Junatime mastermind Heather Sommerhauser talks about the two years spent making her album Remember The Magic, how she approaches rhythm and songwriting, and being validated in her love for Def Leppard and being an artist for the first time.
Guitarist, songwriter, and sideman for Califone, Alex Dupree, and others, Max Knouse talks about how seriously everyone takes music, knowing what you're good at by how others react, finding inspiration in gear, and being a guitar-for-hire after the pandemic.
Guitarist, songwriter, and conceptualist Josh Ottum talks about the power of sound, if proficiency is the enemy of the creative process, honest passions vs. post-modern irony, and the effects of listening to Patrick O'Hearn's album Between Two Worlds in the late 80's.
Alto saxophonist, arranger, and composer Alex Sadnik talks about his newest album Flight, contending with Charlie Parker, the difference between working for yourself and others in the recording studio, and defining success as an artist.
Drummer, percussionist, and studio denizen Ryan Jewell talks about why some drummers sound different even when they're playing the same thing, loving Weird Al Yankovic, and dissecting Al Jackson Jr.'s drum parts for Al Green limb by limb.
A rambling solo start to the fourth season of BIG EGO Tapes featuring a general wellness check, an update on the future of the studio, the voice of Stewart Copeland, album release news, photography talk, and other meanderings.
Prodigious drummer & composer Chad Taylor discusses his time spent playing alongside Pharaoh Sanders and Marc Ribot, cutting Sam Prekop's self-titled album, why Stereolab took Chicago Underground Duo on tour, and William Parker's admonition that "The music doesn't care whether you think it's good or bad."
Maria Elena Silva talks about the trust and telepathy of Eros, touring the album, getting COVID, touring again, the American Dream prescription, and balancing her creative and maternal selves.
Guitarist, singer/songwriter, and Guma mastermind T.J. Masters talks about the recording his newest album, "A List of Sightings" before and after the pandemic, how different the record would be if he hadn't shown up for mixing, and the possibility that his next collection of songs will be entitled, "Workingman's Guma."
Astral Spirits owner Nate Cross pours the sotol and talks about why he still listens to unsolicted demos, releasing 30 albums a year, how record labels are modern day record stores, and being the home for a potential Peter Brötzmann disco album.
Bassist, composer, and improviser Steuart Liebig talks about quitting Les McCann's band in 1979, founding the avant-pop group BLOC with Nels Cline, joining Julius Hemphill's JAH Band, auditioning for Oingo Boingo, and why he won't hire drummers younger than 37.
Engineer, photographer, and musician Devin O'Brien has been at the center of BIG EGO from the very beginning. For the last few years Devin balanced his time playing in Cherry Glazerr with jumping into dozens of sessions; documenting both sight and sound with a unique, unified vision.
Alicia Walter sold her belongings, bought a car, and left New York to record her newest album with a live band of musicians she'd never met in California. In this conversation she talks about the transformative nature of art, fighting perfectionist tendencies, and the ruthlessness of pop music.
A rare in depth conversation with pedal steel guitarist Dave Easley discussing his formative years in Illinois playing in saxophonist Lin Halliday's band, finding his own sound, moving to New Orleans, recording two albums with the Brian Blade Fellowship, duetting with Joni Mitchell, and recording, "Byways of the Moon."
Jerry David DeCicca on his preferred BLT composition, producing Will Beeley's first album in 40 years, the singularity of "the voice that fell from outer space," computers hiding humanness, and working security at a Rush concert.
Equally at home leading a slow dance or a blazing honky-tonk, Katie Jo talks about living out of her van during the pandemic, shooting a video at her childhood roller rink in Wichita, and the dual journeys that lead to the release of her album, "Pawn Shop Queen".
Drummer and percussionist Danny Frankel on growing up in Cleveland, playing CBGB's with Urban Verbs in the late 70's, recording demos with Brian Eno, working with producers Steve Lillywhite and Hal Willner, and what retirement means for a musician.
Singer / songwriter Alisha Westerman on the recording studio as a holy space, group flow state, paranoia, processing trauma, and the spiritual visitation from Ikey Owens that led to the making of her album "Ego Trip".
Bassist, composer, and bandleader Anthony Shadduck talks about why Charlie Haden sitting in with the Minutemen was a pivotal moment, shouldering the burden of the song, discovering music in the 21st Century, and the loss of artist mythology via social media.
Jeremiah Lloyd Harmon on the euphoria and ambition of recording his debut album Namesake, how "Almost Heaven" died and came back to life, why an artist sings a song, and escaping the star-maker machinery of American Idol.
Bassist, librettist, and musical force of nature Mike Watt on the fear of reruns, the social construct of "winning", being yourself while creating art for a larger audience, working on Ball-Hog or Tugboat? with 17 different bands, recording with Kelly Clarkson, and talking with Jandek about craft beers and Bad Brains.
Guitarist & composer Mike Baggetta on the drama behind recording "Wall of Flowers" with Jim Keltner and Mike Watt, turning mistakes into greatness, gigantic looming moments of self doubt, and saying yes to almost everything.
Hand Habits alter ego Meg Duffy on the demos becoming the record, not sanding off the rough edges of art, working on Placeholder in Wisconsin, music as religion, and the transition from bartending to touring with Kevin Morby to going solo.
Guitarist and founder of Air House Music Academy David Lord on touring across the United States in a school bus, the best advice he ever received, cultivating his unique compositional voice in isolation, "Wichita Bubble Success", and overcoming the terror of working with his musical inspirations.
Southern California fiddle shredder Philip Glenn on quitting his teaching job to become a full time musician, making his old time bluegrass album "Outsider" with non-bluegrass players, Nickel Creek and the Ska Crypt, working hard to sound like yourself, and why limitations make art (and Star Wars) better.
Dream Syndicate co-founder and prolific singer/songwriter Steve Wynn on hitting his artistic stride, writing songs to fill an emptiness, meeting Kendra Smith at UC Davis, looking for musicians in The Recycler, and only wanting to be successful enough to keep working on music.
Cherry Glazerr frontwoman Clementine Creevy on the punishing joy of playing guitar, the band's new album Stuffed & Ready, choosing punk rock over college (and telling her parents), rumors of going solo, never needing to hear "Santeria" again, and why you can't fuck with Joni Mitchell.
GWAR producer and King Crimson mixer Ronan Chris Murphy on surviving almost 30 years in the music business, working on the MAFIA III soundtrack in Nashville, collaborating with Robert Fripp, conflict and Bob Clearmountain, reconciling art and success, and how a producer is a hall monitor for musicians.
Legendary drummer and Long Beach native Stephen Hodges on playing music for dancers, recording Swordfishtrombones with Tom Waits in 1981, a decade of working with Mavis Staples, wanting to sneak onto Bob Dylan's tour bus, making Contemplating the Engine Room with Mike Watt, contributing to Twin Peaks: Fire Walk With Me, and why David Lynch is a great "fifth Beatle".
Prolific writer and photographer Gustavo Turner on the Baconian Theory of Shakespere's authorship, the LA Weekly's right wing trojan horse takeover, trading the muse for money, Bob Dylan's 55 year shamanic state, and the joy of illegal basement shows.
