Rock Interviews

Interview with Hushdrops, Who Play ‘Divine’

Listen to this track by Midwestern psyche-pop masters Hushdrops, made up of John San Juan, Joe Camarillo, and Jim Shapiro. It’s “Divine” a sumptuous Brian Wilsonesque tune featured on the group’s 2003 album, Volume 1. The song reveals the band’s love for the Beatles and the Beach Boys,  along with heavy dollops of late ’60s chamber pop, so much so that the Webb Brothers (sons of Jimmy) covered one of the songs (“Summer People”).

When it comes to “Divine”, this is one of those songs that you don’t so much hear, as be enfolded by, taken up to some sonic high place via strings and ah-ah backing vocals, along with drummer and co-writer Joe Camarillo’s plaintive lead vocal.

Joe Camarillo and John San Juan of Hushdrops

Yet, this isn’t the whole picture with the band, who regularly played shows that demonstrated their live rock chops. As such, the group seems to live quite comfortably in the ‘slash’ in pop/rock.

Well, I talked to the song’s co-writers, multi-instrumentalist John San Juan and with drummer and singer Joe Camarillo, via email about this song, about the record, about that slash between pop and rock, and about ‘making the listener feel loved’

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Interview With Common Grackle Performing ‘The Great Depression’

Here’s a clip of indie singer-songwriter/hip-hop outfit Common Grackle, with the singer-songwriter aspect covered nicely by indie-pop proponent Gregory Pepper and the hip-hop textures as laid down by producer Factor. Yet, is the stylistic split as easy as that? Probably not. What the collaboration signifies most is the seamlessness between styles. As such, this is a true 21st Century concern where genres mean very little, and with this song being the title track to the full-length The Great Depression.

Another aspect of all of this is how the record was made, involving less garage space, and more Internet bandwidth. The two artists built the record together, with musical ideas added by way of file sharing. With the meeting of pop melody and crackling beats together with psychedelic sonic swirls that evoke pop tributaries spanning the decades, one can only conclude that it’s its own thing, offering some of the features of what’s been laid down before, but ultimately unbound by any one genre. And we haven’t even got around to talking about the lyrics, heavy with irony and dark comic timing.

After the record was popped in the post for me, and after a spin or two, I talked to the guys via email about musical divisions of labour, undercutting listener expectations (aka “fucking with people”), beer accessibility quotients from city to city, and about their live shows. (more…)

Interview with Sand River, Performing “A Letter (To The Lovers of Emma)”

Listen to this track from guitar/drums duo from Durham, England Sand River, made up up of guitarist/lyricist/singer Simon Robinson, and drummer/multi-instrumentalist Guy Siviour. It’s the final track on their 6 track EP, the cleverly titled  Sand River EP currently for sale on a pay-what-you-can basis.

Sure, these guys eschew a bass player, and have some blues influences on some tracks.  But don’t stripe these guys white or make with the black keystrokes just yet.

Sand River liberally use folk picking, jazz-inflected drumming, and hypnotic time signature experiments that go far beyond what you might think of as viable for an indie two-piece. Guitar and drums are used less as blunt instruments and more like sonic paintbrushes, with Robinson’s vocals way up front. The lyrical content is also expansive, perfectly suited to music that takes its time, rather than taking no prisoners.

I spoke to the guys about the perils and pleasures of a minimalist instrumental set-up, how less really can be more, and more details about who this Emma might be.


Interview With Carmen Townsend At The Railway Club, Vancouver

Listen to this track by unabashed rock singer-songwriter from Sydney, Nova Scotia, Carmen Townsend. It’s a key track off of her upcoming record Waitin’ and Seein’ released January 25, “Without My Love”.  It’s one of many tunes she offered to an adoring crowd on January 11 at Vancouver’s Railway Club (579 Dunsmuir Street) to ramp up the release.

I was invited along to the event to see the show and to get a chance to meet Carmen. After the show, I got to ask her about how the record came together, about how she felt free to share her songs to begin with, about how Loretta Lynn figures into her music, and about her next exciting step as a performer; going on tour with a couple of her heroes. Here are my impressions of the show, and that brief interview on video too.


Interview With Bill Majoros of The Foreign Films

Listen to this track by Hamilton Ontario psych-pop outfit with post-punk overtones the Foreign Films, a vehicle for the songwriting of former Flux A.D member Bill Majoros. It’s “Fire From Spark” as taken from the Foreign Films EP, a herald to the upcoming full length album currently in production as of this writing.

