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Brian Wilson – Take 3

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I recently sat down to speak with legendary musician and composer Brian Wilson about a wide-ranging list of topics.

The interview was conducted in the midst of his “Pet Sounds 50th Anniversary World Tour”, a grueling sojourn around the world that began in 2016, was extended through October of this year, and is slated to continue on in 2018 due to popular demand.  To add to Wilson’s already hectic schedule, he released his first ever solo anthology Playback, a retrospective that covers more than thirty years of solo efforts, and includes both live and studio tracks, and two brand new tracks.

One of the songs, “Run James Run” was written specifically for this album, and according to Brian “It was written in about two hours”.

It’s almost shocking to hear him casually state that he can still conjure up a song like this in such a short time, but there is of course his history in performing such astounding musical feats. The song has a definite “Cars, Sun and Fun” sound that’s immediately familiar, as is a photo on the inside cover of the album of Brian standing next to a muscle car, which spurred me to ask him if he himself had a favorite ride. After all, he’s written so many car songs, I have often wondered what his ultimate choice of cars would be.  “My Corvette, I still had it until around 1988”, he told me, but declined to elaborate further.

The other previously unheard track, “Some Sweet Day” is a collaboration with Andy Paley that was written back in the early 1990s and has sat in the can ever since.  There’s quite a bit of history behind the legendary Wilson-Paley sessions, and the sessions are not without their share of interest and irony.  The project started the day after Brian severed all his ties with Dr. Eugene Landy.  Wilson phoned Paley and told him “we’re free to work on whatever we want now”, and the result was purportedly over forty finished tracks, a dozen of which have been officially released since then on various Brian Wilson projects.  As to why all of these previously unreleased tracks were never made into an album, Brian simply stated, “I don’t know, I really don’t know”. Fans had been passing bootleg recordings of these sessions around for years and I wondered, if the circulation of these recordings prompted Wilson to include any of the songs on Playback, much like Bob Dylan had done with The Basement Tapes.  “Not really”, explains Brian.  “Andy and I wrote a song called “Chain Reaction Of Love”, which we haven’t released yet.  It’s a great song”.  I asked if we’d be hearing it soon, to which Brian responded, “I don’t know, I haven’t talked to Andy about it yet”.

The track Some Sweet Day saw its official debut on Playback and sounds like it could have been written in the 60’s by The Supremes and has a real Phil Spector sound to it.

When I asked if it was supposed to be a tribute to someone or something in particular, he advised that he “didn’t write the lyrics to that song, Andy Paley wrote them, so I can’t really answer about the lyrics”.  As to the remainder of unreleased songs, Brian stated, “I think there are still about 35 of them.”  As to when we will hear them, “I’m not sure when, but you will hear them.”  Officially, the word is that most of these songs were never made into an album because his brother Carl disliked the material, particularly the track “Soul Searchin”, a song that he sang lead on, and the record labels weren’t all that interested.  Wilson’s soon-to-be wife and manager Melinda had been quoted as saying “Carl didn’t think the material was commercial enough”.  All of this negativity surround the sessions prompted me to ask how he reacts when he gets a negative reaction to a piece of music he’s worked on; “Well, it doesn’t hurt my feelings, that’s for sure.  Capitol Records didn’t like Pet Sounds, and then about two weeks later, they released it.”

On his current tour and the rigors of touring, and why he decided to release a solo anthology after more than thirty years, Brian stated that he “wanted people to hear our rhythm and blues kind of music that we did.  The tour saw Wilson visiting over 150 cities in some 40 countries, a schedule that could easily wear out a man 20 years his junior.  I asked him how he is able to maintain such a rigorous touring schedule and still maintain his enthusiasm.  He responded with “Well, it’s certainly interesting because I get to do all these concerts.  I don’t do too much sightseeing, we just hang out at the hotels and do a lot of TV watching”.   The rush that he gets from performing live is a very strong motivating factor as he exclaims, “for each show, the highlight for me is doing God Only Knows.  The song is like a big experience for me, the audiences give me about a two minute standing ovation.  It happens at every single concert!”

