The new and improved DH is designed to promote awareness of underground and unsigned country musicians. Here you'll find reviews, interviews, advice and all other types of resources for independent musicians, labels, and venues. We're always lookin' for reader submissions. We'll be happy to publish any article as long as it at least somewhat relates to the site here. DH can only get as strong as it's readers and contributers so buck up, pitch in, and watch out!
Email ideas to WhiskeyChick@DrunkenHillbilly.com
~WC~

Andy Tanas - Drunken Hillbilly Legends - Exclusive Interview

Written on June 18, 2006 – 4:02 pm | by whiskeychick |

by Buckshot George
Andy Tanas For the first installment of DrunkenHillbilly Legends, we had the good fortune of landing an interview with Memphis-based indie artist Andy Tanas. He gave a great eyewitness account of life in the music industry from his early days as a live sound engineer during the southern rock movement of the 1970s, his stint with legendary southern boogie rock act Black Oak Arkansas, his major label gig with Swiss 80s heavy metal band Krokus to the present day as an independent label solo artist and live acoustic performer. Besides sharing his story and giving out good advice to aspiring artists, he even has plenty to say about God, girls and good Memphis barbecue

DH: As musician with a wide range of experiences in rock genres, why country music? Was it something you loved growing up or something you discovered as an adult?

AT: When I was a young kid…five or six maybe… my mom worked at a beer joint in North Memphis called the Howdy Cafe. They would put me on a table and I’d dance and sing anything from Elvis to Johnny Horton to Patti Page. All these people would give me money but the one thing they all said was how country I sounded even then. I stayed a lot with my grandparents as a boy and watched country music shows every Saturday afternoon for about three or four hours. Once The Beatles, Stones and British Invasion happened it wasn’t cool to sound country. So I suppressed it and tried to sound like Lennon, Davies or Jagger. Around 66 or 67 my cousin’s family took me to one of those Country Caravan shows here in Memphis. I thought the cloggers in all that loud gingham was hysterical and my cousin and I were heckling them. Got my ass beat for this when I got home. Most of the performers were your garden variety country singers. Then Don Gibson came out. He was called the “soul man of country music” because he got so emotional and dramatic onstage. No one in country has ever touched me like that guy. He acted like a man possessed up there bashing out these heartache songs and almost writhing in pain during the solos.

I loved all that late 60’s early 70’s classic rock and felt like mixing that with country would be innovative and interesting if it was done right. The closest I’d heard to it was early southern rock but still not as heavy as I was hearing. That’s kind of where it started. The worst place to do this was LA in the mid 80’s. Back then…there was Lone Justice, Los Lobos, Rosie Flores and a few others. Trying to convey your vision to other players and guys in the biz was a hard sell out there. The Rompers started in 1990 and was the closest I got to it out there. Really popular band in OC up and down the coast but still not what I was imagining. It didn’t click until I got back to Memphis in 1993. I decided then to let the country out but try and keep it as heavy as possible musically. Then that whole alt-country, Americana thing came around and I wasn’t so weird anymore. I was hearing these Nashville yahoos try some classic rock approach every now and then but it sounded watered down and a little too contrived. Classic rock was all about being adventurous and unpredictable.

DH: Your website states that your latest work “Songs From the New South” took four years to make and you worked with Voytek Kochanek (Steve Vai, Ozzy, Peter Frampton, etc.) as engineer and co-producer. Where was it recorded and what musicians were used? We also appreciate any elaboration here such as magical moments that occurred while recording, etc.

AT: I started out tracking here in Memphis at Power House Studios with Kevin Houston engineering. He’s absolutely brilliant at what he does. He just finished Jim Dickinson’s solo cd. Do a search on both of them and you’ll see their history. I got into a disagreement with the studio’s owner and pulled out and went to Nashville where I met Voytek and Lilliana. Voytek is Polish and was a hotshot at Paramount Studios in Hollywood back in the 80’s. The coolest thing about him is that he’s not your garden variety, Nashville tried and true, safe engineer type at all. He’s open to anything and will try anything to enhance the project. Plus… he loved the idea of mixing country with late sixties, early seventies classic rock and trying to make it as anti-Nashville as possible. His studio was right on the lake in Hendersonville with a Telefunken 2″ recorder and a vintage SSL board from 1985.

