Interviewing the musically irresistible Gemma Ray

Original photo of cover image by FREDRIK KINBOM (Guitarist/Songwriter/Singer), check out his work at >

MOJO describes GEMMA RAY as ‘wondrous’, NME says she’s ‘untouchable’, and a host of other publishers and broadcasters have nothing but words of praise and reverie for her songwriting. From experience, I can say that she stole my heart, and ran away with it on a Motorbike. At least she left me with Milk For Your Motors. Ah, Ray, you wicked songstress, ‘the road’ is long… We’ll see each other again.

In the meantime, may the world know about the words we exchanged.

Photo by ANDREW MORTLOCK (Director/Animator/Editor), check out his work at >
In 2015 The Griswolds “Beware the Dog” directed by Andrew Mortlock was nominated by Rolling Stone Magazine for “Music Video of the Year”.

SRM: Gemma, it’s a pleasure to interview you, thanks for taking the time to answer this Q&A. You were born and raised in Essex, what are the memories associated with music that first come to your mind, what was your favourite album as a little girl?

GEMMA RAY: I didn’t really listen to music in an album format as a child as I didn’t come from a musical household. The only song I can remember my mum playing was ObLaDi, ObLaDa by the Beatles which successfully put me off them for life. I do remember the theme tune for the TV series Tales of The Unexpected scaring and exciting me in equal measures as a child, and with hindsight I think that’s been my biggest formative musical influence.  As an adult, composers such as John Barry (RIP), Krzysztof Komeda and some 60’s Italian composers conjure up that same magic feeling for me – they have something so sublime, otherworldly and unique that transports me into a different world – Their records are like portals into a better place.

SRM: I’ll pretend I haven’t heard that bit about the Beatles… (unidentified entity locks the ark and throws the key into the sea). At what point did you realise that you could make of your passion your profession; was it when Bronzerat Records was set up? Because, as far as I know, the label was created with the aim of getting your material heard by the public; was this your first professional support?

Motorbike by Gemma Ray, from the album Milk For Your Motors

GEMMA RAY: I’ve never viewed making music as a profession – just something I have always done obsessively, out of instinct, which grew and grew until songwriting became my main focus. Bronzerat were born of many things, one of them to put of a 7″ that another label were taking too long to do, and we grew together. Andy Bronzerat was playing drums in my band at the time, and he was one of the few people I met in London that made music like the world was going to end tomorrow. We inspired each other.

SRM: That’s amazing when it happens, indeed. Gemma, your works are a beautiful mix of a myriad of genres, at the same time as new, fresh, powerful. You have an incredible ability to create ambience, texture, feeling and thought, all within the same tune.

I feel that film may be an important source of inspiration to you; is this assumption right, and if so, what is the type of film that would best fit any of your albums?

GEMMA RAY: I’m waiting for the right filmmaker to make one specially for it!

Although the video Miranda Bowen directed for 100mph, from my album Lights Out Zoltar! definitely captured everything that song was about, which blew me away… I’m not sure that any films directly inspire what I write, although they certainly inspire me as a whole. Wickerman is something I never tire of and, more recently, I loved the cinematography of the Swedish version of Let The Right One In.

SRM: Ah, yes, that’s one of my favourite movies, too. In fact, I was lucky to interview (he doesn’t give many interviews) the author of the book, John Ajvide Lindqvist, who also collaborated with the script writing for that film version, check it out >. One of my favourite songs of yours is the soundtastic -I make words up; it’s incurable, I’m afraid- 100mph (in 2nd Gear), which you mentioned earlier. Gemma, please, would you share with us the story behind this composition?

GEMMA RAY: I write a lot when I drive, and this song was written when I was driving a Morris Minor to my sister house and the engine sounded how I felt. It’s about the struggle of getting from A to B but ending up at Z.

SRM: Yeah, I know that feeling. (Wait… Did she say that she writes when she drives?) I love the originality in your album titles, like, for example, Milk For Your Motors, same as all the previous, in particular, the funny What a Shame about Gemma Ray!, especially since I kind of guess its double-meaning, but, I’d also love to know about it in your own words… Gemma, what’s the shame?

GEMMA RAY: Bronzerat thought of the title because I’m a bit accident prone and the album was a happy accident…  and obviously it’s a pun on an album that already exists so it seemed appropriate enough to me!

SRM: (And it ties up with the whole writing and driving thing… dangerous, dangerous Ray…) When you sing, it comes directly from your soul but what songs would you say have a special place in it?

