Nashville is beset with talented singer/songwriters and Country artists, but SWEETTALKER is adding another quiver to the arrows of Music City. The quintet – founded by Ryan Pattengale and David Brown – offers an updated take on Pop and Psychedelia a-la ELO, The Beatles, Queen and Pink Floyd. The band’s new EP, Paradise, reveals a group that reveres its influences but is not beholden to them. Produced by Matt Goldman (Underoath, Casting Crowns) and recorded in numerous locations, Paradise accomplishes the difficult task of sounding fresh and familiar at the same time. The studio pairing of the band with Goldman results in a sonically-satisfying experience that is icing on the cake of songs like “Tomorrow” and “Goodbye.” Bottom line – SWEETTALKER gives us even more reason to seek out live music once the cloud of COVID-19 lifts.
Todd Rundgren has never been one to sit still or accept whatever current technology or trends are in the mainstream.Having already been a pioneer in computer/video technology and interactive media, Rundgren once again finds himself at the forefront of live performance in the age of COVID.
Rundgren will launch a virtual Clearly Human Tour on February 14th, which will feature 25 performances geo-fenced and localized to different U.S. cities but performed from a single venue in Chicago.Each show will be “designed” to the nuances of each city on the tour schedule, including local landmarks on a video wall as well as city-specific catering for the band and crew in order to create an accurate sense of place.Single-ticket purchases will be limited to fans who live within each show’s metropolitan area, while others may purchase multi-show ticket bundles to watch virtually.
Remote meet-and-greets with Rundgren will be available at every show, as will options to select from multiple camera angles.A virtual audience will be displayed on several rows of video screens in front of the band, enabling them to “see” their audience as they perform.A handful of tickets will be available to attend each show in person (socially distanced of course), in accordance with local COVID laws in Chicago at that time.
While the concept of this tour lends itself to the limitations of a social-distancing world, Rundgren actually conceived the idea several years ago as a solution to the challenges of reducing his own carbon footprint during the current conditions of climate change.
“My whole impetus for coming up with this started back when the climate was affecting travel, and I had changed the way I travel for touring to be much more based on flying than driving,” said Rundgren in a recent video press conference discussing the tour.He originally envisioned himself and his band performing in one venue while a live audience watched via closed-circuit video from another venue in a different city.“I thought maybe you could tour virtually – set up in one place and you could send the show out to another venue, so people would still have the rest of the experience… as if it was a live show.Then the recent pandemic meant that the audience couldn’t go to the gig either, and that’s when it became totally virtual.”
Rundgren says that this tour will be more like a Broadway show than a traditional travelling roadshow, with a higher level attention to making the stage setup more appealing to the virtual audience.
“You build your set, and you don’t have to move everything every day – you can make everything more elaborate…as opposed to the concept of putting something together, tearing it down the next day, and then putting up again the day after that.”
The Clearly Human Tour will be performed by a 10-piece band, and will feature songs from his 1989 album, Nearly Human, as well as other selections spanning his decades-long career.Rundgren was originally set to do a traditional tour this February, but those plans were put on hold last summer when it became clear that COVID restrictions would extend into 2021.It was then that he decided to re-visit his idea of a virtual tour.Since Nearly Human was an album that was recorded “live” in the studio with a full band (as well as the subsequent tour), he thought it might be a good idea to update that experience for a virtual audience.
“I wanted to do something that (typically) might not be practical to tour with but has some high production value.A large band gives the audience something to look at, with the band interacting and responding to each other,” said Rundgren.“Having fun is more important, especially in our current environment.”
Rundgren has maintained a cult following with his legions of diehard fans ever since his first hit album, Something/Anything, in 1972.Todd took a left turn with the eccentric A Wizard, A True Star the following year, and has seemingly continued to zig whenever he was expected to zag, which is precisely why he has endeared himself to his loyal following.
