popwreckoning

It’s almost as though it’s a surreal trip, and a really good one at that. Taking a few of the most influential music ingredients today, a layer of Brett Dennen’s words and vocals, the backing of Forro In The Dark and a pinch of Jason Mraz and mixing them for a simple taste, not a whole meal, but it certainly is not one you would turn away for any reason. For the majority of this seven song EP, Brett displays to us a fun and poignant versatility.

Countless hours have been spent by hundreds of bands on song placement in any given LP. But when you have multiple works to pull from and also adding new material, it’s “enough to make you go crazy.” But with “Blessed” as his title track, Brett and company say simply, “I’m gonna celebrate being alive.” It’s like an old friend who has invited you to his fire side get together. And as Forro In The Dark skillfully adds the subtleties and impacting Brazilian swagger, Brett flies through and says this is where I’ve been. A massive introduction to this compilation EP.

With each song, Brett’s vocals and Forro’s beats literally refuse you to simply sit, it’s a work of dance and poetry. Even in writing this, I felt the strong need to book a flight to “San Francisco” and get an old accordion and play for the tourists on the Golden Gate. Making us believe that circumstances are not permanent, we simply dance into what we want to be and to damn the fires we walk on.

Dennen’s writing has always been prolific and prophetic, and hearing it in a different light, only reassures the listener that they can dig into songs like “Closer To You” with multiple points of view.

Adding Jason Mraz to this EP was like adding that secret spice to a sauce that was already amazing. It also reminds that as songwriters, Dennen and Mraz are powerhouses. “Long Road To Forgiveness” is smoky and flowing, as though you’re at a crossroads of some great journey and we got “nothing but time.”

And of course “Make You Crazy” is just fun, plain and simple fun. Yes, it’s embedded with very serious issues, it’s important to remember that, but man if you don’t wanna just get up and grab your most loved dance partner and move to the beats of Forro as they make this track a true force of nature. It also introduces those who have had no idea what true Brazilian “Forro” is. And “Forro” in Brazilian literally translates to the word “party,” and this track is guaranteed to excite the senses into a groove potentially foreign to Brett Dennen fans. But that’s exactly what this work is designed for, to broaden us all.

Power in words and song are truly relative to the reception, but it does happen universally at times and “Aint Gonna Lose You” is truly universal. We have all made those declarations of love and commitment, and here’s the anthem to prove it. With lyrics like “You could put a stick in my spokes, I can be the butt of your jokes….but I ain’t gonna lose you,” are just confirmations that as fun as this EP is, it’s also memorable and destined for immediate adoration on all sides. With so much out there that can decimate the belief that we can hold on to that in which we truly love, Brett says with determination and confidence, “They can tear my house down…but I ain’t gonna lose you.” And with this work, Brett Dennen and company hold on to us and make us dance!

Track Listing:
01. Blessed
02. San Francisco
03. Joan of Arc
04. Closer to You
05. Long Road to Forgiveness
06. Make You Crazy
07. Ain’t Gonna Lose You

Brett Dennen: website | myspace | @ bonnaroo

Concert tickets aren’t cheap these days. We know this. I remember paying $27.00 for a ticket at a decent venue just last year. Now the average concert ticket is looking more like $40…plus that vexing surcharge taking the price over the top. It makes me think twice about going to see live music, especially around this time of year. Well, Yo La Tengo have had enough. They want you to come see them debut music from their most recent offering, Popular Songs, despite the economic crunch and holiday hold-down on your cash flow. Win! Tickets will ring in at just 20 bills…NO SURCHARGE!
How’s that for a holiday bargain?

Upcoming January Tour Dates:
22: Pontiac, Mich. @ Crofoot Ballroom
23: Madison, Wisc. @ Barrymore Theatre
24: St. Louis, Mo. @ The Pageant
26: Lawrence, Kan. @ Granada Theatre
28: Houston, Texas @ Warehouse Live
29: Austin, Texas @ Antone’s
30: Dallas, Texas @ Granada Theatre

Yo La Tengo: website | myspace

The highlights on Old Canes‘ Feral Harmonic are proof that acoustic singer-songwriting can still be exciting. Driven by a frantically strummed guitar, the best songs are fantastic.

Highlights like “Little Bird Courage” contain an urgency, horns, and bursts of celebratory da-da-da’s. The everyday voices responding to his call infuse the song with a party atmosphere. The sad lyrics on “The Last Collapse” contrast with the celebratory rat-tat-tats of the snare, the soaring vocals, and smattering of chimes. “Trust” follows the same formula, with lyrics of love and strained vocals over a boisterous drum and acoustic guitar.

