Auburn, Alabama based Spoonful James is out with their first CD in eight years, “Are You Listening”.

With Wynn Christian, on guitars and lead vocals, Quinn Borland on bass guitar, Eric Baath on piano and Hammond B-3 organ, and Patrick Lunceford on drums, the band has produced a CD with a bluesy, southern rock feel.  My first listen was very positive and I look forward to spending a bit more time with the songs on this CD.

The band are long-time friends of American Idol Season 5 winner Taylor Hicks.  Hicks co-wrote his recent single, “Seven Mile Breakdown” with Spoonful’s lead vocalist Wynn Christian.

You can listen to song samples at CDBaby.com and buy individual songs or the entire CD at CDBaby or on  iTunes.  You can also find a few songs in their entirety on the band’s myspace page.

Here are a few video samples:

It’s burning up on the east coast, so this week’s new music update is heading down to where they combat the heat with sweet tea and good songwriting.

The Tejas Brothers bill themselves as Country/Rock/Blues, but they’ve got an accordion that speaks to my polka soul. Going for adds this week is “Boogie Woogie Mamacita.” Let this and a couple cervesas be the backdrop to your summer!

If you’re interested in listening to a guaranteed hit, try Gretchen Wilson’s new single, “The Earrings Song”. Unfortunately, she hasn’t found a new melody since her debut album, but this will please the fans to no end anyway.

Charla Corn is putting together an album by democracy: on her website, fans can “buy into” the album, rate demos, and help choose which songs make the cut. Here’s a video of the making of her single “Break My Heart Tonight”.

I have long enjoyed my copy of The Fireman’s 1998 release Rushes, which is relaxingly ambient and a bit sexy, so when I discovered last December that they had a new release, I put it on my Christmas list. Santa obliged me, and I found Electric Arguments under the tree.

To my surprise and pleasure, vocals are to the forefront on Electric Arguments. To be specific, they are mostly Paul McCartney’s vocals; he has worked with UK musician Youth as The Fireman since 1993. The tracks are also in a more traditional “song” format than in previous releases. As a longtime McCartney fan, I get the distinct feeling that he is now using The Fireman to release songs he doesn’t feel confident releasing under his own name (even though everyone who listens to The Fireman knows it’s him), as they might not fit what longtime pop-Paul fans like. They are, overall, experimental as compared to his recent solo releases; however, as far as quality, Electric Arguments is at minimum on par with Chaos And Creation In The Backyard and completely blows away Memory Almost Full.

The first single, “Sing the Changes”, is easily my favorite track. The somewhat exotic intro gives way to what I can best describe as a “pop chant”. There is almost no melodic movement, the lyrics are repeated ad nauseam, but it is catchy and I always find myself bopping along to the beat. The video is at right. “Sun Is Shining” is more dynamic but still gives me the same happy feeling. There is a lot of uplifting on this album.

The Fireman have used a bit of harmonica in this release as well, not an instrument that I can recall McCartney using previously (maybe on “Run Devil Run”, a retro rock album). It lends a bluesy tone to “Nothing Too Much Just Out Of Sight” and “Highway”. Where “Nothing Too Much” is a more ambient jam, “Highway” is a blues-rock number that reminds me of several popular early-80s blues bands. The exploration of American niche genres continues with “Light From Your Lighthouse”, a jugband hymn that could easily be re-arranged into a modern worship song.

For those who do love a little dance and/or ambient, skip to the end of the album. “Is This Love”, “Lovers In A Dream”, “Universal Here, Everlasting Now”, and “Don’t Stop Running” are quite enjoyable and make an excellent backdrop for a run around the neighborhood (totaling over 26 minutes, they’re perfect for my short laps). “Don’t Stop Running” actually contains a “hidden” track after a lengthy pause; the last two minutes consist of a bit of spacey synthesized fun.

Overall, there isn’t a track on Electric Arguments that I don’t like. This isn’t going to be for everyone, but if you’re up for a bit of trip (the acid kind) it’s definitely worth checking out.

