Painfully Slow and Meticulous: An Interview with Jeff Archuleta, a.k.a Eclectic Music Lover

If you’re at all like me – and I’m guessing you are if you’re reading this blog – you’re not just a fan of music. You’re also a fan of people who write about music. Given the nearly infinite number of choices available to even the most casual music fan these days, it’s always good to have a trusted guide to point the way not only to sounds we might be familiar with but also to artists who push us a little further out from our usual comfort zones. That’s why I’m a fan of Eclectic Music Lover, a music blog that Jeff Archuleta has made a labor of love since 2015. Knowing first-hand how much work has gone into some of my own writing endeavors, I decided to drop Jeff a line to see what goes on behind the scenes of his blog.

You’ve been blogging about music since 2015. Did you have any experience with blogging—or writing about music in other forums—prior to starting Eclectic Music Lover? What inspired you to start blogging?

No, other than a short essay about how much I loved the music of The Carpenters that I wrote for a high school English class, I’d never written about music before, nor did I have any experience with blogging. I started my blog at the suggestion of a friend, actually. I used to share videos of songs I liked, as well as some of my favorite song lists, on Facebook, but few of my friends ever engaged with them. So, I created a music group on Facebook, and invited those friends who I thought might be interested in reading or sharing music-related stuff. Approximately 25 joined, but the response was still pretty lackluster. It was then that my friend Matt suggested I start a music blog to express my love for music, and it’s grown to the point where I sometimes feel I’ve created a monster. The irony of it all is that, although I love talking about and sharing music, I do not enjoy the act of writing itself.

Yet you put out thoughtful reviews at an incredible pace—multiple reviews a week, plus your weekly top 30 lists. What’s your process, and how do you keep that pace going?

A significant percentage of the music I review is at the request of artists and bands, or their PR reps or labels, so in a sense, they determine my blog content to some degree. I also write about artists and bands I particularly like, or occasionally about favorite songs from the past.

As far as process, I’m a painfully slow and meticulous writer, so most of my reviews take me a great deal of time to get done. And though I’ve never been diagnosed, I also think I suffer from a bit of ADD (Attention Deficit Disorder), which often makes it very difficult for me to focus, especially when writing album reviews, which I intensely dislike doing. I still work part time at a job, so it’s often a challenge to keep the pace of cranking out 3-5 reviews week after week. Also, I’ve never been able to handle stress or pressure very well, and become overwhelmed with feelings of anxiety, depression and burnout with increasing frequency. Consequently, I’ve scaled back somewhat on the number of reviews I write per month to preserve what’s left of my sanity.

Jeff Archuleta, aka Eclectic Music Lover

It sounds like you get a lot of requests from bands who want their music reviewed! How do you decide which music to review?

I do! Some days I receive more than 10 emails from artists, bands or PR reps asking for reviews, interviews, etc., in addition to direct messages from artists on Twitter, Facebook and Instagram, also wanting me to listen to their song, EP or album in the hope I’ll write about them. As I stated in my response to your previous question, it can sometimes be overwhelming to the point of despair, which causes me to consider giving up blogging altogether.

Though it’s easy for me to blow off PR reps, I have a very hard time saying no to an artist or band when they ask me to review their music, especially if they follow me on social media, so I generally agree to do it. On occasion, I must reject an artist or band if their music is really bad, which is terribly painful for me. I only write positive reviews, as I see no point in writing a negative one for an indie or unsigned artist. They would be unhappy and hurt, and would not want to share my review. I’m not a music critic, and do what I do partly to help promote indie artists and give them a bit of press.

The biggest shortcoming I’ve found with indie artists or bands is poor or weak vocals. But many artists such as Bob Dylan and Joe Cocker, to name just two, did not have great singing voices, however, they’ve put out some brilliant music. For those artists with weak vocals, I try to focus on their lyricism and musicianship, which have often been quite good, and simply make a brief comment that their vocals are a bit weak or lacking in spots.

One thing that always impresses me about your blog is that your reviews offer insights into both the music and the musicians who make it. More often than not, your reviews will include information that isn’t readily available on a musician’s Bandcamp page, for example, or even on their website. How do you go about learning about the bands and musicians that you like?

