Black Kids band feature

The Black Kids preview ran in the North County Times (San Marcos, Calif.) in October 2008. The band plays LA alt-rock station Indie 103.1 FM's Xmas show with The Pretenders and Bloc Party at Club Nokia on Dec. 10.

By George A. Paul

Watch the entertaining music video for Black Kids’ “Look at Me (When I Rock Witchoo)” on YouTube and you’ll immediately be transported back to the late 1960s, when animated classics like “Scooby Doo” and “Speed Racer” were popular. The band is inserted into various cartoon scenarios and shown wearing silly costumes throughout.

Bassist Owen Holmes had doubts at first about how everything would turn out. “It was surreal. We really trusted the director on that one. You’re standing in front of a green screen wearing a dog suit, jumping around, doing crazy things and have no idea what it’s going to look like. You feel like an idiot. I would be horrified if the raw footage of that was ever released, it was so absurd.”

The clip fits perfectly with the celebratory and hedonistic alt-dance aesthetic heard on Black Kids’ arresting debut disc “Partie Traumatic” (each members sports bunny ears or devil horns on the cover photo). Produced by Bernard Butler of ‘90s UK Britpop sensation the London Suede, “the influences are all over the place – the B-52’s, disco, Motown, synth pop, Britpop,” said Holmes. “Obviously Bernard was good at cultivating that.”

From adopting a feminine guise on a joyous “I’m Not Gonna Teach Your Boyfriend How to Dance with You” (complete with Go! Team-styled cheers by keyboardists Ali Youngblood and Dawn Watley) to the risqué lyrics of “I’ve Underestimated My Charm Again,” singer/guitarist Reggie Youngblood tends to write subversive lyrics. No surprise there – he cites Pet Shop Boys as an inspiration and name checks Sparks in one song.

Holmes helped arrange “Charm,” best described as a Pulp-meets-Phil Spector girl group mash up. “It was my suggestion to put two song halves together and not worry whether they matched perfectly, which is something the Beatles did a lot on ‘The White Album.’”

Black Kids’ seeds were sown during Baptist Sunday school in Jacksonville, Fla., where Owen, Reggie and drummer Kevin Snow first met. They toiled in different bands (Christian ska and punk) for a decade until 2006, when the guys decided it was time to do something more fun. Reggie asked sister Ali to join; she invited her friend Dawn along.

At the time, the city was best known for spawning pop/punk and aggro rock (Yellowcard, Red Jumpsuit Apparatus, Limp Bizkit). Black Kids sounded like nothing else in the area. That gave them a leg up when it came to club bookings. “We were really one of the few indie pop bands in town, so we’d always get to open for the cool big bands that would come though. That was one of the benefits of being different.”

Black Kids self-financed and released the “Wizard of Ahhhs” EP and streamed the tracks on MySpace in 2007. Word spread quickly among the blogosphere. “We played a festival in Athens, Ga. that summer and things took off for us. We started getting attention in the States first, but it quickly became apparent that people in the UK were up for it on [another] level.”

Although Black Kids have taken a lot of flak from their indie fans for making the EP songs sound more polished on “Traumatic,” Holmes said “there’s a world of difference and that’s how we wanted to do it. We’d already recorded those songs [raw]; we wanted our record to sound good this time.”

The Brits “seem less particular. I’m not sure if it’s a good or bad thing, but people in the States are a little more critical.” Still, the CD has been received plenty of college and specialty airplay at stations like KCRW FM in Santa Monica. For the past few months, it has been lodged in the upper rungs of the main College Music Journal chart.

Last spring, the album debuted at No. 5 on the British charts and “Boyfriend” made top 20 on the singles tally there. You could draw parallels between Black Kids and Scissor Sisters - another revelry-minded American group who found success abroad first. The quintet made the European festival rounds over the summer and opens for Kaiser Chiefs at London’s Wembley Arena in February.

“It still blows my mind that a band that plays music [like us] can be considered a mainstream band over there,” exclaimed Holmes. “Our CD was in the charts next to Madonna and Coldplay!”

Another Pink Spiders story

Here is my second Pink Spiders piece, which ran in the October issue of Mean Street Magazine (Los Angeles).

