The local music scene lost one of its veteran players this past weekend. Larry Malott — also a veteran of the Vietnam War — suffered a brain aneurysm last Wednesday from which he never recovered.
A gifted bassist, Malott (who was 65) was the low-end anchor of hard-working, popular local Blues band Them Bones. Along with regular gigs with the group around town (and beyond — the band has toured in Europe and represented Cincinnati at 2010's International Blues Challenge in Memphis, Tenn., placing an impressive third overall), Malott and Them Bones were also the anchor of the long-running Sunday night Blues jams at Newport club, Mansion Hill Tavern, hosting the weekly event since 2001. Many local musicians gathered this past Sunday at the open jam to pay their respects to Malott. Judging by the outpouring of grief and appreciation on social media the past few days, Malott was not only a great bass player and dedicated Blues supporter, he was also something of a mentor to other local musicians and incredibly supportive of his fellow artists.
Visit Malott's Facebook page to leave a message for his family and for info on upcoming funeral services (a public tribute appears to also be in the works). His family is asking that, in lieu of flowers, supporters make a donation to their favorite charity and/or one of the following ones — Sophie's Angel Run, Cincinnati Shriners Burns Hospital, Down Syndrome Association and/or Blues in the Schools.
There’s no such thing as “just another day at Bonnaroo." This morning I was in attendance for a mesmerizing performance by Nashville AltCountry siren Tristen in the press tent that barely ended in time for me to race over to This Tent for a performance by Black Joe Lewis & The Honey Bears that shook me to my very soul. Their raging Funk and Soul revue literally had the crowd jumping and screaming for the duration of their 60-minute set.
CityBeat: I don’t know if people in Cincinnati know a lot about you. Do you want to tell us a little bit about what the band is about and coming to Cincinnati?
Jesse: We have never been to Cincinnati. This is our first show there. I’ve been there before with other bands and I’ve always loved the city. I’m excited to bring this band there and just show what I’ve been talking about because we always hear about how awesome the scene is there in Cincinnati. We are a straight up rock band from Nashville, Tennessee. There’s really no frills or anything too fancy in what we do. We like to put on a good show and get the crowd into a good mood and maybe help them party a little bit, dance a little bit.
Anna: Give them what they pay for. Perform on stage and have a good time.
CB: You guys are pretty known around Nashville I know and other places for high energy performing. I saw it for the first time in Chicago opening for Kid Rock and Bon Jovi. Can you talk to us a little bit about what that experience was like and how that all came about?
Anna: Yeah, totally. We actually won a competition to play that show. We put our music on this site called Ourstage.com. Ourstage has been real good to us. They were fans of our music. We had a couple songs that were number one for a few weeks. Then they put on this competition where people could vote on getting the opportunity to open for Bon Jovi. I remember we were in Georgia on the road and Jesse came across the contest and was “Hey dudes I am going to sign us up for this.” And we were all joking “It’s gonna be killer when we open for Bon Jovi.” And not really thinking of it but being positive anyway. And it came true. So we got a phone call that we won the contest to open for Bon Jovi at Soldier Field in Chicago. What was cool for me is I had never been to Chicago before. So my first experience going to Chicago was playing a gig at Soldier Field with Bon Jovi and Kid Rock. So that was sort of surreal. The experience was awesome but it was a little bit of a tease for us all because it was one show. We wanted just to do our best and kill it. I feel we all acted very professional about it. Everybody backstage and Bon Jovi’s manager told us how professional we were. It felt very natural. I’m just glad we have that experience under our belt and hopefully there will be many more to come like that.
CB: It was a great show. Very high energy. You have a video and a song called “Kitty Litter” that has gotten a lot of play. I saw an interview that the concept behind the song was “Girls can be bitches” and I thought that was the best line of the week. Can you tell me a little bit more about the song?
Anna: Yeah, sure. I mean that is sort of the basis of the song. Unfortunately from a little bit of experience. I called it “Kitty Litter” just because that is the nastiest thing. People call girls catty. What’s the nastiest part of the cat? That’s just how “Kitty Litter” evolved. I use a line in the song that it’s a pretty little ribbon that’s tied to a fatal disease. I write metaphorically, and that just sort of means that girls can come off as really pretty and friendly but once gossip gets involved, it can become deadly. It can bruise someone’s ego or friendship or that sort of thing. That’s basically what the song is about. Not all girls are like that, just some.