When writing reviews, I usually check out all of an artist or band’s social media accounts to find out as much information about them that I can so that I can write a coherent review or article. Some artists and all PR reps will include their bio info, a press release, and links to all their social media in their submissions, which is very helpful. But many artists do not, which can be frustrating, so I ask them to send me those things so I don’t have to waste my time hunting them down. Now that I’ve been blogging about music for over six years, I have a sizeable group of artists and bands I’m particularly fond of, who I write about numerous times. For those artists, writing a new review is somewhat easier because I already know about their history and music catalog. But the challenge is coming up with something new and fresh to say, without rehashing what I’ve written previously.

Your blog is aptly named—you really do review an eclectic range of music! Were you always into so many types of music?

Compared to some, my music tastes would probably be considered eclectic, though they’re also decidedly mainstream. I generally gravitate toward pop, dream pop, pop-rock, classic rock, folk rock, New Wave, synthpop, disco/dance-pop, R&B, soul and classical. More recently, I’ve come to like more grunge, punk, hip hop, progressive, experimental, fusion, jazz, World Music and heavy metal than I did previously.

Has blogging broadened your tastes at all? Have you ever been surprised to find yourself really enjoying something that you might not have loved so much if not for the fact that you were writing about it?

Writing a music blog has definitely caused me to expand my musical horizons beyond my comfort zone. I now have a more open mind about new and different kinds of music than I did previously. I’ve even come to enjoy a bit of screamo deathcore on occasion, albeit in small doses lol. I learned that there’s an art to being able to sing those type of guttural, screamo vocals, which made me more greatly appreciate that music.

Of course, “eclectic” doesn’t mean that you love everything. Are there any genres you’re not that into? Does that stop you from listening if someone asks you for a review? Along similar lines, do you ever write negative reviews?

As I stated earlier, I’m not heavily into deathcore or metalcore, though I do like some of it. I also like some hip hop and rap, but a lot of it just sounds awful to me, particularly mumble rap. But my least-favorite genre of music is bro-country, with its inane lyrics about riding in a truck with a hot girl and a beer. So boring and predictable that I simply cannot tolerate it for even a minute. I’ve never turned down an artist over the genre of their music, however. I’d like to write about more rap artists, however, I get very few requests from them. I would not write about bro-country music, and thankfully, none have asked me to. And no, as I mentioned in an earlier response, I do not write negative reviews, as I see no point. I’m not a music critic, and do what I do partly to help promote indie artists and give them some press.

Given your output, I imagine that burnout is a real danger. What do you do to maintain balance in your life?

As I stated earlier, I do in fact suffer from occasional bouts of burnout. When it hits, I stop writing for several days, though I’ve never gone more than two weeks. As a former Catholic, I’m also wracked with guilt when I fall behind on promised review deadlines or say no to an artist wanting me to review their music. It’s a challenge to maintain balance, which I’ve not been very successful at doing.

I’m also imagine there’s a certain amount of etiquette involved. Back when I used to write book reviews, I always appreciated when authors would share my reviews or, ideally, become regular readers of my blog – as opposed just reading my reviews of their own books. What kind of relationship, if any, are you looking for from the artists you review? Or maybe a better question is what’s the bare minimum an artist can do to show gratitude for the work you put in to reviewing their music?

I think I probably expect too much from artists and bands, and though I’ve gotten a little better about it, it can still cause disappointment at times. When I started writing reviews, I’d ask the artist or band to also follow me back on Twitter, which now makes me cringe. I used to also ask that they share my review on their social media, and though it’s terribly disappointing when they don’t, I’ve stopped asking them for that as well, in order to maintain a shred of my dignity. I guess my minimum expectation is that they at the very least acknowledge it by either thanking me for my review, or at least retweet my tweet about it, especially after they asked me to write it! Many artists & bands are greatly appreciative, but I feel used by some, who only interact with me when they want a review. Just this morning, I got a message on Twitter from an artist whose music I reviewed in 2018, and now wants me to review his new single. It’s the first contact I’ve had with him since then, and never once has he ever liked any of my tweets or Instagram posts.

Ugh. So what keeps you going as a blogger?

I honestly wonder about this myself some days. I’d have to say the primary thing is the friendships I’ve made with so many musicians, bands, fellow bloggers like yourself, and other music lovers – on social media at least – through blogging about music. Without my blog, I’d never have formed the relationships I have with some of my favorite artists like Two Feet, MISSIO, Ships Have Sailed, The Frontier (aka Jake Mimikos), The Million Reasons, Oli Barton & the Movement, Amongst Liars, Philip Morgan Lewis and Brett Grant, to name but a few. When I feel frustrated and burned out to the point that I consider quitting my blog, I remember all the great folks I’ve met, and that is what ultimately keeps me going. I was ready to give up on writing reviews last August, then reconsidered after Two Feet sent me some very kind words of encouragement.

