The Dance: Jimmy Gnecco

Photo Credit: April Bauer

“It’s about being beat down. The challenges in our society...coming back and finding the strength to fight again but without becoming a monster in order to survive in a world full of monsters." That's how Jimmy Gnecco describes his latest creation.

In 2013 a successful Pledge Music campaign resulted in the album Ballet The Boxer, 1 (One of 2013's 5 Albums You May Have Missed). As album titles go, it’s ambiguous at best. It connotes fighting for a more graceful way to exist and survive without the constant fight: physically or emotionally, as nations, as people. It’s a striking record, no pun intended.

However Jimmy Gnecco, the mastermind of that record and its title: not so ambiguous. The New Jersey native is a clear thinker, straight speaker and a captive of the human emotions which he translates via one of the more stunning and flexible voices in rock today. It’s entirely possible that you may be unfamiliar with this beautiful creature despite his very devoted following, despite his 20 years of music making, despite recording the track "Someone To Die For" with Brian May for the Spiderman 2 soundtrack, despite seven acclaimed albums (solo and with his band) and despite fronting the seminal rock outfit, OURS, with that emotive and soulful voice that can crush an octave until it weeps.

If for no other reason than the pure love of this thing called music, the art of vocal craft or how a great rock song gets beneath your skin, it’s in one’s best musical interest to dig into where his music has been and where it’s going. As a lyricist he is particularly gifted due to often being painfully acute in diagnosing what ails us. Always present have been personal and professional challenges; so life goes, and sourcing the pain and the pleasure has always been the genesis of transparent art. It’s just what he does. “There’s no real formula except what I’ve always tried to have present in the music is that human connection.” Jimmy explains. “The questions that we have, the things that we wonder about. The things that we hope for, the things that we are afraid of. Emotional. It’s very honest. It’s never, ever coming from a stand point of thinking what’s popular.”

Ballet... was of careful design. “When we put the record together, each song we loved for a certain reason because they served a certain part of the story. Without one, another might not mean as much.” The record is also as prime an example as any of emotional and honest- along with exceptional- alternative rock, as well as Jimmy’s command of fleshing out the beautiful and the ugly alongside the intense and the delicate. There’s always an elegant juxtaposition of light and the dark in the songs. “It’s just a natural thing that exists. For every way of looking at something in a beautiful way there’s another way of looking at it.” And Jimmy keenly focused on expressing both of those aspects on Ballet..., which he calls an album of two halves. “The first part of the record is supposed to make people feel that disconnect, discomfort at times. Almost this vindictive feeling. “Coming For You” is antagonistic: I’m coming for you, motherfucker, you better watch yourself.” Let’s be honest: sometimes you just want to swing at whatever is pushing you around. Only to have the second half of the album grasp at and for resolve with the dualistic "Fall Into My Hands."

"On the surface there’s this thing that’s very beautiful: if you’ve lost hope, I’m here. You can fall back and I’ll catch you." Yet there's just as much shadow play at work: "It’s kind of speaking from a devil’s point of view. If you waste the opportunity you’ve been given to make it a meaningful life full of love, you can choose to have it in your life, love and all this beauty or you can throw it all away and fall into my hands."

Although Jimmy admits, “There are some songs on this record that don’t get resolved and won’t get resolved until the next record.” File that away as something to look forward to.

Yes, that's David Carradine in what would be his final performance.

Musicians have various motivations for diving into their craft: fame, money, awards, tigers on a gold leash, an entourage, a house in the Hollywood Hills. Jimmy’s is a little off that beaten path and, again, wanders into the realm of connection. “Genuine conversations with people that were genuinely moved- I love that and I will always love that. It’s a very romantic idea to me, to sit in my bedroom or the car and I write a song, and these are your inner thoughts. You’re putting them down, put it on a record and you send it out to the world. It’s like sending out a note in a bottle and you always wonder who it’s going to reach. So when the music reaches people you want to know who it’s reached and how it’s affected them.” And standing on a stage feeding an audience powerful sound feeds him. A receptive listener open to being touched touches him and reinforces a very simple tenet.

“I have hope in people. You go out and somebody’s riding up your ass in your car and running you off the road, screaming at you and you get razzled, you wanna strangle somebody. And then you go away and you’re like ‘I can’t lose hope in people.’ You still have this love, ultimately it comes back to wanting to love, wanting to be loved.”

And there is the fragile ballet that the boxer in us all has to dance.

Interview: This And That With Daniel Balk of the Postelles

From “White Night” to “1, 2, 3 Stop”, the Postelles have made catchy retro rock/pop with a city edge their signature sound and one that works. Between their eponymous debut album from 2011 and time spent on the road playing club shows, various festivals, honing their songs and live show, the New York City rockers have taken a minute or two to ready album #2 but ready it is and was released into the wild on April 23rd.  For those of you here in Los Angeles, the boys from New York City have a date at the Bootleg Theater on May 21st. For everyone everywhere else, check their tour dates HERE.

