Michael Des Barres
Des Barres, of course, is the former lead singer of the bands Silverhead, Detective, Chequered Past, and The Power Station as well as ringleader of his own band for several solo records. He has just issued a great new CD called Carnaby Street which has a stamp of unbridled "fun" all over it, The Marquis is in fine voice and has served up ten tracks that will undeniably charge up concert halls in the near future when translated live.
It was a great pleasure to speak to Michael last week as we connected for one of the most enjoyable interviews I've had the pleasure of doing. Eloquent, charming and extremely funny, Michael talked about his new record along with other bits of the past that proved fascinating.
antiMusic: I just have to say it's an honor and pleasure to speak with you. I've followed your career since Detective and became a major fan with Chequered Past and later went back and connected with Silverhead who I didn't get into initially. Thank you for taking the time today.
Michael: The pleasure is mine, Morley. The pleasure is mine.
antiMusic: In the '80s I was managing a record store and a girl who worked for me and I absolutely could not start the day unless we had a massive coffee and we played "A World Gone Wild" loud enough to wake the neighbors with your opening scream leading the way. Thank you for giving me the chance to do it all again with the ending sequence on the track "Carnaby Street"
Michael: (laughs) It's so funny because I was driving to the gym this morning and I did some interview with somebody and they played "A World Gone Wild". Then I came back and you posted it and I hadn't heard it in so long. Can I tell you the truth? I rarely go backwards but when I do it's always sort of like discovering a bastard child that is really handsome or beautiful (laughs) and you never knew about it. (laughs) So thank you for that, man. Yeah. It sounded great.
antiMusic: Absolutely. And first of all congratulations on Carnaby Street. It's an awesome record. I love it from start to finish.
Michael: Oh great.
antiMusic: To properly set up talking about this record, it has to be said that you grew up and really started to experience life in London in the late 60s and early 70s. I'm so jealous of you as I certainly feel that this was the absolute best time in music. Can you describe what sort of musical experiences you had as a fan that contributed to your musical and otherwise developments?
Michael: Oh yeah. You know it started with a fascination with the blues when I was in boarding school. I went to these boarding schools for eight years from ages eight to 16. And that coincided with the birth of the British cultural blues revolution. I was isolated in Derbyshire, somewhat like Wuthering Heights but without girls. One of my friends---not that I had many---but one of them was really into Sonny Boy Williamson, John Lee Hooker, Muddy Waters, etcetera and I listened to that very early on.
I was determined to be an actor so at 16 I left these dreadful, hypocritical schools and went down to London and went to Drama School. And while I was at Drama School, I'm studying dance and fencing and Shakespeare and having a whale of a time with all these beautiful things clad in plaids and scarlets. And one of the guys there with me was Mitch Mitchell, you know, Jimi's drummer obviously. I was 16 at the time...and he said "I'm playing with this guy; come and see him play." And yeah, then obviously my head exploded into paisley and I started to wear velvet immediately. (laughs) I fell quickly in love with that culture.
Now every f*cking night, Morley there was a band that was exquisite. I mean Mick Taylor was like 14 playing in a band called The Guards. And then he went to Mayall. And there's Cream down the road and there's The Animals and there's The Stones. Obviously they were really a big pop band by then. And I started out with the guitar but in combination with B3 Wurlitzer Hammond Organ vibe, you know?
Michael: That was an incredible feeling because you know I always say at that time, young British kids in the late 60s were so attracted to the blues of the American experience and it was a very strange hybrid to come across. But we adopted it and adapted it and played it and lived it. And I continued to act in the meantime while soaking in all this wonderful ambience.
But London in those days…when you say you were jealous of that era…quite justifiably because it was the beginning of something. There was no precedent before it. There wasn't a Led Zeppelin. There wasn't a Doors. There wasn't a Faces or Steve Marriot or anything like that. It was new. It was NEW. Young white guys and girls adopting the attitudes of Wilson Pickett. (laughs) And John Lee Hooker. I mean, what the f**k is going on? It was unbelievably exciting. And then of course coupled with fashion and experimentation with drugs and sex and Cultural Revolution which was truly revolting and spectacular all at the same time. I was seduced and fell in love with that.