CB: I’d say most, at one point another, we are all guilty I think. You guys just had a song featured on TV as well right?
Anna: You can barely hear it but it’s so cool. It was on Burn Notice..
CB: What song was it?
Jesse: It was “Drop Your Panties and Roll” from our first EP Put Your Babe On.
CB: And again, another song that I like. Can you tell me a little background what that song is about?
Anna: Oh yeah, that song was inspired by celebrities and paparazzi and how people are coming out of clubs and posing for cameras. It’s how things can get crazy or dirty. It was written around the time that there was the Britney Spears, Paris Hilton, and Lindsay Lohan scandals wanting to show their coochies for the camera for exposure. That’s why I say in the song, “Filthy is as filthy does/ Don’t forget to pose for the camera/ Raise your glass to the writer” because the writer is basically gaining you fame for all of your bullshit. We weren’t originally going to call it “Drop Your Panties and Roll,” but our witty bass player Jairo, I don’t know, the most random shit comes out of his mouth. So I said, “Jairo, what do you think we should call this song?” And within two seconds blurted out “Drop Your Panties and Roll” and we started laughing so hard and just kept the title. It was just convenient that that title was what I was writing about.
CB: You guys have a fairly new EP out right?
Jesse: Yeah, it came out March, just a little three song EP. Amy: What are the three songs on there?
Anna: We feature “Let’s Go,” “Party Dress,” and “XOXO.”
CB: Do you guys write your stuff?
Jesse: Yeah, the guys usually write all the music and will have a full song figured out or Jairo will have the song musically figured out or if we don’t we’ll kind of jam on it, a rift that either one of us has come up with. Then once we get that solid, we’ll bring it to Anna and just jam on it til she gets some words and melodies flowing. So everyone contributes musically, then we let Anna do her magic lyrically.
Anna: That, and then they come along and cut parts out here and there and turn it into a beautiful song.
CB: Do you guys have anybody you run it across. Do you ever co-write with anybody?
Anna: No. But we have a friend of ours here in Nashville who has approached us and has offered to help co-write with some stuff. My first reaction to that kind of stuff is pretty defensive. But this guy, he gets me and my writing style. I don’t know, I give him a lot of credit for that. So he has been coming to some of our practices. We haven’t written a song together from scratch. But he has been taking a few of our songs and sort of upping the game making it a little more “poppy” and making it a little bit more placeable as far as movies and radio are concerned. So, I am sort of working with somebody but in general we don’t at all.
CB: What’s your favorite song to play live?
Jesse: Good question. I can tell you mine. We are always writing so we have a handful of new songs that aren’t recorded yet. So mine right now at this moment is one of our newest songs called “March.” It’s got a bit of a different sound than we have recently recorded. It’s going in a little bit more of a “what’s hot right now” direction and got a lot of the dance feel but it’s pretty rock and pop. That one is fun for me because I get to play a little bit of a solo. So it’s a different kind of arrangement too.
Anna: Yeah, I actually agree with Jessie. That’s not necessarily my favorite song right now but when any song is new and fresh, you have fresh energy with the song. I’m not saying that always goes away but I’m pretty pumped about that song. Otherwise, we have a song that isn’t recorded yet called “Hey Kid” that is about the downfall of the music industry and it’s very anthemy. It’s one of those I can jump around a lot. I really like that one. “Let’s Go” is fun because it has the cheerleader chant to it but it’s not cheerleader at all which is awesome. I like “Sugar Cookies” because it’s all balls to the wall and crazy and I can jump into the crowd with that song and people can get into it and just want to dance. I try to write all of our songs to be fun to perform.
CB: What are you guys listening to right now. What’s in your Ipod or your car?
Anna: Right now in my car I’m listening to Iggy Pop’s Greatest Hits.
CB: Who are your influences when you perform or written in the past? I hear a No Doubt “feel” to your music.
Anna: Oh yeah if you mention No Doubt it’s totally cool. I have quite a few influences. Non-female anywhere from David Lee Roth to Freddy Mercury, even a little bit of Kurt Cobain. But as far as females are concerned, Chrissy Hines, Joan Jett, and Gwen Stefani for sure. I grew up in a really super religious home where MTV was blocked from the television. But when No Doubt came out, my parents actually let me listen to that CD. I listened to that CD until my ears were on fire. I admired her stage presence and I think her power sparked something in me and I woke up one day and I said that’s exactly what I’m going to do with my life. Everybody in my high school knew that I would do that one day. That dream is coming true. So yeah Gwen Stefani is up there but not my only influence.
