Wednesday, October 5, 2016


Garrett Wolfe, Chris Cain, Thomas Robles, Hugo "Juice" Sanchez, Kameron Hollis and DeAngelo "Deezy" Sherman of GClub


At Public School 213
612 Flower St., Los Angeles (Downtown) 213-622-4500

“What is great about us is that we all come from different backgrounds and listen to all types of music. So when we come together, it’s a little confused, but the confusion brings something right,” says GClub rapper/vocalist Chris Cain. “There’s beauty in the chaos.”

It’s not easy to meld the influences of individual members into a cohesive band sound, especially when there are seven distinct voices to be a heard, which is the case with Inland Empire’s GClub (short for Gentlemen’s Club). 

“If each of our members were to form his own separate band, he would be the musical director of that band. We have a lot of leaders, but they’re leaders who can also follow,” Chris continues. “We just have to listen to each other. The fact is, we’re fighting for a purpose, so we will fight against each other a little bit, but we always come to our senses.”

I meet up with the entire crew except for vocalist Hunter Mora to find out more about what makes GClub tick on a hot afternoon at popular gastropub Public School 213. Downtown has special meaning for the band since their first official show in Los Angeles proper was at Mrs. Fish.

All of the decor at PS 213 is modeled after items you would find in a classroom, from chalk-written specials on blackboards and wood “desk” chairs to a row of books and globe atop a Midcentury Modern sideboard. Their menus are made to look like black-and-white composition books and Scantron forms, while their napkins resemble notebook paper. 

PS 213 is a fitting location for our interview since the musicians of GClub – Chris, bassist Hugo “Juice” Sanchez, keyboardist DeAngelo “Deezy” Sherman, trumpeter Thomas Robles, guitarist Garrett Wolfe and drummer Kameron Hollis – are really a regular group of guys at heart who love to put one another on blast, eat, drink and laugh together.

Just take the following exchange about how the band came together in late 2014 for example.

Chris: At the time, I was in another band, and we performed for KIIS FM Breakout Star [moans and whispers from both sides of me: ‘Oh, here we go!’]. Deezy and Kam performed with another artist, and they got beat out by my band. I already knew about Deezy because the producer that I was working with had a friendly rivalry with him. I saw Kam drumming and thought, ‘This dude is good.’ Then [to Kam] I saw you at RCC, do you remember that?
Kam: No.
Chris: ’You played at Breakout Star. We beat you out, so of course you remember me!’ That’s what I said to him [laughs]. I got his number because I was doing my own solo music and would call him to get musicians.
Kam: He called me to rescue him. 
Chris: It wasn’t a rescue! I would give him my music, and he just blessed it, took it to another level. 

“Hunter and Wolf approached me to join their band. Then I brought in Kam, who brought in Deezy and Juice,” Chris continues. “We perform like a supergroup because we took the best that I had and what they had. Then Thomas came in and became the cherry on top that makes us more special. Playing with a live band makes you feel like there’s an army behind you, like nothing can stop you.”

Even though they all grew up around the Inland Empire, each member has a unique background story. Thomas even more so, since GClub was formed before he joined.

“I chose the trumpet because I like being on the front line as a performer. My mother had a ballet folklórico dance group growing up, and my sister and I were her star dancers. Because I love that Latin flair, I want to bring the Latin culture’s vibration to pop music,” he shares. “I’ve been playing trumpet since fifth grade. I was definitely a band kid all the way through school, but I dropped it right after high school. When I was 21 or 22, an old friend hit me up to get a small group together to open up for Gentlemen’s Club. I was already their biggest fan, so when Chris and Hunter saw me playing trumpet with the other group and asked if I would play on a song, I said yes and went to a couple of rehearsals. I remember taking pictures, my hands were shaking. It was a big deal to me.” 

Garrett grew up listening to rock, Queen and AC/DC, with his dad in Orange County. He started as a drummer in elementary school, playing in the school band, marching band and jazz band all the way through high school. During freshman year, he picked up a guitar for the first time.

Deezy, Juice, Hunter, Kam, Thomas, Chris and Garrett

“Like every good story, a girl came into my life. I was a quiet, shy kid madly in love with this cheerleader. She came up to me and asked if I could teach her to play the guitar. I said, ‘Yeah!’ I learned to play a song on my brother’s guitar and showed her, but it all blew up in my face. Hopefully she’ll come back to me any day now,” he jokes. “I eventually met Hunter while we were both music majors at Cal Poly Pomona and had a language arts class together. He saw me doing some Music Theory homework, and we started talking. One day we jammed, and then we became close friends. We had a band where we played Maroon 5-type of music. Hunter got me into the whole R&B, pop-rock scene, and Chris got me into the hip-hop scene a little, so it was a new experience.”

Freshman year in high school also holds significance for Chris.

“I’m Puerto Rican, so my mom would always have on salsa music or R&B, Mariah Carey. When I was a freshman in high school, my brother’s friend told me, ‘You have a voice for music, you should use it.’ He wrote a whole verse for me to practice and see how I did. I rehearsed and rehearsed and finally got it down. I was so excited, I kept calling him and he wasn’t home (This was when house phones were all we had.), so I wrote my own verse, and when he called me back I spit my rap to him, and he said, ‘Wow, that’s better than what I wrote.’ That’s when I started doing my own lyrics,” recalls Chris. “I was writing straight hip hop about gun shots. One line went, ‘I got the 45 on my hip, call me a senior citizen.’ I thought I was the most gangsta person, then I woke up one day thinking, ‘I’ve never seen a gun in my life. What do I know about? Women.’ I started writing about relationships, going more into hip-hop pop and R&B, loving choruses and hooks that made people remember stuff.”

Meanwhile Deezy, Kameron and Juice were planting their musical roots in church.

“Gospel and a lot of old R&B is where this derived from for me. My mom really loved Luther Vandross; it was kind of uncomfortable at times,” laughs Deezy. “Then I branched off and started listening to everything from rock to pop. That NSYNC and Backstreet Boys era was fun. My grandmother played the piano and taught me, but I was more interested in the drums. My grandmother passed, and I still played drums until my church needed somebody to play keys ASAP. I stepped in and started playing. So let Kam know if he tries something silly, I can take over on drums!”

“I would love to see that,” replies Kam.

“Similar to Deezy, my foundation is a lot of gospel since my father is a pastor and my grandfather was a reverend. I sang and played drums at my grandfather’s church, and those were the building blocks to where I’m at now. It’s funny, my parents thought I was going to be a keyboard player because my uncle was before he passed. They used to sit me right next to him on the piano bench, and I would just stare. But drums were always it. Around the time I was conceived, my parents toured and sang in a community gospel choir. In rehearsal I would be kicking my mom in the womb to the beat. As a child I would always be at home in the kitchen, creating my own drum sets with pots, pans and bowls,” recalls Kam. “Growing up, my dad had crates of 45s and albums he played on his old Technics sound system. We’d wake up Saturday morning and clean the house listening to the Chi-Lites, the O’Jays, the Temptations, the Supremes or the Delfonics.” 

Juice, on the other hand, grew up only listening to Christian music.

“I didn’t know Earth, Wind & Fire, Stevie Wonder or anything! I actually sang before I played bass. The only reason I picked it up is because my brother was playing drums and said I should be the bass player at church. I wanted to be cool like my brother who was playing at all the church camps and services, so I said yes, and then it just got more serious over time. It wasn’t until I started driving, like my first day ever driving, that I had a gig without my brother, and this is when I started to take music seriously,” he recalls. “I remember meeting Kam at one of the last gigs I did with my brother. I never thought we would be friends after that gig because Kam was mean.”

“He still is,” chimes in Deezy with a grin.

“Kam had a solo [mimics drum noises]. I say to my brother, ‘Yo, that dude’s tight,’ and he says, ‘Yeah, he’s good,’  you know how you are when you know someone’s better than you,” Hugo laughs. “After that I was always connected to Kam. We would play and were building a relationship.”

By now there are several conversations happening around the table as drinks (Just About Bottomless Mimosas for almost everyone and a Honcho Hefe from Mother Earth Brewing Co. for Garrett) and an array of dishes arrive. There are Crispy Naked Wings, Bacon Cheddar Tots, hand-tossed pizzas and a creamy Chorizo Mac & Cheese topped with crushed sea salt & vinegar potato chips.  