Rundgren has also made a career of being at the forefront of technology and creativity, including designing the first-ever graphics tablet for Apple in 1979; creating the first music video (“Time Heals”) to utilize state-of-the-art compositing of live action and computer graphics in 1981 (which was also the second video ever aired on MTV); creating an album entirely with his own voice in 1985 (appropriately titled A Cappella); recording the album 2nd Wind at the Palace of Fine Arts Theatre in San Francisco in front of a live audience; offering the first commercial music downloads in 1992; re-inventing himself as “TR-I” (Todd Rundgren Interactive) in 1993; founding PatroNet, the first online direct artist subscription service in 1998; and producing the first full-length concert shot with multiple Virtual Reality 360º cameras in 2016.
At 72 years-old, Todd Rundgren doesn’t appear to be slowing down, having released dozens of albums of his own and with his band, Utopia, as well as a bevy of album productions for other artists.As mentioned earlier, he has yet another tour planned for later in the year, as well as a forthcoming new album entitled Space Force.
The Clearly Human Tour begins on February 14th with a show “in” Buffalo. Rundgren‘s band for the Clearly Human Tour will feature Kasim Sulton (Bass), Prairie Prince (Drums), Eliot Lewis (Keys), Gil Assayas (Synth), Bruce McDaniel (Guitar), Bobby Strickland (Sax), Steven Stanley (Trombone), plus the erstwhile “Global Girls”: Michele Rundgren, Grace Yoo, and Ashlé Worrick (Background Vocals).
You rarely use the words “Jimmy Buffett” and “deep cuts” in the same phrase, but it’s 2020 so all bets are off anyway. During the COVID hiatus, the Sultan of Sand asked his fans to submit lesser-known songs from his catalog that they wanted to hear and the response was overwhelming. The result is the 15-track Songs You Don’t KnowBy Heart [Mailboat Records], a play on his appropriately-titled, greatest hits album Songs You Know By Heart. Produced by Coral Reefer Mac McAnally – along with the help of Peter Mayer and Eric Darken – the collection finds Buffett re-creating songs that have stood the test of time even if they missed the Top 40. Tracks such as “Twelve Volt Man,” “Tin Cup Chalice,” “Little Miss Magic” and “The Captain and the Kid” are given a fresh coat of paint while maintaining their original integrity. A series of videos – produced by Buffett’s daughter, Delaney – accompanies the project for those seeking the full experience. If you’re not already a Buffett fan, this album likely won’t sway you to the land of margaritas, palm trees and Hawaiian shirts. But those in the fold will find Songs You Don’tKnow By Heart to be a treasure trove of well-worn material.
If you’re already soured on the fact that Deacon Frey and Vince Gill are in the current incarnation of The Eagles, you can stop reading at this point. But if you want a recent glimpse of a legendary band still doing its thing – and doing it well – then LiveFrom The Forum MMXVIII [Rhino Records] is for you. Though all of these songs can be found on many other releases and compilations, the current lineup puts a fresh energy into the band’s well-worn catalog. The monster hits are all here of course – including “Hotel California,” “Take It Easy,” “Life In The Fast Lane” and “Desperado” – but so are album tracks such as “Ol’ 55” and “Those Shoes.” Solo material can be found here as well, including Don Henley’s “Boys Of Summer,” Joe Walsh’s “Rocky Mountain Way,” and Gill’s “Don’t Let Our Love Start Slippin’ Away.” Culled from a three-night L.A. stand in September 2018, a blu-ray edition accompanies the double-disc set.
Terry Ohms – a.k.a. Wes McDonald – has been a fixture on the Southeastern music scene for over two decades. In addition to recording under his alter ego of Terry Ohms, McDonald has been a member of Vulture Whale and The Ohms and currently plays with People Years. Smooth Sailing Forever [Cornelius Chapel Records] is Ohms’ eighth album and second release of 2020. McDonald engineered, produced and played all of the instruments on this 10-track collection, so the sound and creative vision are exclusively his own. Stylistically, the songs shift from Americana (“Sadness”), ’80s-era sounds recalling The Cure (“Do You Feel That”) and even some numbers with a dance vibe (“Gentleman Caller,” “Action Room”). But while genre-bending is a facet of Smooth Sailing Forever, Ohms provides a cohesive sonic stamp over the course of the album. In listening to this material, you can’t discern if these songs were recorded in 2020 or 1985 and that’s a good thing.