CB: You brought up being raised in the religious household. I mean Nashville has a great music scene and I love to go to Nashville but one of the things that bothers me is the ultra-conservatism that is around town. Do you have to deal with that or has that ever been a problem for you?
Anna: I don’t hang out with those people.
Jesse: Well speaking of Nashville having a really good music scene. I’m not sure if you saw the Rolling Stone article but they just named Nashville the best.
CB: I did and I just read it last night and saw the article.
Jesse: Yeah that’s huge and I got really excited when I saw that.
CB: I think it’s true. I always tell people that I find Nashville to be an awesome place but also a frustrating place because I have seen people on the street or working at Trader Joes that I feel are awesome singers or musicians that are never going to make it, better than a lot of the people out there.
Jesse: That is kind of frustrating to see that. I think, with what we’re doing, there is a really strong rock scene going on here. Of course you have country, you have Americana, you got folk, got blues, whatever. But we find more success when we play shows out of Nashville. We love living there, we love playing shows there. But everyone is a musician and everyone is a critic. You’re a dime a dozen. You’re like everybody else in town.
Anna: Right, like everybody is a music lover but if they come to see you, they never want to show it. It’s either everyone is jealous of everyone else or everybody is trying to copy someone else. Nashville is a tough crowd as a lot of big cities are, but Nashville in particular. When we go out of town, it’s night and day. We have fans who are putting their hands up and trying to get as close to the stage as possible. When that kind of energy happens, that’s when they get the better show and that’s when I’ll jump into the crowd with them.
CB: So are you guys originally from there?
Jesse: I’m from Grand Rapids, Michigan.
Anna: I’m sort of a mutt but I grew up in Montreal in my childhood and then moved to South Florida for high school and college.
CB: How did you guys all come together and form the band?
Jesse: Funny story. Anna and I actually met on the internet.
Anna: Before it was cool.
Jesse: Yeah before it was cool to meet someone on the internet. I was living in Indiana at the time and going to school there and I was in a band there and really tied down. So when I met Anna on the internet and saw that she lived in Florida, I was like “long distance relationship, okay.” And we had a really strong connection. Then we started visiting each other all the time and sparks flew. So she decided to move up to be near me when I was still in my other band. As time went on, that band fizzled out. Then we started writing together, and I realized that “Holy crap! This is really good. This is the best stuff I’ve ever done.” We couldn’t hack it in Indiana anymore, we wanted the big time and the closest option that seemed like the right place was Nashville. So we moved here about six years ago and we met the other guys when we got here. I worked with our bass player Jairo. We met Nathan via Craigslist when we were looking for a drummer. So a very unique come together of how it all started.
CB: So are you and Anna together-together?
Jesse: We are together-together.
CB: Does that cause any problems? That’s a lot of togetherness.
Anna: Oh for me and Jessie? No, every relationship has its problems but I think what’s really awesome about our marriage and being together is the fact that we have a common goal. So it’s not like I want to have babies and be a stay at home mom, it’s like “F that, we are going to do this together.” We actually have a lot of fun with it. Jesse and I are best friends first. When we’re on the road, we feel that too. I don’t know, it’s really unique, we get along really well honestly. We’re all really different people but it just happens to work.
CB: I think you have to get along to be in a band together for long periods of time. It’s a tough situation but if you’re good friends, you just kind of let things go.
Anna: Yeah for sure. I would love to spread the rumor that we are real rock stars that cause trouble, drug addicts, burn out all the time, real crazy, but we’re not, we’re actually super business-minded. And don’t get into any trouble, the worst thing we do is play dirty mad-libs in the van for like eight hours straight.
CB: You guys do this full time right?
Jesse: No, we all work 9-5’s and the band is like another part time job.
Anna: But we’re working on it to be full time. That’s our goal.
Jesse: That’s our goal to make a living at making music.
Anna: You really have to believe you are going to do it. It can get really discouraging. For example, all the guys do work 9-5 jobs. I used to. I’m more of a night person and I just started waiting tables and making more money doing that. I’m working at a higher end hotel in Nashville where all the musicians come through and all the main songwriters come through. And here I am wanting to make a living for The Worsties and overhearing shit bands getting signed and things are happening for other people. I am pouring their sparkling water and wanting to throw up in their food. It’s discouraging because you see things coming together for other people. But at the same I’m super positive because every goal we have set we have surpassed so far. We’re going to get there. Our time is coming. It’s hard.
