Intervue Records

Jeff Berlin
by Erik Uhlen

Few bassists command the type of respect that Jeff Berlin does. Hehas been a world-class musician and educator, as well as havingwritten columns for and appeared in a multitude of major publications.We are fortunate to have been granted an interview, by Jeff, who tooktime off his grueling BX3 tour to do so.

-Intervue Records- Please tell us a little about how things fell into placeto get yourself, Stu Hamm and Billy Sheehan together on the BX3ticket. Was it an easy sell?

-Jeff Berlin- Sometimes, sometimes not! We are primarily a club orsmall theatre group. Obviously there are way more guitarists andpianists in the world than electric bassists. I think that there are moreVIOLINISTS in the world than bass players. We want to blow people'sminds when they see us so that players on other instruments wouldcome to check us out as well.

-I.R.- Could you tell us a little about your school in Florida, as well aswhat type of packages you offer students and the reason for openingit?

-J.B.- I opened the school when my son was diagnosed withlymphoma. I quit playing bass and started to teach to make a living sothat I could stay home with my son. Once he was declared cured of hiscancer, I began to play again but I decided to keep the school open.Right now I would compare what we do at The Players School of Musicwith any musical institution in the nation. I think that as a schoolimparting musical info, we are better than many schools operatingaround the world. We teach drummers, guitarists, keyboards and, ofcourse, bass. The premise is to teach at the level of the student factualelements in music that most musicians do not know about. In a nutshellexplanation, we have students who come to the school not reading anote, and inside of ten weeks they are soloing and reading jazz tunes.This is the truth and it happens all the time with us!

-I.R.- How is your son doing now? Does he have musical inclinationslike his father?

-J.B.- He's a drummer and his first love is System of Down. We havethese mock arguments about who is a better bass player, me, orShavo.

-I.R.- You have ruffled a few feathers in the past with certaincomments about lack of education in the bass playing world. I waswondering if playing with someone like Billy Sheehan, who is a greatself-taught bassist, has somehow altered your perceptions about yourearlier comments? As well do you find your own playing has taken adifferent tangent, because of playing with him on the BX3 tour?
-J.B.- My beliefs about learning music has not altered one little bitbecause self taught musicians were not a part of the comments that Imade about music education. I always referred to music in differentparts. One part was academic studies. You pay money to a school or toa teacher and they teach you. This is the area that I find filled withflaws. Tapping exercises, slapping exercises, music magazine articleswith tab, belief that a metronome will give you good time; all thesethings are wrong, flawed, in considerable error. And so I say it becauseI can prove my points at any clinic I give. Many musicians are self-taught and with great success. Hendrix,Clapton, The Beatles, the list is endless. But these guys never ever saidthat they got their time from a metronome, which they didn't. Theynever said that they had to build their chops, which they neverpursued. These guys never used tab to learn the blues or rock licks.They used their ears. They listend to records. They imitated what theyheard and molded it into their brands of playing. They never practicedwith a metronome. They never used a handgrip. They never used atuner (the latest in a growing list of bad musical ideas for musicians).Billy and Stu prove that you can find what you need to find on yourown, or with a good learning system as Stu can attest to.

-I.R.- What is your gear setup for this tour?

-J.B.- I use two Markbass 1x15 combo amps now called the Jeff Berlincombo because I fell deeply in love with the sound of this amp. I usethe same chorus pedal for years, but the company was disrespectful tome on a couple of occasions and so I elected never to say their name,never to give them business. I use a Dean Jeff Berlin Model bass guitarwhich is a passive, slightly unremarkable-looking bass guitar withunbelievable tone and one-of-a-kind action. This bass is the finestinstrument I ever played and even when I was separated from Deanfor three years, I continued to play this guitar, turning down otherguitar company offers. I use Carl Thompson bass strings, the samestrings that I have used since 1977. And, I have the Leo Quan BadassBass Bridge on my bass and always will.

-I.R.- Have you had to bulk up in the amplifier and speakerdepartment?