GEMMA RAY: I loved recording with Matt Verta Ray for many reasons but his approach was a big part of it all – recording for the love of recording other than to set out to make an album – it had a big impact on me.

I guess my favorite is maybe I Got A Crush On You – because I recorded that straight after playing a show in a NY basement, and Matt invited me to come and see his studio afterwards. That was when I recorded it, as well as Bolt In The Door, with no expectations.

It’s such a beautiful song to sing, and along with the lush sounds coming from all of Matt old vintage gear it reminds me of just closing my eyes and sinking into a cloud of reverb and delay and ‘blissing out’.

SRM: Ha! You’ve just made a whole new verb up… Seems we ‘suffer’ from the same tendencies (No, hang on, that’s actually a proper verb, according to Merriam-Webster; You… trickster…) Again, I am absolutely delighted to feature your wonderful talent, Gemma. Thank you for your time and all the best on the road.

GEMMA RAY: Thank you very much, same to you.


FREE download the stupendous taster ‘There Must Be More Than This’ RIGHT HERE >
Or directly order THE EXODUS SUITE >

Gemma Ray’s Official Website >
Bronzerat Records’ Website >
Follow Gemma Ray on Facebook >

Interviewing Thomas Youngblood (KAMELOT)

Kamelot’s album “Haven”, released May 5th, 2015, made a stunning debut on Billboard going straight up to #1 position on Hard Rock Album Chart. “This is a first in Kamelot’s history and we’re obviously very proud and happy about it. I’d like to thank all the fans for your amazing support, thanks for your great feedback on Haven and the Insomnia video as well – stay tuned as we have more of these coming up in the next months! “_Thomas Youngblood.

KAMELOT is the Epic/Symphonic metal rock band that nobody, no matter their musical taste, can resist. Formed by the mega-talented Thomas Youngblood and Richard Werner, the latter departing the band in 1997, Kamelot is one of the very few active epic metal bands that have actually managed to keep both fans and specialised media continuously enthralled by their creativity, the quality of their composition and their consistently great live sound.

I didn’t have any difficulty in choosing the group/artist that would best represent the mastery of this genre, whilst maintaining a fresh and surprisingly solid material, which transcends the labelling of any style.

Kamelot  ‘speaks’ of the creation and destruction cycle in their music with a thoughtfulness and a poetry that directly sets them apart from any act that seeks the shock in what is usually a mere posing act. Their authenticity is as heartfelt as their sharp technique and depth of sound are merciless.

Thomas Youngblood
(Founder/Songwriter/Guitarist of KAMELOT) 

I am ecstatic by the chance to interview Master Youngblood on epic adventures, legendary messages and enrapturing riffs.

SRM: Thomas, thank you for your participation in this interview. KAMELOT was founded in 1994 and nowadays is not only active and kicking hard, but is also widely considered as one of the best and most exciting Progressive/Symphonic Metal Rock bands in the world. So… exactly, what deal did you make with the devil?

THOMAS YOUNGBLOOD: Haha, no deals with the devil here. First thanks for the kind words regarding the band. I think any successful artist or band is a result of hard work, a dedication to quality and also a bit of luck. We put everything we have into all aspects of the band, from the music, lyrics, artwork to the live presentation. We are also fortunate to have some amazing fans that have supported us and are part of the success as well. Our live shows are something we look forward to every year, it’s like a gathering of souls in a way.

SRM: What meaning was found in Camelot, the legendary King Arthur’s court, which prompted Kamelot, the band, to adopt the same name?

THOMAS YOUNGBLOOD: Initially Kamelot was more of themed medieval based band, so the name Kamelot was perfect for this. My mom actually suggested the name, both due to the style of the band and also her love for the former president John F. Kennedy. The word “Camelot” is sometimes used to refer admiringly to the presidency of John F. Kennedy, as his term was said to have potential and promise for the future. Since the 3rd and 4th album we felt the need to branch out from these fantasy type lyrics and write songs about anything we felt that inspired us.

SRM: Moms know best. Your lyrics, across your now eleven original albums, not only are beautifully ‘crafted’ but many do indeed unveil very profound subjects. Why, in your opinion, is so difficult for us to reconcile with the fact that we aren’t separate from Nature?

THOMAS YOUNGBLOOD: Part of the human evolution includes the premise that we are different from other animal species. While this is true to a certain extent, we are still all animals. Reason, inquiry, language, wonder, longing, creativity, and humor are not unique to humans; the human is simply more evolved on different levels. Also some religions have stated that God made us in his own likeness, this is another reason that many people find it OK to separate ourselves from other animals.