Chris Knight is a living inspiration for anyone who thinks they have missed their chance at a career in music. The 60-year-old singer/songwriter may have joined the party later than most, but he’s made up for lost time in a recording career that spans more than 20 years. After earning a degree from Western Kentucky University, Knight spent several years in the mining industry before inking his first record deal in his late thirties. Since then, his raw and honest musical style has garnered the praise of listeners and critics alike. In addition to his own releases, Knight has seen his songs recorded by Randy Travis and John Anderson among others. In 2019, Knight released Almost Daylight [Drifter’s Church Records], an 11-track collection that features John Prine on a version of Prine’s “Mexican Home.” On Friday, October 30, Knight will perform at Zydeco. Recently, he spoke with us by phone from his Kentucky home.
Birmingham Stages: Chris, thanks for your time. What a year…
Knight: I’ve only had two live shows since March 15th.
Birmingham Stages: John Prine’s music was an early influence on you and the two of you eventually collaborated. If you will, talk about your relationship and his involvement on Almost Daylight.
Knight: He was on the Little Victories album – he sang a verse and chorus on the title track. I’d run into him every now and then at the airport and he came down to the studio. We hung out for a while – it was really good. I had been around him before – I had opened a couple of shows for him around 2007 or 2008. His bass player, Dave Jacques, used to play with me back in the late nineties. I recorded [Prine song] “Mexican Home” and [producer] Ray [Kennedy] mentioned getting John in there, but I wasn’t able to be in the studio and I heard he liked what we did with it. I was on the road at the only time he could come in and do it, so I missed him that time. Every now and then a singer/songwriter passes away and it affects you more than others.
Birmingham Stages: What have you been doing to stay busy during the shutdown of the past few months?
Knight: I’m just living. I’ve got a good bit of property and I’ve got plenty to do. I’ve got two kids still living at home and they’re enjoying two-day-a-week, in-person school [laughs]. My son had it all planned out – he duck hunts when he’s not in school. We’ve been doing some fishing and a little hunting.
Birmingham Stages: Have you written any songs during the downtime?
Knight: No. I’ve written a couple of things, but nothing’s really hit me to inspire me to write a song. My last show was Sunday, March 15 and they were shutting Texas down. I went ahead and did the show. I came back home the next day and I stopped at Wal-Mart and a guy was walking through there and he said, “You’d think a country songwriter would write a song about this stuff,” and I said, “I’ve written this song five or six times.” If you go back and listen to my catalog, you know what I mean – [references songs] “You Can’t Trust No One” and “In The Meantime.”
Birmingham Stages: Even though Almost Daylight is over a year old, you never really got a fair chance to tour in support of it. Are you ready to resume touring?
Knight: Oh, yeah. I’m ready to get back to normal. I just have these two shows in late October and we are working from the end of January – I’ve got a five-show run in Texas in late January and it just moves on from there.
Birmingham Stages:How did the material on Almost Daylight take shape? Were these older songs, newer songs or a combination of both?
Knight: There are a few newer songs and there were a few I dug out and dusted off, changed some melodies, changed keys and rewrote a little bit. “William Callahan” was a song I wrote with Tim Krekel – he was a friend of mine and we wrote quite a few songs together and he passed away a few years ago. I got to thinking about that song – I always liked it, but there was always something that didn’t sit well with me about it. I listened to it again and I completely changed the melody and the chord progression and took a few things out and got it where I wanted it. It’s one of my favorite songs on the record. “Almost Daylight” is a song I wrote awhile back with Christy Sutherland. I always liked that song, too, but there was one line in it that bugged me and I couldn’t figure out how to play it without fingerpicking it. So, I started messing with it again and I changed a couple of lines and got it where I wanted it.