This record that I've just made is a return to those moments of inspiration. Because you know, you start off and you're influenced and you go off on other tangents. In my case, it was many bands and much television and movies. A couple of years ago I was in Austin, Texas and I'd met these blues guys and I thought, "Oh man. That's it. Oh god. I remember that." And so I wrote these songs and put this ridiculously fabulous rock and roll band together and I'm just so excited about it.
antiMusic: You've been away from music, in terms of product to put out there, for the last few years. Why was this a good time to dive back into the rock pool?
Michael: Well I think what happened to me was I had become quite successful at television. But what I'm trying to remind people or at least hip them to the fact that I was always in those clubs. I would always get up with bands. I always play guitar and I always listen to music. I would use music as my inspiration for whatever movie I was doing or character I was playing. I never lost my love of music and I've always kept abreast of new artists and my great faith and trust in music that inspired me in the first place.
But two or three years ago, I had a rotten crash…a real accident and f**ked myself up and broke so many bones. I went down to Austin and stayed in a friend's ranch. I couldn't do anything. I couldn't play guitar. I didn't want to act. I just wanted to recover. I started to write about my experiences. And it was really a metaphysical time for me. It changed my view. It cut to what I really wanted to do and what I love to do most is to get up there and play live.
So I wrote these rollicking songs while in a coma of recovery from this accident (laughs) and it was an amazing transformation. What happens to you, and I'm sure it happens to you or a family member, when you do have some great challenging physical, spiritual event happen, it does cleanse you and it clarifies a lot for you…what is important for you in your life, right?
Michael: And playing rock and roll music raised its head and said, "Here I am. Remember me?" and I said "Yeah, I remember." And here I am.
antiMusic: Once you get past the opening song, which I'll get back to in a minute, the prevailing mood that this record projects is just pure fun. Does that come from the music you were creating, the band you were working with or just the state of mind that led you to this time in your life.
Michael: Well, you know, we've all lived difficult lives. And we're still living difficult lives. But I think that one's perception of what's happening is what's actually important. When I was, as I say, in this other state, down in Austin on this seve-acre beautiful ranch with very few distractions other than horses and wild flowers, I realized what was important. It's so calm there and so beautiful that I got rid of a lot of the sophistication and the tricks and techniques that I had employed over the previous 40, 50 years in show business (laughs) and got back to what was clear and pure to me.
And what is clear and pure to me was that rock and roll is a synonym for f*cking…and sex and joy and truth and raw passion and compassion. And I got back to that. And as pretentious as it might sound it was very, very profound to realize that life is what you perceive it to be. And if you are going through a challenging situation you learn from that. Everyone you come across is a messenger. And everything you experience is a message. I really SAW that. And I'm not f*cking around when I say it.
When I made that album, which we made very quickly, I realized that the joy and spirit of rock and roll is so powerful because when we play, people really just smile, sweat and dance. And all the ego just goes out of the f*cking door, out the exit. See ya. It goes down the street. Disappears. And what's left is people's really pure love for each other and for that music. But it's irresistible. And so I'm so glad to hear you think that it sounds joyous because it was made in a state of joy and continues to be so.
antiMusic: There's usually one song that's a catalyst for a project like this. Which one was the one that got it going for you?
Michael: Yeah, the one that really began it was "Forgive Me".
antiMusic: I would think that's kind of an odd one to start off with.
Michael: Well, if you think about it, the most important thing is forgiveness. Every mystic has said this. So lyrically, I wrote that kind of Motown thing. And it's not as much the song itself, it's what it says, it's what it means... Rock and roll can become just posturing. And thrusting your c*ck in the audience's face. And all of the megalomania and distance that that creates. But if you're in the state of consciousness, without that the audience doesn't exist and without us the audience doesn't exist. So it's a conversation. So in terms of, you know, I've been through a lot of sh** in my life, heroin, marriages, like we all have been through a lot of stuff. And a lot of stuff one isn't proud of. And so forgiveness became this (laughs) door to a freedom that made me able to be even more cocky (laughs) because it was coming from a much more real place. You know I think rock and roll has lost its way only because for me rock and roll does beat below the waist. The heart of rock and roll is something that does not happen in your head. It's your body that I'm talking about. And to forgive one's transgressions in yourself and in others is very liberating.
antiMusic: The lead-off track is "You're My PainKiller", an absolutely smoking song. I would have thought this was about a new relationship but I've read that's far from what it's really about. Can you tell us about this song?
