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Vinnie La Bella

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To be painfully honest, excess seemed to be the goal of my life while growing up; the most booze, the most parties, the most drugs, the most women. Slowly, my life began to become the locust swarm. I existed to consume and move on, until I was satiated or unconscious. But somewhere along the way, my quest for quantity gave way to quality. Upon reflection, my past had become a misguided detour. And all those allies who shared in my crusade, liars. I began cutting people out in pursuit of the answers to unending questions. Who am I? What do I want out of life? Why are the things that I want and the things that I truly need always at odds? Looking back, although traumatic in nature, I believe this to be an integral part of growing up; maturation at its essence. Through our talks, I believe this to be the crux of Vinnie La Bella. But Vinnie La Bella consumed for a reason that would land him on stages in front of hundreds of thousands. He moved for what was to be an organism that would usher him around the globe. The desire, the intensity, and the results would maturate rewards and costs of epidemic proportions, leaving physical and moral values lying in limbo.

Vinnie grew up in University City, a small neighborhood in Kenner, Louisiana bordering several suburbs and one veritable marshland. His father was a singer in a cover band that played mostly top 40 hits of the time. Being around musicians as far back as he can remember, the set-ups for practice, the camaraderie, and the grown banter were some of the appeals that drew him in. He can recall his father bringing home the Fandango! album by ZZ Top to learn a song and falling in love with that album. Between sneaking playtime with the guitar of his father’s bandmate, and classes in jazz theory, his love for guitar was solidified as early as eight years old. By the time he was eleven, he had learned enough to feel comfortable on the thing. It started to occur to him that this was something he could actually do for a living, perhaps in part, because of his father’s influence. But the mechanics of play had definitely become more familiar with time. And in time, nothing would move him more. His parents divorced when he was fourteen. And by age fifteen he was living with his mother on Hessemer Avenue in Fat City. Up until this point, guitar had helped to solidify a foundation between him and his father. So, to hear him tell it, his parents’ parting of ways didn’t really bother him. But he did, however, take advantage of his new digs. In the 80’s, Fat City was still a bustling neighborhood full of bars with live music. And at fifteen, Vinnie was beginning to establish roots of his own. Fat City would serve as a fertile medium to facilitate his growth; both as a young man and a budding musician.

For all intents and purposes, Vinnie was a loner. With just enough people he called “friends” counted on one hand, he was resolved to explore the world on his own. This translated into a person that possibly grew up too quick. He would quit school early to become a hustler, and admits he may have squandered opportunities. A reckless lifestyle would prove a comfortable place for him to exist. And those who were there know Fat City could give you all you could eat. From where he lived with his mother, 17th Street was just a two-minute walk. “Now the walks to the bar were always nice and clean. The walks back got interesting. You know, I woke up in a few alleys along the way, ten o’clock the next morning. But that was the stomping ground”. Though stumbling at times through life, he always seemed to fall in the right direction. And even his vices would prove of value. Fat City is where he met Kirk Windstein (Crowbar). It’s where he met Phil Anselmo (Pantera, Down, Superjoint Ritual, Necrophagia, etc). It’s where he met Andy Villafarra and David Main, with whom he would go on to form Exhorder. Fat City is where he played his first show in a cover band called Sabotage. And it also served as the place where he would draw a line in the sand. But before his own assertions, he would need confirmation elsewhere; confirmation that his suspicions were correct.

Speaking strictly from personal perspective I can tell you that there’s always been a voice inside my head. Maybe not so much a voice; it’s more like an inaudible message center. We’re all born with it in fact. In some, it’s just louder than in others. In our latter years, we learn of it to be the Id. It’s a part of the psyche, residing in the unconscious, that is the source of instinctive impulses. It wants nothing more than to be satisfied but is constantly modified by the ego and the superego before being given overt expression. It provides all of the energy for, and is the driving force of, personality. Unto itself, it has no organization. Being guided by his vices, seemingly falling in the right direction at times when his Ego or Superego would shine through, brought Vinnie to a defining moment in his life. Through this guiding force, Vinnie would often find himself venturing outside of the microcosm that was Fat City. One of those destinations was uptown New Orleans where hardcore and punk were prominent. This was a breeding ground for those that shunned society and smeared the edge. Sonic exploration was not only prominent. Here it was a prerequisite which fed Vinnie’s Id. “I remember walking out there for the first time, like, going to Jed’s. It was on like, Oak Street or Maple; right down the street from Jimmy’s Music Club. And that’s where they would have the punk and hardcore activity weekends. That was basically where we would all go. So, Circle Jerks played, Black Flag, I got to see all them bands… Dead Kennedys. And we would go over there and start hanging over there and noticing woah, this is a totally different world. Not only musically but, you don’t play cover songs out here. No band gets up there and plays a Black Flag song. You would probably get tomatoes thrown at you. You had to be an original thing offering something to the scene, being part of the culture, and growing”. This confirmed to him that the scene in Metairie really had grown stale. Metairie had the Ratts and the Poisons of cover bands. It had mostly become a hairspray haven where leotard clad man boys were chasing a path that had already been, by now, cliched. Punk and hardcore influenced thrash in metal. And cover bands influenced… nothing.

On campus at Tulane University is a radio station, WTUL. And back then, on the weekends, it would host a metal night one evening and a hardcore night on the other. Vinnie would also venture out there to a basement where the radio station was housed, bearing any goodies he may have procured throughout the evening. Two brothers were DJs. And together with Vinnie and friends they would pass around records, discussing them and giving them a spin. These uptown experiences, at the radio station and at live shows, were the building blocks upon which Vinnie’s own first band was founded. It would be the Id, his Id, incarnate. It would be proof positive that a dissention from what had become the norm of his environment was not only in order. It was necessary to avoid furthering apparent necrosing. Things would come to a head one evening in the dressing room before a performance with his first band, ironically named, Sabotage. “I was basically given an ultimatum in that band. I was in the dressing room. We were about to play a show and I was thrown some garments. ‘Here, wear these tonight’. And when I looked at these garments I was like, I can’t go out there like this. And he said ‘well you have to or you’re out this band’. And I said well, I’ll be out this band then… tonight mother fucker. ‘Aight, aight well you don’t have to wear that’. So, that was the last show I played with them”. This wasn’t at all about cover bands. Vinnie respected cover bands. His father was in a cover band. At one time, he even subbed guitar for a cover band when he was asked to bail out a friend in need. He was handed a list of one hundred and fifty songs to learn with two weeks to learn them. But again, having seen what the hardcore scene was like, and knowing it was more the direction he wanted to move in, left him with little vested in what things had become. And ever the hustler, he would soon take members of that band with him.

Establishing himself in a fishbowl of clones would not prove easy. Though he could see the gateway from his doorstep, anything west of New Orleans was just, not New Orleans. And Fat City was the fishbowl of not New Orleans. To become a deflection in this biosphere meant facing backlash. And staking one’s claim sometimes meant going on the offensive. “I was kind of frowned upon. And it caused a lot of beefs. I was an asshole man. And I would make fun of guys for doing it after a while because they were making fun of me for hanging out with the punks. So, it got to be a lifestyle kind of thing. You know, like I’m willing to whip your ass over this shit. That’s how deep we were into this. If you talked bad about Exhorder in the 80’s, you might not be around today talking about it. I’m serious. We were fucking assholes man”. The same guys that would say you’ll never make a dime doing that or the chicks will never listen to that were the same guys who would eventually break out of this redundant mecca. But latency meant they would have a new band to follow. In retrospect, Vinnie feels as though it would have behooved those people to pivot sooner than later. A lot of great talent was born out of the moment when they finally steered clear of mimicking the hair bands of that bygone era. But at that time, he felt as though he was defending his honor. At any rate, once he left that band and this scene, there was no turning back.

Writing for Slaughter in the Vatican would start almost immediately, but with only Vinnie and Andy Villafara, it would be an arduous task. David Main would soon follow suit leaving Sabotage. And the better part of a year would pass while writing and securing a permanent lineup. But throughout it all and no matter what, hardcore music had entranced Vinnie. He would rather die than see himself end up where he was headed. Music and life had become synonymous. And both, in Vinnie’s eyes, were secondary to this alliance. Given his proclivity for extremes and his perception that Exhorder was more like a gang than a band, things would become violent at times. Being that the foundation of this band was forged in contrast to everything out there, opposition could be found everywhere; even within the band itself. “To be honest man, I wasn’t the only lunatic in the band. I mean, these guys were legitimate fuck-ups man. We were all fucking nuts. I got in a fight with my drummer over some bullshit, year one. I kicked his fucking door down. I ended up going to jail and doing community service. So that’s kind of how we started; out of just anger and violence. And we were taking it out on our instruments and just making a hell of a noise musically about it. After that little scuffle with Chris, him, Kyle, and David left”. This would be the first of several partings for Exhorder. And the band was still so new, to themselves as well as everyone else. This occurred in late 1987. Their very first gig was just the year before on Franklin Avenue in 1986. At this point in time, they had yet to finish recording the demos for Slaughter in the Vatican. The process of rebuilding would go on for a year. During that time, Jay Ceravalo (rhythm guitar) would enter the picture.