Feral Harmonic starts out really strong, but starts to wander in the middle with songs like “Sweet,” which saps the energy of the previous five songs with a chugging raga. “Under” pokes along, the strained vocals now sounding tired. The album picks back up with the upbeat “I will Be The Sun,” another of my favorites, and makes the B side well worth a spin.

Track Listing:
01. Intro
02. Little Bird Courage
03. The Last Collapse
04. Trust
05. Next
06. Sweet
07. Under
08. I Will Be the Sun
09. Stuck
10. Flower Faces
11. Black Hill Chapel
12. Southern Radio

Old Canes: myspace

The second night of Butch Walker’s month-long Wednesday night residency at Hollywood’s Hotel Café was quite a bit of a party. I’ve lived in LA for close to a year now, but I still get excited at celebrity sightings, and Butch’s collection of famous friends did not disappoint me in the slightest. In attendance that night were Jeremy Piven, Derrick Whibley (of Sum 41 and Avril Lavigne-marriage-drama fame), and not in the VIP section but in the crowd with the rest of us plebians, Alex Solowitz, best known for his portrayal of Mickey Parke in the faux MTV boy band 2ge+her. Damn, I love Los Angeles.

Tonight, Butch would be treating the crowd to a live, stripped-down rendition of The Rise and Fall of Butch Walker and the Lets-Go-Out-Tonites. He played the album straight through, no deviations aside from his usual shtick; references to the ‘97 hit “How Bizarre” by OMC, comparing his riffing and soloing to every Led Zeppelin song that ever existed, while consequently singing “baby, baby, baby, baby!” much like Robert Plant does on every other Led Zeppelin song. You know. The usual.

He did make up for missing a song the previous week, treating us to “#1 Summer Jam,” and resolving to not miss a single song from The Rise and Fall… Pausing for a minute in the musical revelry, he talks about the forgiveness that his hardcore fans give him for his wackiness, refers to himself as being compared to Jason Mraz with tattoos, and tells us how sometimes, he wants to be filthy, stinkin’ famous. And then things happen like the YouTube video of him recording his version of “You Belong With Me” from the previous week, and he gets torn the hell up, and he realizes that he likes his little bubble. And he loves his hardcore fans. It’s good to be loved.

Getting close to the end of the album, Butch pulls out his big political song, “Paid to Get Excited,” and flat out admits that he had no idea what he was thinking when he wrote the album. Or why he wrote a political song. After playing through the first two verses and choruses, he also admits, “I don’t even like this last song! So I’m gonna do something different,” and segues into Dramarama’s “Anything, Anything,” which is a KROQ favorite and absolute staple.

In my mind, that was the cover of the night. However, soon after, Walker busts into Pulp’s “Common People,” and I honestly think I was one of five people in the entire audience who knew the song. Still, as great a song as it is, I’m not sure if it was Butch’s best choice for a cover. Shatner did it better.

Finally, the highlight of the entire night was the unintentional encore. As he’s leaving the stage for the night, someone holds up a cake with a candle in it and the crowd begins singing “Happy Birthday,” as Walker’s 40th birthday was on the Saturday to follow. That just set him off in a rockin’ mood and he did not want to stop. Calling up Hotel Café regular, Jim Bianco, the boys jam a little bit more, treating the crowd to the title track off of Jim Bianco’s latest album, Sing. I will totally and completely admit to loudly singing the harmonies from the crowd on that one. Continuing on, the boys bust out into a cover of Prince’s “Kiss” with Ari Gold himself, Jeremy Piven, joining them on the drum set….sans cymbals and with woodwhacks instead of sticks.

I have yet to be disappointed by one of these shows these month. I know that everything says its sold out, but they’ve been selling a small number of tickets at the door. Come on down and join the fun, and GET THERE EARLY!!!!!

Butch Walker: website | myspace | Sycamore Meadows review | interview with | @ grog shop | @ hotel cafe: night 1

One Republic‘s follow up to their popular debut, Dreaming Out Loud, is finally released today, Nov. 17. Waking Up continues combing the band’s brand of alternative pop rock with an R&B edge. It continues pushing the envelope further with even better lyrics and diverse sounds. It continues to show the world that this band is not a fluke and their success is well-earned.