Jesse: It sounds very cliché but there is a lot of power in positive thinking. If you will it, it will happen.
This month, the Southgate House’s “Artist in Residence” series features a special pairing of two of Greater Cincinnati’s finest songwriters. Chuck Cleaver, formerly of cult heroes The Ass Ponys and currently a driving force behind Wussy, is joining Mark Utley, leader of Americana band Magnolia Mountain, every Wednesday in May, offering a rare chance to catch both singer/songwriters together and in a solo context. The free, 9 p.m. shows — which begin tonight — will also feature a different special guest each week.
When The Afghan Whigs announced late last year they would be reuniting for a pair of appearances at All Tomorrow’s Parties in London and New Jersey (since grown to a full blown European tour of summer festivals and clubs), music critics and fans rejoiced.
For years, interviewers probed lead singer Greg Dulli about the possibility while he promoted his successful projects The Twilight Singers and The Gutter Twins. The answer, when it would come, was usually a firm "No" — everything that needed to be said with the Whigs had been said. Disappointed fans had reason to mourn — in the ’80s/’90s, Whigs' live shows were legendary for their one-two punch of cathartic anthems and ass-shaking grooves, with the alpha male voodoo cast by Dulli.
Unlike scores of other bands who get back together for all the wrong reasons — an embarrassing reality television moment or ill-conceived package tour (“Grunge on Ice!”) — The Whigs embraced this reunion on their own terms. It's been well covered in the press that all parties involved in the Whigs' camp said that the time was just right for this rendezvous. No hatchets to bury, no compromises to make and no million dollar title sponsorship necessary — the schedules just worked out and, by all accounts, everyone was in the right place, personally, emotionally, professionally.
That wasn’t the case in 2001 though, when the group cited physical distance as a prime reason behind their curtain call as a band. Two newish tracks momentarily reunited the band in 2006 for a career spanning retrospective, but no decision to re-group was made until bassist John Curley and guitarist Rick McCollum quietly got together with Dulli in New Orleans late last fall to test the waters. Obviously, they were pleased with what they heard.
Flash forward to this past week, halfway into their first live show in over a decade at the Bowery Ballroom in New York. Any concern that Dulli considered the band's reunion shows as some sort of middle-aged victory lap was put to rest as he traded quips with a heckler who apparently hadn’t got the memo about Dulli's legendary run-ins, on and off the stage with audience members who couldn’t resist being a part of the show.
Without dropping a beat, Dulli offered the fellow a cautionary warning before returning to the music at hand: “You know, I will fuck you up.”
Your attention please, indeed.
The Whigs still take their music seriously. In the month leading up to the somewhat surprise of a show at the Ballroom in New York this past week, the Whigs holed up in Cincinnati at Curley’s Ultrasuede Studio to give their entire catalog a work out. But hometown anonymity gave way when the band arrived in NYC to a New York Times proclamation that their sold out show in the Lower East Side was the “most sought after ticket in the Northeast.” Fitting perhaps as well that the Whigs first show back would take place in the city where they played their final show in 1999 (unbeknownst to anyone).
That Tuesday, the Whigs' fired their own opening salvo with their first television appearance in over a decade on Late Night with Jimmy Fallon. It takes balls to play your first live gig in 13 years on TV in front of millions of viewers — not to mention performing a relatively obscure R&B tune (“See and Don’t See” by Marie “Queenie” Lyons) instead of one of your hits. Business as usual for the uncompromising Whigs.
Since Uptown Avondale's track by track Soul homage, the Whigs have been notorious for unearthing and reinventing old school R&B tracks. This time around, the Whig’s recorded a fragile interpretation of Lyons’ song, which was released online the week before. The tune got the Whigs' Chamber Rock treatment on Fallon with a string section and The Roots' ?uestlove joining in on drums while a nattily attired Dulli coolly plead his case. Later, after Fallon signed off air, the band recorded a bonus track for the show’s website, ripping through a caustic, muscular version of “I’m Her Slave.” Hopefully viewers at home didn’t miss the moment immediately after the song where Dulli and the usually reserved Curley quickly traded wide, shit-eating grins, obviously pleased with what the band just dropped on millions of viewers, many of whom had probably never had the opportunity to see the Whigs on their first go around.
