An Interview With David Barbe

Nowadays, David Barbe has become a well-known producer working with artists including R.E.M., Vic Chesnutt and Drive-By Truckers. But back in the mid '90s, he was the bassist for Sugar, a loud, driving alt-rock band fronted by the legendary Bob Mould. Sugar were not around long but in their brief lifetime, they created music that has stood the test of time and is only now beginning to be rediscovered by artists and fans alike. Recently, David took time out of his busy schedule to answer some questions.

When did you first become interested in music?

My parents were both musicians, so it was always in my life. Loved it as far back as I can remember

When did Mercyland come together and how was that experience like?

Mercyland got going in 1985. I had been in other bands, but none that I thought were really anything special. I knew the other guys from other local bands and kind of bided my time until they were available. The Mercyland album 'Spillage' has some pretty lengthy liner notes that tell the entire story in some detail.

How did you come to hook up with Bob & Malcolm and what were the initial rehearsals like?

Bob and knew each other through mutual friends. Always loved Husker Du and thought he was a great person. He broached the subject with me gradually, knowing that when I finished with Mercyland that I had said I was done forever (Ha!). Anyway, he kept on me and the more I thought about it, the more I wanted to do it. My wife, Amy, was instrumental in encouraging me to do it. We had small children, so it was a big decision. Initial rehearsals were machine-like. I had learned Bob's songs from his home demos inside and out.

What was 'success' like and how did everyone deal with it?

It was weird for me. After 5 years of sleeping on floors, I don't think I felt like I had earned anything with Sugar. It just happened so fast that it took some time to get used to it. It was fun, though. I mistakenly thought that Bob had been at this level already and was not aware that level of success was new to him, too. Nobody got an ego, nobody acted like a rock star. It was business as usual, just with more people paying attention.

What happened during the FU:EL sessions that resulted in the first batch of recordings being scrapped?

Everything that could go wrong did. The studio we were working in wasn't the right environment for us. Wrong sound, wrong vibe. The concept of Bob producing and me engineering without any outside voice, was also a mistake. We needed the psychic foil. None of that led to good performances. We scrapped it all, took a break and started over in Texas.

I heard that one of the reasons Sugar broke up was you wanting to spend more time with your family, is this true?

Absolutely. I told Bob in November of '94 that my time was over, and that I was ready to be in Athens with my growing family and work in the studios full time, but that I would honor any booked obligations we had, and any beyond that that he felt was important. I encouraged him to find a replacement since we were so successful. He told me that he was ready for a break from it all, too, and that he respected my feelings on the subject and my decision. We did not tell anyone about this for a long time. Publicly, it was said that we were on hiatus and then that we broke up. That was all just a story. The truth is that I quit. It was very amicable. I had no desire to do any press about why I was ready to spend time with my family instead of touring. Didn't care what anyone else thought about it. There were plenty of other bands for Spin and NME to write about anyway.

Do you still keep in touch with Malcolm and how did you hook back up with Bob?

Have not heard from Malcolm in years. Bob and I have always remained friends. We have been in touch more over the last few years, but things between us were always good. Always have been as long as we've known each other.

How do you feel about Sugar's growing legacy and what did you think of Train's cover of 'If I Can't Change Your Mind?'

Didn't know it existed - the growing legacy or the cover.

What are you up to now, is it the same or different?

I am running my studios, producing and engineering lots of records, and still writing and playing. Just finished a solo album that will come out around the end/beginning of the year. My kids are healthy, happy 16, 17 and 19 yr olds. My sons are high school baseball stars and play music in the local clubs, and my daughter is in her jr year of college studying art history at UGA. I am convinced that my decision to be there for them instead of pursuing rock stardom was the correct one. They tease me sometimes that could have been the wealthy children of a rock star. I just smile and think how lucky they are not to be anything of the sort.

Thanks,

Yr welcome!

http://www.youtube.com/watch?v=OZvnbmfmL7c (Changes)
http://www.youtube.com/watch?v=aHnFIaLp_ys (If I Can’t Change Your Mind)
http://www.youtube.com/watch?v=lXFiycUbG3I (Gee Angel)
http://www.youtube.com/watch?v=RPT251GNbBI (Believe What You’re Saying)

Forgotten Songs of the '80s: The Smithereens

Forgotten Songs of the ‘80s: The Smithereens

The Smithereens are one of the greatest rock/pop bands of the last thirty years and it’s only been recently that they’ve gotten the credit and recognition they fully deserve. The band have been going strong for just about thirty years now and are still kicking as much ass as they did back in their heyday. One of their strongest and least played songs came off their debut album.

When Especially for You came out in 1985, it took some time for the band to gather steam but once people heard “Blood & Roses,” everything clicked and from there, the band began to grow with each successive record until hitting their sales peak with 1989’s 11 and their commercial peak with 1991’s Blow Up. But one song off Especially for You became one of the best-known songs while still getting the least amount of play: “In A Lonely Place.”