Birmingham Stages: On the upcoming run of shows, how many pieces will you have on stage?
Knight: It’ll just be me and my guitar player – they will both be acoustic shows. I’m doing acoustic shows until April.
Chris Knight will perform at Zydeco on Friday, October 30. Showtime is 8 p.m. with doors opening at 7:30 p.m. Advance tickets to the 18+ show are $30 (limited reserved) and $25 (general admission) and can be purchased at www.zydecobirmingham.com.
On Friday, October 2, Drive-By Truckers will release The NewOK [ATO Records], the band’s second 2020 release and its 13th overall studio album. The album’s title is taken from the phrase, “I’m OK – the new OK,” a phrase vocalist/guitarist Patterson Hood found himself repeating throughout 2020. In a year that found the Truckers’ touring plans derailed by COVID – while combating anger and depression over the country’s well-documented turmoil – Hood and company have turned these raw emotions into nine songs. Produced by David Barbe (DBT, Amy Ray, k.d. lang), The New OK was recorded at Sam Phillips Recording Service in Memphis. In addition to a large dose of Hood compositions, guitarist/vocalist Mike Cooley contributes the song “Sarah’s Flame” and bassist Matt Patton shines on a cover of The Ramones’ “The KKK Took My Baby Away.” A horn section rounds out the band’s sound on two tracks, “Sea Island Lonely” and “Tough To Let Go.” In a challenging year for all of us, this surprise release is a helpful cure for the 2020 blues.
Two things I never saw myself doing:
1. Attending one of those rock music fantasy weekends where mostly middle-aged guys
and gals relive their glory days by jamming with the legends of yesteryear.
2. Listening to a copious amount of Billy Joel tunes in one sitting.
I swore off the Piano Man’s entire catalog after hearing his tenured and faithful sideman
tell the most heart-wrenching tale of betrayal this side of Bill Shakespeare’s version of
“You scratch my back and I’ll stab yours”. I figured it was safe to assume I’d never again
be in a New York State of Mind.
But now, mere days into my fifties, both of the above items have been scratched off a bucket
list I never knew existed – and in one fell swoop.
On a night when I would have otherwise watched my umpteenth Atlanta Braves game, I was
instead asked by a fellow writer to cover a Rock ‘n’ Roll Fantasy Camp Master Class featuring
Liberty DeVitto, the long-time Billy Joel drummer and session timekeeper for the likes of Carly
Simon, Stevie Nicks, and Paul McCartney. Given the state of the world, this event would be
conducted via Zoom, so no need to pack my drumsticks, blue jean jacket and bandana and head
off to some school of rock for big boys and girls. Instead, I spent a couple of hours wearing
earbuds doing homework for my first ever writing assignment. And as I navigated the vast Billy
Joel hit parade with a more critical and mature ear than I had from ages 7-16, I realized the
truly versatile, musical, and stylistically-diverse nature of Liberty DeVitto’s drumming.
According to the email I received from the event, each of the handful of participants in the one-
hour online drumming workshop was promised at least one question, so I came up with a query
designed to get the studio vet talking about how he came up with so many nifty beats for songs
that ran the stylistic gamut from raucous and hard-hitting (“Say Goodbye To Hollywood” and
“Pressure”) to upbeat and swinging (“You’re Only Human”) to those which featured tastefully
textured and understated percussive parts (“Just The Way You Are”).
And so the Zoom screen appeared, and already sitting behind his kit visibly eager to take on our
group of adoring rock fans and/or drummers, was the man I had seen so many times perched
on the riser behind the Long Island legend. The man who enthusiastically anchored arguably
one of the best backing bands in rock history: Mr. Liberty DeVitto. There he was in my drum
As a bonus, the event’s unofficial host was Billy Amendola, Editor-At-Large for Modern Drummer magazine, founding member of ‘70s disco group, Mantus, and the session man
responsible for the drum tracks on some of Debbie Gibson’s biggest smashes.