If the Fallon appearance was the peek behind the curtain, the sold-out show at the Bowery Ballroom the next night was the full on Angelina-leg-bearing reveal. The band wasted no time, dipping heavily into Gentleman and Black Love, including a reprisal of “I’m Her Slave” and a dizzying “Conjure Me” from Congregation. The Whigs also visited a few tracks from their final full-length, 1965, before adding a couple of covers — the Lyons' track from Fallon and a spooky, piano-driven take on Frank Ocean’s “Lovecrimes.”
Presumably left for later in the tour was anything from the band's Sub Pop debut, Up In It. The band did, however, go six tracks deep from their noir epic, Black Love, including show opener "Crime Scene Part I" and the set-ending epic trio of “Bulletproof,” “Summer’s Kiss” and perennial show closer “Faded,” with the little coda from Purple Rain tagged on for good measure. But it was the reintroduction of the title track from Gentleman that brought the house down.The song had seemingly been shelved for live sets post-Black Love, it's rumored because of the heavy-hearted toll delivering the scathing lover’s reproach night after night took on its author. Whatever the reason, Dulli was back on better terms with his signature song, playfully pointing fingers and shaking his ass while the rest of the Whigs powered through the song’s metallic groove.
The reconvened Whigs are more light and nimble on their feet than the expansive 1965 final tour that saw the group supported by a cadre of excellent back-up singers and support musicians each night. This time around the trio is augmented by long time Dulli sideman, guitarist David Rosser, multi-instrumentalist Rick Nelson and drummer Cully Symington. Even without all the extra hands on deck, the resulting sound still allows for moments of fragile beauty amongst the riffs thanks to Nelson’s cello and piano playing.
It’s worth noting that Dulli apparently gave up smokes over a year ago and his voice might be exhibit A for you kids contemplating taking a puff for the first time. He’s refined his aching falsetto and added some harmonic high notes to his trademark whisper-to-a-scream howl that showed no signs of letting down during the near two-hour show. Dulli acknowledged his new smoke-free existence, referencing the now legendary mid-show light ups where he would hold forth on baseball, shitty cover bands or how your girlfriend was flirting with him the entire show while the band would play bemusedly (or not) on. During his heckler beat-down at the Bowery, he even worked in a belated apology to mates Curley and McCollum for their patience during his soliloquies all those years — then accepted a goodwill drag off an audience member’s joint.
Unlike a lot of bands who play Reunion Roulette and lose, if national reviews of the show are any indication, this year’s model of the Whigs arguably sounds better than they did during the ’90s when they first broke on the international scene with their addictive mash up of Midwestern Punk, Rock and Soul.
Dulli said it best after a punkish wind-sprint through 1965’s "Uptown Again," when he offered a heartfelt thanks to the crowd for coming, adding, “It feels like we never left."
Full setlist from the Whigs' Facebook page:
Those Guys have emerged as one of the more impressive up-and-comers in Cincinnati Hip Hop, both via their digital/CD releases (a handful of singles and a trio of excellent mixtapes) and their live show, which incorporates a three-piece live band. Those Guys features MC's J.Al and Jova, who met as high school freshmen and started the group upon graduation in 2008. Citing influences like Kanye, The Clipse and Kid Cudi, the duo issued Greater Than the Mixtape Volume 1 in 2009.
The most recent in their Greater Than the Mixtape series (Volume 3) was released late last year, kicking off with the monster track "You Ain't Know," which showcases the duo's telepathic back-and-forth, superb lyricism and a fat and funky musical approach.
The duo has been garnering extra attention with their just-released video (Those Guys' first) for "You Ain't Know," which was filmed in Monroe just prior to Halloween and features some spectacular scenes of the crew blowing up a car. Who says you need a big budget for action-movie-like special effects? (The group thanks the City of Monroe's parks, fire and police department as well as the Butler County Bomb Squad in the video description on YouTube, so the fiery shoot was on the up-and-up.)
The video has been creating major buzz on social media, even drawing praise from Hip Hop legend Redman, who tweeted "Dope ass video … thats wut Im talkn bout … sumtn different … hard shit."
Check the clip below, then visit the duo's Bandcamp site to download the latest mixtape and other Those Guys material for free. You can find more about Those Guys at their official site, Facebook page and on Twitter here.
