Stoney & The Jagged Edge interview

Stoney & The Jagged Edge were one of the wildest, heaviest and outrages groups coming from Detroit. The quartet formed around early 1966 and played with many major acts. Dave “Stoney” Mazur was the quintessential Detroit frontman.

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“We didn’t really want to sound like anybody”

Where and when did you grow up? Was music a big part of your family life? Did the local music scene influence you or inspire you to play music?

I was born and raised in Detroit. My family life was a mess. My mother should be a saint by now. To keep us fed she had to work, so my grandparents basically raised me, and grandpa was an Irish fiddler. He could play the violin by ear, and the harmonica, the ocarina, spoons, and ukulele. I got an old guitar from somewhere and he taught me to play it with four strings. The music scene was my transistor radio. I was 7 or 8 when I started to fool around with grandpa, so I guess he inspired me that I could learn to play stuff, starting with Christmas carols on the violin.

When did you begin playing music? What was your first instrument? Who were your major influences?

I got a few lessons when I was 13 or 14 on guitar. Influenced by what was on my radio. Stuff that had interesting vocal harmonies fascinated me, like The Miracles, then I discovered I could knock off some Elvis Presley (my mother and my aunts told me I looked like Elvis Presley…). Then came the Beatles. Somewhere around that time I discovered I could more than carry a tune…I could actually sing. I learned harmonies in my head, and could do “Ooo Baby Baby” by Smokey Robinson in falsetto…now that was a big deal at 14. Non of my friends could sing falsetto.

What bands were you a member of prior to the formation of Stoney & The Jagged Edge?

I was the neighborhood kid who the older 16, 17, and 18 year old girls wanted at their parties because I could sing and play. There were older guys I met who had actual bands that played ‘Teen Clubs’. One of them was called ‘The Customs’. They needed a second guitar player who owned an amplifier, (which I did), and they played around town. There were a couple problems. They played bars in Canada and occasionally had to have some guy in the audience say he was my “dad” because I was too young (15) to be there. This held them back from some gigs. Also as I approached 16, I became very popular with the local girls. You can say this is egotistical but it’s the truth. Ask around, I was better looking than the band leader, I sang better than the band leader. When we played Detroit teen clubs the girls would populate my side of the stage, and I mostly was relegated to just strumming while my “boss” played and sang. After about 6 months he kicked me out of the band. It was supposed to be his show. So I learned music wasn’t all fun and games. There was a competition angle. I had met other guys by gigging and started playing in my basement with a bunch of them. Having decided to start my “own band”…I found Ira Pack (Guitar, Backing Vocals) who was an incredible player for his age, actually knew theory and harmony and taught guitar (while in high school) at a local music store. He was the best player I ever saw among my gang of friends and he admired my voice: he said we would have an “edge” on the other local groups mostly because of my falsetto. He felt most of the bands could play the songs but not sing them well…the “jagged edge” somehow came out of that. Ira Pack and I were truly like brothers and even though a band was my idea, he was such a superior musician he made the final “hiring” decisions as to who would play bass and drums…we went through many guys.

What was the first song you ever composed?

I don’t know honestly. I had been writing little ditties since I was 8 years old with Grandpa…silly stuff. We, like everyone else who got bookings, we were a “cover band”…kids wanted the hits of the day…and if you could nail them; you earned a following…it wasn’t until 1967 or so that I thought I had written anything good enough to actually perform live. We would rehearse so we knew our sets. Then Ira and I would spend a day a week after school in my basement and I would play for him stuff I wrote…I threw so much away before he and I tried a few…I respected Ira’s opinion and only Ira’s opinion…If he thought it kicked ass, we would try it. I wrote every word and if there was a “tag line” for the lead guitar I would note it for him, and many of my songs have dominant bass lines or intros…so I would sing and play bass, Ira would arrange the chords and lead structure and then we would bring in our bass player and drummer. Among the first original songs we incorporated into our sets and people actually learned and remembered, asked for and danced to…would be “Chasin’ Rainbows” and “Delilah”…both story songs from real experiences about real people.

Can you elaborate on the formation of Stoney & The Jagged Edge?

It was just Jagged Edge…Stoney & The Jagged Edge was a name change when we were going to record and of course Ace Records had to use Stoney & The Jagged Edge because as we grew we discovered there was an English band also named The Jagged Edge and by 2014 you had the fine black vocal group Jagged Edge.

When and where did Stoney & The Jagged Edge play their first gig? Do you remember the first song the band played? How was the band accepted by the audience?