Cody Dickinson (North Mississippi Allstars) and Robert Barnett (Big Ass Truck) played drums. I played all the bass and most of the guitar. Hank Shipman played some guitar too…great player. Brian Ward (Bonepony) played mandolin. He’s probably one of the most eclectic players out there and will take the most left of center approach to finding cool parts. Kyle Jones (Sting) played djimbe. Kyle came in thinking it would be a safe restrictive session and flipped when he heard what we were doing. He got so excited that he offered to do anything to help out… even killing a live chicken if we wanted him to… just kidding… or was he? Voytek’s wife, Lilliana and Valli Kugler (Miss Tennessee 2002) and my stepdaughter Rachel all sang background. Lilliana writes children’s books in Europe. Valli was recording a demo at the studio and working with Lilliana and Voytek. They had a unique sound between them and went down on tape so well. Eddie Dunbar from The Blue Healers sang on the cd’s first cut. Really nice guy and some serious range vocally.

My favorite moments would have to be working with any of the above because they were there for all the right reasons. The one thing that stands out is after every session when we felt like we had done something special and got a little closer to our goal… we always did a shot of Polish vodka straight out of the freezer and saluted the project. Very fond memories.

DH: One of our missions at Drunkenhillbilly.com is to familiarize aspiring musicians with different approaches to recording and releasing their music. On Amazon.com, your label is listed as ‘RT Etc. Music‘ Is this a homegrown DIY label that you run yourself or is it an independent label with other artists on their roster? We’d like to know as much as possible about how you released your record and about any advice you might have on this subject.

AT: Yea… RT Etc. Music Group is the label, publishing and production company. It’s better and easier to keep it all under one umbrella than three separate companies. I’ve ran a computer brokerage and repair company since 1990 so I know how to set up and run a sole proprietorship. There are no other artists on it except myself but that could change. There’s two or three that I would sign right now if I had the finances to promote them properly. The only advice I could give anyone is diligence and tenacity are your best friends. The sad reality is that in todays climate for indie artists… it’s not enough sometimes. Because of digital recording technology, everyone, their dentist and their dog has a cd out. It has about as much clout as saying I have a refrigerator or a toaster oven. There’s some very ambitious music out there right now but most is pretty generic and predictable. Almost mimicking others instead of tapping into something more original. Because of this… it’s harder to get your work noticed. If I had any advice for anyone… it would be to strive for originality… get out and play as much as possible and don’t give up. The best way you’ll be noticed as an indie artist is to sound different than what’s out there right now. Tough road out there… but still possible.

DH: Do you have a home studio? If so, what kind of gear are you using?

AT: I have a Roland VS2400CD and a variety of mics. I’m a big fan of CAD upper line mics. I have about nine guitars, a Kubicki X-Factor bass and some cool vintage processors.

DH: We’d like to know a little about your live show. Your website seems to indicate a lot of live activity in Hot Springs, Arkansas. Who is in your band? What kinds of places and shows are you playing? Are you touring at all these days?

AT: I’ve noticed that it’s much harder for musicians to commit to projects these days. Most are playing in three or four bands just to make ends meet. I understand the necessity of this but I can’t make them understand that they will never gel as a band or develop a band sound if they spread themselves too thin. I also have serious issues with mercenary types that are there for money or whatever. So I’ve stepped away from the band thing and have been playing acoustically for the last two years. This was hard at first because I miss the power of having a live band behind you…I don’t miss the bullshit that goes with it. Since I’ve been doing this I’ve fallen in love with playing all over again and feel almost the way I did when I was fourteen or fifteen years old. I love strange tunings and the sonic possibilities you can get from acoustics and subtle processing.

Last year I started something called The Acoustic Blowout Party with two guys from another band here in Memphis called Tucson Simpson. It’s a two or three hour showcase of acoustic music and songwriting but with a twist. We also have friends that come and sit in with us. What’s unique is that we sit down and learn material from a lot of cd’s so that we’ll be familiar with it rather than just jamming or schlocking our way through it. We’re playing within a three hundred mile radius every now and then. Hot Springs has embraced what I’m doing because it’s a quirky little area to begin with. They love my songs and voice but are drawn to these weird covers I’m doing. I do a Britney Spears song (Hit Me Baby) that’s becoming notorious (really funny too) and have rearranged everything from Hank Williams to John Prine to Madonna to Alice in Chains.