The song gets off to an amazing start with an intro courtesy of dynamo drummer Dennis Diken, then dissolves into a bossa nova type vibe that fits the song perfectly. Then unexpectedly, vocals from a then unknown Suzanne Vega come in and up the ante on how good a song could possibly be. The pairing of Suzanne Vega and Pat DiNizio was a perfect combo and by allowing them to be cast as parted lovers, it makes everything sound all the more sweeter.

The fact that this sounds like bossa nova from the ‘60s may have been one thing that hindered the song’s progress at radio and the then almighty MTV but it shouldn’t have because for 1985, it’s such an original idea that it should’ve made more people become interested in what inspired such a great song.

The song needs to be rediscovered and used in a commercial for coffee or something that would suit the song’s vibe so that more people can hear it and discover what has made the Smithereens so great for so many years.

http://www.youtube.com/watch?v=mlOVlqUcB8A

An Interview with Tom Maxwell

No one expected swing music to make a comeback, especially in the 90's but bands like Big Bad Voodoo Daddy, Cherry Poppin' Daddies and The Brian Setzer Orchestra proved it could be popular again, at least for a time. One band however, North Carolina's Squirrel Nut Zippers stood above and beyond the rest with their freaked-out sound and interesting take on melody.
The band is most known for the 1997 smash "Hell" written by guitarist/co-vocalist Tom Maxwell. As interviewed here, no one had any idea it would go so bad so soon.

When did you first become interested in music?

At the age of eleven. That's when I got turned on to my older brother's Beatles records, which were revelatory, and started learning how to play the alto saxophone.

When did the Squirrel Nut Zippers get started and was there much of a scene to support you when you got started?

The Zips formed in the spring of 1993, and I joined in January of '94. There was a very supportive scene--but none of the bands sounded alike! Chapel Hill was the greatest petri dish of music: rent was cheap, beer was cheap, and there were a dozen or so excellent bands, none of whom resembled each other. By the time the Zippers formed, the town had been branded "the new Seattle," which fucked a lot of things up. It had a depressive effect on the scene's diversity, which was always its strength.

When did you guys sign with Mammoth and how did that end up working out?

There were essentially two labels in town; Mammoth and Merge. Merge put out the first Zippers single, in December of '93. Both labels showed interest. We went with Mammoth because we thought they had better distribution. In hindsight, we made the wrong choice, but so it goes. Mammoth ended up getting bought by Disney, who expected to recoup from us. It didn't happen, and soon after, Mammoth ceased to exist. A sad tale. As far as labels go, they were pretty good. Our deal sucked--much worse than it would have been with Merge--but they had good distribution and didn't interfere meaningfully with our music. Some of the people there were awesome, and some were duds.

What was success like with "Hell" and how did you all deal with it?

The second thing I thought after hearing "Hell" was a hit was "when and how will this end?" The first thing, of course, was "yay!" The success of that song was incredible good fortune, fun, and mind-fuckery. I couldn't ever quite reconcile that any of it was real, so I decided it wasn't, probably beginning my trajectory into Buddhism.

What happened with Stacy, if I may ask?

Stacy was fired, due to his heroin use. We didn't know how to handle it, and thought that, faced with the choice, he would kick and we'd let him back in. He died three years later, of an overdose, while we were in Sweden. Such a tragedy and waste. The last time I saw him, I was playing at Crook's Corner for a benefit. I sent him home to get his trumpet and sit in, and he came back with the horn in a paper bag. Not a good sign! His playing was so sweet, and his tone and melodic sense so good. Much more Chet Baker than Louis Armstrong.

What prompted you and Ken to leave the band and how easy or difficult was it for you guys and the rest of the band?

I left because I realized that the only reasons I was staying was fear of leaving and the money. Those weren't good enough--I never got into the band for money, and fear is a terrible motivator. So I quit. I can't speak for Ken. I tell people that the first rule of being in a bomber crew is to bail out before the plane hits the ground. So it was with the Zippers. I wanted it to be a family, and equitable, but Jim and Katharine always felt it belonged to them.

How did you feel about the band continuing on?

When I left I had no problem with it, but now it irritates. Not that they're playing music as a group--by all means--but that they're calling it a "reunion" when Ken and I aren't in it, and sometimes using our likenesses. It misleads people. They're playing lots of our songs too. I wish they wouldn't.

What prompted the lawsuit and were you able to get everything you set out for, if I may ask?

Litigation is ongoing, this time in Federal Court. Basically, they hired a manager who commissioned from us. Then we discovered we'd been ripped off. What I set out for was a separation from the band, and never got it. I quit a band I could never leave, and continue picking up the pieces.

Do you keep in touch with anyone from the band?

Yeah, I stay in touch with Ken and see Don Raleigh around sometimes.

How was it recording "Samsara" and are there any plans for another album?