SRM: The sea is a recurrent setting in many of your lyrics, same as war, destruction, post-apocalyptic scenarios and the belief in a God. Do you think that the attraction for the sea could come from the impossibility to dominate it? And, onto the subject of war and God… Can a war really be honourable or God/s-blessed?

THOMAS YOUNGBLOOD: What is more beautiful and inspiring than a moon lit ocean with a clear star filled sky? Even though it covers 70% of the earth and is vital for life, the oceans and seas are probably the most foreign place for humans. So in this sense it holds a lot of mystery and wonder.  Regarding war, I think this comes down to many factors. If you believe in the 10 commandments, and one of them says”Thou shall not kill”, then you cannot personally justify war, the death penalty or any other type of murder. It’s very simple and clear, and those commandments do not have fine print with stipulations. 

Something many religious people forget to think about. Now, if your morality is not based in religion and only in the common sense of right and wrong, you have to gauge war based on other factors. I think any war that involves the killing of innocent people is wrong. If someone invades my land, home etc., then I have no problem defending my castle so to speak, by any means necessary.

SRM: Symphonic metal rock is one of the genres that most requires of an acute musical sensitivity and harmonic intuition as well as flawless execution, whether vocal or instrumental. Thomas, please, tell us a bit about your background, when did you start developing a love for this genre and how did you acquire such amazing skill in your guitar playing?

THOMAS YOUNGBLOOD: Bands like Rush and Queen were my earliest influences, I also liked Maiden and some Priest growing up. My first instrument was the saxophone; I played in junior high school and learned Sir Duke from Stevie Wonder. I was around 11, I think, or 12 years old.

Later, after my father passed away, I got into heavier music and metal, I was very depressed and this music was an escape for me. My cousin worked at a music store and I got a guitar for Christmas. I was hooked ever since, playing to Schenker, Malmsteen and Classical players like Strunz and Farrar for example. The symphonic elements started intriguing me after listening to Cirque Du Soleil.

SRM: What do you think of the new progressive metal bands in the current international musical scene, are any of them innovating and succeeding at it at all?

THOMAS YOUNGBLOOD: For me there are a few standouts, one is Symphony X. Great vocals and also not the typical Dream Theatre clone band that so many of the prog bands end up sounding like. Don’t get me wrong, most of the prog bands out these days are amazing musicians, it’s just that I can immediately hear what their main influence is and it’s usually Dream Theatre. I also listen a lot to singers, Michael Eriksen from Circus Maximus is fantastic. Opeth is also interesting, not sure if they are prog. I don’t consider Kamelot to be prog either, if that matters. I think the tags and labels of music can be a bit too limiting.

SRM: The band’s YouTube channel is one of the top 10 music channels and Number 1 Metal Channel, across all sub-genres. Talking about the new technologies… What’s the real evil: technology in itself or certain uses of technology?

THOMAS YOUNGBLOOD: The INTERNET has helped so many bands, including Kamelot. It has also hurt many bands with download being so easy. Also a few years back, no one was producing videos. None of the “music TV” channels would play them, only reality shows and crap. Now that Youtube, Vevo and others exist we can make videos and reach a larger audience. We are still selling records however, and that’s because our fans RULE! Also I think it’s a simple respect for the music and the time that goes into it. Making an album costs a lot of money, there is more to it than the actual cost of the CD and the booklet. Months of song writing, months in the studio, photo shoots, promoting etc…So when someone says it only costs 50 cents to make a CD, think again. One thing I notice lately is that some artists will say, “no one buys albums anymore”. While physical sales have dropped and will continue to, I think this kind of statement is a slap in the face to fans that still buy albums. 

SRM: Where do you get your inspiration to create such a unique and rich material from?

THOMAS YOUNGBLOOD: We are inspired by everything these days. Life, travel, history, art, family and more…  We would also sit and discuss topics that may be interesting for the listener. There is no limit to what we can write about, our fans are very open minded and so are we. I still feel like I did years ago regarding new ideas and inspiration, also new musical ideas are popping up like crazy now. This is most time off I have had in years and the space has opened my mind for new and fresh ideas.

SRM: Which is the ‘Human Stain’ most difficult to remove?

THOMAS YOUNGBLOOD: It has to be murder, taking another life. Or even worse, the murder of an innocent child, that is unforgivable and those who do that will never be rehabilitated. I have extreme views on what we should do with those people. Ever seen the movie ‘Law Abiding Citizen’? Of course the most common idea of this Human Stain is the mark that humans leave on the planet. The stain of killing off the rain-forest, over use of resources, wars, pushing out animal habitat to extinction.