-J.B.- Do you mean did I have to get bigger amps to compete with thevolume of Stu and Bill? No, my amps do very well. Besides, with the P.A. systems and monitor systems that are common at this time, I cancompete with anyone's volume if volume is an issue. With me TONE isthe only thing that matters which is why I fell in love with the Markbassamps.

-I.R.- Are you currently endorsing any manufacturers?

-J.B.- Markbass Jeff Berlin combo amps amplifiers, Dean Jeff BerlinBasses, Carl Thompson Bass Strings, Leo Quan Badass Bass Bridges.I've been with most of these guys for years. Even when I didn't havean endorsement, I didn't seek out new company relationships becauseI will only play gear that makes musical sense to me. If I can't findsomething that works for me, I'd rather have no endorsement at all.

-I.R.- Do you still have the old Fender-style custom that you were sowell-known for? Does it ever get any playing time?

-J.B.- The "Blonde"? Unfortunately no. That bass was stolen out of astorage locker in Florida years ago.

-I.R.- How do you feel about the plan to rename "Liberty Park", in FortLauderdale, in memory of Jaco Pastorius?

-J.B.- I didn't know about it. It sounds fine.

-I.R.- You knew Jaco. What do you think of the rumour going aroundabout a feature film based on his life story? Do you think it would bepossible to make such a film?

-J.B.- I can't see why not. He was the most important bass player andhe deserves to be honored in this way.

-I.R.- How did boxing and training help, or hinder your playing?
-J.B.- Boxing training had no effect on my music in any way. It wassomething I enjoyed, something I still enjoy. I don't spar anymore.Getting hit started to hurt where, when I was younger, it didn't reallybother me. These days I just work out in the gym and enjoy thecamaraderie of training with those guys. I am, however, an EXCELLENTarmchair commentator. I can call a fight as well as many announcersand I am usually correct when I predict the outcome of a match. I'venever had a fight however, preferring to spar and work out for the funof it.

-I.R.- The masters for "Dixie and "Pump It" were destroyed in thePassport Jazz fire some years ago. How did this affect your career? Didit cause you to re-evaluate and re-tool?

-J.B.- Those CD's were re-released by Denon Records under the nameCrossroads. They were re-mastered from CD's of the old stuff and itsounds really great if I do say so myself. But, musically speaking, I ammiles from that era of playing and writing.

-I.R.- In what respects do you find your playing has changed over theyears? Do you find yourself exploring different influences as time goesby?

-J.B.- I am dedicated to upgrading and finding new ways to play all thetime. I have a huge head-start on most bass players as I was originallya conservatory trained violinist. I read treble and bass clef equally well.I have no problem playing piano, horn, or guitar parts on bass with reallegitimacy. I compose music regularly, I transcribe other players, notbass players because they don't have the tonality that stimulates me.My entire focus is on music. It always has been. My playing is slowingand steadily improving, growing developing all the time. If it were notso, then I would take steps to make it so.

-I.R.- Do you feel that the use of a plectrum is a legitimate medium forbassists?

-J.B.- Sure! It isn't what you use to play that counts. It's what you playthat counts.

-I.R.- Do you use any effects on your bass? How about Compression?

-J.B.- A little compression when I record. My only live effect is a choruspedal.

-I.R.- Bill Laswell has been a proponent of using tape and slower tapespeeds, in order to achieve better recorded bass response. How do youfeel about this? Do you have a preferred medium for recording yourbasses?

-J.B.- I never experimented with this concept but it sounds interesting.I just plug in and play. Sometimes I go through a small guitar amp withdistortion and blend the d.i. signal with the distorted one. That sound ishuge.

-I.R.- Do you employ tubes at any point of your rig and/or recordingsetup?

-J.B.- If I do, I never knew about it.

-I.R.- What were your first bass and amp?

-J.B.- When I was 14, I bought a Hagstrom F-400 bass and an AmpegB 15 with money I saved by being a newspaper delivery boy.
-I.R.- And a final question for you Jeff. Who would you like to workwith in the near future? Any special projects in the works?