Thanks for taking the time to chat with me, Jeff! I really appreciate your insights!

My pleasure Marc!

Right When It’s Right: An Interview with Brian Lambert

I’m not sure how long I had been following singer-songwriter Brian Lambert on Twitter when I really started to take notice of him and his work, but over the past week or so, something about his posts really started catching my eye. Maybe it was a reference to Brian Eno’s oblique strategies. Or his recent cover of Wham’s “Last Christmas.” Or the fact that he once played the part of Buddy Holly onstage. Or his yearlong quest to write and record a song a week for a full year. Then again, maybe it was just the overall theme of kindness and generosity that pervades his tweets that made me want to learn more about him. Whatever the case, I’m glad I did, because his big-hearted indie rock reflects an impeccably crafted blend of eclectic interests. 

What inspired you to embark on your fifty-two week song challenge, and how is it going?  

Thank you for the opportunity to discuss the challenge and things music and social media.  The fifty-two week Song Challenge was born out of a desire to showcase what is hard to show – talent, specifically the ability to write a lot of songs.   I write anywhere from thirty to fifty songs a year, but that was a hard thing to demonstrate.   The idea of showcasing that process one week at a time and taking people along for the ride seemed the way to do it.  Also I had never felt like I had really ever made a great recording.  Pre-pandemic I was performing three to five times a week and heard “you’re much better live than in your recordings” so much that I wanted to finally get the magic down on tape, so to speak.  Throw in the obsession for mixing and mastering that came as a result of lockdown and a Fifty-Two Week Song Challenge is born.

Has anything about writing and recording a song a week surprised you? Have you learned anything interesting about yourself – or about songwriting – from the experience?  

I think I was surprised by how much I still have to learn and will probably never stop learning.  Probably the biggest songwriting and performance lesson has been about the connection between melody and really hitting the right notes, both from a pitch sense but more about how certain melodic experiences create an impact for the listener.  One of the questions I find myself asking now that I didn’t before, but is the foundation for all I do now, is what do I want the song to do?  What I mean is, how do I want it to make people feel?  Lyrics have always been my focus, but people don’t pay attention, myself included, until the music makes them feel something.  Once you have someone’s attention, they can really hear what you’re trying to say.  

You definitely got my attention! Early in the challenge, you mentioned that your sense of patience was evolving as the challenge progressed. Can you say more about that? Why is patience so important for songwriters and creative people in general? 

Music is right when it’s right.  You don’t have to think about why your favorite songs are your favorite songs.  When it comes out of the speakers, it hits you.  I think as a songwriter you hear a song in your head but getting it to come to life requires sitting with something and listening until it tells you it’s ready.  Getting that right alchemy of beat, rhythm and melody can take time and so can capturing a performance that conveys the meaning you want.  Guitar parts matter, vocal parts matter, and you can’t edit them into existence.   Early on it would sometimes take three hours to really nail the feel and that can be frustrating.  Being patient with the song and taking an attitude that you’re exploring until you find what you’re looking for was a challenge.  Now I’m much more intentional about really asking the question “What am I going for?” before I start. Listening to takes and asking what is missing or what needs to be left out has drastically reduced that time because you can definitely suck the life out of song by overdoing it.

I’ve been guilty of that myself sometimes! One thing that strikes me about your songs, though, is that you’re not only releasing a lot of music, but you’re releasing a lot of good music. These aren’t just toss-offs for the sake of meeting a quota, and you’re clearly thinking about producing a final product as opposed to a demo. What is your process like? What guides your approach to music production?

I’m definitely trying to improve every piece of work that I put out there.  The goal of this is to make a living off my recorded work going forward, so it all has to be good.  All killer, no filler.

My desire is to make music as good as the best music being made and the music being made today is exceptional.

The process really has evolved over the course of the project.  Recently I’ve been doing single mic acoustic recordings, which involves doing takes until I have the feel I want.  For my other work I usually start with some rough guitar and vocal to find a beat, then come back to create a bass line you start with the foundation of the song.  Then it’s a matter of putting down guitar until it’s the right feel, then vocals and solos.  I’ll ask myself, does it need synths and depending on where I am with things add those.  Then mix and master.  It’s not that exciting but when you’re producing a song a week where you’re performing the parts, you really just have to get down to it.

