Latest / Arroe Collins Like It's Live / West Of Spaghetti From The String Revolution Janet Robin Breaks It Down

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West Of Spaghetti From The String Revolution Janet Robin Breaks It Down · Arroe Collins Like It's Live

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Speaker 1: Oh, there's a reason why we created aro dot net
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Speaker 1: I'm loving the accent that you've got. Where you are
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Speaker 1: You from the Midwest, because I'm hearing something from the
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Speaker 1: Chicago area in those vocal times that's so funny.
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Speaker 2: Now I am born and bred Los Angeles. Yeah, some
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Speaker 2: people think I'm from New York actually, but no, no,
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Speaker 2: I'm I'm an LA gal.
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Speaker 3: You know what I mean.
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Speaker 1: It's the influence that comes from New York and Chicago
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Speaker 1: that moves out there to LA because they want to
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Speaker 1: make it big. And you guys are going now there
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Speaker 1: there you go. So do you have this fascination with
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Speaker 1: spaghetti westerns. I'm originally from Montana. I just thought that
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Speaker 1: was a Montana, Lower Canadian kind of.
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Speaker 3: Thing, I don't, you know, I don't think so.
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Speaker 2: Because spaghetti Westerns and Anyo Moriconi and these people, or
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Speaker 2: even Gustavo Santo Alaga, who's another composer. I mean, well,
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Speaker 2: first of all, they're from Italy and Argentina, so yeah,
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Speaker 2: there's that. But I mean, spaghetti westerns are just classics,
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Speaker 2: aren't they for for all over the world. I mean,
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Speaker 2: you know, they're just I mean, they've been classics since
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Speaker 2: the sixties, you know. And I think the music that
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Speaker 2: Anyo Moriconi composed along with Sergio Leoni, who's you know,
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Speaker 2: directed a lot of those spaghetti westerns, it was just
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Speaker 2: some kind of like inspiration probably from you know, they're
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Speaker 2: growing up in Italy and the kind of cultural music
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Speaker 2: that comes from they're mixed in with what they think
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Speaker 2: the American Western. Yeah, and I find that completely fascinating.
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Speaker 1: Well, that fascinating is listening to your music because of
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Speaker 1: the way that you do take my imagination away from me,
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Speaker 1: like one of those old spaghetti westerns or any other
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Speaker 1: great story. I mean It's like, here we are with instrumentals,
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Speaker 1: but you're giving me words inside my imagination. How is
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Speaker 1: that magic trick even pulled off?
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Speaker 2: Right? Well, that is a huge compliment, and the band
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Speaker 2: thanks you, because yes, we are in an instrumental guitar band.
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Speaker 2: And it's always been the challenge with the String Revolution
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Speaker 2: to make sure that when we are composing or reimagining
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Speaker 2: a cover that has vocals, that we are still eliciting,
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Speaker 2: you know, a melody there, so that people can walk
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Speaker 2: away with remembering some kind of melody, you know, because
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Speaker 2: otherwise it's just you know, incessant jam jamming. And I mean,
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Speaker 2: unless you're like part of.
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Speaker 3: A hippie commune, you know, nothing against that. I'm just saying,
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Speaker 3: that's not what we are. You know. We're trying to
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Speaker 3: keep you know, create songs.
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Speaker 2: That that fill those instruments, still fill a singer, fill
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Speaker 2: a bass, fill a percussion instrument with our guitars. And
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Speaker 2: that was always the goal of the String Revolution when
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Speaker 2: when I put it together.
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Speaker 1: Well, what you talk about songs that are going to
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Speaker 1: make you remember things and to stick to them, fold
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Speaker 1: some prison blues mine God, I mean, you.
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Speaker 2: Had another challenge again because you know, these iconic songs
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Speaker 2: that we've covered.
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Speaker 3: Uh, you know, you have to be.
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Speaker 2: Really choreful with that because if you we have a
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Speaker 2: few challenges.
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Speaker 3: When you cover a song. You don't ever.
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Speaker 2: Want to cover a song that sounds exactly like the song.
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Speaker 2: What's the point of that, right, Well, because two reasons, you'll.
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Speaker 3: Never ever sound like what the song originally.
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Speaker 2: Sounded like, so so why even try? And and and
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Speaker 2: then the second thing is people just won't they won't
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Speaker 2: pay attention to it because it'll be like, not at
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Speaker 2: not a great version necessarily of the original.
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Speaker 3: So you go opposite direction, you change it into.