Michael: Essentially, it's about the understanding that love is most effective anti-depressant. (laughs) What's happened to us, I think, is that we've become anesthetized and numbed by the assaultive divide that is in our country and the world. There is so much division. If you take Christianity, there's 52 versions of it and therefore 52 battles will be fought, and have been for centuries. These pharmacological companies, corporate companies have capitalized on greed and depression of our culture and supplied these drugs. And while understanding that they are tremendously effective and much needed by people with chemical disorders, I'm simply putting out that a true and trusting relationship will transcend anything that perhaps chemicals can't.
antiMusic: "Carnaby Street" has got the swagger of The Stones mixed with the fun element of The Faces. It really has a sweaty club atmosphere that conveys the temperature of the times. Do you think the song matches the environment that you experienced growing up?
Michael: Oh yeah. Absolutely. Totally. I'm just evoking that feeling. It's not like I'm going backwards, I'm just trying…It's so interesting because you began this conversation by saying, "I wish I had." I'm just paraphrasing, but you wished you had experienced that…
Michael: Right? And you're not alone. I mean everybody that I meet…you know most people from that era are not doing what I'm doing. They're either now breeding horses or saving animals or working on their sobriety or dead. Me? I'm still there. (laughs) So this album is allowing you to come with me and experience it with me. And I think that's terribly important.
Because, dude, I'm at Coachella and I look out I see 50, 000 people. 35,000 are in Led Zeppelin t-shirts. Why is that? That is because they were the precedent setters, they set the template for what was to come. So therefore the audience is so sophisticated today, especially the young ones, they're so hip to what it was like, but only in an abstraction. So I've tried to provide something that is more tangible of what London was like and how the Union Jack was in the hands of The Who and how there WAS sunsets at Waterloo, and we DID try to kiss the sky and we WERE getting high, and it was beautiful and we all met on the streets of London and it was a beautiful, beautiful experience. And that's what I'm evoking. And I'm not going backwards. I'm just trying to bring it up…right to here…this is what it felt like for me.
antiMusic: I noticed you changed the lyrics from what was originally printed on the liner notes from "I was high as heaven" to "I was in heaven." Was this changed after reflection to reflect your sobriety status? (laughs). Or was it just a typo?
Michael: Hmmm, no. It was a typo. Absolutely. And it's so interesting that you caught it. But you see, here's the thing about that. When it happened, usually I'm pretty stringent and strident about what I want and what I don't want and fortunately I'm with a fantastic label that has indulged me in this, but I read it and I thought, that's okay. You can say it anyway you want. If somebody is smart enough to grab both versions like you are, it's fine.
But "As high as heaven", one wasn't getting high to escape something. One was getting high to go TOWARDS something. And there's a big f*cking difference, you know? So "as high as heaven" is as high as you can get, both spiritually and of course, the incredible drug intake (laughs) that was going around at that time. And remember also that hashish was really the drug of choice in London and then cocaine came in. but it was a few years before we realized that cocaine created psychosis. For a window there it was inspiring and fun. But then of course, inevitably it dissipated into the psychosis that we now know that cocaine creates.
antiMusic: The music of "Forgive Me Baby", it almost seems at odds with the lyrics. It makes it seems like it's the confession of a guy that knows he can't really languish in the dog-house TOO long because he is just too endearing and nobody can really stay mad at him. Having said that, were you thinking about Miss Pamela at all while writing that?
Michael: I love that! Your questions are really phenomenal. I'm very grateful to have them.
antiMusic: Thank you.
Michael: You're welcome. You know I write about my own experiences, but I'm sure you could sing that song.
Michael: You know what I mean?
Michael: And I hope you have, you know and I hope you do. (laughs) It's a tremendously powerful emotion. And the music…I didn't want to write a ballad to it because it's an exulted thing. It's like when people say, "Well, I surrendered." Well, surrendered doesn't mean giving up. Surrendered means accepting.
antiMusic: Right, OK.
Michael: So it's a universal theme. And when I wrote "Obsession", I realized Oh, my god, the reason that this is so popular is because everybody has felt this way. So essentially, most of the songs that I write are NOT obscure. I don't WANT to be obscure. I'll leave obscurity to people that are not sure so they're obscure. (laughs). And I'm sure. And I'm sure that everybody feels these things that I've written about at one time or another.
