Mike Ragogna: J.D.! You good?
JD Andrew: I’m good! I’m trying to shake the nerves of getting ready to go on tour. I haven’t had a tour where I left my kids for longer than four or five days, so that’s a little nerve-wracking right now. Last time I didn’t have any kids when we went so I didn’t have to worry about it.
MR: What’s it like juggling your music duty and being a new dad?
J.D.: Most of the time it’s not too bad. Billy sold his house a couple of years ago, so we don’t have the studio in the house anymore, so we don’t work six days a week fifteen hours a day anymore. If I had the kids and we were still doing that schedule I would probably shoot myself. It’s a lot easier time now, we just go and record when we have some songs or have some time. It’s a lot more relaxing, especially when the kids don’t sleep at night.
MR: So this new album is a double CD, which is pretty ambitious. How did you approach this one? You recorded it progressively over the last few years, right?
J.D.: Mostly. This one was done mostly at Henson studios, some of it was done over at Billy’s house previously, but it started in about 2013 sometime. Brad and Billy wrote “This Game Is Over” and “Sometimes There’s A Reason.” I would call those two songs the touchstones for at least the first CD. They’re all original, both CDs. The first one is kind of more rock ‘n’ roll and jangly sixties country rock stuff and the second one is more of the moody singer-songwriter stuff, more like Billy’s Beautiful Doorrecord, using his Warren Zevon influences and doing that sort of thing. I would say three-quarters of this stuff was all done in the past two or three years. Some of it is from five years ago. When we initially met with 101 Ranch they were like, “Give us a record! We want to put it out.” We had so much back catalog material and records finished we initially started just picking songs from everything but we said, “We really want to keep these other records together and release those as they are at some point,” so we said, “Why don’t we just do a double record?” and the label went, “Sure, why not?” That was in some ways easier for us, to concentrate on two different sounds, the two different things that we do rather than figure out how to mix the two together.
MR: How has the band evolved sonically?
J.D.: The other projects were more hyper-stylized. We were really going for the combination of the early sixties/hillbilly/British invasion stuff. We made very definite guidelines on what were going to do, what we weren’t going to do, what equipment we would use, things like that. As we’ve evolved we’ve evolved into playing how we play naturally. It’s still got all of those sixties influences, it’s just a little more–I don’t even want to say “modern,” it’s just a little more relaxed in its stringency to those kinds of rules that we set before. It’s kind of jangly rock ‘n’ roll.
MR: So it’s like Boxmasters 2.0.?
J.D.: Yeah. Brad Davis is playing lead guitar on this stuff, we had another guy on those first couple of records. Not that they do a lot of things differently, it just is a version two. Brad Davis and Teddy Andreadis are now official Boxmaster members. We’re a four-piece as far as documentation goes. We’ve got six guys on the road. It’s just become more of a straight rock ‘n’ roll band at times with crazy moody psychedelic stuff in it.
MR: How are you going to perform this project on the road? And what have you learned from being on the road that you’re now applying to Boxmasters’ music?
J.D.: We’ve always kind of been a straight-ahead rock ‘n’ roll band on the road. We sound big, we play loud. Right now it’s two electric guitars, an organ, a bass player, a drummer, and Billy’s out front and we just try to fill it up, but this time we are doing some shows at smaller venues where we’re going to do a slightly more stripped-down version of ourselves where there’s some acoustic guitars and some stools, which we’ve never really done before. We’re going to play some of these songs where we get more moody and slow.
MR: J.D., what have you found Billy’s favorite environment for a Boxmasters show to be?
J.D.: Billy wants a big show. He wants a place where we can have a good light show. Basically the thing he doesn’t want to do in any place, no matter how big or small, is he doesn’t want to look like a bar band. We work really hard on putting these shows together and we want that to come across. There’s lighting and projections and fun stuff going on, we want a sound system that will actually play above the band so it sounds big. When he does these really moody songs, he sings in his low register and he’s got a very resonant voice, so sometimes you need a system to get it to come out. When you’re kind of whispering it’s hard to get it out to the people.
MR: How about you? What are your favorite kinds of venues?
J.D.: My favorite places that we’ve played have been punk clubs. I like to sound like The Replacements live. Basically, “Let’s have a train wreck and have a lot of fun doing it!” At the same time, we want the songs to have starts and endings that actually start and end together and not just devolve into chaos. But I like them to all be faster than they probably should be, and louder and trashier. That’s just my personal preference. We’re a tight band, we’ve got really good players, it’s a lot of fun to play with the guys.
MR: Do you prefer recording or performing more?
J.D.: I have so much freedom in the recording process as far as how we sound. That’s what I do. That’s my initial hat that I think of. Playing live is fun, but then I have to worry about how fat I am and getting up in front of people and looking like a complete loser. That’s the part I worry about.
MR: When you’re recording are you considering having to play these songs live?
J.D.: No, we don’t tend to think about that at all. When we recorded most of these songs, it wasn’t until August or September of last year that we were really thinking of putting these together as a record. Anything we’ve recorded was just because we felt like recording it. Billy’s like, “As long as I can get in the studio every few weeks or once a month I’m fine. Otherwise, I lose my mind.” Everything is just recorded as we feel at the time. There’s no other outside influences like playing live or anything. The tempos are whatever is right for him to sing to and the rest of the instrumentation is mostly whatever our strengths are. I play the jangly stuff, Brad plays the fancy lead guitar stuff, Teddy does the keyboards and Billy’s the drummer, that’s it. Whatever fits whatever song is being done at that time is what we do.
MR: Do you have a couple of favorites on the project?