At best, Jay was an aspiring guitarist. But Vinnie saw a bit of himself in Jay; the air of tenacity. So, he made a deal with him. Vinnie affirmed, “Bra, I’ll give you six months. If you can play this shit… and I will help you. I’ll come and show you. I will make you tapes and whatever you need. If you can do this shit you’ve got the job. And that’s when he got rid of his old lady, he quit his job and locked himself in a room. So, at the time it’s just me, Andy, and Jay trying to put some semblance of Exhorder back together”. Through this process, Jay would risk (and lose) most everything. He turned his back on a secure job with the city of Kenner, his parents kicked him out. Above all else, Vinnie recognized the loyalty and dedication and never forgot it. Sid Montz (Victorian Blitz, Crowbar, Valume Nob, Southern Isolation) would come in on drums about this time. But Vinnie still had to find a singer. One day in early 1989, Sid called Vinnie with some news. Vinnie recalls, “This is a good piece of history that I’ve never told anybody. But it’s important to where we land in this later. He (Sid) says listen man I talked to Phil (Anselmo). He’s not happy with his current situation. He wants to do something heavier and he can’t get the guys to get on board. So, he wants to come try out. So, I called him and said try out? There ain’t no fucking try out. You’re Phil. You can do this. You’re bad, you know? You’ve got the gig. Come home. He’s like no no no, I want to do it right. I’m going to fly in and try out. And I’ll come back and we’ll finish it. I said, ok. So, he came down and was as good as you thought he would be. I said I told you. You wasted your plane ticket. You got the gig! So, I put this mother fucker on an airplane right after rehearsal. He’s flying back to Dallas and he’s going home to quit Pantera. Now by this time Power Metal was the last thing they had released. The sound was still… the sound. So anyway, he’s in the air. I drive home from the airport. I walk into the house and the phone is ringing. I pick up the phone, it’s Kyle. I hadn’t heard from this mother fucker in a year. I haven’t seen him. I haven’t talked to him. He goes, hey man I heard you had Phillip in the room. I said what are you talking about? I haven’t talked to you in a year! How’d you know? He says, I wanna come back. I said he’s in the air right now! He’s going home to quit! So, I said dude let me call you back. I hung up the phone. I called up Jay and I said this mother fucker’s calling me. He’s like bro, it’s your call. So, I thought about it for a second, and I did the right thing. I said absolutely Kyle; come on home. We wrote these songs together. You’re the only mother fucker I can envision singing for this thing. I said, you got it. I just need to stop him (Phil) from fucking his own thing up. So, I said let me see what I can do. So, I called over there and Phil wasn’t upset or anything. He was actually pretty happy. He said ‘that’s good news. I’m disappointed because I really wanted to give it a go with you. But, I’m glad he’s back”. With Kyle back, Chris Nail would once again take over on drums. Anselmo would go on to record the famed Cowboys From Hell album with Pantera. And Exhorder would complete Slaughter in the Vatican, getting signed to Roadrunner Records. The what-ifs that ran through my head at this point in the interview came flooding in.

But tumultuous times were not behind the band. The signing was merely a piece to a puzzle that was never quite complete. Sure, they had remained in New Orleans, besting the labels turning them down left and right claiming that they needed to get out of New Orleans in order to make it. And one must realize this was the 80’s. This was the Regan era where shoulder pads and rampant consumerism dominated the arena. Even when they were finally signed, their first album came out mischaracterizing them as a ‘brutal thrash band from the depths of the swamp in Louisiana’. Their propensity for violence was getting them thrown off tours. This was no help either. But they knew they were on to something good. And this all would open up the door for many more out the south; a region negated as illegitimate in the world of musical significance. Between inner band tensions and music business complications, by the time The Law was released in 1992, the group was more than worse for wear. Vinnie had a baby. Chris was getting married. None of them could hold one another together or ever align their ways with normative business practices. Passion holds no court with principals. Principals are societally based. And passion is otherworldly. Exhorder would once again disband. Make-ups and break-ups would be scattered throughout the coming years. A turbulent giant would be remitted to a twenty-seven-year recording dormancy. In 2017, through specifics not revealed, Vinnie and Kyle would reunite for the last time, culminating in Exhorder’s 2019 release entitled Mourn the Southern Skies. It would be produced and engineered at OCD Recording & Production by Duane Simineaux under Nuclear Blast, one of the world’s largest independent metal labels. It is by far, in my opinion, the greatest work ever to come from Exhorder. Which at this point housed only two of its founding members. It would also mark the last time Vinnie would ever play with the band he started. “We tried to put it back together a couple of times. This last time the table was set pretty good. We had a good shot and it was working. We ended up in a dispute as usual. And this time the only original guys left were me and Kyle. The dispute was basically between me and him. It was basically over two bullet points that he just couldn’t get past, and I couldn’t get past. And finally, I was like fuck it. Hey if you want it this bad bro, take it. But you’re going to get your wallet out this time. Because a lot of times they leave me sitting there with the bill”. He went on to point out, “It is of my opinion that he, at this particular moment, probably hates my fucking guts. He won’t say it in the media but he probably does. It’s my opinion. I could be wrong. But five years, seven years, eight years from now you know, who knows”. They were maturing in the midst of this all. Their needs changed over time. With only two founding members remaining, what was considered Exhorder had changed as well. “Whenever Exhorder would break up in the past, we would just lay it to rest. Nobody owned the trademark or the copyrights or anything to that name. It just sat there. And it would always sit there until most of us, or all of us, decided to do it again. And it was always home base for us. If we ever wanted to make something of that thing we built when we were kids, it was always there for us. And it started when I said… yes”.  Vinnie reflected on the Phil Anselmo story here, citing it as a moment in time that should’ve reinforced a standing precedence for the band. When it came to Kyle’s desires to return, he didn’t mull it over. He simply said yes. But this time, through communications with his lawyer, he was confronted by a standing vote to oust him. The organism would no longer be the sum of its parts.

These days, Vinnie remains deeply involved in music. He has established roots in production, and continues with recording and composition. Among his many projects, you will hear his work on Kirk Windstein’s upcoming second solo album, projected to be released possibly this fall. He went on to talk about that experience, as well the many projects that he’s currently involved in. You can hear this info first-hand and the details surrounding his life in music on our podcast by picking your streaming platform of choice below. Please be sure to subscribe, as this keeps our musicians’ names in the wind and gives our show a greater voice.

Author: David Trahan

Neworleansmusicians.com

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    Revealing Chris Beary

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                Chris Beary is a social entrepreneur who has contributed consistently to the New Orleans community and the preservation of Louisiana music history over the last three decades. He is the founder of several non-profit organizations in the city, and serves in managerial or ownership capacities of many other businesses across a variety of sectors. After practicing law for 25 years, he shifted his focus to community building and social endeavors. I have been hearing about one project by the name of the Funky Uncle for quite some time now, and it was a pleasure to give a few listens to this interview.

                An interesting topic mentioned early in the interview is the realization we all eventually have: all artists are not local to us. There is a difference between the music we hear in recordings and the music which is crafted by local and regional musicians. I can remember having a similar realization in my teens when it finally dawned on me that not all music I had just heard had been recently released. I recall boldly proclaiming to my parents that a friend had introduced me to the next great band of 2001: Guns N’ Roses!

    Beary describes his realization as perhaps more gradual and smooth; exploring the city as a preteen on his bicycle, hearing local musicians and attending all-ages shows at Jimmy’s Music Club. The intersection of our memory lanes, however, lies in the eyes-wide-open thrill of discovering live music performances. The energy, improvisation and temporality of a great live performance can never truly be captured on a recording, and Beary has put his money where his mouth is to create opportunities for performers to captivate their audience and perform wholeheartedly. More on that later.

    Coming from a family of music fans, Beary was encouraged in his growing interest in live music performances. He describes going out initially to see any show he could find, but refining his interest over time and following bands who he most preferred to hear. As he talks about “peeling back the onion” and understanding music on a deeper level, he says his interest in becoming a part of the machine began to develop along with a deep appreciation of funk music. Although self-described as a mediocre drummer, he talks about his natural inclination from a young age to want to be a part of the music scene.

