Interviews

Jamie West-Oram is a master of texture. Forty-plus years ago, the long-tenured guitarist of The Fixx forged a signature soundscape bed for the band’s chief lyricist and lead vocalist Cy Curnin to weave his timeless tales around, typically buttressed by adventurous keyboard figures from Rupert Greenall and more often than not buoyed by the studio acumen of producer Rupert Hine and engineer Stephen W. Tayler. During a recent Zoom interview with AP editor Mike Mettler, West-Oram discusses the genesis of his new solo album Skeleton Key, why The Fixx couldn’t just leave Side D of their 2022 2LP set Every Five Seconds blank, and how their 1983 breakthrough LP Reach the Beach retains such palpable resonance on vinyl to this very day. . .

Stewart Copeland has always followed the beat of his own drum — or, rather, he’s always been the consummate rhythmatist who’s unwaveringly laid down his own style of drumming perpetually in service of the song at hand. And now, the sonic fruit of his latest twisted muse, if you will, has manifested itself in a solo project somewhat cheekily dubbed Police Deranged for Orchestra, consisting of ten classic and deep-cut Police tracks rearranged — or “deranged,” in Copeland’s titular parlance — as released in its 1LP form by Shelter/BMG this Friday, June 23. During a recent Zoom interview with AP editor Mike Mettler, Copeland discusses how he opened up the dynamic range with all the Derangements he came up with for this album, how he shepherded the “perfect” snare, and just how meticulous he got when he wrote out the entire Deranged score for each orchestra member to follow. . .

Rufus Wainwright has pretty much followed the beat of his own musical drum since Day 1. Over the course of his multi-decade career, his impeccably ingrained singer/songwriter chops have often fused alt-rock proclivities with the compositional scope of George Gershwin and Franz Schubert. And now, Wainwright has returned to his other true roots with a new 2LP set dubbed Folkocracy, which was released via BMG today, June 2. The four-sided, 60-minute song cycle runs the gamut of a modern-yet-vintage blend of traditional folk and more contemporary fare alike. In a recent Zoom interview with AP editor Mike Mettler, Wainwright discusses why Folkocracy belongs on 2LPs instead of one and confirms the only song on the album he knew he had to go back and redo the vocal for, emphasizes the importance of maximizing his family connections on the second LP, and reveals his “secret dream” for how he’ll be able to thwart A.I. artistically. . .

Ian Hunter is a survivor. Not only that, but the veteran British vocalist of Mott the Hoople fame and a lengthy and fruitful solo career shows no signs of slowing down at age 83. The keen evidence laid out before us are the ten balls-out rockers populating his latest solo album, Defiance Part 1, released via Blue Cat/Sun Records on April 21 on black vinyl. In a recent Zoom audio interview with AP editor Mike Mettler, Hunter discusses what he means by recording his music “back to front,” why Mott the Hoople’s version of “All the Young Dudes” endures to this day, and how Jerry Lee Lewis first got his juices a-goin’ to become a killer performer and recording artist. Don’t be shy — read on to get fully bitten by the Hunter mystique on vinyl. . .

Jethro Tull’s Ian Anderson has been on a deeply entrenched spiritual quest of late. On Tull’s latest and 23rd studio album overall, RökFlöte, which was released on vinyl via InsideOut Music on April 21, he addresses the tenets of Norse paganism. In a recent Zoom interview with AP editor Mike Mettler, Jethro Tull’s once and future leader discusses the inner workings of RökFlöte, when he finally felt like Jethro Tull had gotten the right mix of their music on vinyl, and how the act of breathing is vitally important when it comes to both his singing and his flute playing. Read on to glean all of Ian Anderson’s earthly vinyl proclivities. . .

The Flaming Lips are one of those bands that have always endeavored to create their own sonic universe, and we almost never know exactly what planet we’ll be on when we drop the needle on their latest vinyl venture and/or most recent archival collection. Case in point — the 180g 5LP baby-pink vinyl box set for July 2002’s Yoshimi Battle the Pink Robots being released (finally!) on April 14, a collection that includes the remastered core album, demos, non-album tracks, live radio sessions, and many other live tracks galore. In a recent Zoom interview with AP editor Mike Mettler, Flaming Lips visionary vocalist Wayne Coyne discusses the ins and outs of the making of the Yoshimi vinyl box set, how the word “realize” became such an integral part of the band’s songwriting, and how a few hundred test tapes fueled the beginning and the end of one of the album’s most enduring songs. Read on to realize all the LP-related Yoshimi details. . .

Blood, Sweat & Tears were on top of the world — and then, suddenly, they weren’t. A new documentary titled What the Hell Happened to Blood, Sweat & Tears? seeks to set the record straight. Read on to see what BS&T co-founding drummer Bobby Colomby and AP editor Mike Mettler discussed when they got on Zoom together earlier this week to talk about the impetus for the documentary, the secrets contained within the runout grooves of certain records he produced, and his view of what the best-sounding Blood, Sweat & Tears track on vinyl is, and why. . .