J.D.: I think every one of us would agree that “This Game Is Over” is one of our favorite songs, sonically, lyrically, vocally. It’s just really a great song. Another one of my favorites is “Somewhere Down The Road,” the last song and the title song of the record. That’s a song that was initially on another project we were kind of working out, kind of a concept record that we haven’t finished yet, so it just made sense that that song would go in this new batch. It’s one of the few songs that I actually remember writing. We wrote so many songs that I don’t remember the actual genesis of, but for some reason I remember when we wrote “Somewhere Down The Road” and how we did it. I’m trying to go down the list in my head. “Young Man’s Game” is my favorite one on the second side.
MR: I love that the concept of “sides” of a record has expanded into meaning two CDs.
J.D.: [laughs] Yeah.
MR: Which side would you listen to casually?
J.D.: I would probably drive to the first one and put the second one on at my house to do work. They’re just two different moods. The first one is much more of an exciting record for doing upbeat things and the other one’s a little more for doing introspective things.
MR: How has the writing experience evolved for you guys?
J.D.: We’ve done eight or ten songs since that record has been finished and we’re actually working more as a quartet on writing some of these songs. Most of the time, Billy will either have a chord or two that he’s plinked out on the guitar and maybe he has a lyric idea, he might have a whole lyric written. Some of the time, I have a whole track started or completely finished, other times I’ll just have some sort of riff idea. Really it comes from anything that gives us inspiration. It doesn’t take a lot, really, it’s just a couple of chords that make us perk up and go, “Hey, that’s something!” Then we’ll turn it into a song. Teddy brings all of his piano chords into the mix, so we’re trying to incorporate more of that along into what we do because it just gives it a little bit more different stuff. All that equals inspiration.
MR: Do you feel like the permanent addition of keyboard has shifted the focus of your approach?
J.D.: It’s not going to end up being a big sonic shift, it’s just anything that gives us an inspiration. Teddy can add a couple of different weird chords into things. That’s what we’re always going for, just evolving into more weird chords.
MR: Does Billy’s schedule as an actor ever conflict with the band’s schedule?
J.D.: He says, “Let’s tour in April” and that’s when we go. Any time we have something band-related that’s going on that’s important he just tells his film manager that this is what we’re going to do. It’s not a lucrative position for him, but a lot of times they can reschedule. We haven’t had to deal with that before, because he wasn’t making a lot of movie projects for quite a while, which gave us years of constant recording. This is the first time he might actually have a bunch of projects going on. We’ve all got stuff going on, Brad’s got his own studio in Texas, he’s got to take time to close the place down and postpone projects, and Teddy’s always on the road playing with someone. I hang out with my kids most of the time when I’m not working with Billy. It’s good.
MR: So this has evolved in a good way for you all, time-wise.
J.D.: Yeah, everybody has other things they do. It’s just a matter of, “Hey, are you available this time?” “Yeah, I am,” “Great, let’s get together and do something.” It’s not the other three of us sitting around and going, “Man, I can’t wait until we can tour again.” It’s whenever it’s good for all of us. We’re excited to make it all happen.
MR: J.D., what advice do you have for new artists?
JD: My advice is to not chase whatever trend is going on and try to sound like everyone else. Take the people you are inspired by and start digging into who inspired them, and then find out who inspired them. Get back to the root of the music that you love. It might surprise you as to what was the genesis for somebody else’s inspiration. I’m sure Billy will say this too–learn your history. There’s so much of it that’s being lost, we have to hold on to it and learn it and teach it to others. Use that history and use it to inspire you to make music that is personal to yourself and not just whatever the next hot thing is that’s going to get you on American Idol.
MR: Nice. Do you think that’s what people are taking away when they listen to a Boxmasters project?
J.D.: I hope so. They should know that it’s heavily influenced by the past. We’re trying to bring it to new audiences, especially with the older cover stuff. Bring it to new audiences who might say, “I really like that song by Webb Pierce, I want to go listen to more of that,” and then they go and find Del Reeves or Merle Haggard or The Boxtops or anybody like that. Find things that are inspiring and might lead them to new creative heights.
MR: Musically, is there anything out there that surprises you anymore?
J.D.: I constantly feel like an idiot because there’s so much stuff that I haven’t heard. I hang out with Brad and Billy and Teddy and they are insane in their knowledge. It makes me feel like I don’t know anything. It makes me feel like I have to be constantly learning and looking into doing other things so I don’t feel like a complete idiot. These guys know so much history, it’s inspiring. Everyone really is influenced at their core level by other things. Brad grew up as a bluegrasser, Teddy grew up more of a rock ‘n’ roll, R&B kind of guy, Detroit via New Jersey. I’m also a little bit younger than those guys, I started learning a little bit later than them. Even though I was years behind my time I haven’t caught up. I’ve still got a lot to learn.
MR: What kind of a legacy do you want The Boxmasters to have?
J.D.: Basically I want people to listen to the music and read the lyrics and see that there’s a whole lot going on. Some of it’s poppy, bouncy, good time-sounding stuff but there’s really deep thoughts and stories and things going on that are a lot deeper than they might think. I want people to know, “Hey, that’s Billy singing,” he really is a great vocalist, a great storyteller, and all those crazy girl harmonies that you’re hearing in there, that’s him, too. I think I’m the boring underneath stuff that’s not the stuff you listen to and go, “Wow, that’s fantastic,” but he does all the high stuff that I can’t even reach anyway. There’s a lot going on in these records even if it just sounds like some guys bashing away. And it’s all played, there’s not machines going on. This is all how they used to make records in the old days. That’s what we do. We don’t use tracks live, we just play songs. That’s why we crash and burn at times.
Transcribed by Galen Hawthorne