Mother's Children

     Mother’s Children don’t care what you call them as long as it’s not pop-punk, which I don’t see any danger of that anyway. With influence’s ranging from Nick Lowe, The Raspberries, The Zombies, Sweet and ELO, Mother’s Children craft songs like a gourmet chef cooks fine food. Their last LP, Lemon, was anything but. Instead Lemon is filled with the kind of American meets UK power-pop songs that most bands dream of writing for a single and Mother’s Children filled an entire album them. Mother’s Children don’t like being called pop-punk, but after listening to their songs you may come to agree with one reviewer that they are “Power Pop, with Actual Power.”

Interview by Ed Stuart

Who’s answering the questions?

Kenneth James; Singer / Lead Guitarist / Song Writer

Give us a brief history of Mother’s Children? How did you meet? What other bands you have played in and currently do play in?

We’ve been a band since 2008, so about 7 years. I broke up Sick Fits a year prior to do something new with our singer; Michael Hurts. The Million Dollar Marxists; another Ottawa group, broke up around the same time. The ex-Marxists went onto to form the Sedatives and the White Wires, while Tim and Davey went onto join us. It’s been the same fab four up until last year when we got Seiji, the current Average Times bass-player on bass for us. Two of us also back up Ian Manhire from the White Wires in Voicemail. Voicemail has been playing for about two years and has recorded about two albums but hasn’t released anything yet. I played in a version of The Barracudas, for a tour once, which was pretty neat.

Who is in the band and what instrument do they play?

Kenneth James – Lead Guitar, Vocals

Michael Hurts – Guitar, Vocals

Tim Ostler – Drums

Seiji W. Hewett – Bass, Vocals

How is the Ottawa music scene?  Is it competitive or like one big family?

Well it’s the only music scene I’ve been in, so it’s hard to tell. It’s definitely way better now, than when we started out. I’ve read about how great Ottawa’s bands and scene are lately. It feels like there’s a more positive energy and bigger crowds now at punk/underground shows than there was like 10 years ago. The Ottawa Explosion surely has something to do with that. There aren’t really any bands like Mother’s Children, so there’s no competition. Even if there was, it wouldn’t matter to us, because we just want to make music on our own terms.

What bands did you have in mind when starting this band?

I’m not lying even a little bit when I say that I wanted to be in a band that sounded like The Raspberries, Cheap Trick, The Sweet, The Zombies and T.Rex. I assumed with that mix of influences we’d come out sounding like Supergrass. We even had an organ player in the beginning. Over time, the band developed a more fast-paced, straight-ahead approach, which some people say is called Punk Rock. But those old influences are still very much looming in our songs.

In an interview with AUX, Kenneth mentioned Sparks’ Mael brothers, Nick Lowe, Ray Davies, Jeff Lynne, and Roy Wood as influences. What was about these musicians that drew you them originally?

Sparks for everything. The songs are fun, hook-filled, and occasionally epic. And the lyrics are perfection to me. Just the right amount of weird. Same thing about Ray Davies (the Kinks) and Nick Lowe. Although not as weird; it’s the unique way they are able to throw a story into a simple pop-song that is a major inspiration to how I write lyrics. Lynne and Wood, well you can follow their careers from the Move and the Idle Race who were psych-pop bands, and watch them evolve into the hugely successful Electric Light Orchestra. Quite the musical journey, and the tunes were always top-notch. Another influence to my lyrical writing is John Waters movies. I love just how declarative his characters are. The acting is bad, but the actors speak with such conviction you just have to listen! That’s kinda like our music.

In the same interview with AUX, Kenneth spoke of a very interesting band philosophy “I don’t like pushing my music on anyone, especially since there are just so many bands and varying tastes out there,” he says. “But I’d like people to know how to find us when they’re ready.” One could make the argument, that when a band plays live they are indirectly pushing the band on the fans especially since the only other alternative for the crowd is to step outside the venue to not hear them. Can you elaborate more on that quote?