By George A. Paul

Matt Friction might be a Southerner, but when it comes to baseball, the sports fan’s loyalty is focused on L.A. These days, the singer/guitarist for Nashville rockers Pink Spiders has two reasons to be excited: rousing third album Sweat it Out is finally available and his favorite team made the playoffs.

“I’m a lifelong Dodgers fan; I have my Blackberry set to update me on scores,” admitted Friction. Two years ago, KROQ sponsored a Spiders gig at Dodger Stadium, where the group performed in center field after a game.

“We went and sang ‘Take Me Out to the Ballgame’ on the dugout during the seventh inning stretch. It was awesome and crazy. I got to meet Tommy Lasorda…a pretty surreal moment.”

Formed in 2003, the Tennessee trio released an EP and full-length independently before signing with Geffen Records, which put out Teenage Graffiti in 2006. Produced by Ric Ocasek, the album featured an exuberant and sleek mix of party hearty power pop/rock. Tours with Fall Out Boy, Yellowcard and 30 Seconds to Mars ensued.

Recording the adventurous Sweat it Out last year with Brendan O’Brien (The Offspring, Springsteen) at the helm was more enjoyable. “I’d grown up with [his] Pearl Jam and Stone Temple Pilots records.” Friction said O’Brien was so enthusiastic, they “knew right away this was the guy.”

Instead of putting up with a taskmaster like before, the musicians discovered “he was open to our suggestions. It was like a brain trust, getting in the trenches every day…[apparently] it was one of the more fun recordings he’d done, which is pretty meaningful coming from a guy who’s had all these huge records.”

Standouts include an over-the-top “Falling with Every Step,” with layered vocals and a blistering classic rock guitar solo a la Mercury & May. “There’s definitely a glam side apparent on the record. I was listening to a lot of T-Rex, Queen and David Bowie.” Insanely catchy single “Gimme Chemicals” revisits Love & Rockets territory and “touches upon the excesses of touring; the social lubricants to get you through, for better or worse. It’s not a pro-drug anthem by any means.”

This past spring, Pink Spiders got primo TV exposure via an appearance on hit Fox show “Hell’s Kitchen” and saw their MySpace hits increase. “When the opportunity came, of course we were down. It’s network television with 13 million people watching…we flew out there, had a good time and got well fed.”

Story on Tennessee rockers Pink Spiders

I did two different features on Pink Spiders in October 2008. The first one, below, ran in the North County Times (San Marcos, Calif.). They're currently on tour throughout America and auditioning a new bassist in conjunction with Alternative Press Magazine. Photo of singer Matt Friction: Steve Cross

By George A. Paul

Nashville is not the easiest place to launch an alt-rock band. To stick out among a sea of country acts, the Pink Spiders adopted a retro look and played short gigs where they provoked crowds into buying merchandise.

According to Matt Friction, those confrontational shows (done shortly after the group formed in 2003) are a thing of the past – especially with a new lineup.

“I think it’s downplayed to some degree,” said the singer/guitarist from a tour stop in Pennsylvania. “The personalities are a little more relaxed now (like I am). These guys are my friends. It’s not too abrasive, but still true to how we are…we just have fun with it and get in people’s faces a little. It’s not dangerous.”

As for the musicians’ favored attire – scarves, matching retro sunglasses, pink and black striped clothes – Friction explained “the visuals go along with the attitude of the band…we ripped off Motley Crue, New York Dolls and the ‘70s New York punk scene.”

The Pink Spiders released the full-length “Hot Pink” independently before signing with Geffen Records, which put out “Teenage Graffiti” in 2006. Co-produced by Cars main man Ric Ocasek and Jerry Harrison from Talking Heads, the album featured an exuberant and sleek mix of party hearty power pop/rock. Single “Little Razorblade” received airplay on college and modern rock stations such as KROQ in Los Angeles. High profile tours with 30 Seconds to Mars, Fall Out Boy and Yellowcard followed.

Friction, 27, found the major label experience frustrating. He learned a few lessons along the way though. “Never compromise anything and or let anyone tell you what you know isn’t true. Don’t rely on anyone…start being involved in every aspect of the business.”

Adventurous third effort “Sweat it Out” was just released on an indie (Friction’s own Mean Buzz Records through Adrenaline Music Group). “It’s a much better fit for us, having control and not a daily fight over every little thing.”