We probably played a few house parties (actually teenage “beer parties”) in some older high school girl’s basement before we took it on the road…but remember…I had this little female following from “The Customs”, the band I played in but wasn’t allowed to sing. So I was not completely “unknown”. There were tons of teen clubs in Detroit, Garden City, Sterling Heights, Brighton, Southfield, Grosse Pointes. Which was first…? I don’t know…could have been the “Crows Nest” clubs…some guy had 3 of them and we played them all. We were always accepted musically (kids danced)…If no one danced you never got booked again! Our acceptance was a variable…we started to stretch the limits…we would play “greaser” clubs with paisley shirts and satin pants!? That didn’t go over sometimes…but times were changing…remember we wanted to be on the “edge”…plus my hair was growing. I no longer looked like Elvis…that changed some gigs…”The Chatterbox” in Garden City stopped booking us…even though so much of our sets were full of James Brown stuff…They liked the music but lines were drawn between the “greasers” and those damn evolving “hippies”. That was a pure greaser club.

What sort of venues did Stoney & The Jagged Edge play early on? Where were they located?

We played every teen club in the metro area…The chatter boxes, the hide outs, the by-pass, the beach parties at “Walters Beach” with Robin Seymour from CKLW Swingin’ Time. So, so many! I know when you publish this, people will contact me and say “You forgot the such and such…” or “Don’t you remember when you played such and such”…I mean it was great…so much live music. Man, that scene cannot be duplicated..it was pretty easy if you had any kind of a following…..We tried to play any club where the best bands and the biggest crowds were to be found at; there was no techno DJ’s and no karaoke….clubs had to hire musicians. Seems like an ancient history.

1) The BMF dances at the Knights of Columbus halls (girls would tell mom: “I’m going to the “be my friend” dance, mommy”. Mom would say: “That’s nice sweetheart”). BMF was for “BAD MOTHER FUCKERS’! Oh, the fun and the fights, possibly the wildest!

2) The “Hide Outs”…east and west Grosse Pointe to Southfield…then turned into “Silver Bell Hide Out”…same guys ran them…I don’t remember how many there were all at once.

3) then came Michigan’s largest teen club where we became the “house band” instantly and played up to 5 nights a week in the summer…”The Northland Mummp”…Robin Seymour took his swinging time show there frequently…what a club! There is a lot of history on Wikipedia about the Mummps…600 to 1000 kids all sneaking booze and pills from mom’s medicine cabinet into the place…perfect house band…the Jagged Edge…fit right in!

4) Then of course came the “Grande Ballroom”…there is some debate over cancelled gigs or substitute posters but the long count from factual sites like Ron Domilicis’ wonderful rock and roll pages state “Who played the grande ballroom the most times…?” 1) The MC5 (the house band); 2) The Thyme; 3) The Jagged Edge..not that I give a shit…loved Russ Gibb and loved the Grande…but some guys who played there make it like life’s crowning achievement…hell, it was a great gig and paid good, but we were already part of the ‘scene’ for a couple years and even though performing there kicked us into high gear (1000’s of people wanted to make that scene), it wasn’t the only place in town, albeit the coolest. (Forgot to mention even at this time the Jagged Edge as well as the MC5 were still booking high school dance gigs! If you had a rep you could play all the time…). God almighty…imagine the Jagged Edge at your prom. And at a Catholic school none less…on 14 Mile in Clawson…”Queen of Angels?”…can’t remember the church/school and I just drove by it the other day…

“We learned a few tricks from Zappa”

You did some outrageous acts such as pissing as a group on stage before a concert. What are some wild stories your remember?