If one can pin a key musical arc onto the best of music from the Twenty-first century so far, it would be that the divisions between genres and eras of pop music have become very, very fuzzy indeed. This is perfectly illustrated by the Foreign Films, a concern that shares a family tree with acts who are pushing the pop envelope including Feist, Great Lake Swimmers, and Holy Fuck.

Putting new meaning to the word ‘pop gems’, the facets which you get on multiple listens to the EP reveals the influences of post-punk, ’60s girl group sounds, and pop-psychedelic excursions, just to start with.

I spoke with Bill Majoros, the central figure to the Foreign Films in all of the band’s incarnations on record and on stage. We talked via email about connections with pop music past, about crafting a sound as personal soundtrack to one’s experience, and about what the seemingly disparate worlds of classic soul music and modern indie music have in common.


Wildlife Perform “Move To the City”

Listen to this track by epic Toronto art-rock-via-power-pop concern, collectively known as Wildlife. It’s ‘Move To the City’ a track taken off of their full-length release Strike Hard, Young Diamond released November 16. The release is an expanded version of an EP released earlier in the year under the same name, and positively reviewed across the board by local Toronto press.

The theme of ambition and self-awareness seems to shine through in this tune. This is a tale of listlessness and the pesky feeling that all that is promised by our culture about the rewards associated with getting a job and growing up may not be all they’re cracked up to be.

The record is described by the band themselves as “an understanding of what it is to be naive and full of spark: it embraces our failures, nurtures our successes; and most importantly, it celebrates them“.

I spoke to Wildlife member Dean Povinsky on behalf of the band about anthems, maintaining balance within a band, about  the goal of being on stage and being in the audience at the same time, and about the vital importance of continuity in following where artistic impulse lead . Here’s that interview.

Just Duggy & the Insurgents Perform “A Man Walks Into A Bar”

Listen to this track from British indie singer-songwriter, and Sunderland son Just Duggy and his band, the Insurgents. It’s “A Man Walks Into A Bar”, a tale of excess, empty promises, and a woman wearing nothing much more than a belt.  The track is taken from Duggy’s debut record, There and Back Again, which you can download for FREE!

The record was recorded guerilla-style, “after everyone had gone home”, leaving Duggy and his three compatriots to run wonderfully amok in the studio. The result is a rough-hewn blend of rockabilly, jangle-pop, and folk punk, covering topics ranging from the shallow nature of so-called reality T.V,  the dubious honour of serving in wars, and even religon sold as a product to be sold door-to-door.

I spoke with Duggy via email and asked him about self-promotion, topical songwriting, great lyricists of the North, and the art of nabbing studio time on the fly.

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Charge of the Light Brigade Plays ‘Young Love’

Here’s a clip by post-punk-progressive-pop Torontonian collective Charge of the Light Brigade, led by singer-songwriter Luke Sneyd and producer Marc Koetcher, further enabled by bassist Jason Eagen and Zack Mykula behind the kit.  It’s “Young Love”, the lead track off of the band’s current EP We Haven’t Been Properly Introduced, the harbinger for the upcoming full-length The Defiant Ones, to be released later this year.

In this 21st century, with a legacy of pop music of various strains behind him, Luke Sneyd’s songwriting has plenty of wells from which to draw, first starting a guitarist, then as a solo act, and with a band or two besides along the way.

With his latest project, Charge of the Light Brigade, Luke has created a BIG rock band, pulling from punk, progressive rock, Pixies-inspired hard rock, and power pop.  The mix is unified with an Anglicized flavour for anthemic 80s British post punk that touches on the Psychedelic Furs, Echo & the Bunnymen, and Icicle Works, just to name a few.

I spoke to Luke about major labels, the role of the producer, and out and out heroism in putting music across in the increasingly competitive field of rock music … (more…)

Carolyn Edwards Sings ‘Leave’

Listen to this track by L.A based singer-songwriter and orchestral pop purveyor Carolyn Edwards.  It’s “Leave ” (AKA “Leave This Alone”), a tale of love just out of reach, and taken from Edwards’ 2005 eponymous Carolyn Edwards. The album captures the feel of late 60s pop from Bacharach/David, Jimmy Webb, and Carole King.