“Sweat” was recorded more than a year ago with Brendan O’Brien (The Offspring, Bruce Springsteen) at the helm, while still under contract to Geffen.

Unlike Ocasek, O’Brien was more open to the band’s suggestions. “It was like a brain trust, getting in the trenches every day - like kids in a candy store, having fun and shooting ideas off each other…it’s kind of cliché, but we were having the time of our lives. He said it was one of the more fun recordings he’d had, which is pretty meaningful coming from a guy who’s had all these huge records.”

Highlights include an over-the-top “Falling with Every Step,” with layered vocals and a blistering classic rock guitar solo a la Brian May. “I thought the album needed a big
‘Bohemian Rhapsody’-styled anthem; a song that kept changing gears all over the place.”

“There’s definitely a glam side apparent on the record,” he continued. “I was listening to a lot of T-Rex, Queen and David Bowie.” Insanely catchy single “Gimme Chemicals” revisits Love & Rockets territory and “touches upon the excesses of touring; the social lubricants to get you through, for better or worse. It’s not a pro-drug anthem by any means.”

A stripped down approach was utilized for the gritty, acoustic guitar-led ballad “Don’t Wait for Me,” about being on tour. “The underlying theme of the record is the duality of living two different lives.” Friction found being at home one day, then playing to a packed club on another was “like Dr. Jeckyl and Mr. Hyde in some ways…we toured four or five years nonstop. The record touches upon more personal stuff than rock ‘n’ roll.”

Last spring, the Pink Spiders netted their largest media exposure to date during an appearance on hit Fox TV show “Hell’s Kitchen” and saw their MySpace hits increase. “When the opportunity came, of course we were down. It’s network television with 13 million people watching…we flew out there, had a good time and got well fed.”

Interview with British buzz band Foals

This story originally appeared in Inland Empire Weekly (Corona, Calif.) on Sept. 11, 2008. Photo by: Guy Eppel

By George A. Paul

Destruction is a common occurrence at a Foals gig, whether it’s from fans or the musicians themselves. “We almost smash our equipment the way Sonic Youth do,” says guitarist Jimmy Smith in a recent phone chat from across the pond. “We’ve got a tendency to break things at the moment just for fun.” When I bring up the expense involved, he notes “luckily, we’ve struck up some deals with guitar companies. I’ve never actually totaled a guitar. It’s working out ok.”

Formed three years ago, the young British band initially performed at friends’ house parties and word spread quickly among local college students in Foals’ hometown of Oxford. “Some of them were really intense. Once we played this London squat where people demolished an entire wall and went berserk. I smashed a tooth; there was furniture going everywhere. They got evicted the next day. We stopped doing them for awhile because it was so out of control, but we’re going to start up again.”

Considering the indie rockers’ U.K. popularity (mesmerizing 2008 debut Antidotes entered the charts at #3 and garnered a Best New Band nod from NME), those gigs should be quite the ticket. For Foals’ first I.E. appearance, fans can expect the songs to be “heavier and more raw; kind of punky in places.” Unusually, the quintet faces each other instead of the crowd. “That’s the way we’ve always set up,” explains Smith. “We feed off each other’s energy.”

Antidotes was produced by TV on the Radio’s Dave Sitek (Yeah Yeah Yeahs, Liars) in New York. A few jittery songs feature the horn section from Brooklyn Afrobeat ensemble Antibalas. “They came down and Dave conducted through the glass like some old ‘60s Motown producer. We were blown away when we heard it.”

Foals (the moniker is derived from the English translation of yelping singer/guitarist Yannis Phillippakis’ Greek last name) took a “less is more” approach to making its highly danceable music. “The best way to record a song is to get as much sound down as possible, then strip loads out,” said Smith. “You shouldn’t be afraid to take away stuff.”

Inspiration came courtesy of German minimal techno. “We tried to incorporate techno using traditional instruments and dry polyrhythms…we listened to bands like the Talking Heads when we were growing up and drew to that naturally.” These guys play notes (not chords), unorthodox time signatures and make chirping sounds (see: “Mathletics”). Standout track “The French Open” (Phillippakis is a tennis enthusiast) contains a rubbery groove and peppy rhythms. Smith also cited such experimental groups as Shellac and Don Caballero as formative influences. “In England, they don’t really know about those bands. I think it gives us a hidden advantage.” (George A. Paul)

Q&A with The Duke Spirit

Pictured: singer Leila Moss, onstage in England, 2007; Check out some of my interview with Duke Spirit drummer Olly Betts. View the feature article at www.nctimes.com/entertainment/music. The band plays on Saturday as part of the Download Festival at Gibson Amphitheatre in Universal City.