I started “flipping the mic” on its stand early on…I would tape the cord to the holder so I wouldn’t rip the connector…I could flip the whole stand into an audience…or actually throw it stand and all at a chick and pull it back ala the cable before it hit her in the nose…that became part of the act and it was really much less dangerous than it appeared. Non the less, people would bring others to see us and stand there for 45 minutes saying.. “…wait for it, wait for it…”, then I would flip it and it would scare their girlfriend and a good time was had by all…this “equipment destruction” was over blown. We were kids and that shit costs money…we were also noted for kicking our amps over constantly…when it was done “gently” with the reverb turned all the way up to make a sound similar to distant thunder…and I used one broken mic stand I would have at most shows: to look as if I just broke another one. These antics became much exaggerated as time went on. Our “stage clothes” became absurd. Ira even wore a shower curtain occasionally…all depended on new crowd or repeat gig…anything no matter how outrageous gets we wanted to entertain…but never put antics before a solid, quality musical performance…oil drums for bass drums and live chickens were not for us. We could sing and play…do you know what was outrageous? Writing songs with acapella breaks to show off our four part harmony…As to the pissing incident…being a huge Mothers of Invention fan…we learned a few tricks from Zappa who loved to insult his audiences…at the Northland Mummp, where we could do no wrong…and were running out of the usual tricks…we as the house band played last and had to follow a good performance from some new out of town swinging time band they brought in (can’t remember which…I think their hit song was “Bend Me, Shape Me” [editor’s note: probably The American Breed])…so let me try to set the scene for your readers. The Mummp had a “turntable stage”…quite advanced for the day: the performing band was out front, the next band was setting up behind a sheer curtain that divided the turntable stage in half…when the front spots were on the light show reflected off this curtain and who ever was behind it was invisible…there were no dressing rooms and the toilets were a mile away…many performers when in need simply took a leak back stage on to the concrete below (google “the mummp”…this was a free standing geodesic dome placed in the middle of a huge parking lot)…so our attitude was “piss on those guys, we will show ’em we are better”…we knew the place well and the kids who did the lights…so before the stage could revolve, with the curtain still hiding us as “shadows”…we had a buddy turn the back house lights on…and three of us took a leak or appeared to off the stage…we didn’t, but we did. The next day some high school cancelled us because we “exposed ourselves” to 1000 people…never happened…but man…we are still getting mileage out of that prank…That’s one reason as we evolved I stopped playing second guitar, I had to get wilder and wilder in front because “how do we top that”?…so again…nothing like exposure ever happened, but then again I can’t deny it happened. We were total pranksters…and often we got a bit out of hand…

I never ever told this to the band. Funny it came up in this interview. I didn’t want to hurt them and wouldn’t separate anyway. This is when the experiment started between Jeep Holland and Russ Gibb to make me “Detroit’s Jim Morrison”. You gotta remember this was all behind my back and a guy named Terry Radloff who was Russ Gibb’s personal secretary told me all about this. They figured I would be more “manageable” as a separate entity…with Jeep providing my players and having control over my writing for other bands…Hell, I would have done that. I don’t know if you really want to go into this unknown territory…It wasn’t my ego or idea, but you asked about Cobo Hall and The Doors and there was more connected to that between Jeep and Russ than I knew about till much later…but print advertisements started showing the photo above which didn’t make my band mates happy.

Rob Tyner designed the band’s early posters.

I am pretty sure Rob did the free hand sketch for our first appearance at the Grande Ballroom…but Jagged Edge posters were done by art legends. I have seen some sell where Jagged Edge was opening act for some San Francisco groups sell for as much as 30 grand. Most of our early stuff was simply our posed promo picture in the Detroit news/free press for the Mummp…(sometimes a full page). The Hide Outs were drawn by who ever or just printed sheets, now the Grande posters, you got legends…Gary Grimshaw, Carl Lundgren, Donnie Dope, and our “revival” work for Ace Records, and local performance posters were done by the incredible Dennis Loren, who has done more of this type of work than anyone and is on permanent exhibit in San Francisco Haight-Ashbury museum. Dennis will have his place in history and like me still lives here locally and is still producing incredible art. He designed the green album and the rock poster for every performance of The Jagged Edge version 2014.

How did you decide to use the name “The Jagged Edge”?

We wanted to be edgy…once I get going it sort of flows.

“Experimenting with over drives, fuzz tones on heating pads to over amp them, and wah wah pedals.”

What influenced the band’s sound?

Mostly black artists and James Brown in particular. What hippie psych band did you ever hear cover James Brown? His stuff was in every set. And the famous Flames influenced my writing. “Can’t Find The Key” is all hard 9th chords in the verse and the down beat is on the one. That’s not flower power music…that was industrial coarse and aggressive music..nobody sounded like that…”Delilah”, I used 9th also, and chorus changes from 4/4 to the “one”.

We were influenced by many groups from the west coast and even Hendrix as far as how we dressed and how far we could “costume” ourselves…but the music was in my head and in Ira’s guitar…who was always experimenting with over drives, fuzz tones on heating pads to over amp them, and wah wah pedals. The tones he could get still amaze me when I hear them on recordings…and instead of a “signature tone”, listen to our stuff. We would use a different guitar tone for the verse (Ira always respected the vocals), a different tone for the chorus, and of course, all sorts of tonal and effects changes on his leads. We influenced ourselves as our ability to afford new gear grew and new gear was developed. We didn’t really want to sound like anybody. We never set a goal such as “now if we could sound more like so and so.” We admired groups like Cream, and The Paul Butterfield Blues Band, and maybe stole some licks…but didn’t set out to imitate anyone.