I am, it seems, the very last fan to hear Taylor Hicks’ new record, The Distance. I deliberately chose, after hearing the early-leaked “What’s Right Is Right” and “Nineteen”, to not listen to any other tracks until the album was released last Tuesday. I did, however, skim some reviews and read the track listing, so I do not come to the record entirely devoid of some idea of what is on it.

After completing my first play-through, in some mixed-up order thanks to iTunes being weird, I can say with confidence a few things. First, which I knew beforehand, the tracks brush several different genres, occasionally within the same song. Second, Hicks may become one of those artists (I am fond of several) whose music far exceeds their lyrics in quality; however, what is cringe-inducing today may become (like many of Paul McCartney’s lyrics) a cause for fondness in the future. Indeed, I already look back on much of Hicks’ Under the Radar in this state of mind.

My challenge in writing this review, as I will gladly confess, will be to strike a balance between forgiving the album’s various sins based on my fan status, and condemning Hicks based on any expectations I may have harbored over the past two years. Should anyone feel I have done either of these things, please feel free to call me out in the comments! On to the tracks…

“The Distance” immediately twangs country at me, the sort of bass-heavy alt-country that I actually listen to. The chorus rings 1970s anthemic. The verse lyric demands attention, a plea for neighbors, countrymen, and all peoples of Earth (here’s where the 70s anthem comes in) to realize we are more alike than not, and thus “The Distance between us fades away.” I do find it entertaining that these sorts of songs are always very musically jingoistic– I rather don’t expect to suddenly hear Arabic melodies and Czech rhythms– but I’m certain it’s meant to be uplifting, and indeed it is. My only question is about the short drumroll at the end. Huh?

“What’s Right Is Right” was the first single, released a month ahead of the album. As noted above, I did listen to it as soon as it was “leaked” (in quotes because it was a marketing strategy). It’s a MOR love ballad with a sax solo in the middle that doesn’t stray too far from the melody. There are some odd vocal phrasings that I am pretty certain are the result of digital splicing in the studio, and they can be jarring to my ear, although I have not seen any other such reactions, so maybe it’s just my hypersensitivity to that sort of thing. What I really like about this track is the Wurlitzer/B3 combo (I am a keyboard geek) and Nathan East’s bass line that seems to be more mobile than in most MOR arrangments.

“New Found Freedom” will be a sing-a-long song at concerts. Again we’re reaching into the anthemic, with a driving gospel chorus. At this point, I feel it necessary to point out that while the song has a lot of energy (may I say I am in love with Nathan East? The bass lines on this album are the shit), Hicks’ vocals only join in that energy occasionally. I realize that his strength is in live performance, and it has been said that he’s some kind of energy vampire that feeds on the audience, but he seriously needed a fire lit under his butt while recording. I’m getting more joy out of the (uncredited) backup singers.

The other early leak, “Nineteen”, is a story about a football player who gets a college scholarship, then joins the Army after 9/11. The last verse, ambiguous in lyric (the soldier he saved gives a speech in his honor, but it is uncertain whether it’s a eulogy, as the Purple Heart may be awarded for either being wounded or being killed in the line of duty), becomes less ambiguous with the slowing-down of the music and the plaintive “He was only nineteen” that ends the song. The song is quite definitely country and should play well on those stations despite our new era of Hope. (For a fascinating read about “cancer country”, which I think needs a co-genre of “soldier country”, try this 2007 Slate article.) It’s a good song, but I won’t be playing it often, since this stuff always makes me cry.

A tame, distant piano intro belies the pop-Latino-Caribbean syncopation of “Once Upon A Lover”. Anyone familiar with Hicks’ concert version of “Hold On To Your Love” will not be surprised at this attempt; however it will certainly confuse the uninitiated. The vocal highlights of this song are the trilled R in “Senorita” and Hicks’ largely sustained high range and falsetto. I also adore Brian Gallagher on flute. There seems to be (and this may just be the digital format) a lack of dynamic range in the vocal, and I hope there will be more along the lines of purring in live performances.