Q: Where have I reached you today?
A: I’m nowhere particularly interesting. I’m in Milton Keynes, which is probably the most American part of Britain. It’s a new town and it’s based on a grid system. It’s not as good as the rest of England.

Q: The band just played the Granddaddy of all English festivals, Glastonbury. How did that go?
A: It was absolutely amazing, actually. We played four shows over the weekend. Our first gig was torrential rain and it didn’t stick around, which was great. As the weekend went on, it got better and better. I’ve only been to Glastonbury twice, but it was definitely the better one.

Q: In a few days, you play the O2 Wireless Festival. Do you enjoy playing the big outdoor gigs?
A: Yeah, it’s ace. We’ve got a great time ahead. We’re also going to Denmark to play the Roskilde Festival. I love it, really. It’s a great chance to see other bands and meet up with old friends in bands that you see around. It’s great to have a chance to play for people who otherwise might not have a chance to come to your shows. They’re there to see different genres of music and you catch them and win them over. As a band, that’s the key element to playing a festival – to get new people into your band. We embrace festivals. We’re very much a gigging band and always have been. A festival is the jewel in the crown of touring.

Q: For someone who’s never caught a Duke Spirit show, how would you describe it?
A: I like our gigs to be a special experience for the audience as much as us. There shouldn’t be any stage/audience divide as far as we’re concerned. We want people to embrace what we’re doing as much as us. That’s a great gig – when people forget they’re at a rock concert and just enjoying the gig.

Q: Do you hope this American tour, which opens in Solana Beach, will turn out better than the one in 2006, which was fraught with problems?
A: We realized that, although there are souls out there who will steal your equipment, there are 20 times more people who will go completely out of their way to help you carry on as a band and play shows. We’ve had some great [American] tours since then. We went on the road with Black Rebel Motorcycle Club...they were a great band to be on the road with and the audiences were really receptive to us.

Q: The latest CD “Neptune” has been out here for a couple months now. What is the consensus among fans?
A: The majority of people have completely warmed to it. I think it’s a natural progression for us as a band. Many people listened to it and felt surprised by the outcome of the album, but I think people realize songs at the end of “Cuts Across the Land” [hinted toward this one]. I don’t think it’s a massive jump, sonically. I think it’s a natural progression…we feel like we’ve hit the ground running and we don’t want to stop.

Q: Was working with producer Chris Goss a direct result of doing the UNKLE track “Mayday?”
A: It was. Basically, we’d never met him until our collaboration with UNKLE. But we’d heard of him and we were a fan of his work. When the UNKLE collaboration came about we were really pleased. So we went to Rancho de la Luna [Studio] in Joshua Tree and worked with Chris and UNKLE, just for the day...You’re trying to create a piece of art and be musical...often Chris would say, ‘just fill in the gaps.’ He’d make subtle suggestions about harmony and tempo. It would all make sense. He’d never rip everything apart and have us wondering what was going on. He’s a great musician. A great producer often has amazing life experiences. They put it all together and pass it on. That’s exactly what Chris did for us. The changes and suggestions he made were the subtleties we really yearned for.

Q: Did he encourage you to use some of the less common instruments around the place, like the autoharp and omnichord?A: The autoharp we’d used previously. There’s so many weird and wonderful instruments there and sometimes he’d be tinkering on some old Hammond B3 organ. You’d think, ‘what the hell is he doing in there?’ All the sudden, you’d be like, ‘yes that’s great! Press record!’ He’s quite eccentric and that is just brilliant. It was quite different to us, growing up in rural England, you go to the desert. He’s the polar opposite to us. That was so refreshing.

Q: I read that the band actually stayed at the Joshua Tree Inn, where Gram Parsons died, right?
A: We did – our very first night in Joshua Tree. We stayed in rooms on both sides of the room where he passed away...We were there to get [oriented to the desert] and watch the first day of Coachella, then had a BBQ a few miles up the road. It was great introduction into life in Joshua Tree. Now it’s like our home away from home because we spent so long there.