PS 213 is the ideal atmosphere to watch a ball game or play some shuffleboard with friends while enjoying craft beer and great food. As we dig into our food, I ask the guys if they can remember a moment when they realized music was it.

“I mainly lived with my mom, who was very overprotective, so I didn’t go to many shows except church shows. The first show I ever went to was in ninth grade, a Green Day concert. After that I just knew music was it for me,” remembers Garrett. “I loved their stage presence and the loud, obnoxious guitars; it just clicked for me. That was where I fell in love with the whole idea of a live rock concert, and I still love Green Day.”

Chris, however, went to plenty of shows. 
PS 213 menus and napkin

“I still go to a lot of concerts. I like Microsoft Theater and Club Nokia because of how small they are and sound bounces so well. Sound doesn’t travel well at Staples Center. It’s built for sports, not live performances,’ he tells. “Some of the best have been Bruno Mars and Marc Anthony.”

“Not Tori Kelly?” Garrett teases, knowing that Chris is obsessed with her.

“I don’t remember her shows because I’m on the ground fainting. No, seriously, her too,” Chris replies. “When you follow an artist’s journey and they succeed, you succeed in a sense. When she made it I was like, ‘Dang, I was around the whole time because I was following her before she even had 1,000 followers, and now it’s millions. I’m her No. 1 fan.” 

Juice had his moment at one of his own church performances.  

“We did a service in Rialto and they announced us as ‘This is so and so band,’ and I was like, ‘Sick we have a name!’ From then on, I just knew it. In high school I would miss so much school to play a service or gig, so music was pretty legit. Once I got out of high school it was full time, and it’s taken care of me,” he says. “When I first started playing, being next to my older brother was my biggest thing. He still plays, but he’s married and has four kids. He just wasn’t hungry for it, while I lived and breathed it. Learning how to play it was me on bass, him on drums and our sister on piano. We would always play one song, ‘Lord You Are Good,’ all the time since we knew we had it down. It wasn’t until I started playing in church with Kim and his friend that I really learned how to play gospel. There was a man named Darien who was really strict, and he helped me musically and structurally, the way that I look at music now. Every time I have a gig with him, I know I have to have everything tight because he don’t play.” 

Deezy has had similar experiences of hard work leading to great rewards when it comes to playing gospel music.

“In the gospel world you really have to know your music because there’s no hiding in gospel. More than anything, it taught me to study and make sure I know exactly what I’m playing because if you don’t, it will show, especially when you get around other musicians who are A1. I had a situation playing for one music director where I geo a call last minute from Kam saying Juice dropped out at the last minute and that I had to play key bass – what?! It turns out that the MD is a stickler, and as soon as we start to play at rehearsal the next day, I can see on his face that it’s a disaster. I just had to go home and practice until 4 a.m. It paid off because the next rehearsal I was ready,” he shares. “[Playing in a church group] teaches you to understand the music that you’re playing. With gospel, there are so many changes and modulations. I wouldn’t say that it gives me an advantage over other musicians, but it kind of does because it forced me to get better from practicing and studying my music. Of course, when you’re in front of a bunch of people constantly on Sundays, you get comfortable.” 

Kam agrees about there being certain advantages to having come up in the church scene.

“The good thing about the church scene is that big gospel artists come through small churches and perform. It’s different from when your idol is Beyoncé, she’s not coming through your local theaters. With gospel, it’s different, so coming up in the church, I saw a lot of major gospel artists. Outside the walls of the church, I focus on everybody that’s doing it major, especially when it comes to live performance because these last few years I’ve come to understand that my niche is doing arrangements for live sets,” informs Kam. “My philosophy has always been: When it comes to live performance, you have to do something that adds excitement because if you sound just like the record, you’re wasting people’s time and money. They could just stay home and play your CD. I try to understand the elements that it takes to create and perform a really good live show. At anybody’s concert I’m focusing on the different arrangements that they have of songs and the moments where they connect with the audience. From Beyoncé, Stevie Wonder and my favorite band, Mint Condition, to Snarky Puppy, Usher and Michael Jackson, I pay attention to small things to see how we can incorporate that into our music.”

When it comes to GClub’s creative process when writing songs, Chris and Hunter are the main songwriters, but everyone contributes something. 

“My main focus is songwriting since I don’t play instruments. It usually starts with Wolfe [Garrett] or Hunter playing guitar, and we’ll kind of murmur some lyrics then come to the guys to add their flair,” explains Chris. “Then we have times when we’re arguing about how the bass should sound and create a whole track together. Those are the most frustrating ones, but they end up great. You have to take the good with the bad. I think people don’t move forward because they see the bad situation and try to pull away from it, and we say, ‘Let’s get through it!’ That’s why we’re pretty good.” 

“I come to rehearsals with some crazy ideas that sometimes work and sometimes don’t. That’s the great thing about being in a band: You can collaborate, take an idea that didn’t work one way but Juice may have something to put on top of it so it works. Or if Chris has an idea that isn’t completely finished, we add to it. It’s that collaborative effort that makes everything click,” adds Kam.

“When I came to GClub, I already had my sound and was fully involved in music. I saw they had the same commitment,” says Hugo. “Chris is super passionate, and sometimes we bump heads because we think so much alike.” 

“When we argue, we argue, and then it’s over,” Chris interjects.

“It’s literally all about the music,” chimes in Deezy.

“There are so many people in this band that when there are four different arguments going on, it’s impossible to throw in another one. Nothing would ever get solved,” says Garrett.

“Wolfe is not a conflict person, and that’s fine because we need that. Sometimes I look at my conflicts and think, ‘I should be more like Wolfe,’ but I’m sure he looks at some things I do and wants to do them like I do, too,” concludes Chris. “It’s good to have that balance because he’ll calm us down, and we’ll fire him up. In the end, we all want the best for the band.”

Check out GClub's video for a cover of Kanye West's "Heard 'Em Say" at YouTubeFor more information, visit

Wednesday, September 7, 2016

Jenny Jarnagin

Singer-songwriter and pianist Jenny Jarnagin at Lala's Argentine Grill in Studio City

Jenny Jarnagin 

At Lala’s Argentine Grill
11935 Ventura Blvd., Studio City 

“Los Angeles is amazing. You can get any type of food you want, and the restaurants are so good,” begins Jenny Jarnagin. ”A friend who grew up in Argentina brought me here for the first time, and it was a special day. Every time I’m back in L.A. I come here to sit on the patio, watch people, ponder life – the songs I wrote, the business I did, the people I met – and just take a breath. This is the only place that has become a tradition, and it’s always the last day that I’m in L.A. that I sit here to reflect and take in L.A. one more time.”

The Phoenix-based singer-songwriter and pianist and I are at a restaurant that has become her L.A. haunt, Lala’s Argentine Grill in Studio City. It’s too hot to be out on the patio today, so we sit at the bar. Since it’s lunch time, the place is packed, and we are still able to do a fair amount of people watching as we talk about all of the exciting things happening in her life: a new EP, Heart Percent, releasing Sept. 9, a show at Old Towne Pub in Pasadena Sept. 30 and shopping L.A. studios for her next project.

“I was trying to sleep in this morning, but there were helicopters right above the house that were loud and hovering for a long time. I just learned what was going on: Chris Brown is a neighbor, and there was a situation with a woman and police. Isn’t that crazy,” she exclaims. 

Jenny realizes that even with all the crazy there is plenty of good about the city, too.

“The last time I was here at Lala’s, though, there was a stranger that bought another stranger’s meal, which was really cool,” she smiles. “I’ve come here before and just had a glass of wine, but it’s still morning for me today, so I’m starting with coffee.”  

Lack of sleep is nothing new for Jenny since the single mother of two is constantly balancing her home life and music career. She travels to Los Angeles at least once a month to meet with her management team, Mike’s Artist Management/Funzalo Records, and co-write songs with other artists.

“Lately I’ve also been shopping studios for my next project. There’s strong potential for my next album being recorded out here with a notable producer, so I’m super excited,” she shares. “Sometimes I play shows here, too. I just did one at Genghis Cohen, and I’ll be back with my whole band Sept. 30 to play the Old Towne Pub in Pasadena. It’s the first time I’ll have my full band out, so I’m sure it will be fun. It feels so good pulling into L.A. and getting here, but it also feels good to go [laughs]. I keep busy at home, too, constantly sending out vocal demos and staying in communication with people here.”