-J.B.- Wayne Shorter, Ginger Baker, Paul McCartney, Sting, StanleyJordan, John Scofield, Peter Erskine, Gary Burton, the list is endless. Ilove all these guys' playing and there are a lot more great players whoI would love to play with. I'd like to do some bass track on System of aDown CD or solo with my brand of hellfire bass tone on some rock CDwhere I would blow the minds of rockers all over the world,guaranteed.
Bx3 Tour dates

February 02Denver, COCervantes Masterpiece Ballroom
February 10Kansas City, MOKnuckleheads Saloon
February 12Minneapolis, MNFine Line Music Cafe
February 13Milwaukee, WIShank Hall
February 16Chicago, ILCubby Bear
February 17Indianapolis, INMusic Mill
February 21Annapolis, MDRam's Head
February 23Willamsville, NYClub Infinity
February 24Pittsburgh, PARex Theatre
February 27New York City, NYB.B. King Blues Club
February 28Boston, MASculler's Jazz Club
Jeff Berlin
Evan Christopher
by Intervue Records

Circle II Circle guitarist, Evan Christopher knows how to rock! Whether he is in front of hundreds or thousands of fans he never holds back. Christopher's tone is crushing to say the least and you will leave a show astounded and wanting more. Originally inspired from the early days of EVH, Evan can play with the best. Out on the road with Circle II Circle and Hells Bells his guitars get a work out. Never to let anyone down at a single show, Christopher has toured the world and played countless gigs for thousands of pleased fans. Evan took a brief break from his schedule to answer a few questions for us, check out what he had to say!

-Intervue Records.- What were your first inspiations to want to play the guitar? What age?

-Evan Christopher- Eddie Van Halen at about age 11. The first time I heard 1984 I thought, "how does he do that?" I was forever changed from that day forward. Being 11, I hadn't really listened to much. I remember really loving to hear Ted Nugent at very early age though. My Aunt's boyfriend would let me listen to it in the car. It sounded so heavy at the time. I guess it was '77, '78? After that I was sold on hard-rock and metal. I got into Sabbath and Metallica real, real, heavy. Guns'n'roses also played a huge part in my development as a guitar player. Slash is on of my all time faves as well. And every other incredible guitar player on the planet you can name.

-I.R.- Where you self-taught?

-E.C.- For the most part. When I first started, I took a few lessons from a local music store guy, whose name I can't recall.

-I.R.- Who were your early influences?

-E.C.- I learned how to play the guitar because of Edward Van Halen. The first Van Halen record I ever heard was 1984. I was about 11 years old. It was strange because I was never interested in the guitar prior to the first time I heard Van Halen. It was an "epiphany" so to speak. As far as my influences now? They are harder and harder to come by. I respect anyone who can play a melodic lead. But, it never hurts to be able to shred a little....

-I.R.- How long have you been playing with Circle II Circle and how did you get the gig?

-E.C.- I've been with those guys for about two-and-a-half years now. Two of the members of Hells/Bells were already involved with CIIC when I came along. Tom(drums) and Mitch(bass) had already done a tour with them about 6 months prior to my acquiring the gig. Circle II Circle were dealing with a "change in direction" or whatever, and we were introduced by a mutual friend, who had played briefly with Hells/Bells, named Johnny Osbourne. Osbourne, we called him "Ozzie", had previous credits with Jon Oliva of "Savatage" fame in a band called Dr. Butcher. After Tom and Mitch had done the tour they put in a good word for me with CIIC's manager Dan Campbell. CIIC wasn't happy with the current guitar player status of the band and Campbell came to a Hells/Bells show in Florida. After scoping me out I guess, he offered me a job the next day.

-I.R.- What is different about touring in Europe than in the states?

-E.C.- The FOOD!!! I guess i'm not that adventureous when it comes to what I eat.

-I.R.- What's in your cd player/mp3 player right now?

-E.C.- Actually, it's Saxon.. I think it's their latest? And, Trivium..

-I.R.- Was your family supportive of you when you were pursuing music?