It doesn’t take a medium to detect the spirits of Judee Sill and Laura Nyro floating into and out of  this tune.  You can also tell that Edwards is happily aligned to that chapter of pop music history, while giving the songs room to breathe in a modern context.  With this one,  a song about how longing and yearning to commit to a loving relationship is often met with the barriers of another’s baggage, the themes are decidedly timeless.

I spoke to Carolyn about classic pop songwriting, crowded stages, ‘getting signed’, and finding balance  …

The Delete Bin: This song, “Leave ” is cinematic, with little girls dreaming of impossible things, and men who are too afraid to fall in love. How much does the act of storytelling come into your songwriting process in general?

Carolyn Edwards: It depends on the song. Some of my songs, like “Leave” and “The Argument” tell a specific story, whereas some of my other songs like “Beauty Wasted” rely more on a series of images to create a certain mood.

DB: The late 60s classic orchestral pop sound is a clear point of the musical compass for this song.  What is it about that aesthetic that most attracts you?

CE: It’s part of my musical DNA. I was raised on the the Monkees, the Partridge Family and all those fantastic AM hits of the early 70s, as well as the pop standards and musicals from the 30s and 40s. When I was about 13, I became obsessed with the Beatles, like most of us have at some point. Nowadays, I’m attracted to bands like Belle and Sebastian, Magnetic Fields and Arcade Fire who often employ that orchestral aesthetic.

DB: Apart from a song like the Lennonesque “Soul Peeler”, your music is centered around the piano, which is a less traveled route in indie music, it seems to me.   Do you see the use of the piano becoming more popular for the indie crowd?

Carolyn Edwards’ former band 3D Picnic

CE: “Soul Peeler” is a much older song, which explains its guitar-driven sound. I co-wrote it with the former leader of my old band, 3D Picnic, around 1989. It appears on 3D Picnic’s album Sunshine and Cockroaches released on Cargo in 1990. I played both guitar and keyboards in that band, as well as writing and singing lead on some of the material. After that band broke up in 1992, I formed a band called Spindle [ed: not to be confused with the band based in Bellingham WA, of the same name] with bassist Greg Mora (who was later in the band Fluorescein). Spindle was very guitar-driven, and I didn’t play keyboards at all; I sang lead and played rhythm guitar.

In retrospect, that decision seems odd to me, because my rhythm guitar playing is somewhat limited, whereas I’m an accomplished pianist. I think I was just trying to be a 90′s rock diva with a guitar; it was fun for a while. The move to piano seemed completely natural to me, since it’s the instrument I know how to play really well, and I’d gotten the 90′s rock diva thing out of my system.  As far as whether or not piano will become more popular for the indie crowd – I have absolutely no idea what the whims of the indie crowd are. One of the nice things about not doing music for a living is that I can be selfish about it, and create music solely for my own enjoyment, on my own time, without worrying what the current trends are. Of course, the downside to that is that my next CD probably won’t come out for another 10 years!

DB: You’ve surrounded yourself with a number of supplementary players in order to achieve your sound, calling yourself a ‘benevolent dictator’.  How does this set-up translate into a live setting?

CE: Very precariously! I don’t play out live very often, but when I do, it’s usually in the lounge of a French restaurant in Echo Park called Taix. Space for the band is very tight – elbows are poked into faces, heads are in danger of being struck by guitars, cords are tripped over, drinks are spilled, etc. And there’s no stage to speak of; we are at eye level with the audience. This can be both good and bad – it’s an intimate audience, I can make eye contact with them and see that they’re enjoying the show; but there are always a few drunk, loud people at the bar who aren’t watching or listening; that can be distracting.

DB: Tell me about the business of arranging the songs, which it seems to me you’ve put a lot of emphasis on, given the use of strings along with traditional pop instruments.

CE: I will often have specific melody lines and harmonies that I want, and I fortunately work with musicians who are nice enough to play or sing them for me. For example, I wrote the middle string/horn section of “Factory Moon,” and the intro to “Secret Monster,” which Probyn Gregory (from Brian Wilson’s band) played on various brass instruments. I’ll also often hear specific bass and guitar lines in my head. But then there will be songs where at least part of the song is open to interpretation, where I’ll either give the musicians a loose idea of what I want, or I’ll ask them to come up with something on their own.

The co-producer of my album, Steve Stanley, came up with some nice touches, such as the sleigh bells on “Beauty Wasted” and suggested the mute on the trumpet for “Solace.” Probyn, came up with the horn line on the verse of “Secret Monster,” as well being an insanely talented musical guru in general, offering sage advice.. Heather Lockie from Listing Ship wrote a fantastic string chart for “Leave” and played all the strings. And Nick Walusco (the mix-down producer, also from Brian Wilson’s band) added the marxophone and jug bass to “Monica” just for fun, when he was working alone in the studio. I ended up loving it!.

