MusicMusic Interviews

The Bandwich Tapes

Brad Williams

The Bandwich Tapes is a podcast where host Brad Williams sits down with musicians for thoughtful conversations about the craft of making music.

Each episode explores the experiences, influences, and creative decisions that shape an artist’s work. From improvisation and songwriting to collaboration, recording, and life on the road, the conversations go beyond biography to focus on how music actually gets made.
Guests include instrumentalists, composers, songwriters, and producers from across the musical landscape. The tone is relaxed, curious, and musician-to-musician—an opportunity to hear artists reflect on their process, their collaborators, and the musical moments that have stayed with them.

Whether you're a seasoned musician, a die-hard music fan, or simply someone who loves a good story, The Bandwich Tapes has something for everyone. So, come along for the ride as we explore the magic of music and the incredible journeys of the people who bring it to life.

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#182
Yesterday · 39 min
Aubory Bugg: Finding the Song in the World Around You
On this episode of The Bandwich Tapes, I sit down with singer-songwriter Aubory Bugg for a conversation about songwriting, collaboration, musical identity, and the experiences that shaped her forthcoming album, I Think I Had Something Once. Aubory grew up in Granite City, Illinois, just outside of St. Louis, and we talk about how that small-town perspective continues to find its way into her writing. She explains how songs like “Steel Mill Town” helped her move beyond writing exclusively about her own emotions and toward observing the people, places, and details around her. We also talk about her move to Nashville and the community she has found among a close group of independent folk singer-songwriters. We spend a good part of the conversation digging into craft. Aubory traces her path from singing as a child to trumpet, piano, and eventually guitar, including her time studying songwriting at Webster University and performing in jazz ensembles around St. Louis. She shares how studying with vocalist Debbie Lennon helped her move away from oversinging and begin thinking more carefully about why a vocal embellishment belongs in a song at all. Aubory also takes me inside the making of I Think I Had Something Once, including her work with producers and collaborators Matt and John. We talk about the value of creative tension, surrendering part of your original vision to trusted collaborators, recording vocals with only a handful of complete takes, and why bringing other musicians into the process has changed the way she thinks about making records. We also get into the wonderfully old-school story of Aubory walking into Dualtone with her guitar and playing two songs live—a decision that helped lead to her signing with the label. And we close by talking about her first headlining show in London, the connection that happens when people in another country know every word to your songs, and what she hopes to build as this new record makes its way into the world. Key Takeaways Growing up in Granite City, Illinois, gave Aubory an appreciation for small details, close communities, and the kind of observational writing that now plays an important role in her songs. Writing “Steel Mill Town” helped her realize that some of her strongest songwriting happens when she turns her attention outward and writes about the world around her. Aubory’s musical background includes singing, trumpet, piano, guitar, jazz ensembles, songwriting studies, live performance, and learning music production. Her time studying voice at Webster University taught her to think critically about vocal embellishment and to ask whether every riff, belt, or melodic choice is actually serving the lyric. Working with collaborators Matt and John has taught Aubory to embrace healthy creative tension and allow other musicians to challenge her original ideas. Her current vocal recording process often involves three or four complete takes followed by a comp, allowing her to preserve performances rather than constructing every phrase individually. Aubory’s belief that her music is best understood live helped inspire her to take a guitar into Dualtone and perform two songs in person—an approach she says played an important part in her signing with the label. Music from the Episode i think i had something once - Aubory Bugg nosedive - Aubory Bugg the one you want to lose - Aubory Bugg About the Podcast The Bandwich Tapes is a music interview podcast hosted by Brad Williams featuring thoughtful conversations with musicians, songwriters, producers, and other creative people. Each episode goes beyond the résumé to explore how music gets made—the choices, relationships, influences, challenges, and experiences that shape a creative life. Connect with the Show Questions, comments, or guest suggestions? contact@thebandwichtapes.com
#180
Monday · 1 hr 13 min
Giulio Carmassi: Listening, Instinct, and a Life in Music
On this episode of The Bandwich Tapes, I sit down with multi-instrumentalist, composer, arranger, producer, and engineer Giulio Carmassi for a conversation about instinct, perseverance, and the unexpected turns that shape a life in music. Giulio takes me back to his childhood in Pisa, Italy, where he began on drums before discovering jazz harmony at the piano. By his teens, he was improvising on multiple instruments and learning alongside musicians several times his age. He shares how moving to the United States at 22 opened doors that had seemed firmly closed and how his ability to play nearly anything eventually became his greatest strength. We dig into Giulio's work with Will Lee, Steve Gadd, Chuck Loeb, and Emmy Rossum, as well as the remarkable path that led him into the Pat Metheny Unity Group. Giulio tells the story behind his "First Circle" video, the grueling month he spent learning its guitar part, and the surreal experience of recording KIN (←→) with Pat Metheny, Antonio Sánchez, Chris Potter, and Ben Williams. Giulio also speaks candidly about the pressure of performing at that level, the discipline of leaving space, and what it means to listen with complete attention. We close by exploring his transition into composing and commercial music, his collaboration with Brian Scary, and why the human movement of a great rhythm section can never be reduced to a grid. Key Takeaways Becoming a father gave Giulio a sharper understanding of time, priorities, and the importance of saying no to work that does not matter. His multi-instrumental approach was once treated as a professional liability, but it ultimately created opportunities that specialization could not have provided. Giulio's move from Pisa to the United States showed him the power of an environment that rewards curiosity, hard work, and initiative. His opportunity with Pat Metheny grew out of years of preparation, a personal recommendation, and an extraordinary month spent learning "First Circle," one measure at a time. Playing with musicians such as Steve Gadd and Will Lee taught Giulio that trust, generosity, and personal connection are inseparable from great musical performances. His time in the Pat Metheny Unity Group honed his ability to concentrate, adapt, and perform under pressure. Giulio believes the feel of master musicians comes from confident, human interaction, not from mechanically conforming every note to a grid. Music from the Episode Chasing Mornings - Giulio Carmassi Traccia Sconosciuta - Giulio Carmassi Ten Thousand Birds - Giulio Carmassi Path Through the Jungle - Giulio Carmassi Can't Stop It - Giulio Carmassi About the Podcast The Bandwich Tapes is a podcast about music, the people who make it, and the experiences that shape a creative life. Host Brad Williams sits down with musicians, songwriters, producers, and other artists for thoughtful conversations about craft, collaboration, careers, and the moments that happen both on and off the bandstand. Connect with the Show Questions, comments, and guest suggestions: contact@thebandwichtapes.com
#181
Monday · 1 hr 21 min
Pat Steward: Groove, Feel, and the Art of Listening