You opened for acts such as Cream and The Doors. You even blew The Doors off the stage? 

Yes and Pink Floyd, The Mothers of Invention, The Paul Butterfield Blues Band, Albert King, B.B. King, The Animals, Mitch Ryder & The Detroit Wheels, Canned Heat, Blue Cheer, Iron Butterfly, Traffic, Fleetwood Mac. I cannot remember them all. There were more…that’s just Grande stuff…The Lovin’ Spoonful when I was like 16 at the Michigan State Fair…The Four Seasons (they hated our hair)…so many more. Sounds a bit jaded doesn’t it? But we were a regular player in town well before the psychedelic stuff started…Now the Doors…if ou look at the poster…we were not on the original. We had the shittiest management ever or no management whatsoever…and this was a big show, too big for the Grande and it was going on at Cobo. There were endless discussions between Jeep Holland and Russ Gibb about what to do with me…Jeep had his formula “do a cover, we cut a 45, you can do what you want on the album”. I refused time after time…We were the only band A Square Productions ever handled that refused to record a cover song.

Russ Gibb thought I should be set free, make it or break it…and he saw a similarity in my looks and Jim Morrison’s and thought I should be marketed individually as “Detroit’s Jim Morrison”…he called me that when we met…and those conversations were between Russ and Jeep Holland and never with me. I wanted no part of it. But they decided last minute to add us to the show and I guess settle their little dispute.

If you have the poster, you can see they were reprinted with “special guest appearance: The Jagged Edge” in tiny letters at the bottom of the poster after the art ran out. We were paid extremely well for this gig, so we did it even though we all felt the most fun about playing at the Grande was having our name on those remarkable posters and we were not really on this one. So knowing that the only press we were getting was on the radio spots and news print…All secondary to a Grande poster…we made an extra effort in costume and performance…(it sure didn’t hurt that Robbie Krieger was cool and let Ira use his big ass amplifier and both he and Ira played SG Standards so it was a perfect set up). We had a song we used as filler…it was a bit egotistical and we seldom performed it because Ira became disenchanted with it…told me “you write lots better stuff than this…”…but it had a great, fan fare type ending”. “…it takes a lot of woman” (drum roll, fan fare drum roll, stop)…”To Get a Little Loooove…”. The word “love” was sung in falsetto…full octave above the rest…and I held that fucking note and bent it for at least 15 seconds…that’s a long time in hall like Cobo…no music…a clean break and I go up to a falsetto “F” and held it… “Love for meeeee…”, big fan fare, big drum rolls, stretch it stretch it stretch it…boom thank you. Throw down the mic and we walk off stage. Crowd went absolutely ape shit. Like they never heard anybody do that before.

Hell, James Brown did it at the end of lots of his records. He would hold that falsetto screech of his all through the fade out at the records ending. Next day I thought everybody’s talking about somebody else…so it’s a matter of opinion…some people were disappointed in The Doors performance…short set…big money to pay in those days…who knows? No one in The Jagged Edge ever said we blew them off stage. No one in The Jagged Edge ever said anything like that but somebody did and it went on from there, just like the pissing incident. Our drummer, Timmy Thompson, did however bad mouth The Doors to all his friends. We were supposed to be “fed”…part of our contract…and it was Kentucky Fried Chicken…which Timmy would kill you for…and our dressing room buckets were empty, a few rolls remained, no chicken…we were told the “Doors ate it all”…Timmy was outraged…maybe he said something to somebody. This is a true story. He was fucking mad about that chicken!

How about local acts such as The MC5 and The Stooges?