Touring…just over the last few days I’ve been offered some shows in the northeast up around New Hampshire and Boston. I’m working on some shows there and back so technically that will be an Andy tour. I’m working on some Texas shows with myself and John Kilzer too. John is one of the best singer-songwriters on the planet and a joy to be around. It’s a hard sell for me with these clubowners and booking agents out there because if I mention the bands I’ve worked with they assume that I’m an old burned out fart that’s clinging to the dream of being a “rock star” again. They’re thinking it’s gonna be a night of wannabe Skynyrd songs and a fat middle aged guy doing rock poses with an acoustic. I’m convinced that most clubowners and booking agents are living proof that man, monkeys and snakes mated at some point. Plus… they don’t want to pay you anything because so many guys will play for beer and food. I’ve been so blessed because all the venues I’ve played out of town really appreciate what I’m doing. It’s a very cool feeling to get paid, a room, food and a hug when you’re done.

DH: Now for our favorite DH artist interview question… What is the craziest thing you have ever seen at one of your shows?

AT: Texarkana, Arkansas a month or so back. There’s biker chicks and guys, preppie babes and a stray stripper or two all dancing in front of me to an acoustic set. Almost too surreal to describe. My ongoing favorite is younger girls wanting to get in my pants not knowing I’m 52… life is sweet sometimes. I get a kick out of the look on their face when I tell them how old I am. I do this to chase them off… like I’m gonna boff some girl that’s my daughter’s age… I don’t think so!

DH: Your bio states that you worked in live sound reinforcement for acts like Lynyrd Skynyrd, Wet Willie, Charlie Daniels, The Outlaws, Marshall Tucker, Peter Frampton, etc. before joining Black Oak Arkansas in the late 1970s. Do you have any good stories or memories from that era that you can share?

AT: Way too many…none of the later would have happened if it hadn’t been for all the support and encouragement I got from Skynyrd…especially Ronnie and Gary. I was at a new low for low self esteem and I admired them for their work ethics with that band. After they heard me sing and play in a hotel room one night they were on me all the time to get serious about it and give up the sound roadie thing. I needed to hear this because I was getting no love at all from the Memphis music scene. It was also very beneficial for me to learn that end of it and not be dependent on a sound guy…for lack of a better term. Most guys that call themselves “sound engineers” should be selling insurance or installing gutters. It was an exciting time to be at the onset of that Southern Rock movement even though Skynyrd didn’t really embrace the term at first. On the upside… it was thrilling to be at all those huge arena and stadium shows. I don’t remember seeing a bad set or show from anyone back then. It was just a very exciting time to be in the thick of all that. On the downside… I was introduced to cocaine during that time which is a dangerous thing for anyone with low self esteem. Took about a year and a half to kick that demon. The Jacksonville Coliseum riot on the last night of that Skynyrd tour in 75 was probably the scariest thing I’ve ever been through except for a tornado when Camille hit in 69 when I was in Mississippi. If your readers want to email your site…I’d be happy to answer any questions about that time.

DH: You played with legendary southern boogie rock act Black Oak Arkansas in the late 70s on their two releases on Capricorn Records. They seem to be long out of print too. What is your opinion of these two albums in retrospect?

AT: The band was reformed in 1977 around Jim Dandy and Jimmy Henderson primarily because JD wanted to take the music to a new level and wanted to be taken more seriously as a vocalist. Now BOA was known more as a get high and let’s party kind of band and centered around JD’s sexually based moves on stage. It was almost a mistake right off to try and change this. I was the last guy brought in behind Greg Redding and Jack Holder in January of 77. Most of the songs had already been worked up and were written by Greg and Jack. This is the strongest asset of the “Race” album. The album flows well from beginning to end and sonically is pretty interesting to listen to. It didn’t do the numbers they wanted because it was so different than the BOA most remembered back in the day.