Driving out to Los Angeles from Phoenix is time alone that the busy working mom savors.

“Sometimes it’s nice to be able to have some solitude – just music and my own thoughts. I love to listen to all kinds of stuff, my background is pretty eclectic. I grew up playing piano by ear and was a church pianist by the time I was 7, so I love gospel, blues and pop music. I also studied classical, so I appreciate that, too. I have a really vast range of music that I enjoy, it really depends on the mood,” she tells. “Since I love to write pop music, I listen to a lot of Top 40. You can sing along and listen to what they do, how they write it, the beats they use and how they phrase things. A lot of people say pop music will dumb you down, but there actually is an art and a craft to writing a great pop song.”  

As she sips her coffee and nibbles some bread with Lala’s addictive chimichurri dipping sauce, I notice a portrait on the wall that features a redhead who bears a bit of a resemblance to Jenny. We giggle as I snap a photo of her next to that painting and in front of massive wall art depicting a couple in the midst of a passionate Argentinian tango.

Two Argentinian transplants, Horacio Weschler Ferrari and Mario Balul, opened Lala’s original location on famed Melrose Avenue in 1996 and quickly gained a reputation for a great dining atmosphere and succulent grilled meats.

“Everything is really good here – the meat!” Jenny offers as we peruse Lala’s menu that is full of traditional Argentinian favorites like a chorizo sandwich, a fruity glass of sangria, Flan con Dulce de Leche and their famous grilled chicken entrées. Today she opts for the Griega salad (lettuce, tomato, cucumber, red onion, black olives, red and green bell peppers, feta cheese and house dressing), while I decide to try two spinach, cheese and onion empanadas. 

We place our orders, and Jenny tells me a bit more about her childhood. She was born in Oklahoma, but her family immigrated to British Columbia, where they still reside. Although Jenny referred to playing piano by ear as she grew up, she neglected to reveal that she was only 3 years old when she started to play.

“My mom always wanted a child who played piano, so she prayed and prayed for one. My sister is the oldest and is very stubborn: She went through six piano teachers in a year and quit. I have two older brothers, but they didn’t take to it, and I’m the caboose,” she says. “We happened to have a big player piano that the previous owner had left in the home, and I just started playing it. I think it’s a blessing [she laughs]. Musicians, we’re a strange type, so that’s what my mom got with me. I was the kid in the basement spending hours at the piano because I loved it. I started with nursery rhymes and church songs – whatever I would hear I would play.”

Jenny started formal piano lessons at age 5, but the habit of learning songs by ear was a hard one to break for the mischievous youngster who fooled her teacher into believing she could read notes for two years. When she was finally caught, she says going back and learning everything by sight reading was “torture.”  

Although none of her immediate family members were musically inclined, her mother provided constant support. She sent Jenny to study at the Conservatory of Music in Victoria every summer and took her to see every musical performance possible. 

“We lived in a small town in British Columbia, but my mom would take me to almost every act that came through town: the symphony, rock ’n’ roll, backwoods hippie bands. Whatever was in town, she would take me. Isn’t that awesome,” Jenny gushes. “I had an eclectic group of friends who were more artsy, so in junior high when most people were listening to Pearl Jam or Green Day, I was discovering Simon & Garfunkel, Deep Purple and a lot of progressive rock bands. I always thought I should have lived in the ‘60s and ‘70s because that’s my favorite genre of music. You’ll hear a lot of stuff in my music, and what’s confusing to people is the back catalog because I’ve done 10 albums before this EP, and they’re all different in style. That was one of the hard things: trying to find my voice and identify what Jenny Jarnagin sounds like. It’s been a journey to try and find my stride, but I think I’m there.”

Once she became a teenager, she was so good on piano that people would ask her to teach their children.

“Teaching is something that I’ve always done and enjoy while I’m doing it. The income is nice, but it’s not my first passion. It is rewarding in its way, to see kids develop those skills, become better and get so excited at their small successes. I’ve had students for eight, nine, 10 years go to high school then college, and it’s cool being part of their lives, watching them go out into the world,” she admits. “For a while when I was studying music, I didn’t know exactly what I wanted to do, so I just kept going to school.” 

Jenny majored in piano performance at Texas A&M University, and spent a “life-changing” summer at the Conservatory of Music in St. Petersburg Russia. After graduation, on the way back to British Columbia, she dropped by her parents’ winter home in Phoenix, and ended up never leaving Arizona.

“I stopped to see my mom, but within a week I had a job at a girls prep school because they needed a pianist for their music program. I stayed a little longer, then I met my ex. I feel like my whole life I’ve been trying to get back to Canada, but it just never happened, and now I’m pretty content with where I am. I realize that I can’t necessarily do what I’m doing if I was up in Canada since my dad is a farmer, and my family lives off the Alaska Highway in British Columbia where it’s beautiful but isolated,” she confesses. “Here in L.A., you’re in the thick of it. I love the music scene in Phoenix, but it’s small. There are great musicians, bands and more music venues opening up, but I know someone who has been playing the same wine bar for 30 years, and that’s what made me make the jump to L.A. If I have the opportunity, I’m going to take the chance, spread my seeds here and watch them grow.”

She has continued to push herself academically, obtaining a master’s in Music Education at Northern Arizona University, as well as musically.

“I’ve always known that I was meant to do music in some way or another. It wasn’t until I started writing pop music six years ago that I knew I hit what I was supposed to do. All the natural talent, the love for pop music and the training came together and made sense to me. I always knew I could write, but it wasn’t until then that I ended up diving in,” she recalls. “I didn’t sing until I started writing pop. Six years ago I wrote my first piano instrumental album, and I told the producer I was working with in Phoenix at the time, ‘I have these pop songs, but maybe you can find a singer to hire.’ I played the songs and sang them for him, and he said, ‘Nobody sounds like you. I think you’re the singer.’ That’s when I started singing, and I love it. It fits and feels good to sing. At shows with my full band, I’m out from behind keys a lot of times. At first it was strange but liberating because at some of the high-energy shows, I feel trapped behind the keys when I really want to connect with the audience, move and speak to them.”

When it comes to writing lyrics for her songs, Jenny finds it’s best to step away from her keyboard.

“If I’m sitting at a piano, a few words might come out with a rhythm and then I’ll get a melody going, but usually I have to really hone in and focus on the lyrics because they’re harder for me. Once I get the melody in my head, I go away from the piano and work on lyrics,” she says. “What I do a lot in Phoenix is go to a coffee shop and work on lyrics because I’m removed and can really think about what a song should say.”

Our lunch arrives, and Jenny divulges a little secret as we enjoy the crisp salad and delicious empanadas.

“When I’m here in L.A., I’m mostly working, making the most of the time, but the other day I was supposed to write with somebody and I was tired and felt zero inspiration, which is not like me. So I called the co-writer to ask if she would mind taking the day off. I went to the beach! It was awesome, and now my batteries are recharged.”

Thankful for little moments of ‘me time,’ Jenny has a lot on her plate since the Heart Percent EP releases this Friday. The title is such a unique phrase, so I ask her where it comes from.

“I recorded a bunch of songs and chose five to go on the EP. There was one song that was going to be on it in the beginning but ended up not making it, called ‘Own It.’ The song talks about buying into a relationship: Are you 100 percent in? How much of your heart are you going to give? How much do you care? The heart percent was an idea that bubbled out.”

One track that did make the cut is Jenny’s current single, “It’s Not Right,” and the song has strong meaning to her.

“My sister is 10 years older than me, and not only did my mom pray for a kid that played piano, my sister prayed for a baby sister. So we’re really close, and sometimes I use her ideas in songwriting. One day she had an argument with her boyfriend at the time where he had turned everything around on her, and she ended up apologizing. She said to me, ‘I didn’t really do anything wrong, and it’s not right to not be me. I just want to get back to being me.’ It’s interesting when you’re in a situation that changes you into something you’re not, and you wake up one day and realize you’ve become something you don’t want to be,” Jenny says. “I think a lot of people can identify with that. I know that I’ve been through circumstances even being an artist, feeling the pressures of society like, ‘You can’t do that. You’re a mom, why would you think you’re a pop artist?’ When you take a risk, people can put you down, so the song pinpoints the pressures that you feel being different, doing your thing, and how people will try to keep you so you’re more like them.” 