    A lifelong entrepreneur, Beary talks about his brief foray into music club ownership in the late 90’s, when he purchased Jimmy’s Music Club. He says the experience ultimately led him to consider all of his future ventures into the industry as social entrepreneurship. He then talks about the financial hardships faced by musicians in the gig economy, citing several reasons why these observations led him to become a social entrepreneur and champion of fair economic treatment of musicians. It is pretty common water cooler talk to hear folks on the scene express these sentiments, but it comes as a welcome relief to listen to this podcast and hear about an individual with this level of credential who has devoted a significant portion of their life to this worthy cause. It takes all kinds of people to make up a thriving community, and savvy businessmen are no exception.

    Moving forward, he details the circumstances which led towards the eventual formation of The Funky Uncle Live including his introduction to guitarist/composer Cristian Duque. I have had the pleasure to work with Cristian many times in the past, and was thrilled to hear of the collaboration with the spirited entrepreneurial vision of Beary. One of the most notable things I have seen in Cristian’s group, Soul Project, is his commitment to performing original music with fleshed out arrangements. On the occasions I have heard them perform covers, they bring a distinct energy and earnestness to the performance which stands out wholesomely. To mention the firepower of the ensemble itself… go check them out!

    The discussion between the two led to the creation of a beautiful thing; a mardi gras float equipped with a professional soundstage. Duque is quoted (paraphrased here) as pointing out the disparity between the typical quality of venue soundstages vs the immaculate planning that goes into studios for recorded music. Once the float had been designed and built, the debut performance was held at a “JazzFest for the homeless”, an event which became a staple for the roving venue until the 2020 pandemic. During this time, Beary and Duque began conversing about the possibility of using the float as the backdrop for socially-distanced, streamed performances. He describes the generosity of the local community, detailing several crucial production functions and equipment which were donated to the cause.

    Through the course of the pandemic, the venue served as a functional and safe performance outlet for over 100 unique bands to broadcast shows as a means of income during the quarantine. At this point, he touches on another crucial element in this conversation: Beary was able to draw in a community of collaboration because he is not benefiting financially from the effort. As the interviewer points out, this is immediately disarming for potential collaborators for apparent and universal reasons. The network of support generated by the Funky Uncle Live during the COVID pandemic will certainly stand as a testament to the importance of community building and philanthropy. Not every music lover can be a gigging musician, and not every gigging musician has the economic ability to bring things into life. It is an observably symbiotic community which has sprung up through altruism, but more crucially backed by humility, expertise and good intention.

    Beary’s interest in the arts is not limited to live musical performances: he goes into a great detail within the full interview about the series of paintings by local artist Frenchy which depict the COVID concerts at the Funky Uncle. These paintings were sold, with the overwhelming majority of the proceeds going toward supporting the musicians who performed at the venue. Beary marvels at the speed and frenzied dexterity of Frenchy, likening his focal intensity to operating as fast as four people at once. Displaying a consistently organizational mind, he describes the paintings as a body of work worthy of examination as a whole. He draws a simile between the progression of an artist’s career to the development of the perspective used to capture the energy of the live, audience-less, performances.

    As the pandemic drew to a close, Beary decided to renew his commitment to community work and has allocated roughly 90% of his working hours to pursue social entrepreneurship. One of the first projects at this time was a compilation album to commemorate the spirit of the Funky Uncle community, which was completed in 2021. These albums were passed out during Mardi Gras 2022, and the physical copies are sure to become collector’s items. The album also included interview recordings interspersed with the musical tracks, serving as an homage to the performers who shared their stories with the broadcast audience. As the local venues began to reopen, the streaming shows have ceased, but the Funky Uncle still rolls on for community and private events as well as fundraisers.

    Beary’s current community development project is the Louisiana Music and Heritage Experience, a massive music museum which is slated for construction across from the Convention Center. I recommend listening to the full podcast episode to hear the description of many of the exhibitions and performances to occur at the new museum. From the sound of it, this will be an employment opportunity for music lovers, historians, and performers alike. I will likely write a follow-up to this piece once there are continued developments to the museum.

    This interview shed a lot of insight into the enthusiastic spirit of Chris Beary. I have not yet had a chance to meet him, but there is something decidedly disarming about the way he speaks about the collaborators who have helped him to create musical communities. You may not be a musician, Chris, but you’re a funky moth- I’ll shut my mouth.

    -KB

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    Okay, Boomhauer

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    One of three children, Conner Graham was born St. Amant in Ascension Parish, Louisiana. Where, according to him, disco and Swamp Pop never died. “At our middle school dances, they were playing Wilson Pickett. Yeah, they might do the Bunny Hop. They might have cranked some DMX in 2002. But then the very next song was Land of a Thousand Dances. It was very strange looking back. But we didn’t know it was weird at the time” His start as a musician began at just five years old on the piano. Before long though, he was turned off by it because of the urgings from his music teacher. She wanted him to play Beauty and the Beast. But he wanted to play Dr. John and Elton John. According to Conner, she took one look at material from Elton John and saw the title Jesus Freaks Out in the Streets and instantly objected. She countered with Be Our Guest from Beauty and the Beast. And so began a path away from the keys. His familiarity at an early age with his preferred genre came by way of his mother. She was a radio DJ in the 70’s for 102.5 WFMF, “Baton Rouge’s #1 Hit Music Station”. Her record collection at home was both a testament to her tastes in music and a big influence on Conner’s early musical experiences. It’s how he knew of bands like the Beatles, Crosby, Stills & Nash, Jonathan Edwards, and the Eagles.

    He would move onto trumpet, eventually playing in band at school. During this time, another one of his hobbies was playing Guitar Hero with friends. He actually became quite good at it and recalls watching an episode of South Park. Where, in reference to the game, Stan’s mom declared, “If they would spend half as much time learning a real instrument, they would be onto something!” He thought to himself, is that true? He knew his mom had an old guitar sitting in a closet somewhere. So, in the summer before his senior year, he asked her if he could start lessons. During his senior year of high school, his mother took him to his first Jazz Fest. She wanted to see folk artist James Taylor, and he wanted to see the alt-rock band Wilco. But halfway through Wilco’s set, he wandered off and was drawn to blues-rock artist Johnny Winters. People sometimes speak of the timeless quality music had in the 70’s. And even though Conner was born in ’91, that 70’s sound had him hooked. To his liking, there was not a lot of synthesizers, and that gated reverb snare hadn’t taken over yet, nor had auto tune. Rounding out his tastes was the influence from his older brother, who was into Pearl Jam, the Foo Fighters, Nirvana, and other 90’s grunge. Through his older brother, Conner was also able to witness the camaraderie that came with being in a band. Because his brother was in a band and would have the same close-knit group of friends over all the time. He wanted that for himself. So, between regular lessons and persistent after school practicing, he stuck close to playing guitar. Eventually he would form his own band; or try to, at least. Conner and three of his friends would assemble in his garage for practice. But this was short lived. Directly following graduation in 2009, two of his friends shipped off to the armed forces and one of them moved away. Conner himself would move on to college at LSU and join the Tiger Band playing trumpet. While this may have kept Conner in touch with music, it was always a highly regimented and scheduled out event. Playing trumpet in a school band, he felt boxed in. But with guitar, he was able truly be creative. And this is what fed his soul. He did try out for a couple of bands during his time in college. Being that he enjoyed karaoke, he tried out for a pop-punk band that needed a singer. And another was a bizarre reggae rap-metal band that needed a trumpet player. Though he felt himself veering away from the trumpet somewhat, it was the only one of the two bands that called back. But he stuck with the reggae band for a while. He also took gigs on the side, all with his trumpet. And all the while his affinity for guitar grew more and more.

    At the end of 2014, Conner would be reunited with high school friends for a bonfire. As luck would have it all three had moved back into town. It wouldn’t take long for the four of them to put the band back together. And in just four months they had written ten songs, calling themselves Bayou Bullets. Over the next four years the group would see changes in their line-up, a five song EP studio recorded album by the name of Five in the Chamber, and the addition of a singer, Jovin Webb. Which allowed Conner to focus on playing. But the group had yet to find its true identity. Conner recalls, “If you listen to the album, it sounds like three very different bands playing five different songs.” Pop-punk, blues, 70’s folk acoustic, and rock had somehow all found a way into their initial attempt. Though Conner’s preference leaned somewhat toward pop punk, an affinity reignited by his 2018 Warped Tour attendance, the future for this band would be shaped, in part, by two factors. One of the previous changes in the line-up was the addition of a guitarist that was heavy into 80’s metal. And their new singer, Jovin, had a voice that dwelled in that soulful grit. The territory where these factors would intersect, and where the band would ultimately settle, would be in 70’s blues rock. The coming years would be spent exploring this identity on stage and culminating in their sophomore effort titled New Lie. Parts of 2019 and 2020 were spent trying to get this album down, as it was fraught with its fair share of hurdles. Jovin had been picked up by American Idol that year. And his efforts would land him in the top ten on that show. But a seeming positive would often present itself as a negative when it came to scheduling time for the band’s album. A song he had written, After the Rain, was one that left a hole Conner kept scrambling to fill. And the fact that it was written as a duet didn’t help things. At one time Chloe from Alabaster Stack was supposed to accompany Jovin on the song. After that fell through, Maria from Riarosa was slated to fill the spot and had to cancel. Also, Covid had reared its ugly head which brought production at the studio to a halt. Suddenly, Conner found himself at a low point in his life. The album release would eventually see the light of day. But for now, it was botched. Depression was setting in and writer’s block was beginning to take hold.