On this episode of The Bandwich Tapes, I sit down with drummer Pat Steward for a wide-ranging conversation about groove, feel, listening, and the experiences that shape a musician over a lifetime. Pat has spent decades behind the kit, including a long history with Bryan Adams, and I had the chance to see him perform in St. Louis shortly before we recorded this conversation. Watching him play reinforced something I have always admired about his drumming: there are no wasted notes. Everything serves the song, the singer, and the musicians around him. We talk about the current Bryan Adams tour and what allows a highly produced arena show to feel still spontaneous and alive. Pat explains his evolving relationship with playing to a click, the importance of supporting a singer, and why feel can be difficult to reduce to a technical formula. We also get into the band's current four-piece configuration, with Bryan handling much of the bass playing himself, and how that change has created a different rhythm-section dynamic. Pat takes me back to his beginnings as a young drummer, from hearing The Beatles and Creedence Clearwater Revival to learning songs by playing along with the radio and records. We talk about Bad Company, Linda Ronstadt, KISS, Rush, AC/DC, jazz education, school bands, and the value of learning to function in as many different musical situations as possible. That curiosity has never left him. Our conversation moves naturally through Tony Williams, Steve Gadd, Jim Keltner, Elvin Jones, Vinnie Colaiuta, David Garibaldi, Bill Stewart, and the drummers and records that continue to inspire him. We also spend a lot of time talking about recording: drum tuning, microphones, engineers, producers, and the difference between capturing music and overworking it. Pat shares stories about recording with Bob Rock, discusses the influence and meticulous approach of Mutt Lange, and makes a compelling case for trusting musicians, listening to the drum kit as a complete instrument, and recognizing when the best performance may already have happened in the first couple of takes. Ultimately, this is a conversation about experience. Pat and I talk about knowing when to use the pencil and when to use the eraser, how songs change after decades of performing them, and why great musicianship often comes down to listening carefully enough to understand what the music actually needs. Key Takeaways Pat approaches drumming by putting groove, feel, and the singer first, with every part designed to support the song rather than draw unnecessary attention to the drums. Playing with a click became less about restricting feel and more about creating a dependable framework in which Pat can still push, pull, and shape the music. The current Bryan Adams band has developed a different rhythmic identity with Bryan playing bass on portions of the show and keyboardist Gary Breit covering other bass parts. Pat's musical vocabulary grew from playing along with radio and records, studying everything from Bad Company, AC/DC, KISS, and Rush to bebop, jazz ensembles, and big-band music. His early experiences in rock bands, concert bands, stage bands, and jazz education taught him to adapt his playing to the music around him rather than force a single approach on every situation. Pat sees live performance and studio recording as related but distinct disciplines: live music benefits from energy and spontaneity, while recording often demands patience, restraint, and attention to the larger sonic picture. Decades of experience have reinforced the importance of trusting musicians, preserving the energy of early takes, and knowing when additional notes—or additional production—actually help the music. Music from the Episode Cuts Like a Knife - Bryan Adams Truth Untold - Odds I Thought I'd Seen Everything - Bryan Adams Into the Mystic - Colin James About the Podcast The Bandwich Tapes is a music interview podcast hosted by Brad Williams, featuring thoughtful conversations with musicians, songwriters, producers, engineers, and other creative people. Each episode explores the experiences, decisions, collaborations, and musical ideas behind a life spent making music. Connect with the Show Questions, comments, or guest suggestions: contact@thebandwichtapes.com
#179
September 3 · 43 min
Ghost Hounds: Soul, Storytelling, and the Making of Justified
On this episode of The Bandwich Tapes, I sit down with SAVNT, lead singer of Ghost Hounds, for a conversation about the band’s new album Justified, vocal interpretation, storytelling, musical identity, and the unexpected path that brought him into the group. We spend a lot of time talking about SAVNT’s approach as a singer. Sam Cooke was one of his earliest and most important influences, but his musical upbringing was much broader than any one genre. Soul, rock, country, and pop all existed together in his home, and that openness still shapes the way he hears music today. As SAVNT puts it during our conversation, “soul is not a genre, it’s a feeling.” That idea becomes a through line for much of the episode. We also get deep into the songwriting and recording process behind Ghost Hounds. SAVNT talks about working with Thomas Tull, who often approaches songs almost like a screenwriter, building characters, circumstances, and emotional backstories before SAVNT ever steps to the microphone. From there, the challenge becomes finding that character’s truth and connecting it to something real in his own life. We talk about why he prefers singing complete takes in the studio and why he sometimes keeps recording even after everyone else thinks they already have the vocal. The story of how SAVNT joined Ghost Hounds is remarkable. After deciding to leave New York and move to Denver, one final performance in Brooklyn put him in front of the band’s former lead singer, who recommended him for the job. Only months later, SAVNT was touring with The Rolling Stones, meeting artists including Lainey Wilson and Patty Griffin, and eventually performing at the Grand Ole Opry. He and drummer Sydney Driver even joined the band on the same day, giving both of them someone else to navigate that transition alongside. We also break down several songs on Justified, including “Sinner’s Prayer,” “Pale Horse,” “Something Wicked,” “After You,” and the band’s versions of “Gimme Shelter,” “Going Down,” and “Amazing Grace.” SAVNT explains why those older songs naturally became part of the album and why closing the record with “Amazing Grace” gives the entire project an emotional and spiritual destination. It’s a conversation about roots music, perseverance, collaboration, and what happens when a singer stops thinking about genre and starts thinking about truth. Key Takeaways SAVNT’s vocal identity comes from an unusually broad musical foundation. Sam Cooke was a formative influence, but country, rock, soul, pop, and other styles were all part of his listening life from an early age. For SAVNT, soul is bigger than a genre. If a folk, bluegrass, country, rock, or jazz performance communicates something real enough to make him feel it, he considers that soul. Ghost Hounds approach songs as stories first. Thomas Tull often gives SAVNT detailed character and emotional context, allowing him to approach the vocal almost like an actor trying to find the truth of a role. SAVNT prefers recording complete vocal performances whenever possible. Singing the full song allows him to build naturally toward its emotional peaks instead of assembling the performance one isolated section at a time. Joining Ghost Hounds was the result of an unlikely chain of events. A final Brooklyn performance before SAVNT planned to move to Denver led to a recommendation, an audition, and ultimately a meeting with the band on January 1, 2024. SAVNT and drummer Sydney Driver joined Ghost Hounds on the same day. Their musical connection quickly became important, with SAVNT describing Sydney as an anchor whose playing helps guide his entrances and phrasing onstage. Justified developed organically rather than according to a rigid plan. Covers including “Gimme Shelter,” “Going Down,” and “Amazing Grace” were originally recorded without certainty that they would become part of an album, but eventually the music itself seemed to determine where they belonged. Songs from the Episode Something Wicked - Ghost Hounds Sinner's Prayer - Ghost Hounds Gimme Shelter - Ghost Hounds Amazing Grace - Ghost Hounds Going Down - Ghost Hounds About the Podcast The Bandwich Tapes is a podcast about the people who make music and the experiences that shape them. I sit down with musicians, songwriters, producers, engineers, and other creative people for thoughtful conversations about craft, collaboration, careers, influences, and the realities of making music. The goal is simple: get beyond the résumé and talk about how music actually gets made. Connect with the Show Questions, comments, guest suggestions, or just want to say hello? contact@thebandwichtapes.com
#177
August 31 · 51 min
Emanuele Naima: Reimagining Rhythm, Sound, and Steve Reich