If there’s one thing I’ve learned from my lunch date with Jenny Jarnagin, it’s that this hard-working artist has no fear when it comes to pushing herself or boundaries that others may try to force upon her.

“It’s my hope that my music can motivate people, speak to them or make them feel like somebody understands them. I want my music to bless people’s lives and mean something to them. It goes both ways, when someone really likes a song that I wrote, it feels so good. It’s give and receive,” she concludes. “I would love to do a tour across Europe playing shows. It’s amazing how many doors music has already opened up for me – the places I’ve gone, experiences I’ve had and people that I get to meet. It’s such a cool way to experience life through that lens.”

The Heart Percent EP is available Sept. 9. Jenny Jarnagin performs Sept. 30 at Old Towne Pub in Pasadena. For more information, visit

Tuesday, August 16, 2016

Kenny Davin Fine

"Physician-Musician on a Mission" Kenny Davin Fine at Will Rogers Memorial Park

Kenny Davin Fine

At Will Rogers Memorial Park
9650 Sunset Blvd., Beverly Hills

“I believe that there’s a creative revolution going on, and in the future, it’s not going to be rare that a doctor is a musician. People are going to say, ‘What instrument do you play? Because I want to go to a doctor who plays trombone because I play trombone.’ This is a paradigm that will catch on and be more acceptable,” expresses singer-songwriter, musician and medical doctor Kenny Davin Fine

With Brian May of Queen attaining a PhD in astrophysics, Bad Religion’s Greg Graffin a zoology PhD and Dexter Holland of the Offspring studying molecular biology as just a few examples, it is indeed becoming more common for musical artists to also be scientists. Kenny, who refers to himself as a “Physician-Musician on a Mission,” entered medical school at age 17 but at the same time harbored a passion for music and singing, and he has spent over a decade traveling across the country, dedicated to utilizing both his creative and academic fields of specialty for the greater good.

“I consider myself a missionary of goodness. I do what I do to help and heal people, represent God and inspire people to a better life, whatever that means to them. Going on the road to the people makes more sense than being in an office and having people come to me,” he says. “I understand it it probably has some deep metaphysical purpose: Spiritually inclined people often travel because they’re seeking, climbing mountains, trying to go higher and be helpful. I used to think you had to go to a Third World country to be a missionary, but there are plenty of people to mission to right here.”

While Kenny’s home base is technically Dallas, Texas, he crisscrosses the United States in an RV to lead health seminars and perform shows with his band, the Tennessee Texans, and lands in Southern California at least twice a year. He meets me on a sunny day at one of his usual haunts whenever he is recording music in Los Angeles, Will Rogers Memorial Park in Beverly Hills. We talk about his two career paths, his latest album, Brand New Road, that released last month and, since we’re in a park dedicated to him, Will Rogers. 

“I’m from Missouri, which is next to Oklahoma, Will Rogers’ home state. I guess he was named the first ‘Honorary Mayor’ of Beverly Hills,” informs Kenny. “My uncle, who is a doctor too, lives in the Palos Verdes area, and my first trip out here was when I was 16, driving his car with my brother from St. Louis. My dad didn’t like to drive long distances and we didn’t have enough money to fly, so we only went to places you could drive to in four or five hours. When my brother and I drove out to California along Route 66 [aka Will Rogers Highway], the first mountain I ever saw was in Albuquerque. I’ve been coming out here to work on my music since I started recording in 2002 and make at least one trip a year out here.”

Like Kenny, Rogers spent time traveling the states on lecture tours. His memorial park in Beverly Hills has become a frequent place for this wandering troubadour to visit ever since he started recording with producer Michael Lloyd (Dirty Dancing soundtrack, Leif Garrett, the Osmonds) at his nearby studio.

“I first Michael when I started promoting in Nashville. We tracked our first album together [2014’s Son of the Heart] at the Village in West L.A. and did the vocals and mixing at his studio. Then we tracked and did the whole production for Brand New Road at Michael’s studio,” recalls Kenny. “In L.A., I never drive in rush hour, so if we finished at 6 p.m., I would park here in the shade, walk my dogs around and hang out in the park. I got to know most of the area, where to find Whole Foods, and a friend works at Amoeba Music, so I visit her a lot. I can only take the energy of the Hollywood scene for 24 to 36 hours, then I go out to Venice Beach to take a break, and parking an RV there is pretty commonplace. Another thing that sends me to Venice is when I’m recording vocals and I’m in the city for too many days in a row, I start to get an element in my voice that’s undesirable from the pollution. I go to Venice or drive up to Oxnard for a few days just to get near the ocean and clear out the crud.”

Since he was a football and baseball player in high school, Kenny has always worked out and lifted weights. He remembers wanting to visit Muscle Beach in Venice when he came here as a young man.

“I wanted to go to Muscle Beach to show off! Now I do pull ups and dips anywhere I can find a tree branch, pull up bar or children’s playground,” he laughs. “My favorite thing about Los Angeles is going to farmers’ markets. I have an organic food business, the Organic Alternative, and have been eating a raw food diet for over 20 years.” 

When he’s not perusing a farmers’ market, in the studio with Michael Lloyd or decompressing on a beach, Kenny is at his uncle’s home in the Palos Verdes Mountains where he likes to walk in the hills. He also likes to hike off of Mulholland Drive or in the San Gabriel Mountains.

His uncle has actually been a bit of an influence on Kenny.

Kenny at Michael Lloyd's studio
“He is an esteemed surgeon but used to be an actor and singer. he used to be the lead in his college musicals, and is a very charismatic, intelligent guy. If he’s in a room, his presence is well known, and I’m more subtle,” he reveals. “It’s more of an ironic parallel since we were both cantors (as were his father, brother and my father’s grandfather). He did leave me with some incentive to sing in synagogues, and that’s where I started singing publicly. I think of Aretha Franklin and Marvin Gaye, the top voices in the world and how they started in churches and relate to that. Had I not done that in a synagogue, in a way that I could tell how my voice could uplift people, connect me with God and be something special, I probably wouldn’t have pursued it so strongly in the world. There’s an element to that as your core seed. My guess is that they [Franklin, Gaye] would never stop identifying as a gospel, spiritual singer.” 

Kenny is the only musician in his immediate family, and although he took piano and violin lesson as a youngster, he didn’t get into music until middle school or seek out an instrument on his own until his late teens.

“I’m Jewish, and if you’ve ever heard the cliche about Jewish mothers and their son the doctor, we were groomed to be these professionals from a young age and get good grades. In about sixth grade, I found music and read books on the history of rock and artists of my day, as well as the past. At the end of high school is when I started to aspire to sing. I teamed up with another football player and baseball player, and we did a tryout for a talent show [performing ‘The Lion Sleeps Tonight’]. We didn’t get the gig because I was shy and embarrassed, looking at the floor, even though I could sing well,” he confesses. “When I went to med school, something told me that I need to be playing an instrument. I walk to this music store two miles from my dorm freshman year to buy an instrument and came home with a harmonica. I started playing guitar the year after med school on a very serendipitous day when I was getting some tires changed at a Good Year that was next to a used guitar store.”

He took a few lessons that came with the purchase of his guitar but mainly learned chords on his own and various tunes from songbooks. After watching a rerun of the old “Ed Sullivan Show,” Kenny wrote his first piece, a love song. 

A fan of Neil Young and Bob Dylan, Kenny prides himself on also being a harmonica-guitar player. He also calls his Tennessee Texans his Crazy Horse.