    Fortunately, Conner had the presence of mind at the time to seek outside help from a therapist. In these sessions it was revealed to him that the pressures of coordinating practices and gigs, and fighting to get this album out had placed him in a position where his creative outlet had become a job. The solution was to start another project where “making it” was not the goal, effectively freeing him from the constricts of all those elements that muddy the waters of inspiration. In this new project he would not even play an instrument. He would front this band as its singer, it would be a cover band in his preferred vein of pop-punk, and their name would be Okay, Boomhauer. Though Covid would wreak havoc on this band’s ability to practice and function, he was still able to reclaim a broken block from his previous project, Bayou Bullets. Reexamining that material through the alternative lens of his new band’s genre, a song stood out to him. It spoke to him in the form of an emo ballad. He felt so strongly about this that he would eventually record it as such. Five songs would accompany it on an album that was to be his solution to the isolation and stagnation that Covid instilled in us all. Paired with just an audio engineer, Conner wrote and recorded an album under the name Okay, Boomhauer. Progress was finally being made. As for Bayou Bullets, a pivot in their business model would be the answer to the pandemic. They realized that if they steered clear of major cities they could circumvent restrictions in place at the time. Together they hit every honky-tonk and dive bar along the gulf south. Being that their mainstay was in covers this was an easy sell, and a lucrative one to boot.

    Finally, Conner felt as though he had some breathing room. Bayou Bullets was gigging consistently, restrictions began to ease, and Okay, Boomhauer began to practice. Conner let them hear what he recorded and the band really took a liking to the material. The revelation would expand the band into originals and would accompany a catalog of about thirty cover songs. Then one night while performing with Bayou Bullets in the college town of Starkville, MS, he contracted Covid. And it nearly killed him. “It was literally weeks and months of rehab to get back to the point that I could perform or anything like that. Heck, it took three weeks before I was able to walk more than a block down the street. But in that time of working through all that, we also had that hurricane (Ida) that hit in August. And that wiped the calendar for Bayou Bullets away. Which provided the opening for a couple of the members who had been waffling on leaving or not to decide, you know what, it’s not going to be putting them out if I leave now.” Conner’s health would eventually be restored. And his focus would then shift to Okay, Boomhauer.

    This new endeavor has found Conner and his band scheduled to perform from Dallas to Mobile. He has already written an entire album for the band to record in between shows and is currently writing the following album. They are going into the studio to release a single this spring, with another to follow toward the end of this year. It’s been a cathartic experience for him. He’s proud of how his own EP turned out ultimately being played by Okay, Boomhauer. Seeing results, his vision is no longer obscured by the familiar doldrums of years prior. He’s started investing time and money in an editing process that will enhance the band’s following on social media. And he is able to delve into the mechanics of a far-reaching band without feeling bogged down. “I have targeted a list of cities that are all between eight and twelve hours away from here to start building that network of cities that we can we can tour to, to get to the cities that really give a shit about this music.” In due time, after some replacement recruiting, his other project Bayou Bullets will reemerge redubbed as The Black Smokes. We talked more in depth about his journey throughout. And we went on to examine the findings of research he has put into elevating Okay, Boomhauer to the next level. You can hear all of it on our recent podcast episode titled by the band’s name. Thanks so much for reading and remember, support for these musicians and this site comes as easily as sharing our work.

    Author: David Trahan

    For Neworleansmusicians.com

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    Petty Betty

    With family roots in both Ecuador and Sicily, Petty Betty front woman Erica Calle was born into a vibrant, culturally diverse family in New Orleans East. To hear her describe it, this was not an atmosphere for the meek. “The only way you get heard at the dinner table… who talks the loudest is who gets heard. So, I’ve never been told I’m a quiet person. And I don’t think I ever will. I just found a way to turn that into a positive.” Music never really held a dominant presence in the household. And although natural heritage was held close on both sides of the family, focus was concentrated on assimilation into American culture. As a result, she recalls her mother having an affinity for vinyl with no distinctive musical genre. And her father being somewhat of a fan of smooth jazz. In lieu of concerts or music festivals, the pair would often opt for more peaceful outdoor experiences such as rock climbing and camping.

    After a short stint in Texas, her parents came back to settle in Denham Springs. And though Erica had grown fond of singing, she just didn’t have the knack for it. “I remember being in sixth grade and I went to St. John Vianney in Baton Rouge, a small Catholic school. I remember getting up and signing Rockin’ Around the Christmas Tree in front of my class. It was terrible. The kids laughed.” What one might think would have a negative impact on a young Erica, didn’t. She would tell you that she was (and is) more stubborn than talented. But her love for performing grossly overstated the reaction she observed from the crowd. And she would do it again and again. It wasn’t until she was about twelve years old that some things started to fall into place. She was in her room singing and her mother mistook her for the radio. But what both had not taken into account was that, through maturation, her voice had dropped. It was at that moment that her mother really took interest in nurturing what would blossom into a wonderful talent. The notion was sealed with procurement of a voice coach and lessons.

    Erica had come into the situation loving pop songs and expressed interest in singing one for her first recital. But her voice coach would insist she take on a more soulful approach, while trying to cater to a deeper tone. And this felt right.

    Later on in life, Erica would study through vocal coaches at LSU. And once again she found herself singing in less habitable, higher tones. She recalls this as being exhausting. While she realized that one of her goals should be to provide for a wide vocal range, singing soprano did not feel natural to her. This was compounded by the fact that singing in a deeper tone physically came from a different part of her body. Not to mention singing soulful music came from her heart. “You don’t understand the why’s that you feel that way until you’re older. There’s a difference in singing rehearsed music and singing from your soul. And that’s something you learn about yourself as you go. So, I think what’s really cool about music, about the arts is that you’re really… not so much you’re learning a talent, you’re learning and discovering yourself.” Beginning with an interest in pop music and singing in soprano really took her off course. But luckily, by following her heart, and with a little help from a voice coach, Erica found the way back to herself.

    With mental and emotional support from her family as a child, she was able to realize her own vision as a singer. Her father even once driving her all night to Atlanta, Georgia for a competition in The Voice; at which she garnered her spot in the second round. But attempting so much in the midst of a cold landed her with blown vocal chords; a wound that would take years to mend. Even speaking would render her hoarse. So, she buried herself in life away from singing. Depression and weight gain would soon follow. An abusive relationship helped to further suppress the voice of a once boisterous young woman. And a roughly ten-year break from involvement in music resulted. She likened the experience to boiling a frog. These things culminated slowly, but had a lasting effect on her. Some friends approached her one night after karaoke asking if she would be interested in joining their band, and she accepted. It was a way back into a life of singing which was good for her. But she didn’t know how to advocate for herself when it came to what worked for her as an artist. As tensions in the band rose, so did the abusive situation at home. And although she learned a lot while in that band, when the time came as she said, “When I got out, I had to get out”. Her abusive home life was intertwined with her band life. So, when she made the decision to leave the relationship, she also made the decision to leave the band.

    Her next foray into singing would be what we all know today as Petty Betty. Hearing things like, “no little sister, what works best for you” made her know for sure she had found the right place. For Erica, learning the ins and outs of musicians and how they work became possible in an atmosphere conducive to growth. And the bunch all became like family. Petty Betty practiced for a solid year before performing live. Since then, they have enjoyed immeasurable success. But to do this, they came out the gate ready to handle not just the gigs themselves, but bookings and networking as well. They began live having gigs booked out for months. The Betty Boop/ Betty Page theme underlying their name had given them a distinctive look. And their embracive style with the crowd had landed them a truly loyal following. Though Covid impacted them as deeply as it did many bands, Erica took the instance as an opportunity to network even harder, committing to livestreams and serving as a go-between to help other bands remain active.