On this episode of The Bandwich Tapes, I sit down with Italian guitarist, composer, producer, and sound engineer Emanuele Naima. Our conversation begins with Steve Reich's music and expands into a thoughtful exploration of sound, collaboration, and the freedom to pursue more than one creative path. Emanuele tells me how his interest in minimalist music and academic research led him to reimagine all three movements of Reich’s Electric Counterpoint. By combining classical and electric guitars with synthesizers, handclaps, and snare drum, he honored the composition while creating a distinct atmosphere for each movement: memory, stillness, and conflict. We also trace Emanuele’s musical life from beginning classical guitar at eight to completing 12 years of conservatory study. He shares the wonderfully varied music that filled his childhood home, including Pink Floyd, Aretha Franklin, Elton John, jazz, psychedelic music, and Michael Jackson. That open listening continues to shape a career that moves naturally among classical guitar, R&B, funk, ambient music, sound design, production, and live performance. Emanuele also reflects on his work with Puka Shells Bling, the influence of playing funk and dub with other musicians, and the way collaboration changes everything from touch and tone to harmony and time. We close by discussing his ambient compositions, work with dance and choreography, improvised techno, and his willingness to keep experimenting without forcing every musical interest into a single identity. Key Takeaways Emanuele’s reinterpretation of Electric Counterpoint began as part of a potential PhD proposal and later developed into a complete recording project. He combined classical guitar, electric guitar, synthesizers, handclaps, and snare drum while preserving the dynamics and structure of Steve Reich’s composition. Each movement became a different image for Emanuele: a memory, a peaceful refuge, and a scene of conflict. Twelve years of conservatory study gave him a classical foundation, while funk, dub, R&B, ambient music, and production expanded his sense of rhythm and sound. His childhood listening moved freely among Pink Floyd, Aretha Franklin, Elton John, jazz, psychedelic music, Metallica, Madonna, Lady Gaga, and Michael Jackson. Playing with other musicians taught Emanuele how touch, energy, harmony, tone, and placement within the beat become part of a musician’s identity. Rather than committing to a single narrow path, Emanuele is embracing experimentation across ambient music, dance, live performance, synthesizers, and improvised techno. Music from the Episode Electric Counterpoint - I. Fast - Emanuele Naima Electric Counterpoint - III. Fast - Emanuele Naima Equilibri - Emanuele Naima About the Podcast The Bandwich Tapes is a podcast about music, the people who make it, and the experiences that shape a creative life. I sit down with musicians, songwriters, producers, and other artists for thoughtful conversations about craft, collaboration, careers, and the moments that happen both on and off the bandstand. Connect with the Show Questions, comments, and guest suggestions: contact@thebandwichtapes.com
#176
August 31 · 41 min
Erik Hall: Simplicity, Repetition, and the Feel of the Music
On this episode of The Bandwich Tapes, I sit down with multi-instrumentalist and recording artist Erik Hall to talk about his evolving relationship with minimalist music. We begin with his large-ensemble interpretation of Simeon ten Holt’s Canto Ostinato, created in collaboration with Metropolis Ensemble and Sandbox Percussion following a performance at the Brooklyn Botanic Garden. Erik takes me inside the challenges of moving from a solitary, multitracked recording process to an ensemble filled with individual players, instincts, and senses of time. We talk about tempo, repetition, concentration, and how a piece changes when musicians must listen, respond, and move through it together. We also trace Erik’s path from childhood classical piano lessons through jazz drumming, rock bands, touring, and record-making. That wide musical background eventually brought him back to the piano and to solo interpretations of works by Steve Reich, Simeon ten Holt, Glenn Branca, Charlemagne Palestine, and Laurie Spiegel. Along the way, Erik explains how microphone placement and instrumentation helped him build the sonic world of Music for 18 Musicians. He also reflects on the balance between honoring a score and giving himself enough freedom to discover something personal inside it. We close with Erik’s return to original composition, the creative discipline of working every day, and the surprising power of writing music that can stand on its own in a single performance. We also talk about his recent time playing drums with Natalie Bergman—and why, behind the kit, feel matters far more than complexity. Key Takeaways Erik’s large-ensemble version of Canto Ostinato grew from his 2023 solo recording and an invitation from Andrew Cyr of Metropolis Ensemble. The project began with a 52-musician performance at the Brooklyn Botanic Garden before being refined into a studio recording with Metropolis Ensemble and Sandbox Percussion. Playing repetitive music with an ensemble requires a different kind of attention than building it alone through overdubs, especially when navigating cues, repeats, tempo, and transitions. Erik’s background in classical piano, percussion, jazz drumming, guitar, touring, and studio recording all informs the way he approaches minimalist music. While recording Music for 18 Musicians, Erik used instrumentation and microphone placement to preserve the behavior of Steve Reich’s arrangement while creating a distinct sonic identity. Years of working on Canto Ostinato have transformed Erik’s piano playing and reconnected him with the patient, incremental process of learning music. Erik is now developing original material, including music conceived for solo piano or Fender Rhodes, while also working on a film score and considering future interpretive recordings. Music from the Episode Music for 18 Musicians (Pulses) - Erik Hall Canto Ostinato - Erik Hall Strumming Music - Erik Hall Music for a Large Ensemble - Erik Hall The Temple of Venus - Erik Hall About the Podcast The Bandwich Tapes is a podcast about music, the people who make it, and the experiences that shape their creative lives. Hosted by musician Brad Williams, each episode offers an honest, thoughtful conversation with artists, producers, engineers, and other members of the musical community. Connect with the Show Email: contact@thebandwichtapes.com
#173
August 27 · 20 min
The Malpass Brothers: Brother Harmony, Gospel, and Keeping Country Traditional
On this episode of The Bandwich Tapes, I sit down with Chris Malpass of The Malpass Brothers for a conversation about traditional country music, brother harmony, gospel, and the music that Chris and his brother Taylor have carried with them since they were kids. A big part of our conversation centers on their gospel project Satisfied and why making the album felt less like exploring new territory and more like coming home. Chris and Taylor started out singing gospel music when they were young, and many of these songs have been part of their musical vocabulary for years. We talk about working with Ben Isaacs, his role in shaping the project, and why recording it in front of a live audience captured something that would have been difficult to recreate in a studio. Chris also talks about The Malpass Brothers’ relationship with Gaither Music and what it means to become part of an organization they grew up watching with their family. We get into the natural connection between traditional country and gospel music, from The Louvin Brothers and Merle Haggard to Buck Owens, Ernest Tubb, and the Happy Goodman Family. For Chris, those traditions aren’t separate worlds. They have always informed one another. We also spend time talking about one of my favorite parts of The Malpass Brothers’ sound: Chris and Taylor’s harmony. Chris explains how naturally their vocal chemistry developed, why The Louvin Brothers became such an important influence, and how being siblings creates a musical connection that can be difficult to manufacture. Along the way, we remember the great Jimmy Capps, talk about the upcoming season of The Malpass Brothers Show, a traditional country Christmas album, another appearance at the Grand Ole Opry, and a busy touring schedule. At the center of it all is a deep respect for the people and music that came before them — and a desire to keep those songs alive without turning them into museum pieces. Key Takeaways Satisfied represents a return to The Malpass Brothers’ musical roots. Chris and Taylor performed gospel music as kids, making the project feel like a homecoming rather than a stylistic departure. Ben Isaacs helped shape the album while allowing Chris and Taylor to remain themselves. His suggestions included “Sheltered in the Arms of God” and Johnny Cash’s “Ragged Old Flag,” while encouraging the brothers to interpret the material in their own style. Recording the project live was essential to its character. Chris believes the shared connection between the performers, songs, and audience created an emotional quality that would have been difficult to reproduce in the studio. Country and gospel have always shared musical and emotional territory. Chris sees both traditions as music about real life — hardship, redemption, faith, struggle, and the things people hold onto when life gets difficult. Brother harmony developed naturally for Chris and Taylor. Their musical communication goes back to childhood, when Taylor began singing harmony with Chris without the two of them ever formally planning it. The Louvin Brothers remain a foundational influence. Chris points not only to Charlie and Ira Louvin’s harmony, but also their songwriting, gospel recordings, country recordings, and instrumental sound as an enduring model. Respect for musical history remains central to The Malpass Brothers. Whether talking about Jimmy Capps, Leon Rhodes, the Happy Goodman Family, Merle Haggard, or the Grand Ole Opry, Chris still approaches the people and traditions that shaped him with genuine admiration. Songs from the Episode Satisfied - The Malpass Brothers About the Podcast The Bandwich Tapes is a podcast about the people who make music and the experiences that shape them. I sit down with musicians, songwriters, producers, engineers, and other creative people for thoughtful conversations about craft, collaboration, careers, influences, and the realities of making music. The goal is simple: get beyond the résumé and talk about how music actually gets made. Connect with the Show Questions, comments, guest suggestions, or just want to say hello? contact@thebandwichtapes.com