The Postelles voice and guitar guy, Daniel Balk, took a moment to discuss  important things like the new album, being shook and what he really thinks of Los Angeles.

Q: For those not in the know (and I’m very much in that camp), what exactly is a ‘Postelle’?
Daniel: In terms of the band it's a made up word, but we have had a fan from Australia tell us female postal workers in Australia are, indeed, Postelles.

Q: That’s…odd, but thanks for clearing that up. Now your new album …And It Shook Me seems like quite a romantic album or rather there is an overarching theme of ‘love’ in the lyrics: what’s the occasion?
Daniel: Love is the occasion. We've had one too many candle lit dinners as a band on tour. The album is dealing with life and relationships while away on the road and the emotions that occur with that.

Q: Speaking of love and relationships, the duet with Alex Winston (“Pretend It’s Love”) is a particularly bright spot on the album; her vocals are damned endearing. How did you wind up working with her on that track?
Daniel: We were friendly and I wrote a song that I was interested in having a female vocal involved on. I gave her a call and asked if she'd be down. She was a perfect fit and she did a great job.

Q: Definitely agree with you there. And now that album #2 is done, when you look at your two releases- other than time- what do you feel is a major difference between the two records?
Daniel: We've matured as musicians and people. We've grown as a band and understood the studio more so in my mind it is a much more mature record in terms of the sound and production. The songwriting is better but we've also learned so much from years of touring.

Q: Well one thing that definitely has not changed is the distinctly retro sound that you guys foster. How did such youth wind up with such an appreciation for such a not-so-young sound? Not complaining, mind you.
Daniel: Our parents were definitely musical people and they introduced us to their favorite bands. Whether it be Bob Dylan or The Beatles, we learned about rock and roll at a very young age and grew to love it.

Q: We appreciate all of your folks for the solid background. And being from NYC (as I am) I imagine the aesthetics of the city would filter into one’s music. I don’t know if that’s true or not for you, but I have visions of an odd morning getting flashed on the A train or an amazing bagel winding up in a song…like “Running Red Lights”, for example (don’t worry: I’m not calling Traffic Enforcement). Does that ever happen in the writing or is the writing a bit more general?
Daniel: You definitely are right with that assumption. The city definitely is a huge inspiration in our music. The most obvious influence might be 'White Night' from our first record where as ...And It Shook Me is influenced by many places because of all the touring. For example 'Tidal Wave' is a song that I wrote in Los Angeles, when I visited for the first time, so this album ventures out of New York. Having said that, New York will always be my biggest influence in terms of the band.

Q: I always like to know what musicians are listening to of late, so do tell: who’s listening to what these days?
Daniel: We really like the new Vampire Weekend record so far. It just came out, but what I've heard I've really enjoyed.

Q: You have tour dates in May and June with Aussies Atlas Genius (whom I adore) and sonically that seems like a good pairing; what's on the schedule through the rest of the year?
Daniel: More touring, we always love to be on the road. We are planning more shows now and we're excited to play the new record for everyone. Definitely check out our website for updates.

Q: Well, we know that you’re coming back to Los Angeles to play the Bootleg Theater on May 21st; tell me something nice that would make me believe that you like or you’ve actually missed our insane little city.
Daniel: I really love LA. I've actually visited as a traveler away from the band as I really wanted to experience the city apart from playing shows. It's very beautiful and we filmed our video 'Caught By Surprise' in Silverlake and the director, Gus Black, filmed not only that video but also 'Running Red Lights' in California as well.

Q: That was so sweet that I almost believed you. Now tell me what you REALLY think of LA.
Daniel: I really like it! At first I didn't. I love New York more because it's home and it's New York, but if you want some gossip here it is. Our bassist John doesn't like LA. I agree with him about some things, for example everything is so far apart. Though, I will say I personally enjoy it.

Q: I hear you...and no foul on John. And nothing compares to NYC’s public transit system. One more question: …And It Shook Me: what, exactly, shook you?
Daniel: Life, everything. It's basically all of the experiences we've had in the last few years wrapped up into an album. Mostly touring and traveling and shows and all of that. This is a very personal album and a very genuine one and I hope people notice that.

Q: Is that your final answer?
Daniel: Can I phone a friend? If not, yes.

With no lack of humor, check out this irreverent video for the track, "Caught by Surprise" from ...And It Shook Me.

Simple Words w/ Robert L. Been of Black Rebel Motorcycle Club (Archives)

Jones Beach Theater, Wantagh, NY August 6th, 2008

This is a reflection of a point in time;  a not-so-random random event that can be filed under "Rock and Roll Moments" of the cerebral kind:

When you have the pleasure, enjoy it. When you have the opportunity, ask for it. When the spirit moves you, thank it. 
   