In honor of the album’s release date, we have a signed album and poster to give to one winner (limited to U.S. residents only).

To win: This album was recorded with the same children’s choir and orchestra used by a popular film composer, giving the album an epic and cinematic quality. The band has even consulted with this composer. To win the signed album and poster, correctly identify this composer and one of the movies he made a soundtrack for before Friday, Nov. 20 at 12 p.m. CDT. We’ll select a winner from the correct answers at that time.

And for those that don’t want to take their chances and want to be guaranteed the chance to hear this album that our reviewer loved, head to iTunes here or your local record store.

This contest is now closed. Thanks to all who entered.

One Republic: website | myspace |Waking Up review

Contemporary Philadelphia folk hero Langhorne Slim has recently released his new album Be Set Free and has hit the road to bring his new music to the masses. Below you can check out his first single “I Love You But Goodbye.” It opens with an airy piano melody by keyboardist David Moore before Langhorne begins his melancholy tale of love lost, singing, “Why did you come if you can’t stay forever?” He continues his defeated words against a dynamic soundscape before ending the song a hopeful note, “I wanna thank you honey, / For all that you’ve given. / I wanna thank you for being my friend.”

Langhorne Slim – “I Love You But Goodbye”

CD Release Tour Dates:
Nov 17 – Rock N Roll Hotel / Washington DC
Nov 19 – Johnny Brenda’s / Philadelphia
Nov 20 – Chameleon Club / Lancaster, PA
Nov 21 – Le Poisson Rouge / New York City
Nov 22 – Culture Center Theater / Charleston, WV

Langhorne Slim: website | myspace | @ acl 2008 | interview with

Photos: Doug Seymour

Domino Records is excited to announce that Lightspeed Champion has returned with his second album, Life is Sweet! Nice To Meet You. The follow-up to 2008’s Falling Off The Lavender Bridge is an epic collection of twelve pop songs, two instrumental intermissions and one piano étude, set for release on February 1st.

Lightspeed Champion mastermind Devonte Hynes‘ early leaning towards American country dressings is traded here for a palette that draws on classical music and even musical theatre. Producer and mixer Ben Allen (Animal Collective, Gnarls Barkley) assembles the eclectic grab-bag of influences: joltingly ‘70s guitar and synth sounds, classical piano, Greek choruses shouting reprisals, and at least one ukelele-driven moment. The first single from the new album is entitled “Marlene” and will be out January 25th (happy birthday to me!) with an exclusive double seven inch for sale at Domino Records’ online store. Watch the trailer for “Marlene” below.

Dev also has a new interactive website, where you can create a profile, upload images and videos and talk to fellow Lightspeed Champion fans. The site also includes new track “Heavy Purple,” that Popwreckoning featured months ago by the way. You can download “Heavy Purple” by signing up at LightspeedChampion.com. On the site, Dev is uploading lots of stuff including short films, photos and exclusive music, as well as continuing his already popular blog. Currently you can enjoy Dev’s Wordplay orientated Three Sentence Movie reviews, as well as his pun of the day.

Lightspeed Champion: website | myspace | @ world cafe live

Losing a band member for any reason during any point in a band’s history can be traumatic, even devastating. In the case of the xx, losing fourth member and guitarist/synth player Baria Qureshi happening at the exact same time while the band’s meteoric rise in profile and acclaim on both sides of the Atlantic appears seemingly unstoppable is probably even more traumatic. The first sign of trouble was when the band had to cancel a couple European dates last month, Qureshi citing “exhaustion”; this seemed reasonable, considering how much the band has been touring since they were tipped by various media outlets and people in the business for being the next “it band.” But then a few days ago, the band announced that Qureshi had left the band permanently, owing to “personal differences,” leaving those of us already devoted to the xx wondering, “are they going to soldier on with a replacement, or is this the end?”

But the band has decided to continue as a trio. Having seen the xx as a quartet three months ago in New York in a supporting slot and having enjoyed their set, I hoped that having one less member wouldn’t affect the sound – at least, too much. I am happy to report that the xx sound excellent in their current configuration and, if anything, I think the trifecta of Romy Madley-Croft (guitar/vocals), Oliver Sim (bass/vocals), and Jamie Smith (percussion and electronics et al.) sounded even better to this night than they did previously.