Yeah, sometimes you’re gonna have to listen to bands you hate, and sometimes you’re gonna BE the band people hate. I guess I’m just a sensitive “artiste.” I’d rather stay underground than be shrugged off by a cold, indifferent public. Yet I refuse to make the music that the public wants to hear, HA! I sometimes feel we belong in a different, simpler time. As a kid I grew up with the Oldies AM radio station playing all the time, and I never knew that they were “Oldies” until I got older. You are right though. All bands have to push themselves to get anywhere, especially when they’re just starting out. When you make music that isn’t the accepted norm, sure, you get creative satisfaction, but the fallout is a lot of folks just won’t care, and that can sting. We prefer to play small venues and house shows. I feel they have a more open-minded and fun vibe going down. If the crowd is up-front and responsive it’s the best thing in the world. If they’re not, I kind of feel foolish. I think we come off as kind of reserved compared to some of the bands we play with. Running around the stage or being super intense just isn’t our thing. I just want to sound good. So yes, you must go outside your comfort zone a little bit if you’re gonna blaze your own trail. A LOT if you’re gonna try to change anything for the better.

In an interview with 53^rd and 3^rd, the band didn’t really seem to enjoy being labeled power-pop, but then at the end it was stated “Call it anything you want really, just don’t call it pop-punk,” which begs the question, why not pop-punk?

HAHA! I guess we don’t leave a lot of options for ourselves do we? I dislike labels, but I understand it’s important to be able to categorize bands. I’ll accept “Power-pop” as a title. Our music is certainly heavy on both those things. Someone once said in a review; “Power Pop, with Actual Power,” which was great. I love Punk Rock, it’s truly thrilling. I have hundreds of punk albums and we play with punk bands all the time. We get a kick out of playing fast and loud, but I just never felt the music we were making was punk music. I guess I just don’t wanna set the wrong expectations.

What are some things you like about all the digital avenues presented to musicians nowadays (Bandcamp, blogs, blog writers, Facebook, smaller record labels, internet magazines, etc.) to help bands today?  And some things you don’t like?

There’s a lot of shit talk in some places, but all the other stuff is great. There are many web-zines and blogs worldwide who have reviewed us and said wonderful things about our records. There was a time when the only reviews I ever read were in an actual magazine. You used to have to create a website from scratch, with pages and everything. Now we just have a band camp and we make money without really doing anything. We’re not about making money, we just want our music to be accessible, and all the resources you just named are great for that. Small record labels however, are the true heroes. I know how hard putting out records is. Without them we’d be nowhere.

Where can people hear Mother’s Children and what’s next for the band?

HUGE Cross-Europe tour with Calgary’s the Mandates in May 2015!

Our bandcamp has pretty much all the songs. (motherschildren.bandcamp.com) It’s all on vinyl too. Our newest one is on Mammoth Cave Records in Canada (www.mammothcaverecording.com) Resurrection Records in the USA (www.getresurrected.com) and Taken By Surprise in Europe (www.takenbysurprise.net) We just recorded a few new songs this month. There will be a new 45 coming out soon to hold you over until our next full record.

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Cozy

It was a summer in the early 1970’s in what would otherwise seem like a typical night in a Minneapolis suburb. Four teenagers were practicing with their band when they suddenly and suspiciously went missing. This up and coming band these boys were in, who were greatly influenced by groups like The Bay City Rollers and The Ohio Express were regarded by many as being “teen idols in the making” and “the next big thing.” In the year 2012, these boys mysteriously returned unharmed and un-aged. Wherever they were time did not exist. They have returned to this dimension now in its “information age” with a request for us all: disconnect, decompress, strap on your roller skates and fall in love!  

Interview by J Castro

Let us first start out by you guys introducing yourselves and telling us what exactly you do to keep the Cozy machine rolling on.

BONKERS:  My friends call me Bonkers, so I guess you can too! Much like my namesake in the Cozy "Denim Magic" cartoon series, I sing and dance for our lovely fans.

BAZ: Me name's Baz, isn't it? I play an Electra Cozy Deluxe model electric guitar, available at select Woolworth's locations.