Q: On the cover of “Neptune,” you’re holding up a vinyl copy of Bob Dylan’s “The Basement Tapes.” Why’d you choose that?
A: It’s funny. We didn’t set that photo shoot up to be the cover of the album. We like the end result. Initially, we came together to Toby’s flat and brought 5 or 6 items that we really liked. I ran in my living room and picked up 5 that were dear to me. Everyone did the same. “The Basement Tapes” is an album I’m really fond of...Everything in that picture isn’t as significant as we should have made it. We liked the outcome of the photograph and the items we all hold are dear to our hearts. We wanted it to be slightly tongue-in-cheek. It’s a contrast with the artwork, stands out and creates an interest because people ask, ‘why are you holding that?’

Q: Toby said you consider yourselves to be a soul band. Can you elaborate?
A: I wouldn’t want to pigeonhole it with a type of soul. It’s more the ethos behind the sound. The way we sound when we play and us as people. One thing that really captivates us is old soul records. Even bands like Parliament Funkadelic and Sly & the Family Stone – it’s a celebration. You can’t avoid being drawn into the sound. Just the way everyone looks when they play. When you watch and listen to the music it’s uplifting. We want to emulate that in our music. It’s something that influences us and we want to express that when we play. That’s where us being a soul band comes from – it’s more the feel of things. We definitely tried to make more of a groove-based album this time…knocking things around and realize there’s more space to be had. With “Neptune,” we tried to express that space which you have in soul music.

Glen Helen Pavilion name change

I sure do hate the proliferation for corporate names on sporting and entertainment venues over the past decade or so. The companies don't consider how stupid they often sound or that they are tongue twisters, let alone whether the general public keeps up with the changes.

We have the new Citizens Business Bank Arena opening up in Ontario, CA this fall.

Now the Blockbuster Pavilion/Hyundai Pavilion/Glen Helen Pavilion in Devore, CA is now known as San Manuel Pavilion. Even worse is San Manuel, an Indian casino in nearby Highland, will also have the San Manuel VIP lounge at CBB Arena. How's that for confusion?

I can't tell you how many people still wonder where Honda Center (formerly Arrowhead Pond) in Anaheim and Gibson Amphitheatre (Universal Amphitheatre since the '70s) in L.A. are at.

The biggest laugh for a corporate named venue came several years ago when the Jenny Craig Pavilion listed shows in San Diego. I don't even remember what it was.

Anybody else feel the same way?

Bonus Q&A with Gillmor

Here is more from my separate interviews with two members of the California band Gillmor. They perform at the Glass House in Pomona on July 5. Debut EP "Counting the Days" is available through myspace.com/gillmormusic.

TYLER THOMPSON (keyboards/piano), a San Bernardino resident, was born and raised in the city.

Q: Can you tell me how you first got involved with the band?
A: About a year and a half ago, I was doing some session work with a local artist here [in the IE]. They were looking for a keyboard player and I was looking for something fun at the time. I joined up with the band Ava Elliott. They were involved with Loren Israel who was doing artist development for Capitol. When they broke up, I got a call from Loren about a guy named Ryan Gillmor. At the time, I’d never heard of him. [Loren] sent me a couple tracks and I was blown away. So we did a couple practice sessions and a few weeks after that, he asked me to join. I was doing a piano/acoustic thing on the album and things went from there.

Q: When the five of you performed together for the first time, was there an instant chemistry?
A: The moment we jumped onstage it was magic. It felt like we’d been playing for years together like old friends.

Q: How do you think the IE music scene has evolved over the years? Has it gotten better or worse?A: The Inland Empire has always had a reputation for going against the grain of the music industry. I’ve noticed a lot of punk bands coming out trying to bring it back to “Inland Empire grass roots.” Although it’s a small scene, it’s still punching hard. I really hope those guys get a lot of exposure and we can really bring it out. As far as us, we’re far more involved with the L.A. scene where a lot of other things are going on. As far as the Inland Empire, it’s kind of a diamond in the rough waiting to explode.

Q: There’s really a lack of places to play.
A: Definitely. It’s part of one of the biggest counties in America and I can think of one club that’s even remotely decent and that’s the Glass House. And a lot of people don’t want to drive an hour to get there. I genuinely think if there was one decent club here, it would take off.