#174
August 27 · 27 min
Jeff Bush: Carrying the Tommy Dorsey Orchestra Forward
On this episode of The Bandwich Tapes, I sit down with Jeff Bush, director of the Tommy Dorsey Orchestra, for a conversation about swing music, leadership, ensemble playing, education, and the responsibility that comes with carrying one of American music’s great band traditions forward. Jeff first joined the Tommy Dorsey Orchestra more than two decades ago when Buddy Morrow was leading the band, and after years spent pursuing other musical opportunities, he returned to take over the leadership role. We talk about what that job actually involves today — everything from hiring musicians, coordinating travel, and working with venues to choosing repertoire, writing arrangements, and making sure the band continues to sound authentic without becoming frozen in time. A big part of our conversation centers on feel. Jeff breaks down how the Tommy Dorsey Orchestra sits rhythmically compared with other great bands, including the Glenn Miller Orchestra and Count Basie Orchestra, and why forward motion without rushing is such an important part of swing. We also talk about the relationship between the drummer and lead trumpet, the importance of strong section leaders, and how a great rhythm section can completely change the way an ensemble feels. Jeff also shares the story of how he found the trombone, the influence of teachers who introduced him to great music, and what he learned both at Youngstown State University and the Manhattan School of Music. Just as importantly, we talk about the education that only comes from making gigs, being on the road, working with experienced musicians, and learning the professional skills that cannot be taught from a book. We also get into Tommy Dorsey’s famous phrasing and breath control, including why singers such as Frank Sinatra paid such close attention to the way Dorsey played a melody. Jeff talks about his work as coordinator of jazz studies at Duquesne University, the changing realities of touring a seventeen-piece orchestra, and a new Tommy Dorsey Orchestra recording made largely as a working band with limited editing. At the heart of it all is Jeff’s belief that this music belongs to a continuum — something each generation has a responsibility to learn, respect, and keep moving forward. Key Takeaways Leading the Tommy Dorsey Orchestra means much more than standing in front of the band. Jeff is involved in personnel, travel, venue coordination, programming, arranging, and the day-to-day decisions required to keep a large ensemble working. Preserving a musical legacy does not mean simply recreating the past. The orchestra performs a substantial amount of material associated with Tommy Dorsey, while Jeff also looks for ways to introduce repertoire that feels consistent with what Dorsey himself might have explored. Swing depends on the feel of the entire ensemble. The rhythm section provides the foundation, but lead players throughout the horn sections must understand where the beat sits for the band to truly lock together. The drummer and lead trumpet function almost like co-quarterbacks in a big band. Their relationship has an enormous influence on time, articulation, dynamics, and the overall direction of the ensemble. Tommy Dorsey approached the trombone like a singer. His breath control, phrasing, and awareness of the lyric helped redefine what the instrument could sound like and became an important influence on vocalists including Frank Sinatra. Professionalism is built from simple, controllable habits. Jeff stresses punctuality, attitude, appearance, preparation, and learning how to work well with people as essential parts of a sustainable music career. Playing with experienced musicians is an education of its own. Jeff believes younger players develop adaptability, humility, ensemble awareness, and professional instincts by spending time on actual bandstands with musicians who have already lived that life. Music from the Episode Opus One - Tommy Dorsey Orchestra About the Podcast The Bandwich Tapes is a podcast about the people who make music and the experiences that shape them. I sit down with musicians, songwriters, producers, engineers, educators, and other creative people for thoughtful conversations about craft, collaboration, careers, influences, and the realities of making music. The goal is simple: get beyond the résumé and talk about how music actually gets made. Connect with the Show Questions, comments, guest suggestions, or just want to say hello? contact@thebandwichtapes.com
#175
August 27 · 21 min
Josie Sal: Finding Her Voice with “Cowboys & Barbies”
On this episode of The Bandwich Tapes, I sit down with singer-songwriter Josie Sal to talk about her new single “Cowboys & Barbies,” songwriting, finding her sound, and what she is learning as she begins building a career in music. “Cowboys & Barbies” started as an idea Josie carried around for nearly two years before deciding she was ready to write it. We talk about working with co-writers Kelly Johnson and Mara Streppa, and how the song uses the childhood image of Ken and Barbie to explore a much bigger realization: growing up means discovering that life rarely follows the script you imagined. Josie also shares one of the most important lessons she has learned as a songwriter — most songs are part of the practice that eventually gets you to the one you really believe in. We also get into the recording process with producer Brandon Hood. Josie explains how the original demo leaned much more toward pop and how Brandon helped move the song toward the country sound she heard in her head while still allowing it to feel like her. We talk about the small production details that give the track personality, including a toy-box-like sound in the bridge that subtly connects the arrangement back to the song’s fairy-tale imagery. Josie tells me how unexpectedly singing entered her life after years of dancing. What began with her dad offering her twenty dollars to sing with a band during a family trip quickly developed into vocal lessons, performances, songwriting, and recording. We talk about how her background in dance helped shape her sense of rhythm and how she continues to work toward defining exactly what the Josie Sal sound should be. We also spend time talking about family. Josie describes the support she gets from her parents and three older siblings, how closely connected they remain, and what it has meant to experience the early stages of her music career alongside them. With “Cowboys & Barbies” arriving August 21 and its music video following August 28, Josie is focused on writing, releasing more music, playing shows, and continuing to develop an artistic identity that feels completely her own. Key Takeaways “Cowboys & Barbies” began as an idea Josie held onto for nearly two years. She waited until she felt ready to fully develop the concept rather than forcing the song before its time. The song is ultimately about growing up and letting go of the idea that life follows a predetermined script. The childhood imagery of Ken and Barbie becomes a way to examine expectations, relationships, and reality. Co-writing has taught Josie to value the process, not just the finished songs. She estimates that the overwhelming majority of songs a writer creates may simply be practice that leads to stronger work later. Producer Brandon Hood helped Josie move the song away from its pop-oriented demo and toward the country sound she envisioned. Small production ideas, including the toy-box texture in the bridge, helped reinforce the lyrical concept. Josie’s musical path began unexpectedly. After growing up primarily as a dancer, she first sang with a band at age ten after her father offered her twenty dollars to do it. Her family has become an important part of the journey. Josie’s parents have consistently supported their children’s interests, while her older siblings regularly attend shows, promote her music, and remain closely involved in her life. Josie’s current priority is defining her own sound. Beyond releasing individual songs, she is focused on writing extensively, performing, surrounding herself with the right team, and making sure future music sounds distinctly like Josie Sal. Songs from the Episode Song - Artist About the Podcast The Bandwich Tapes is a podcast about the people who make music and the experiences that shape them. I sit down with musicians, songwriters, producers, engineers, and other creative people for thoughtful conversations about craft, collaboration, careers, influences, and the realities of making music. The goal is simple: get beyond the résumé and talk about how music actually gets made. Connect with the Show Questions, comments, guest suggestions, or just want to say hello? contact@thebandwichtapes.com
