Sam Llanas

Born in Waukesha WI fifty years ago, Sam Llanas spent nearly half his life as co-founder of the BoDeans, working with Grammy-winning producers, recording at world-class studios and skyrocketing to public awareness when the BoDean’s, “Closer to Free,” was picked as the theme for the television show, “Party of Five.” Sam’s first solo venture, under the band name Absinthe, came when the BoDeans took a brief hiatus in the late nineties. His second solo outing, “4 A.M.,” was released the end of last month, a few short months after he announced his departure from the BoDeans. A powerfully quiet affair marked by a low-key tenderness that highlights Sam’s emotion-laden voice, “4 A.M.,” beautifully captures the late night mood where love, truth, loneliness and sympathy walk hand in hand. Sam was kind enough to answer some questions via email and shed light on the process behind such a personal undertaking.
MAX: “4 a.m. here we are again,” a great line for a very nocturnal album and for your second solo outing. Were there any insights in your second time around?
SAM: The only thought I had in my head when I started this project was that I wanted it to be very different from both, “A Good Day to Die,” and any BoDeans record. The obvious thing was to make a record that was almost entirely based on acoustic instruments. 

Rogue Wave

Recovering from damaged nerves that made playing painfully impossible, guitarist/song-writer ZACH ROGUE’s ROGUE WAVE returned earlier this year with a brilliant, upbeat CD, “Permalight.” Catching Zach as the band embarked on a tour that takes them to Madison’s High Noon Saloon April 16th, he was kind enough to answer a few questions via email.

MAXIMUM INK: How did the idea of “Permalight,” come about?
ZACH ROGUE: It was the first song I wrote after I started writing music again in 2009. I was in an amazingly great mood and I felt like writing a sequel to Kool and the Gang’s “Celebration” and that is what came to mind. I wasn’t really concerned so much with a chord progression per se. I was really just interested in the rhythm and having my hand move up and down the guitar neck so the song would have a loose groove.

G. Love & Special Sauce

Deconstructing preconceptions, Philadelphia’s G. LOVE set 1993 on fire as a “white boy” daring to integrate the blues into hip-hop. Seventeen years later he’s still tearing up the joint, jamming and jiving. Appearing March 5th at Milwaukee’s Turner Hall and March 6th at Madison’s Barrymore, G. was kind enough to sit down with MAXIMUM INK and answer a few questions.

Maximum Ink: According to Muddy Waters the blues had a child and called it rock and roll. Where does funk and hip-hop come in?
G. Love: I think funk was basically blues on the one. John Lee Hooker would do his blues on the one and then James Brown and that generation flipped the backbeat and it was a whole new sound. Hip Hop is basically musically simplified funk with the voice of the youth on top. Hip Hop became the voice of the next generation (for the past 3 generations).

Tegan and Sara

Canadian twins Tegan and Sara Quinn went from their high school graduation to a summer tour opening for Neil Young. Since then, their songs have been performed by, among others, the White Stripes and Ryan Adams and prominently featured on movie and television soundtracks. 2010 finds them touring America to promote last fall’s strong, sixth album, “Sainthood.” In preparation for the band’s appearance at Milwaukee’s Riverside Theater March 25th, Tegan Quinn talked to MAXIMUM INK about Sainthood, song-writing and happiness.

MAXIMUM INK: What separates “Sainthood,” from your previous efforts?
TEGAN QUINN: It was completely opposite from, “The Con.” For, “Sainthood,” there was a lot of pre-production where the five piece came into the studio and recorded live off the floor. We are all stronger players and writers since, “The Con,” and we wanted something that translated easily into a live setting. “The Con,” had lots of post-production with layers of overlapping tracks where, “Sainthood,” had very few overdubs.

Cracker

Formed in 1991 after David Lowery left cult icons Camper Van Beethoven, Cracker’s core consists of David and ace guitarist Johnny Hickman. The band’s relentless touring and sparkling wit have forged a guitar-driven style that incorporates blues and country with punk and rock -  most recently documented in the smart and invigorating, “Sunrise in the Land of Milk and Honey.” Playing the Wisconsin State Fair August 14th, Johnny was kind enough to answer a few queries via email.
 
MI: Sharp writing and solid guitar work have always been stock in trade for Cracker who are your six string idols and literary heroes?

JH:  Thank you. Being a songwriter as well, I have to say that I can’t stand most guitar players. Most seem more concerned with showing off than with what works for the song. The most enduring guitar riffs have 3 or 4 notes. I like guitarists who sound a little disturbed like Joey Santiago from The Pixies or Jeff Beck. As far as literary heroes go, I’m attracted to a little madness there as well. Kurt Vonnegut, Cormac McCarthy. David is fond of Thomas Pynchon and McCarthy. 

Tom Fuller Band

To see Tom Fuller today one would never guess that little over ten years ago he was a solid cog in corporate America and had never written a song all the way through. From the streaked mod haircut to the purple granny glasses and matching sneakers Tom Fuller emanates rock and roll. Tamed danger prowling, the glam-punk poise echoing the bigger than life sound of his band a tight group both young and experienced, sharp and dedicated.

Ironically, after talking with Tom for over a half an hour the conversation was less about music than destiny and life’s spiritual journey. Perhaps it’s due to the fact that while Tom is the leader and songwriter for the Tom Fuller Band he is entirely self-taught beyond a few guitar lessons when he was nine. In fact, Tom says he’s a “song-crafter more than a writer.” “I write what I feel; my lyrics are always emotion-based.” His gut instinct guides him and serendipity has brought him an entourage of good fortune. “I know in the first twenty seconds if I’m going to like a song.” Immediate, intuitive and insistent, Tom also knows personalities and opportunities and has learned how to play them both with rock and roll nonchalance.