    Though some of this was about self-preservation, much of it became about the worth of a community of musicians as a whole. She gained an understanding of her own self-worth, as well as the worth of the musicians around her. And it now can be heard in her speaking about the way venues and musicians currently do business. She walked away from her experience with Covid realizing that a line must be drawn for musicians to uphold, whereby venues understand that a respectable business practice is in order. Like she said, “ I think that working within the music and the venue community, building those relationships helped to understand that value.” Instilling a perspective in people comes over time and through the efforts of not just one. Petty Betty has also sought to add value to what they do by making covers uniquely their own. At their shows you might hear House of the Rising Sun w a soulful nature, or Johnny B Goode w a double bass, or even Gangster’s Paradise and Lenny Kravitz Fly Away mashed together. An active schedule gigging has strained the band’s ability to find a spare moment to work on some originals. But a life, for some time, lived on an emotional roller coaster has Erica at no shortage for material. She has so much written that she can’t wait to work on. You can hear more about the artist on our podcast interview and the video version will be on our Youtube channel soon. In the meantime you can keep up with the band on facebook, including live examples of their work at https://www.facebook.com/PettyBettyLIVE.

    Author: David Trahan

    For Neworleansmusicians.com

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    Mosh Pit Etiquette

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    Moshing, Slam dancing, Pogoing, skanking, going ham (?)… those of you that have been there know the drill. It’s a flailing flesh-fest that’s got nothing to do with porn. Is it violent? Perhaps. Is it contradictory to pair the word “etiquette” with “mosh pit”? I don’t think so. I doubt you would’ve ever seen her in a mosh pit. But the three rules of etiquette are respect, consideration, and honesty according to Emily Post, who must have been the most delightful creature ever to grace earth. And I can dig that. Respect that if you punch me, I’m gonna punch you back. Consider just punching yourself and skipping the middle man. As for honesty, I honestly love a good pit. If I don’t leave that pit sweaty, dirty, and a little banged up, it was a poser convention. But I’m not a big fan of any choking or punching. This isn’t a fight. We’re here to blow off some steam, TOGETHER, not secure our place of dominance. That’s for the band to do. Can I get hurt in a mosh pit? If you’re asking yourself that question right now, perhaps I should just stand across the room, scowl a bit and shake my head at you.

    The various online know-it-alls lend ownership to the punk, metal, and even grunge genres in that order. And the litigious powers that be classify moshing as a “consensual physical act”. While we may all laugh at the civility of that phrase, it does point out one thing; people are in the pit because they wanna be there.  So, I guess here is where I could add to Emily Post’s contributions by saying don’t ever push someone into a pit. That would be inconsiderate and grounds for a shanking. I say all of these things because I believe in the necessity of a pit. And I want to do my part to protect it by passing on a good word or two for us all. Because believe it or not, it has been under threat at times from the law. Back in 2012 when I was hanging around Boston a lot, I went to a Flogging Molly concert at the House of Blues. A raucous pit broke out. I had a blast, truthfully. But for some reason, Boston PD came down on the place. Apparently, they vowed to rid their town of the recreational sport and saw it fit to cite HoB for it. Around December of that same year, I stopped in there to see The Might Mighty Bosstones, and they had signs up prohibiting moshing. Question: Why do mosh pits always seem to rotate counter-clockwise? Well, why does draining water do the same? We’re mostly water anyway, right? Perhaps it has something to do with the earth’s rotation, and gravity, and wobble. I don’t know. Think on that and get back to me. In the meantime, here’s a few thoughts from some friends of ours here at NOM. Enjoy!

    NOM Member Jorge Caicedo of The Grooxs and MIMIC – “You move in a circular motion. You don’t do football moves such as body blocking. And if someone falls, you pick them up. No punching…If you wanna punch, be aware there are consequences.”

    Hunter Bruce of Fuel the Funeral Entertainment – “Don’t be an asshole, regardless of what side you’re on. Every show I go to there’s always that one dude with a problem and they always wanna start a fight over it. As for crowd surfing, just be aware of your surroundings. I’ve had the back of my head kicked dozens of times because someone was crowd surfing behind me and I wasn’t paying attention. Always keep a look out. Likewise, if you’re surfing then help the crowd carry you, don’t just give them dead weight. Gage the crowd. Don’t try and jump up there if you aren’t sure they can handle you.”

    Raid Booking & Promotions – “You might get hit when in the pit. If someone falls, help them up.”

    Author: Lingo Starr

    for Neworleansmusicians.com

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    Classifieds for Musicians

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    Here’s a quick word about a unique privilege on Neworleansmusicians.com. On our home page at the top is a link to our classifieds section. It is broken into three main categories; For Sale – For Rent – Wanted. The advantages are outlined below. But first, some general info to consider.

    1. Users on NOM must register to list on our Classifieds. We implemented this to weed out bots and vet outsiders just passing through. It is my intention that we all become a close-knit community here. Listings in the Classifieds section are relevant because they were made by someone that is already a part of this site. And this area is policed by admin. So, you won’t have to tolerate trolls or spam.
    2. All listings get the boot after 30 days to ensure that you’re not wasting your time on old postings. So that guitar is probably still for sale. And if that DJ is serious about finding a gig, he/ she will repost, ensuring you’ve found the right person for your next event.
    3. Shopping within our state means your money is going to a local fellow musician. Lets keep “us” a priority in everything we do!

    For Sale – On social media, it doesn’t take long to end up under a stack of other sellers. We assure our listings are relevant to the music community and current. Ebay, Facebook, Etsy, Amazon…. Frankly, you’re a drop in a sea of listings. By design, we help avoid this pitfall by restricting our community to Louisiana residents only.

    For Rent – You won’t find apartments or spacewalks on here. This is about rehearsal space and other musician needs. Check the listings in the For Rent section of our Classifieds. Perhaps you need some sound and light equipment for your next show. You’ll find listings from individuals and companies. If it’s a company, chances are they have a business profile on our site. Without leaving, you can research them and decide if they are a fit for you.

    Wanted – You won’t find your mugshot here. But do send us a copy of that. We glue our own decorations to the milk cartons in the break room. Seriously though, looking for a new gig? Need a replacement for the drummer you just kicked out the band? Would you like to find a DJ for your next event? There’s a wanted section just for these situations.

    In closing, I see this area of the site as self-explanatory. But, by Neworleansmusicians.com catering to Louisiana musicians only, it tunes out a lot of the foreign and irrelevant noise found on other sites; the same noise that covers your listing up within seconds. I hope to see your band on our site soon!

    You can register and begin using the classifieds with the link below.

    https://neworleansmusicians.com/reistration

    Author: David Trahan

    Neworleansmusicians.com

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    Tamarie T and Thee Elektra Kumpany

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                    First and foremost, I love the energy Tamarie brings to this interview. There are moments of bare sincerity which speak to me meaningfully as a fellow musician and bandleader and I wanted to share my thoughts. I was unable to check out the show on Frenchmen he recently hosted, but I hear it was out of sight. Please consider listening to the full interview on the Neworleansmusicians.com Podcast. Thanks for reading, and I hope you enjoy. Here is a brief bio summary of Tamarie for anyone who missed the podcast.

                    Tamarie T is an artist born in Inglewood, Chicago who has recently moved to New Orleans to continue his artistic career and bring his signature funk vibrations into the musical melting pot of the city.  Continuing in the tradition of early funkateers, Tamarie performs with a full ensemble complete with rhythm section, horns, vocalists and even dancers. His early career, which included covering the music of powerhouse artists such as Prince, eventually led to a role as a booking manager at Chicago’s Underground Wonder Bar. During these early years, he was able to establish a network of musicians (both peers and mentors), as well as begin to develop what would become a signature musical styling and dynamic stage presence. Tamarie calls his music “Exotic Funk”.  Let’s dig in.

                    What is exotic funk? On an immediately relatable level to many musicians, exotic funk is the opposite of “everything”. Tamarie details a discussion wherein he was cautioned against saying the band plays everything. Personally, I have received similar advice from many of my mentors over the years. I have been a bandleader for over fifteen years, and I have changed styles and tastes in various ways. As the years go by, material from previous phases begins to accumulate and decisions must be made about the direction of the group musically and from a marketing perspective. Many artists find themselves in between established “genres” and must choose the lesser of two evils when deciding how to file paperwork on streaming platforms, etc. I tip my hat to Tamarie for putting boots to the pavement and taking on long-form interviews like this in order to be clear and descriptive.

                    Tamarie paved his own way toward expression. He describes his career ascent from self-promoting on Craigslist as a “frontman extraoridinaire” to developing his musical and industry chops by reaffirming his constant desire to find his own sound. Tamarie speaks about “assuming the roles of our elders” as he describes the foundation and reformations of his ensemble. Again, I would encourage anyone reading this to give a listen to the full interview, especially if you yourself are at a transitional point in your career where you are looking to expand beyond covering other people’s tunes. I personally continue to perform occasionally with cover groups, but when I perform solo or with my band, I choose to do exclusively original music. This is a transition I was only personally willing to commit to after the pandemic, but this portion of the interview was especially compelling for me as a listener.