I was in attendance at The Hollywood Bowl in 2016 to witness the show first-hand.

I asked if the venue or that particular show had any special relevance to him, and he responded with  “I remember that show, and yes, the Bowl is one of my favorites, it’s a good place.  I love that place!”  At 75, there are no indications that Brian will be slowing down his touring and recording schedules.  Still, I insisted, the rigors of touring at 75 have to be quite taxing, but he insisted, “It’s just a number to me, I’m young at heart and I have a young brain.   I’ve been doing concerts for years; I’ve had a lot of practice.  My voice stays young!  I actually prefer performing live to recording in the studio, I get to get the reaction of the audiences.   Prior to the actual show I have about half an hour of the jitters, then I get over it, and then it’s one fantastic rock concert.”  When asked what his secret to living life on the road was, he only had this bit of advice to offer; “Well, I always say in all of my interviews, don’t take heavy drugs. Don’t take things like LSD or morphine.  Don’t take heavy drugs!”

There aren’t too many of his contemporaries out there still performing into their 70’s, but there are a few.  One that comes immediately to mind is The Rolling Stones, a band that has been out on tour essentially for over fifty-five years.  When I asked him how he compares himself to The Rolling Stones, he didn’t compare himself to them, but simply replied, “You know, I’ve never seen The Rolling Stones, I’ve never been to one of their concerts.”  As for other plans outside of touring, Brian confirmed that there would be a new album coming out some time in the near future.  “I haven’t started recording the new album yet, but I’m going to doing an album of rock and roll songs, some of them covers and some of them originals.  I’m going to cover Paul McCartney and Chuck Berry’s music.  I still have many things left that I want to accomplish; I want to record a really great Rock and Roll album.  I’ve released a lot of good pop songs, but not real rock songs.”

Brian’s extensive career has been heavily documented, and his list of accolades is pretty lengthy.

This is the man who has been credited with being the writer and producer of songs that influenced everyone from The Beatles to his own brothers in The Beach Boys, and too many other acts to name.  As to his favorite collaborator during all this time, he stated without hesitation, “Van Dyke Parks was my favorite collaborator.”  I asked,  “How do all the constant accolades make you feel?  Do you think you have a good bullshit detector in place?” and he responded as frankly with “I think all the accolades are correct.  I’ve been told that our harmonies are our best attribute.”  Wondering if perhaps he had a person or two around him that would just tell him everything was great, he told me “I don’t have that problem.  Most people tell me how it is.”

In the past few years, there have been a slew of revealing insights into Brian Wilson’s creative genius in the public consciousness, from his recent autobiography “i Am Brian Wilson” to the biopic “Love And Mercy”, a made-for-TV movie that so closely portrayed Dr. Eugene Landy so accurately it “scared the shit out of him.”  The book and the movie also documented what can only be described as a meticulous and tenacious recording process.  Nonetheless, I wanted to hear it straight from the horse’s mouth, so I asked how he translates all the musical ideas he has in his head and manages to communicate his vision to other musicians he’s in the room with.   “I still do it the same way I did in the 1960s, I write music charts out for everyone in my band, and they just read the music and play it.  Beautifully!  I still use the same process I used when I recorded Pet Sounds; I haven’t changed my process at all.  I have a very clear picture in my mind of how the harmonies, the melodies, the lyrics, and the orchestration should sound, and how it’s all put together for one big sound.”  When asked how he keeps all of these thoughts together, he replied, “Well, it’s not that hard.  I write a lot of it down.  A lot of it is written on the piano.”

I’ve spoken with a number of musicians and recording engineers over the years, and one thing I’m always interested in is whether they prefer the old analogue methods of recording, or if they’ve completely adopted digital.