“Seven Mile Breakdown” will likely be familiar to denizens of the Birmingham music scene. A country blues jam co-written by Hicks and good friend Wynn Christian of Spoonful James, “Breakdown” has driving rhythms and a very familiar female backup vocal (Sharon White, as on most of the album, but it reminds me of Sheryl Crow and Kid Rock’s “Picture”). Here is where I finally hear the energy that I know lies latent in Taylor Hicks at all times, perhaps because he has such a strong bond to the song.

“Maybe You Should” is a modern yet timeless broken-hearted piano ballad. It has some absolutely gorgeous chord changes behind a pretty static melody. Lyrically, it is the first-person story of a man who thought he had true love, but perhaps does not. I would rather have seen this as the first single; misery sells, and it’s just a much better song– in terms of songwriting and in terms of recording– than “What’s Right Is Right”. I look forward to hearing it in concert; if Hicks learned to play the piano for it, I would probably die happy.

“Keepin’ It Real” is a fun New Orleans stride piano tune that (finally!) briefly features Hicks’ harmonica and sends up Paris Hilton, Britney Spears, O.J. Simpson, and the celebrity culture in general. One can conclude that it reflects Hicks’ desire to stay either under the paparazzi radar or above the superficial fray, although he rarely likes to actually clarify such things, letting his songs speak for themselves. This one could easily stand on its musical merits, bringing little new to the genre but reviving it for a new generation.

One starts to think, around the time that “I Live On A Battlefield” begins, that Hicks has rarely had a good relationship in his life. This funky groove is an exercise in metaphor, comparing a (mutually) destroyed love to a post-apocalyptic landscape. Hicks’ over-attack of the T’s in the phrase “Now shattered lord and battered/Lie scattered all around” lie in stark contrast to his lazy treatment of the line “My new home is a shell hole filled”, which I could not figure out until I read the lyrics, thankfully included in the booklet. (And he was doing really good on the enunciation until that point!)

If you’re looking for the goofy Hicks, you may almost find him in “Wedding Day Blues”. The enjoyable narrative finds our hero stealing a bride away from her own wedding– well, from the reception, booting the groom from the getaway limo and ravishing the bride…. but not before getting drunk and eating the cake, presumably before it was cut since he was then “asked… to leave”. While I wouldn’t recommend this as a way of getting your girl back, it does make for a good song, and the bluegrass fiddle playing the wedding march in the middle is a nice, if obvious, touch.

Rounding out the “official” album is “Woman’s Gotta Have It”, a tag-team remake of the Bobby Womack song featuring Hicks’ American Idol classmate Elliott Yamin. This old-school R&B slow jam shines, in my opinion, because of Yamin’s presence. Hicks has mentioned in interviews that he had Yamin come into the studio and they recorded together, and you can feel the way they played off each other. Hicks’ voice is more lively, and he graciously takes backing vocals while Yamin takes the lead on the second verse. Their harmonies are engaging and their voices complement each other quite pleasurably. Hicks has mentioned wanting to perform this song live with Yamin; my suggestion would be a co-headlining tour next year.

Hicks has annoyed his dedicated fans by releasing three “bonus tracks” to three different outlets. My download from iTunes included “Yes We Can”, an Allen Toussaint song that coincidentally echoes President Obama’s campaign motto. While I have no doubt that Hicks truly feels all of these happy “come together now” mottoes, and that is why he has included so many such songs on this album, the theme does get a bit repetitive. There is nothing wrong with the song, and the track is actually an old all-star recording over which Hicks has laid his vocal so I can’t complain about the musicianship. However, barring a USO tour (not a bad idea, actually, since Soul Patrollers have been inundating our troops with Hicks’ albums for years now) or a festival involving Willie Nelson or Bono, I can see little but fraternity fatigue for these songs in the future.