                    Venturing into a personal aside, I also found it relatable when Tamarie spoke about various elements of sacrifice that are sometimes required to be a musician. And doubly so if you choose to forge your own path. As with most things in life, the factors at play will not be identical between any two people on this planet when it comes to major decision making. This topic, that is- the sacrifices musicians make to purse the lifestyle which suits them, could be the subject of a novel on its own. For the time being I intend to leave the subject alone, but perhaps will write a separate opinion piece to take a closer look at the matter in general.

                    For now, let’s talk about New Orleans. It is a visceral city in which to be a musician and there is enough excitement generated per day to power a small-town power grid. For many, the first performances in the city are absolutely electrifying and can generate enough mental momentum to make you feel like you can conquer the world. This certainly seems to be the case with Tamarie, and I hope to see his career continue to grow during his time in the city. There are likely enough articles out about the potential roadblocks and the pitfalls which lay about, so let’s instead take a tangent.

    Tamarie mentions the lack of response by various venues to his email requests to schedule a performance date, which is something I believe most musicians can empathize with in one way or another. There are, of course, some band leaders (the names change, the game doesn’t) who will prey on new-to-town musicians and there are always suspicions that venues may not be paying what is owed. But beyond the surface-level (and unsolicited) cautionary tales any local musician could share, and to avoid potential slander, I would like to use this article to encourage Tamarie and others to continue pushing for opportunities to perform (for money) their original music.

    He describes his first performance in the city with local musician Sierra Green. I have personally had the pleasure of working with Sierra Green numerous times and I am vicariously thrilled for Tamarie to be introduced to such a business-minded (and bullshit-avoidant), charismatic and knowledgeable veteran of the scene. Anyone who has heard Sierra knows she possesses an incredible voice and a powerful stage presence. Certainly, a potentially exciting pairing for as vibrant of an artist as Tamarie. He also mentions trombonist and band member Maurice Cade, another New Orleans transplant born in Chicago. Maurice, in addition to performing with Tamarie and Sierra, is the trombonist in my horn section, The KB Horns. Maurice’s playing was recently featured at the Blues Music Awards in Memphis where The KB Horns accompanied blues guitarist Kenny Neal. All that to say, I believe Tamarie has found himself in exemplary company when it comes to fabulous musicians with earnest intention.  

    Returning to the interview, Tamarie makes an aside about “assuming the roles of our mentors” which I found quite compelling. As the years pass, we do inevitably find ourselves in a position wherein we must take the mantle from whoever paved the way for us. Although we may never get an opportunity to inherit a legacy show or even meet our musical icons, I believe Tamarie is right in pointing out that we must appreciate the mentors who shaped our early years and we must express that gratitude to them in whatever way we can. Tamarie talks about the eventual reformations of his ensemble which led to staffing decisions that excluded long-time band members. He spends some time on this point, elaborating on the delicacy of the situation and the process by which bands transition to new membership while still showing respect for the members who are not chosen to represent the current trajectory. Having been a bandleader for over a decade, I relate to this deeply because sometimes the decisions can be absolutely gut-wrenching. It takes a certain type of person to balance the role of a business manager and that of the artist. Music is very often emotionally involved work, and I appreciate that Tamarie took the time in the interview to speak on the necessity of being considerate to those who must be let go in a transition. Life is hard enough; we must be nice to each other.

    Coming to a final quote, Tamarie speaks about an interaction with Sierra Green where he was told to “not be humble”. Now we are playing with fire, and I love it! There is always a necessity for respect and decorum, relative of course to the situation, but there is a sound truth in the sentiment that the meek will not inherit the stage in New Orleans. I think there is a sound logic within this idea, and I want to point out again that this interview in its entirety goes into great detail about this point (I don’t want to see anyone taking this out of context). I personally relate to and agree with the sentiment, and I believe it goes without saying that in the context of all other topics discussed in the interview Tamarie shows a consistent empathy and compassion for his core band as well as temporary hires. Disclaimers aside, holy shit what a good thing this is to hear early on in your New Orleans journey.

    This is a fiercely competitive gig market, with a lot of room for sidemen and fill-ins. But there are only so many stages and so many tourists to entertain on a given day. Until the point in your career where you are selling tickets with your name on them to pay your bills, being a bandleader in a tip-driven economy is no small undertaking. Recruiting band members who will make themselves available to you to take a chance on original music in a cover-dominated environment can be tricky, and Tamarie points out that even once you clear that hurdle the musicians will likely be involved in several other projects simultaneously. Scheduling rehearsal can be a nightmare, and commitments can often be quickly severed when the prospect of higher-paying work is introduced. It is not an easy task, and can be complicated even still by the lack of response by bigger name venues. Speaking from experience, it can be exhausting.

    I encourage Tamarie, and anyone else looking to present their original music, to pursue this goal to the fullest extent possible. Tamarie, you are in good company (Kumpany?) and I wish you nothing but success. Don’t let the bullshit wear you down, and do what you can to stay true to your vision. I don’t believe there is any dishonor in taking pickup cover work if it helps keep things moving, and there are lots of places beyond tourist-populated clubs to perform. Big crowds are nice, but it’s hard to retain people’s attention and even harder to make fans who seek you out independently. I wish you success, and I am looking forward to meeting you out on the scene!

    I’ll say this, nobody is going to see you as anything but yourself in New Orleans as long as you put it out there. Shine on!

    Author: Kasey Ball

    For: Neworleansmusicians.com

    About the author:

    Kasey Ball is a Louisiana born composer/arranger, multi-instrumentalist and producer. He is a 15-year veteran of the Louisiana music scene and bandleader of KB & the Backbeat.

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    David Trahan

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    In mid-January of this year, I was joined on one of my new podcasts by the proprietor of NewOrleansMusicians.com. We met originally on the Mississippi River in a previous life and time under considerably different circumstances. I wouldn’t call it a chance encounter as it was our respective day jobs that brought us together that morning, but it was, without question, an intriguing introduction. He wasn’t like any other I’d met in his position. Little did I know the complexities of the man standing before me.

    The opportunity to observe and study David’s mind in action was one with which I’d been eager to embrace. I wanted to know what made him tick. There was an odd connection that morning on the river. I most certainly had a sincere interest in his intended topic of discussion for our podcast visit, but also very much in the side of him that he seemed to be low-key deliberately keeping separate from his web presence. I appreciated his candor and participation in my podcast project, and owed him the very same respect he’d shown me, though our very first moment meeting would have suggested no such thing. 

    I was working for one of the largest towboat and barge companies in the country, and his employer was no slouch either. They were a contractor for us. I’d boarded the vessel at an opportune time where I got to spend time with back watch first. Back watch had the characters (I thought). Some of those guys preferred it. It was such a different pace of life out there.  I could feel it in the air in the wheelhouse that morning.  A certain choking silence intruded as he came back up for his next six-hour watch.  A flurry of perceived thoughts resounded across the space between us and in that glare that stared at me as he came up those steep, wooden stairs…

    “You mother fucker. I haven’t had coffee yet. Who the fuck is this guy? Why is he in my wheelhouse?”

    And then the other pilot chuckled his way back downstairs.  I may have fabricated these thoughts in my recollection and retelling here, but anyway, I digress.  I paused for a moment when he first appeared before me. I blinked myself into quiet and regained my composure. This guy was different.  He was distracted by a pointless distraction, but I was really only there to make money.  I had a household to support.  I’d been visiting boats to help coach pilots on a new computer system every other week for a while by then.  David didn’t really need my help in the system. A few pleasantries and minor questions about the new system precluded a much deeper and more engaging conversation.

    It turned out that our mutual misconceptions were forgotten when the coffee pot began dripping behind him. I kept in touch deliberately over time. He wanted to promote his project on my new podcast, and his passion for this website I hadn’t heard of was clearly evident and on display. I didn’t much follow the music scene these days, but I was, indeed, from just outside News Orleans.

    My podcast projects document the lives of my guests from a broad array of origins and journeys through life. I’d kept in touch with David over the few short years since we’d first met, and often discussed the side projects upon which we’d both been so feverishly working on our time off. In one of the more recent of those conversations, he shared the story of a passion project of his to develop a service for the local music industry in The Big Easy that had been in production for many years, lingering forever in the back of his mind.

    ‘I sat back in quiet awe as I studied the backdrop before which he sat looking toward me. His studio mic reached out from left to right on screen and sat ready at his chin. He’d done this before. I knew this should be a good one.’

    The conversation began as they all did, and I learned we grew up in the same area of southeast Louisiana just outside New Orleans, but we did so a decade apart.  It was a different world.  He was in my older brother’s generation, but some sort of trust had somehow developed between us over time. There was an unspoken acknowledgement of mutual respect, understanding and comprehension, but from when he had first left home to the time I met him, our lives couldn’t have been more divergent.  