Q: The Showcase Theatre closing was a death knell for certain genres.
A: As far as that [hardcore] music goes, they were doing it strong for awhile. I think we can build that stuff back up. I remember always hearing my dad and uncle talk about the [Swing Auditorium, now the] Orange Show, where Zeppelin and The Doors used to play. If we could bring back a spot like that, that’s what we should be known for.

Q: I noticed the band only does a few shows a month. Is that because of the logistics where everyone is located?
A: Yeah. We do as many as we can afford to do as starving musicians…Ryan lives in Northern California, which is a 7-hour drive…if we all lived down in Southern California, we’d be playing almost every day. We get tons of offers for shows. Our biggest draw is Northern California because of Ryan’s solo stuff. It’s really tough trying to get up and down there.

Q: Any talk of moving closer together?
A: Yeah, there’s been talk since last year of Ryan maybe moving down here and getting a house and centralize everything. But Justin already has a house with his girlfriend. I don’t know. If it does happen in the future, it would be rad.

Q: Was Gillmor always meant to be a band?
A: The only reason I joined Gillmor was because Ryan said specifically he wanted to be a band. We were barely writing the album [at the time]. We chose Gillmor [as a name], because the crowd draw already knows Ryan so we went that route. The CD is specifically band oriented. We had a bunch of guest musicians. The drummer from Reel Big Fish came in. And me before Jimmy and Jake all came in. We cut ties with Loren Israel a few months ago. There were some contract issues. He wanted us to extend the contract for development. We felt we were better off doing things ourselves [next time]. We talk all the time. We really wanted to do things on our own as far as the direction we need to go. We got the “American Idol” and Fox [TV show] on our own.

Q: The songs often have a power pop vibe. Who were you listening to while writing and who are some of your influences?
A: My influences have little to do with the band. I was into Buena Vista Social Club…we all add a little spice to it…it’s completely diverse.

Q: Have you had any major label interest after the Fox-TV exposure?
A: I can’t count how many showcases we’ve done. The only drawback to it is it’s a really scary time right now. A lot of labels are scared to put too much money out. The music industry in general is afraid; it all comes down to singles and iTunes. If you don’t have the singles, it’s not about the album anymore. It’s really tough.

Q: Were you inundated after that “Idol” episode aired?
A: The day “Idol” came on, within half an hour, we had 40 messages from people giving us their contact info and ‘let’s see what we can do.’ We’re still talking to them today.

Q: A few months back, the band appeared on the KLOS/Mark & Brian radio show. How did that go?
A: Wonderful. We did about an hour set, played 3-4 songs. Tons of people were calling in. Mark & Brian are the coolest guys.

Q: Any plans for new music coming out this year?
A: We have tons written already. If you thought the first album was great, you haven’t seen anything yet. Our songwriting is maturing a lot more. We’re talking about a lot of deeper subjects.

RYAN GILLMOR (singer/songwriter/guitar), lives about an hour outside Sacramento

Q: Why doesn’t the band do more shows in the area?
A: Actually, the hardest thing about doing more Southern California gigs is the club owners. They’ll say, ‘if you’re playing here, you can’t play another show for six weeks.’ Makes it hard to do a lot of shows. I can understand where they’re coming from because they want you to draw to their club. At the same time, people going to the Glass House aren’t necessarily going to go to the Key Club.

Q: How would you describe the typical Gillmor show to someone who’s never seen you?
A: Lots of singalongs and crowd interaction. There’s a lot of energy from us and we don’t like silence onstage. We like to keep the party going all the time. Even in between songs there’s jam sessions going on. Once we start, we don’t want to stop until the very end.

Q: You played a some solo acoustic dates on Warped ’07. Tell me about it.
A: Last summer, I was also volunteering with Music Saves Lives. I’d register people as bone marrow donors. That was something I could do while I was out there anyway - a way for me to get inside the Warped Tour every day. It was a great experience.

Q: Were you in other bands before Gillmor?
A: I was in another band for about 7 years in the Sacramento area. I did some touring with Frank Hannon from Tesla. I played guitar for about 6-8 months with that. I had known him for a long time. It was an opportunity for me to get out and play with someone who sold millions of records, get on a tour bus and do fly out dates. Getting the rock ‘n’ roll treatment. While doing that, I was writing and recording my own stuff. I did the acoustic thing for a couple years before hooking up with these guys. Now we’ve been together a year now.