We were simply acquainted…ships passing in the night, we rotated headlining or opening. We had much respect for the MC5. They got a hell of a lot more out of “house banding” the Grande than we ever did “house banding” the Nothland Mummp…bigger cool factor there. Wayne Kramer could play guitar, but you seldom hear him in most of their records. Once in a while his brilliance cuts through, but the production on their first two LP’s was so bad you can’t distinguish his playing from the feedback. Live, you were there for the experience. So loud your ears would hurt. Poor Rob…he was a poet man, and better than you think…but who could hear him? Ever? Anywhere? When we opened for “Blue Cheer”…billed as “the loudest band in the world”…so loud they had to practice on a dock in San Francisco bay… Bullshit…the MC5 was louder. I got some Mc5 stuff remastered by Third Man Records from Detroit…it’s on an album I happen to have two songs on also. Listening to the MC5 on that LP is enjoyable, there was a lot more “craft” to some of their songs than you would think…now that I can hear them we considered Jim Osterberg (Iggy Pop) a performance artist…Not a musician. I will get shit for saying it, but that’s how we felt…we were not above (stage pranks that’s for sure) but that was his entire act. As I look back Jim was a lot smarter than me. He started something whether he knew he would or not and look at the mileage he got out of it. What, something like 22 albums? Good for you Jim…you turned out to be the biggest winner out of all of us…no contest.

“I was a real, genuine, juvenile delinquent”

You were one of the wildest if not THE wildest group of the 60s. Do you think that was the reason why you never released a single or an album?

I was a real, genuine, juvenile delinquent…always in trouble and grew up knowing all the wrong people..all a few years older than me. Ira could anchor me somewhat but he was no angel, and we had 4 different bass players in the band and Timmy was a 9th grade drop out. We didn’t have a full deck to start with. Jeep Holland had advance money to record all his a Square bands. We were last on the schedule to record.

I was a problem. I was stubborn, used every drug available, and had a terrible temper. Still Jeep Holland managed to see through that, (as did Russ Gibb) that we were talented. Shit…we started before I could drive a car…and played Detroit, Ohio, and Canada like we were big time…The reason we never released a single is simple: 1) No Jepp, we won’t do a cover song. The Reason we never released an album; 2) because we were the hardest act for Jeep to handle…he kept us for the very last on the schedule to record at United Sound…and by the time we got 6 tracks down the money was gone. Up someones nose, or in someones pocket…then we had a mysterious “fire” at United Sound Studios and our masters were gone…we never got a straight answer. Jeep was good to us…but he didn’t have the balls to put us out there with 100% original stuff…I guess we wore him out…and I guess he “lost” a few dollars that was designated for us…but I am just guessing…I don’t know anyone who knows for sure…and we never got a straight answer. What I know for sure as we never went back to United Sound to finish recording and that finished the band.

What can you tell us about recordings laid down in 1968, shortly before you decided to pack it in, at the height of your popularity.

We were at our height and 1/2 of the stuff we intended to release was released in 2014 on Ace / Big Beat Records out of the UK 45 years later. The quality of the recording is amazing/horrible.
Amazing because all they had was a reel of 1/4 tape to work with and horrible because all they had was a reel of 1/4 tape to work with. Alec Palao and Trevor Churchill have my eternal gratitude for putting that LP out. I guess that’s what people mean by “closure”.

Where did you record it? What kind of equipment did you use and who was the producer? How many hours did you spend in the studio?

United Sound Studios, Detroit on second ave. Analog…4 track…I don’t know how many hours…based on my voice being a bit more gravel-ish than usual…we probably were on day 3 and probably stayed up the whole time and never got to the mix stage except on “Chasing Rainbows” which is the most popish tune I had at the time and that was gonna be the lead 45. The rest of the songs on that album were never mixed down. They were actually live tracks…good for us. Danny Dallas was the engineer but like I said the session was never mixed. Never got the chance…so it was not “produced” in my opinion. It was (un)produced.

Please share your recollections of the sessions. What were the influences and inspirations for the songs recorded?

We wanted to record all our stuff…Then sift it down. We never got the time. We got “takes” of 6 songs but they were never finished. We started mixing “Chasing Rainbows” and Jeep started with me again…like Jeep was a “master mixer”…I wanted the echo doubled on the chorus of “Rainbows” every time…you can hear that on the Ace recording. So first chorus has reverb, second chorus reverb and echo, third chorus sounds distant and in distinct because there is so much echo. That was my vision for that song. Danny Dallas got it. He did it, but Jeep didn’t schedule anytime in the booth for the band…I guess he intended to mix it himself…or thought it was done. The whole band wanted to be involved in the mix process…we knew we could do stuff we couldn’t do on stage…but never got the chance.

Would you share your insight on the albums’ (Chasing Rainbows, Big Beat, 2014) tracks?

You do know that album was produced from a warped, 45 year old 1/4 inch tape found under a sofa, don’t you? Ask Alec Palao, it’s true! That was Jeeps work copy and the 1/2 analog tapes have never been found or were burned up or confiscated by Columbia Records who Jeep got avance money from…I don’t know…considering that…the people at Ace Records are geniuses, to even make a listenable product out of that, what’s missing is the 3 songs we wanted to include but never got to.