“Neil Young’s an all-out electric guitar rocker and also an acoustic, folk and harmonica player – and that’s how I see myself. If I’m solo then it’s going to be harmonica and acoustic guitar, but I like to rock it out and play with my band just as much. The Tennessee Texans are my Crazy Horse or like Bob Seger’s Silver Bullet Band. I identify with Seger’s singing style, songwriting, attitude. He was also a little older than the norm when he hit with the Live Bullet album,” he says. “I named the band that because the guys come from Memphis, Nashville and Dallas, so Texas and Tennessee. One of my friends who lives in Tennessee noted that when Texas was fighting the Mexican army at the Alamo, men from Tennessee, including Davy Crockett, volunteered to go down to help save the Alamo, which they didn’t, but there is this connection between Tennessee and Texas. My band’s name doesn’t have any deep connection to that, but I like the idea. In my song ‘The Ballad of the Tennessee Texans’ – which came out of a soundcheck in Nashville one night – I knocked off a little bit of a line from a song called ’T for Texas’ that goes ‘Give me a T for Texas, give me a T for Tennessee.’ In my song, it’s ‘Give me a big fat T for Texas, from Tennessee we get around,’ so I guess there has always been this T for Texas, T for Tennessee connection.”

After relaxing for a bit on a bench next to the water fountain/turtle pond at Will Rogers Memorial Park, we decide to head over to visit Michael Lloyd at his studio. Kenny notes the beautiful blue sky and trees, telling me that “in Beverly Hills, each block was meant to have its own type of tree. One block has pine trees, another block as palm trees and so on.”

Lloyd is working on a project for the Beach Boys’ Mike Love when we step into his studio, but graciously takes some time to show me around his board and system. Kenny grabs his guitar and debuts a brand new song, “All the Girls I Meet Are Librarians,” for us. As his clear, strong voice fills the studio, a few statements he made to me in the park flow back into my head.

“Singers sing for the same reason birds sing, because they were made by God to sing and it’s their purpose. If somebody’s a singer they have to sing. If they don’t professionally, they sing in the shower or while walking. I do it because I’m inclined, programmed to and always willing to do what I’m inclined to do as somebody created by God. But I have chosen to continue to seek both of roads of music and science, whereas many people leave one behind. I was a medical professor, but I could tell things were starting to change in my life. I got divorced, and things were turning upside down. It was no longer acceptable that I just sing in my living room, I have to sing for other people. It’s all about creativity,” he concludes. “I’m reading an interesting book by Amit Goswami, a physicist who is now a creativity scientist, called Quantum Creativity, and this is really what I am. Common physics is about the multitude of possibilities, how to allow so many possibilities to exist, and I know how to do that. If somebody says, ‘Anything is possible,’ then you know they are thinking in a quantum way: unlimited, sky’s the limit.”

Brand New Road is currently available. For more information, visit

Wednesday, August 3, 2016

3 By Design

Kevin Hicklin and Frank Mullis of 3 By Design at Loaded Hollywood

3 By Design 

At Loaded Hollywood
6377 Hollywood Blvd., Los Angeles (Hollywood) 

While famed Sunset Strip music venues like the Key Club have morphed into nightclubs or have closed their doors to make way for big mixed-use complexes (House of Blues), rock is far from dead in Los Angeles. There is still a need for dark rock clubs where Angelenos can grab a few beers while checking out up-and-coming, as well as nationally touring, acts. L.A. rockers 3 By Design share such a place that has become their rock haven, Loaded Hollywood.

“This place has always been special to us. The Sunset Strip has changed so much. When I moved out to L.A., System of a Down and a lot of wonderful bands would roll through, but as time has gone on, rock has gone away from the strip. When this place popped up, there was now a rock place where people could come hang out and have a good time. We have that vibe back,” declares guitarist Kevin Hicklin. “We would meet here for band meetings even before [vocalist] Jon [Goodhue] joined. This is our spot.”

I immediately see why Kevin, Jon, bassist Frank Mullis and drummer Kent Dimmel are so fond of the place. Once you step onto the front patio from Hollywood Boulevard, you realize that the spirit of rock ’n’ roll is alive at Loaded. Tables are covered in images of icons like Gene Simmons, Billy Idol, Johnny Cash, Henry Rollins and even a tatted-up Marilyn Monroe. A wall of stacked amps serves as an apt backdrop for Loaded’s long wooden bar, as a slew of gorgeous ladies peers at you from the venue’s black-and-white wallpaper. It’s the ideal place to have a Jack and Coke and one of their juicy burgers while watching interesting characters pass by before watching a band perform in the performance space located right next to the bar.

“We played a Sunday here and thought, ‘oh, it will be alright,’ but when we showed up, this place was rocking in the afternoon,” exclaims Kevin. “It reminded me of the old punk rock places I would hang out at in Washington, D.C., like Club Soda, where punk rock shows would be Sunday matinees.”
Loaded Hollywood

Kevin orders some beers, and we have a seat on the patio with Frank to talk more about the city and 3 By Design’s past, present and future. They just released their second EP, Enemy, in July and were named Krave Radio’s Band of the Month. When we discuss the band’s beginnings, we discover that the year 2000 quite a pivotal one for both of 3 By Design’s founding members.

“I was fortunate to go to a lot of shows over the years. I was in high school when the first Lollapaloozas were coming around, and my mom – she’s had a hand in all of my music stuff – got tickets for me and a friend. I remember when Korn toured for their first album, and I got to see them at Hammerjack’s, an old-school club out in Baltimore, before they hit. Something inside me said, ‘I have to do this,’ because they were so unique at the time. There was nobody like them,” recalls Kevin. “Then I saw Incubus on the Family ValuesTour and was blown away with their musicianship, their talent, their show. I was like, ‘I just have to go to Southern California,’ and in 2000, I moved to L.A.”

Frank had a musical epiphany of his own in October 2000.

“Seeing Tenacious D at the House of Blues on the Sunset Strip that night completely changed my life, and it’s the reason why I started playing music,” he says. “I had started playing bass around my birthday in January 2000 because my buddies were all in bands, and I always wanted to play an instrument. Eight months later I would still kind of practice, run scales, but after that night, every single day from then on in I was practicing three hours a day. The Tenacious D show completely changed me. I started taking playing more seriously and really focusing.”

Born and raised in Southern California, Frank’s schoolmates in Rosemead listened to Korn and Marilyn Manson, his buddies were all into Iron Maiden and Metallica and, while he liked all of those bands, his own preferences were a little different. 

“The bands I love the most are Earth, Wind & Fire, the Gap Band, Dream Theater, Yes, Hall & Oates, Steely Dan and the Beatles. George Michael is one of my heroes when it comes to singer-songwriters – I love him,” he confesses. “I picked up bass because songs with a lot of bass really speak to me. All the bass parts are the cool parts, so I wanted to play bass. I wanted to be Geddy Lee, John Myung or Tye Zamora from Alien Ant Farm. Those are the guys that I loved.”

After jamming with different friends over the years, Frank and his friends started a band and played shows at places like Hogue Barmichael’s and Chain Reaction in Orange County. Meanwhile, Kevin was growing up just outside of D.C. surrounded by a new wave of punk rock. 

“I went through a few phases. When I first started playing guitar, I was really young. My mom said, ‘If you’re going to rock, you need to learn how to play,’ so I was in a lot of music programs as a kid. She me take acoustic flamenco lessons, but I just kind of checked in to them. When I was in grade school, I got into metal,” he says of the time when his interest in guitar was really piqued. “Then in college, there was a huge revitalization of punk rock. You had Bad Brains and Minor Threat, but this was a whole other wave of youthful energy. The straight-edge movement was huge, and just being involved in that was awesome. I had been playing music for a while, so I had a little step up on the punk guys who were super raw but so powerful. Their energy was a lot to take in. I definitely had great experiences playing with guys in my youth who have gone on to do great things. Those lessons that they’ve taught me early on – to love it but to love it enough to stay disciplined and work at it to get better – have stayed with me.”

Kevin and Frank eventually met in 2008 when they ended up working at the same Best Buy.

“We met before the store even opened. I was helping him set up the guitar wall, just chit chatting and thought he was a cool guy,” remembers Frank. “We would talk about music, but he didn’t even realize I played bass until months later. I would go into the music room and play bass on my breaks, but I didn’t really make it known that I was a bass player. One of those days, I was tinkering around, and he heard me.”

“I heard somebody playing while I was working on a guitar around the corner. There was an etiquette thing when good musicians came in, you let them play a little bit and do their thing before you went and talked to them, but something about his tone and how he played touched me. I got to the point where I said, ‘I have to go see who this guy is that’s playing.’ I walked around the corner and was like, ‘Frank?! What?!’” laughs Kevin. “I happened to be in a band at the time that was going through problems with our bass player, and that just started everything with him and me.”