#172
August 24 · 51 min
David Mead: Songs, Fatherhood, and the Freedom to Let Go
On this episode of The Bandwich Tapes, I sit down with singer-songwriter David Mead for a wide-ranging conversation about singing, record-making, fatherhood, and the changing place of music in our culture. David takes me back to his earliest experiences as a singer, from hearing his mother sing around the house to studying with vocal teacher Norris Brandstrom. Those lessons began to make sense when David heard Jeff Buckley and discovered how classical vocal technique could open the door to a more adventurous, expressive way of singing. We also get inside the making of January San Fernando. David explains how working with musicians such as Larry Goldings and Val McCallum helped him relinquish some creative control, trust the instincts of the people in the room, and recognize the energy that can live in an early take. He also shares news of another record made with the same core group of musicians. Some of the most meaningful parts of our conversation are about family. David reflects on how becoming a husband and father changed his relationship with ambition, identity, mortality, and creative work. We close by discussing his beautiful version of Michael Jackson’s “Human Nature,” the childhood memory behind it, and how a low-pressure recording project became the album Indiana. Key Takeaways David is grateful that he learned to sing, play guitar, and write songs before music became inseparable from today’s constant flow of digital content. Vocal teacher Norris Brandstrom helped him understand that singing and speaking are extensions of the same natural process. Hearing Jeff Buckley gave David a contemporary context for the classical vocal technique he had previously resisted. While making January San Fernando, David deliberately gave musicians such as Larry Goldings and Val McCallum room to follow their own instincts. He prefers the energy and discovery of early studio takes, especially when working with musicians who have not spent too much time studying the songs. Fatherhood helped David separate his love of music from the pressure to define himself through a recording career. His version of “Human Nature” grew from a powerful childhood memory and the creative freedom surrounding the making of Indiana. Music from the Episode Nashville - David Mead Bedtime Story - David Mead Indiana - David Mead Human Nature - David Mead About the Podcast The Bandwich Tapes is a podcast about music, creativity, and the people who devote their lives to making sound. I sit down with musicians, songwriters, composers, producers, engineers, and other creative artists to explore their work, their influences, and the experiences that continue to shape them. Connect with the Show Questions, comments, or guest suggestions: contact@thebandwichtapes.com
#171
August 20 · 31 min
Lee Newton & Heidi Parton: Finding a New Voice in an Old Song
On this episode of The Bandwich Tapes, I sit down with Lee Newton and Heidi Parton to talk about their new recording of the country standard “Silver Threads and Golden Needles,” a collaboration with Georgette Jones that brings together three very different singers around a song that has endured for generations. Lee shares how the project began almost by chance. After thinking that Georgette would be a perfect voice for the song, Lee unexpectedly crossed paths with her only a week later. Heidi soon joined the project, and what began as a single collaboration quickly revealed a natural musical chemistry among the three singers. We talk about why their individual voices remain recognizable while still blending so naturally and how singing harmony requires listening closely to phrasing, pronunciation, tone, and the other voices around you. Heidi also talks about growing up in the Parton family and finding her own artistic identity while respecting the musical legacy surrounding her. She discusses the importance of recognizing that there will only ever be one Dolly Parton, and that her responsibility as an artist is not to imitate that legacy, but to discover what makes her own voice distinctive. Along the way, Lee reflects on collaborations with artists including Pam Tillis, Leona Williams, Joe Bonsall, and Ben Isaacs, and how working with other singers has continued to challenge and develop her as an artist. We also dig into why “Silver Threads and Golden Needles” continues to connect with listeners, from Wanda Jackson’s early recording to later versions by Linda Ronstadt, Dolly Parton, Tammy Wynette, and Loretta Lynn. Most of all, this conversation is about what happens when singers listen to one another. Lee and Heidi talk about chemistry, friendship, harmony singing, learning from other musicians, and the possibility that “Silver Threads and Golden Needles” may only be the beginning for the trio they have begun calling the Rhinestone Darlings. Key Takeaways Lee Newton brought Heidi Parton and Georgette Jones together for a new version of “Silver Threads and Golden Needles,” despite having never previously worked with either singer. Their arrangement reaches back to the Wanda Jackson version of the song and restores a second verse omitted from several later recordings. Heidi explains how background singing requires careful attention to another vocalist’s phrasing, pronunciation, enunciation, and musical personality. Lee discusses how collaborations with artists including Pam Tillis, Leona Williams, Joe Bonsall, and Ben Isaacs have challenged her and helped her grow as a singer. Heidi reflects on the expectations that come with the Parton family name and why finding her own warm, soulful vocal identity has been essential to her development as an artist. Lee and Heidi believe the lasting appeal of “Silver Threads and Golden Needles” comes partly from the honesty of its lyrics and the ability of singers and listeners to connect it to their own experiences. The chemistry developed between Lee, Heidi, and Georgette has led to conversations about future recordings—and possibly a larger project together as the Rhinestone Darlings. Music from the Episode Silver Threads and Golden Needles - Lee Newton, Heidi Parton, & Georgette Jones About the Podcast The Bandwich Tapes is a podcast about the people who make music and the experiences that shape the way they make it. Host Brad Williams talks with musicians, songwriters, producers, and other creative artists about their careers, craft, collaborations, influences, and the choices that shape their music. Connect with the Show Questions, comments, or guest suggestions: contact@thebandwichtapes.com
#170
August 17 · 1 hr 9 min
Josh Quillen: Percussion, Process, and Concert Honesty