1) “I Can’t Handle Your Lovin (No More)”
2) “I Come Down”
3) “Baby, I’m Going Up”

I recorded them with Ira Pack in 1999, and an independent in California Dragon Records, U.S.A., produced a great little CD that completes the Ace album. The two together make up what to be the 1969 Jagged Edge LP thanks to Edd Prisim who is a fine producer and multi instrumentalist who patched up, over dubbed, and made a good product out of those old tapes.

 

How did you get signed to Big Beat? How did they find you?

I don’t know. I remember getting a call from a guy with an accent and I never returned it. I thought it was a buddy of mine pranking me. Later I met Alec Palao and Frank Uhle from university of Michigan, where Jeep Holland’s brother had donated Jeep’s record collection and memorabilia. I was told when the university met with Jeep’s brother to pick the stuff up this random reel of tape had been found under a sofa.

Alec Palao and Trevor Churchill talked to me from overseas, sent me paperwork and I kept my writers credits and royalty and they put it out. Not only that but made a big deal of it…green vinyl?How 60’s!!! Great liner notes and artwork by Dennis Loren.

Were you inspired by psychoactive substances like LSD at the time of writing the album?

You must be joking with this question. I don’t know how inspired but it was certainly an almost daily affair for a long period during that time.

What happened after the band stopped? Were you still in touch with other members? Is any member still involved with the music?

I am the only survivor. When Ira moved back to Michigan from California we reconnected. I was playing the blues in bars and immediately hooked up with him in the late 1990’s. We had a few fun years playing together again before he died suddenly. I am the last to go.

Looking back, what was the highlight of your time in the band? Which songs are you most proud of? Where and when was your most memorable gig?

Look at those posters on line. Every week was memorable. Every week was a new highlight. And my fondest memories got nothing to do with the gigs, but the stuff that we did in motels or in basements after the gigs. I still laugh my ass off when one of those old memories pops into my brain, or I meet an old friend who was at one of those after parties.

I have written many songs since the days of The Jagged Edge. I optioned 2 to Sony BMI for a movie, they held up for a year and nothing happened…so many bullshit people out there. Nothing changed. Problem is I can’t turn it off…I keep writing because it happens. I got so much stuff…I ought do something with it one day. I am proudest of the most recent song I wrote usually.

What are some of your favorite memories from the band and the 60s in general?

Sort of answered that above…We were pranksters to say the least. We always had two agendas; 1) the gig, 2) what we were gonna do after the gig…I really can’t share a whole lot of those stories. I can honestly say we would do shit that made me laugh so hard I couldn’t drive a car and I would have tears in my eyes…I played with some very funny mother fuckers.

What were some of your favorite bands?

James Brown And The Famous Flames, Albert King, B.B.King, The Paul Butterfield Blues Band, The Mothers of Invention (oh man, talk about after party), Cream, Jimi Hendrix… and stuff like Lil’ed & The Blues Imperials, Otis Rush, I am a music snob. I don’t care about mainstream. I despise DJ music and if it had to be auto tuned it never should have been produced. Not a fan of electronic and don’t know what “World Music” really is.

Is there any unreleased material?

Yes, yes, and yes…and I wish I knew what to do with it all. I put 4 songs on a disc the other day just for copy write purposes and it sounded like 4 different writers from 4 different times in 4 different bands…but it’s just me.

Let’s end this interview with some of your favorite albums. Have you found something new lately you would like to recommend to our readers?

A good friend of mine recently sent me a boxed set of original masters of blues artists from like 1930 through 1960. The original un-embellished 2 or 4 track recordings, warts and all, no studio remixes…that’s what’s in my car and stereo right now…it’s so raw, it’s so unrefined. Many of those old cuts were done in one take. Now that’s a singer, that’s a player, so well prepared and so damn good it’s one and done. That is the kind of artist I admire. And the kind of stuff I like to listen to.

 

Thank you for taking your time. Last word is yours.

I still have a dissatisfied mind. Still play, write, sculpt, paint. And it goes nowhere…usually. Sometimes I wish I could be “normal” and turn it off and binge watch a t.v. series…nahhhh. NO RESENTMENTS, NO REGRETS.

– Klemen Breznikar

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Big Beat Records Official Website
Dragon Records Official Website
Ace Records Official Website