“I was apprehensive about joining his band at the time because I didn’t know how I would fit into it. They were really rock ’n’ roll-looking dudes, and I show up in my beanie,” admits Frank. “But it worked for two reasons: I’m a really fast learner, and I show up on time, I’m reliable. Plus my friendship with him really kept me in the band. He’s my favorite person to write music with.”

“Hands down, if there’s anything I’m involved in, I call Frank,” agrees Kevin. “That’s how 3 By Design came alive because we had these different musical things going on, and anytime I came across something, I had to call Frank to be involved because he’s just on another level with his musicianship. He pushes me all the time.”

The duo joined forces on several projects and eventually formed 3 By Design in 2014. They began playing with one drummer, but when that didn’t work out, they jumped on BandMix and found Kent.

“The day we stopped working with that drummer, we found Kent on BandMix. His videos were sweet, so we called him up and started playing together. We just clicked, and songs were coming together with his drumming,” recalls Frank. “He’s one of the hardest working drummers, musicians in general, that I’ve met in my life.”

“He is so disciplined, a guy who will be in there all hours of the night working,” concurs Kevin. “His spirit is incredible. That has inspired all of us.”

Now that they had found a drummer, they just had to pin down the right singer.

“We thought about what our ideal singer would be like: somebody who could deal with us because we love it so much and ask a lot from everybody that we play with, someone who is playing their own shows,” informs Kevin. “When we came across Jon, he had just moved up from San Diego and was playing solo acoustic gigs every weekend. It was a trip because he was that guy we envisioned. We all had similar influences; all of us found what we were looking for in each other.”

The foursome started getting into the rhythm of writing with each other, resulting in the release of their debut EP, Under the Surface, in 2015.

Kevin shares, “In the early days with Under the Surface, Jon was stepping into a lot of musical ideas that Frank and I had already developed—“

“For years, some of those songs were a couple of years old,” chimes in Frank.

“Jon was able to just step in and write,” continues Kevin.

“He’s such an incredible singer and lyricist,“ agrees Frank. “Now we’ll write a song with a dummy title, and Jon just works with it and comes back with lyrics based around that title. It just works.”

Jon is also responsible for the beautiful art that adorns both EP covers.

Frank, Kevin, Jon and Kent
“He did all the graphics. It was the same process as when we do our music: We talk about concepts and ideas, then he finds a way to bring it to life. He’s a true artist,” says Kevin. “Jon had a vision for the Under the Surface cover of things not being what they seem. With the new EP, we talked about the different concepts of an enemy. You have different forces working against you in life: other people, yourself. He had started talking about two angels – the good side and bad side battling it out.”

Speaking of visuals, 3 By Design released a gripping video directed by Matthew Brown for, “Shatter,” the lead single off Under the Surface and are set to unveil a new one for Enemy’s first single,” Man at the Wheel,” directed by Ed Paul Garrity. Kevin says to expect some surprises in the clip and that “it’s something that they’re super proud of.”

Having connected with artists like Brown and Garrity, as well as other bands at places like Loaded Hollywood, is actually the thing they love most about Los Angeles.

“As a rock musicians, this is one of the best training grounds because it is no holds barred out here in the music scene. A lot of the lessons that you learn here stay with you,” begins Kevin. “A lot of bands are doing their own thing, have a lot of things going on, but when you make that union and link up with other bands, it’s something special.”

“Even if they’re not necessarily our same genre the energy is the same. There are certain bands that when we hear we’re doing a show with them we get super excited,” continues Frank. “I remember hearing stories of how some bands would sabotage each other, which sucks, but I have only come across a few jerks that have been in bands. The good have far outweighed the bad. I think it’s because of the climate of artists and making money, now more than ever we have to band together so we can grow together. It’s so important to build that foundation.”

3 By Design has toured the country, but there’s a common question that seems to follow them wherever they are when it comes to their band name.

“There’s four of us. We know that,” laughs Kevin. “The name has different meanings to all of us that stem from when it came about and different ways that we see it. It’s unique, and that’s what we wanted.” 

“For me, the meaning changes all the time,” concludes Kevin. “When someone tells me what they think it means, it’s correct – an eye of the beholder kind of thing. The last thing I want to do is take away what our music or our band name means to them. Why take that mystery away?” 

Enemy is currently available. 3 By Design performs Aug. 6 at the O.C. Fair in Costa Mesa and Aug. 16 at the Troubadour. For more information, visit

Tuesday, May 10, 2016

Josh Haden of Spain

Spain frontman Josh Haden at the Gaylord Apartments in Koreatown


At Gaylord Apartments
3355 Wilshire Blvd., Los Angeles (Koreatown)

When interviewing an artist about his latest album, it’s such a treat to get to visit the studio where the music was actually recorded. Such an experience is even greater when the location is as rich in history as the Gaylord Apartments.

“I think everyone who lives in Los Angeles knows about the Gaylord, even if they don’t know its specific history,” says Josh Haden, the founder, bassist and songwriter of pioneering slowcore band Spain. “It’s pretty old, and anyone who drives through here to Downtown has to pass this building – it’s pretty noticeable.” 

Spain’s sixth release, Carolina, was recorded in musician Kenny Lyon’s (the Lemonheads, Divinyls, NoFX) studio that is located in the building (Drummer Danny Frankel (John Cale, k.d. lang, Lou Reed) laid down his tracks at his home in Joshua Tree.). Kenny played acoustic and electric guitars, piano, keyboards, banjo and lap and pedal steel on Carolina, and he also served as the album’s producer, engineer and mixer. 

Kenny graciously opens his doors at the Gaylord to Josh and I the day after Spain’s first show of a three-week residency at the Love Song Bar. The trio premiered songs from the new album, which is set for release June 3, and they also play tonight, May 10, and May 17.

After Josh and Kenny show me the studio space, we sit down to discuss some of Josh’s musical history, Carolina being a bit of a departure from past Spain albums, the rekindling of his passion for storytelling and how he began to deal with the death of his father, groundbreaking jazz bassist Charlie Haden, while writing the new songs.

“My mom says that after my triplet sisters were born when I was 3 and a half, the house descended into chaos, and I would just go into my room. That’s when I taught myself to read as an escape. I’ve always been a reader, and I went to school for writing as an undergrad. So I’m kind of like a failed writer/novelist. It’s too difficult an art that I can’t even master, especially short stories. For this record, I decided I was going to write short stories but make them songs,” Josh explains. “It’s hard to write a song that’s a story. It takes a lot of concentration and time, and I was being a little lazy on my earlier records, writing not so story-like songs. With the new record, almost every song can be a story with a beginning, middle and end.” 

From “Battle of Saratoga,” which tells the tale of a heroin-addicted musician trapped in his New York hotel room by a snowstorm in the 1960s, and recounting the Farmington Mine Disaster of 1968 in “One Last Look” to the world of a 1875 homesteader in “Tennessee” and images from Josh's own childhood in Malibu in “Station 2,” Carolina is full of vivid portraits of a wide range of characters.

“My dad is from the Midwest, so I’m exploring that general territory. A lot of it was my dad passing away [in July 2014], dealing with those emotions. In the first song, ‘Tennessee,’ I’m leaving Tennessee to go to the Missouri line. Missouri is where my dad grew up, so that is more of it than picking the South as a symbol," Josh responds when I ask if he specifically concentrated on the region while writing Carolina. "At the same time, there is a lot of symbolism with the South, and I’m working with that as well. The worst of American history happened in the South, and that is a very powerful topic for songwriting; many songwriters have used that for themes. I’m just starting to, and I think the next record is going to go even deeper than that.”

With all this talk of stories from the past, both real and fictional, it’s hard not to take in the immense history of the building that we’re sitting in. The Gaylord – named for land developer, publisher and eponym of Wilshire Boulevard, Henry Gaylord Wilshire – was built in 1924 as one of Los Angeles’ first co-ops, but when the lavish apartments didn’t all sell, the co-op dissolved. From 1930 on, the units became long and short-term rentals for the likes of John Barrymore, Richard Nixon, Yo Gabba Gabba’s DJ Lance and Kevin Dillon of “Entourage.”