On this episode of The Bandwich Tapes, I sit down with percussionist, composer, educator, and Sō Percussion member Josh Quillen for a wide-ranging conversation about teaching, ensemble life, steel pan, podcasting, grief, musical history, and the value of listening closely. Josh joined Sō Percussion in 2006 and has spent nearly two decades helping the ensemble develop its distinctive approach to contemporary chamber music. We talk about how the group has evolved from a model built around four percussionists playing similar setups into one that more openly reflects the individual musical identities of its members. Josh shares how composers such as Steven Mackey helped the group recognize the value of those differences, from steel pan and drum set to marimba, electronics, singing, and synthesizers. We also spend time discussing the Sō Percussion Summer Institute, which Josh describes as one of the most demanding and rewarding parts of his year. He explains how the institute asks young musicians to learn an enormous amount of music with unfamiliar collaborators, confront insecurity, and discover that missing a note is rarely the most important problem in the room. The conversation becomes deeply personal as Josh talks about losing his father to ALS, preserving one of the final recordings of his voice, and how that experience helped shape his podcast, Concert Honesty. We discuss the importance of documenting artists as full human beings, the danger of turning musical heroes into myths, and what Josh has learned from speaking with musicians such as Russ Hartenberger, Bob Becker, Joan Tower, Steve Reich, and others. Along the way, Josh reflects on growing up in rural Ohio, learning discipline from his father’s work at a bottling warehouse, discovering steel band in high school, traveling to Trinidad without a phone, and learning that musical development often comes from curiosity, failure, repetition, and the freedom to make mistakes without having every moment permanently documented. Key Takeaways • The Sō Percussion Summer Institute is designed to give young musicians an intensive taste of professional ensemble life, including uncertainty, limited rehearsal time, unfamiliar collaborators, and ambitious repertoire. • Josh believes strong teaching requires precision, empathy, and the ability to give honest criticism without stripping students of their confidence. • Sō Percussion’s musical identity has gradually shifted from four players demonstrating similar technical skills toward a model that embraces each member’s individual musical interests. • Steven Mackey’s It Is Time became an important turning point by highlighting Josh’s steel pan background and the distinct musical personalities of the Sō Percussion members. • Josh’s approach to Steve Reich’s music is rooted in chamber music precision, shared pulse, groove, and a clearly defined ensemble identity. • Concert Honesty began partly as a way to preserve the voices, experiences, and humanity of musicians beyond their résumés and major accomplishments. • Losing his father to ALS shaped Josh’s understanding of memory, grief, recorded sound, and the importance of preserving a person’s voice. Music from the Episode Music for Wood and Strings (Part 1) - Bryce Dessner (Sō Percussion) To the Sky - Caroline Shaw (Sō Percussion) Let the Soil Play Its Simple Part - Caroline Shaw (Sō Percussion) Rectangles and Circumstance - Caroline Shaw (Sō Percussion) About the Podcast The Bandwich Tapes is a podcast about how music gets made and the people who make it. Hosted by musician Brad Williams, the show features thoughtful, musician-to-musician conversations about craft, collaboration, creative process, artistic growth, and life in music. Connect with the Show Questions, comments, or guest suggestions: contact@thebandwichtapes.com
#166
August 13 · 27 min
Johnny Owens: Carrying the Bakersfield Sound Forward
On this episode of The Bandwich Tapes, I sit down with Johnny Owens for a thoughtful conversation about carrying one of country music’s most important legacies into a new generation. As the son of Buck Owens, Johnny has embraced the responsibility of preserving the Bakersfield Sound while creating a live show that celebrates not only the music, but also the memories that come with it. We talk about why classic country music continues to resonate with audiences decades after it was first recorded. Johnny shares how his concerts combine the songs of Buck Owens, Merle Haggard, Dwight Yoakam, and Hee Haw memories into an experience that reconnects people with important moments from their own lives. For him, success isn’t measured by chart positions—it’s measured by the stories people tell after the show. Our conversation also explores the unique history of the Bakersfield Sound and what separated it from Nashville’s polished productions. Johnny reflects on Buck Owens’ partnership with Don Rich, the influence of Fender Telecasters, the storytelling traditions of artists like Merle Haggard and Marty Robbins, and why today’s younger artists seem to be rediscovering traditional country music. Along the way, we discuss Buck Owens’ relationship with The Beatles, the enduring popularity of “Act Naturally,” Johnny’s new recordings of classic Buck Owens songs, and why kindness, humility, and appreciation for audiences remain at the center of everything he does. It’s a conversation about legacy, gratitude, and the timeless power of songs that tell honest stories. Key Takeaways Johnny Owens sees preserving the Bakersfield Sound as both an honor and a responsibility to his father’s legacy. His concerts focus on creating memories by combining Buck Owens, Merle Haggard, Dwight Yoakam, and Hee Haw into an entertaining live experience. Johnny believes genuine appreciation for fans is one of the defining qualities shared by country music’s greatest artists. We explore the musical differences between the Bakersfield Sound and the Nashville Sound, and why traditional country storytelling continues to endure. Johnny shares the fascinating story behind The Beatles' recording of “Act Naturally” and their admiration for Buck Owens. His new music includes fresh recordings of “Act Naturally,” “Together Again,” an upcoming Christmas release of “Santa Looked a Lot Like Daddy,” and a full-length album planned for release. Music from the Episode Act Naturally - Johnny Owens About the Podcast The Bandwich Tapes is a long-form interview podcast where I sit down with musicians, songwriters, producers, and music industry professionals to explore the stories behind the music. Together, we dive into creative process, musical influences, career journeys, collaboration, recording, performance, and the experiences that shape great artists. Connect with the Show Email: contact@thebandwichtapes.com
#167
August 13 · 21 min
Moe Bandy: The Songs That Stand the Test of Time
On this episode of The Bandwich Tapes, I sit down with country music legend Moe Bandy for a conversation that spans more than five decades of country music history. We talk about his latest album, Songs I Missed, a collection of classic country songs that he loved for years before finally having the opportunity to record them. Moe shares why revisiting these songs felt fresh all over again and reflects on what it means to honor the originals while making them his own. Our conversation explores the importance of paying your dues in smoky Texas honky tonks, where playing four-hour sets night after night became an education that no classroom could ever provide. Moe explains why those years shaped him as both a singer and performer, and why he still encourages young artists to earn their experience the same way. We also dive into some of the remarkable stories behind his biggest recordings, including how Lefty Frizzell and Whitey Shafer delivered “Bandy the Rodeo Clown,” Conway Twitty’s role in bringing “Hey Joe, Hey Moe” back to life, and the lasting impact of “Till I’m Too Old to Die Young.” Along the way, we discuss songwriting, recording with legendary producer Jimmy Capps, and the emotional weight that certain songs continue to carry decades after they were first released. Finally, Moe reflects on a career that has taken him from South Texas dance halls to the Grand Ole Opry, sharing memories of seeing his heroes waiting in the wings and why, after more than fifty years in country music, performing live still brings him as much joy as ever. Key Takeaways Moe discusses the inspiration behind his new album Songs I Missed and why these longtime favorite songs finally felt right to record. He shares the unforgettable story of Lefty Frizzell calling him in the middle of the night to sing “Bandy the Rodeo Clown” over the telephone. We talk about how years spent playing Texas honky tonks shaped his musicianship and prepared him for a recording career. Moe reflects on the emotional legacy of “Till I’m Too Old to Die Young” and the deeply personal stories fans continue to share with him. He remembers recording with legendary guitarist and producer Jimmy Capps, including their plans for a gospel album that became Thank You Lord. We discuss how Conway Twitty helped inspire the recording of “Hey Joe, Hey Moe.” Moe reflects on more than fifty years in country music and why performing at the Grand Ole Opry remains one of the greatest honors of his career. Songs from the Episode Heartaches By the Number - Moe Bandy About the Podcast The Bandwich Tapes is a long-form interview podcast where I sit down with musicians, songwriters, producers, and music industry veterans to explore the stories behind their careers, creative process, collaborations, and the music they’ve made. Each episode goes beyond the headlines to uncover the experiences, philosophies, and moments that shape an artist’s life and work. Connect with the Show Email: contact@thebandwichtapes.com
#169
August 13 · 42 min
Rex Larkman: Tropidelic, Positive Energy, and the Cleveland Sound
