Man, that must have been when I received the call to open up for They Might be Giants in 2004, and they specifically asked for a solo artist, and I thought to myself, what if they wanted a band, they would have moved down the local line of hungry bands ready to step up. So the hunt began...Greg was living on the same floor in downtown Vancouver, and at first he wanted nothing to do with the kid down the hall. But I believe bringing him pancakes at midnight, hangin' until the sun came up listening to the Libertines on repeat won him over. Those long nights happened dozens of times over the first two years of friendship and the Manvils were formed through that budding friendship. Jay jumped on board a couple years in and we've never looked back.
Nothing jumps out immediately. It was the social aspect and a few choice teachers (Mrs. Keele) that really left an imprint on me. I dug music as it came most naturally to me.
I fell over my lil Fender amp, right on my ass at a show, but this girl saw it go down and thought it was cute. That's my wife Jane. Awkward can be ok sometimes I guess.
The independent aspect is actually very much a collective of close dedicated friends who have done everything possible to help us over the years. The connection of a now life-long studio partner and beginning an indie label were two examples of the position we were in to take those incredible friendships and build something special over so many years. John Akred, who now has Melody Hunting Lodge in Redwood City and the late Richard Eusebio, an absolute gem of a human, who began Sandbag Records in 2007 for us, are two paths that you could only take being fully independent.
I'll let you know in 10-15 years when my kids are teenagers and see what they're spinning.
The Jacksons in 1984. Solid first show for a 4 year old & my grandmother who was simply incredible behind the piano with a voice like no other.
At this point in life, it's the thrill of finding the next creative spark and the one that follows it and so on, followed by the excitement of the recording process. But the thrill of the show itself remains and should always remain tops in the 'purity of joy' department.
It's not a competition with songwriting so I just don't believe in challenges. I find that taking extended songwriting breaks is refreshing and it's as important to enjoy those consecutive months of living without a song as much as when you're down in the songwriting trenches. To me, that's the balance that works.
I'd say the most recent Manvils album, Reaction Arrow and the collection of most recent solo tunes that John and I have just completed, Fieldnotes LP. I can't wait to share that one with everyone sometime next year. Two very different sounds.
It's all just sounding "exactly how we want it to sound" 15 years later. The direction to me is more of a sonic confidence in tone to everything we play. The older tunes still fit right in but sound more concise to the listener, but the vintage sound remains the same.
I'll stick with John Akred.
It has nothing to do with playing a show there, but hands down the drive from here to PEI - love the road out there. Can't go wrong with The Horseshoe Tavern, and they were incredible during the pandemic. Solid survival skills and care, making the few shows we played there over those years incredibly memorable. Oh, and Hank Williams played there, so they've got that to hang their hat on.
CHECK OUT: themanvils.com