And I want to entertain. I don't want to preach to anybody. Or tell them how to live their lives. I just want to acknowledge you know, what I've been through (laughs) and so yes it's about Miss Pamela and yes it's about every woman I've ever been with and every relationship I've ever had. It's a metaphor for forgiveness. And that's terribly important because people walk around with these f**king resentments and get cancer. "Ah that bastard did me in" and it's a dreadful lust for revenge and blaming people for your misfortune. Forget about it. It can get you anyway.
antiMusic: Tell us how "Sugar" came about.
Michael: It's just a total sex song, you know. (laughs) It's the, shall we say, the physical side of the metaphysical lyric of "Forgive Me". (laughs) It's like you know Olivia Newton-John's "Let's Get Metaphysical." You know man, it's just… the traffic may be horrible, but I've got the most beautiful girl at home. It's a classic rock and roll song. That album wouldn't' even work without some pure, you know, paean to sex. You have to address that. It's a carnal dig. Rock & Roll is not about meditation. I mean I just wrote a Little Richard than a Lil' Wayne. You know?
antiMusic: (laughs) Absolutely.
Michael: I mean God bless Lil' Wayne. Nothing against Lil' Wayne. It's just not my thing.
antiMusic: (laughs) I hear you. Next to "You're My Painkiller" and just narrowly edging out "Carnaby Street", my favorite track is "Route 69".
Michael: Oh really?
Michael: Interesting. That's so interesting.
antiMusic: That one sounds, musically anyway, like it could have just appeared with little effort. One of those one-take songs. Did it?
Michael: It absolutely did. You're completely correct. But then again all of the songs are one take.
antiMusic: Oh wow.
Michael: Every f*cking song you hear there is one take. Maybe take two on a couple. I don't' even remember because we did it SO fast. Because what happened was I played it for MONTHS in the clubs in Memphis and Nashville and Austin and California. You know we just went out and played. Anonymously. And then word got around, and, blah blah blah.
But I just kept playing live till the band could do it in their f*cking sleep so when we walked in the f*cking studio, we just put up some mikes and rocked. And literally what you hear was recorded in seven days. And mixed in three. And I only put in some backups, David and Paul and some percussion and maybe Eric played slide on one song. But that's why it's such an explosive record because it did explode.
We weren't calculating an explosion, you know. It wasn't like, "Okay, lets do it like a garage record and then strip everything away and keep the drums and then the guy goes in and plays bass sitting down and doing his parts…" I will NEVER do that again.
antiMusic: Yeah, it definitely doesn't sound labored.
Michael: Oh god. What a horrible thought. Not calculated. Now if I was Thom Yorke, it's a different story, but I'm not. I respect Sigur Ros but I prefer Muddy Waters.
antiMusic: "Please Stay" shows you as in as good a voice as you were when you did "Johnny" or "Nightingale". Is it the companion piece to "Forgive Me Baby" when the apologies didn't work?
Michael: I think so you know? I tried to do the whole gamut of (laughs) a relationship. The whole album is just that. You've picked up on that. If you don't explore the idea of being left by somebody, it's not a complete statement. The album would not have been complete without the singer, the narrator of that album desperate for her to come back. And she doesn't. And that's happened to me and it's happened to Errol Flynn and it's happened to Brad Pitt. It doesn't matter how sex-assured, and how confident you are, there is always one that got away.
antiMusic: Sure. (laughs) One of my other favorite tracks is "Lil Latin Lover". Was that intentional tip of the hat to The Doors and "LA Woman" or just a happy coincidence?
Michael: I think that Morrison being just such an extraordinary artist, singer, lyricist, must have an affect on you so I sing it in sort of a baritone. Whenever you talk about The City of Lights, you're going to get compared Jim. But I didn't consciously think that way. In retrospect, people have brought it up and I thought, yes, that must have been a subliminal influence. Because this song is about California and it's about immigration and it's about a guy who loses his wife to deportation. And if you do sing about California and use the City of Lights and you do sing in a baritone, somebody's going to say, "Did Jim/ inspire that song?" At the time "no". In retrospect. "Yes."
antiMusic: The rhythm track for "Hot & Sticky" reminds me of T. Rex a lot.
Michael: Oh that's good. That's nice.
antiMusic: There's not much to say about this track as it's pretty obvious what it's about. That must have been written with the live show in mind?