GORDIE: People call me Gordie Leatherby and I play the electric baritone string machine.

SWIZ:  Hey everyone! My name is Archie but me mum calls me Swiz. I bludgeon the drums behind these denim dreamboats.

Can you tell me how you all met and decided to play music together, basically tell us the Cozy origin story?

BONKERS: Our manager doesn't like us to talk much about our past to the press, but since Audio Ammunition is aimed at a more mature audience than the readership of the periodicals we are usually interviewed by -- such as Tiger Beat and Flip -- I figure we can give you the real story. Baz, Gordie, and myself played together for a number of years with various groups that never really went anywhere. Eventually we congealed into a psychedelic rock band called Silas Cozy. We cut a record for Pye titled Sidepiper at the Gates of Dawn, but it didn't get within spitting distance of the charts. Suffice to say, it was subsequently deleted, with only a handful of copies making it into shops. At the time we were crestfallen, but it turned out to be a blessing in disguise. Our soon-to-be manager, Edwin Bickerton, stumbled upon a copy of the Silas Cozy LP one day, looked at the cover, and decided we had star potential. He tracked us all down at our day jobs -- I was starring in a musical rendition of Richard III at the Stoke on Trent Free Theater at the time -- and we all convened at a gentleman's club where Edwin laid out his blueprint for chart domination over many bottles of Piper-Heidsieck champagne. As it turns out, Edwin's vision couldn't have been more prescient. The combination of his inimitable managerial prowess, the songwriting acumen of the Stately/Poundsworth team, and our own increased dedication to our craft has been the recipe for the success we’ve enjoyed over the past few years. Swiz recently joined the group and we're sounding better than ever!

BAZ: Old Edwin found me at me belt job at the tire burning plant in Dongcaster. I had to make sure the tires didn't go out and stoke them with lead paint chips and asbestos to keep the smoke thick. He said, "Son, I've heard you play guitar, would you like to Razzle a Dazzle?"And I said, "Razzle a Dazzle? I'll Razzle a Duck!!"

SWIZ:  I met Baz one day in Liverpool as he was floated down the river Mersey in a boat that closely resembled a washtub. It may have actually been a washtub. Either way, it looked like he was unconscious so I swam to him and drug him to the shore to find out what’s the matter and give him CPR. Once I started to bang on his chest he opened his eyes and asked me to be the drummer in Cozy. He seemed fine, so I said yes.

You guys just got back from your second Japanese tour, any fun and exciting stories you’d like to share with us, what are the fans like there as compared to American audiences?

BONKERS: While we love all our amazing supporters across the globe, there is something truly special about the Japanese chapter of the Cozy fan club. Our guide was an old business associate of Edwin's named A-Bone. Bone-san showed us some amazing sights -- who can forget the cafe he took us to where young ladies dressed as French maids gave us deep body massages using severed octopus tentacles in lieu of their hands? However, the most memorable stop on our itinerary had to be the guided tour of Japan's oldest co-ed onsen, or hot spring bath. In honor of Cozy the locals had drained all of the water out of the pools and replaced it with mega-liters of Cola Shock! We lost sight of Baz after discovering the pool he was soaking in had been mysteriously drained dry, but luckily we found him again a couple hours later carrying on something of a Socratic discourse with an undergarment vending machine.

BAZ: We went on the airplane for what seemed like an hour! It took forever it did. Then we were in the famous city of Japan on the southernmost tip of England! I found myself lost for many hours and then I ate something that looked like bacon.

GORDIE: Japan, the land of love, sharing and caring. I needn't extol it any further, except to say that when the beams of the rising sun in the east dabble your pale Dongcaster cheeks and the sacred babbling brooks of the frog spirit tickle your toes, you will feel it too.

SWIZ: Another great memory was being joined onstage at Shelter Hall by very special guest guitarist Fink from Japanese chart-toppers the Raydios. Fink was a true pro, and I must admit he looked mighty dashing in a denim vest.