The bottom floor used to house a grand ballroom, which became a nightclub called the Gay Room in 1948. This space eventually became the nautically themed HMS Bounty bar in 1962.

In days past, the original Brown Derby restaurant sat just to the west, while the Ambassador Hotel – where Robert F. Kennedy was assassinated in 1968 and currently the site of a group of schools named in his honor – and its famed Coconut Grove nightclub was located across the street from the Gaylord. Although Koreatown is rapidly gentrifying, and change is happening all around the HMS Bounty and Gaylord, there is still an air of old-school elegance to the building’s lobby, patio and pool area. Josh informs me that jazz musicians would stay at the Gaylord when touring, and Kenny points to a pile of rubble across the street that used to be a jazz club. 

Charlie Haden first saw saxophonist Ornette Coleman – who eventually became his longtime associate – play at a club that was formerly around the corner from the Gaylord, so the area definitely has significance to Josh. He has vivid memories of being 12 and hopping on a bus from Malibu with a friend to attend the Los Angeles Comic Book and Science Fiction Convention at the Ambassador Hotel.

“My friend and I used to bother Bruce [Schwartz], the guy who puts on the shows, by following him around, trying to distract him from his duties at the convention. He would try to introduce special guests on stage, and my friend and I would catcall him from the audience. He would get so annoyed and frustrated with us. He would run away as soon as he saw us, but in a joking way. He was always so nice,” he recalls. “I stopped going for years, and then on a lark, I saw they were having another convention. Thirty-plus years later, he still puts out the same fliers in the same font. I went to it and found him at the convention. I introduced myself as one of the two kids who used to torture him 30 years earlier. He joked, ‘You’re the kid who was bothering me years ago. How dare you show your face here!’ Now we’re kind of friends, so when I go, he stops and talks to me. When I go to his conventions, I go into the 25-cent boxes, buy 30 or 40 comic books and bring them home. It takes me a few months to get through them, but it’s fun.”

Josh also has strong memories attached to a certain album he would stare at in his parents’ record collection as a child.

“I would put headphones on and stare at the album artwork on the Beatles’ Revolver,” he shares. “I would just stare at the great black-and-white psychedelic drawing on the front and listen to ‘Taxman’ and ‘Eleanor Rigby’ when I was between 5 and 7 years old.”

As he grew up, Josh and his buddies would listen to AC/DC, Led Zeppelin and Van Halen, but that all changed one day when another friend introduced them all to something else entirely.

“My friend brought his boombox to school, slammed it on the lunch table, said, ‘Josh, listen to this,’ and pressed play. It was ‘Jealous Again’ by Black Flag, and all those other bands went out the window. From then on it was Adolescents, Black Flag, Circle Jerks, Social Distortion, Shattered Faith and Bad Religion. We loved The Decline of Western Civilization soundtrack,” he tells. “The first punk show I went to was Fear and the Minutemen at the Whisky when I had just turned 13 or 14.” 

It was around this time when Josh began playing his own music.

“My parents split up when I was pretty young, and my mom did not want me to be a musician, so she kept me isolated from musical instruments,” he says. “In her mind, maybe if she could keep me from being a musician I wouldn’t end up like my dad. My sisters got the piano, violin and cello lessons, but I didn’t really start playing an instrument until I was into punk rock. I tried playing guitar, but it didn’t click with me, and then I switched to bass. My dad bought me a bass when I was 14, I took some lessons for about a year and then I was in a punk rock band. I said, ‘I don’t really need lessons. I can do this; this is easy.”

Although he harbored dreams of being a writer, all Josh wanted to do at this time in his life was play music.

“When I was 16, we started a band called Treacherous Jaywalkers and literally rehearsed five days a week. We would get out of school, go to James’ [Fenton] house and play music until we had to go home,” he remembers. “We didn’t think of it as dedication, it was just fun. We didn’t have any other responsibilities, so that’s what we did.”

Josh shared all of the bands that were inspiring him with his dad and his three sisters – Tanya, Petra and Rachel. 

“Then when we got a little older, my sisters [Rachel on bass, Petra on violin/vocals] started a band called That Dog with their friend Anna [Waronker], and that actually influenced Spain a lot because their songs were mellow and quiet. I heard those songs, and they reinforced the direction I was going in. I thought, ‘If they can play songs like that and people are going to their shows and they’re getting attention, I could probably do it, too.”

He formed Spain in 1993, and their debut album, The Blue Moods of Spain, released two years later. The album featured the haunting song “Spiritual,” which has been covered by artists that run the gamut, from Johnny Cash to Charlie Haden and Pat Metheny. Spain went on to release two more albums, She Haunts My Dreams and I Believe, before taking a break then reforming in 2007.

The Soul of Spain debuted in 2012, featuring Petra, Rachel and Tanya – the Haden Triplets – to critical acclaim, and the band toured all over Europe. The following year, Sargent Place (named for the Echo Park studio it was recorded in), was released, featuring the final recorded performance of Charlie Haden on the track “You And I.” 

With Carolina, Josh makes a conscious effort to move away from Spain’s past material, and the album artwork is indicative of this. 

“[Nate Pottker] sent me this portrait that he drew out of the blue. The drawing itself is great, but what really struck me was the color that he used, that blue. It was this very unique and creative wash that he used, like a pen drawing, for a really interesting, spontaneous background. I thought, ‘If this was an album cover, people would notice it,’ so I contacted him,” he says. “It was happy circumstance because I really wanted to get away from what I was doing with Spain album covers in the past. I wanted to make a clean break from that, musically advance to another level and do the same with the art – break out of a rut I had found myself in after many years.”

When I ask if one of the new songs, “Starry Night,” was so named because he is an art lover, Josh replies with “Probably.”

“I got a love of visual art from my grandparents, my mom’s parents, who were always members of LACMA. My grandma would always say, ‘There are two things you always need to have: a membership to an art museum and a subscription to a newspaper,’ so I’ve tried to be a member of LACMA as much as I can,” he says. “I also like the Norton Simon. It’s smaller, nicer to hang out at, and they have really great art, too.”

While he admits to loving too many restaurants in his neighborhood of Silver Lake, Josh does have a few favorites.

“We go to a Brazilian chicken place on Hillhurst [Tropicalia Brazilian Grill?] a lot. They do one thing really well. Tomato Pie has the best pizza in our neighborhood,” he reveals. “On the west side there’s a French restaurant, Mélisse, which is so expensive I wouldn’t be able to eat there, but my dad loved that place and we would go there on special occasions. It is amazing. We do like Cafe Stella, it’s expensive but not as bad, so we go there a couple times a year.” 

As Spain gears up for a month-long European tour, Josh admits to really only missing two things when he’s away from home: his family and good Mexican food. He thinks Los Angeles is great, but if he had his way, he would live in New York City and make every Angeleno spend time someplace else.

“I think that every young person should at least live in New York City for a couple of years to experience it because it’s so different and inspiring in a way that L.A. isn’t, and L.A. is inspiring in ways that New York isn’t. If I was the president of L.A. Unified School District, I would put millions of dollars into a program to get every student to be a roadie for a band on tour in Europe just to experience the cosmopolitan nature of life and to meet people from all walks of life,” he concludes. “Most people don’t have the money to travel. If I wasn’t a musician, I probably wouldn’t be traveling either, but I think it’s important to force kids to have those experiences because that’s what opens their minds, lets them be peaceful, aware and thoughtful people.”

Carolina will be available June 3. Spain performs May 10 and 17 at the Love Song Bar. For more information, visit

Wednesday, April 13, 2016

Bryan Baca and Sean Michael Beyer

Citrus Springs filmmakers Sean Michael Beyer and Bryan Baca at Robin Hood British Pub


At Robin Hood British Pub
13640 Burbank Blvd., Sherman Oaks

“I’ve always said, ‘Have foresight,’ because there are so many people in the film business that just think about right now and don’t plan for the future. In 1989, I worked on the first season of ‘Baywatch’ as a stand-in, a beachgoer. There was this young PA busting his butt on set, and I befriended him. We’d eat lunch together, and then two years later he called me to ask if I would act in a short film he was directing. I was nice to him, and he remembered,” recalls filmmaker Sean Michael Beyer. “You always have to think about that: It’s a small town.”