DB:You’ve got a background in music publishing, and therefore a unique perspective from seeing things on both sides of the desk.  What have you picked up from that background, as a songwriter and working musician?


CE: I’ve learned that I can make a living from music publishing, but not from my own music. I tried for years to make a living from music by embarking on the “getting signed” route. It’s what bands did in the 80s and 90s, before the Internet changed how bands can market and distribute their music. If I had all the money now that I invested in bands over the years, I’d have enough to buy a house! But it was also a great learning experience, and I don’t have any regrets about it.

DB: And as far as the whole ‘getting signed’ thing went, what were your experiences?

CE: My former band, Spindle, was very close to getting signed to Interscope around 1992. We had a devoted, hardworking A & R guy from the label who tried his best, but Tom Whalley and Jimmy Iovine ultimately passed on the demo. I’m proud that we even got that far. After Spindle broke up, I really wanted to settle down, have a steady career that I genuinely liked, and not have to lug my equipment to rehearsal three times a week. I’d turned 30; it was all part of growing up. Working full time, while constantly rehearsing and playing late nights in clubs, wasn’t rewarding anymore. I had no time to do normal, fun things in life that everyone does, like go hiking or out to movies with friends on the weekend.

DB: How did getting off the traditional ‘getting signed’ treadmill affect your life and approach to making music?

CE: It was really nice to not have that band obligation hanging over me, and when I started playing music again, I enjoyed it more than I had in years. I’ve learned that the struggling artist scenario does not suit my personality very well. I’m really sort of a square and not very bohemian at all, at least not in lifestyle. Music is a luxury to me that I do in my limited spare time, and I try not to take it for granted.


For more information and music, check out the Carolyn Edwards MySpace page.

You can also ‘Like’ Carolyn Edwards on Facebook.

And remember to buy the album Carolyn Edwards on CD Baby.  You can even download the album or songs from it through Rhapsody



Interview with Richard Derrick of Box-O-Plenty records

As a bit of a change of pace here on the ‘Bin, I thought I’d explore the other side of the whole musical process.  This time, I’m focusing on the business of creating a vehicle for songs, and for musical careers on a ground up basis; the indie label.

I spoke with Richard Derrick; guitarist, bass player, drummer, label owner, producer, and promoter.  He formed Box-O-Plenty, an independent label, in 2003 after two decades as a musician. On the label, Derrick co-produced recordings by Kevin Ayers, whom he contacted, sponsored, and hosted for shows in San Francisco and Los Angeles on which he also played bass.

Additionally, he produced and played on the solo demo recordings and live club date recordings of D Boon of Minutemen fame, and Derrick’s former roommate and friend.  The label has also served as a vehicle for Derrick’s own musical excursions in ambient, and improvisational music, some of which involved now current Wilco guitarist Nels Cline.

All of these recordings are currently available to be ordered online.

I talked to Richard about  the history of Box-O-Plenty, transatlantic promotion, live albums, recordings for posterity and curation, and how indie labels like Box-O-plenty fit in in an age where so many acts are looking for new and innovative ways to promote their music and get it to the people.


The Delete Bin: Thanks for talking with me, Richard.  What would you say is the primary reason you started Box-O-Plenty?

Richard Derrick: Just something to do, basically. I’d spent the 1980s and 1990s in various musical situations, none of which garnered any interest from record labels, and a lot of that was my own doing. I wasn’t playing the game, but a lot of it was that I didn’t really know how to play it. I started bands, made recordings, set up gigs, but I didn’t gear my music to the current trends, didn’t obtain management, didn’t seek career advice, didn’t even do something as basic as get the band together for a photo shoot!

Looking back, though, it’s not as if anything I was doing was likely to get signed anyway.  So at least I got to spend my time doing what I wanted without any added pressure.

DB: You were instrumental in bringing Soft Machine founder, and solo artist Kevin Ayers over from England in the 90s and early 2000s.  The full story is available in the liner notes of the resulting live document Alive in California, which was recorded and distributed on Box-O-Plenty.  What was the connection between LA and San Fran audiences in reference to Kevin and the Canterbury progressive scene for which he is known?