Sunday night was a London doubleheader with the opening act, electronica artist Jon Hopkins. Here in front of us was not your run-of-the-mill mixmaster DJ. The lanky Hopkins effectively threw his body into his performance, all the while a master of his machines, adding layer upon layer of sonic goodness by manipulating his synths full of buttons, switches, dials and knobs. He said nothing throughout the set, instead preferring to reach for and occasionally take a swig from a well-placed bottle of Budweiser between the seamlessly segueing tracks. “Vessel”, with its dramatic, haunting piano arpeggios, was especially intriguing to me (as I’d been trained in classical piano when I was younger), especially so because it was played among songs that could be regarded electro mini-symphonies to tracks that ring out like they’d feel at home in outer space, like “Insides”. The crowd was quiet but that was probably because everyone’s eyes were glued to Hopkins’s hands during his set. Interesting choice for an opener.

Okay, so I get that the xx band uniform is black clothing from head to toe. I suppose this is a nod to the minimalist approach to their music, as is their generally unshakeable, unemotional manner when performing. Singers Romy Madley-Croft and Oliver Sim sport metal chains with charms around their necks, though I wonder if these chains are to aid the audience in seeing the two of them onstage. For both Jon Hopkins‘s set and the xx‘s, the club was very dark, and both professional and any kind flash photography were not allowed. The only two bright lights on at all times on stage were the two “X”s carved out of the front of Jamie Smith‘s desk of electronic wonder. At one point, Madley-Croft had to ask for the lights onstage to be raised slightly, probably because she couldn’t see the strings of her guitar. Funny. After their second song, “VCR,” Sim announced, “this is a special night. This is the first time we’ve played in Washington!” His comment was met with universal cheers from the crowd.

The set list featured two covers, “Do You Mind?” by Filipino R&B/soul singer Kyla and “Teardrops” by Womack and Womack, the latter causing Sim to admit bashfully (but with a grin as he fingered his black bass guitar) that he was embarrassed that they had to play another cover and that he wanted to run and hide himself in the crowd. Aww. To be honest, they played exactly what I expected for a band with only a debut album to their name, playing every song on xx with growing conviction. Each song combined the gorgeously emotional voices of Madley-Croft and Sim with the perfectly spare instrumentation from the three of them, so much that just hearing everything together might make you cry. So to me, the covers were just icing on the cake. Further along in the set, Madley-Croft’s usual steely demeanor gave way to a smile. I was glad – she and her band mates are talented folks and have a lot to be proud of.

For the lack of banter between the acts and the audience at DC9, this show might have been subtitled “The Quiet One.” But in the end, it was what we’d all shown up at the club for – great music – that triumphed over everything else. If you didn’t get the chance to catch them on their short headlining tour of America this fall, catch this band opening for Friendly Fires on the Nylon Winter Music Tour before the end of the year or supporting Hot Chip next April.

Set List:
Intro
VCR
Heart Skipped a Beat
Islands
Basic Space
Fantasy
Shelter
Do You Mind? (Kyla)
Crystalised
Teardrops (Womack and Womack)
Nighttime
Infinity
Stars

Tour Dates:
Nov 17 – 529 / Atlanta#
Nov 19 – Mohawk / Austin*
Nov 20 – Casbah / San Diego*
Nov 23 – Independent / San Francisco*
Nov 24 – Sacramento State University / Sacramento*
Nov 25 – Doug Fir / Portland*
Nov 26 – Commodore Ballroom / Vancouver*
Nov 27 – Neumo’s / Seattle*
Nov 30 – Triple Rock / Minneapolis*
Dec 01 – Bottom Lounge / Chicago*
Dec 03 – Les Saints / Montreal*
Dec 04 – Paradise / Boston*
Dec 05 – Webster Hall / New York City*
Apr 19 – Riviera Theatre / Chicago%
Apr 20 – Koolhaus / Toronto%
Apr 22 – Terminal 5 / New York City%
Apr 24 – 9:30 Club / Washington, DC%
# with Jon Hopkins
* supporting Friendly Fires on the Nylon Winter Music Tour
% supporting Hot Chip

The xx: website | myspace | @ music hall of williamsburg
Jon Hopkins: website | myspace

The Shoes is a French duo that recently released their EP People Movin and will be coming out with their debut album shortly. “People Movin” was done in collaboration with Primary 1.

.The Shoes – “People Movin”
People Movin is a minimalist electronic track that brittles with a shiny pop. It has that subtle cool evident in much of the French scenesters. The vocals are extremely soft and charming, akin to an R&B sound. Light synthesizers permeate portions of the song that fit the aesthetic of an old Nintendo game. Amongst the marching band-esque drums is a filtered sound that is reminiscent of background music in French New Wave cinema.