Before I had the chance to click the “raise hand” button, Mr. DeVitto was already answering my
unasked question as he shared stories about his legendary experiences working with famed
producer Phil Ramone. It was in those fateful recording sessions that the man behind the
control room glass would go back and forth with Mr. Joel’s band members allowing them to
workshop different ideas for what DeVitto called “pieces of songs” that were brought into the
studio. The drummer then discussed experimenting with various feels for a song and described
the process during which ideas would ultimately become a shuffle, or have a Latin beat, or be
built on a traditional two-four rock chassis. He made the point that this means to an end
differed drastically from the production style of a standard Nashville hit factory. In that neck of
the woods, musicians are typically told exactly what to play and precisely how to play it. For the
most part, he established that Music City producers hire musicians to record songs as
instructed whereas Devitto and his fellow Joel sidemen were fortunately paid to first help build
songs from the ground up – and then lay them down on tape.
Since my question had been properly addressed, I warmed up to the online group dynamic
secure in the knowledge that my planned topic of discussion was the first bullet point our
online mentor felt compelled to share with our intimate group of fewer than ten pupils. But I
needed to dig a little deeper.
When I was finally called on by the group’s moderator, I felt the “why” of Liberty’s drumming
approach had already been answered. The featured guest had pointed out that Billy Joel wrote
tunes that covered so many different styles, and that as his drummer, he was encouraged to
contribute his take on how each track should pulsate. But I still needed to know about the how.
How was Liberty DeVitto, a self-taught drummer who eschewed formal lessons from day one so
able to masterfully sculpt an assortment of spot-on rhythms for countless hits? How was he
able to be a veritable Swiss-army knife for Joel’s production team and effortlessly add just the
right flavor of drumming to so many different styles of songs? From whence did all that
inspiration and talent come?
His answer could have come off as predictable if not for the passion with which he expounded
on it. For the next several minutes, DeVitto humbly explained away any sort of mastery of
technique stating: “I’m not a drummer – I just play one on stage”, and that his experience
covering myriad genres in wedding bands provided a solid foundation for eventually being able
to comfortably insert numerous styles of drumming into the record-making process. Then he
went back further. Back to when he was a kid in Brooklyn wanting to master the traps without
actually suffering through so much rudimental learning. Like nearly every drummer of his
vintage, the desire was ignited after seeing The Beatles on The Ed Sullivan Show. DeVitto
explained that he learned how to play the drums by simply listening to the lyrics of songs. Not
the drum parts nor the bass lines or guitar riffs. The words. Coincidentally, he attributed Ringo
Starr’s method to the same madness.
It was this holistic song-based approach that prepared him to most aptly suggest the feel for
countless Billy Joel songs – but only after the prolific hitmaker discussed his lyrics with his
drummer. Moreover, Liberty said he still learns more about music from friends who aren’t
musicians than those who are – a statement a less-grounded professional would never dare
admit. And when the names of drummers like Stewart Copeland (The Police) and Alan White
(Yes) were tossed about in our group discussion, it wasn’t us wannabe-rocker attendees whose
pulses quickened, it was Liberty’s. Imitation is the highest form of flattery, and Devitto proudly
owned up to the saying: “Good drummers borrow and great drummers steal.” After all these
years, Liberty Devitto is, at his core, one of the world’s biggest fans of multiple genres of music
and of those who made it come to life. Throughout the Zoom session, his unbridled enthusiasm
was both contagious and inspirational.