You guys have a heavy 1970’s glam/bubblegum/Bay City Rollers style and influence.  This was an approach to music that had a more innocent fun to it, are you guys kinda sorta trying to bring that back?

BONKERS: It's long been my opinion that good times spring eternal. As long as there are teenagers on this planet, there's going to be a steady demand for rock n' roll, sex appeal, and denim.

BAZ: You're right, I haven't had much time to listen to all the groups we've influenced with touring and all, but Edwin did bring me a Bay City Rollers record, which I had the chance to listen to and was well pleased! I'd like to thank those Bay City Roller boys for being such huge fans and encourage them to keep up the good work! Who knows? With a little practice they could be a supporting act on a Cozy tour someday!!

Your main influences obviously lie heavily in the past, are there any current bands that inspire you?

BONKERS: As you can imagine, our hectic touring schedule gives us ample opportunity to scout up and coming young bands. Two groups that particularly impressed me of late are Ramma Lamma, from the American provincial town of Milwaukee, and Gorilla, from Tokyo. Speaking of the Land of the Rising Sun, at one of the festivals we headlined over there two years ago, we played with a band called Teengenerate who appeared to go over almost as well as us with the natives. I must admit, they were quite excellent. I was also duly impressed by Firestarter, who opened one of our gigs this past summer.

BAZ: I had a singing duck which I really liked, but it ran out of batteries. Then Rita said the battery store was out of batteries so we couldn't have it anymore. Young Parisian also rule.

I know you guys don’t sing about war, famine, and oppression (which is a VERY good thing) so tell me, where does the inspiration for Cozy songs usually come from?

BAZ: Ducks in the sea, monkeys in the tree, vodka in me. Havin’ a good time!

BONKERS: In all honesty, our songwriting team of Mickey Stately and Alvin Poundsworth would be able to answer this question better than any of us can, since they are responsible for many of our most well known songs. I might get in a row with Edwin for airing our dirty laundry in front of the press, but to tell the truth this is a situation we’ve been frustrated with over the years. We’re all adept composers in our own right -- but as Edwin always tells us “you don’t look a golden goose in the egg hole.” However, we were allowed to write two songs on our album “Button By Button” -- “Denim Dream” and “Sidepiping” -- and the response to them by the fans has been quite encouraging. As far as the inspiration behind those two songs goes, they were both inspired by true events in our lives. “Denim Dream” is about how we are living our dream as chart topping superstars thanks to our fans’ support, and “Sidepiping” recounts memories of our high school days. We have another song we wrote together called “Denim Child” in the can for an upcoming 45, but we are currently debating with Edwin about whether or not we will use it or a Stately/Poundsworth composition on the a-side. We wholeheartedly believe “Child” has all the makings of a smash hit and are strongly advocating it be the single.

So with that being said, I’ve heard people say that “art should always push social boundaries, question authority, and make people think.” What is your take on that?

BONKERS:  I disagree with that statement, or any other absolutist maxim that purports to define what rules art “should” follow. The only strictures binding a true artist are a rigorous dedication to perfecting his craft and the willingness to follow his muse wherever it may lead. That being said, I must admit I’m a little confused as to why you are asking a pop group about painting and sculpture.

GORDIE: It depends on what you mean by “pushing boundaries and questioning authority.” If you mean breaking the law and nicking a pair of 517’s from Jean Junction, then we’re against it. On the other hand, if you’re talking about staying out past curfew to come see Cozy when we perform at your local auditorium, then we wholeheartedly approve.

Your music is very up-beat and puts a smile on my face no matter what kind of mood I’m in. Is it sometimes hard to play a show if you’re in a bad or sad mood, has there ever been a time when you don’t feel like going out and being cheery?

BONKERS: First of all, thank you very much for saying that. It means a lot to know our music has the power to put smiles on our fans’ faces when they are feeling down. We have the best fans in the world and we’re so blessed to be able to perform for them. To be honest, we feed off the energy of the crowd. It would be impossible not to be excited when we’re shown such love from so many beautiful and special people night in and night out!

BAZ: BAZ HATES PANTS!!!!