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Speaker 2: Something different that represents you know, represents your sound. And
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Speaker 2: we have the advantage of the fact that we are
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Speaker 2: we are an instrumental guitar band, so we're coming from
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Speaker 2: the guitar world and we're coming from that background and
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Speaker 2: trying to put that into these covers without losing the
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Speaker 2: soul of the song. And we were so lucky to
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Speaker 2: have the great Tommy E. Manual be the feature on
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Speaker 2: that song because he's the one that's carrying the melody,
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Speaker 2: you know, and he's doing it in such a way
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Speaker 2: that's so captivating because his playing is just out of
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Speaker 2: this world and you don't lose the soul of the song.
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Speaker 2: You have recreated the song and giving it a new life,
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Speaker 2: which is always our intention when we when we cover
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Speaker 2: an iconic song. And and on top of that with
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Speaker 2: fulsom Prison Blues, we had the great honor of working
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Speaker 2: with John Carter Cash.
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Speaker 3: He's Johnny Cassim's son.
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Speaker 2: Yeah, and him and I go back because we have
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Speaker 2: worked on some of my solo records many years ago,
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Speaker 2: and you know, he works out of his dad's studio,
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Speaker 2: Cash Cabin in Natville, and so it just all came together.
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Speaker 3: We had the blessing from.
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Speaker 2: Him to do the track, and he knew we were
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Speaker 2: doing it in a different way. There wasn't going to
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Speaker 2: be a singer, and he said.
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Speaker 3: Let's do it. I want to I want to be involved.
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Speaker 2: I want to see how how we can you know,
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Speaker 2: pay homage to my father.
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Speaker 3: And you know, because it was always like I was always.
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Speaker 2: Asking him, oh my god, you know if your dad
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Speaker 2: was still around, like what will he think of what
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Speaker 2: we're doing?
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Speaker 3: Are we just like trampling all over his job? You know?
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Speaker 2: And and you know it was it was so touching
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Speaker 2: when he said, oh, you know, he said, my dad
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Speaker 2: would be so proud of you guys and would just
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Speaker 2: be tickled pink listening to your you know, your version
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Speaker 2: of his classic song. And that just that made me
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Speaker 2: really happy. And then of course we won the Grammy
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Speaker 2: on that song, and that was just another like, you know,
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Speaker 2: just another great honor.
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Speaker 3: And I think that also, you know, validated.
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Speaker 2: John Carter's feeling and letting us do it, and it
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Speaker 2: just all came together so that that was just a
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Speaker 2: magical project.
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Speaker 3: And you know, these things happen. It's just you know,
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Speaker 3: if you're.
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Speaker 2: If you're great, lucky enough and you work hard enough,
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Speaker 2: you know, these magical things happen. Like that's what music is,
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Speaker 2: you know, make the magic.
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Speaker 1: Well it was part of that magic or a major
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Speaker 1: part of that magic is the La Jazz Festival. Come on,
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Speaker 1: that's amazing.
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Speaker 3: Oh thank you. Yeah.
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Speaker 2: You know, because we're instrumental, we fit in all these genres,
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Speaker 2: you know, and they're like, where do we put the
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Speaker 2: String Revolution? Well we are called the Spring Revolution for
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Speaker 2: a reason. You know, we we are we are an
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Speaker 2: instrumental guitar band, but we play a lot of different
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Speaker 2: genres and we compose differently, and you know, we have
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Speaker 2: different styles, so we do have some jazz flavored on
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Speaker 2: songs and.
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Speaker 3: We're also an LA band.
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Speaker 2: And this, oddly enough, is the very first time Los
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Speaker 2: Angeles is ever having a jazz festival, which is mine
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Speaker 2: mind boggling to me because what you know, every city
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Speaker 2: almost has a has a jazz festival, and there's a
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Speaker 2: lot of good jazz musicians out here. But but you know,
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Speaker 2: jazz is an all encompassing word.
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Speaker 3: So we're we're you know, we fit.
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Speaker 2: Under some jazz influence and then under some other thing
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Speaker 2: blues and you know, rock and.
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Speaker 3: A little bluegrass and whatnot.
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Speaker 2: So yeah, we're playing August twelfth here at the LA
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Speaker 2: Jazz Fest. We don't have the venue yet or the time,
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Speaker 2: but it'll be released soon.
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Speaker 1: So so what is your fascination with West Side Story?
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Speaker 1: Because if very second I found that out, I went, oh,
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Speaker 1: my wife, my wife, my wife, that's all she talks
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Speaker 1: about west Side Story. Oh my god, Well that.
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Speaker 2: Is my absolute favorite song from that that play. Yeah,
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Speaker 2: I just loved that song, and without getting too political,
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Speaker 2: I just felt like, well, we all felt like it
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Speaker 2: was the right time to release that. And you know, frankly,
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Speaker 2: in our band, we are multicultural you know, I'm from here,
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Speaker 2: born and raised in America, Cuban immigrant, and then we.