DeVitto, who turned 70 last month, is a consummate journeyman who continues to make music
and has recently released his autobiography, Liberty: Life, Billy, and the Pursuit of Happiness,
with a foreword written by none other than his former boss and would-be Brutus, Billy Joel. The
Rock and Roll gods have obviously smiled and the two have reconciled, an achievement that’s
not surprising after witnessing the humility and gracious appreciation Liberty showed us, his
apprentices for the evening whom he’d just met. His enthusiasm for drumming and music is
matched only by his warm, amicable personality. In fact, after viewing the segment of the
rockumentary film Hired Gun, in which Liberty explains how the suddenly-bankrupt Joel
abruptly fired him in order to staff his band with less-expensive players, I swore I’d never listen
to another song by the former Mr. Christie Brinkley as long as I lived. Fortunately, DeVitto
wears his earnestness on his sleeve like so many patches on the satin tour jackets of days gone
by. After assimilating his accounts of how he helped create the very songs I had perhaps
unjustly sworn off, I decided to retract my ban on all things Joel because that catalog has
DeVitto’s thumbprint all over it. Truth be told, before I ever logged on to my computer, I had
already ventured down 52 nd Street, checked out some Glass Houses, and pulled back The Nylon
Curtain in order to properly prepare for what I hoped wouldn’t be my last writing
assignment…nor my last Rock ‘n’ Roll Fantasy Camp Master Class with a gentleman such as the
great Liberty DeVitto.
Beau Jones is a seasoned drummer and freelance music writer. For more information on Rock’n’Roll Fantasy Camp, visit www.rockcamp.com.
If there was ever an artist primed for a moment in the spotlight, it’s Birmingham’s own Les Nuby. Local music scenesters know his backstory but for the uninitiated, here goes: Nuby is the former drummer of Verbena and has since spent time with Idlewild, Amy Ray and Vulture Whale. Currently, he produces and engineers numerous artists from his Birmingham studio, Ol’ Elegante. Nuby is also guitarist/vocalist with the quartet Holiday Gunfire. Clouded [Cornelius Chapel Records] is his debut album and is his album in the truest sense. Nuby produced, engineered and performed every instrument on the album’s 10 tracks, a lush and layered collection of Pop/Rock gems. The ability to play multiple instruments, the luxury of unlimited studio time and his production skills allow Nuby to craft an album that plays exactly as he chooses. The guitar work of “Standing Still” and the single “Never Falling Away” best exemplify what can happen when an artist knows his way around both sides of the recording studio. Ultimately, Clouded is a concise account of the music that has influenced Nuby along the way coupled with his own style. Let’s just hope a follow-up album is already in the works.
The following is a reprint of 0ur story from 2019:
BY CAREY HEREFORD
Marc Martel never thought his career would ever be centered in the world of tribute bands. With vocals sounding similar to legendary Queen frontman Freddie Mercury, the Nashville-based singer was tasked with the job of recording the vocals for the Oscar-nominated and Golden Globe-winning Queen biopic Bohemian Rhapsody. These days, Martel fronts the Black Jacket Symphony’s new project Queen:A Night at The Opera. On Friday, June 26, the renowned tribute ensemble will bring the album’s sounds to its “Concerts from the Car” series at the Hoover Met Complex. Recently, Martel spoke with us by phone about his experience with Black Jacket Symphony and the career path that led him there.
Birmingham Stages: Marc, thank you for your time. Why do think that tribute bands are more prevalent and high-profile these days compared to 10 or 15 years ago?
Marc Martel: I got involved when I saw an advertisement for when Roger Taylor of Queen was starting a tribute band called “The Queen Extravaganza.” I decided to audition and got the part for the singer and that opened up a whole new world for me. We ended up doing a whole tour of Europe and North America. But nowadays it has become so common – like apparently there is a Pink Floyd cover band that sells out areas consistently in Australia.
Birmingham Stages: Do you perform the Queen songs as they were recorded or do you change them to make them more of your own?