Michael: You know what? Everything was written with the live show in mind, because that's all I care about is playing live. And I wanted to do a record that sounded live. And you know, I was just using the metaphor of being in Texas, you know the wild flowers, and the hot and stickiness of the humidity down there, and the girls wearing vintage flimsy dresses with cowboy boots and I'll leave the rest to your imagination. (laughs)
antiMusic: "From Cloud 9 to Heartache" is one of the bounciest songs on the record. The organ really helps make that one. Tell us a bit about that one.
Michael: Well I wanted to write a song that was somewhat reminiscent of Motown and the Four Tops and all of those great vocal groups. And the title suddenly occurred to me and I realized I had written a bi-polar rock and roll song. (laughs) And that's what it is. You know, it's like, oh, for f*ck's sake, will you just make up your mind? Are you in or are you out? Are you up or are you down? What the Chr*st is happening? You change just like the weather. Come on baby, you've got to get it together. And it was just that. It's like a bi-polar love song. (laughs)
antiMusic: Closing out the record is "My Baby Saved My Ass". Considering you were asking for forgiveness and pleading for a second chance earlier in the record, I guess all's well that ends well?
Michael: All's well that is today. (laughs) I mean, all's well that ends well. God knows I've done enough Shakespeare in my life. It's my baby saved my ass. And hopefully it'll stay that way, but one doesn't think about tomorrow. One stays in this moment and this moment is all we have and today my ass is saved. And the key line in there for me is, "I disappear for days. They found me in a haze. My baby saved my ass." Because what it really is, is the other side of "Painkiller." It's that love can negate the pain and "my baby saved my ass" is a joyful expression of exactly the same theme as the beginning of the album. So you know the snake eats its own tail. It just goes on and on and on in this wonderful circle.
antiMusic: Going back a little bit, I always thought you were trying to adopt a reggae-vocal for the end of "Recognition"…
antiMusic: …and if the band had somebody like Sly & Robbie on the rhythm section, the track could have easily made a Third World or Peter Tosh album. Do you remember thinking along those lines when recording that?
Michael: Absolutely, I love reggae. I was raised on reggae because in London there's a huge Jamaican population as I'm sure you're aware and it was one of the great influences on me and even Robert. In Jamaica, it's the same vibe. It's in our blood. And I wanted to call it reggae mission. (laughs)
antiMusic: Oh that's excellent. (laughs)
Michael: Except nobody would agree with me. It must have been seen as some cocaine-fueled…you know how you're convinced that this is the answer to the world. (laughs) But yeah I love that groove. I think that groove is on "Planet Nine" too. I mean if you listen to it, it's got that kind of dat dat dat bounce, reggae bounce. Love it.
antiMusic: Detective was the opening act for KISS while you were promoting your second record. They were in the middle of their biggest period of popularity at that time. What do you remember about the tour and how did you get on with them?
Michael: I loved Gene and Paul. I still do. What happened was in '72 they supported Silverhead in New York.
antiMusic: Is that right?
Michael: Yeah. Well, Gene had a f*cking poster of me on his wall…of Silverhead. He loved Silverhead.
antiMusic: I never knew that.
Michael: Yes and he's a true aficionado, you know, of music. He knows everything about everything. But you know, I remember several things. One, I remember, standing on the side of the stage…out of my mind on angel dust, with Johnny Thunders, looking at Peter Criss's drum kit go up in the air. And knowing I had to go on after that. (laughs) and Thunders elbows me in the ribs and goes, 'eh, good luck mate.' And that was really, really fun.
And then Detective happened. And Gene and Paul always put me on the charts on several Kiss tours, in whatever band I was in. They've been tremendously kind to me and I love them both very much.
One anecdote I have about Gene…that image that he's created of that demon is really unbelievably clever. You know, I've been an actor all my life. I know what it takes to be in character. And that character he created is spectacular. That tongue and just the way he lopes around that stage like Godzilla. It's not fast. It's very slow and measured. The way he moves. It's brilliant, I think.