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Speaker 3: Have an Austrian immigrant, you know. So I just was like, we.
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Speaker 2: Got to do this song and then and then the
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Speaker 2: feature on that was Lukeisha Benjamin. Lukeisha Benjamin, who is
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Speaker 2: a great jazz saxophone player, a female black American. So
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Speaker 2: look at all of that, all four of us. I'm like,
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Speaker 2: that's that's America.
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Speaker 1: Well, I wish you could see my notes because in
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Speaker 1: my notes I say this music sounds so universal, and
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Speaker 1: what you just explained to me is exactly why it
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Speaker 1: sounds so universe. So in fact, my following notes go,
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Speaker 1: I could be in Ukraine or Greenland and experience an
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Speaker 1: unbelievable vibe. So I mean, under why I feel so global?
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Speaker 3: Thank you. That's amazing.
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Speaker 2: Arrow, I have say like, wow, you know, seriously, that
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Speaker 2: is exactly what we're trying to go for. We're just
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Speaker 2: trying to show music internationally culturally America everything, you know,
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Speaker 2: all of it, and and it's a big mix. It's
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Speaker 2: the it's the revolution, you know, it's that insane, and
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Speaker 2: you know, we don't want to be categorized. We all
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Speaker 2: loved that song. Me Marcus and Robert. We loved it.
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Speaker 2: It was a challenge to to arrange it, a really
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Speaker 2: big challenge. And and saxophone, who does that?
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Speaker 3: You know? It's like who puts that on a guitar?
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Speaker 3: You know?
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Speaker 2: Instrumental Well, I mean I we just like experimenting, and.
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Speaker 3: We're very proud of all of our experiments.
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Speaker 2: And if and if it reaches somebody's you know, heart
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Speaker 2: and soul, then then we've done our job.
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Speaker 1: Please don't move. We've got more with Janet Robin from
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Speaker 1: The String Revolution coming up next, the name of their
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Speaker 1: latest music project, West of Spaghetti. We are back with
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Speaker 1: Janet Robin from the String Revolution. I'll tell you where
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Speaker 1: I hear your music. A lot weddings, wedding receptions. They're
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Speaker 1: using it that. Yeah, but so you know about.
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Speaker 3: That then well I I can see why, you know.
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Speaker 2: Because I think our music has some emotion.
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Speaker 1: It has a lot of emotion.
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Speaker 2: It's not okay, Yes, we play with emotion, we play
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Speaker 2: with intention, We we play with leaching that those ears.
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Speaker 3: We're not playing for ourselves.
10:46
Speaker 2: Which is sometimes a problem with instrumental music. You're just
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Speaker 2: you know, incessantly jamming. Like I said, or how fast
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Speaker 2: can I do this riff or this and that it's
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Speaker 2: not a bad thing. I'm just saying that's not what
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Speaker 2: we do. We want to reach the listener in all
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Speaker 2: of those ways that music reaches people, your heart, your soul,
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Speaker 2: makes you feel something, makes you remember something, it takes
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Speaker 2: you away to another place.
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Speaker 3: And I, yes, I can see it at a wedding.
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Speaker 2: I can see it at a at a you know,
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Speaker 2: fifty year anniversary wedding anniversary. I mean I can see
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Speaker 2: it in movies and you know, rest of the spaghetti
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Speaker 2: we were thinking cinematic. How could it not be because
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Speaker 2: we were, you know, inspired by Marriconi and we wanted
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Speaker 2: to create that sort of palette of you know, cinematic sound,
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Speaker 2: you know, expansiveness because that's kind of what you know,
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Speaker 2: spaghetti Westerns and all of that. It was just showed
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Speaker 2: the whole you know, American Frontier. But meanwhile on the song,
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Speaker 2: it features a tarango, which is a special instrument from Peru.
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Speaker 3: Wow, you know, a real high sounding guitar.
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Speaker 2: People think it's a mandolin. It's not a mandolin. It's
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Speaker 2: called theo.
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Speaker 1: I thought it was a mandolin. I sure did.
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Speaker 3: Wow, it's not a mandolin. It is a tarango. It's
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Speaker 3: a it's a special in a string.
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Speaker 2: Instrument from Peru. Marcus Ilco from the band is playing it.
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Speaker 2: And then on top of it, Revert Luis, who's my
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Speaker 2: other BANDMATEE he's playing a riquinto.
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Speaker 3: I don't know how to pronounce.