That “Sailing” record was the nail in the coffin of BOA. It’s an absolutely hideous record that has no direction and is so far removed from anything they’d done before. The producer was the same guy on the Race record and played a huge part in this. There’s a BeeGee’s type disco song and some of the sappiest ballads you’ve ever heard in your life. They were so desperate for a hit that they would have sold their kids for spare parts to get it. When the BOA set came out on Rhino in the late 80’s I read an article calling it one of the worst records of the 70’s. Bold statement when you look back at songs like “Billy Don’t Be A Hero”, “The Night Chicago Died” and “Bertha Butt”. I listened to it stoned one night with some friends out in OC and laughed so hard that I wept. It’s that bad. The poor thing never even charted. It was so uncomfortable doing radio interviews because the stations knew it was so awful that they’d never play it… not for any amount of money. Of course… it was the Titanic for BOA after that. Tours got worse… our morale was horrible and one after another started bailing. By late 1978 it was just a few of us left. Got an email the other day and there’s a move on to re-release these on cd… the horror… the horror!

DH: One of the most incredible statements on your website was when you spoke of Shawn Lane, the kid prodigy guitar player in late period Black Oak Arkansas: “The tour ended in Detroit on December 10, 1979. Nugent [Ted Nugent] came out on the encore and jammed with us. He squared off with Shawn and Shawn smoked him bad.” Based on the information available in cyberspace, it seems that Shawn Lane passed away at the age of 40 and is something of a legendary (if somewhat unknown) guitar player. What are your feelings about the guy and his abilities? He seriously smoked Ted Nugent while still in his teens??? Wow…

AT: I love me some Nugent…he’s more from the old school of playing that stems from Chuck Berry etc. Shawn was a child prodigy. I met him when he was 12 at a music store in Memphis while teaching bass lessons. I was also the one that brought him into Black Oak in late 78. In hindsight…I wish I’d never done this. Way too much excess for a fifteen year old kid to be around. People in that upper echelon level of guitarist say… without a doubt that he was one of the world’s greatest players.

For as brilliant as he was…he was not a great business person and kept getting involved with people that took advantage of this. He also had a serious weight problem and no control for excess. He was also a very sensitive person. I told him once that he suffered from the Woody Allen “Annie Hall” complex where he couldn’t ever be happy knowing that a child was starving close by. I was one of the last people to talk with him before he slipped into a coma and died that September.

If you want to see some classic Shawn Lane… check this out.
Video 1
also
Video 2

I think you’ll see how “smoking” Nugent wasn’t that hard to do. Nothing against Ted… but world’s apart from each other. It was pretty funny watching Ted square off with him and seeing the look on his face when Shawn let it loose.

DH: Your band with Shawn Lane and Jimmy Henderson called The Streets was interesting. The songs were about girls in your life and you were also becoming interested in punk rock at this time. Tell us about this band.

AT: My writing was just starting to come into form about this time. I was pretty disheartened by how corporate and formulated rock had become in the late 70’s. I heard Elvis Costello, Nick Lowe, The Clash, The Ramones and The Sex Pistols around 1976 through some friends that were more into underground stuff. I’d always believed that the best rock came from a street level approach and from poorer economic backgrounds. Which probably explains why it’s so bad today… that coupled with knowing that pretty people can’t rock and never will. I loved what these bands were doing… especially early Cheap Trick. I’m a hard core romantic at heart and had some intriguing relationships going on then with a few girls all over. That’s where a lot of the songs came from. I was fascinated by all the T&A on TV back then and felt almost like they were trying to manipulate me. So some of the songs dealt with that.