SRM: Every tour you draw more and more fans of all ages. Why do you think that is?

THOMAS YOUNGBLOOD: I think our music and style crosses so many borders and ages. Musically we mix a lot of things together, and that appeals to more than just one audience. Visually we try to be more than just a metal band, our videos are unique and we pick great directors for the shoots. One thing is for sure, the fan base has gotten much younger over the last 4-5 years and it’s really awesome. We never planned any of this however, so it’s even cooler now to see 13 old girls in the front row and the 30 something year olds behind them, everyone rocking out, some moshing, and some just listening.

SRM: The Swedish Tommy Karevik has proven to be far more than just a worthy successor to Khan. He’s certainly won the hearts (and ears) of all fans.

Apart from his excellence both on the mike and as a partner songwriter, which was made patent in the also amazing “Silverthorn” (2012), who else can we hear, on the side of great collaborations, in the new album?

THOMAS YOUNGBLOOD: Yes, Tommy Karevik has exceeded all expectations. “Haven” also features cameos by ARCH ENEMY’s Alissa White-Gluz, NIGHTWISH’s Troy Donockley and DELAIN’s Charlotte Wessels.

SRM: Please, tell readers more about “Haven”, your 11th

THOMAS YOUNGBLOOD: The Haven album has an undertone of a world going insane. There is a grey cloud that is forming over our world. We are here to find that silver lining with an album that is both dark and melancholy yet uplifting and giving the listener a Haven in a world gone mad. We are really proud of the song elements and diversity on “Haven”.

SRM: Looking forward to see you live! Thank you very much for your time, Thomas.

THOMAS YOUNGBLOOD: Many thanks for the interview! Thanks to all of the amazing fans and I hope to see all of you on tour very soon!

SRM: By the way, here’s the direct link to Kamelot’s Tour Dates & Tickets, folks. Rock on!: KAMELOT * Tour Dates >

Tommy Karevik (KAMELOT)

And another treat in the way of great video production and direction: The making/behind the scenes of the ‘Insomnia’ video (by the amazing iCODE TEAM).

More by iCODE:



KAMELOT’s Official Website >
KAMELOT’S YouTube Channel >

Interviewing Jace Everett (Red Revelations – True Blood)

It took music savvy Alan Ball in 2008, to re-discover JACE EVERETT´s Bad Things, which he cleverly used as the theme for the opening title sequence of HBO’s hit fantasy-vampire-drama series True Blood. Everett’s song, together with the bold and edgy art of the show’s title sequence, managed to grab, with an iron-firm grip, the attention of both fans and non-fans of the vampire genre. Without the musical ingredient, perhaps Ball would have never been able to get through the latter, and thus show them that True Blood was not just a show about vampires. It was then that rest of the world found out about Everett as a singer/songwriter treasure and Everett himself finally had confirmation on the fact that his music could not and would not limit itself to American borders, but would and continues reaching and capturing, together with his charismatic and authentic personality, the imagination and hearts of an international and ever-increasing legion of fans who live anywhere and everywhere from the UK and France to Spain, from the Scandinavian countries to Latin America, and the land and oceans in between.

A flawless, instantly-identifiable, powerful and tantalising singer, a prolific and creative songwriter and an accomplished bass player and guitarist, Jace Everett was born in the 70´s in Evansville, Indiana, but was raised in Texas. It was in Nashville, though, where he had a second chance at a music career.

It wasn’t all “smooth sailing” for Mr. Everett, as you’ll discover in this interview, but I think that, it is precisely thanks to that, that his music is so compelling to a very diverse following and his story all the more motivational and inspiring. He is not just the REAL DEAL music-wise but REAL as a person. This, nowadays, so elusive quality in other artists, is what makes him familiar at the same time as refreshing.

Jace Everett’s Bad Things | Official video

Red Revelations, which includes the hit Bad Things, was his third released album and a revelation in itself, for, from beginning to end, is filled with musical and lyrical pearls. Songs like the wickedly sensual Possession, the uplifting More to Life, the deadly romantic Damned if I Do (Want You), the inspiring Slip Away, the painfully delicious Burn for You or the hips shaker Lean into the Wind make, along with the wonderful rest:

an astounding collection of original killer tunes that somehow seems to belong to the puzzle of everybody´s soul.

