On this episode of The Bandwich Tapes, I welcome back actor and songwriter James Woods for the third installment of our ongoing conversation about his album The Killer’s Wife. Over the course of these three interviews, we’ve explored the origins of the project, the musicians and creative team responsible for bringing it to life, and the decisions that shaped its sound and visual identity. This time, we dig further into the individual songs, examining the stories behind the lyrics, the musical choices that give those stories their emotional weight, and the creative process that continues to evolve as James reflects on the album. We begin by discussing James’s songwriting partnership with Bob Wayne and the importance of allowing different artists to interpret the same material. James explains why he often prefers to let Bob read his lyrics without offering an explanation, giving him the freedom to discover his own musical interpretation. We also talk about producer Shooter Jennings and the remarkable musicians who contribute to these recordings. From a subtle banjo part to an unexpected harmonic shift, James shares how small creative suggestions can transform a song. Throughout the conversation, he emphasizes the collaborative nature of the project and the importance of creating an environment where everyone feels comfortable contributing ideas. Much of our discussion centers on the storytelling within The Killer’s Wife. James takes us deeper into songs including “Harm’s Way,” “Man on the Radio,” “Wellfleet Cadillac,” “My Baby Girl,” and the album’s title track. He explains the historical references and hidden details woven into the lyrics, including the meaning behind the address “1620 Old Harm’s Way,” which he challenged me to decipher during our previous conversation. We also discuss the distinction between a character’s external quest and internal journey, the relationship between musical beauty and unsettling subject matter, and the deliberate contrasts that help the album unfold as a complete listening experience. One particularly interesting part of our conversation explores the recording of “Man on the Radio.” James describes how an initial lyrical idea developed into a much larger musical scene, complete with a fictional radio broadcast, spontaneous performances, and an improvised passage representing the central character’s increasingly disturbed thoughts. We also discuss “Wellfleet Cadillac,” where a melodic arrangement creates a striking contrast with the darkness of the underlying story, and “My Baby Girl,” which James approaches through the perspective of a father trying to protect his daughter while recognizing that she must ultimately make her own decisions. Along the way, we return to the album’s central theme: the struggle between good and evil, and the possibility that compassion and moral courage can overcome even the darkest circumstances. Our conversation also becomes deeply personal. James talks about his relationship with Sarah, whose photography and artistic direction have become essential parts of the Breakheart Music projects, and how their life together has given him the freedom to pursue songwriting. We discuss the influence of family, the people who help shape our lives, and the ways music can preserve our connections to those we’ve lost. I share some thoughts about my own father and the reasons I started this podcast, leading to a particularly meaningful exchange about music, memory, and the relationships that continue to influence us long after someone is gone. As we bring this three-part conversation to a close, James reflects on what he’s learned about songwriting, collaboration, and trusting his creative instincts. He also shares some of the ideas taking shape for future recordings, including new approaches to arranging songs and allowing different musical interpretations to coexist. What I appreciate most about these conversations is James’s willingness to examine the process behind the music, sometimes discovering new connections and meanings in his own work as we’re talking. This final installment offers another perspective on The Killer’s Wife and the people, experiences, and creative decisions that brought the album to life. Key Takeaways James’s collaboration with Bob Wayne and Shooter Jennings is built on mutual trust and the freedom to interpret material differently. Rather than controlling every creative decision, James encourages the musicians to bring their own ideas to the songs. The Killer’s Wife developed organically from James’s memories of encountering the real-life wife of a serial killer. As the songs took shape, the project became a larger fictional exploration of goodness, evil, love, and survival. The lyrics contain historical references, literary allusions, and hidden connections between songs. James explains how “1620 Old Harm’s Way” connects to the arrival of the Pilgrims in Cape Cod and how details like these help establish the album’s narrative world. “Man on the Radio” grew from a simple lyrical phrase into one of the album’s most elaborate productions, incorporating a fictional broadcast, ensemble performances, and improvised dialogue to explore a character’s distorted perception of reality. Musical contrast is central to the album’s identity. Songs such as “Wellfleet Cadillac” pair memorable, melodic arrangements with unsettling subject matter, creating an emotional tension that strengthens the storytelling. Sarah’s photography, visual concepts, and creative contributions help establish the atmosphere of the project, while the physical album packaging reinforces James’s desire to create a complete artistic experience. James sees songwriting as a continuation of the storytelling instincts he developed through acting, but he has learned to trust a more open-ended creative process in which the larger meaning of a project often emerges after the individual songs are written. Music from the Episode The Killer's Wife - James Woods Harm's Way - James Woods Shadows of the Past - James Woods About the Podcast The Bandwich Tapes is a podcast hosted by musician Brad Williams, featuring thoughtful conversations with musicians, songwriters, composers, producers, and other creative artists. Through discussions about musical influences, creative processes, collaboration, and the experiences that shape an artist’s work, the show explores not only how music gets made, but why it matters. Connect with the Show Questions, comments, or guest suggestions? Email: contact@thebandwichtapes.com Explore James Woods’s music, physical album releases, and additional information through his official website and Breakheart Music.