And come up with an attractive way of packaging it! I love the line drawings you use as cover art. Are those your drawings? 

Actually they are my fourteen-year-old daughter.  She really has a talent.  It’s ironic, I’m not particularly good at drawing but my dad is an amazing artist and was the head of an art department at a small college in south Texas.  My wife and both my children are really talented when it comes to the visual arts.

“Shade of Blue” cover art

Your song “Small Mercies” is extremely powerful, and the chorus, “Sometimes small mercies will make all things right,” reflects the sense I get from many of your Twitter posts that the world can use a little more kindness and generosity, especially when it comes to social media. Why do you think it’s so important to share that message right now? 

Once feelings start to get hurt like they have been over the last few years, you notice that the small courtesies or giving the people the benefit of the doubt start to erode.  When that happens meaningful communication can’t happen.  I think there was a missed opportunity with social media to practice kind communication.  Part of that was not connecting that there was a real person typing the words.  We thought words don’t matter but as we have seen though they do and can cause real damage.  The real opportunity that exists with social media is the opportunity to be thoughtful.  There is an opportunity to read a comment and question your own opinions/thoughts/motivations/feelings before sharing them out into the world and that opportunity is still here.   Social media has shown us there is pain in the world that needs healing but it won’t be healed in one big action.  It will heal with small consistent acts of kindness.

A lot of your earlier music has a bit of a country lilt, but your recent work has taken on more of an indie rock feel. What’s behind this shift? 

Honestly, the shift is back to what I was doing before I made “Country Music Jesus.”  Being from Texas I just have that accent and that’s how I sing.  My favorite band is Spoon, and indie rock is the music I love. That being said, I listen broadly to  music. I love Latin American pop and rock from the ‘00s, experimental artists like Brian Eno and Can, as well classic country and what is being called Americana these days. The move to country music was a career move. I live in Texas, so that’s what shows are available to play and get paid for. I have the right voice and can write classic country and story songs so it seemed like a good fit.  It was not. Country Music is a club and I wasn’t ever going to be a member, mostly because my heart wasn’t in it. The music I am making now is the most honest and true to my own musical tastes.

Speaking of “Country Music Jesus,” you sing in that song that you “ain’t got nothing against beers or trucks or America or being with your baby on a Friday night,” but you worry that contemporary country music tends to reduce its fans to stereotypes. I’m guessing this isn’t just true of country music but of all genres. It’s easier to sell music—or any commodity—to a narrowly defined market than to an audience with diverse and complex interests. Is there a way out of this trap, for lack of a better word? 

I believe this is a result of an algorithm driven world.  If things don’t fit neatly into a box then the algorithm doesn’t know what to do with it.  I can’t tell you the number of times I’ve submitted for playlists and gotten the feedback, “Great song, love the feel, it’s really good but doesn’t fit in with the other music on the playlist.” Well that’s because I’m trying to make something that you haven’t heard yet. If you want to listen to music that’s already been made, it’s already there. I don’t copy it. To overcome this trend, artists must continue to be brave and make different music. For the listener, I’m not sure how you build an awareness that they need to hear a diversity of music. I believe it’s the same as for any process, a diversity of backgrounds, viewpoints, and stories creates better outcomes. Music is the same.

Your most recent release is a cover of Wham’s “Last Christmas.” What attracted you to that particular holiday song?

That’s easy. It’s my wife’s all time favorite Christmas song.  Of course I don’t not have the gorgeous voice of George Michael, but it’s a well written song that lends itself to a different interpretation. Guys who like crunchy guitars get their heart broken too.

And just because I love Buddy Holly, when did you play the role of Buddy, and what was that like?

That was a lot of fun and a lot of work.  They basically came to me and said we need a tall skinny awkward guy from Texas who can sing and play guitar.  Can you do that?  It was funny afterward because people would compliment on the work it took to get Buddy Holly’s awkward dance moves down and I just said thank you, knowing that I was just doing me.  Musically it was an awesome experience because I had to learn 20 Buddy Holly songs and was able to do a deep study into what made his work tick.  It really improved my own songwriting and approach to doing music.

Thanks for taking the time to answer my questions, Brian! I really appreciate it!

It’s been my pleasure! I’m looking forward to chatting again soon!