Music Tonight: If you're up for a night of slinky, sexy R&B this Valentine's Day, you lucked out, because New Edition's 30th anniversary tour hits the U.S. Bank Arena tonight with equally bumpy/grindy K-Ci & JoJo and El DeBarge. Many more locals than usual are aware of tonight's New Edition performance, unfortunately due to the coverage of the death of Pop superstar Whitney Houston, ex-wife of Bobby Brown, New Edition's biggest success story outside of the group. The New Edition tour was a rarity, primarily due to the participation of Brown, who left the band at the height of their success to launch an even more successful solo career.
Many of you have likely seen the teary, heart-breaking footage of Brown performing with NE the night he found out his ex-wife and the mother of his child had died. Once it was clear that his daughter was having a very tough time dealing with the tragedy (hospitalized twice since Saturday), he left the tour to be with her. Today, people reported that Brown and Houston's 18-year-old child was released from the hospital and the AP has reported that Houston's funeral is set for Saturday in Newark, NJ.
I love the first night of MidPoint; the anticipation, the excitement, the friends, the music, the potential for getting wetter than you’ve been since the birth experience. It’s magic, a sensation perhaps intensified on Thursday, being the first night of the festival’s tenth anniversary.
John 5 has seen almost everything in Rock music. He's toured with David Lee Roth, Marilyn Manson and Rob Zombie (with whom he's currently rockin') and been credited on songs from a wide range of artists — from Saliva to Salt n Pepa to k.d. lang to an upcoming collaboration with Rod Stewart. The guitarist has gained the reputation as a musical genius and one of the most action-packed guitarists in the world. He has just released his sixth solo album, God Told Me To, which mixes acoustic Spanish guitar along with Metal riffs.
CityBeat caught up with the guitar player to talk about the new album and some of the darker aspects of what goes into his writing, as well as the lighter aspects help put him to sleep every night. John 5 will take the stage with headliner Rob Zombie this Sunday at Rock on the Range in Columbus.
CityBeat: Can you tell us about the name of your album, God Told Me To?
John 5: The name, it is funny because … I am from Michigan, I am from Grosse Pointe. I was upper class growing up there. I was brought up in a really nice environment and home and I remember the night before I was leaving for California to really give it my shot saying, “I am going to try this. I am going to try to be this musician type of thing.” I remember I was saying my little prayer. I never wished to be a “rock star.” I just wanted to be a working musician. My dreams didn’t even go past a session player or a working musician. It was too far beyond my dreams. That’s kind of what the title means, that kind of thing, but also you can look at in the negative way, like when someone does a horrific murder, they always say, “Oh, God told me to.”
CB: I have read a lot of discussion in your recent interviews about serial killers and even the song “Night Stalker” being written about Richard Ramirez. Do you have an interest in serial killers and the history and stories behind them?
J5: I think it is interesting to me about how the mind works and how someone is wired, how their mind works, how it is completely OK to do these things, which I could never even think of doing something like that. It was always so interesting to read about this or watch documentaries. It is so odd for something like that to happen, so I have always had this little fascination with it — not that I am pro-for that kind of thing or anything but it is just very interesting to see something like that.
CB: I got a copy of the album and have been listening to it today. I love the acoustic Spanish-style versions on some of the songs. I know you are a lifelong learner. Did you take specific lessons around Flamenco or Spanish-style guitar lessons?
J5: Yes, I have always tried to learn, it is what keeps me sane. I love to learn and I started doing a lot of studying of Spanish-style music and really started getting into it and how it is just a completely different form of guitar playing. It is just like if you started speaking in a different language like Japanese or something. It is something that you have to study and work at a lot. That is what I enjoy because I love the guitar so much. Yes, I did a lot of studying and research on that.
CB: What current music is inspiring me right now?
J5: What current music is inspiring? You know what, and this will be a surprise, but I usually am very honest. I have had a little epiphany and this is very shocking. I was watching some movie or something like that and a N.W.A. song was on and I am no fan of Rap music, I really am not because I like the guitar. So I heard this N.W.A. song, I think it was “Gangsta Gangsta,” and I was like, “This is really, really, really good.” It was eye-opening to me and I appreciate it now. I was pretty taken back by it. I would have to say N.W.A. (is a current inspiration), which I can’t believe I am saying but it is the truth.
CB: There are a lot of bands right now collaborating outside their genres. Korn has collaborated with Skrillex and trying to create a lot of different sounds which would traditionally maybe not be in Metal music.
J5: Sure, and I think it is very important for that to happen because of the fact music has to always evolve and if it doesn’t, it has failed. It is good that it is evolving.