Jace Everett’s Slip Away, also from the album Red Revelations

To Red Revelations followed Mr. Good Times, a delicious menu of Everett’s varied influences simmered with his recognisable own brand of sultry sound and lyrics, and which includes a gift for his British audience in the shape of the Beatles-inspired The Drugs Aren’t Getting it Done and Bowie-inspired Tricky Thing. Country-rooted fans have their supply in Let’s Begin Again and Good Times while rock souls will find themselves at home with Great American Hero and Autumn. French and Latin friends will immediately identify with the cinematic-flavored fusion of Business is Booming and I specially dig the provocative God Made You Mean, also Tricky Thing (Because Bowie is my god), the velvety Nothing, the fiery Angry Hostile Ugly, and the melodic Don’t Look Down.

Currently on another international tour, Everett is presenting his latest album, Terra Rosa, to his loving British and Scandinavian audiences. With Terra Rosa he shows, as usual, no mercy. An epic musical novel of biblical proportions, its lyrics are actually largely-inspired on the stories collected in the old Christian scriptures.

The album tempts with a mix of southern gospel, wild west grit, anthem-worthy rock, and heart-wrenching poetry. The stamp of Everett’s very distinct sound while being at his authentic and versatile best, seals the deal.

No particular theological or spiritual inclinations are needed to convert to Everett’s sound with fervor.
Here’s a pre-listen for your enjoyment –>

It was in the event of one of his international tours for the famous Red Revelations that I had the pleasure to meet this artist in London (UK).

In this exclusive interview with him, we go down memory lane, unearthing all what is extraordinary about him and his artistry for the few who haven’t had the joy to know all about it yet, as well as for the satisfaction of his die-hard fans.

SRM: I’m quite curious to know whether, back in your childhood, your family encouraged you to follow this path or doing music was something you had to kind of masquerade as being just a hobby…

JACE EVERETT: I was really fortunate to have amazing parents. Thankfully, I still have them both! They encouraged my music from day one up through today. Neither of them are musical, but they both are huge fans of music and film. Especially my father, who by his own admission is “tone deaf”. They poured countless hours and dollars into my music and I truly wouldn’t have had the courage to see it through without them.

SRM: Your influences range from gospel to country music, from blues to rockabilly and we know your taste is as eclectic as to add some hip-hop into the mixture but if you had to choose one artist or band, from any time, past or present, that most resonates with you, both at a personal and at a musical level, who would that be and why?

JACE EVERETT: Well, it was Willie Nelson and his Red Headed Stranger album that really started me down the path. But, as I grew up devoutly religious, I spent my early teen years listening to “Christian Rock”. The only “secular” band that was deemed kosher by my peer group (not my parents I might add, they weren’t as dogmatic as I) was U2. I became a big fan of theirs in the late ’80’s.

As my faith broke down it seemed theirs did too. Achtung Baby came out in 1991. I was 19 years old and it totally freaked me out. That album is what opened my eyes to music as a whole. How different genres and styles could be interpolated into something new. Willie and U2 are my two favorites. You can’t make me pick just one! That’s why my “career” is so all over the place. I really do love any music that is passionate and intelligent.

SRM: Seems to be the choice of passionate and intelligent people. You were a dad quite early in your twenties and at some point gave up pursuing your music career. How did you restore your faith in your dreams and thus have another go at this choice of career?

JACE EVERETT: I don’t know that my faith in my dreams was restored until the past 4 or 5 years. I went back to music because my life was so fucked up (by my own hand primarily) that I had no place else to turn. It wasn’t so much an act of faith, but of desperation. Again, the people around me -family, friends, my son- have always had more faith in me than I have. Not to sound maudlin, but they are what restored my self-confidence.

SRM: You certainly have a treasure in them. You landed two major record deals within little time of being back in Nashville. Do you believe in destiny and luck or are you more of a “I make my own destiny” person?

JACE EVERETT:  That’s a damn good question. Have you been reading Calvin and Locke? (ha!) I believe in both. Luck happens. But an individual needs to be prepared when those doors open. You can’t usually force a door open. There are, of course, exceptions to that! Regardless, you gotta have your act together when those doors open. How they open is immaterial if you can’t walk through on your own power.

SRM: When your hit Bad Things was chosen by Alan for the theme of the HBO fantasy-vampire series True Blood, vampire books, films and series seemed to be popping out of everywhere, but, and unlike the latest zombie mainstream revival, the vampire figure has always been the most successful, among the fantasy-horror characters, at captivating generation after generation. What do you think people find so fascinating in the vampire character?