So around spring of 79 Jim Dandy decides he wants to be a minister and is giving up rock and roll. Since we were touring so much anyway just to eat…we formed The Streets and tried to get a record deal based on my songs and Shawn’s amazing playing. We got great response opening for BOA as The Streets then coming back out as BOA. We showcased at The Starwood in the fall of 79 and had some interest from some major labels. Our mistake was getting involved with Spencer Proffer (Billy Thorpe, Quiet Riot) and almost signing one of those hideous production deals. Matter of fact… Spencer was the one that came up with this when he was an attorney with CBS. Ambrosia got hurt with this deal and so did Quiet Riot. QR was broke by the end of the 80’s. The contract that Shawn was asked to sign was pretty one sided and scared him into quitting. I had some serious issues with the drummer Chris Craig (Lord Tracy) and was on him all the time about tempo, too many cymbal crashes etc. Ironically…the engineer that worked with us, Larry Brown was an amazing studio drummer from the sixties and played on the original “George of the Jungle” TV theme. He worked with Chris and made an amazing difference with his playing. Sadly…the damage had been done and there was no way to save it. Jim Dandy had also approached Shawn and Chris about playing with him once that band ended in December of 79. I guess Jim didn’t want to be a minister after all. Once Shawn said he was leaving…it was all over. Shawn told me years later that he loved that band and wished it had worked out but there was no way he would have signed that contract. Looking back… it was a blessing that we didn’t.

DH: You were also involved with Legs Diamond, an LA hard rock band. They have something of a cult following. Any commentary you have about this?

AT: I met them in 78 when they opened some shows for Black Oak Arkansas. Really nice guys and a great band. They still do shows in Texas and drew ten or eleven thousand a few years ago to a show in San Antonio. They asked me to join in 1982. So I drove up to Hollywood and rehearsed with them a few times. I loved Jeff Poole the drummer and the rest of them but there was a guy named Michael Prince that I had a weird feeling about and to this day can’t explain. I was very uncomfortable around him and couldn’t get past it. This coupled with the fact that I just wasn’t interested in music that heavy anymore. I was just starting to get back to what I loved which was more rootsy and twangy stuff. (more on this later) So after a rehearsal one night I told them that it wasn’t working out. Jeff asked me what the problem was and I couldn’t bring myself to be honest about this thing with Michael Prince (should have and can now with no problems) so I opted for the reason that I just didn’t want to play music that heavy anymore. I’m still in touch with them and friends with Jeff Poole… great drummer.

DH: You joined the Swiss heavy metal band Krokus in 1984 and appeared in the Ballroom Blitz video. This would seem to be the biggest period of your career commercially yet you walked away from Krokus to play ‘hard rockin’ country music’ instead. This was a little before the grunge revolution. Was this a huge career decision and gamble for you? Do you have any regrets about leaving Krokus?

AT: None at all. I loved them as friends and respected their playing. They told me in mid 1985 that they were jumping on the glam metal wagon and thought that was the next wave of metal. I didn’t like what I was seeing and knew that they had already made two direction changes that had alienated much of their audience. After that Black Oak Arkansas train wreck I didn’t want to be on another Titanic so I decided to leave after the tour was over. What’s ironic is that they were going to fire me for lack of interest on my part. Loved them as guys but they had a very narrow approach on music. Fernando told me once after hearing a song that had a C# over a 9th chord that he was afraid of that since he’d never heard it on the radio before. They had also recorded a demo in Memphis that was as trite and predictable as anything I’d heard before. I’m not trying to come off as a musical snob here…I sincerely believed that if Def Leppard and others could break new ground in that genre…so could Krokus. They wanted to play it safe. So that’s where the difference started. They had called me in 83 and talked about joining…I wanted nothing to do with skulls or Satan or songs about “Smelly Nellie”… probably because of my God thing and not wanting to die in a plane crash because of it. They called back in 84 and said they were getting away from the devil thing. I was in a really bad marriage and was floundering in Orange County so I took the job after auditioning in New York. Two days later I’m shooting the Ballroom Blitz video with them. Now when they called… I was playing in a roots band called The Pastels in Hollywood fronted by a guy named John Bertini. Absolutely astounding guitarist and writer. I left that to go play with Krokus.

After I left in the summer of 1985 I ran into Jeff Poole from Legs Diamond on Sunset Blvd. one afternoon. He comes up and gives me a hug and says… “Andy… let me get this straight…you leave us because you don’t want to play music that heavy… then you go off and play for fucking Krokus?” I think I turned about six shades of red and laughed until I cried. I fessed up and told him that I was totally full of shit and had no excuse for my actions. I had offers for five years to join hair bands after that Krokus thing but I had no interest. I was approached by George Lynch and Mick Brown to play with them in 1980… pre Dokken days.I kind of wish I had tried that because I liked them so much as guys and players. The only regret I have is not staying with that Marcus Malone project… that had more serious potential than anything I was involved with during that time.