What is the one record in your collections that you think a lot of Cozy fans might be surprised you own?

GORDIE: Grame Grace’s "Hail Me."

BONKERS: I have a personal assistant who travels with us on tour and often picks up the latest records for me at local shops. Sometimes he chooses some really far out albums that can be a bit too heavy for me, but occasionally I really dig them. One obscure record he picked up for me recently is “Loaded” from a group called The Velvet Underground. It came out a few years back and didn't really make the charts or anything, but there are some really catchy songs on it.

BAZ: After my mid morning nap, and often after my early afternoon snooze, I'll have Rita put on the record that goes: “Win wam zoozle zam bamma lamma loo, bim bam wamma lam what about you? Wozzle dozzle loop de loo looping up and down, womble cromble every time beep nap noun.” You may not have heard it because I may have recorded it myself. One can never be sure...

SWIZ: A few years ago I picked up a record by a band called MC5. I really love their hard hitting drum lines! I just wish the singer had a little more of an English melodic sense and made use of harmonies the way bands back home do.

What will the rest of 2014 bring for us, the Cozy fans?

BONKERS: Well, we’ve finally wrapped up the first leg of our world tour in support of our new album “Button By Button,” which came out this past summer on HoZac Records and has already gone gold. So far the response to the album has been universally positive, which has us feeling duly humbled, but not entirely unlike a bunch of proud papas. From our early days as Silas Cozy to the release of “Button By Button,” it was a long, hard, road to get to the top of the international pop mountain. Now that we’re here, we’re going to keep working hard to entertain our fans and hopefully secure our place as one of the greatest bands in rock history. As I mentioned earlier, we have another single in the can, which should see the light of day sometime early next year. Other than that, our plan for the rest of the year is to take a break from our relentless touring schedule in order to work on material for our follow up album, tentatively set to be a two-album set entitled “Double Denim.” Hopefully we can convince Edwin to let us write more of the songs on this one.

BAZ: Please check out our new line of Cozy brake pads as well as Baz Bozworthy's Baz Brand Butt Butter for all your butt moisturizing needs!!!

BONKERS: Before we go, I’d like to take this opportunity to thank the fans for letting us into their lives. Each time you play a Cozy record or come to one of our concerts it’s like giving all of us a giant hug. Believe me when I say there’s nothing we love more than hugging you back.

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Yum Yums

     In a perfect world, there would be a tribute statue erected in Norway with the likeness of Yum Yums front man Morten Henrikson. For years he’s been strumming away writing and performing glowing pop songs, just the way the Norse God of pop songs intended. Songs that are so jam packed with guitar hooks and genuinely heartfelt lyrics that you instantly feel a connection with them. Sometimes I feel like maybe that's why bands like The Yum Yums aren't as popular as they should be; it's almost too emotionally “real” for most people to take. That's why all these disconnected theatrical rock star puppets rule the airwaves.  So where is this Norse God of pop songs and why isn't he striking down all of these fraudulent poets of musical swill you ask? Why he's too busy writing songs for his band The Yum Yums!

Interview by Jay Castro

What is the origin story of your band Morten? I know you have had a lot of people come and go, but with the original line up: how did you all meet and decide to form a band?

The Yum Yums was my idea from the start. My former garage band The Cosmic Dropouts had just broken up and I wanted to start a light hearted pop-band with punk energy to stand up to all the grunge, black metal and "beats per minute" crap that was out there in 1993. I wanted a band like Paul Collins Beat, The Barracudas, The Real Kids and of course The Ramones, plus more "modern" bands like The Queers, Psychotic Youth (Swe), The Vacant Lot and Sonic Surf City (Swe). A band like The Devil Dogs was also a HUGE influence. Still is! I basically recruited guys I knew were into the same music I was, regardless if they were "good" musicians or not.

As a kid, do you remember what band or musician made you want to pick up an instrument and want to write your own music?