I’ve also managed to acquire the Target exclusive bonus track, “Indiscriminate Act of Kindness.” I can only assume that I’m broken, because while everyone on the fan boards seems to be emotionally devastated by this song, I started falling asleep before the first chorus. It stretches on for more than seven minutes. In an attempt to stay awake, I did some research on Foy Vance, the songwriter. “IAOK” was a B-side; the A-side was “Gabriel and the Vagabond”, which was used on Grey’s Anatomy, probably for one of those interminable montage sequences. I’ll grant that Hicks seems to be engaged with the source material, but that’s not enough to interest me.

Finally, I will not be reviewing the WalMart exclusive track at this time, because apparently none of the CDs actually made it to any of the stores. There is a rumor that people who pre-ordered the CD on WalMart.com will be getting their copies complete with “Hide Nor Hair”, but if things do not clear up soon, we may have to consider this a lesson learned about releasing four different versions of the same album. Apparently, I did hear “Hide Nor Hair” at the Baltimore shadow show last month, but I was sick throughout the performance and couldn’t tell you a thing about it. So my impression of the final bonus track will have to wait until A2M and WalMart get their act together.

For those who really didn’t like what I had to say here, please stay tuned for Mac’s review…

I was first alerted to the existence of this (mostly-defunct) band via a passing reference in an old review of a Taylor Hicks concert. The reviewer mentioned that it would be cool if Hicks covered some “obscure Blodwyn Pig” tunes. Having never heard of such a thing as a Blodwyn Pig, I felt compelled to do a little research and see if I agreed.

A Google search turned up the snazzy website of founding member Mick Abrahams and, much further down the page, their mySpace. Abrahams, a former member of Jethro Tull, had left Tull in 1968 over creative differences and founded the Pig. At the time, Tull was headed into flute-loving folk-rock and Abrahams just wasn’t interested. Blodwyn Pig’s modern blues/jazz sound was fresh and exciting, compared frequently to such better-known musical pioneers as Frank Zappa, and was part of the 70s edge into Prog and Art Rock. Yet, in Europe at least, they managed to grow a mainstream audience as well, appearing on popular UK programs like Top of the Pops.

On their myspace and elsewhere, Abrahams tells some awesome stories of hilarity, madness and debauchery while on tour and in the studio. They released two albums, toured the U.S. twice, and were poised for big, big things. Unfortunately, the good times came to an end because of his crippling fear of flying (or rather, as he says, of crashing) and the other members unceremoniously booted him in 1970. Karma turned around and kicked them in the ass, and within seven weeks the Pig was no more. There was a brief, not-that-successful reunion in 1974, and since 1988 Abrahams has occasionally reconvened the Pig with various former members. He also plays with rotating band members as the Mick Abrahams Band.

Listening to Abrahams’ solo stuff on squirrelmusic.com, his guitar playing reminds me quite a bit of his contemporaries Eric Clapton and B.B. King. However, with Blodwyn Pig, the sounds and influences are varied and sometimes subtle. On 1969’s Ahead Rings Out the jazz groove of Jack Lancaster’s dual saxophones (seriously, you have to watch this to believe it) melds with Ron Berg’s crashing rock drums to create something that I’m pretty sure was out of the norm for that year: “The Modern Alchemist”.

“It’s Only Love”, from the same album, is very much a blues song but also has a strong Big Band influence, with an emphasis on the high-hat in the drums, and a prominent horn section, in addition to Abrahams’ excellent blues guitar. My grandparents would have no problem at all dancing to this song.

Blodwyn Pig took advantage of each technological advancement they could afford, recording Ahead Rings Out on 8-track and 1970’s Getting To This on 16-track. They were also creative in getting just the right sound, even when the recording and filtering equipment was not yet dreamed of. On “Dear Jill”, a song featured in the movie Almost Famous, Abrahams explained, “by double-tracking the guitar, which was an Ecko 12-string with only 9-10 strings on it (depending on my mood or how many strings I could afford on the day) it sounded akin to a modern chorus effect pedal.” (Liner notes to 2001 re-issue of Ahead Rings Out, via Wikipedia.)