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Speaker 2: It, but that is another kind of guitar from Mexico.
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Speaker 1: Universal Universal.
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Speaker 3: And then there's good old Janet. I'm still stringistic.
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Speaker 1: So now are you planning on going around the country?
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Speaker 1: Are we going to see you at night stadium or
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Speaker 1: even anything like that here in Charlotte or maybe even
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Speaker 1: the Bloomenthal performing the Arts Center? Where are you going now?
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Speaker 3: I would love to.
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Speaker 2: I mean I played years ago in Charlotte.
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Speaker 3: There's a thing.
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Speaker 2: Called Tosco music, you know, and I did that years ago.
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Speaker 3: He has events. I think it's a bloomin Flah. I
12:57
Speaker 3: think it's there. We played.
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Speaker 2: We played two years ago with Tommy and Manuel there
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Speaker 2: in Charlotte and that was a fantastic show, a great venue.
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Speaker 3: I love North Carolina.
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Speaker 2: I really love the South because people grow up listening
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Speaker 2: to such good music and have respect, have respect for instruments,
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Speaker 2: you know, for learning the instrument and for being a
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Speaker 2: master at it, so we would love to come back.
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Speaker 2: We're trying to put some shows together for next year.
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Speaker 2: We've been mostly concentrating this year on recording, so we
13:29
Speaker 2: have a lot of recordings coming out. We have another
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Speaker 2: song coming out, of course, a complete three hundred and
13:35
Speaker 2: sixty degree turn from the Rest of Spaghetti that's coming
13:39
Speaker 2: out August seventh, and it's called Bad Zombies.
13:43
Speaker 1: Oh yeah, what is that?
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Speaker 2: Well, I won't take up too much of your time,
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Speaker 2: but Bad Zombies is a reimagining of a very famous
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Speaker 2: theme song from a very famous video game called Plants
13:58
Speaker 2: Versus Zombies God And depending on your age demographic, you
14:04
Speaker 2: would know that that game or.
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Speaker 3: You wouldn't, But anyway, it was.
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Speaker 2: It was a very popular game, I think in the
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Speaker 2: early two thousands and and it has a very popular
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Speaker 2: theme song.
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Speaker 3: So we reimagined that, we redid.
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Speaker 2: It, rearranged it, and we had this amazing cello player,
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Speaker 2: Tina Glow, who is who works a lot with Hans.
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Speaker 3: Zimmer, that's another composer, yes.
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Speaker 2: And she's a badass, and she joined on the project
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Speaker 2: and then we mashed it up with a little bit
14:35
Speaker 2: of bad Guy from Billie.
14:37
Speaker 3: Eilish and.
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Speaker 2: I'll give you the I'll give you the short end
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Speaker 2: of the backstory. Apparently Billy and Phineas were really inspired
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Speaker 2: to write Bad Guy from playing Plants Versus Zombies and
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Speaker 2: incessantly hearing the theme song, so we.
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Speaker 3: Mashed it up.
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Speaker 1: Amazing.
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Speaker 2: Billy and Phineas have heard heard it and been involved
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Speaker 2: in their arrangement and they're really excited about it coming
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Speaker 2: out as well. And it's finally coming out. It's been
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Speaker 2: been a few years in the making. Wow, coming out
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Speaker 2: August seventh.
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Speaker 1: Where can people go to find out more about everything
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Speaker 1: that you guys are doing, because you're more than exploration.
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Speaker 1: You were at the top of the heel and you're saying,
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Speaker 1: come on, everybody, get up here with it.
15:26
Speaker 3: Do not talk to you every day.
15:28
Speaker 2: I need to talk to you every day, and then
15:30
Speaker 2: I will stop my therapy, I promise.
15:32
Speaker 3: I just I don't need it anymore. I'm you know.
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Speaker 3: The best way really to find us.
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Speaker 2: And everything that's going on, obviously is our website, the
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Speaker 2: String Revolution dot com, or just go on our socials.
15:44
Speaker 2: You know, we're the String Revolution on Instagram and Facebook.
15:49
Speaker 1: And yeah, wow, you got to come back to this
15:53
Speaker 1: show anytime in the future. You got that song that's
15:55
Speaker 1: dropping in August. We need to talk, we need to
15:57
Speaker 1: really set this up and let's make it happen.
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Speaker 3: We do, and we will and wait till you hear it.
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Speaker 1: Arrow, I can't wait.
16:07
Speaker 3: You may not even know, you know, you probably don't
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Speaker 3: know the game or the theme song. I know, you know,
16:12
Speaker 3: bad guy.