Yep: The Monkees were my favorite band when I was 4. My mom bought me Monkees singles after we watched The Monkees TV show. Later I got obsessed with the British glitter and glam pop wave of the early 70's. Slade, Sweet, Suzy Quatro, Gary Glitter, Mud… you name it! They were all gods! Then Kiss, The Ramones and punk rock. Later I started digging backwards for ‘60's garage rock, surf, girl groups and bubblegum, even 50's Rock N' Roll, R & B and rockabilly.

What is life like for a power pop band in Norway? Are there some other similar bands to play with out there right now?

We have actually been pretty much alone, doing the kind of Ramones-y power-pop that we do. Norway is such a small country, so the bands we like to play with and hang out with are bands of various genres. Lately some new punk / power pop bands have turned up, though like Sugar Louise, The Promdates, The Whipshades, The Hallingtons. Other bands to check out would be Peter Berry and The Shake Set (‘60's beat), Los Plantronics (spaghetti-instrumental), Gringo Bandido (Intense Greg Cartwright-style pop rock).

On the new album …Play Good Music, the subjects of the songs run a full emotional spectrum of relationships, everything from being happy in love to being happy without it. Are all of these songs about the same person or are you able to look back and tap into emotions from your past?

The angry bitter and hateful songs are mostly about my ex girlfriend Caroline (of Caroline & The Treats), who had dumped me right when I was writing the lyrics for the album. Not a happy time, but good for inspiration I guess. The happier songs are either written before the breakup, or are about what life and love could or should be like in a perfect world. The album is actually still kind of hard for me to listen to. Oh well… these days I am writing songs for the next Caroline & The Treats album, which I also will record and produce. She writes her own lyrics though.

Aside from the obvious power pop influences, the song on the new album “And a Whole Lot of You” has an almost Motown intro like “Can’t Help Myself” by the Four Tops.  Are you a fan of Motown and groups like these?

There are a lot of different influences on the album. The main influence for “And A Whole Lotta You” is however bubblegum pop. No particular song. But I am of course a fan of the Motown stuff and bands / artists like that too. There were a lot of Motown influences in Bubblegum music too.

Although Yum Yum’s lyrics aren’t always happy and sunny the music that accompanies them usually is. Do you have any music that you put on when you’re down about something that can brighten up your mood?

Any Rock And Roll, baby! All kinds! As long as it rocks!

Where are the best places for people to hear or buy your music?

Anywhere we play, I guess. My favorite place to play is always at the Wurlitzer Ballroom in Madrid. We have a fantastic, faithful gang of fans there. Always a party! Where to buy our records? Any well-stocked records store, iTunes Store, or directly from me: mhenrik@online.no

What does the band have in store for us in the near or not so near future?

I have written A LOT of new Yum Yums songs, and we are planning to record a new album this summer / fall for release later in the fall. I guess I need to find another girl who can break up with me, so I can get the lyrics going. Lyrics are always a hassle! I hope we can release a new single shortly. I wrote a summer-song last summer called "Summertime Pop". It's about guys who spend their days and nights indoors playing their "Perfect Summer 45's" instead of going to the beach.

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Faz Waltz

     Somewhere in Italy, there is a group that eats and breathes T. Rex records while watching endless reruns of Marc. One of these disciples is Faz Waltz, one of two major glam punk bands originating from Italy. Faz Waltz plays the style of glam, punk, Rock N’ Roll that T. Rex, Sweet and Slade played before they musical term was coined. Just because the 20^th Century is gone doesn’t mean there are those that forgotten the influence of “20^th Century Boy.” It is only fitting Faz Waltz comes from Italy, a country shaped like a boot, and is the heir apparent to wear the same silver glam boots that Slade wore. 

Interview by Ed Stuart

Who’s answering the questions?

Hi, I’m Faz La Rocca.

Where is the band from?

Como, Italy.

Who is in the band and what instruments do they play?

Faz La Rocca: Vocals, Guitar

Diego Angelini: Bass

Marco Galimberti: Drums

How did the band start?

I have played in a band since 1998 and after some experiences with punk rock; I started to write material for a new project, Faz Waltz in 2006. I just wanted to have some fun with the roots of punk and try to stand out from all the other bands around.