Additionally, on Getting To This, Abrahams says, “I did sing a verse of “Variations on Nainos” with my head in a bucket of water with a mike positioned over it!” (From Blodwyn Pig’s mySpace.) “Variations on Nainos” is an experimental jazz type song with a Swingin’ 60’s vibe (it could be in the background of an Austin Powers scene with no dissonance). The bucket verse — double-tracked “with the same bucket,” by the way — appears around the 3:10 mark below.

Again reinforcing the idea that Blodwyn Pig could not be pigeonholed, “Same Old Story” touches into psychedelia and the Indian rhythmic and melodic influences of the time, but in areas with a harder edge than taken by other bands.

If you’re interested in further listening, the mySpace page jukebox features four songs, and there is quite a bit more, I believe, on Abrahams’ own site, including his solo work. But between YouTube and imeem.com, it is possible to hear just about everything for free. There’s also quite a bit available on iTunes, should you be so inclined, although not the first two records–live albums and an anthology.

I think that, should Taylor Hicks choose to do the research and select from the more heavily blues-influenced Blodwyn Pig songs, he could indeed have a hit on his hands. What might be more useful to him is a songwriting collaboration with Abrahams, who is still active and whose current music I find more compatible with Hicks’ style.

So what is a Blodwyn Pig? I’m not really sure. Blodwyn is a Welsh first name meaning “white flowers” or “blessed flowers”, usually female although one site lists it as male. We all know what a pig is, but I’m not able to analyze the band name beyond this point. Abrahams does not explain the origins of the name (assuming he even remembers at this point), so it may be impossible to know.

For about two months, my calendar for June 28 was marked “Martin Sexton at the LL Bean Summer Music Festival.” As the date approached and I had no volunteers to accompany me and gas prices rose, it started to look like I would spend another Saturday night at home. But one day driving home from work, I was listening to my favorite radio station, The River (92.5), when a commercial came on for a band called The Mystix. The grittiness of the lead singer’s voice and the driving guitar had me turning up the volume. I discovered that they were playing in the neighboring town of Londonderry, NH at a little venue called the Tupelo Music Hall. Interest piqued, I went home and checked out the band’s website, and immediately visited the Tupelo website to purchase tickets.

While this review is about The Mystix, I would be remiss not to talk a bit about Tupelo.  Housed in unassuming old white farmhouse, it would be easy to just drive by.  I had heard from friends that it was an intimate setting and a great place to get up close and personal with the music. What they didn’t tell me was that there is an absolute musical gem right in my backyard. Once inside, the atmosphere is warm and inviting. The night I visited, the venue was set up with about 30 tables for four lit with candles. They sell non-alcoholic beverages and food items and you can BYOB, paying $3 for each person who will be drinking. The one big surprise about the venue was the quality of the sound, which was amazingly crisp and clear. It did not overwhelm the small room but still allowed you to really feel the music. Owner Scott Hayward should be complimented on the full package he has put together here. It was recently announced that Hayward would build a new Tupelo in the neighboring town of Derry. After experiencing Tupelo, I hope he works to maintain this amazing quality in a new, larger venue.

Jo Lily, front man for The Mystix, said he visited Tupelo three years ago to see Jonathan Edwards and has been itching to play the room ever since. His itch was finally scratched on a cool New England summer night, when Lily and his band brought some hot, sultry, juke joint sounds to that small New Hampshire room.

The Mystix are an all-star band of sorts, comprised of journeymen musicians from the Boston/New York music scene. With roots in blues, rock, and country, their most recent CD, Blue Morning, has become a fixture on roots and country playlists around the country.

The evening’s entertainment started with a four song instrumental set, which included a playful, driving version of Duke Ellington’s Caravan, by three members of The Mystix – guitarist Bobby Keyes, drummer Marty Richards, and bassist Marty Ballou.  Keyes is clearly the standout here. A longtime studio player at the legendary Fame Studios in Muscle Shoals, Keyes has played with everyone from Jerry Lee Lewis and Ben E. King, to New Kids on the Block and most recently, Lil Wayne and Robin Thicke. Keyes is also an accomplished songwriter, writing four songs for Thicke’s recent CD and co-writing with Lily for The Mystix. But it’s his guitar playing that’s on display here – he is a six string virtuoso. His play is inspired, passionate, and clean. His guitar comes alive under his gentle touch. This description, from a CD Baby review, hits the nail on the head. 