RD:  A lot of the Canterbury Scene musicians were doing small fan-based club tours around then.  I brought Kevin to LA four times, the first two in 1993 in a solo acoustic setting.  This was before the Internet made this sort of thing so much easier, with e-mails replacing transatlantic phone calls (and the huge phone bills you’d get at the end of the month!).  The first one in February 1993 was a real eye-opener in terms of how much of an audience there still was in the US for the Canterbury Scene.

The night of the show, it was pouring down rain. I called the club before leaving home, and [venue owner] Jo Ann was amazed at the reaction. They’d been getting about a dozen calls per day all week, pretty ecstatic ones too. No advance tickets, so a few people showed up around 5pm to make sure they were in. “We believe you now, this really IS a big deal!” It was nice to find a venue owner who saw the value in this, and Jo Ann was more than happy to host any more Canterbury Scene acts that came through town.

DB: Like who?

Kevin Ayers

RD: We did two more; one with Gilli Smyth opening for Richard Sinclair’s Caravan Of Dreams trio, and the other for Kevin’s appearance in December of that same year.  We’d scheduled shows for Phil Miller of Hatfield (June) and Didier Malherbe of Gong (July).  But they pulled out due to uncertain bookings around the country and probable lack of money.  Kevin’s second one in December was considered a one-off . It only ended because the musicians weren’t making enough money to keep doing it.  Some of them came back a few years later. Gong did the best in terms of audience size. They were here four times, and they did not disappoint, that’s for sure.

DB: These shows took place very soon after the death of Kevin’s friend, guitarist, and musical collaborator Ollie Halsall.  How did this affect the shows?

RD:  He had just lost Ollie a year earlier, and they’d been together as musicians and friends for 18 years. He seemed to be coming to terms with it by the time he did his second solo gig, perhaps. Or perhaps not. Either way, he was in better spirits the second time he played in December of 1993. If he hadn’t accepted Ollie’s death, he was at least trying to move on with the next chapter of his own life.

DB: Kevin played some shows in LA initiated by you later in the decade, and then in 2000.  How did those come about?

RD:  The seeds were planted in 1997, when I was first stumbling around the Internet and seeing what it was about.  I mentioned to Jo Gielen, Ayers’ manager, that I’d set up Kevin’s LA ’93 shows, had him as houseguest, etc. I also mentioned that was planning a “tribute gig” in LA for his birthday (August 16). I figured that since Kevin wasn’t playing much at that time, it might be a point of interest to fans to mention it. I closed with a joke along the lines of, “We’ve got our musicians lined up, but we’re still working on the singers – you think Kevin might sit in for a couple?”

Jo writes back and says, sure, he’ll do it, just fly him out and pay him. That changed everything – no more tribute gig. So the following spring we set up shows in Los Angeles and San Francisco, and thanks to the Internet, people came in from all over the world to see those shows. Kevin was a bit surprised, and really gratified, to know that so many people still cared about his music.

We did one more gig with Kevin in 2000, mostly with the same musicians. The Knitting Factory had just opened their LA branch, so that’s where I went. We set it up for October, but then I found out that Gong was playing there in September, so I had them put Kevin on as Gong’s opening act. That was a really special night, the first time (of only two) that Kevin and Gong did a concert together in the US.

[Ed.: See Kevin Ayers playing 'May I?/See You Later' at the Knitting Factory, with Richard on bass, from these shows as they're heard on Alive in California.].

DB:  The live recordings and home demos on the D Boon and Friends collection was an act of of curation on your part, particularly in the light of D Boon’s accidental death in a car accident a year or so after the tracks were recorded. What do you consider to be the balance between documenting a time in musical history very personal to you, and in making a product available for an audience?

D Boon of Minutemen

RD: “Historical Interest” doesn’t mean anything if the music is torture to sit through. In fact, it’s kind of insulting to the fans to abuse their good will by releasing hours of unedited recordings that weren’t even intended for release in the first place.  It would have been a nightmare trying to edit this stuff with analog equipment, and the result wouldn’t have come out as smoothly.   It wasn’t until 2002, when I first got digital editing software, that I even considered releasing these recordings. I could play you the original recordings, and you’d be amazed what was done to salvage them.

[Watch the Minutemen, with Richard Derrick guesting on drums]

DB: Your work with Another Umbrella, which you formed with another Minutemen collaborator Crane, seems to be custom built for the recorded format, with the use of loops and experimental textures.  But, you also took the act into a live setting in places like the Museum of Contemporary Art in Los Angeles.  How did that band come about?