.“People Movin” (Monsieur Monsieur Remix)
The MM remix is a proper transformation into a more electronic track, with thick dubs, recycled vocals, bleeps and sequencers. The pace of the song, however, is extremely slowed down, so this doesn’t become a dancey tune by any means. Most of the vocals are replaced by instrumentals, and a thick, syrupy drum machine pounds a muffled beat through the track. Another mix that works more for background music rather than as a focal point, which is what the original really is.

.“People Movin” (Siriusmo Remix)
There is hardly a change from the original to this remix. I’m struggling to note much dissimilarity. The Siriusmo remix is a little faster, a touch more electronic, the vocals seem slightly stripped down and raw. Musically the percussion remains fairly static, synthesizers appear more frequently, but for the most part Siriusmo could’ve tried a little harder.

.“People Movin” (Arbogast Remix)
This is probably one of the better remixes of this song. It’s quicker, lighthearted and permeates an essence of youthful adventure and recklessness. The fast pace of the vocals bring a much needed energy into the song, particularly after the above remixes. Arbogast’s remix does maintain a similar structure to the song in that it doesn’t transform it to a dance floor, electro pounding anthem. It keeps the similar percussion and guitars.

The Shoes: myspace

Back from his stint with Natalie Imbruglia, John Garrison now sets out to embark on his second solo outing. With ambitions that have lead him to James Blunt and Leona Lewis, John’s sophomore piece takes in all his travels and embodies them into Departures. PopWreckoning’s Thomas Starks caught up with him to talk a little about writing about ex’s, huge harpsichords and Prince.

John Garrison: Hello, Thomas.
Thomas Starks, PopWreckoning: Pleased to meet you John, How are ya?
JG: Nice to meet you, too….Nice to meet you as well.
TS: So you’re in the UK right now right?
JG: Yeah I’m in London right now, yeah.
TS: I really appreciate you taking my call so late, I apologize for the latency. So are you on tour right now?
JG: Um…I just got back from Italy actually this morning, I was playing guitar for Natalie Imbruglia.
TS: How did that go?
JG: It was good, and I just got back, so it’s back to focusing on me now.
(John reservedly laughs as though it’s a foreign concept to self appease)

TS: I bet it’s good to be home now. Do you live in London then?
JG: I’m kind of…yeah, most of the time I’m in London. I was in New York City for a while but these days I’m in London.

TS: So you have a new LP out.
JG: I’ve got a new one yes, it comes out next week, yes next Tuesday.

(Departures is now available)

TS: Yes I believe that is Nov 10th.
JG: That is correct, yes. It’s called Departures.
TS: So what is going to be your launch single from this LP?
JG: The single is entitled “Let’s Run.” It’s the first track on the record and I shot a video for it. It sums up the album really for me.

TS: So where did you record Departures?
JG: Wow, it was recorded all over the place actually. I started in London, put the vocals on in New York, and then I was actually on a world tour playing bass for James Blunt so I kind of did all the little bits and pieces in hotel rooms and really where ever I could. It was very much an “All Over The World” recorded album.

TS: Now did you do any pretrack on your own? Like when you were playing bass for James, were you in the tour bus at all doing pretrack?
JG: Absolutely, most of the times I did it in the hotel rooms, but when we were on the bus, there were a couple of tracks where I actually worked on them in my bunk. Whenever we were on bumpy roads or where ever we were, I did a lot work in the bed.
TS: Did that help the writing at all, did it influence you, or was it all there before you were on the road?
JG: No, No, it definitely influenced me quite a lot. When I recorded the tracks, when I first had the ideas for the songs, they were much more basic, and then traveling around the world, doing it on laptops, actually using audio from different places. I used a percussion track that I put on from a hotel room in Moscow, then I recorded the drums in London, did the vocals in New York, it really was all over the place. I think it added to the sound.
TS: So this is truly a global LP then?
JG: Yeah it really is, it really is. It’s been recorded all over the world.

TS: So “Departures” is fitting completely.
JG: Well that’s basically why it’s called that. That’s the one word I saw more than any other. A lot of the songs are about when I moved to New York from England, yeah it’s all about movement. There’s the tracks “I Leave on Friday,” “Let’s Run,” you know? “Go.” All these songs about going, moving and moving. I just thought “Departures” was just a fitting title really.