-E.C.- No, my parents were happy I was taking an interest, but when that interest turned into a career choice I don't think they were as thrilled as I was. Now, they understand what I do and they're happy for me.

-I.R.- If you could only have 5 cd's, what would they be and why?

-E.C.- Master of Puppets - because it is a timeless masterpiece of metal. Appetite for Destruction - because I think that album harnesses more angst and rage and incredibly memorable guitar riffs for it's time than any other record in history. You do not need to change one note of that record. It's flawless perfection of what rock-and-roll is all about. Highway to Hell - because... well just because it's AC/DC. Van Halen 1 - because it stomps ass all over the place. Everyone knows that... And last, probably something by Korn or Motley Crue... Because as much as I love all of the standards in classic rock like Tom Petty or Billy Joel to name a few, I've just been overexposed to that stuff for so long, it's not like you can ever forget any of it.

I.R.- What gives you a better high, performing live or writing and recording?

-E.C.- Definitely playing live. I'm much more at home playing live than in the studio. I'm more of a performer than anything.

-I.R.- Was there ever a time when things didn't go as planned while you were playing live?

-E.C.- Ahh.. There's so many! Props not working properly has to score really high though. I have had my left arm severely burned by our pyrotechnics before, and that can put a damper on a performance. I'm pretty sure it had to do with Alcohol consumption as well, but I can't prove that. Ha.. I could go on for days about "things not going as planned"...

-I.R.- What is your most memorable live performance?

-E.C.- Probably, the time I did an impromtu jam with the band Metal Shop in Hollywood, Ca. at the Viper Room. Those guys are fantastic performers. They would do an 80's metal tribute every Monday night there and would just go out and kill. I was acquainted with the members of the band from a previous tour Hells/Bells did with their alter ego's The Atomic Punks "a tribute to early Van Halen". Long story longer, I was in L.A. and stopped in to say "hi" that night, and ended up jamming "Highway to Hell" to an overwhelming reception of celebrity's and club goers. (for a guy from Alabama, It was cool!!!). Or the Indiana Boogie Fest outside of Indianapolis in '04 with Hells/Bells. It was a festival crowd of about 12,000 or so. The attendance was great, but, we also really played an ass stomping show that night.

-I.R.- Do you have plans on doing a solo record?

-E.C.- No.. I don't think i'm much of a "solo" artist. I work better in a band situation. I love listening to solo artists like Satch, and Vai and so on... But, I think if I had the choice i'd rather hear a great song and not just a great solo.

-I.R.- What kind of gear do you prefer to use during live performances and in the studio?

-E.C.- Live or recording it's gotta be a Marshall. Right now I'm using either a dual or triple super lead 100 watt Marshall... there is no substitute. I use a couple of SG standards and a Fender Fat Strat. I've also got an awesome Kramer Focus 1000 from like '83. It was actually my first guitar and I still use it all the time. I love that guitar. That's it.. no effects or gadgets. Every now and then It's cool to break out a wah pedal, it gives a solo so much more bite sometimes. I'm open for endorsements though.

-I.R.- What do you like to do when your not touring?

-E.C.- Sit at home and do nothing. I try not to think about getting back into the van/bus, whatever! The only difference between a bus and a van is leg room. A bus can be a worse prison sometimes with all the smells of feet and feces, it can be a little much. I'm on the road 45 weeks a year all over the planet, so I get all of the "road" anyone could want.

-I.R.- What is your opinion on You Tube, Myspace and the new Google video site? Do you think they allow to much access to copyright material?

-E.C.- I don't think so, of course I'm not a corporate machine like the million dollar bands that bitch about that kind of thing. I don't think there's anything anyone can do about it anyway. As long as there is an internet people are gonna trade music. Legal or not.

-I.R.- What other bands have you been in?

-E.C.- I'm 34 and I've played with Circle II Circle for the last 2 1/2 years and Hells/Bells for the last 11 years. Before that I played with a few local original/cover bands in college and high school.

-I.R.- Let's talk about Hells/Bells, can you give us the story on the band.