Hollywood is indeed a small town where careers can be over before they even take off if you’re known to have a bad attitude, and sometimes getting your script to the screen is all about whom you know. Luckily for writer/director Bryan Baca, when it came to making Citrus Springs, his feature-length debut, he had a seasoned pro at his side.

“Sean really made it go from a glorified student film into an actual movie. He was the one that was able to figure out the things that I wouldn’t have been able to,” confesses Bryan. “For example, we were going to shoot everything in the psychiatrist’s office in a living room, but when we were looking at this soundstage for our dining set, Sean had the foresight to go in and find a spot that would be perfect for building our psychiatrist’s office. He was able to accomplish a lot with a small sum of money.”

Sean not only produced the film under the company he established in 2000, Eye Scream Films, he also has a cameo in Citrus Springs. He and Bryan invite me join them at the place where many of their post-production meetings for the movie took place, Robin Hood British Pub, for a conversation about their working relationship, cinematic influences and the making of Citrus Springs.

Robin Hood British Pub
Both filmmakers are originally from Northern California, but Sean had already been in Los Angeles for a while before meeting Bryan.

“My step-uncle is best friends with an actor from Sean’s first movie, Down the P.C.H.,” tells Bryan. “He told me about that movie, so I looked it up and found him.”

“He stalked me online over AIM [AOL Instant Messenger],” chuckles Sean.

“I had planned to come down for a long time. I eventually went to CSUN [California State University, Northridge] and graduated in 2013,” informs Bryan. “It was nice moving down here for school because it gave me a platform to set myself up on.”

As I settle into the corner table Bryan and Sean are seated at in the corner of Robin Hood, it strikes me how homey the pub is. With its warm lighting, wood-paneled dartboard area, old-fashioned striped wallpaper and exposed brick features, the place is a cross between a grandma’s cozy house and a men’s lodge.

“When we filmed the movie in June I still lived in Northridge, but I moved right down the street in August when we were just starting post for Citrus Springs, and this was the closest place. I walk here a lot, eventually brought Sean and we’ve met here pretty consistently ever since,” says Bryan. “It’s really authentic British cuisine. Their Fish and Chips are the best in L.A.”

In addition, Robin Hood’s menu boasts English specialties like Bangers and Mash, meat pies, Scotch Eggs and even proper pots of tea, which Bryan is enjoying.

“What I like about this place is that they serve a real Black and Tan. So many places don’t carry Bass Ale on tap,” adds Sean. “The only thing that they say is not authentic about it is that the beer is cold. If it was in England, it wouldn’t be cold. It would be room temperature because you get so much more flavor out of it.” 

We dive into a plate of fried calamari, and the pair shares what kind of films and TV shows made an impression on them growing up.

“I love comedy, but I love dark comedy. I’ve always gone back to comedy, but my first film was pretty dark,” admits Sean about Down the P.C.H. “I’ve always leaned on the darker side. I like the crime dramas on television, the darkness of science fiction. In ‘Star Trek’ and Star Wars, there’s always a dark side.”

“I’m all about dark, depressing, dour and scary – that’s always been my favorite genre. I love Scream. The small-town vibe is captured so well in that movie,” says Bryan. “One film that I always go back to is The Silence of the Lambs. I love how intense and terrifying that movie is, but it’s also very mature. It’s a drama with horrific elements and movies like that, you just don’t see them as much as you did in the mid ‘90s. It’s rare that you see those adult R-rated violent dramas, and that is what I was going for with Citrus Springs.”

You can definitely see the influence of darker works in Bryan’s shorts: Identity Theft, Rapture and Lamb to the Slaughter.

“I also watched a lot of slasher films growing up, which had some influence on Citrus Springs. This isn’t a straight-up slasher movie, but I really would be sitting in my room growing up in Folsom, imagining someone kicking in the door. I had that fear,” admits Bryan.

“So, he put that fear on screen,” interjects Sean.

“The scene with the character of Dylan in his bedroom was the first that came into my head. Everything else built off of that,” says Bryan of the development of Citrus Springs’ script. “Originally it was going to be a cops and robbers story, but when I really started writing was when the whole psychiatrist angle came out. It all just went from there.”

When Bryan showed Sean his initial finished script for the film, he was reluctant to make any changes that were suggested. 

“I gave him notes, he hated them but then agreed with them later. It’s just the nature of writing: You get very protective of your material. I’m the same way,” Sean describes. “They say you write a movie three times: You write the script, then you shoot it (which is essentially a rewrite) and then when you edit it.” 

Aside from making some minor changes, the script was ready to roll into production. Then, a major casting catastrophe happened.

“The actress cast in the lead role dropped out four days before we started shooting, so we had to scramble,” remembers Sean. “We had already started spending money on insurance, film permits, locations, and especially on a low-budget film, you can’t just stop. Casting director/co-producer Valerie McCaffrey called me and said, ‘I’ll get it done,’ and we had Christa the following day. Bryan and I had a conference call with Christa the day before we started shooting to ask if she had any questions. She replied, ‘No, I just have to memorize my lines.’”

Christa Campbell and Nicole Smolen in a scene from Citrus Springs
It was a windfall that the last-minute switch was made, as acclaimed actress (Day of the Dead, Drive Angry) and Oscar-nominated producer Christa Campbell stepped into the lead role of Jean quite well.

“Of the people who have seen this film, older women seem to really respond to the female protagonist, even though she’s cold and calculated – not warm and fuzzy,” says Sean of the response to Campbell’s performance. “It’s interesting because that’s normally not the audience for this type of film, but I think it works.”

Once the role of Jean was filled and some initial scenes were filmed in the L.A. area, the cast – which includes Jesse Luken (“The Magicians,” “Justified,” 42), Nicole Smolen (8 Days), Adam Carbone and veteran actor Richard Riehle (Office Space, Fear and Loathing in Las Vegas) – and crew caravanned up to Sacramento for the 18-day shoot.

“It was always my plan to shoot it in Folsom where I grew up. It is this weird mix of suburbia and beautiful wetlands that gives the film such a unique vibe,” describes Bryan. “I was super excited to film there. It felt like one of those short films in high school you would shoot with your friends but with really nice gear and a professional crew. That was one of the coolest parts about going back to my hometown: I had shot high school videos at some of these locations. To come back with a crew of 20 people, it was awesome.”

Now that Citrus Springs is completed and set for a May 17 release on VOD, I ask the duo what they have lined up next. While Bryan has been working as story supervisor on an animation project, Sean is developing some children’s projects and preparing to shoot his next film, Randy’s Canvas.

“I wrote this script 11 years ago about an autistic artist who meets this girl and falls in love but has no idea how to handle emotions. What’s unique about this film is that we’re doing it nonprofit, benefitting autistic charities,” he shares. “We’re going to shoot it in Rhode Island, and everyone there is so excited to be a part of it. We interviewed some of the higher functioning children with Asperger’s, and all of them and their parents said, ‘Hollywood screws up autism. Not everybody is Rain Man or a genius. It’s all different levels.’ When the people there read our script, they were like, ‘Wow, you’re going to do this right.’”

While it was wonderful being back up in NorCal shooting Citrus Springs, Los Angeles is definitely home for both Sean and Bryan. 

“I told him, ‘The longer you’re here, the less you go back home.’ I remember when I was first here, I went back and forth to Grass Valley four or five times a year, and now there are times I don’t even go back for two years,” states Sean. “There are definitely perks to being in the industry and getting to know people. I’ve been lucky to be working in this industry, to be able to say I’ve earned a living doing this.” 

“Once I finished school, built up a solid social circle and felt like Citrus Springs was moving forward, it was huge, something I could really be proud of. Then there are simple things like finding spots like Robin Hood and the Cinefamily in Hollywood that make you feel like part of a community,” concludes Bryan. “Los Angeles is an easy city to feel lonely in because there are so many people. You just walk past hundreds of people every day, yet it’s rare you make eye contact with anyone. Once you start feeling established, it’s a great place. 

“Being a lover of film, getting to see first-run movies the first week that they come out is something I now take for granted,” he continues. “The film community here is the biggest thing for me, that this is the city of the art form that I love.”

Citrus Springs will be available on VOD May 17. For more information, visit

View the official Citrus Springs trailer at