TS: So what is your next move then?
JG: Well, we made a video for “Let’s Run.” I did that in France a few weeks ago and it’s out on “YouTube” and it’s out on a few TV stations. The next real step is to launch the album next week, I have a show in London next week too, just getting out there and playing it to people.
TS: If someone had to ask what genre that you felt that you fit in, what would that be?
JG: I guess technically I’m a singer/songwriter, but I’ve been in bands before, I just write songs and record them the best I can. If it’s genre, It’s a difficult one, I usually go on what other people say, it’s difficult to tag yourself you know. So I always just call it “Melodic Indie Pop.”
TS: That’s a fair answer, it’s kind of a trick question. I’m a musician myself, so I get it.
JG: Ahhh, you are, then you know what I mean then. How you hear yourself and how others hear you are often quite different.
TS: It’s often the most difficult question one has as a musician.
JG: Absolutely, and even though I’ve had that question so many times, it’s sort of still difficult. When you have a song idea, when you’re thinking of lyrics and when you’re writing about ex girlfriends and such, you don’t think about what genre you are, you just write as best you can, you know? It’s really a question for the people.

TS: Let me ask you a question, when you were on tour with James Blunt and then working with Natalie Imbruglia, do you include these artists when you write? Do you consult with them at all, or do you just kinda stick on your own?
JG: No I don’t. I completely keep it to myself, especially with James. I don’t even mention nothing really. I like to keep the two things separate. I guess it would be great to write with someone else like that eventually. But the nature of being a session musician. That’s basically your job. Unless they come to me and say “Hey we need help with a song.” I’m just gonna get on with my job, whatever that job might be. I think of the kind of professional outlook you know? Don’t get me wrong, I would love it if they came to me and said “Let’s do some writing.” That would be great, but not just yet.

TS: So as a session musician, do you enjoy doing that and do you multitask with instruments?
JG: I do a bit of everything really. I played bass for James Blunt, played bass for Leona Lewis on her album, but then for Natalie I played guitar, whatever people need basically. I’m quite fortunate, I can play quite a few things, I’m a musical guy to have around the studio.

TS: Speaking of studio, in your LP Departures, how many instruments were you involved with?
JG: Instruments. Well, I do like to get other people in. I brought a guy called Karl Brazil on drums. He plays for Robbie Williams. He played for James Blunt, too. So even though I do play a lot of instruments, I actually on this record, I made it a point of getting other people in. On my first solo record I played actually everything on there, and now when I listen back to it, although I really love the record, it sounds like one person, too much like one person. So on this record I got different drummers, guitarists, keyboard players. I think it kind of adds to the sound of it all. I worked with a producer this time and he helped. I think all musicians have to have that “Self Indulgent” record, and mine was my first one.

TS: So what is the most interesting instrument you have ever worked with on a record?
JG: Well on this record I played an electric harpsichord. It was a huge long harpsichord with a glass top. I plugged into an AC30 guitar amp, it was fantastic! It was the strangest thing.
TS: That is probably the coolest answer I have ever gotten.
JG: To be honest, me and the producer got to the studio, we were just looking at this thing. It was huge! Sort of a massive thing, and we were just like “Well, obviously we have to get this on the record somewhere.” We literally went through the whole album, track 1, no, no can’t get it in there, track 2, no, and eventually we squeezed it into track 5.
TS: And what is that song called?
JG: “Alexandra and Annabelle” The main rif is the electric harpsichord.

TS: Nice! So are you the type to have a main CD Release party, or are you just gonna go all out, every show a CD Release?
JG: I’ve got a show next week in London on Monday, so that’s kinda like the release party. I like a good party. I’m a musician, we all do. So I’m gonna do the gig, have the new CD with me and then crazy partying with everybody else.

TS: Well thank you so much for your time John and I have one last question for you. If you got the opportunity to work with anybody that you wanted, who would that be?
JG: Ok, well right now, wow, that’s a good question. I would love to have Prince produce a track with me. I grew up listening to Prince, I’m a huge fan, even though my music isn’t particularly “Prince,” I think the way he sees music, the way he looks at stuff, I think guided me, so I would love to work with him.
TS: He is quite a talented individual as you are my friend. I appreciate your time, and you have a great show on Monday.
JG: Fantastic. Thank you, Thomas, I appreciate you for calling. Thank you very much for having me.

John Garrison: myspace