Episode Summary On this episode of The Bandwich Tapes, I’m joined by drummer, singer, and session musician Remy Morritt. Originally from Seattle and now based in Los Angeles, Remy has built a career working with some remarkable artists, including Lizzy McAlpine, Christian Lee Hutson, Role Model, Fenne Lily, and Joey Dosik. We talk about his journey from playing along with records as a kid to becoming an in-demand studio and touring musician, and how his approach to the drums has evolved along the way. Remy grew up surrounded by music, with parents who introduced him to artists like The Police, Steely Dan, Rush, and The Beatles, and an older sister who opened his ears to an entirely different world of music. We discuss those early influences, his years studying jazz at the University of Washington with drummer Ted Poor, and the importance of developing your ears and musical instincts before becoming too concerned with technique. A big part of our conversation centers on Remy’s work with Lizzy McAlpine. He shares how he became part of her touring band, what it’s like recording with Lizzy and her collaborators, and how he approaches supporting a singer whose music depends so much on dynamics, melody, and emotional expression. We also get into the creative process behind his drum part on “A car wash and a new pair of pants,” and why being recognized for your individual musical voice can be more rewarding than simply delivering a technically perfect performance. We spend time discussing the differences between recording remotely and working in a studio with other musicians, the challenges of balancing touring with life at home, and the evolution of Remy’s playing toward a more restrained, song-centered approach. His appreciation for drummers like Levon Helm, Jim Keltner, and Jeff Porcaro leads us into a conversation about feel, time, and the subtle decisions that make a drum part memorable. What I particularly enjoyed about this conversation was Remy’s perspective on developing an identity as a musician. We talk about listening as a skill, learning directly from recordings, and understanding that the most important thing isn’t necessarily how much you can play, but whether what you’re playing actually serves the music. Connect with Remy Morritt through his website or Instagram to learn more about his work, recording services, and upcoming performances. Key Takeaways Finding your musical identity: Remy discusses how his playing has evolved from a more technically focused, aggressive approach toward one that emphasizes restraint, dynamics, space, and personal expression. The importance of early influences: Growing up with a wide variety of music, particularly through his parents and older sister, helped shape Remy’s musical curiosity and encouraged him to explore different styles. Learning from Ted Poor: Remy’s studies at the University of Washington provided valuable lessons in jazz, improvisation, musicianship, and the personal challenges of artistic development. Playing for the singer: Working with Lizzy McAlpine has reinforced the importance of listening to the vocalist, responding to phrasing and dynamics, and crafting drum parts that support a song's emotional direction. Developing a recognizable sound: Remy explains why he values being called into a session specifically for his musical personality rather than for his technical ability alone. Learning by playing along: Studying recordings by Levon Helm, Jim Keltner, Jeff Porcaro, and other influential drummers helped Remy understand the subtle differences in feel, placement, and musical intention that can’t always be learned from books or exercises. Building a sustainable musical career: From relocating to Los Angeles without guaranteed work to balancing remote recording, studio sessions, and touring, Remy shares his perspective on relationships, collaboration, and finding fulfillment in different seasons of a musician’s life. Music from the Episode High Hopes 3000 - Role Model Carousel Horses - Christian Lee Hutson Spring Into Summer - Lizzy McAlpine A car wash and a new pair of pants - Lizzy McAlpine About the Podcast The Bandwich Tapes is a music interview podcast hosted by musician Brad Williams. Each episode features conversations with musicians, songwriters, producers, and artists about their careers, creative processes, musical influences, and the experiences that shape their work. Through thoughtful, musician-to-musician conversations, the show explores not just the music people make, but how and why they make it. Connect with the Show Have a question, comment, or guest suggestion? contact@thebandwichtapes.com

Episode Summary On this episode of The Bandwich Tapes, I sit down with Italian classical guitarist and artistic researcher Giacomo Copiello to explore the relationship between technique, musical expression, and the instruments we play. Giacomo shares his journey from rock guitar to classical music and how his studies shaped his approach to performance and interpretation. We discuss the eight-string Brahms Guitar, Paul Galbraith’s innovative vertical playing system, and how changes in posture and technique can open new musical possibilities. Giacomo also talks about his doctoral research at the University of Surrey, where he used performance, transcription, and experimentation to explore the connection between artistic practice and musical discovery. We also explore his fascination with the human voice and how it influences his arrangements of music by Schubert and Mendelssohn. Throughout our conversation, Giacomo offers thoughtful insights into phrasing, interpretation, and the ways musicians can push beyond the traditional limitations of their instruments. Key Takeaways Giacomo’s musical journey began with rock music, electric guitar, and artists