DH: You have spent a lot of time as an Los Angeles musician involved in various projects over the years. Do you have any words of wisdom for anyone who is considering a move to L.A. to play music?

AT: Don’t! There’s nothing you can’t do in your own hometown if you’re kicking ass and developing following. If there’s a buzz about what you’re doing and you’re packing the clubs…trust me…the music biz will find you. LA is way oversaturated with people trying to make it. It’s also so expensive to survive that just trying to make it day to day beats up on your morale big time. Plus… these days there’s not really a scene like it was in the 70’s and 80’s and there’s this “been there… done that” kind of vibe that makes it real hard to get people out to see you.

DH: You are also involved with playing music for a Christian church these days. Do you find that this is more satisfying than being either in a major label heavy metal band or as an indie artist? Tell about your involvement and what kind of music events you are involved in with the church.

AT: I was in a praise band for about four years and had a blast. I got so busy with the cd that I had to step down and concentrate on that. I’ll do special music anywhere if I’m invited and wish I did more on these out of town shows. Playing for God is nothing more than saying thanks for what talent He gave me. It’s like your dad giving you twenty bucks as a kid then mowing the yard as a way of showing your appreciation. I’ll play bars, coffee houses and churches and try and shine in all of them. If Jesus hung out with prostitutes, criminals and scum of the earth… I’m very cool with them too.

That term “Christian” has such a bad rap these days because of the Pat Robertson’s and Jerry Falwell’s out there. I was just in Michigan last week and saw a guy pimping “spirit water” on TV. This was nothing more than bottled water with a label that said “Spirit Water” with a cross on it. I struggle with the mentality here in the south that God is all about fear, guilt and burning in hell. I’ve been a Christian since 1973 but had issues with the above and personally going through some things that pushed me away from it. I reconnected in 1999 after a twenty five year search for some kind of truth and meaning to this life. I met some people that helped and guided me to the core of what it is… this has been a total revelation for me. It’s all about love, understanding and forgiveness which the lack of is three things that plague our world down here the most. There’s also some misconception that Christians are perfect people and not capable of screwing up. Then there’s that whole Ned Flanders image… Now… I get what’s it’s all about and it’s not about bashing gays, screwing people for money or plotting to whack a leader of a country because he makes us a little nervous. It’s about rising above this human thing of being self destructive and self absorbed. Of being so quick to hate and attack for the most inane reasons. The most profound thing for me was knowing that there is a force out there that wants me to be at my worst. To be riddled with insecurities and fighting feelings of low self worth because of the things, people and events that I’ve been through in my life. To know and feel that there’s a power more awesome than anything we’ll ever know on this earth that wants me to overcome all those negatives and shine as a human. Just the ability to forgive and love the ones that have caused the most damage in your life is a miracle in itself. Especially for me because I have so much rage and cynicism in me from years back.

DH: If a Drunkenhillbilly.com reader were hypothetically planning a visit to your hometown of Memphis, Tenn., what favorite local barbeque restaurant would you recommend?

AT: The Rendevous is really good if you like your ribs on the dry side. Neeleys, Corky’s and Interstate BBQ is incredible. Germantown Commisary is way cool BBQ. There’s some small unknowns out there that kick like Pig and Whistle and Brad’s BBQ close to me here in Bartlett that are pretty yummy. If you want the real deal there’s Payne’s BBQ on Lamar Ave. in the heart of Memphis. It’s as authentic as anything I’ve ever eaten anywhere. It used to be a car repair garage that was turned into a BBQ restaurant in the sixties. Mama Payne died recently but they still got it going on. I was in there once in 1976 and a huge cockroach walked on the counter where you order. Mama Payne took off her shoe and smacked that sucker hard… cleaned him off…then looked at me and said “whut chu wahnt bahbay?” Rough part of town so be careful and watch your back.

You can visit Andy Tanas on the web at his official site or on MySpace.com< A>
~About Buckshot George~
Buckshot plays Bass in Phoenix, AZ for The Earps and The Jeff Dahl Band, and is an independant contributor to DH. Thanks Georgie! ~WC~

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