According to Brian,  “I prefer to record digitally, it makes it sound clearer and more exact.  It’s also made the process easier to record, now I do the scratch first, and then I do the vocals.  Before we do the vocals we have to do the orchestration, the background tracks, and then we do the vocals.”

With our time running short, I wanted to ask him about one of his most ethereal and cryptic songs, “I Just Wasn’t Made For These Times”.  According to Brian, ” It was a social statement.  It was meant to say that I was out of sync with life in the time that it was written in.  I wasn’t right for the time in which it was written, but now, I’m just right for these times!”

Visit online at brianwilson.com

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Bass Books

Interview With Barker Bass’s Inventor and Writer Lee Barker

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Interview With Barker Bass's Inventor and Writer Lee Barker

If you are an electric bass player, this is an exciting time to be alive as this relatively new instrument evolves around us. Some creative individuals have taken an active role in this evolution and made giant leaps in their own direction. Lee Barker is one of these inventive people having created the Barker Bass. 

Fortunately, Lee is also an excellent writer (among so many talents) and has recently released his book “Plausible Gumption, The Road Between a Christmas Toolbox and The Barker Bass”. This book is a very fun read for everyone and shares a ton of details about Lee’s life in general, his experiences as a musician, a radio host, and a luthier. Now I am fortunate to have the great opportunity to gain even more insights into this renaissance man with this video interview.

Plausible Gumption, The Road Between a Christmas Toolbox and The Barker Bass is available online at Amazon.com 

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Features

Bergantino Welcomes Michael Byrnes to Their Family of Artists

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Bergantino Welcomes Michael Byrnes to Their Family of Artists

Interview and photo courtesy of Holly Bergantino of Bergantino Audio Systems

With an expansive live show and touring, Mt. Joy bassist Michael Byrnes shares his experiences with the joyful, high-energy band!

Michael Byrnes has kept quite a busy touring schedule for the past few years with his band, Mt. Joy. With a philosophy of trial and error, he’s developed quite the routines for touring, learning musical instruments, and finding the right sound. While on the road, we were fortunate to have him share his thoughts on his music, history, and path as a musician/composer. 

Let’s start from the very beginning, like all good stories. What first drew
you to music as well as the bass? 

My parents required my sister and I to play an instrument.  I started on piano and really didn’t like it so when I wanted to quit my parents made me switch to another instrument and I chose drums.  Then as I got older and started forming bands there were never any bass players.  When I turned 17 I bought a bass and started getting lessons.  I think with drums I loved music and I loved the idea of playing music but when I started playing bass I really got lost in it.  I was completely hooked.

Can you tell us where you learned about music, singing, and composing?

A bit from teachers and school but honestly I learned the most from just going out and trying it.  I still feel like most of the time I don’t know what I am doing but I do know that if I try things I will learn.  

What other instruments do you play?

A bit of drums but that’s it.  For composing I play a lot of things but I fake it till I make and what I can’t fake I will ask a friend! 

I know you are also a composer for film and video. Can you share more
about this with us?

Pretty new to it at the moment.  It is weirdly similar to the role of a bass player in the band.  You are using music to emphasize and lift up the storyline.  Which I feel I do with the bass in a band setting.  Kind of putting my efforts into lifting the song and the other musicians on it.

Everybody loves talking about gear. How do you achieve your “fat” sound?

I just tinker till it’s fat lol.  Right now solid-state amps have been helping me get there a little quicker than tube amps.  That’s why I have been using the Bergantino Forté HP2 –  Otherwise I have to say the cliche because it is true…. It’s in the hands.  

Describe your playing style(s), tone, strengths and/or areas that you’d like
to explore on the bass.

I like to think of myself as a pretty catchy bass player.  I need to ask my bandmates to confirm!  But I think when improvising and writing bass parts I always am trying to sneak little earworms into the music.   I want to explore 5-string more!

Who are your influences?