like Jimi Hendrix before he discovered classical guitar and the possibilities of polyphonic music. Studying with Stefano Grondona introduced him to historical guitars and helped him understand how different instruments require different approaches to sound production, touch, and interpretation. Paul Galbraith’s vertical playing technique offers a different physical relationship with the guitar, but Giacomo emphasizes that this personal playing system should not be confused with the design or requirements of the eight-string Brahms Guitar itself. Giacomo’s practice-based PhD research at the University of Surrey allowed performance, transcription, and experimentation to generate academic questions rather than simply illustrate predetermined theories. His work with composer Stephen Goss helped him develop a research framework that respected artistic practice as a source of knowledge and discovery. Transcribing music by Schubert and Mendelssohn led Giacomo to explore how breath, vocal phrasing, resonance, and musical continuity can be translated to an instrument whose sound naturally decays. Through new arrangements, contemporary collaborations, and the publication of performance materials, Giacomo hopes to expand the Brahms Guitar repertoire and make the instrument more accessible to other musicians. Music from the Episode Felix Mendelssohn - Lieder ohne Worte, Op. 67 No. 2, MWV U 145: II. Allegro leggiero (Arr. G. Copiello for 2 Guitars)- Giacomo Copiello & Michele Tedesco Franz Schubert - Schwanengesang, D. 957: No. 1, Liebesbotschaft (Arr. for Guitar by Giacomo Copiello)- Giacomo Copiello Franz Schubert - Schwanengesang, D. 957: No. 4, Ständchen (Arr. for Guitar by Giacomo Copiello)- Giacomo Copiello About the Podcast The Bandwich Tapes is a podcast hosted by musician Brad Williams, featuring thoughtful conversations with musicians, songwriters, composers, producers, and other creative artists. Through discussions about musical influences, creative processes, collaboration, and the experiences that shape an artist’s work, the show explores not only how music gets made, but why it matters. Connect with the Show Questions, comments, or guest suggestions? Email: contact@thebandwichtapes.com To learn more about Giacomo Copiello, explore his performances, recordings, research, and arrangements through his official website, YouTube channel, and social media.

Episode Summary On this episode of The Bandwich Tapes, I sit down with bluegrass singer-songwriter Caroline Owens to discuss musical influences, songwriting, artistic growth, and the importance of honesty in music. Caroline has one of those voices that immediately makes you believe what she’s singing. Throughout our conversation, we explore where that authenticity comes from and how it shapes her approach to both performing and writing songs. We talk about Caroline’s early years growing up in Denton, North Carolina, where bluegrass music and nightly jam sessions were part of everyday life. She shares how Dolly Parton and Alison Krauss helped shape her musical identity, not simply through their singing but through the way they approached their music and treated others. We also discuss the remarkable experience of seeing musical heroes become friends and collaborators, including her work with The Isaacs, and why stepping outside your comfort zone is essential to growing as an artist. A significant part of our conversation centers on Caroline’s project Low Flying Planes. She shares the story behind the title track, a deeply personal song she wrote several years ago and held onto until she felt ready to record it. We discuss the musicians who helped bring the project to life, the remarkable efficiency and creativity of Nashville’s studio players, and the challenges of finding the right moment to release music that means something to you. We also spend time discussing Evangeline, a song Caroline co-wrote with Lacey Green that explores domestic abuse through the lens of traditional bluegrass storytelling. Caroline explains how the song challenged some of the genre’s familiar narratives and why she felt compelled to tell the story from a different perspective. She shares some of the deeply personal responses she’s received from listeners who recognize their own experiences, or those of someone they love, in the song. Throughout our conversation, we return to the idea that great music doesn’t have to be complicated to be meaningful. Whether we’re talking about the influence of songwriters like Dean Dillon, Robert Lee Castleman, and John Pennell, or the responsibility of carrying musical traditions forward, Caroline brings a thoughtful perspective to the relationship between a song, the person singing it, and the people listening. Key Takeaways Caroline began singing at just two years old and grew up surrounded by the thriving bluegrass community of Denton, North Carolina, where jam sessions helped develop her musical foundation. Dolly Parton and Alison Krauss were defining influences on Caroline’s singing, shaping her understanding of emotional honesty, musical expression, and the importance of connecting with an audience. Working with musical heroes, including The Isaacs, taught Caroline the value of building genuine friendships and embracing uncomfortable situations as opportunities for artistic growth. The title track of Low Flying Planes was written entirely by Caroline and remained unreleased for several years until she felt personally and artistically ready to share it. Caroline discusses the extraordinary musicianship of Nashville’s studio players and how their preparation, instincts, and efficiency helped shape the sound of her new project. Co-written with Lacey Green, Evangeline challenges traditional bluegrass murder-ballad conventions while addressing domestic