THE ANTI-POP REVOLUTION IS HERE! An Interview with Chris Triggs of the La La Lettes

I first heard the La-La-Lettes a number of months ago when my buddies in Thee Rakevines gave them a shout-out on Twitter. The band hales from Colwyn Bay, Wales, UK, and somehow manages to fuse two seemingly irreconcilable modes of expression by being both intensely experimental and fun at the same time.

Give their 2020 albums Easy Peasy and April a listen, and you’ll hear clear echoes of the Byrds, Syd Barrett, and the Rolling Stones, while 2021’s ONKY and i Godge, Goj, Gols and Gods explore musical territory best exemplified by acts like the Velvet Underground, the Residents, Captain Beefheart and his Magic Band, and Bonzo Dog Doo-Dah Band.

Full disclosure: As anyone who reads this blog with any regularity knows, I recently had a chance to work with the La-La-Lettes on their double-A-side single, “Song 71 (You Didn’t Love Me)”/“J’ecoute La Radio,” which calls to mind a cross between the Beach Boys and Bob Dylan. I used the opportunity to chat with Chris Triggs, the brains behind the band, about songwriting, music production, and his creative process.

I know of four La-La-Lettes albums and a handful of singles all released over the last two years. You seem to have come out of nowhere! Were you doing anything else musically before the La-La-Lettes?

 Yes, but years ago. I’d been either writing and recording for about 20+ years, climbing the ladder of Hardware recording items, ‘Tape recorder’/’Four Track’ and then ‘Cool Edit Pro’. Then about at the end of 2011, the Time/Sony computer I worked on blew up, and I thought it was time for a rest, which carried on until late 2019. I thought I’d miss it, but my son who was born in 2005 was at an interesting age by 2011 and his life took over mine and I didn’t miss the guitar, writing or anything. Strange really, thinking about it now, but I didn’t write anything for years at one point.

In late 2018, I fell into a real dark hole, and 2019 was my year of hell. Luckily, in December ’19, I was talking to my sister, and she suggested taking up music again, it was like a ‘lightbulb moment’, throw all my pain into music ‘brilliant’. Although my issues were still raging, picking up the guitar helped. I think that’s why ‘Easy Peasy’ sounds so edgy, I was getting a ‘lot out’. After finishing that first album, I didn’t want to let it just lie, so I decided to put it on Spotify etc, which led me to Twitter.

It’s amazing how therapeutic music can be! I’m picking up a strong 60s vibe in a lot of your music. Who are some of your favorite bands from that era, and why does that music resonate so strongly with you?

I just followed the trend when I was a kid, listening to stuff like The Police, Blondie and all that. Then one day I was watching TV and this advertisement came on for a new Beach Boys compilation, and that’s when I heard (a snippet) of ‘Good Vibrations’ for the first time. I guess that was the Siren calling. That was it, Beach Boys forever almost. I realized quite early on that I wasn’t just listening to the songs, but making out the sounds of the guitars, the bass, the amazing drums (probably by Hal Blaine) and of course those vocals. It just spoke volumes to me. As time went on, I listened more intently to my dad’s Beatles LPs, being knocked out by the sounds created on ‘Strawberry Fields’, ‘I Am the Walrus’ etc. They were just gorgeous sounds for my delicate ears. Then I sought of discovered other bands, that friends/colleagues suggested, The Byrds were next, I love David Crosby’s songs (still do), and all that stretched into other avenues, Jefferson Airplane, The Mamas and the Papas, that whole Californian late 60s thing was it for me. Then also late 60’s Motown stuff, Tammi Terrell (greatest voice ever). It was a 60’s thing, tape hiss everything, just beautiful.

Does the name La-La-Lettes have special significance?

No! Hahahaha! At the time I was about to put Easy Peasy online and realized I required a band name, I was reading an article about The Faces who have an album called Oh La La. So I used ‘La-La’ and thought ‘Let’s call it that’ and I wrote ‘The La-La-Lettes’ adding an extra ‘T’ and ‘E’ to be silly. Means nothing lol.

But also in line with some of those great 60s bands like the Marvelettes! Along similar lines, your titles are fascinating. Where did ONKY and i Godge, Goj, Gols and Gods come from?

Years ago, there was a game show called ‘Strike it Lucky’ and one Christmas they did a kids edition, which I remember being hilarious. One question asked to one little girl was, ‘Who was friends with George and Zippy in the (kids) TV show Rainbow’, people from the UK will know the answer is ‘Bungle’, BUT this little 4/5 year old said “ONKY”, I just howled with laughter and the name stuck.