-E.C.- We started back in '97 in Ft. Lauderdale, Florida. I answered an ad in the local Rag for "musicians wanted for an AC/DC tribute" and we began studying AC/DC. We started doing the tribute thing because there were more gigs to be had and better money. Angus has always been an influence and I was just short enough to make it look believable. We studied their live show from videos and concert footage and began constructing a show of our own. We built actual firing cannons and had our own pyrotechnics. Unfortunately, after the Great White accident in Rhode Island we have not used pyro since, but we've always had an intense live show with or without fire. AC/DC is popular worldwide, so we figured we'd always be busy, and we were right.

-I.R.- How does your personal style compare to Angus Young?

-E.C.- We're similar in a lot of ways. I take a lot from his style. He's blues based and so is everyone if you get down to it.

-I.R.- Does the band take liberties with the songs or do you keep it like the records?

-E.C.- We take a lot of liberties. I especially take a lot of liberties with the solos. Some solos you have to play just like the record, because they're so memorable. If you change the solo to Highway to Hell you ruin it but if you want to get crazy in High Voltage no one notices as much. Also, in the interest of playing clubs and venues that size, there are some things that have to be changed because they only work on an arena sized crowd. For example, if you have only 20 people in an audience, crowd participation is silly and doesn't work. It looks great when AC/DC does it, but there in front of at least 20,000 people usually. Big difference!

-I.R.- Does Hells/Bells stay pretty busy throughout the year?

-E.C.- Just about every week. If I'm not out with CIIC, I'm out with Bells..

-I.R.- What can people expect to see at a Hells/Bells show?

-E.C.- A lot of non-stop rocking to your favorite AC/DC tunes and some nudity.... Of course...
Evan Christopher
Circle II Circle
Hells/Bells
Greg Bachman
by Intervue Records

After a 10 year hiatus from putting down the guitar Greg Bachman has returned and is in great form. With a new album on the horizon and soon to be released, "Fly to the land of Z", will be Gregs first solo record to date. Shredding across his Parker Mojo with finesse it is easy to see why Bachman, like many other great guitar players before him, never gave up their true passions in life and play with feel. Spending a brief time in Los Angles in 1993 Greg is back in Colorado finishing up his new record for release in late spring or, early summer 2007. Either way soon to be a great success. Bachman stopped in with Intervue Records and gave us some inside cuts and a few words of wisdom.

-Intervue Records- When is the release date for your first CD, “Fly to the Land of Z”, and how did you come up with the title?

-Greg Bachman- I’m hoping for late spring or early summer release. Since this is a one man project and I’ve never done this before, it’s all uncharted territory for me, so I’m taking it one step at a time. The title comes from two of my main sources of inspiration; my Parker Fly Mojo guitar, and my son Zephan.

-I.R.- What do you use in the studio to achieve your sound?

-G.B.- It starts with my Parker Fly Mojo guitar and Seymour Duncan pickups. I plug that into a DigiTech GSP 2101 Studio, a Peavey kosmos, and an Original Cry Baby wah pedal, and that is it for my guitar sound. For everything else I use a Korg Triton Studio keyboard, and I record into a Korg D32XD. That’s everything I use.

-I.R.- How do you approach your song writing?

-G.B.- I usually do all of my writing at the piano and then add guitar parts later. Not always like that but typically it is. If I’m playing bass, I’ll get a groove going and then expand on that, but it’s in a different way than when I’m at the piano. It’s like I wear a different hat when I’m on a different instrument, and different sounding songs or styles emerge from it. Whether it’s the piano, bass or guitar, each instrument inspires me in a different way. When I write from guitar, it’s almost always something heavy, although I’m working on expanding myself there with ballads and classical. But for me, sitting at the piano and working things out is what works best. I rely on my heart and my ear first, and then use what I know about theory to smooth out the rough spots or if I get stuck. After the entire song is finished, I have a few of my very talented friends listen and give me some feedback. They usually have a few great ideas to enhance the song. Then I listen again, and if I hear anything in my head that’s not in the song that I think would sound cool, I go back and add it. It’s usually something simple like a harmony part or a different phrase on the bass or drums or something, maybe some percussion. It always seems like you can tweek the thing forever, so eventually I get to the place where as long as nothing makes me twinge, and if nothing sounds incomplete, and the overall feel of the song is there, that’s when I know it is finished.