Recording "Samsara" was one of the greatest experiences of my life. It was intense and beautiful, and all up to me: songwriting arranging, assembling the players. Plus, we did most of it in Kingsway in New Orleans, where the Zippers recorded several records. Such fun.

What are you up to now, is it the same?

I'm a dad. My daughter Evelyn in seven, and my son Esten turned five today. A year and a half ago, he was diagnosed with leukemia. It's in remission, and his prognosis is excellent. I play occasionally, had done movie and tv soundtrack work, radio spots, was outreach coordinator for the Full Frame festival, write the occasional article for The Independent...basically still navigating the strange terrain of artistic self-employment.

http://www.youtube.com/watch?v=QQX_KakJm34&feature=channel_page (Hell)
http://www.youtube.com/watch?v=m1DISNYj0QU&feature=channel_page (Stephen Foster)

Forgotten Songs of the '90s: Earth to Andy

Forgotten Songs of the ‘90s: Earth to Andy

You may have noticed by now that there are more forgotten songs from the ‘90s than in any other decade listed on this blog. That’s because, to me, the ‘90s were the best time for music and a time when the record labels released so many albums that more than a few were bound to be forgotten. In 1999, Giant Records signed Earth To Andy, out of Charlottesville, VA and positioned them to be one of the great white hopes for rock music. They definitely had their chance but the label didn’t push as hard as they should have so now I am trying to rectify that situation by trying to introduce people to the music.

“Still After You,” the first single from their major-label debut Chronicle Kings is one of the loudest and coolest rock songs of the last half of the decade. The song kicks off with one of the greatest guitar licks of the century and it just goes from there. When frontman Andy Waldeck comes in with a gravelly tone, you know it’s on. The rhythm section falls in line with Andy and guitarist Tony Lopacinski and together they all form a miraculous sonic collage that sounds better each time you listen to it.

Chronicle Kings is one of the loudest, most abrasive rock records of the ‘90s and it’s a damn shame it never got its fair share. The band signed to Giant the same time they also signed a Richmond, VA band, Pat McGee Band. They ended up getting more push from the label and ended up having a longer career. That’s not a slap to them but Earth To Andy should’ve gotten more of a push. The band ended up fighting their way through and ended up connecting a bit; “Still After You” managed one or two weeks at the bottom of Billboard’s national rock chart and they ended up touring with Stone Temple Pilots, who’s bassist, Robert DeLeo plays acoustic guitar on the intro to “Still After You.” But it wasn’t enough; with the label pushing Steely Dan and Disturbed, the band didn’t have much of a chance.

The label released a poorly chosen second single and then let the band wither away. They attempted to find another label, playing an industry showcase, on September 10, 2001. Needless to say, it didn’t happen and they ended up recording their final album, Sticks to Landing on their own. They ended up calling it quits in 2002 but the music still lives. So enjoy the creepy video for “Still After You” and just relax as the song leaves a memory that’ll never go away.

http://video.aol.com/show/earth-to-andy

Forgotten Album of the Month: Infectious Grooves

Forgotten Album of the Month: Infectious Grooves

Infectious Grooves will always be known as the kid brother of Suicidal Tendencies but that’s not the way it should be. Infectious should be looked upon as their own separate entity and with the release of 1994’s landmark Groove Family Cyco, this will be entered as the first piece of evidence.

The major thing to talk about when mentioning Groove Family Cyco is the rhythm section: Robert Trujillo, also pulling double duty in Suicidal and a teenage Brooks Wackerman, years before he joined Bad Religion. At the time of recording, he was about 16 or 17; once hearing the record, it’s impossible to think that Trujillo had played with any other drummer, the two are in the pocket the whole time and never let up.

From the very beginning, with “Violent & Funky,” inexplicably edited when the rest of the record isn’t, the band is at the top of their power and also picking up the weaknesses from the previous albums and strengthens them. Gone from the past are the interludes and the character of Sarsippius, which all work to the album’s absolute strength.

All over the album, guitarists Dean Pleasants and Adam Siegel play their asses off and Mike Muir’s vocals are the strongest for possibly the last time as his voice has aged as much as he has in recent years. While at some points, particularly on “Die Lika Pig” and “Boom Boom Boom,” the band is treading on Suicidal territory, lyrically but all over the music is just ready to blow your fucking mind and snap your neck at the next minute. The writing is brutal and all true. The best example is by far the stand-out, “Do What I Tell Ya!” which is a pointed ‘fuck you’ to the hypocrisy of Rage Against the Machine, including lyrics like “Let’s not forget the evil corporations, so why is Sony the sponsor of your presentation? Bitch!”

All in all, this is one of the hardest, loudest, funkiest releases of the ‘90s, the fact that critics weren’t as kind to it as the previous records just shows that all critics don’t know good music when they first hear it. But as the years roll on, the record continues to get more and more attention, all of which it rightfully deserves.

http://www.youtube.com/watch?v=_7-0yatN1gc (Violent & Funky)
http://www.youtube.com/watch?v=YRAS2yOoras (Cousin Randy)