He can switch from “Surf-style-spaghetti-western” to Django Reinhardt-style hot jazz to kiss-ass rock riffs in the blink of an eye and never break a sweat.

The trio was later joined on stage by keyboard player Tom West, and lead singer and guitarist Lily. Lily’s gravely, passionate vocals grabbed hold of the audience with Let’s Get Started and didn’t let go throughout their 14 song set. Some highlights included: the jumpin’ juke joint inspired Keyes/Lily original, Yolanda; the rocking Bourbon Street rhythms of New Orleans; and the Traveling Wilbury’s tune Rattled.

A taste of Yolanda at the Lizard Lounge in Cambridge, Massachusetts, 2007.

I’ve read that they are a much tighter band since this performance – changing their drummer and adding a keyboard player.

Their country side was on display with their George Jones inspired original What Side of Heartache, which has risen to the top of the playlist on XM Country, and a cover of Porter Wagoner’s Nothing Between. They gave a couple of interesting nods to their interest in roots music. The first, Almost Down to the Shore was written by Jimmy Struthers, a blind axe murderer whose music was recorded at a penitentiary in VA by the Dust-to-Digital project. And the second, the encore, a song that they had never before performed live, Stephen Foster’s Hard Times Come Again No More. Yes, Stephen Foster – the “father of American music,” composer of Oh! Susanna, Camptown Races, and Beautiful Dreamer. Lily mentioned being asked to record this song by Keyes for a movie project, and how he was intimidated because it had been performed so perfectly by Bob Dylan. Having experienced Lily’s performance and watching Dylan’s performance, I’d take Lily’s version, hands down.

The Mystix are currently in studio working on their third CD which, according to Lily, will be more focused on roots music. If you get a chance to see the Mystix, I would highly recommend that you do, and you too will believe that the south has indeed moved to New England.

You can find The Mystix CD’s on CDBaby and iTunes online, and at Newbury Comics and Dyno Records in Newburyport, MA.

 

 

Good things come to those who wait! Patience is a virtue! I know, you’ve heard it all before, but it’s true! As you will soon find out. I am pleased to “finally” continue with the OFTV Spotlight series. In April you were introduced to the band SPOONFUL JAMES through the words of bass player Quinn Borland. Now it’s time to sit back and enjoy getting to know Quinn himself.

Interview with Quinn Borland

What is the story behind the name “Spoonful James”?

Q: We had a tough time coming up with a name. We wanted it to express our love for Blues music, but still be original, since that’s the type of band we were. I remember Wynn and I were stumped for a while and couldn’t get away from this “highway” theme for a name. It didn’t really come together when you said it, so we scratched it. One day we were listening to Cream do the old “Spoonful” song and we came to agree that song was one of our favorites. We didn’t want to completely rip off the song name, so we added “James” to make it sound like an old blues player. You know, like Lightning Hopkins or Muddy Waters. Plus I was on a Rick James kick at the time.

In your “History of Spoonful James”, that we published in April, you mentioned a little something about a riot. To refresh the memory of our readers, you were playing with a band called “Fletch Lives” at the Florabama and the band was asked to leave the stage because you might start a riot. Can you explain the story behind this?

Q: Well, it was one of the most fun times of the Fletch days. You mix 40-60 year old alums, college kids, biker gangs and young spring breakers, and you have the makings for a really good party. We weren’t asked to leave, but we were “urged” to stop the set. We were on the tent stage, which was the closest to the beach. Apparently a few girls were a little intoxicated and were dancing provocatively in front of the stage. I remember we were playing Superstition by Stevie Wonder. The combination of those two facts really sent the crowd into a frenzy. They started to rush the stage and people started pushing. We had a 2×4 barrier frame in front of us, so we thought we were fine. We had never seen a crowd react so strongly. They were awesome, singing along, dancing and trying to get a glimpse of what was going on at the stage. Just when everything was starting to peak, one of the managers ran up to the side of the stage and started yelling “YOU’RE GOING TO START A RIOT! SHUT IT DOWN, SHUT IT DOWN!” That’s when people started to rush the stage and it got a little scary. We shut down and quickly exited with our guitars. Security was called in, just in time to save our equipment. We still got paid for the full set, of course.