RD: A lot of it was because I was getting tired of trying to organize bands that would never last enough to build up any momentum. When Crane and I were trying to put a band together in 1985, we ended up spending a year and a half looking for a guitarist (I was planning to be the drummer). He bought a really nice Stratocaster in 1986, I started playing it, and he just sold it to me.

We still couldn’t find a drummer, so I’d pre-record drum tracks while he’d play his bass riffs into headphones for me to hear, and that’s how we would perform live. Instead of separate amps, we’d run everything through a mixing board and PA, with me mixing it in stereo as we were playing, fading the drums in and out as needed. Eventually we found drummers and other musicians who were interested in working with us, like Paul Roessler and Emily Hay, as well as a music scene that was more amenable to this sort of music.

DB: How did the Solo Career band, including Nels Cline, come about out of the Another Umbrella project?

RD: Another Umbrella was winding down on its own anyway. There’s only so much variation you can get with that set-up, and I somehow managed to find ten years’ worth before it was time to move on.  Solo Career was originally meant as a one-off.  Nels was doing his “New Music Mondays” at The Alligator Lounge in Santa Monica, and he gave us a slot in February 1997.

About a month later, we decided to do another one.  But we had four guitarists on hand, and that was pretty extreme, so we did two sets that day, each with two guitars – Nels Cline and Ken Rosser first.  Then Joe Baiza and Mario Lalli second.

Nels Cline

Nels Cline

That set with Nels and Ken makes up about half of the Season Finale album. Bob and Ken had still not met before the show, but both Nels and I had played with both of them, so we knew it would work. Ken set up his gear, introduced himself, and after about five minutes of playing, we were warmed up and things just kicked in. We did eight gigs total between 1997 and 2002 with varying line-ups, but that may have been our best one ever.  The rest of the album was done at a rehearsal studio in LA.

DB: Did you feel at ease committing the sessions to tape, and then producing the record?

RD: Editing on this project was much easier, as the original performances held up better. The album runs about 43 minutes, but in its unedited state it was about an hour long. Just a lot of subtle cuts here and there, tighten up what were already good ideas and make them better.

[ed.: Watch Solo Career play 'Glide' on YouTube]

DB:  Box-O-Plenty seems to represent a fairly wide range of music, from Kevin Ayers’ R&B-flavoured jazz pop to D Boon & the Minutemen’s post punk, to the ambient music you’ve personally been involved with.  Is there a specific quality you look for in terms of branding BoP, musically-speaking?  How would a new band get onto your label?

RD: I don’t know if there’s a common thread between all these projects.  I just look at each one individually and do what I can with it.  A new band would be better off starting their own label. I have no money to put into anyone else’s thing.  I wish I did, though.

DB: In a time when bands have the potential to be their own labels, offering digital downloads through blogs and other online assets, which niche do you feel labels like Box-O-Plenty fills?  Is there a certain archival aspect to what you’re doing, as opposed to just promoting new music?

RD: When I first started, I figured that new music would play a part. But seven years on, it’s not really looking that way, is it? I may put out something new by me, though, depending on what comes up. I still have about four or five hours of Another Umbrella music that would be worth releasing once it’s polished up a bit, but eleven albums of it is probably enough for now.

DB: Tell me about how “Roomful of Musical Tunes” came about, the Syd Barrett tribute shows you put on with other LA musicians.  Any chance of repeat shows with some of the participants, and some live recordings on Box-O-Plenty?

RD: That was another one-time gig that took on a life of its own. Syd had died a few months earlier, so a few musicians I knew put this together and invited me to join in. I’d never been part of a cover or tribute band before.  But I’ve always enjoyed playing songs by certain artists at home for my own enjoyment, and Syd was right at the top of that list.  So why not, right?

We ended up doing two more in 2007 and 2009. The shows had minimal rehearsal and are a little rough in places, but the feeling was there, but some of it came off really well, and everyone had a good time, so it did what it set out to do. No plans to release it on my label, but we have plenty of youtube clips up and running.

DB: How can anyone interested in the Box-O-Plenty catalogue order the music?

RD: They can get it directly from me at . Amazon also carries the CD releases, and downloads are available at ITunes and a few other sites.


Thanks, Richard!

To see video content from Box-O-Plenty, here’s footage from the Syd Barrett Tribute shows.  Also, check out Richard Derrick on Youtube.