Traveling is hard work; just ask...well, me (no this isn’t a plea for your sympathy but I’d been on the road since 4 AM Tuesday August 5th in my attempt to get my rear end from coast West to coast East for yet another of my random musical adventures). February brought me and a little wind chaffing home to NYC to get my face rocked off by The Foo Fighters at Madison Square Garden (“Oh fuck...I’m snowed in.”). So now what was I up to?

This latest jaunt had a very specific purpose which evolved into a three-point plan: seeing Kings of Leon at the brand spanking new All Points West Music Festival in Jersey City (where?) on August 9th.Kings Of Leon is one of the few bands that lights my fire enough to travel for and here I was traveling again for the rock of the dirty south. The two additional points fell into my lap when Black Rebel Motorcycle Club decided to tag along with Stone Temple Pilots on their greatest hits road show (I mean let’s be honest, if Stone Temple Pilots doesn’t drop an album of fresh new deadlies soon, we can just chalk this tour up to a large scale lounge act on repeat). I do dig me some “Unglued”, “Sex Type Thing” and “Sour Girl” so once again I was going to get a groove on that satisfied that primal part of my brain at Jones Beach Theater, NY. BRMC tossing in a headlining show at Irving Plaza in New York City just put the week over the top.

It was late on Tuesday night, slipping into early Wednesday morning and the post-concert veil was lifting somewhat. Stone Temple Pilots and Black Rebel Motorcycle Club had just done their duty at the Jones Beach Theatre in Wantagh, New York which is a fine venue, out in the boonies for sure (now I remember why I was never a regular at Jones Beach while growing up in Brooklyn), but it was a good show for opening band and headliner, alike. Scott Weiland’s megaphone love is still intact.

Now I’m writing not so much as a fan but more an observer; as a mind, an eye and an ear turned towards a subject: an understated subject who is seemingly as pleased with the shadows as he is with the light. I had a minute that remarkably turned into an hour…and I had the pleasure of watching him shuffle his feet in a deserted parking lot. Deserted save for the merry travel mates and their transitive home; have tour bus, will travel, and travel, they do, across this country making a distinct noise somewhat aged for the young men who make it and yet a generation of new souls is eating it alive.

After initially leaving the island of Jones Beach where the venue is located, I told my cab driver to turn around and take me back. I wanted to talk to them and damned if there was no time like the present! It was approaching 1 AM when my cab pulled up alongside their tour bus and I wander into their calm. Alongside Robert’s current mobile home was a circular seated cast of characters, the road crew, his dad Michael (Papa Been) relaxing, enjoying their quiet and some *ahem* post-show libations. Does it get more casual than this? If it does, it's probably not by much. I introduced myself; this group was a friendly lot of faces that I’d seen at shows several times before and, for goodness sake, did one of those guys say that he recognized me from MySpace? I’m not sure if that’s a good sign and it might have “stalker” written all over it, but then I have to remember that I do kind of stand out in a crowd…even an online crowd. After being told that I was “lovely” (and don’t think that I don’t know when the Jack Daniels is talking), I asked a question: could I possibly borrow one of the guys for a few minutes; the “guys” being BRMC’s Peter Hayes and Robert Levon Been. Fortunately neither Michael, Micah, Eric nor anyone else asked what I’d like to “borrow” them for as that was a pretty loaded question, it was after one in the morning and I was hardly the sharpest tool as it had been an exceedingly long day. Plus my self-editing switch was broken; it had been since I came home. One of the merry mates headed inside the tour bus with my request.

*In a perfect world time spent with “you” would be just that: time spent. Not wasted or meandered, not tolerated or killed but spent with care because our thoughts and feelings are precious jewels to share. At their worst they can be weapons and poisonous but at their best, diamond lights even in the middle of the night at Jones Beach*

Robert Levon Been literally slinked out of his road quarters; long legs not taking long strides yet before I expected it, there he was before me looking no different than the musical creature on stage who had been physically, almost violently, wrestling chocolate tones from his guitar some four hours ago. Hi. I’m me, you’re you; thanks for coming.

So it began, this impromptu meeting; less an interview, more a conversation where he entertained me for an hour with a steady stream of intrinsic ramblings that, if you listened carefully, really did follow a path. Although not necessarily a linear one, he was clear and thoughtful in his musing. Even though soft-spoken, the man had a lot to say and was 75% chattier than I expected as a word or question tended to extract some thought or memory that segued into an opinion or story. Who knows if that’s his norm or if he was just in a giving mood; either way, pleasant. I hardly know how his mind works but it appears to shift along with his body when he speaks. Crossed arms, crossed legs in thought; then, the mind uncoils with an illuminating statement and the body follows suit. Hand to face, downward glances, reserved yet open smiles that could easily be a guy’s best friend in key moments or a most effective deflection. At this point I’m not even sure if he’s comfortable in his clothes because the shifting body acts like it wants out of them.