Are your gigs your only source of income? Do you have a day job?

Q: The first two Spoonful albums we are proud to say were funded entirely by our gigs. Although for 7 Mile we did get some help. We were right at poverty level for many years and for two years I lived in a one bedroom efficiency apartment. It was rough, but it really taught me some things about working hard and the value of a dollar.

These days I work for a GPS tracking company. I started in this industry about three years ago and absolutely love it. We put these little black boxes into company vehicles and monitor them on our website with maps, speeds, historical data and everything (like that Hulk Hogan episode where he tracks his daughter’s car). Yep, I sell Tattlers’ .

Do you or Spoonful James have any projects in the works? Either individually or as a group? CDS etc?

Q: Wynn and I have some songs, but we have to put our heads together to really make them Spoonful songs. These days that seems harder to do than writing with our busy schedules.

When you write songs, where do the ideas for the lyrics usually come from? How do you decide what type of song it should be (like style of music, tempo, etc)?

Q: It usually starts on the guitar with Wynn. I’m best at writing bridges, hooks and changes.

What instruments do you play?

Q: Just bass and guitar. I do play some guitar, but only in the house. Also, I am currently practicing slide.

Are you self-taught or have you studied music?

Q: When I was 14, I took lessons for three months from a great teacher in Dothan, Mike Love. This guy looked and played exactly like Michael Anthony from Van Halen. He let me learn anything I wanted. I’d come in with a new Metallica song and he’d teach it to me. Really refreshing. Different from the stiff piano teachers. I took piano lessons for 2 weeks, hated it. I think the key to keeping a kid interested in music is to let them learn what they want every now and then. It’s always good to teach the essentials, but once a month let the kid learn a Beatles song. Post 1965 Beatles song, that is. After this I pretty much had the basics and built on that. Oddly enough I stole a few licks from Mitch Jones (LiMBO), before we really got to know each other. He’s a great player.

What inspires you the most about the music business?

Q: The ability to create something out of nothing and being able to get it to as many ears as possible.

What disappoints you the most?

Q: Greed. Oh and people downloading music for free.

Who is your favorite artist? Favorite song?

Q: Sly & the Family Stone. As for my favorite song, probably something from Derek and the Dominos “Layla” album. I can’t name just one.

What new music have you discovered recently, that you would like to share with the readers?

Q: Betty Davis (Miles’ wife) : Total Funk. Larry Graham (bass player from Sly & the Family Stone) played on her first album, which I picked up on Amazon.

As your music career moves forward, what outside of music would fulfill you the most?

Q: Being able to take my family on the road if it ever got to that point.

What is your favorite standout memory of your music career?

Q: Definately recording with Buddy Miles. We knew we had done something right when he came to the studio. We all loved Band of Gypsys and when we were warming up, we started playing “Who Knows?” with Buddy. You know when you hear music that you really enjoy and it gives you goose bumps? It was like that, except we were playing it. The feeling is indescribable. It literally took my breath away. We learned so much from that guy and we really miss him.

*** Buddy Miles passed away in February at the age of 60. (A little trivia on Buddy Miles: He was the voice of the singing California Raisin!)

That’s it for now folks, we’ll continue with Quinn’s interview in the next installment of OFTV Spotlight. In the meantime, why not visit www.myspace.com/spoonfuljames and www.cdbaby.com to check out Quinn and Spoonful James. Stop by, say hi, and give a listen to some great music!

If you have any questions for Quinn, I’m sure he will be more than happy to answer them. Just include your questions in the comment section and I will make sure he receives tham.