‘Godge’ is a little more tricky. In the late 90’s I did an album called ‘An afternoon with the Gods’, which I did on 4-track. Anyway, when I was doing ‘Godge’ I noticed a similarity in the songs of both albums. I didn’t want to call it ‘An Afternoon with the Gods 2’, I didn’t want a connection, so I made up the word ‘Godge’ and elaborated. I’m not sure, but I think ‘Godge’ actually has a definition,  I think it means something along the lines of ‘punching wind’. In the lyrics of ‘Oh, how we used to laugh’, there’s a part which says ‘pushing against the tide’, which was weird if the meaning of ‘Godge’ is correct.

As a musician—and, more broadly, as an artist—you make a lot of decisions that I’d describe as “anti-pop.” A lot of the sounds on i Godge, Goj, Gols and Gods are jarring, and you’re not afraid to release music that strays off the grid in terms of key and tempo. Those decisions, I have to say, really make your music come to life. What’s the rationale behind them?

“Anti-Pop!!!” What a cool description. I must admit I was on a bit of a roll during the making of ‘Godge’, most of the riffs, chord sequences and ideas came before I’d written a word. It’s a huge mix of influences on that album. Dylan, Beatles, Sex Pistols, Beach Boys of course) and others. So I was really spoilt for choice over stuff I had available, and just had to cram it all together. Lyrically, every song on ‘Godge’ is about someone I know, and to be honest, I’m very proud of it.

I guess I look at a high percentage of bands/artists I’ve discovered on Twitter as “Anti-Pop”. I like to think of us all as the ‘”new wave”, The Kintners, Lunar Plexus, Temporary Longterm Positions, Fendahlene, Thee Rakevines, Blank Cassettes, The Last Ghost, Oplaadtijd, McDead, Touanda, Moistule, Miss Kitty and Rubber Clown Car and the work you’re producing are just some excellent examples. They’ve all done incredible stuff, all different types of music too, brilliant albums, everything. It feels good to be involved. THE ANTI-POP REVOLUTION IS HERE…

Let’s hope so! I feel like the public appetite for interesting music—music that breaks rules and challenges the listener’s expectations—just doesn’t exist. To put it crudely, there isn’t really a market for it. No one’s banging down the door for the kind of music that you and I and others like us make. Which raises a question I think about from time to time regarding my own music: Why make it? And, of course, what keeps you going?

I love the thought of a blank canvas, to paint a picture, to make it interesting and ‘happy’, I keep going because of this. I’ve always been the same since I was a child, inventing, creating, I can’t stop it, it’s a passion. You’re right of course, there’s no market for us lot, lol. But I believe something will happen, doors always open on a journey.

The latest single, “J’ecoute La Radio,” is sung in French. What was behind that decision?

Lol, I work in the Oil and Gas industry cataloging maps, and one day I was working on some French data and I needed to translate a couple of words on ‘Google translate’, which I’ve done hundreds of times before, but this one day, I was just in a funny mood, and began writing words/lyrics onto google translate, which is just a silly idea really. I put the lines into order on a file and printed the sheet. I just fancied doing something different to see if I could do it. Musically it took 3 attempts to get the melody right, it was originally an earworm (a nasty one too).

Needless to say, I’m impressed with your output. Four albums in two years! What’s your recording process like?

Very instant. I have no patience with recording. It’s a ‘now or never’ attitude. Even when I’m recording, I look for a bit of improvisation, mad really, as sometimes when I come to doing the bass or 2nd guitar I forget what I’ve done!

I’m always looking for that one ‘word’, ‘rhyme’, ‘riff’ or a ‘weird chord’ even to help make a song interesting enough for me to like it. As said earlier with ‘Godge’ I had loads of things ready before writing a word

“J’ecoute” was perhaps took an hour, acoustic guitar/vocal, bass, drums, vocal/vocal/vocal/vocal/vocal, electric guitar, Marc Schuster yaaaay. Easy Peasy, love it.

Me too! And speaking of your creative output, what do you have in the works?

I do have a 5th album “Obsession” ready to go. But, I just love working on instinct at the moment. I recently did an E.P. in two days (Days of Winter), and I keep looking for the next song, the next single. I have an idea for something along the lines of a ‘Bo Diddley’ tune for a Protest song, but we’ll see.

Thanks for taking the time to answer my questions, Chris!