I can’t not mention James Jamerson.  Where would any of us be if it wasn’t for him?  A lesser-known bassist who had a huge effect on me is Ben Kenney.  He is the second bassist in the band Incubus and his playing on the Crow Left the Murder album completely opened me up to the type of bass playing I aspire towards.  When I first started playing I was really just listening to a lot of virtuosic bassists.  I was loving that but I couldn’t see myself realistically playing like that.  It wasn’t from a place of self-doubt I just deep down knew that wasn’t me.  Ben has no problem shredding but I was struck by how much he would influence the song through smaller movements and reharmonizing underneath the band.  His playing isn’t really in your face but from within the music, he could move mountains.   That’s how I want to play.    

What was the first bass you had? Do you still have it?

A MIM Fender Jazz and I do still have it.  It’s in my studio as we speak.  I rarely use it these days but I would never get rid of it.  


(Every bass player’s favorite part of an interview and a read!) Tell us about
your favorite bass or basses. 🙂

I guess I would need to say that MIM Jazz bass even though I don’t play it much.  I feel connected to that one.  Otherwise, I have been playing lots of great amazing basses through the years.  I have a Serek that I always have with me on the road (shout out Jake).   Also have a 70’s Mustang that 8 times out of 10 times is what I use on recordings.  Otherwise, I am always switching it up.  I find that after a while the road I just cycle basses in and out.  Even if I cycle out a P bass for another P bass.  

What led you to Bergantino Audio Systems?

My friend and former roommate Edison is a monster bassist and he would gig with a cab of yours all the time years ago.  Then when I was shopping for a solid state amp the Bergantino Forté HP2 kept popping up.  Then I saw Justin Meldal Johnsen using it on tour with St. Vincent and I thought alright I’ll give it a try!

Can you share a little bit with us about your experience with the Bergantino
forte HP amplifier? I know you had this out on tour in 2023 and I am pretty
certain the forte HP has been to more countries than I have.

It has been great!   I had been touring with a 70’s SVT which was great but from room to room, it was a little inconsistent.  I really was picky with the type of power that we had on stage.  After a while, I thought maybe it is time to just retire this to the studio.  So I got that Forte because I had heard that it isn’t too far of a leap from a tube amp tone-wise.  Plus I knew our crew would be much happier loading a small solid state amp over against the 60 lbs of SVT.  It has sounded great and has really remained pretty much the same from night to night.  Sometimes I catch myself hitting the bright switch depending on the room and occasionally I will use the drive on it.

You have recently added the new Berg NXT410-C speaker cabinet to your
arsenal. Thoughts so far?

It has sounded great in the studio.  I haven’t gotten a chance to take it on the road with us but I am excited to put it through the paces!

You have been touring like a madman all over the world for the past few
years. Any touring advice for other musicians/bass players? And can I go to Dublin, Ireland with you all??

Exercise!  That’s probably the number one thing I can say.  Exercise is what keeps me sane on the road and helps me regulate the ups and downs of it.  Please come to Dublin! I can put you on the guest list! 

It’s a cool story on how the Mt. Joy band has grown so quickly! Tell us
more about Mt. Joy, how it started, where the name comes from, who the
members are and a little bit about this great group?

Our singer and guitarist knew each other in high school and have made music together off and on since.  Once they both found themselves living in LA they decided to record a couple songs and put out a Craigslist ad looking for a bassist.  At the time I had just moved to LA and was looking for anyone to play with.  We linked up and we recorded what would become the first Mt. Joy songs in my house with my friend Caleb producing.  Caleb has since produced our third album and is working on our fourth with us now. Once those songs came out we needed to form a full band to be able to do live shows.  I knew our drummer from gigging around LA and a mutual friend of all of us recommended Jackie.  From then on we’ve been on the road and in the studio.  Even through Covid.

Describe the music style of Mt. Joy for me.

Folk Rock with Jam influences

What are your favorite songs to perform?

Always changing but right now it is ‘Let Loose’

What else do you love to do besides bass?

Exercise!

I always throw in a question about food. What is your favorite food?