Martel: That depends on which band I am playing with. I am obviously with Black Jacket Symphony and a tribute band of my own called the “Ultimate Queen Celebration.” The goal of the Black Jacket Symphony is to reproduce the album’s sound as best as possible and the second part we start to let loose a little bit and have more fun with the arrangements. On the first part, that is where I will stick to the script. I do not explore different ways in that part of the night. When I am with other bands, it can have a more of a free-flowing feel. You have to find new ways to keep these songs fresh every night and still give liberty to Queen and the songs themselves. I know people come to hear how they listen to these songs and then see that live.
Birmingham Stages: Which song on the Black Jacket Symphony setlist do you think is performed best live so far?
Martel: “Under Pressure” – that song holds a special place in my heart because I get to share lead vocals with somebody. There is just a really fun camaraderie built in that song because there is such an interesting chemistry built into that song. But, all in all, I think it puts out a positive message. You know, “Fat Bottomed Girls” may not be my favorite Queen song, but to the audience it really gets people on their feet so that’s really awesome every night.
Birmingham Stages: How did you get the role of recording the vocals for the movie Bohemian Rhapsody?
Martel: Well, like I said, I have had a relationship with Queen ever since 2011. I’ve worked closely with them for several years now. So when the movie was finally funded, they needed someone to do the vocals for the parts of the recordings that were lost or could not be used. So that’s how I fit into the mix, when the movie got green lit they reached out to me and asked me if I wanted to be a part. That part and my involvement was such a huge honor to me.
Birmingham Stages: What was your reaction to Bohemian Rhapsody winning a Golden Globe for Best Motion Picture and being nominated for a Oscar?
Martel: It was pretty crazy. You know, when the movie was made that was my first time being involved in the movie industry in any shape or form. There were whispers of Oscar nominations before the movie was even out yet which blew me away. I was thinking it through logically – Queen is one of the biggest bands to this day. On top of that, Freddie Mercury was one of the best performers of all time. So if any musical biopic is going to do well, it would be this one. This is because you cannot go anywhere on this planet where people haven’t heard of Queen. So I already knew it had potential to do really, really well. Just to talk with all of the producers and people on the set and knowing how dedicated they were to this movie. Just when that much passion goes into a movie like that, you just know it is destined to do very well.
Birmingham Stages: Whose music influenced you growing up?
Martel: Well, I remember growing up my main memories of music were being alone in my bedroom waiting for a certain song to go on the radio with my tape recorder. When that song would come on, I would record it and then later try to mimic the vocals the best I could. Especially with George Michael’s music – I was a big fan of him. I grew up doing music mostly in church – that was a huge part of my formation as a musician. My father is a pastor, so I was on stage whenever I wanted or sometime when I did not necessarily want to either. I really dove into music in the early ’90s, and that is when grunge hit really hard. I was huge fan of Pearl Jam, Jeff Buckley, and Richard Marx. Richard Marx was the one who inspired me to try a more raspy voice.
Birmingham Stages: How did digging deep into the lyrics and foundation of these songs change your perspective of Queen’s music?
Martel: When I started listening to Queen’s Greatest Hits, to be honest I did not love the lyrical content at first. Maybe because before this I was in a Christian band for 13 years and all of our content was meant to inspire. Even when we dealt with darker subjects, there was always a light at the end of tunnel. But, that is not the case with all of Queen’s music, maybe on the surface though. It took me awhile to really appreciate the lyrical content. Now I have a better understanding, there maybe a little bit more and it helps knowing Roger and Brian a little bit, too, as well as knowing more about Freddie’s personal story helps appreciate that much more.
Birmingham Stages: Is there anything else you would like our readers to know about you and your career?
Martel: I just would like them to know that I have some records of my own. There is a Queen covers album I just put out recently called Thunderboltand Lightning. It is my own take on some of the Queen songs that are my favorites. As well to check out my social media and all of that good stuff!
The Black Jacket Symphony will perform Queen’s A Night At The Opera at the Hoover Met Complex on Friday, June 26. Tickets to the 8 p.m. show can be purchased at www.blackjacketsymphony.com.