What is it about glam music that is so endearing? At first, glam music was, arguably, thought of a passing fad, but it has been very influential especially in the last few years considering bands like Giuda and Faz Waltz are heavily influenced by glam. Any thoughts on why that is?

Well, glam rock has never been taken too seriously, it has been seen as a kind of joke. At the beginning, it was the same for Rock N’ Roll in the fifties. In 1970, the rock scene was founded on the magniloquence and the virtuosity, with a serious approach to the lyrics and the technical skills; glam rock wasn’t anything like that. Simple, easy, and fun just like Rock N’ Roll. Punk was coming.

What is the music scene like in your hometown?

We’ve got plenty of punk bands, some are very good, The Leeches for example, but apart from Faz Waltz and Giuda, there isn’t really a glam rock scene in Italy nowadays. That’s why in the beginning it wasn’t so easy to get gigs.

Do you feel being in a glam band gives you more songwriting freedom? On Back to Mondo, the band has melodic ballads like “King of Nowhere” and classic glam stompers like “I Wanna Find My Place.”  If Faz Waltz was a punk band do you think you would have the same songwriting freedom?

I’ve never thought about it. I just write songs, the way I like, the way they come, and it doesn’t matter. If a song is good, it’s good, sometimes it depends on who is listening I think. I know punks that love the ballads more than the glam stompers.

Do you think music can still be a vital force in such a disposable age?

For sure. music is what I breathe from the time I open my eyes in the morning till I go to bed, the way the music make you feel is irreplaceable.

Five essential glam records you feel everyone should own.

It’s not easy to choose just 5 records. I’ll name the most popular and easy to find records, in case you’re new to the genre:

-Slade “Slayed” LP 1972

-T.Rex “Electric Warrior” LP 1971

                   -David Bowie “The Rise And Fall of Ziggy Stardust and The Spiders from Mars” LP 1972

-Gary Glitter  “Glitter” LP 1972

-T.Rex “The Slider” LP 1972

If you had the opportunity to have Marc Bolan or Mick Ronson in Faz Waltz whom would you pick? Or if neither of these guys, whom would you pick? Why?

Bolan was the head behind T.Rex, so I don’t think it would work very well; too many cooks spoil the broth. Mick Ronson did a perfect job with Bowie. He’s the perfect right-hand man.

50 years ago people used to buy music and get their water for free, now people pay for water and get their music for free. How do you think this affects music in any way?

Well, you know, being a musician should be a job, exactly like being a plumber. If you didn’t get paid for your work and your effort it would be very difficult to keep afloat, and it is. Fortunately, for the moment, we all also have a “real job,” like someone use to say.

In a Global Texan Chronicles article, they stated, “Faz Waltz isn't necessarily a straight forward nostalgia band simply re-working bygone sounds in an effort to emulate their sonic heroes. More of a band who understands the importance of an era in music that most have decided to leave to history.”  Do you feel this is an accurate of the band?

We just do our best to make good music in the most genuine way, we don’t try to be spontaneously nostalgic or original, but I don’t think there is another band just like Faz Waltz at the moment.

The band is diehard analog fans. Why do you think recording analog is so important as opposed to recording digital?

It could seem obvious, but I think it’s a just a matter of sound, and what you want to achieve.

Analog recording could work for some bands and not for others … it isn’t a magic formula, for the way we want to sound, it’s perfect, for example.

Where can people hear the band?

You can listen to our music on records and live first then Bandcamp, Soundcloud, Reverbnation, YouTube and on our official site www.fazwaltz.com , where you can find all the links to the social networks too.

What’s next for Faz Waltz?

We’re working on the new album; we’ll be in the studio this summer. Some new songs we’re playing now…

-Kids Are All Wild

-Makin’ Noise

-Hot Class (Working Class Teacher)

-Back In Town

-Crazy Little fun

-Telepath Baby

-Ready To Go

-Let’s Get Around

-Move over

-We’re All We Got

-Change

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