And Paul, of course, is the cute, flamboyant sort of star man, you know. But Gene's thing really has gravitas and I remember standing in the wings and he was ready to go on and I was just standing there about to watch them. And he's magic with those f*cking boots. He was like 7 feet tall and I looked up and he's reading Billboard. (laughs)
Michael: (laughs) And I go "So Gene", and he looks down at me and goes "We're #1 in Sweden." And I thought, oh God Rock and Roll sure does encompass a lot of characters. This guy really takes the cake. And he does love his desserts. I should stress that (laughs)
antiMusic: I've heard that. (laughs)
Michael: But they've been terrific to me and I love them both.
antiMusic: When you joined The Power Station, up to that point you had played to some pretty fair-sized crowds. But what did you think when the curtain opened and you saw the audience for Live Aid?
Michael: Well, you know that was extraordinary on just about any level you care to think. For instance how I got the gig. I was in Chequered Past with Steven and we supported them in San Diego and I guess they remembered me. It was '85, I was in Texas with Don Johnson. He was making a movie. I was hanging out with him. "Obsession" was #1 all over the world. I felt great.
I got a call saying there's a band. Their singer's quit. They've got a big record and they've got a big tour, "Are you interested in coming over and meeting them?" And I said, "Who?" And they said, "Well we can't tell you. Just get on a plane. You want to come to New York? There's a ticket waiting for you." And it sounded so fascinating and off I went. And there they were. And I lived through a rigorous intro period. I met John and Tony looking nervous at the promoter's office and we went to the studio. They gave me the album. I said kick the vocals off the album. So I had two versions: I got on the Concorde to go to London that night to meet with Andy and he came down the next day. I waited hours for him. I set the studio up, I sang it and he said "Fantastic." Got back on the Concorde, went back to New York and rehearsed for 10 days and did Live Aid. (laughs)
antiMusic: That's amazing!
Michael: It was a shocking thing. It was truly shocking. I had to learn 30 songs in 10 days. And because I was trained and disciplined as an actor, I do believe this is true…I'm not being cute…the discipline of learning lines that are complex and having that memorization of things, it's not easy. But I'd learned how to do it as a very young actor. And I was so focused. So ready.
I would advise anybody and everyone who wants to do what we're doing here, be ready. Always be ready. Eat well. Train. Be athletic. Be joyous. Be healthy and when that chance comes, you're ready for it. Because it can come at any moment. And to me it happened like a gift from God and I was ready.
It didn't matter that I was replacing a critic's darling, a beloved singer songwriter, Robert Palmer. I ADORE Robert Palmer. I knew him when he was in Vinegar Joe, years before he became the sophisticated artist he became. And of course the comparisons were made and nothing affected me because I was so happy to be part of this fantasy. I mean they were at their f*cking peak. They were 22. We had our own plane, for god's sake. I mean, right after that tour I stopped. I did MacGyver and TV and movies for the next 20 years because it really had satisfied every fantasy I had ever had about being a rock and roll star.
antiMusic: Can you see this as a prolonged period of music for yourself or are you just testing the waters with this release?
Michael: No, I'm not testing the waters. I have already won because (laughs) to me the Olympics are over. I've got the gold medal. It doesn't matter what happens. I have no expectations whatsoever but I do know that I'm planning my next album already, and I've written so many songs for it.
Michael: You know the thing is, because Steve Van Zant is playing "Little Latin Lover" on Sirius. It's the papal blessing, I guess, from the high priest of hip, in terms of classic rock and garage rock which is what we are. So I'm already ahead of the game. I've known Steve for many, many years and I hope to work with him in the future. There are many possibilities that have opened up as a result of this album coming out. We all know the music business is challenged, but that doesn't mean music is challenged. There are tremendous acts out there that I really love and I intend to keep playing live and keep recording. Absolutely.
antiMusic: What's next for you in the immediate future? Are you out on the road?
Michael: We will only go on the road after this record has penetrated radio and so on. There are a lot of different things going on with it. I could tell you but it would be too premature. There is much interest in it from all sorts of different entities and we will be on the road, I think, by the first week of September. And then we'll stay on the road. But only when people have become familiar with the album because I've been down this road before. I want people to listen to it and hopefully enjoy and then come and see us. I don't want to have to go out and seduce them prior to them hearing the album.
antiMusic: Well you've been really generous with your time Michael. And I so appreciate you taking the time to speak with us today. It's just an honor to be able to speak with you and I wish you all the best with the record. It's terrific.
Michael: That's so kind of you and I do appreciate it, Morley. Thank you so much, man.
Morley and antiMusic thank Michael for making the time to speak with us.
Preview and purchase this CD here
Visit his official website here.