-I.R.- Do you plan on touring when your CD is finished?

-G.B.- I would love to do that, but like I said right now it’s just a one man show, and I have no label and no band yet. Hopefully when the time comes, those things will be in place.

-I.R.- Who were your early influences and who influences you now?

-G.B.- My early influences were the same guys that have inspired most of us. EVH, Alex Lifeson, Neal Schon and Randy Rhoads. Later on there was Joe Satriani, Eric Johnson, Steve Vai and John Petrucci, as well as many others, but these are the main ones. Today, I’m still influenced by the same players, but I’m also influenced by musicians on other instruments and genres. The Legends of Jazz like Duke, Coltrane, Miles, Monk and Parker to name a few. The great composers of the Baroque, Classical and Romantic periods, and even some 20th century composers as well. I’m also inspired by a lot of guys I’ve discovered here on myspace. There are so many incredible players out there it can be inspiring as well as humbling. The world is so full of amazing talent, it’s truly staggering. More of these incredible artists should be getting paid!

-I.R.- What else inspires you today, music or otherwise?

-G.B.- I find inspiration in so many different people and places, but the main sources of inspiration for me today are God and my 4 year old son. I also look for movies or books about people who have faced great adversity in their lives, learned from it, overcame it, and went on to achieve great success. People like Lance Armstrong or Abraham Lincoln for instance. They are all around us. I recently saw a video about a guy who crashed an airplane in 1981, and was left totally paralyzed. He couldn’t breathe on his own, speak, swallow, eat or drink, and all he could do was blink his eyes. The doctors said all he would ever do for the rest of his life was blink his eyes. Well, he told them, by blinking his eyes, that he would walk out of the hospital by Christmas, and he did just that 8 months later, on his own two feet without any mechanical help! It happened because that was the image he saw in his own mind and that was what he put his faith towards. In his words, “Man becomes what he thinks about.” Adversity and challenges are common to us all, and everyone has a story to tell. So I’m always looking for people like that to build my own faith up and to inspire myself to think bigger.

-I.R.- Not being able to attend G.I.T. must have been a crushing blow to you. Explain what you were going through at that time.

-G.B.- In the fall of ’93, there were many horrific things going on in Los Angeles. The Rodney King debacle, the fires in Malibu, then the mud slides came, and finally in January of ’94, the big earth quake. This whole time I was supposed to be in school, following my dream, but it did not work out that way. I couldn’t find a job and I wasn’t in school, so I thought that making my dream come true was hopeless. I moved back to Colorado, sold all of my musical instruments, and pretty much just gave up on myself and my dreams. In 2005, after many personal and professional challenges, I bought a guitar and enrolled in community college, started studying theory and jazz, and began writing the material for Fly to the Land of Z. I have learned a lot from those years, but that is another story.

-I.R.- What do you concentrate on when you practice?

-G.B.- When I started playing guitar when I was 11, I was a self taught ear player, like most guitarists. Call it A.D.D. or whatever you want, but I just could never make myself sit there and practice scales or whatever, over and over again. I’ve always just picked up the guitar and played whatever came spontaneously. It was more about feel for me than it was about technique then. Now, I work out phrases that I hear in my head, and I try to say something emotionally and lay my heart out there, really focusing on feeling what I’m playing. So I practice on feeling and being emotionally connected to what I play, whether it’s one note, a really simple passage, or something fast and technical. I also work on improvising over jazz progressions, which is really challenging, again, trying to stay focused on feeling as much as technique. One day I was reading a book about leadership and business, and the writer, a multi-millionaire and best selling author, said something that really stuck with me. He said to forget about trying to improve your weaknesses; you hire someone else to do those things. That leaves you more time to focus on maximizing your strengths. Become the best at what you’re already good at. I took that approach to my playing, and I really started working on skills and techniques that came naturally for me. I still practice that way, but now I am trying to change my approach in certain areas so I can actually hone some advanced skills and techniques, like sweep picking, because there really isn’t any other way to learn these types of advanced things other than repetition, and sweep picking doesn’t come naturally for me. However, I will probably always “practice” the way I always have; by simply playing and being spontaneous, focusing on feeling the emotional quality of each note.