The Mad Hatter: If you’ve noticed the trio’s primary bass man rocking a fierce pimptastic look, well you have some random fan from the London Roundhouse to thank for his fashion-forwardness (a round of applause for that fan, please). During a show there, said hat found its way onto the stage. Now Robert, being self-professed picky about his headgear (Can you blame him? Who’d cover up that hair if they didn’t have to?), fancied the brim and sports it. I suppose that we should all be grateful that it was black. *And no, this is not a call for you fans to now take up habitually assaulting the guy with random bits of your wardrobe or other goodies*

From Russia, With Love: I made an admission to Robert: I think that we in the immediate Southern California area are a little spoiled by their presence and their constantly making themselves musically available to us. But since it’s not all about us, I wondered what some of his favorite places to play were. His answers never would’ve crossed my mind: Japan, South America and Russia. Russia, you say? His emotional logic was clarifying as his words gave me a mental picture of the scene. To play for a crowd who may not have the freedoms or the luxury of self-expression as we do or may not have the bands that they really want to see come to them very often, he said that it feels incredible to give them the gift of live music and watch it release them, save them even. As if that’s what the music does for him. The guy speaks like an “artist”.

King for a Day: Every family or good band should have a designated King of Useless Information for entertainment, if not educational purposes. All hail Robert Levon Been, a guy who hates to use words or phrases that he has no idea what they mean and don’t people do that all the time? See Robert as he regales and enlightens me with the etymology of such gems as “gibberish”, “the whole 9 yards” and “severance pay”. Fortunately I didn’t betray where my mind wandered on that last one as I mentally noted that Mary Queen of Scots probably should have tipped better.

The Invisible Man: Investing yourself in making and performing music, a profession by it’s very nature that reaches out as well as in, hardly seems like a career choice if you wish to attain or maintain a semblance of anonymity. So the oddity is in Robert’s thinking that being a musician would’ve made it easier for him to get lost in a room of people. I could see that happening for you Robert…if you sucked. The problem with your theory is that you’re quite good at what you do, so the expanse of your world is pretty much your own fault. Monochromatic by accident and not design, he leaned towards the concept of being somewhat nameless, faceless characters with the music coming through. I’ve a description for you, Robert: understated musicians whose gritty and textural music does all the talking for them. Nameless, faceless yet relevant.

The Ugly American: Perfectly good songs can get lost on me if they amble on over a certain length and overstay their welcome. Such songs tend to result in me developing a restless index finger towards my iPod or car stereo. It’s a rare sonic thing that catches and holds it’s listener with brooding chords, tight rhythms, shadows and light, and layers of kaleidoscopic sound only to lay it and its listener bare. Earlier this year BRMC played a show at The Wiltern in Los Angeles and it was a fine show except for one thing: the absence of the ridiculously tight, atmospheric, dark and disturbing beauty of the 9-minute long opus that is "American X". It’s headphone worthy and as much as I appreciated and respected that song, I was more than comfortable not knowing what was going through the mind of who wrote it when he wrote it. There’s a certain comfort in distance from the painful truth. Robert told me anyway.

His apartment was burglarized. His possessions, including notebooks full of his simple words, were stolen. He and his life had been violated.

What started out as a reflection on the undercurrent of perversion in society and the changes in our culture suddenly became a cathartic and poetic exorcism of the hollow that such a breach left inside of him. Give the man a dark room, a patch of floor, a guitar and an agitated mind and the end result was “American X”, a song that never gets old to his ears. I concur. In retrospect, one can say that you never know how, when, why or what will provoke the epiphany or what will arise from the riot inside, but in this case we can thank it.

Now it was time for them to hit the road; the reason that they’d hung around in this empty parking lot was because it was either kill time here or kill time where they were going. Peter, Micah, Ben and Eric hustled around and out came the usual suspects: the rocket fireworks. Looking like men on a mission, this was serious business and Robert and I hung back and watched them handle it. That, indeed, seemed like the safest thing to do. Once the contraband was assembled, four neatly in a row, one by one each fuse was lit. All but one gave up its pretty spark and fire perfectly but the deed was done and, just like their rockets, they were about to trail off into the dark with the night properly sealed. Coolness, but they’re lucky that I didn’t call the cops. I know people.

So as conversations go, it’s safe to say that I’ve had worse. On that note, I can say “thank you” to Robert and his band of mates for a good show, good conversation and some quality time spent in an empty parking lot way past my bedtime. And for the offer of Rice Krispies.