I love a good chocolate croissant.

Follow Michael Byrnes:
Instagram: @mikeyblaster

Follow Mt. Joy Band:
Instagram: https://www.instagram.com/mtjoyband
Facebook: https://www.facebook.com/mtjoyband

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Bass Videos

Artist Update With Mark Egan, Cross Currents

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Artist Update With Mark Egan, Cross Currents

I am sure many of you are very familiar with Mark Egan as we have been following him and his music for many years now. The last time we chatted was in 2020.

Mark teamed up with drummer Shawn Pelton and guitarist Shane Theriot to produce a new album, “Cross Currents” released on March 8th, 2024. I have been listening to this album in its entirety and it is simply superb (See my review).

Now, I am excited to hear about this project from Mark himself and share this conversation with our bass community in Bass Musician Magazine.

Photo courtesy of Mark Egan

Visit Online:

markegan.com
markegan.bandcamp.com
Apple Music
Amazon Music

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Bass Videos

Interview With By the Thousands Bassist Adam Sullivan

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Interview With By the Thousands Bassist Adam Sullivan

Bassist Adam Sullivan…

Hailing from Minnesota since 2012, By the Thousands has produced some serious Technical Metal/Deathcore music. Following their recent EP “The Decent”s release, I have the great opportunity to chat with bassist Adam Sullivan.

Join me as we hear about Adam’s musical Journey, his Influences, how he gets his sound, and the band’s plans for the future

Photo, Laura Baker

Follow On Social

IG &FB @bythethousands
YTB @BytheThousands

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Features

Gear News: Bergantino Welcomes Marc Brownstein to Their Family of Artists

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bassist marc browstein

Bergantino Welcomes Marc Brownstein to Their Family of Artists

Bergantino Shares: The innovative bassist/sonic explorer/DJ Marc Brownstein discusses his life of touring with Disco Biscuits, the current tour with the new album “Revolution in Motion, and more!

By Holly Bergantino

Marc Brownstein is the king of “Trance-Fusion” – a subgenre that his band Disco Biscuits has been in the center of for the past two decades. As a founding member of the band from their days at UPenn, Marc has quite the experience under his belt, and each tour has gotten more and more exciting. Disco Biscuits is currently on tour with their new album Revolution in Motion, a full multimedia experience accompanied by a 25-minute animated film that tells a story of intergalactic travelers finding their way on Earth. 

D. J. Brownie! What made you want to be a musician and start playing bass and who drew you to it? 

I was drawn to music after John Lennon was assassinated. I was raised in NYC and the city was just going crazy. I was 7 years old at the time and my thought was, wow why is everyone freaking out so much, this guy must be really special. And so I started to check the Beatles out and that was the beginning of my journey with music.  

A question from one of your fans and fellow bass players Karina Rykman: “How do you keep your bubble of positivity intact and thriving”?

Well it’s funny she should ask. I don’t think it’s a coincidence that the run of positivity we are experiencing now began right at the beginning of tour at the beginning of January 2023 when we had Karina opening for us for a week. I can say that her positive energy on tour definitely left its mark on the rest of our tour. Some people are so naturally happy and positive that it leaves you feeling that way, sometimes permanently! 

Besides the bass guitar, what other instruments do you play? 

I dabble with piano, guitar, and I can make my way around a drum kit if I get into it for a few weeks. I’ve played flute and saxophone as well at different times. I also play the double bass. But I would say Piano is my second instrument at this point. I play everyday. 

What is your favorite (and least favorite) thing about touring? 

The best part of touring is the 4 hours on stage with the band. But also getting to visit so many great places all of the time. That’s the silver lining.  The only thing I don’t love about touring is missing my family. 

Tell us about your first music teacher. What lesson did you learn from this person and still use today? 

My first music teacher, Mrs. Koslov, 2nd grade, I just was at her funeral a few weeks ago. I eventually became best friends with Mrs Koslov’s son and we stayed in touch for my whole life. She taught me a lot but really she was the one who gave me the courage to perform. My first public performance ever was a piano version of Eleanor Rigby. 