-I.R.- What’s in your CD player/mp3 player right now?

-G.B.- My iPod has everything I own in it, but this is what I’ve listened to in the last few days. History and Tradition of Jazz – Thomas E. Larson which is a college course I’m taking, Frost* – Milliontown, Sting – Ten Summoner’s Tales, Dream Theater – Octavarium, Tangerine Dream – Underwater Sunlight, Rush – Roll the Bones, Neal Schon – I on U, OSI – their first one, Yes – 90125, Acoustic Alchemy – Reference Point, Jonn Serrie – Midsummer Century.

-I.R.- Was your family supportive of you when you were pursuing music? If not are they supportive now?

-G.B.- When I was a kid, my mom would have to call me in from playing football outside with my friends to come in and practice. After a little while, she was coming in my room and saying, "Turn that down!" Today, my family is very supportive of me personally, but not necessarily of my music or me pursuing it as a career. I think the main reason is just a different set of values. My dad grew up on a farm and was a very hard worker his whole life. His values say, get an education, get a good job with benefits, work hard and save money. Those values are fine, and everyone in my family has those values, but they have never been my philosophy nor do they fit my personality. I love to work hard, just not for someone else so they can get rich. Because I’m not making money yet, I think it’s just difficult for them to see any light at the end of the tunnel. Besides that, they saw what happened to me when I went to California back in the early 90’s, and even though I’m a different person now, I think there is some fear there as a result of my past mistakes. The bottom line is they love me and want me to be successful and happy. I’m totally happy and fulfilled making music, and it’s really the only thing I know how to do, but I also need to make money. Once that happens I think that they’ll be totally on board.

-I.R.- What gives you a better high, performing live or writing and recording?

-G.B.- I really love the whole process of practicing, writing, arranging and recording music. When inspiration hits me and I get something down that jacks me up, that is an incredible feeling. I love it! But being able to share all of that energy and passion with others, live on stage, and to actually make a real emotional connection with them, is the most incredible thing I can think of doing, there’s no doubt. I think that they both have their own special qualities and feelings about them, and being able to experience it all will be a dream come true.

-I.R.- At what age did you first pick up a musical instrument and what was it?

-G.B.- A tambourine when I was 2 or 3, then I played on a piano at age 4 or 5, and I had a little 4 string ukulele around the same time.

-I.R.- Do you have any other interesting hobbies that you’d like to share with us?

-G.B.- You mean like sky diving naked while bobbing for apples in scalding hot water in the middle of winter? No, nothing like that, haha. Ever since I was a kid I’ve always wanted to write movie scores, and I’ve been a huge movie buff for as long as I can remember. I probably watch 3 or 4 a week at least, and I watch for entertainment as well as for education, listening to the feel of the music and how it fits the scene. I do hope to study film scoring someday. I enjoy playing video games, board games, baseball, hide-and-seek, I spy and chase with my son, or anything with him for that matter. I also love working out and hiking in the mountains.

-I.R.- What’s your view on You Tube, Myspace and the new Google video site? Do they allow too much access to copyright material?

-G.B.- Myspace has been great for me because I’ve been able to meet some really awesome people here, like Intervue Records, and to also get some feedback. As far as the rest of it is concerned, the jury is still out. It seems like a lot of people use myspace to promote themselves, but I don’t know exactly how that translates into the business world. How much revenue is being generated to these artists from it? Is revenue being lost because of it? It’s an interesting thing to do a study on and something worth knowing more about. But for me, myspace has been great.
.. Myspace Contact Tables
Myspace Contact Tables