16:13
Speaker 2: But when you hear the song, you're be like, wait
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Speaker 2: what And you know, here's a cello player. And again
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Speaker 2: it's another it's another exploration, you know, of music. And
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Speaker 2: I can't wait to send it to you. And we
16:24
Speaker 2: will be back. We'll be back to Charlotte. Charlotte specifically to.
16:27
Speaker 3: Me, is a music town.
16:28
Speaker 2: Yes, And you know I started years ago at the
16:31
Speaker 2: Evening News.
16:32
Speaker 1: You know that did Oh my god, I've been there
16:35
Speaker 1: many times.
16:36
Speaker 3: Wow, years and years and years ago.
16:39
Speaker 2: When they when they first bought that venue, I was
16:43
Speaker 2: like one of the first bookings.
16:44
Speaker 3: And that that's when I.
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Speaker 2: Was doing like some solo I was doing solo singer
16:49
Speaker 2: songwriter stuff and and uh yeah, that was one of
16:52
Speaker 2: the first places I ever played in Charlotte. And I
16:54
Speaker 2: just realized, you know, this is a music town.
16:57
Speaker 1: Yep, yeah, you know it's such of music town. Are
17:00
Speaker 1: you ready for this that we actually have live entertainment
17:04
Speaker 1: at Harris Teeters stores and other stores in this area.
17:07
Speaker 1: Every Thursday night we bring the musicians to all these
17:10
Speaker 1: grocery stores.
17:11
Speaker 3: I love it. You know.
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Speaker 2: It's I feel like it's a like a miniature on Nashville,
17:17
Speaker 2: you know. It's yeah, well I shouldn't say miniature, but
17:21
Speaker 2: it's kind of got that vibe. And and Tosco, John
17:24
Speaker 2: Tosco's really elevated it a lot with all of his
17:27
Speaker 2: events as well.
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Speaker 3: But yeah, you know, it's like in Nashville.
17:30
Speaker 2: Across the street, all the crosswalks have canned music coming
17:34
Speaker 2: through the stoplights.
17:36
Speaker 1: I'm going to give you a little bit of history here.
17:37
Speaker 1: There's a gentleman from the nineteen forties and fifties by
17:40
Speaker 1: the name of Arthur Smith who came from Charlotte, and
17:42
Speaker 1: he always told us the story in radio that this
17:46
Speaker 1: was supposed to be Nashville. We just didn't want it,
17:49
Speaker 1: so they they moved it to Tennessee. Now, I don't
17:52
Speaker 1: know if that's a true story or not, but Arthur,
17:54
Speaker 1: Arthur Smith, who was very big in writing music for
17:58
Speaker 1: country music, he was so adamant and seeing it was here,
18:02
Speaker 1: he says Elvis Presley came here fifty two times. Do
18:05
Speaker 1: you know that? Do you know why? Look it up
18:08
Speaker 1: and it was like whoa, whoa, he did come here
18:10
Speaker 1: fifty two times.
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Speaker 3: I believe it. I mean, I believe it. You know.
18:15
Speaker 3: Who knows why it ended up going to Tennessee.
18:19
Speaker 2: I'm not sure, but I could I can see that happening,
18:23
Speaker 2: you know, as far as like traveling around also other
18:26
Speaker 2: parts of North Carolina like Richmond and yeah, these other
18:29
Speaker 2: things that it's not the same, not the same, you know,
18:33
Speaker 2: so well, look maybe and then it was better that
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Speaker 2: it didn't turn into the metropolis, you know, Nashville. And
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Speaker 2: it's like I said, it's a little bit more community driven.
18:44
Speaker 2: Nashville's guys obviously very you know, very commercialized, so which
18:49
Speaker 2: isn't a bad thing.
18:50
Speaker 3: It's just what it is.
18:51
Speaker 2: And Charlotte's a little different version of it, a little
18:54
Speaker 2: bit maybe more intimate, more personal and very open to
18:57
Speaker 2: different kinds of music.
18:58
Speaker 3: Yeah we are, which is great, you know.
19:01
Speaker 2: And we just like when we played with Tommy Emmanuel
19:03
Speaker 2: at Boom and Fall, we just we had a line
19:05
Speaker 2: of people at merch Yes.
19:08
Speaker 3: We were happy they wanted to buy stuff, but they
19:10
Speaker 3: also wanted to talk to us, you know, and that
19:13
Speaker 3: was great. We just loved it, man, it was great.
19:15
Speaker 3: We'll be back.
19:17
Speaker 1: We'll be back, all right. Will you be brilliant today?
19:19
Speaker 2: Then okay, you're amazing, thank you, thank you, and we'll
19:24
Speaker 2: be in touch about the next song.