What was the first bass you had? 

This is tough. I think I had a standard Ibanez jazz style bass first. Within a year or two I got an American Fender Jazz bass. 

What are the basses you have and use now? 

My main bass is an Elrick 5 string by Rob Elrick. I also have a Q5 Modulus and an Alembic 5 as well. Oteil (Burbridge) sent me a Roscoe custom 6 during the Pandemic that I like to play. I also have a Sire Marcus Miller, a newer American Fender Jazz bass, a custom Ibanez SDGR, an Ibanez BTB and an Elrick 5 string Fretless bass which is my main bass at home. 

Who were the musicians who inspired you and what qualities do you admire about them? 

I was deeply influenced by Phish when I discovered them in college. I admired their ability to mesh jazz, classical and rock Improvisational styles. I was very inspired by classic jazz musicians. Miles. Monk. Coltrane. Dexter Gordon. Cannonball Adderly. Mingus. This is the generation of musicians that laid the groundwork for what we do now. 

You studied and started the band Disco Biscuits at UPenn. Tell us more about the origins. 

The band just sort of linked up in the quad (dormitory) and we started to set up our gear and jam for fun. Within a short time I realized the guys I was playing with were really talented and so I applied to the New School for jazz and went and spent a year crash coursing music at a high level so I could return to Penn and start a band with them. 

You have a new album “Revolution in Motion,” that you’re currently touring on. How is it going? 

The tour has been amazing. It’s one of the best tours we ever had in our career. We sold out more than half of the shows and are receiving really great feedback across the country. 

I watched the video on YT for Revolution in Motion. The Choreography, production, color, cartoon characters, and theme were so much fun. Space aliens and psychedelic art, pop ups like a comic book, and you in your alien jump suit with your baseball cap were amazing. Loved! How was this collaborated?  

We have a co-writer on this project named Joey friedman. He conceived of the concept for the album and he had a very specific vision for what the visuals would look like. He spent hours and hours with the animators (Blunt Action) and the AI animator (Todd Kushnir) working through each iteration to make it come to life in the way that it was conceived. 

How would you describe the music you create for Disco Biscuits? 

We always hoped that the music we created would be the weirdest and craziest music of all time but we describe it as Trance-Fusion, which was a name that was drawn from jazz-fusion, the mixing of jazz with rock and roll instruments. We found our own sound by mixing trance music with rock and roll instruments, hence the genre title. It was renamed jamtronica many years later by the folks over at SiriusXM who started a radio show called the Jamtronica show to highlight acts from our scene. I was the host of that show for the first 3 years. 

Describe the creative process when you write new music. 

These days the creative process is a team effort. Usually we start by combing through improvisational sections of music from the tours to see if we can find any melodies or chord structures that are song worthy. When we find it we bring it into our DAW (ableton) and creating a grid. This is easy for us because we often play to a time clock on stage. From there we start building out the structures of the new piece of music while Joey and maybe me or Aron or Jon will start working on some lyrical concepts. Within an hour or two we start to record some of these initial lyrics and melodies and Jon usually starts to adapt them and tweak them to make them comfortable for him to sing. Usually within a few hours we are able to walk away with a very advanced demo of a new song. It’s been an extremely fruitful experience that has left us with albums worth of the best material we’ve had in decades. 

The lighting for your shows is amazing. Who does the lighting design work and choreography for the tours? 

Our new LD is known as Herm, but his name is Alex. We know him as Herm though. He came to us from the band Twiddle at the beginning of this year and has totally revitalized the visual elements of the stage show. He’s a really great fit and we feel grateful to have been linked up with such a massive talent. It was luck and timing and some might call it fate. 

How would your bandmates describe you? 