On this episode of The Bandwich Tapes, I sit down with Tropidelic drummer Rex Larkman to talk about the band’s new album, First Light, and the musical evolution behind it. Rex joined the Cleveland group in 2018, bringing the intensity of his punk and metal background into Tropidelic’s blend of reggae, rock, ska, funk, and hip-hop. We dig into Rex’s growth as a drummer—from wanting to play everything to recognizing the beauty and difficulty of playing exactly what a song needs. He explains why pocket, restraint, and a strong connection with the bass player matter so much in rhythm-driven music, and why listeners often move more when the drummer leaves space. Rex also takes us inside the making of First Light. Ideas emerged at soundchecks and on the road before being developed with producer Craig Broadhead in Cleveland. Live performances, programmed beats, layered snares, keyboards, and studio experimentation all became part of an album in which every song was allowed to find its own sound. We talk about the danger of quantizing the life out of a drum performance and the importance of allowing music to breathe. Rex describes how Tropidelic transforms its studio recordings for the stage by changing tempos, rearranging sections, adding horn solos, and adjusting set lists from one night to the next. We also discuss Tropidelic’s touring community, the band’s Everwild festival, and the positive message running through the new music. For Rex, the goal is straightforward: work hard, connect with the audience, support the people around you, and give every room a high-energy show that still feels human. Key Takeaways Rex joined Tropidelic in 2018 after becoming part of Cleveland’s local punk and independent music community. His early influences included classic rock, Metallica, Avenged Sevenfold, punk, metal, ska, Sublime, Streetlight Manifesto, and Less Than Jake. Playing with Tropidelic taught Rex that restraint can be more challenging—and more musical—than filling every available space. Much of First Light began with short ideas created at soundchecks and developed later with producer Craig Broadhead. The album combines live drums, programmed elements, layered snare sounds, keyboards, effects, and production created in several locations. Rex believes precise editing can remove the natural movement from a performance; everything should feel in time without necessarily sitting perfectly on a grid. Tropidelic regularly reshapes its songs for the stage, changing tempos, shortening arrangements, adding solos, and responding to each audience. Music from the Episode Signals - Tropidelic About the Podcast The Bandwich Tapes is a podcast about music, the people who make it, and the experiences that shape their creative lives. Hosted by musician Brad Williams, each episode offers an honest, thoughtful conversation with artists, producers, engineers, and other members of the musical community. Connect with the Show Email: contact@thebandwichtapes.com
#165
August 13 · 26 min
Darin & Brooke Aldridge: The Heart Behind Soul Condition
On this episode of The Bandwich Tapes, I sit down with Darin and Brooke Aldridge to talk about Soul Condition, their first full gospel album in nearly two decades. Rooted in the churches and musical traditions of western North Carolina, the record feels both deeply familiar and unmistakably their own. Darin and Brooke explain how they selected songs they had been saving for years, including material they sang when they first began performing together. We discuss their recording process, the balance between entering the studio with a plan and leaving room for discovery, and their approach to honoring traditional arrangements without simply recreating what another artist has already done. We also talk about the guests who help bring Soul Condition to life. Darin and Brooke reflect on their long friendship and musical partnership with John Cowan, the confidence he helped draw out of Brooke, and the joy of recording “You Don’t Knock” together. They also discuss singing behind Jason Crabb and the craft involved in becoming an extension of another lead vocalist. Our conversation returns again and again to harmony—musical and personal. Darin and Brooke share how their backgrounds in gospel, country, and bluegrass helped them develop a sound that feels instinctive, unified, and connected to home. Key Takeaways Soul Condition is Darin and Brooke’s first all-gospel album since their debut project, I’ll Go With You. Several selections had been saved for years, while others reach back to the music they sang when they first started performing together. They enter the studio with an arrangement in mind but remain open to ideas that emerge once the musicians begin playing. Darin’s experience singing with Charlie Waller and The Country Gentlemen shaped the way he supports Brooke as a harmony vocalist. Performing with John Cowan helped Brooke gain confidence and become less afraid to use the full power of her voice. When inviting established artists onto a record, they provide guidance but allow each guest to retain an individual musical identity. Darin approaches an album sequence much like a live set, considering tempo, key, energy, and the story created by the song order. Music from the Episode Darin & Brooke Aldridge — Soul Condition About the Podcast The Bandwich Tapes is a podcast about music, creativity, and the people who devote their lives to making sound. I sit down with musicians, singers, songwriters, producers, engineers, and other creative artists to explore their work, their influences, and the experiences that continue to shape them. Connect with the Show Questions, comments, or guest suggestions: contact@thebandwichtapes.com
#168
August 13 · 53 min
Ruthie Foster: Saying Yes to the Songs That Matter
On this episode of The Bandwich Tapes, I sit down with Ruthie Foster to talk about her new album, Just Say Yes, and the musical journey that gave her such a powerful connection to songs, audiences, and the spirit inside a performance. Ruthie takes me into the making of the record with co-writer and producer Tyler Bryant. We talk about the importance of a great rhythm section, how different drummers can reshape a singer’s phrasing, and why Ruthie prefers to step aside and let musicians bring their own interpretations to her songs. She also introduces us to her self-created background vocal group, affectionately known as the “Cheap Inspirations.” We trace Ruthie’s story from learning piano and guitar in small-town Texas to studying music in Waco and working as a session singer during her time with Atlantic Records in New York. She reflects on the education she received in studios, songwriter circles, church services, and nearly empty clubs—and how each setting taught her something different about craft, versatility, and connecting with a room. At the center of our conversation is the idea behind Just Say Yes. What began as a reminder to accept professional opportunities has grown into something more personal: saying yes to herself, her family, and what truly matters. We also discuss parenthood, the emotional life of a song, and why Ruthie is still waiting for these new songs to reveal everything they have to teach her. Key Takeaways Ruthie gives the musicians on her albums room to interpret each song and contribute their own musical personalities. Her background as a New York session singer taught her versatility, efficiency, and how to change the timbre of her voice for different projects. Studying music in Waco exposed her to arranging, publishing, copyright, big-band instrumentation, and the business behind a musical career. Growing up in the church taught Ruthie that music begins with feeling and with the ability to change the atmosphere in a room. Songs continue to evolve for her over time, sometimes revealing their full emotional meaning only after years of performance. Just Say Yes looks forward, while her previous album, Mileage, invited her to look back over her life. The album’s title has grown from a professional reminder into a commitment to say yes to herself, her family, and the things that matter most. Music from the Episode Doubling Back - Ruthie Foster Thank You - Ruthie Foster Yes - Ruthie Foster Hold On - Ruthie Foster About the Podcast The Bandwich Tapes is a podcast about music, creativity, and the people who devote their lives to making sound. I sit down with musicians, singers, songwriters, composers, producers, engineers, and other creative artists to explore their work, their influences, and the experiences that continue to shape them. Connect with the Show Questions, comments, or guest suggestions: contact@thebandwichtapes.com
#164
August 10 · 40 min
Floyd Domino: Swing, Storytelling, and a Life at the Piano