    His journey through life began as most others do. He showed up one day in 1976 and developed a love and appreciation for music at a very early age. Gifted in school, but drawn more to life in the streets, he found himself traveling aimlessly down the wrong path.  Disenchanted and distracted, he didn’t even finish college. Working odd jobs between and after classes wasn’t cutting it, nor were the jobs he’d been able to secure in the interim after cutting ties with his tertiary education.

    The need and desire for disposable income and a happenstance job listing led him to a career entirely unrelated to music. It provided a path and direction out of trouble and well offshore.  Amidst a developing career in an industry to which he’d had little to no exposure previously, an opportunity arose for him to acquire the full rights and ownership of a website project he believed in. He endeavored to secure a web presence and acquired every available domain he could that may pertain to his new project.

    His respect for the industry in which he worked professionally, and the knowledgebase upon which he drew on the job, led naturally to the drive and ambition that structured his pursuit of the passion project he sought to develop online when he was at home. It had become an obsession. With a growing family and an already demanding career, NewOrleansMusicians.com had not fallen by the wayside. It remained at top of mind for him no matter where he was or what he was doing.

    What began as a networking tool for local bands, the website, NewOrleansBands.net, had grown organically to about 300 bands in its original configuration. The website was hosted out of town, so it remained online through Hurricane Katrina in late 2005, and kept local bands in touch with one another. David’s intended acquisition was delayed due to his job offshore, but in all of his spare time, he was drawing out by hand every page he’d imagined for the website he sought to own.  

    The challenges of web development at that time were obstacles preventing his dream.  He persisted nonetheless. In 2021, after years of spending money to maintain an excessive amount of owned domain names that tied directly to his website, he was spurred by a wife that had seen and heard enough about it.  Since then, he found and hired a programmer to deliver the dream he’d envisioned. While he hasn’t yet realized the grand design, he’s moved it every month toward the finish line.  If you’re a band anywhere in the state of Louisiana, or a part of any supporting service for the entertainment industry, check out NewOrleansMusicians.com.  

    Grow together.  Geaux together.

    We touch on his wife and family after he paints the dreamscape of his website.  Then, from rebuilding a ’76 Chevy to tinkering on the piano, the website still outshined the rest. There was a certainty about him, a dreaminess, a gleaming eye. He knew he wouldn’t be where he was without the nudge of the support system that awaited him at home for ten days at a time on repeat seemingly forever.

    “Here I am all grown up, Tim,” he’d finished with a laugh.

    “I’m watching it live,” I responded.

    You can expect two podcasts, at least four videos, and two articles every month on the site. And he hosts interviews to find and develop worthwhile content for the page. Musicians that join his site get immediate podcast and playlist placement, Youtube features, and promotional assistance all for free. And they can use his site to network, buy/ sell gear, read articles about Louisiana’s music scene, and experience music and videos from Louisiana’s scene. This man means it. He’s chasing the dream. Hop on that train before it leaves the station.

    Anyway… All that to say, “Cheers, David.”

    I find it difficult to comprehend the passion and commitment David demonstrates with NewOrleansMusicians.com. The schedule, agenda, and deadlines that he upholds for this thing are untenable to me. If I was nearly half as passionate about my own podcasts, I could probably make a career out of it. But I had the same concerns about financial security, the same reasons he maintained his day job, the same uncertainty that plagues any dream. David needs a better work schedule though. I’d like to start a petition…

    Author: Tim Tregle

    For Neworleansmusicians.com

    Please check out my work.

    “The Living History Collection” on YouTube. 

    www.youtube.com/@WhereYatStudiosLLC

    On Spotify, Google, Apple, and Amazon…

    Between the Levees and Getting to Know You – Where Y’at Studios, LLC

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    Pocket Chocolate

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    Imagine having to gather your extended thoughts precisely, no matter how abstract. And even though you weren’t sure how they’d be received, imagine having to deliver them in front of a large audience; all eyes on you. Now imagine you have nine personalities. You have nine schedules, nine talents, nine lives. This is the impossible that Pocket Chocolate is tasked with each time they hit the stage. But when nine lives of nine members converge precisely, it can seem like magic to one’s soul. Funk is the only map through this labyrinth of sound. Syncopated beats and lagging time help tell a story where the timing is in the delay. Even though they started off as a cover band, they always converged on an impromptu jam session mid-song. And from there, in a seamless, non-stop transition, they would somehow find their way into the next cover. These were both an homage to the leaders of yester year and a statement of the groove shared between two pieces; a subtle puzzle, if you will. Gradually, the nine lives have moved toward original material. Which, in itself, might leave a tumultuous mark in time. As after covering so many great sounds originating from so many great minds, it could get hard to denote where the cover ends and the original begins. Still, like their signature method of a cover itself, Pocket Chocolate seeks to vocalize their multi-faceted encounter as one nation under a groove, establishing their own signature sound.

    I sat down with Gabe France and Dalton Steiffel in a studio above a book store on Oak Street in New Orleans that I later described to my wife as a shrine. The space was lined with new and vintage synthesizers, amps, guitars and various other instruments. String lights lined the brick wall behind us. And as I set up for the interview, I couldn’t help but get the sensation I felt being in a Toy’s R Us as a kid. We were casual but punctual, and ready to go to work. We began by discussing what life was like for Gabe growing up. His household played host to an eclectic selection of music, Simon and Garfunkel, Beatles, Led Zeppelin, show tunes, and old New Orleans classics all shared time on the speakers. This was due in part to his growing up with three siblings. His mother, a pianist herself, would urge Gabe and his brothers to get involved in extracurricular activities centered around music and art. His older brother played in bands in school. But Gabe never gravitated toward playing. Music was always of interest to Gabe, namely 70’s funk and soul, and locals like John Cleary and Dumpstafunk. But he was into sports and had never envisioned himself as a musician. It took a bit of persuasion from his older brother and friend Connor, and seeing his older brother perform in bands of his own to pull him in. And at 11 he picked up a guitar. What was once an afterthought gradually turned into a sincere passion. Throughout the development of the story of his life, it was interesting for me to see the progression of Gabe’s involvement with music. He went from not seeing himself as a musician to ultimately playing three instruments, writing music theory, writing and singing lyrics, organizing set lists, and through his member coordination and contributions on bass, assuming responsibility for cohesiveness of the group. His relationship with music has definitely changed his perspective.

    Though his introduction to playing music came gradually through family and friends, that hasn’t always been the case. Originally, Gabe and his older brother both played guitar in Pocket Chocolate and their friend Reese played bass. But just before the pandemic, Reese moved out of town. And suddenly, the band found itself a man short. Gabe laughs recalling the rough transition, “It wasn’t that bad, you know. Especially going from the mindset of oh you know, I’m a guitarist. And then you have to switch. But I think it was definitely the best thing that could’ve happened…  When you play guitar, you listen to the guitar (parts). When you switch instruments, I’m listening to other things that I probably wouldn’t have been focusing on before. Now that I can kind of jump between instruments. You’re listening to the whole sound differently. Instead of, oh I’m going to take a solo right here, it’s oh I need to play something on bass right here that kind of sits in the background for them to take a solo. It’s helped me realize the whole structure of the song.” Here, by way of necessity, Gabe found himself grasping the reigns of congruity for the sound as a whole. His respect for the craft lent him to the preservation of harmony. And I might add, this is one of the many reasons I love music so much. The idea that, without speaking, people can come together, becoming one vessel, yet respecting each other’s individuality. Solos are the flowers bestowed upon members by each other.