abuse, giving listeners a powerful story with which many have personally connected. Caroline believes the lasting power of bluegrass and acoustic music comes from authenticity, emotional connection, and the ability of a well-written song to communicate something deeply human. Music from the Episode Telluride - Caroline Owens Old Time Church - Caroline Owens (feat. The Isaacs) Evangeline - Caroline Owens About the Podcast The Bandwich Tapes is a podcast hosted by musician Brad Williams, featuring thoughtful conversations with artists, musicians, songwriters, producers, and other creative voices. Each episode explores the experiences, influences, collaborations, and creative decisions that shape a life in music. From the stage to the studio and everywhere in between, The Bandwich Tapes goes beyond the music to discover the stories and people behind it. Connect with the Show Have a question, comment, or suggestion for a future guest? I’d love to hear from you. Email: contact@thebandwichtapes.com

Episode Summary On this episode of The Bandwich Tapes, I sit down with Austin-based singer-songwriter Ella Reid for an honest and entertaining conversation about finding your creative voice, navigating the realities of the music business, and learning when it’s time to explore something new. Originally from Minnesota, Ella’s journey has taken her through screenwriting, graphic design, and eventually to Texas, where she’s spent more than a decade building a career as a working musician. We talk about the musical influences that shaped her, from Guns N’ Roses and Gwen Stefani to the Indigo Girls, Ani DiFranco, and Broadway musicals, and how those seemingly different worlds continue to find their way into her songwriting. Ella shares how developing her voice as a songwriter required more than simply learning to put words and melodies together. It meant becoming comfortable with vulnerability, learning to communicate emotions more directly, and understanding the importance of specificity in storytelling. We discuss the years she spent writing songs, the lessons she learned from other songwriters, and why she’s never been particularly interested in limiting herself to a single genre. Whether a song calls for country, pop, folk, rock, or even disco, Ella believes the music should go wherever the song needs to go. We also get into the realities of making a living as an independent musician. Ella talks candidly about building her career through open mics, breweries, wineries, and venues throughout the Austin area, and the challenges of transitioning from performing for an existing audience to selling tickets to her own shows. We discuss the demands of booking, marketing, social media, and maintaining a creative identity while handling the business responsibilities that come with being an independent artist. It’s a conversation about perseverance, but also about recognizing your limits and finding ways to make a sustainable life in music. One of the most interesting parts of our conversation is Ella’s return to her roots in screenwriting and musical theater. She’s been developing an original musical called The Death of Jerry Pine, a comedy exploring the lives, relationships, and struggles of performers trying to find their place in the world. Writing thirteen songs for the project has also led her deeper into music production, working in Logic Pro, experimenting with orchestration, and exploring opportunities in cinematic music and film and television licensing. What I particularly appreciated about talking with Ella was her willingness to be candid about the uncertainty that comes with a creative career. She’s proud of what she’s accomplished, but she’s also asking important questions about what comes next. We talk about the difference between persistence and simply exhausting yourself, the importance of making art that feels genuine, and why sometimes the best way forward is to permit yourself to change direction. Key Takeaways Ella’s musical influences range from rock and alternative music to folk, country, and Broadway, giving her a wide creative vocabulary that continues to shape her songwriting. Finding her voice as a songwriter required years of practice, emotional honesty, and learning to communicate specific experiences rather than hiding behind vague lyrics. Building a career in Austin taught Ella the importance of professionalism, consistency, and understanding the difference between performing for an existing audience and developing a dedicated fan base. Ella approaches every song as an individual creative statement, allowing its musical style and production to develop naturally rather than forcing it into a particular genre. The responsibilities of an independent musician extend far beyond performing, requiring skills in booking, marketing, design, promotion, and business management. Writing her original musical, The Death of Jerry Pine, has reconnected Ella with her screenwriting background while expanding her interests in music production, orchestration, and cinematic composition. After more than a decade as a working musician, Ella is learning to balance ambition with sustainability, recognizing that creative growth sometimes requires establishing boundaries and exploring new directions. Music from the Episode Nobody But Me - Ella Reid About the Podcast The Bandwich Tapes is a podcast hosted by musician Brad Williams, featuring thoughtful conversations with musicians, songwriters, composers, producers, and other creative artists. Through discussions of musical influences, creative processes, collaboration, and the experiences that shape an artist’s work, the show explores not only how music is made but also why it matters. Connect with the Show Questions, comments, or guest suggestions? Email: contact@thebandwichtapes.com