On this episode of The Bandwich Tapes, I sit down with pianist Floyd Domino for a conversation about Western swing, boogie-woogie, jazz, musical identity, and a career spent supporting some of the most important artists in music. Floyd talks about beginning piano lessons at five years old, moving from classical study into jazz, and developing the unusual independence that allows his left hand to establish the foundation while his right hand tells the story. We discuss the pianists who influenced him, including Count Basie, Oscar Peterson, Moon Mullican, Jerry Lee Lewis, Al Stricklin, Pete Johnson, Jay McShann, Hank Jones, Ralph Sutton, and Kenny Barron. We also trace Floyd’s path into Asleep at the Wheel, which began with an unexpected audition after a period of playing bars in Montana. Floyd explains how his jazz background helped move the band further toward Western swing and how musicians including Al Stricklin, Eldon Shamblin, Johnny Gimble, Ralph Mooney, and other pioneers taught his generation to respect tradition while still developing an individual voice. Floyd shares stories from his work with Waylon Jennings and George Strait, including his decision not to study George Strait's earlier records before entering the studio. Instead, he chose to trust the reason he had been hired and bring his own musical personality to the sessions. We talk about the responsibility of a sideman, the challenge of staying out of the bass player’s range, and the advice he received that a musician’s real job is to make everyone else in the band sound better. Our conversation also explores Floyd’s children’s recordings, beginning with the Beatles-inspired Baby Road. He recalls recording at Jack Clement’s Cowboy Arms Hotel and Recording Spa, being told that the project needed a bass player, and discovering that the available musician was Edgar Meyer. Floyd also discusses working with members of The Crickets and forming the Floyd Domino All-Stars with musicians including Emily Gimble and Danny Levin. Key Takeaways Floyd believes the first requirement of Western swing is that it must genuinely swing. Musical identity matters as much as technical accuracy; the pioneers encouraged younger players to absorb the tradition without becoming imitations. Floyd’s two-handed piano style depends on watching the patterns in his left hand while listening closely to the melodic ideas in his right. His jazz background helped bring a stronger swing influence into Asleep at the Wheel. Floyd entered his George Strait sessions determined to sound like himself rather than copy the pianist from an earlier record. A good sideman listens for what is missing, stays out of other musicians’ way, and works to make the entire band sound better. The children’s album Baby Road began as a way to present strong melodies simply, without allowing arrangement or ego to overwhelm the songs. Music from the Episode The Mess Around - Floyd Domino Bob's Breakdown - Asleep at the Wheel House of Blue Lights - Asleep at the Wheel Ace in the Hole - George Strait I Will - Floyd Domino About the Podcast The Bandwich Tapes is a music interview podcast hosted by Brad Williams. Each episode features thoughtful conversations with musicians, songwriters, producers, and other creative artists about their careers, influences, collaborations, musical craft, and the experiences that shape their work. Connect with the Show Questions, comments, or guest suggestions: contact@thebandwichtapes.com
#163
August 6 · 32 min
Stephanie Rabus: Finding Strength Through Song
On this episode of The Bandwich Tapes, I sit down with singer-songwriter Stephanie Rabus for a conversation about resilience, perseverance, and what it really looks like to build a music career one performance at a time. Stephanie shares how she balances life between Nashville’s Broadway scene and weekends performing with her longtime cover band, Borderline, in the St. Louis area. We talk about the unique challenges of performing for different audiences, reading a room, developing as a live vocalist, and how every show becomes another opportunity to grow. Our conversation also explores Stephanie’s remarkable personal story. From open-heart surgery as a child to another heart procedure earlier this year, music has been a constant source of purpose and healing throughout her life. We discuss how those experiences shaped songs like “I Told Me So,” and why honest storytelling has become the foundation of everything she writes. Along the way, we dive into Nashville, songwriting, harmony singing, touring as a backup vocalist for Georgette Jones, learning from country music’s rich traditions, and why Stephanie continues to pursue her career entirely on her own terms. It’s an inspiring conversation about resilience, artistry, and believing that your best work may still be ahead of you. Key Takeaways Stephanie balances a demanding schedule between performing regularly on Nashville’s Broadway and traveling to St. Louis for weekend shows with Borderline. Music became both an emotional refuge and a source of confidence after childhood health challenges, including open-heart surgery. Her recent single “I Told Me So” reflects the importance of perseverance and trusting yourself through life’s setbacks. Stephanie discusses lessons learned from an early record deal and why independent artists now have more opportunities than ever. Touring as a harmony singer for Georgette Jones deepened her appreciation for vocal phrasing and supporting another artist’s musical identity. Live performance continues to shape her artistry as she adapts every show to the audience in front of her. New music is already on the horizon, including several upcoming singles and a possible Christmas project. Music from the Episode Payback's a Beach - Stephanie Rabus About the Podcast The Bandwich Tapes is a long-form interview podcast hosted by Brad Williams featuring thoughtful conversations with musicians, songwriters, producers, and artists about creativity, craft, collaboration, and the stories behind the music. Each episode goes beyond biography to explore how music is made and the experiences that shape the people who create it. Connect with the Show Email: contact@thebandwichtapes.com
#162
August 6 · 46 min
Christopher Wyze: Fearless Songs and the Long Road to the Blues
On this episode of The Bandwich Tapes, I sit down with singer, songwriter, harmonica player, and bandleader Christopher Wyze for a conversation about creativity, discipline, mentorship, and discovering an entirely new musical life later in adulthood. Christopher spent decades working as a professional writer and advertising executive before writing his first song in 2022. We talk about how those years of meeting deadlines, telling stories, and finding the clearest possible language prepared him for songwriting. He shares how producer and mentor Ralph Carter encouraged him to take his writing seriously, ultimately leading to the album Stuck in the Mud, recorded in Muscle Shoals with an exceptional group of musicians. We also explore the joy and vulnerability of entering the studio with world-class players, including members of the Hi Rhythm Section, and hearing a simple lyric or demo become a fully realized piece of music. Christopher talks about collaboration, learning to trust the room, and the responsibility he feels to keep writing and recording while the songs are arriving. A major part of our conversation centers on Naptown Blues, Christopher Wyze and the Tellers’ tribute to Indianapolis blues musicians Leroy Carr and Scrapper Blackwell. We discuss their influence on artists such as Robert Johnson, the overlooked history of blues recording in Indiana, and why Christopher feels called to help preserve and share that legacy. Ultimately, this is a conversation about believing someone when they see something in you, finding purpose after a difficult professional chapter, and reaching a point in life where fear no longer gets to make the decisions. Key Takeaways Christopher wrote his first song in 2022 after decades of professional writing in newspapers, magazines, books, and advertising. Producer and former Eddie Money collaborator Ralph Carter became a mentor who encouraged Christopher to write original music and helped shape his songs in the studio. His debut album, Stuck in the Mud, was recorded in Muscle Shoals with musicians including guitarist Eric Deaton. Christopher approaches songwriting much like advertising: identify the central idea, use as few words as possible, and allow music and imagery to carry part of the story. Playing with musicians such as the Hi Rhythm Section has taught him to trust the moment and elevate his own performance. Naptown Blues honors Indianapolis blues pioneers Leroy Carr and Scrapper Blackwell, whose music helped influence Robert Johnson and “Sweet Home Chicago.” Christopher believes his most important work now is writing and recording songs, even when that means performing less often. His return to music has given him a sense of joy, purpose, and fearlessness that he did not have earlier in life. Music from the Episode I'm Going Back to Tennessee - Christopher Wyze About the Podcast The Bandwich Tapes is a long-form interview podcast hosted by Brad Williams featuring thoughtful conversations with musicians, songwriters, producers, and artists about creativity, craft, collaboration, and the experiences that shape their work. Each episode moves beyond biography to explore how music is written, performed, recorded, and lived. Connect with the Show Email: contact@thebandwichtapes.com

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