My bandmates would probably describe me as energetic and talkative and headstrong but also they might notice that I’ve become really good at going with the flow and backing their creative instincts. They may further describe me as anxious and nervous but may also notice that these elements have been remediated of recent. Mostly I think they would describe me as loyal and dedicated. 

How did you find Bergantino Audio systems? 

I was first introduced to it by Ed Grasmeyer who I know as Mike Gordon’s tech in Burlington. I was playing a show at Nectars and needed a backline and Ed came and set me up with the ForteHP2 and I was blown away by the tone. I then noticed Karina Rykman was using Bergantino as well and that’s when I started to think I needed to get in contact with the company. Karina was opening for the Biscuits on Boston and that’s where I had the chance to demo the forte hp2 in the context of the biscuits stage show. I haven’t looked back since that night. 

Tell us about your experience with the Forté HP2 on the tour? 

There are so many things that I can say about it but the most notable is that I’m not struggling to hear the frequencies that I want to hear on stage anymore. I used to have to boost the bass everywhere. In an EQ pedal, on the preamp on the actual bass. But every time you add a little of those low frequencies in those other places you risk degrading the tone of the signal. With the Forte HP2 there is a punch button that gives me exactly the frequency I’m looking for. 100 hz. 4 db. It’s perfect. 

Did you think Jim talked too much when you met him in Boston? 

I will never notice when someone talks too much because chances are I’m out talking them. 

What’s your process for dealing with performance anxiety? 

I used to self-medicate for this purpose but I was recently in touch with a psychiatrist who has helped me regulate my own chemical imbalances and I have found that my performance anxiety isn’t really an issue when I have the proper amount of dopamine in the system! 

Imagine that you’re at a party and it’s a little stale. What’s the “party trick” (or hidden talent) that you’d bust out to liven the place up? 

Before the app existed I was known as a real life fruit ninja. I take a big knife and people throw fruit from across the room and I chop it in half in mid-air. It’s not the safest party trick anymore because I lost vision in my right eye a few years ago and I’m not as accurate as I used to be! 

What hobbies do you have outside of music? 

I love sports. I love reading. I love word games. I love gardening. I love hiking/running/moving. My biggest hobby was snowboarding for many years but I’ve grown injury prone and stay off the mountain these days. 

What is the most trouble you ever got into? 

Well, I managed to stay out of trouble until college. But before weed was legalized I had a series of run-ins with the law and spent a night in the clink in Amherst Mass during my freshman year fraternity pledge trip. Luckily this isn’t an issue anymore for those of us who don’t drink or smoke cigarettes but prefer a little of the wacky tabacky to cool down. 

What is the message you would give to your fans? 

Well I give them so many messages all the time but the most important one that I try to remember to keep constant is a message of gratitude. Thank you so much for sticking with us through thick and thin, through ups and downs, for decades now you have allowed us to live our dreams and have the most blessed lives possible. 

How do you feel social media has impacted your music? 

Social media is a double edged sword. It has allowed us to create a strong community where everyone feels like a family but for someone like me who gets addicted to things easily, I really have to be vigilant with practice and writing and other aspects of my life not to spend the whole day scrolling and wasting the time away. 

What is your favorite song of all time? 

Right now my favorite song of all time is probably a short and beautiful little ditty by Labi Siffre called Bless the Telephone. I would suggest everyone take the 1:29 to listen to it and feel the bliss. 

What did I miss for a question that you would like to share? 

Bass players don’t really get to play solo shows, at least not my style of bass, so I’ve had to learn how to DJ in order to perform by myself at times and I would suggest coming out to see a DJ Brownie show at some point. 

Last one! Describe your perfect meal! 

I love to eat great meals. I’m partial to Asian foods but the perfect meal to me is one slice of pizza from Freddie and Peppers on 72nd and Amsterdam in NYC. PERFECTION. 

Follow Marc Brownstein:
Instagram: @marcbrownstein
X (formerly Twitter): @marc_brownstein
Facebook: https://www.facebook.com/marcbrownstein4
www.discobiscuits.com

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