JACE EVERETT: Eternal life. The same thing that makes religion so appealing. It’s a rare bird that really “wants to die”. I’d wager that even those who commit suicide usually want to escape pain more often than wanting to actually die. Also, the fact that Vampires in literature and film have typically been drawn in a very tragically hip light doesn’t hurt. People like a martyr. Religion is rife with the “young dying god who is resurrected” story. Vampires merely compress this archetype into a daily ritual. There’s something in my hypothalamus that just wants that story!

SRM: Very insightful. It very much maddens your ever-increasing and passionate fan base that you are not mentioned on the series credits and it is certainly something that has caught my attention too. Why the ‘F’ isn’t your name on the credits?

JACE EVERETT: No idea. Fairly typical though. Sony and EMI made the deal. I didn’t get a vote. I’m grateful to the fans who care about this, but I don’t worry about it too much.

SRM: Talking about fans, your very successful European tours show that your music has a loyal following outside as well as in the U.S. You also happened to live in Europe when younger, which is where you met the mother of your lovely son. Having lived in both sides of the pond, which would you say are the main differences between the American and the European cultures and which the similarities?

JACE EVERETT: We could talk about this for hours on end. I love both worlds. Don’t let anybody kid you either; the US and Europe are VERY different. On a core level. In some ways I prefer the “American” mind set. In other ways I prefer the “Euro” mind set. Europe, in many ways, moves more slowly and more rationally. The US is all about passion and action. Neither is wrong, but I think many of our problems could be solved if we took an honest, non-prejudicial look at one another and cribbed the best bits.

SRM: Very true. You are becoming more and more famous by the minute but still find time to update and interact personally with your fans through your social media profiles, such as Facebook, Twitter or Myspace, which I find it to be very down to earth and generous from your part. However, this can be quite an overwhelming task when your attention is being demanded by so many people on a daily basis. Have you found yourself in any situation in which you have thought you could not handle so much attention and cursed, like most famous artists do, your celeb status?

JACE EVERETT: Honestly, I’m a cranky bastard! So yeah, it gets on my nerves. But, these are the folks that feed my family and I have to be respectful of that. If nobody buys records or tickets to the show then I go back to driving a truck! I am really hands on with my fans (not an euphemism!). When somebody crosses the line I simply call them out.

Thus far that has worked quite well. Most of the folks who get carried away are still good people. They just get a little excited sometimes. I can dig it. No harm, no foul. Just don’t mess with my clan and you’ll be alright.

SRM: Professionals, newbies and PR folk, take note, this man’s fans bite over him -no pun intended. Now, onto slippery territory… You are being regarded not only as an American international musical discovery but also as the sexiest Americana style musical figure since Chris Isaak. Does it bother you to be considered a “sex-symbol”?

JACE EVERETT: Ha! It’s funny the whole Chris Isaak thing. First of all, Chris is a bad ass. He can write, record, play, and sing. Really good at his job! I’m certainly a fan. A lot of folks have assumed I was listening to “Baby Did a Bad Bad Thing” about 3 minutes before I wrote “Bad Things”. I wasn’t. I was listening to Steve Earle! I don’t really do a lot of rockabilly tunes. This one song I do got really famous thanks to HBO. What are you gonna do? Roll with it! Am I a sex symbol? Jeez. Hopefully, folks have hotter fantasies than Old JahSay!

SRM: Going back to the fantastic Red Revelations; I’m going to put you in the extremely difficult position of having to choose one and only one song from that album and I would like you to explain why you made that particular choice, too.

Jace Everett’s Damned if I Do was also included in one episode of the True Blood long-running series

Jace Everett & Stephany Delray | Photo by Louise Parmakis

JACE EVERETT: Oi! I hate this question. It’s like picking your favorite kid! Luckily I only have one of those! Alright… favorite tune on “Red Rev”…hmm… I gotta go with Damned If I Do.

That song told me where the album was going. I had to fight and argue with one of the producers (Chuck Prophet who also happens to be a huge hero to me and a big influence on my music) about whether the song was even good. That was tough. I had the music lined out and wrote the lyric with Stephany Delray. It’s my favorite recording on the album. It’s all live. It moves me. 6/8 is the sexiest thing in the room, baby.

SRM: Yeah yeah… hate the question all you want, but I now know we share fave –mission accomplished.

Jace, thank you very much for your time, it’s been a pleasure to interview you, your talent deserves every bit of good fortune and exposure, so here’s hoping to enjoy your music for many years to come.

JACE EVERETT: Thanks so much to you for the time!

Jace Everett’s Official website >
Follow Jace on Facebook and Twitter