    Pocket Chocolate has been playing together for about five years now. With nine members, a recorded EP, and too many show dates played to cite, it has instilled in Gabe an ability to coordinate on a grand scale. Drawing from his affinity for live albums and yesteryear’s popular method of one room, the band chose to record their EP in an altogether fashion at Downman Sounds in Gentilly, New Orleans. And in doing so sought to capture the raw sound; that sonic moment in time. Dalton added, “The big thing of that was doing it together in a live room, but taking full advantage of the recording process. And being able to go over afterward with the same microphone, the same horn players, and the same take, but just kind of reverberate and polish up those parts. You’re able to put the focus in and drill it. That way they have the credit they deserve for the work they put in for the parts.” The EP consists of five original tracks, as well as two covers in Pocket Chocolate style. And by saying that I mean you might hear what starts off as a cover of Fire on the Bayou by The Meters. Then it may break off into a jam session and gradually morph into Fly Like an Eagle by the Steve Miller Band. It’s a unique sound and presents an interesting contribution to the cover format. The band is shooting for a full-length album around summertime this year filled with originals and covers in similar fashion. For Gabe, learning song structure has helped with the process of structuring an album. And writing together with eight other members will always send the band on a journey to find its own best practices. “A lot of times, it will inevitably change just because there’s eight other people… that get a certain feeling or idea from what I have. You have to compromise and be willing to kind of go somewhere where you might not have thought that it could go.” And sometimes, believe it or not, things seem to fall right into place for the band. “It’s almost like musical vomiting. You know, just like throwing every idea you have possible. Because inevitably, once you keep going, you’ll find something where it’s like ok this is, I can work with this. And so, we got to that point with this specific one. This was just the rhythm section; so, guitar, bass, drums. I think Dalton was probably there as well on percussion and keys. And we kind of had a brainstorm of a certain idea that we wanted to continue with. But it was pretty much just one section of a song. And then we jammed a little bit with my cousin who plays guitar and it just was like oh, here we go! We have the chorus part now. We have the little interlude section or whatever. And then the horns kind of came in and have been working up a little part. Yeah, from where it started it’s just so cool.” This process is somewhat mirrored in their live performances. Only, it is more reminiscent of a comedian on stage with new material for the first time. They are working things out; using opportunities as a litmus to see what works and what doesn’t. And the final product is as close to what was in their mind at the time as can possibly be. Sometimes that means using a lull in the head count of a crowd at a bar to perform an original song they’ve never before performed live. “This can’t hurt. And it matters, obviously because it’s practice, you know. It’s getting the work in and reps. But the pressure’s off maybe a little bit more. And that kind of gives you a little more opportunity to maybe, you know, maybe I’ll try this out.”

    The influence of many members has had a positive impact in other ways. It has been instrumental in creating an identity for the band. And not just in terms of physical presentation on stage, but in their own sound and abilities. Being rooted in that New Orleans sound, it would be a stretch to cover certain local groups lacking the horn section, for instance. But boasting a brass section of three sax players and two trumpet players has given them the competence to tackle such things. Building upon this, the band has extended their reach and appeal through strategy. Booking Krewe du Vieux Ball and the Krewe of MadHatters parade this year meant setting a deadline on the EP. And seeking to present their recorded work closely to what crowds have come to love in their performances, they have arranged their track list much like their live shows.

    In my time interviewing, I have yet to meet a band member, studio head, or venue owner whose company I didn’t enjoy. And if you know me, that’s saying a lot! Gabe and Dalton were no exception. They seemed grateful for this opportunity, and willing to open their minds for my perusal. The idea that any one of my interview subjects could be, or already are, a global sensation is cast aside. And for that moment we are all just people with a common love for music. We discussed so much more in my time there; too much to cover here. But you can catch the podcast of this interview at https://neworleansmusicians.podbean.com/. And the interview will be disseminated in parts and ultimately as a whole on our Youtube Channel. My sincerest thanks go out to Dalton Stieffel and Gabe France for allowing me an intimate perspective of their lives and hard work. More from Pocket Chocolate can be found on our site, Neworleansmusicians.com and also https://pocketchocolatemusic.wixsite.com/pocketchocolatemusic.

    Author: David Trahan

    Neworleansmusicians.com

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    What a Waste – Demo Review

    Dave-vocals, Joe-guitar, Bobby-bass, Billy-drums

    So, I was on a freshman class field trip one time down to the Gulf Coast. A group of six of us were staying in a hotel overnight and attending a seminar the next morning. The chaperone was our basketball coach; a middle-aged flub whose appeal had waned where sarcasm had waxed. Out of boredom, I had taken to the hallways of this place, staring out the windows at the dimly lit sand wishing I could figure out a way to get some beer and a bit of freedom. It was late, and the parking lot was dark. But I was positive I had just watched our coach kiss some woman and then get into her car, inexplicably driving away in the night. I knew immediately that this was grounds for mayhem and the time was now. And I have said all that to say this… This memory is what came to mind while listening to the first track on this demo by What a Waste, “Nailed to Your Southern Cross”. The sticks count in and instantly you’re hit with a motivating bassline that says action. I like it already. Tip of the toes kids, the pit is a calling! “You won’t see me. I’ll see you”, is what it sounds like he said. And that’s what I’m thinking jumping in that pit. The song is quick; in and out in just over a minute. I do hope the final cut gives us a bit more of this gem.

    Moving on. Second track “So Far Away” finds Dave on the vocals with trail-offs at the ends of vocal bars leaving listeners with an almost melodic presence; almost. I like his style. It’s cool to scream your ass off. And maybe it’s the Southerner in me, but when the grit is mixed with a bit of butter, I like that. A quick two-and-a-half-minute track that, at a minute and twenty-eight seconds in goes through a change-up. And this change-up slowly builds in pace until they plop the original rhythm back in our laps. This is good stuff people! It’s like they’re milking the anxiety cow’s teats for all their worth. I’m spewing adrenaline.

    Next up is the title track “What a Waste”. And apparently some guy works every day and has either pissed off Dave, or Dave is telling us the over-worked guy is pissed. Whatever the case may be, the guitar gets a little funky in this one. I mean its punk, but with a little snazzle-razzle on it. Ok it’s just a sharp note followed consecutively by the two flat notes beneath it. But I like the way Joe twangs his thang.

    “Huffing Glue” is almost as short as the first track at only a minute thirty-seven and the final track on this demo. I think my laptop was huffing glue because it kept pausing, or buffering, whatever that means. Anyway, good ole Billy on drums counts us in and we blast off into a four-note mainstay broken up by a couple high notes that signify the chorus is here.

    All in all, they’re quick, they’re tight, and pay them their respect. This is a middle finger to your day, to my day; something to spruce up your morning coffee. And I needed it because I’m out of creamer and sugar. Whoever said “once you go black, you never go back”….. lied. But to the ex-members of A Hanging, The Pallbearers and AR-15 that gave me this lovely dose of audio intensity, I say thank you. And definitely, definitely follow up on this project with an expansion, both in catalog and song exploration. With that, I will hand over the reigns to Neworleansmusicians.com member and bassist for The Grooxs, Jorge Caicedo.

    Jorge: This is the demo debut of What A Waste from New Orleans. Four tunes of straight-ahead punk rock with the Black Flag and Circle Jerk influences coming through nicely. The rhythm section of bassist Bobby Bergeron and drummer Bill Baxley, both of whom were in the excellent A Hanging, keep the bottom end tight while the guitars and vocals do their thing.

    The tunes are more of a mid-tempo style as opposed to straight speed, although “Huffing Glue” is the exception. As per punk aesthetics, the songs are short, catchy and to the point. Catch these guys the next time they play a show, it’ll be well worth your time. You can get your cassette or digital download plus more perks using the Bandcamp link below.

    Authors: Lingo Starr and Jorge Caicedo

    Neworleansmusicians.com

    Here’s Bandcamp link: https://l.facebook.com/l.php?u=http%3A%2F%2Fwhatawaste504.bandcamp.com%2F%3Ffbclid%3DIwAR1qHDi7-YcdCfHk36bybfH5CQa3x3AWBwmdQQ9bIC9tDl_Bu_RAu1r1mgk&h=AT3hVWNQln-Dn_3JCYOifCvsR-qr-I0n2oxEFM7s6r9pGu7IC2cra16EE_JQncM7l4ALvhV2V9lq4-MCePrwd1GsOXuMUyzcJIBx4YtqGzqOW8WV5-GERHByBSlHIBWu1Z2K-xDATc4vDYnw3WnC

    Here’s Spotify link: https://l.facebook.com/l.php?u=https%3A%2F%2Fopen.spotify.com%2Falbum%2F0UsFCf4F2g9NubbriqBCi6%3Fsi%3Dtq3LWXCTRyieg-LvN7xpKA%26fbclid%3DIwAR0ulr3P8Zpwxz3e0zM5vCjDvGVQQZUMG2GIFDTQTqYilO1LV_vc4UrEvLY&h=AT3GFNMrxBPZJKMavFz13Gogfi_MPJkB3xB4qzY-aiNW20ZquVMwLvLDb7vhgfYHn1HkqKDWxmcsohiRlNIXPrgpPhvE40sCnNyHp1Z89hOcDqFZmYaHYR4RIhf_HvZTFcHxLxtyU8RkTyb3Qh4J&__tn__=H-R&c[0]=AT35_ULSKWdmLksrhwlj-VeIyQLsFNDME4LwNQVj3sIhCV2SvotBqP0iseJg0iyn2biCPcMp6pigdPTYmxqNLzQfoyWS0-8eTBmgJbozLrtkn7yrkyTZMac2RUo8dQ5hxDdxbwDcDlUAr2q6xOlfXXRxoQb8eR13uyhN4YChBpAAupZ90RsN5tI96nQezCUFnleQQy1vikbj

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