more about the Adopt-A-Beach program, visit our website. Like us on Facebook at Facebook.com/TexasAdoptABeach or follow us on Twitter @TXAdoptABeach.

By Tamma Hicks, STEAM Magazine

Voodoo Logic has a unique 70’s, 80’s and 90’s influence by rock/blues/jazz sound. Definitely original and independent, their music is reminiscent of the 70’s, 80’s and 90’s while the shows pump out the energy. We talked with Lori Ragsdale, Adam Stern, and George Woods about Voodoo Logic at Frontier Saloon during STEAM Magazine’s Advertiser & Reader Appreciation BBQ.

That’s great. Introduce me to the rest of the group.

George We refer to it as a band family.

Again, Lori is our vocalist, Adam plays lead guitar and keyboards, and I play rhythm guitar and vocals. Our drummer is James Gongora and on bass is John Perez; they are cousins and are related to Los Hermanas Gongoras, who are well-known Tejano musicians so music runs deeply in their family.

Voodoo Logic, great band name! Tell me how the band got together and where the name comes from.

George Five years ago Felix Rivera and I created the band, Edison and about 3 years into it we needed a guitar player. Adam and I had a mutual friend (Kayla) and she suggested Adam but Felix and I went with someone else who after 2 months didn't work out, so I gave Adam a call. After the first practice we said, “Great, you're in! We’ve got a gig next week,” and the rest is history. Edison disbanded but Adam and I have worked together since and we have never stopped going forward with our vision.

Adam Well actually they said great you're in and we have a gig next week and then they proceeded to give me 60 songs that I'd never heard before or was not familiar with to learn for the show. I'm a classic rock kind of guy and this was hair-metal-80s stuff. I kept telling myself that I needed to get out of my comfort zone in playing guitar but that was way out of my comfort zone.

George So after Edison broke up, Adam and I decided to make a big change going forward; enter Lori with vocals. We've gone through some drummers and bass players but the group we have together now is a good one. We love covers, we respect covers; but we wanted to do our own music and that's why we name the band after one of our songs.

I hear a lot of familiarity to your music.

So who are your influences?

George I grew up listening to my parents' music which was 80's country, Beatles Neil Diamond, Simon and Garfunkel so when I got a guitar it was Nirvana Metallica Alice in chains Adam Classic rock all the way, no Neil Diamond. Santana is probably what started me, but I was into Fusion, Jazz, and Rock. People like Chikorita, Alto Beulah, and groups like Led Zeppelin, and the Beatles.

Lori Carole King, Linda Ronstadt, Stevie Nicks. Women with strong and unique vocals and of course classic rock like Santana, Beatles, and Led Zeppelin.

George The commonality of our influences comes out in our music all the time. You will hear all of those bands, those genres, and one of the cool things about our compositions is that it's recognizable and you can hum it, though you've never heard it until us.

It's really our personalities coming out.

Who writes your songs or do you collaborate on each one?

Adam Actually, the biggest problem we have is that we write and we can't stop. We're very prolific is a good way to put it. All of us write individually and everyone participates, it's not just a one person kind of thing.

George What we typically do is someone will come in with lyrics and a melody or an idea and then everyone puts in their sugges-

tion. So John may jump in with a bass line that he thinks would go well, I might add a rhythm or James may say let’s try this. We bounce ideas around until we feel it’s right.

House of Rock held each January. At the January 2019 event we had eight bands and the money we raised went to CASA of the Coastal Bend.

Tell me about Trials and Tribulations.

George Trials and Tribulations is our fivesong EP that we recorded in Corpus Christi at Harbor City Sound Lab. We feel it's important that people hear our lyrics as each song tells a story, so we like the smaller intimate venues; where people are there to listen more and pay attention to what's happening, rather than just being there for the scene.

CASA is a great organization to support.

What are your next projects?

George We are planning to do more events like the Rock 4 A Cause throughout the year.

We're planning to head out on tours, but taking it in baby steps until we’re feeling more comfortable. Last month (March) the Rock n’ Rill Circus played in Alice and Kingsville and now we're planning to go to Beeville, Falfurrias, and Freer and head up to San Antonio.

Recording wise we want to get back into the studio soon. We’re still in the planning stages but we’re thinking of a live EP with two of the songs from this current EP and one or two new songs. Then we’d like to do a 3rd EP of three or four songs quickly so we can keep new music coming out. Hopefully by December we'll be able to combine all of these EPs and have a full album available for Christmas.

What venues do you play at regularly?

George lt’ll Do Saloon, House of Rock, Frontier Saloon, Brewster Street Icehouse, Executive Surf Club. We’ll play just about anywhere given the opportunity. we recently played in Alice and Kingsville with the Reely Rotnz' Rock n' Roll Circus which featured a number of local acts as well.

Adam Really, we'll play just about anywhere.

I believe there was a songwriter who said, "We are musicians. We have to write, we have to perform. Just give us five dollars and a beer and we'll be there." I don't know who said it, but we'll attest to it.

Sounds like the hook of a good song to me. What does being a musician mean to you?

George Music is a part of you and you need to get it out and typically we get it out through our composition and lyrics. Really, it's an amazing feeling when you're on stage and you see someone start jamming to your music. Really, it’s like a soul to soul moment.

Adam Not only do we play music but we are huge supporters of Music. Wherever we go, we do everything in our power to help bring other bands up and help to make music venues relevant.

George Speaking of which, we put on events including the Rock 4 A Cause event at

That's definitely a plan and how are you guys getting your name and show schedule out to the public?

Adam Well, first it's social media everywhere; Twitter, Instagram, Facebook, ReverbNation. You can find Trials and Tribulations on digital retailers across the internet.

And through print media – STEAM Magazine!

SHOWS 4\5 THE RITZ, CORPUS CHRISTI 4\6 THE LOTERIA FESTIVAL, KINGSVILLE 5\24 IT'LL DO SALOON, CORPUS CHRISTI ONLINE REVERBNATION.COM/VOODOOLOGIC, INSTAGRAM.COM, FACEBOOK.COM, & TWITTER.COM: VOODOOLOGIC361

STEAMMAGAZINE.NET APRIL 2019 STEAM MAGAZINE 19