Q: On meeting Tyler…
A: On some of the songs I was writing, I played piano on them and Loren said, ‘I know this great piano player who might be interested.’ Tyler had just left the band all the other guys were in. We hit it off right away. He loved the music and I thought he was one of baddest ass piano players I’d seen. I felt super lucky I met him. He brings so much to it.

Q: Was there an instant rapport?
A: Yeah, we got together before I left for Warped Tour. I had a CD release dinner with all the musicians involved, the producer, guys I co-wrote with. We had a big party in the Valley. That was the first night I met Justin and Jimmy. We hung out and hit it off. I left for the Warped Tour all summer and we had our first rehearsal at the end of August ’07. We played through the songs and it worked. Pretty instantaneous.

Q: Tom Higgenson of Plain White T’s guests on backing vocals on both this EP and your solo one. What was it like working with him?
A: He was really open to suggestions and said, ‘this is your song. Let me know what you want me to do.’ And threw in some suggestions. Obviously the first time he came in and sang was before they really blew up. It was nice enough for him to come and do it the first time.

Q: Tell me about collaborating with Tim Pagnotta of Sugarcult.
A: He’s become one of my best friends. We talk every other day…I hooked up with him first about a 1 ½ years ago and we started writing some songs. We wrote “Hey” and thought, ‘this song could be a hit.’ We have a slew of songs we’re getting ready to demo together.

Q: What inspires your songwriting?
A: The thing that really inspires me is other music. There are so many different types of songs I want to write. Songs by Queen, The Beach Boys, and all these bands I grew up idolizing. Aerosmith and No Doubt. When I hear a great song, it inspired me to write my version of that song.

Q: Any other genres/acts you’ve admired over the years?
A: Power pop. I like Boston, Kansas. I grew up listening to old ‘60s music like Motown, the Byrds, Mamas & Papas. And I grew up listening to ‘80s rock like Tesla, Motley Crue, Bon Jovi. Music from the late ‘90s, No Doubt is probably the reason I’m doing music. When I first got ‘Tragic Kingdom’ and went and saw their tour, it changed my life.

Q: Tyler mentioned your lyrics have an innocence to them, which might stem from your fascination with Disneyland.
A: My car has a Disneyland license plate on the back and ‘I Love Lucy’ on the front. When I’m down there, I have a season pass. I’m at Disneyland a couple times a week when I’m down there just hanging out. I was born in Anaheim and grew up there until I was 10. My parents are big Disney collectors. I’m not one of these dudes who tries to be a tough guy…It comes across in some of my songs. People will hear them and say, ‘you might want to toughen up the lyrics.’ I don’t really care. When you listen to the oldies or even some ‘80s stuff, the lyrics are so innocent. People wanted to listen to music to have a good time and not searching for life answers. The music I write is influenced by that.

Q: How did the process with “In This Moment” on ‘Idol’ transpire?
A: I was actually at Disneyland when they called to say I made the top 20. The Mark Twain boat went by and blew its horn while I was on the phone and the guy said, ‘are you at a train station?’ I said where I was and he said, ‘Ryan Gillmor you’ve made the top 20, what are you going to do?’ Two days later, they started online voting for two weeks. Three weeks after that ended, I found out I made the top 10. They called me that day and said David Archuleta chose the song to sing on the [two-part] finale…there’s no better exposure for a songwriter than ‘American Idol’ at this point. It’s the biggest platform to have your songs showcased on.

Q: Industry people are taking notice.
A: When ‘Hey’ was the theme song, it sparked a lot of interest. But a lot of artists get lucky once and they never have another break. For ‘Hey’ to come along and a few months later, ‘Idol,’ shows [labels] it’s not just luck. There’s something here to pay attention.

Q: Does Gillmor have an overall philosophy?
A: Going back to oldies and ‘80s music and having fun – there’s a lot of things I write in my lyrics that are very meaningful, but at the end of the day, don’t think too much. Just listen, enjoy, let it move you and have a good time with it. You can dig so deep into things. You do that every day of your life, just listen and enjoy. Don’t make so much of it.